CFP Horror and Comics Edited Collection (9/1/21)

Missed this earlier:

Horror and Comics Edited Collection

deadline for submissions: September 1, 2021

full name / name of organization: Julia Round

contact email: jround@bournemouth.ac.uk

source: https://call-for-papers.sas.upenn.edu/cfp/2021/07/16/horror-and-comics-edited-collection

 

Call for Papers: Edited Collection

Proposals due 1 September 2021

Horror and Comics

Edited by Julia Round, Kom Kunyosying and Barbara Chamberlin

Horror and comics have a long history that stretches from the earliest woodcuts, scrolls, penny dreadfuls and pulp magazines, to today’s monthly titles, graphic novels, webcomics, and dedicated imprints from both mainstream and small press publishers. Horror comics have dominated at various points in comics history, and reactions to extreme content have shaped the industry. Horror also underpins other comics genres: many of the most famous characters and titles rely on violence or fear of some kind. As a visual medium that relies on reader input, comics storytelling is uniquely positioned to oscillate between terror (through omission) and explicit horror (in drawn panels), while the multimodal language of comics allows stylized art to vividly evoke the sublime and the grotesque and encourages affective responses from audiences.

We invite proposals for chapters for a forthcoming volume. This collection will explore the development of horror within comics and graphic novels, combining close analyses of indicative texts with wider discussions of the development of archetypes, themes, formats, and subgenres. It will be genre-defining and global in scope, and so we particularly encourage submissions that go beyond the UK and US comics industries and/or engage with diverse perspectives and texts. University of Wales Press has expressed interest as part of their Horror Studies series, subject to successful peer review.
Papers may investigate the intersections of comics and horror in historical, thematic, cultural, structural, formalist, or other terms. 

Suggested themes might include (but are not limited to) the following:

• Histories and development of cultural traditions (e.g. fumetti neri, horror manga, EC New Trend, etc.)
• Discussions of key global developments (e.g. texts, publishers, authors, series, etc.)
• Horror comics and social anxieties (e.g. history, politics, public health, etc.)
• Intersectional analyses (e.g. gender, ethnicity, class, sexuality, religion, dis/abilities, etc.)
• Subgenres of horror in comics (e.g. body horror, psychological horror, eco horror, comedy horror, folk horror, supernatural horror, etc.)
• Horror archetypes (e.g. witches, vampires, zombies, ghosts, etc.)
• Acts of censorship and transgression
• Horror and ethnicity (e.g. horror as metaphor for racial trauma, the horror of being perceived as other, etc.)
• Horror and national / transnational identities (e.g. national vs global, local vs rural, etc.)
• Affect and the comics medium (e.g. the depiction and responses of fear, disgust, outrage, etc.)
• Visual iconography and aesthetics (e.g. the grotesque, artistic style, colour and shading, etc.)
• Comics adaptations of older horror (e.g. myth, legend, folktales, etc.) or contemporary horror (e.g. adaptation from television, film, literature, etc.)
• The presence of horror or its signifiers in other comics genres (e.g. superheroes, graphic medicine, autobiography, etc.)
• Horror readers and audiences (e.g. horror comics and childhood, reader engagement and affect, interactivity, fan cultures, cosplay, etc.)

Please send detailed proposals of 500 words and a 100 word biography to jround@bournemouth.ac.uk, kkunyosy@gmail.com, and b.j.chamberlin@brighton.ac.uk with the header ‘Horror Comics Collection’ by 1 September 2021. Informal enquiries may also be sent to the editors at these addresses.

Contributors will be notified of the outcome by 1 November 2021. The deadline for submission of completed draft essays (c.6000 words) will be 1 November 2022.

Last updated July 19, 2021

CFP Japanese Horror Essay Collection (5/1/21)

Last Call for Chapters: Japanese Horror

Source: https://call-for-papers.sas.upenn.edu/cfp/2021/03/15/last-call-for-chapters-japanese-horror


deadline for submissions: May 1, 2021


full name / name of organization: Fernando Gabriel Pagnoni Berns


contact email: citeron05@yahoo.com




Last Call for Chapters: Japanese Horror



Edited by Subashish Bhattacharjee (Jawaharlal Nehru University),

Ananya Saha (Jawaharlal Nehru University) and

Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires, Argentina)

http://artes.filo.uba.ar/pagnoni-berns-gabriel



We, the editors, are looking for four additional chapters for our book on Japanese horror. The deadline for the full manuscript to Lexington Press is May 10, 2021, so potential contributors must have in mind the process will be quickly as possible. Below, our original CFP.

The cultural phenomenon of Japanese Horror has been of the most celebrated cultural exports of the country, being witness to some of the most notable aesthetic and critical addresses in the history of modern horror cultures. Encompassing a range of genres and performances including cinema, manga, video games, and television series, the loosely designated genre has often been known to uniquely blend ‘Western' narrative and cinematic techniques and tropes with traditional narrative styles, visuals and folklores. Tracing back to the early decades of the twentieth century, modern Japanese horror cultures have had tremendous impact on world cinema, comics studies and video game studies, and popular culture, introducing many trends which are widely applied in contemporary horror narratives. The hybridity that is often native to Japanese aestheticisation of horror is an influential element that has found widespread acceptance in the genres of horror. These include classifications of ghosts as the yuurei and the youkai; the plight of the suffering individual in modern, industrial society, and the lack thereof to fend for oneself while facing circumstances beyond comprehension, or when the features of industrial society themselves produce horror (Ringu, Tetsuo, Ju on); settings such as damp, dank spaces that reinforce the idea of morbid, rotten return from the afterlife (Dark Water)—these are features that have now been rather unconsciously assimilated into the canon of Hollywood or western horror cultures, and may often be traced back to Japanese Horror (or J-Horror) cultures. Besides the often de facto reliance on gore and violence, the psychological motif has been one of the most important aspects of Japanese Horror cultures. Whether it is supernatural, sci-fi or body horror, J-Horror cultures have explored methods that enable the visualising of depravity and violent perversions, and the essence of spiritual and material horror in a fascinating fashion, inventing the mechanics of converting the most fatal fears into visuals.

The proposed volume will focus on directors and films, illustrators and artists and manga, video game makers/designers and video games that have helped in establishing the genre firmly within the annals of world cinema, popular culture and imagination, and in creating a stylistic paradigm shift in horror cinema across the film industries of diverse nations. We seek essays on J-Horror sub-genres, directors, illustrators, designers and their oeuvre, the aesthetics of J-Horror films, manga, and video games, styles, concepts, history, or particular films that have created a trajectory of J-Horror cultures. Works that may be explored in essay-length studies include, but are not limited to, Kwaidan, Onibaba, Jigoku, Tetsuo: The Iron Man and its sequels, Audition, Fatal Frame, the Resident Evil game franchise, Siren, Uzumaki, Gyo, Tomie, besides the large number of Japanese horror films that have been remade for the US market, including Ringu, Ju on, Dark Water, and Pulse among others, and a host of video games with Western/American settings (such as the Silent Hill franchise) and film adaptations (Resident Evil franchise)—analysing the shift from the interactive game form to consumable horror in the cinematic form. For adaptations, we are also looking for essays that analyse the shift from the interactive game form or image-and-text form to consumable audiovisual horror in the form of cinema and vice versa. Analyses of remakes could also focus on the translatability of Japanese horror vis-à-vis American or Hollwood-esque horror, and how the Hollywood remakes have often distilled western horror cinematic types to localise the content.

Directors, designers and manga artists working in the ambit of Japanese horror cultures who may be discussed include, but are not limited to, Nobuo Nakagawa, Kaneto Shindo, Masaki Kobayashi, Hideo Nakata, Takashi Miike, Kiyoshi Kurosawa, Ataru Oikawa, Takashi Shimizu, Hideo Kojima, Junji Ito, Kazuo Umezu, Shintaro Kago, Katsuhisa Kigtisu, Gou Tanabe and others. Other issues that may be explored in J-Horror cultures may include the issue of violence and gore, gender and sexuality, sexual representation, the types of the supernatural, cinematic techniques and narrative techniques and others.

At this stage we are looking for both, submission of complete articles of up to 7000 words or abstracts for proposed chapters up to 500 words.

Enquiries and submissions are to be directed to Fernando Pagnoni Berns at citeron05@yahoo.com





Subashish Bhattacharjee is an Assistant Professor of English at the University of North Bengal, India. He edits the interdisciplinary online journal The Apollonian, and is the Editor of Literary Articles and Academic Book Reviews of Muse India. His doctoral research, on the cultures of built space, is from the Centre for English Studies, Jawaharlal Nehru University, where he has also been a UGC-Senior Fellow. His recent publications include Queering Visual Cultures (Universitas, 2018), and New Women's Writing (Cambridge Scholars, co-edited with GN Ray, 2018).



Ananya Saha is a PhD scholar in the Centre for English Studies, JNU, New Delhi. Her research is on the idea of the 'outsider' in Japanese and non-Japanese manga vis-a-vis globalization. Other research interests include Fandom and Queer studies, Translation theory and practice, New Literatures and so on. She has published in international journals, including Orientaliska Studier (No 156), from the Nordic Association of Japanese and Korean Studies. She is the co-editor of the volume titled Trajectories of the Popular: Forms, Histories, Contexts (2019), published by AAKAR, New Delhi. She has been the University Grants Fellow, SAP-DSA-(I) in the Centre for English Studies, JNU (2016-17), and has been awarded a DAAD research visit grant to Tuebingen University, Germany under the project "Literary Cultures of Global South."



Fernando Gabriel Pagnoni Berns is an Assistant Professor at the Universidad de Buenos Aires (UBA) - Facultad de Filosofía y Letras (Argentina)-. He teaches courses on international horror film and is director of the research group on horror cinema “Grite.” He has published chapters in the books To See the Saw Movies: Essays on Torture Porn and Post 9/11 Horror, edited by John Wallis, Critical Insights: Alfred Hitchcock, edited by Douglas Cunningham, A Critical Companion to James Cameron, edited by Antonio Sanna, and Gender and Environment in Science Fiction, edited by Bridgitte Barclay, among others. He has authored a book about Spanish horror TV series Historias para no Dormir and has edited a book on director James Wan (McFarland, 2021).

Contact Email:

citeron05@yahoo.com



Last updated March 16, 2021