HWA Academics

Deadline: October 1, 2018
Contact: lisa.muir@wilkescc.edu

Join us in Washington, D.C. at the Wardman Park Marriot April 17-20, 2019

The Creative Fiction area of the National PCA/ACA Conference welcomes fiction in any style, although the maximum reading time is 18 minutes.  We also welcome full panels of readers. 

Please send both an abstract AND attach the full piece to be presented at the submission site:  conference.pcaaca.org

DUE by Oct. 1, 2018

All presenters must be members of the PCA and must register for the conference.

1 October         Deadline for proposals  AND Early Bird registration opens

15 November    Early Bird registration ends

1 December      Preliminary Program Available

15 December    Participants not registered removed from program

3 January         Final program to publisiher

17-20 April       Washington, D.C. !

Deadline: October 1, 2018
Contact email: klarsen@gwu.edu

NOTE - This CFP is applicable to TV shows and movies with any sort of fanbase, such as Hannibal to Supernatural.

Proposals for both panels and individual papers are now being accepted for all aspects of Fan Culture and Theory, including, but not limited to, the following areas:

Fan Fiction
Fan/Creator interactions
Race, Gender and Sexuality in Fandom
Music Fandom
Reality Television Fandom
Social Media and Fandom
Individual Fan Communities
Fans as critics
Fan videos and films
Fan crafts
Fan pilgrimages
Comics fandom
Ethics and responsibilities of academics working within fan studies
Global fan practices

Please submit abstracts of 100-250 words with relevant audio/visual requests online. Panel proposals should include one abstract of 200 words describing the panel, accompanied by the abstracts (100 – 250 words) of the individual papers that comprise the panel.

Graduate students are encouraged to submit proposals.

If you are unsure whether your proposal fits in this area, please contact klarsen@gwu.edu

Submission Deadline: Oct 31, 2018
Conference Hotel: Amway Grand Plaza Hotel, Grand Rapids, MI
Conference Website: http://stokercon2019.org/


The Ann Radcliffe Academic Conference co-chairs invite all interested scholars and academics to submit presentation abstracts related to horror studies for consideration to be presented at the Third Annual StokerCon, May 9 – 12, 2019 held at the Amway Grand Plaza Hotel, Grand Rapids, MI.

The Ann Radcliffe Academic Conference is an opportunity for individuals to present on completed research or work-in-progress horror studies projects that continue the dialogue of academic analysis of the horror genre.  As in prior years, we are looking for completed research or work-in-progress projects that can be presented to with the intent to expand the scholarship on various facets of horror that proliferates in:

Art
Cinema
Comics
Literature
Music
Poetry
Television
Video Games
We invite papers that take an interdisciplinary approach to their subject matter and can apply a variety of lenses and frameworks, such as, but not limited to:

Auteur theory
Close textual analysis
Comparative analysis
Cultural and ethnic
Fandom and fan studies
Film studies
Folklore
Gender/LGBT studies
Historic analysis
Interpretations
Linguistic
Literature studies
Media and communications
Media Sociology
Modernity/Postmodernity
Mythological
Psychological
Racial studies
Semiotics
Theoretical (Adorno, Barthes, Baudrillard, Dyer, Gerbner, etc.)
Transmedia
Conference Details

Please send a 250 – 300 word abstract on your intended topic, a preliminary bibliography and your CV to AnnRadCon@gmail.com by October 31, 2018. Responses will be emailed out starting November 15th, 2018 to the end of the month.

Presentation time consideration: 15 minute maximum to allow for a Question and Answer period. Limit of one presentation at the conference.
There are no honorariums for presenters; this is an academic conference. There is, however, a StokerCon2019 award opportunity; see http://horrorscholarships.com/the-scholarship-from-hell/

Organizing Co-Chairs

Michele Brittany & Nicholas Diak

Email: AnnRadCon@gmail.com

The Ann Radcliffe Academic Conference is part of the Horror Writers Association’s Outreach Program. Membership to the Horror Writers Association is not required to submit or present, however registration to StokerCon 2019 is required to present. StokerCon registration can be obtained by going to http://stokercon2019.org/. There is no additional registration or fees for the Ann Radcliffe Academic Conference outside StokerCon registration. If interested in applying to the Horror Writer’s Association as an academic member, please see www.horror.org/about/ .

Deadline: September 7, 2018
Contact email: F.E.Pheasant-Kelly@wlv.ac.uk


Over the last 12 years, the Cine-Excess International Film Conference and Festival has brought together leading scholars with global cult filmmakers and industry figures for an annual event that combines a themed academic conference with director interviews and UK theatrical premieres of upcoming film releases.

 

Previous guests of honour attending Cine-Excess have included Catherine Breillat (Romance, Sex is Comedy), John Landis (An American Werewolf in London, The Blues Brothers), Roger Corman (The Masque of the Red Death, The Wild Angels), Stuart Gordon (Re-Animator, King of the Ants), Brian Yuzna (Society, The Dentist), Dario Argento (Deep Red, Suspiria) Joe Dante (The Howling, Gremlins), Franco Nero (Django, Keoma, Die Hard II), Vanessa Redgrave (Blow Up, The Devils), Ruggero Deodato (Cannibal Holocaust, House on the Edge of the Park) Enzo G. Castellari (Keoma, The Inglorious Bast***s), Sergio Martino (Torso, All the Colours of the Dark), Jeff Lieberman (Squirm, Blue Sunshine) and Pat Mills (Action Magazine, 2000 AD).

 

Cine-Excess XII is hosted by Birmingham City University and will feature a three day academic conference alongside visiting international filmmakers and a season of related UK premieres and retrospectives taking place at screening venues across the region.

 

For its 12th annual edition, Cine Excess focuses on global traditions of cult performance, as exercised through a wide range of international case-studies and methodological approaches. By exploring established and new approaches to cult film performativity, the conference will consider how renditions of bodily display are mediated through a wide range of film genres. These examinations will include how Hong Kong martial arts formats become embodied through the performances of their male and female stars, as well as contemplating how iconic enactments, such as that of Boris Karloff in James Whale’s Frankenstein (1931) have reverberated intertextually since their inception. In addition to exploring the importance of gendered performance in the production and reception of disreputable film genres, other areas of conference analysis will consider how cult performers such as Gary Oldman nuance their roles through looks, expressions and gestures, or how performing cult bodies are rendered compelling in the way that they disappear, only to return endlessly (such as Michael Myers’ vanishing at the end of Halloween).

 

The conference will also take account of the importance of collaboration between cult directors and iconic stars, dissecting the off-kilter performances, deviant personalities and anomalous bodies found in the works of directors that range from David Lynch to Lars von Trier. In addition, Cine-Excess XII will also seek to analyse the status and reception of cult stars across differing global territories, as well as assessing how stardom can either be dismantled or confirmed through B-movie participation. Also central to certain forms of cult appeal, and compounding physical presence, is the performer’s voice, extending from the lyrical mellifluous tones of Morgan Freeman to the disquieting, sinister and uniquely compelling voice of Vincent Price. In this vein, we are pleased to welcome author Victoria Price, who will be accepting a posthumous Cine-Excess Lifetime Achievement in recognition of her late father’s career, and to coincide with the 50th anniversary of his influential performance in the 1968 classic Witchfinder General. Also appearing as a guest with Victoria Price will be the legendary British horror director Pete Walker, who not only directed Vincent Price in the 1983 film House of the Long Shadows, but was also responsible for a range of prominent and controversial British shockers that included The Flesh and Blood Show (1972), Frightmare (1974) and House of Whipcord (1974).


In order to explore the central conference themes further, Cine-Excess XII will examine the importance of cult performativity across a wide range of genres, formats, national traditions and modes of critical interpretation. Proposals are now invited for papers that assess the centrality of the cult performer within these differing contexts.  However, we would particularly welcome contributions focusing on the following areas:

 

·         Theatres of Blood: Vincent Price In and Out of Cult

·         The Flesh and Blood Show: Perverse Performances in the Films of Pete Walker

·         Folk Females: Gendered Performances of Witchcraft and the Supernatural

·         1968 and the Cult Image: Cinematic Performances in an Age of Revolution

·         Screen Queens: Classic and Contemporary Cult Female Icons

·         Witchfinder General at 50: Bleak Images of Vincent Price’s Star Persona

·         Actor, Auteur, Icon: Cult Stars as Directors

·         Cult Pairings: Filmmaker and Star Collaborations at Cinema’s Margins

·         Divas and Dark Avengers: Critical Reinterpretations of Eurotrash Performers

·         Queer Scenes: LGBT Interpretations of Celebrated Performers

·         The Men and Women From Hong Kong: Asian Action Stars in Social Context

·         Lost and Found Fan Objects:  New Audience Studies Perspectives on Global Cult Icons

·         Creativity Masked: Cult Performance Behind Make-Up

·         On the B List: Mainstream Stars Reborn Through Bad Movie Appearances

·         Bigger Than Bond: Cult Renditions of the Superspy

·         Weird World Icons: The Transnational Appeal of Global Cult Performers

·         Immortal Icons: Ageing Performers, Dead Stars and their Enduring Cult Appeal

·         Big in Japan: Cult Performers Incorporated into Other National Traditions

·         Small Segment Scares: New Perspectives on the Portmanteau Performance

·         Cult Stardom Perspectives: New Methodological Approaches to Cult Film Symbols

·         Illicit Stars: Historical and Contemporary Erotic Film Icons Reappraised

·         Trashing the Screen Test: Cult Performativity within the Vendetta Film Cycle

 


Please send a 300-word abstract and a short (one page) C.V. by Friday 7th September 2018 to:

 

Professor Xavier Mendik                                                                    Dr Fran Pheasant-Kelly                     

Birmingham City University                                                                University of Wolverhampton       

xavier.mendik@bcu.ac.uk                                                                  F.E.Pheasant-kelly@wlv.ac.uk       

 

A final listing of accepted presentations will be released on Monday 17th September 2018.


Delegate fees for Cine-Excess XII are £100/£60 (concessions). This includes entrance to the conference, related Cine-Excess screenings and industry panels.  A selection of conference papers from the event are scheduled to be published in the Cine-Excess e-Journal.  For further information and regular updates on the event (including information on guests, keynotes and screenings) please visit www.cine-excess.co.uk

Deadline: September 30, 2018
Contact: smooney@umass.edu
Co-chairs: Shannon Mooney and Hannah Taylor

Since its release in 2016, Jordan Peele’s debut film Get Out has attracted attention and commentary from popular audiences, film critics, and literary scholars due to its relevance within a media-driven era that is becoming increasingly conscious of overt and subtle forms of violence against black bodies. Reviewers have called attention to the film’s extensive critique of racism within our contemporary moment: for instance, the significance of cameras points to the importance of surveillance footage in capturing police brutality, and hypnosis and brainwashing serve as larger metaphors for spaces of black confinement, whether that be the slave ship, the plantation, or the prison cell, to name just a few. In other words, Peele’s film recasts or reimagines common objects, spaces, and tropes so that they take on particular political significance within a society that attempts to conceal violence against black bodies.

This panel is interested in exploring the various revisions and re-imaginings within Get Out in order to understand how contemporary African American film—and horror in particular—responds to and interacts with a contemporary society that fetishizes and appropriates blackness while simultaneously allowing for its demise. The session welcomes papers that discuss how Get Out blends, revises, or challenges existing genres or tropes within film studies, African American literature, or American film and literature more broadly. Possible topics include, but are not limited to: the deployment and revision of familiar horror tropes; suburban space as a location of horror for black bodies; contemporary forms and depictions of physical and metaphorical enslavement; the appropriation and theft of black bodies and culture; Significations (following Henry Louis Gates) upon existing forms of African American literature and film; the “post-racial” myth and the era of Trump. 

Please submit abstracts of 250-300 words through NeMLA's website by September 30: https://www.cfplist.com/nemla/Home/S/17419

Please contact Shannon Mooney (smooney@umass.edu) or Hannah Taylor (hannah.2.taylor@uconn.edu) with any questions.

Deadline: 17th July 2018
Keynote speaker: Professor Manuel Barcia (University of Leeds)

Since Antiquity, eating practices have helped regulate human differences, and anthropophagy served as a marker of difference across cultures in order to underline improper diets, as well as to metaphorically describe inappropriate relationships between people from the nuclear family to wider spheres of sociopolitical structures. This one-day interdisciplinary conference exploring the evolution and the different uses of the tropes and figures of cannibalism aims to understand and deconstruct the fascination with anthropophagy and its continued afterlife, as well as to promote discussions and connections on this subject across disciplines and institutions.

We invite abstracts on topics and disciplines including, but not limited to:

● Survival and/or war cannibalism
● Cannibalism as a ritual and/or a practice in archaeology, anthropology and history
● Corpse medicine and the Eucharist as cannibalism in early modern discourse
● Depiction of cannibalism in art, photography, film, other media, and in popular culture
● Literal or metaphorical cannibalism in fiction such as travel writing, horror, graphic novels, etc.
● Cannibalism in myths, (fairy) tales, legends, and folklore
● Cannibalism and monstrosity, and monster theory
● Literary and cultural cannibalism in literature, (post-)colonial studies, and philosophy
● Metaphorical cannibalism to describe otherness, abuse of power, improper relationships, etc.
● Cannibalism as a taboo and/or trope in socialisation, psychoanalysis, and criminology
● Corporate and market cannibalism and economy
● Zoological cannibalism and ecology

We invite individual proposals for 20-minute papers, as well as proposals for panels (three 20-minute papers). Please send an abstract (200-300 words) and a brief biography to cannibalism.warwick@gmail.com by 17th July 2018, https://warwick.ac.uk/fac/arts/hrc/confs/bites/.

Following the conference, delegates will be invited to submit their work for publication with the Warwick Series in the Humanities (with Routledge).

Deadline: June 27, 2018
Contact: lgreene@ewu.edu


Proposals are invited for a Special Session of PAMLA (Pacific Ancient and Modern Language Association) 2018, which will meet November 9-11, 2018, in Bellingham, Washington. The conference theme is “Acting, Roles, Stages,” and we will be contributing papers on ways in which magic and witchcraft have been represented dramatically over the centuries.

 
In the 400 years between Macbeth and Harry Potter, the image of the witch has become more appealing and less frightening, more popular culture and less cultural nightmare. Magic has lost its association with conjuring demons and is portrayed as an innate or acquired skill, more mysterious than playing the piano but maybe not essentially different. Witches are not wicked, and magic is not a tool of the devil. This is a huge cultural shift.


This panel invites speakers in the fields of history, anthropology, drama, film, literature, and religious studies, as well as practitioners of magic and witchcraft, to contribute to our understanding of these phenomena and their changing roles in contemporary culture. Topics from film, drama, and literature might include but are not limited to the following:

Macbeth
Bell, Book, and Candle
Bewitched
Harry Potter
The Craft
Practical Magic
 

Panel participants must join PAMLA BY July 1, 2018, and must register and pay for the conference by October 1, 2018. Please submit proposals through the PAMLA website at www.pamla.org.