HWA Academics

Southwest Popular/American Culture Association
39th Annual Conference, February 7-10, 2018
Hyatt Regency Hotel & Conference Center
Albuquerque, New Mexico
http://www.southwestpca.org


contact email: howarth-m@mssu.edu

Proposal submission deadline: October 22, 2017

Proposals for papers and panels are now being accepted for the 39th annual SWPACA conference.  One of the nation’s largest interdisciplinary academic conferences, SWPACA offers nearly 70 subject areas, each typically featuring multiple panels.  For a full list of subject areas, area descriptions, and Area Chairs, please visit http://southwestpca.org/conference/call-for-papers/

Panels now forming for presentations on the films and career of Alfred Hitchcock. Listed below are some suggestions for possible presentations.

Hitchcock and Music
Hitchcock and Television
Hitchcock and Pedagogy
Hitchcock and Film Theory
Hitchcock and Film Genres
Hitchcock and Voyeurism
Hitchcock and the Silent Era
Hitchcock and Gender
Hitchcock and Black Humor
 

Scholars, teachers, professionals, grad students, and others interested in Alfred Hitchcock are encouraged to participate. The above list of topics suggests a few possible ways to consider Alfred Hitchcock's work, but it is not final. Any other approaches to discussing the “master of suspense” are certainly welcome.

All proposals must be submitted through the conference’s database at

http://conference.southwestpca.org/
 
For details on using the submission database and on the application process in general, please see the Proposal Submission FAQs and Tips page at

http://southwestpca.org/conference/faqs-and-tips/proposal-submission-faqs-and-tips/

Individual proposals for 15 minute papers must include an abstract of approximately 200-500 words.  Including a brief bio in the body of the proposal form is encouraged, but not required. 

For information on how to submit a proposal for a roundtable or a multi-paper panel, please view the above FAQs and Tips page. 

 SWPACA offers monetary awards for the best graduate student papers in a variety of categories. Submissions of accepted, full papers are due December 1.  For more information, visit http://southwestpca.org/conference/graduate-student-awards/

Registration and travel information for the conference is available at http://southwestpca.org/conference/registration/


In addition, please check out the organization’s peer-reviewed, scholarly journal, Dialogue: The Interdisciplinary Journal of Popular Culture and Pedagogy, at http://journaldialogue.org

If you have any questions about the Alfred Hitchcock area, please contact its Area Chair, Dr. Michael Howarth, Missouri Southern State university, Howarth-m@mssu.edu.

We look forward to receiving your submissions. 

Note - including this, since Folk-Horror could surely be submitted


deadline for submissions: October 1, 2017
full name / name of organization: Popular Culture Association
contact email: kathryn.edney@regiscollege.edu

PCA/ACA Conference
Indianapolis, IN
March 28-March 31, 2018

For information on the PCA/ACA, please go to http://www.pcaaca.org
For conference information, please go to http://www.pcaaca.org/national-conference/

We are considering proposals for sessions organized around a theme, special panels, and/or individual papers concerning folklore and popular culture.  Sessions are scheduled in 1½ hour slots, typically with four papers or speakers per standard session.  Presentations should not exceed 15 minutes.  As always, proposals addressing any topic concerning folklore studies are welcome; the list below is merely suggestive:

Folklore in Popular Culture/Folklore as Popular Culture

Influence of folklore on other forms of culture (literature, film, music, etc.)

Folklore and Religion

The difference between oral and literary sources of tradition

Women in Folklore

Folklore and children

Uses of folklore

Folklore and the Digital Age

Folklore and Epic

Illustrators/Illustration of folklore

Folklore and memory/memory studies

Symbolism in folklore

The relationship between folklore and literary history

Folklore and music

 

If there are any questions, please contact the Area Chair:

Dr. Kathryn Edney

Interim Dean, School of Arts and Sciences

Regis College

235 Wellesley Street, Weston MA 02493

kathryn.edney@regiscollege.edu

Please note that ALL submissions must be made through the conference submission site: http://ncp.pcaaca.org . For individual papers, please submit a title, 100-word abstract, and your contact information. For themed paper sessions, each presenter must enter her/his own presentation; the session chair should contact Dr. Edney to ensure the papers are curated as a panel.

deadline for submissions: October 1, 2017
full name / name of organization: Popular Culture Association/American Culture Association (PCA/ACA)
contact email: lnevarez@siena.edu

The Vampire in Literature, Culture, and Film Area is seeking papers for the national joint Popular Culture Association/American Culture Association (PCA/ACA) meeting to be held March 28-31 in Indianapolis, Indiana.

We welcome papers on vampires in literature, culture, and film for presentation at the conference. Topics that are of particular interest include, but are not limited to:

Vampires and music
The international vampire
Twilight and its legacy (2018 marks the 10-year anniversary of the film Twilight and the publication of Breaking Dawn)
Werewolves and vampires
The work of Nina Auerbach
The return of Anne Rice’s vampire Lestat
Social justice and vampires
The literary vampire
The vampire on television (ex: The Vampire Diaries, The Originals, The Strain, The Passage)
Pedagogy
Vampire subculture and lifestyle
Please submit abstracts of 250 words by October 1, 2017 to the PCA/ACA database: https://conference.pcaaca.org/

We welcome the submission of complete panels of 3-4 presenters.

Responses/decisions regarding your proposals will be provided within two weeks of your submission to ensure timely replies.

For further information, please visit: http://pcaaca.org/the-vampire-in-literature-culture-film/ or contact the area co-chairs: Mary Findley (findley@vtc.edu) or Lisa Nevarez (lnevarez@siena.edu).

Note - Some Fairy Tales, like Hansel and Gretyl, really border on horror, or have influenced horror in some whats. It's applicable enough to be posted here:


deadline for submissions: October 1, 2017
full name / name of organization: PCA/ACA
contact email: acaleb@misericordia.edu

The Fairy Tales Area of the Popular Culture Association/American Culture Association seeks paper presentations on any topic involving fairy tales. While our interests are broad and inclusive, we invite papers that discuss fairy tales in contemporary popular culture (TV shows, movies, graphic novels, advertising, toys, video games, popular literature, etc), revisions and adaptations of fairy tales (including creative projects, such as poems, short fiction, TV shows), and approaches that consider the subversive nature of the fairy tale (such as subverted family values, queering the fairy tale, etc.). Still, we are interested in as wide an array of papers as possible, so please do not hesitate to send a submission on any fairy tale related subject. Please submit your proposal of 250-300 words and a short, academic bio to: https://conference.pcaaca.org/ We cannot accept abstracts/bios by email. When we review abstracts we look for cogent, tightly-focused ideas that provide enough detail for us to see where you are headed and abstracts that indicate a paper that can fit within the time constraints of the panel. Panels run 90 minutes with four presenters, so each paper should be written for a length of 15-20 minutes (about 2100-2400 words, or 7-8 double-spaced pages in 12 point Times New Roman).  Please send all inquires to: -Robin Gray Nicks University of Tennessee- Knoxvillernicks@utk.edu -Linda J. Holland-TollMount Olive Collegel holland-toll@moc.edu - Amanda Mordavsky Caleb Misericordia University acaleb@misericordia.edu​

Following our previous call inviting chapter submissions for a new edited collection focusing on gender and horror, we have had such a large number of submissions that we are now aiming to publish three volumes. The first two will focus on films and on television but the third volume will cover other forms of media such as comics and graphic novels, fan literature, video games, and crossover media forms.

We would like to extend the call for papers in relation to the third volume only and will welcome 200 word abstracts plus a short personal bio. The deadline for this will be 19 July 2017.

​Responses to this call should be sent to Professor Robert Shail r.shail@leedsbeckett.ac.uk.

 

​The original cfp is below for your information.
This edited collection aims to re-examine horror in an era of remakes, reboots and re-imaginings. There have been many developments in the horror genre and whilst much of it has been reliant on previous material, there are also many shifts and changes such as
* cross-over of genres (for example, teen romance paired with vampires and werewolves, or horror in space);
* new formats such as Netflix, and cinema no longer being the only place we see horror;
* a resurgence of stories of hauntings and ghosts;
* and the popularity of ‘found footage’.

We wish to focus specifically on horror from 1995 to the present, as after a brief hiatus in the mainstream, the 1990s saw the return of horror to our screens – including our TV screens with, for example, Buffy The Vampire Slayer – and with horror and its characters more knowing than before.
We are happy for you to compare older material with newer versions, such as the recent Netflix version of The Exorcist (2016) with the original film The Exorcist (1973). The main requirement is that you interrogate whether the portrayal of gender has changed in horror – it may look like something different (more positive?) is happening, but is it?

We hope to encourage diverse perspectives and we welcome early career researchers and new voices to offer a different light on classic material, in sole- or multi-authored chapters.
We’d also like to gently remind potential authors that ‘gender’ doesn’t only apply to women, it applies to men and masculinities, and it encompasses non-binary identities and experiences, as well as issues about ‘race’, ethnicities and class. ​
The schedule is as follows:
* You send your chapter title, 200 word abstract and brief bio by the end of May 2017.
* The finalised proposal will be sent to the publisher Emerald in early summer.
* Your final first draft chapter (approx 7000 words) should be sent to us by January 31st2018 (reminder/s will be sent).
* We will return any comments/revisions by the end of March 2018,
* and ask that you send us the final revised chapter by the end of June 2018.
* The completed manuscript will be submitted in July 2018 for publication in early 2019.

Please send your chapter titles, 200 word abstracts and a brief bio to the book editors by the end of May.
If you have any queries, or would like to contribute but need to tweak the schedule, please email us.

Editors:
Dr Samantha Holland s.holland@leedsbeckett.ac.uk
Dr Steven Gerrard S.D.Gerrard@leedsbeckett.ac.uk
Prof Robert Shail R.Shail@leedsbeckett.ac.uk

If you are not familiar with the publisher, Emerald are an independent publisher, established by academics in 1967 and committed to retaining their independence.
And for your future reference: All hardback monograph publishing will be available in paperback after 24 months, and all books are available as ebooks. Emerald commission and cover the cost of indexing if authors don’t want to do it themselves; use professional designers for each individual book jacket; and aim to exceed the royalties of other publishers. They have international offices, but pride themselves on not being a ‘corporate machine’.

deadline for submissions: October 1, 2017
full name / name of organization: Janes Silas Rogers (Universty of St Thomas)
contact email:  jrogers@stthomas.edu


From the conversion scenes that were a staple of 19th-century didactic fiction,  on to Joyce’s “The Sisters,”  Tom Murphy’s Bailegangaire,  John McGahern’s Memoir, and in hundreds of other works, deathbed scenes run throughout Irish writing.  I am seeking critical essays that consider such works, from all genres, for an edited collection. Proposals with a comparative or intertextual dimension will be of special interest, but essays that examine a single work are also very welcome. Please send a proposal of no more than 250 words to jrogers@stthomas.edu  by October 1, 2017.  A major Irish Studies publisher has expressed interest, but there is no contract yet.

The Melodrama Research Group presents: At home with horror? Terror on the small screen

27th-28th October 2017

University of Kent

Keynote speaker: Dr Helen Wheatley (University of Warwick)

CALL FOR PAPERS

The recent horror output on TV and the small screen challenges what Matt Hills found to be the overriding assumption ‘that film is the [horror] genre’s ‘natural’ home’ (Hills 2005, 111). Programmes such as American Horror Story, Penny Dreadful and The Walking Dead are aligned to ‘‘quality TV’, yet use horror imagery and ideas to present a form and style of television that is ‘not ordinary’’ (Johnston 2016, 11). Developments in industrial practices and production technology have resulted in a more spectacular horror in the medium, which Hills argues is the ‘making cinematic’ of television drama (Hills 2010, 23). The generic hybridity of television programmes such as Whitechapel, and Ripper Street allow conventions of the horror genre to be employed within the narrative and aesthetics, creating new possibilities for the animation of horror on the small screen. Series such as Bates Motel and Scream adapt cinematic horror to a serial format, positioning the small screen (including terrestrial, satellite and online formats) as the new home for horror.

The history of television and horror has often displayed a problematic relationship. As a medium that operates within a domestic setting, television has previously been viewed as incompatible with ‘authentic’ horror. Television has been approached as incapable of mobilizing the intense audience reactions associated with the genre and seen as a medium ‘restricted’ in its ability to scare and horrify audiences partly due to censorship constraints (Waller 1987) and scheduling arrangements. Such industrial practices have been seen as tempering the genre’s aesthetic agency resulting in inferior cinematic imitations or, ‘degraded made-for-TV sequels’ (Waller 1987, 146). For Waller, the technology of television compounded the medium’s ability to animate horror and directed its initial move towards a more ‘restrained’ form of the genre such as adapting literary ghost stories and screening RKO productions of the 1940s (Ibid 1987). Inferior quality of colour and resolution provided the opportunity to suggest rather than show. Horror, then, has presented a challenge for television: how can the genre be positioned in such a family orientated and domesticated medium? As Hills explains, ‘In such a context, horror is conceptualised as a genre that calls for non- prime-time scheduling… and [thus] automatically excluded from attracting a mass audience despite the popularity of the genre in other media’ (Hills 2005, 118).

Helen Wheatley’s monograph, Gothic Television (2006), challenges the approach of television as a limiting medium for horror, and instead focuses on how the domestic setting of the television set is key to its effectiveness.  Focusing on the female Gothic as a domestic genre, Wheatley draws a lineage from early literary works, to the 1940s cycle of Gothic women films and Gothic television of the 1950s onwards. Wheatley argues for the significance of the domestic setting in experiencing stories of domestic anxiety for, ‘the aims of the Gothic drama made for television [are] to suggest a congruence between the domestic spaces on the screen and the domestic reception context’ (Wheatley 2006, 191).

Developments in small screen horror are not restricted to contemporary output. In his work on the cultural history of horror, Mark Jancovich argues that it was on television in the 1990s where key developments in the genre were taking place (Jancovich 2002). Taking Jancovich’s work as a cue, Hills develops his own approach to the significance of horror television of the 1990s. Hills cites Buffy the Vampire Slayer and The X Files as examples of programmes striving to mobilise the genre’s more graphic elements while existing as a ‘high-end’ cultural product: ‘authored’ TV that targeted a niche fan audience (Hills 2005, 126).

Taking these recent developments into account, the aim of this conference is to engage with such advances. Can we say that it is on the small screen where critical and creative innovations in horror are now being made? How has the expansion of satellite television and online sites impacted the genre? How has the small screen format developed the possibilities of horror? Is the recent alignment with ‘quality TV’ evidence of horror’s new mainstream status? This conference will also reflect on seminal works on television horror and revisit the history of the genre. In addressing these questions the conference will underline the importance of the small screen for horror, within the study of the genre and of the medium, and ask: is the small screen now the home of horror?

Topics can include but are not limited to:

  *   The seasons and horror on the small screen
  *   Gothic television
  *   Gender and horror
  *   Historical figures and events in small screen horror
  *   Small screen horror as an ‘event’
  *   Adaptation from cinema to small screen ‘re-imaginings’
  *   Production contexts
  *   Censorship and the small screen
  *   Serialisation and horror production
  *   National television production of horror
  *   The impact of Netflix and Amazon Prime
  *   TV history and horror
  *   Literary adaptations
  *   Children’s TV and horror
  *   Genre hybridity
  *   Fandom
  *   Teen horror
  *   Stardom and horror

Please submit proposals of 400 words, along with a short biographical note (250 words) to horrorishome@gmail.com by Friday 30th June. We welcome 20 minute conference papers as well as submissions for creative work or practice-as-research including, but not limited to, short films and video essays.

Conference organisers: Katerina Flint-Nicol and Ann-Marie Fleming

https://tvhomeofhorror.wordpress.com/

https://twitter.com/Homewithhorror

Breaking out of the Box: Critical Essays on the Cult TV Show Supernatural

Lisa Macklem and Dominick Grace seek proposals for a refereed collection of essays on the CW cult horror show Supernatural.

“What’s in the box?” Dean Winchester asks in “The Magnificent Seven,” episode one of the third season of Supernatural, to the befuddlement of his brother Sam and their avuncular mentor Bobby Singer, but to the delight of fans who revel in the show’s wry meta elements. Dean is of course quoting Detective Mills, Brad Pitt’s character in the thriller Se7en (1995), directed by David Fincher. Throughout its twelve-year run (to date), Supernatural has revelled in breaking out of the limitations usually implied by a television show, breaking out of the box in numerous ways. Acknowledging the popularity of the meta-play in the show, current showrunner Andrew Dabb promised the most meta-finale ever for the season twelve finale. One of the most noteworthy examples of this predilection is the extensively meta elements of the season five apocalypse plotline, which featured the character Carver Edlund (his name derived from series writers Jeremy Carver and Ben Edlund) in several episodes. Edlund is a novelist who has written supposed works of fiction that in fact document Sam and Dean Winchester’s lives, thoroughly breaking the fourth wall. Edlund is the pseudonym of Chuck Shurley—who turns out to be God, making one of his rare mainstream television appearances. However, this meta plot element represents only one of the myriad ways Supernatural has broken out of the box. Season five, episode eight (“Changing Channels”), transports Sam and Dean into the worlds of several television shows, while season six, episode fifteen, “The French Mistake,” carried the conceit further, having Sam and Dean visit the “real” world, in which they are characters in the TV show Supernatural. Season eight and nine feature as main villain the appropriately-named Metatron, the scribe of God trying to write himself into the position of God—in effect plotting in both senses of the word. Season eight also featured, in episode 8 (“Hunteri Heroici”), Warner Brothers style cartoon gimmickry, and the upcoming season thirteen promises an animated crossover episode with Scooby Doo. Season ten’s 200th episode is yet another recursive metanarrative, featuring a highschool student trying to mount a musical adaptation of the Carver Edlund novels. In short, despite its horror trappings, Supernatural has been decidedly postmodern in its liberal use of pastiche, meta, intertextuality, and generic slippage. This collection is interested in exploring the ways Supernatural breaks boundaries. Topics of potential interest include but are not limited to:


Explicitly meta elements in Supernatural
Supernatural and fandom: interpenetrations
God, Metatron, and other Supernatural authors
Role and role-playing
Generic slippage (comedy; found footage; the musical episode)
Allusion and intertext in Supernatural
Canonicity
Non-Supernatural (e.g. the episodes with no fantasy elements)
Supernatural  and genre TV
reality and retcon: how the show has shifted and redefined its own rules
casting and self-consciousness (e.g. the use of celebrity guest stars such as Linda Blair, Rick Springfield, etc.)
Importance of music throughout the show
 

Proposals of 300-500 words should be submitted to Lisa Macklem (lmacklem1@gmail.com) or Dominick Grace (dgrace2@uwo.ca) by October 1 2017. Final papers should be between 5,000 and 7,000 words long and written in conformity with MLA style and will be due by May 1 2018. McFarland has expressed interest in this collection, with a contract forthcoming.