HWA Academics

deadline for submissions: December 15, 2017
contact email: organizers@comicspopularartsconference.org


The Comics and Popular Arts Conference (CPAC) invites submissions for our 11th Annual meeting in Atlanta, Georgia, August 31-September 3, 2018.

CPAC is an annual academic conference for the studies of comics and the popular arts, including science/speculative fiction and fantasy literature, film, and other media, comic books, manga, graphic novels, anime, gaming, etc. CPAC presentations are peer reviewed, based in scholarly research.

Please submit a proposal that engages in substantial scholarly examinations of comic books/graphic novels, anime, manga, science/speculative fiction, fantasy, or other parts of popular culture.

A broad range of disciplinary and theoretical perspectives is being sought, including but not limited to proposals pertaining to literary and art criticism, philosophy, linguistics, history, communications, law, pedagogy, and natural and social sciences. Proposals may range from discussions of the nature of the comics medium, the science of a particular franchise, how to utilize pop culture in the classroom, analyses of particular works or authors, cross-cultural and cross-medium comparisons, and more. We are open to any and all academic topics relevant to the study of the popular arts.

CPAC talks are presented to a mixed audience of academics and fans, and take place in conjunction with DragonCon. Presentations should be prepared with a general audience in mind. Presenters must register for DragonCon if their paper is accepted in order to present. Presenters from out of town should make lodging arrangements far in advance.

Individual and group submissions should both be tailored to fit in one of the following tracks:

 
Comics
Anime/Manga
American SF Media
Sci-Fi Literature
Star Trek
Tabletop Gaming
Animation
Horror
Paranormal Fiction (eg., X-Files, Fringe)
Apocalyptic / Post-Apocalyptic
Alt History / Steampunk
American SF
Classics
Urban Fantasy
Electronic Frontiers Forum
Fantasy Literature
Military SciFi
Podcasting
Puppetry
Star Wars
Asian Cinema & Culture
Young Adult Lit

While there may be great intellectual merit in cross-track proposals, or proposals that include materials covered by various tracks, administratively, it can be very difficult to place such proposals.

We are interested in proposals for any of the above tracks, not only Comics.

Submission instructions: We seek 250 word abstracts for a variety of proposal formats, including standard individual presentations, group panels, and informal sessions such as roundtables, workshops, and book sessions. You may submit multiple proposals, but only one per track.

Please submit your proposal via the following links:

Individual Proposals
Group Proposals
Submissions Deadline: To receive the fullest consideration, proposals will be submitted by December 15, 2017.

This submission process is open to everyone, but we are especially interested in receiving submissions from members of those groups traditionally underrepresented in academia, such as women, LGTBQIA academics, and academics of color.

Send any questions to: organizers@comicspopularartsconference.org

The publisher Intellect has a journal called Horror Studies that has an open call for proposals.

Information about their journal and how to submit can be found here:

https://www.intellectbooks.co.uk/journals/view-Journal,id=151/view,page=2/

Or here:

http://horrorstudiesjournal.com/submissions.html

deadline for submissions: October 15, 2017
full name / name of organization: Racheal Harris – Australian Catholic University & Byron Ware – University of New England
contact email: holyhorror2017@gmail.com

Call for Papers, edited collection: Religious themed horror films

The aim of this collection is to consider the themes, characters and content of recent horror films, specifically those which take religion and religious beliefs/rites as their main concepts/focal points. Of particular interest to the collection is how religiously inspired horror films have evolved from within the horror genre. If we consider horror films of the 70’s, 80’s and 90’s, we note that serial killers, urban legends and nocturnal creatures (such as vampires or werewolves) were the primary characters used for terrifying cinema goers. By contrast, in the modern day it is religion (once turned to for sanctuary, comfort and protection) that has become the source of all terror and evil. We encourage abstracts from all academic backgrounds and from students/researchers at any stage of the academic journey which consider and explore this evolution.

Submission may focus on broad themes or specific films such as those listed below. The list is in no-way exhaustive.

Possible titles could include;

The Conjuring (I & II)
Paranormal Activity
The Possession of Emily Rose
Deliver Us From Evil
Annabelle
The Possession
Haunting on Connecticut
The Skeleton Key
At the Devils Door
The Last Exorcism
The Rite
The Devil Inside
The Possession of Michael King
Lost Souls
The Unborn
Insidious
The Amityville Horror
Ouija
Constantine

Alternatively, concepts might explore;

The recent interest in Ed and Lorraine Warren
Concepts of Possession in general
Depictions of exorcisms
Depictions of Roman Catholicism
Vengeful spirits
The astral plane
Spirit boards
Judaism and the idea of the dybbuk
‘based on a true story’ films
Novel to film adaptations

Once a list of contributors has been established, we will be submitting a proposal to Routledge, in hopes that the book will be published as part of the Advances in Film Studies Series.

Please be aware that a contract has not been offered at this time and the success of this project will rely on the quality of contributions offered. If we are unsuccessful in securing a contract with our intended publisher, we will source a contract with other reputable academic publishers.

Please also be aware that all chapters will be subject to final approval and initial acceptance does not guarantee publication of the finished chapter. We are dedicated to working with you to make your contribution as amazing as it can be, but the overall work will also need to be cohesive. As such, you will need to write with this in mind and have an open mind to perhaps making amendments to content in order to make your contribution cohesive with the larger work.

Abstracts of no more than 500 words and a brief biography of no more than 300 words should be emailed to: holyhorror2017@gmail.com by 15 October 2017.

We will respond to all submissions by 1 December 2017. Once we have a confirmed list of contributors we will complete the proposal and submit to the publisher. Once we have a contract we will be in touch with successful contributors with an updated timeline.

Sponsored by Frankenstein and the Fantastic, an outreach effort of the Fantastic (Fantasy, Horror, and Science Fiction) Area of the Northeast Popular Culture/American Culture Association

For the 2018 Annual Conference of the Popular Culture Association meeting in Indianapolis, Indiana, from 28-31 March 2018

Proposals no later than 1 October 2017


Mary Shelley’s Frankenstein celebrates its 200th anniversary in 2018. It is a work that has permeated popular culture, appearing in versions found across the globe, in all known media, and for all age groups. However, many aspects of this tradition remain underexplored by scholars. One of these is how the story and its characters have manifested in children’s and young adult culture.

Like Frankensteiniana for older audiences, versions of the story for young audiences offer interesting and important approaches to the novel and its textual progeny, and they deserve to be better known and analyzed, especially since, for many, works designed for the young represent their first encounters with Frankenstein and its characters.

Criticism on these works remains limited; though a growing number of scholars (see the selected bibliography appended to this call) have begun to offer more in the way of critical analysis, as opposed to just seeing them as curiosities. It is our hope that this session will continue this trend and foster further discussion and debate on these texts

In this session, we seek proposals that explore representations of Frankenstein, its story, and/or its characters in children’s and young adult culture. We are especially interested in how the Creature is received in these works, especially by children and young adult characters, but other approaches (and comments on other characters) are also valid.

SUBMISSION INSTRUCTIONS:

Please submit paper proposals (100 to 200 words) and a short biographic statement into the PCA Database by 1 October 2017. The site is accessible at https://conference.pcaaca.org/. Do include your university affiliation if you have one, your email address, your telephone number, and your audio-visual needs.

Upon submission, be sure, also, to send your details to the organizers (Michael A. Torregrossa, Fantastic [Fantasy, Horror, and Science Fiction] Area Chair, and Amie Doughty, Children’s and YA Literature and Culture Area Chair) at FrankensteinandtheFantastic@gmail.com, notifying them of your intentions to serve on the panel. Please use the subject “Frankenstein at PCA”.

Presentations at the conference will be limited to 15 to 20 minutes, depending on final panel size.

Do address any inquiries about the session to FrankensteinandtheFantastic@gmail.com.


Further details on the Frankenstein and the Fantastic project can be accessed at https://frankensteinandthefantastic.blogspot.com/. 

Further details on the Children’s and YA Literature and Culture Area can be found at http://pcaaca.org/childrens-literature-culture/.


Additional Information to Note:

The Popular Culture Association does not allow submissions to multiple areas and limits presenters to one paper per conference. (Further information on these policies appears at http://pcaaca.org/national-conference/proposing-a-presentation-at-the-conference/rules-exceptions-for-presenting/.)

Accepted presenters must register AND be members of the Popular Culture Association or join for 2018. (Details can be found at http://pcaaca.org/national-conference/membership-and-registration/.)

The Popular Culture Association does offer a limited number of travel grants for the conference; nevertheless, potential presenters, when submitting their proposal, should be sure to have the necessary funds to attend the conference, as no shows are noted.

deadline for submissions:  October 6, 2017
contact email: tstuart9@uwo.ca

With the current spate of contemporary high-budget properties that have sought to engage and adapt online horror content, increasing attention has been turned to communities of amateur critics, writers, illustrators, and fans that work to create horror in digital space. Their influence has been felt in a variety of media, from the television series Channel Zero and Supernatural, to the film The Tall Man and video games like Slender and SCP: Containment Breach. Fora in Something Awful, “r/nosleep”, and the SCP Foundation represent attempts by massive communities to create negotiated fictions, imagining mythic spaces and enduring, horrific creatures. Likewise, fora dedicated to notoriously difficult horror texts like Mark Z. Danielewski’s House of Leavesprovide a continual exegesis on the novel’s nested narratives and clues. Digital horror thus appears to be an engine driving the creation, production, and critical apparatus of contemporary horror fiction. Tina Marie Boyer, along with Andrew Peck and Shira Chess, has emphasized that these creations “obey the same rules of performativity, critique, embellishment, and progression as they do in the oral telling of the story” (Boyer 257). While these critics examine the anthropological infrastructure of online communities in their research, our interest lies in the possibility of literary criticism to provide a more focused reading of their individuated creations within the expectations of a genre.

In this special issue of Horror Studies, we invite contributors to consider how a genre responds to the creative energies of its own networked audience. “Spineless: Online Horror and Narrative Networks” will provide critical readings of the rapid, accretive mode of storytelling that has seen a rise in the wake of the digital. How are we to read and theorize these productions of an urgent, enthusiastic desire to be a part of a collective horror? Ultimately, the issue seeks to examine the increased prominence of online texts, the communities that build up around them, and how these come to inform mainstream productions of contemporary horror texts.

How have the new infrastructures of digital media influenced the form and structure of popular online horror stories?
How do online fora demonstrate a conceptual bleed between fictional creation, discussion, and analysis?
What are the affective responses to digital horror content?
How do digital archives of horror such as the “Creepypasta” site constitute communities? How do these archives engage with the essential ephemerality of their texts?
If weird fiction can be characterized by exploring the limits to knowledge and perception, are these elements dramatized (or complicated) in the communal creation of these online worlds?
How does the circulation of digital horror worlds or characters (i.e., the multiple Youtube series about the Slenderman) engage in implicit or explicit dialogue with one another?
How do online horror communities engage other digital spaces and creations (from chat rooms to conspiracy theories to meme-culture)?
How do recent popular culture representations of communal digital space as haunted (i.e., Unfriended) negotiate the same interests as actual online communities?
Can we see in digitally-influenced texts like “Candle Cove” and The Raw Shark Textsand attempt to update the Gothic’s epistolary tradition?

Horror Studies is currently seeking abstracts of 300-500 words or essays of approximately 8500 words (including footnotes and works cited). Submissions should be sent to Thomas Stuart (tstuart9@uwo.ca) and Riley McDonald (rmcdon8@uwo.ca) by October 6, 2017. Horror Studies uses Harvard Style in its formatting; authors should consult http://www.intellectbooks.co.uk/MediaManager/File/Intellect%20style%20guide.pdf and download the full style sheet.

full name / name of organization: Fran Pheasant-Kelly/Birmingham City University
contact email: f.e.pheasant-kelly@wlv.ac.uk

The 11th International Conference and Festival on Global Cult Film Traditions

 

Birmingham City University Presents:

 

Cine Excess XI

Fear and the Unfamiliar: Wrong Time, Wrong Place, Wrong Crowd 

Birmingham City University (and related screening venues)

9th-11th November 2017

www.cine-excess.co.uk

 

Keynote: Professor Mark Jancovich (UEA)

 

Over the last 11 years, the Cine-Excess International Film Conference and Festival has brought together leading scholars and critics with global cult filmmakers for an event comprising a themed academic conference with plenary talks, filmmaker interviews and UK theatrical premieres of up and coming 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), Pat Mills (Action Magazine, 2000 AD) and Jake West (Evil Aliens, Dog House).

 

Cine-Excess XI is hosted by the Birmingham School of Media at Birmingham City University, and will feature a three day academic conference alongside filmmaking guests, industry panels and a season of related UK premieres and retrospectives taking place at screening venues across the region.

 

This year, Cine Excess is delighted to welcome Professor Mark Jancovich as keynote speaker. As well as being one of the world’s leading experts on horror and cult film, Professor Jancovich also writes on media and cultural theory, genre, audience and reception studies and contemporary popular television. Apart from numerous journal articles, his many books include, among others: The Screen’s Number One and Number Two Bogeymen: The Critical Reception of Boris Karloff and Bela Lugosi in the 1930s and 1940s (with Shane Brown) (Palgrave Macmillan, 2012); Film and Comic Books, edited with Ian Gordon and Matthew McAllister (University of Mississippi Press, 2007); The Shifting Definitions of Genre,edited with Lincoln Geraghty (McFarland, 2008); Film Histories; An Introduction and Reader, edited with Paul Grainge and Sharon Monteith, (University of Toronto Press, 2007); The Cultural Politics of the New Criticism (Cambridge University Press, 2006); The Place of the Audience: Cultural Geographies of Film Consumption (with Lucy Faire and Sarah Stubbings) (BFI, 2003) and Defining Cult Movies: The Cultural Politics of Oppositional Taste, edited with Antonio Lazaro, Julian Stringer, and Andrew Willis (MUP, 2003).

 

For its 11th annual addition, the conference Fear and the Unfamiliar: Wrong Time, Wrong Place, Wrong Crowd considers the ways in which cult media exploits the boundaries of self and other in order to address horror and unease across a range of key genres. Specifically, it revisits and reconsiders Robin Wood’s (1986) taxonomy of otherness, which positioned categories such as women, the working class, ethnicity, alternative ideologies, and deviations from the ideological sexual norm as triggers for the evolution of the horror film and related transgressive genres.

 

Although Wood’s original return of the repressed hypothesis generated a range of critical readings around disreputable film genres, the parameters of his analysis have become invested with new and politicised resonances in recent years. Here, acts of extremism, and the making strange of the familiar in the contemporary milieu of Trump’s travel ban, a proposed wall to separate Mexico from the US, and generalised calls for greater immigration control all serve to resituate ‘other people’, ‘other cultures’ and ‘other places’ as sources of fear and revulsion. In short, awareness of individual, national and international difference has once more become culturally and politically foregrounded as threatening, thereby situating the other as being at the axes of Wrong Time, Wrong Place, Wrong Crowd.

 

Cine-Excess XI invites papers that either look back to Wood’s original premise, or assess more contemporaneous works/influences to consider such boundary awareness through the articulation of the other in cult media, film and television. This might involve the making strange of the familiar person/self, either in appearance or behaviour, perhaps through the mirror image or the doppelganger, or the rendering of places and spaces as uncanny, different or ideologically/physically remote, such as in the Gothic ruin, the rural backwater, or the isolated cabin in the woods. Proposals might also examine how shifts in time likewise cause ordinary contemporary on-screen places to become peculiar, excessive and cult.

 

Proposals are now invited for papers on a wide range of cult media case-studies, including film, television, literature, comics and digital media. However, we would particularly welcome contributions focusing on:

 

Legacy of the living dead –  Social realism and apocalyptic satire in the cinema of George A. Romero
Cabins, cannibals and chainsaws – The transgressive other of US cult cinema
Migrant trauma – Fears of the immigrant in classical and contemporary media
Bloody kids – Infants and infantile fears in cult media traditions
The return of the repressed redux – New readings of the concept of the other
The savage lens – Colonial visions of the unfamiliar
The gothic other – Terrors old and new
Wicker men and stone children – British tradition, folklore and cross-generational conflicts in UK cult film cultures
“Colonised by bourgeois ideology” – Robin Wood and the fear of the working class
Picket fences and domestic perversions – Unwholesome  portrayals of the nuclear family in cult film and  television
Invasion USA – Alternative ideologies and fears of national infiltration
Deadlier than the male – Case-studies of the transgressive female on screen
Film and the unfamiliar – Global visions, transnational variants  and genres out of place
Don’t go into the woods tonight – Urban fears in cinema’s forgotten rural spaces 
Lost boys and girls – Gang culture tropes across cult film and TV
Cult on cults  –  Representations of religious and political extremists
Sexuality and the unfamiliar – Queer bodies and threats to heteronormativity
The other within – Outcasts , radicals and vengeful veterans
Fear of the once familiar– Mainstream icons reborn as cult performers
The Cultification of the Uncanny –  Theoretical perspectives on the concept of the unfamiliar
Fear of the all too familiar–   Doubles and doppelgangers in cult film and TV
 

Please send a 300-word abstract and a short (one page) C.V. by

 

Friday 8th September 2017 to:

 

Fran Pheasant-Kelly                       

University of Wolverhampton     

F.E.Pheasant-kelly@wlv.ac.uk       

 

Xavier Mendik                           

Birmingham City University     

xavier.mendik@bcu.ac.uk                                                                 

 

 

A final listing of accepted presentations will be released on Friday 15th September 2017.  A selection of conference papers from the event are scheduled to be published in the Cine-Excess e-Journal.

 

Delegate fees for Cine-Excess XI are £130 (standard) /£60 (concessions) for the three days, or £50 (standard) and £25 (concessions) per day. This fee includes entrance to the conference and related Cine-Excess screenings and industry panels.  For further information and regular updates on the event (including information on filmmaking guests, keynotes and screenings) please visit www.cine-excess.co.uk

full name / name of organization: University of Hertfordshire
contact email:  s.george@herts.ac.uk

The OGOM Project is known for its imaginative events and symposia, which have often been accompanied by a media frenzy. We were the first to invite vampires into the academy back in 2010. Our most recent endeavour, Company of Wolves: Werewolves, Shapeshifters and Feral Humans enjoyed extensive coverage globally and saw us congratulated in the THES for our ambitious 3 day programme which included actual wolves, ‘a first for a UK academy’. Our fourth conference will be an exciting collaboration with the Supernatural Cities: Narrated Geographies and Spectral Histories project at the University of Portsmouth. Supernatural Cities will enjoy its third regeneration, having previously convened in Portsmouth and Limerick.

The Open Graves, Open Minds Project unearthed depictions of the vampire and the undead in literature, art, and other media, before embracing shapeshifting creatures (most recently, the werewolf) and other supernatural beings and their worlds. It opens up questions concerning genre, gender, hybridity, cultural change, and other realms. It extends to all narratives of the fantastic, the folkloric, the fabulous, and the magical. Supernatural Cities encourages conversation between disciplines (e.g. history, cultural geography, folklore, social psychology, anthropology, sociology and literature). It explores the representation of urban heterotopias, otherness, haunting, estranging, the uncanny, enchantment, affective geographies, communal memory, and the urban fantastical.​

The city theme ties in with OGOM’s current research: Sam George’s work on the English Eerie and the urban myth of Old Stinker, the Hull werewolf; the Pied Piper’s city of Hamelin and the geography and folklore of Transylvania; Bill Hughes’s work on the emergence of the genre of paranormal romance from out of (among other forms) urban fantasy; Kaja Franck’s work on wilderness, wolves, and were-animals in the city. This event will see us make connections with the research of Supernatural Cities scholars, led by historian Karl Bell. Karl has explored the myth of Spring-Heeled-Jack, and the relationship between the fantastical imagination and the urban environment. We invite other scholars to join in the dialogue with related themes from their own research.

From its inception, the Gothic mode has been imbued with antiquity and solitude, with lonely castles and dark forests. The city, site of modernity, sociality, and rationalised living, seems to be an unlikely locus for texts of the supernatural. And yet, by the nineteenth century, Dracula had already invaded the metropolis from the Transylvanian shadows and writers such as R. L. Stevenson adapted the supernatural Gothic to urban settings. Gaskell, Dickens and Dostoyevsky, too, uncover the darker side of city life and suggest supernatural forces while discreetly maintaining a veneer of naturalism.

In twentieth-century fantastic and Gothic, perhaps owing in part to a disillusionment with modernity, all manner of spectres haunt our cities in novels, film, TV, and video games. Radcliffean Gothic saw the uncultivated wilderness and the premodern past as the fount of terror; the contemporary fantastic discovers the supernatural precisely where space has been most rationalised—the modern city. Civilisation, rooted etymologically in the Latin civitas (‘city’), is itself put into question by its subversion by the supernatural.

Supernatural cities emerge in a range of contemporary fictions from the horror of Stephen King to the dark fantasy of Clive Barker, the parallel Londons of V. E. Schwaab and China Mieville, magical neo-Victorian Londons in the Young Adult fiction of Genevieve Cogman and Samantha Shannon, and Aliette de Bodard’s fallen angels and dragons in a supernatural Paris. Zombies lurch through scenes of urban breakdown while, in TV, there is the vampire-ridden noir LA of Angel. The large metropolises are not alone in their unearthliness—see the Celtic otherworld that lies behind Manchester in Alan Garner’s Elidor. Then there are the imagined cities of high fantasy, which form a contrast to the gritty familiarity of the cities that feature in the distinct genre of urban fantasy itself or the frequently urban backgrounds of paranormal romance. Supernatural cities are haunted, too, by such urban legends as Spring Heeled-Jack and Old Stinker, the werewolf of Hull.

The conference will explore the image of the supernatural city as expressed in narrative media from a variety of epochs and cultures. It will provide an interdisciplinary forum for the development of innovative and creative research and examine the cultural significance of these themes in all their various manifestations. As with previous OGOM conferences, from which emerged books and special issue journals, there will be the opportunity for delegates’ presentations to be published.

The conference organising committee invites proposals for panels and individual papers. Possible topics and approaches may include (but are not limited to) the following:

The urban weird

The English eerie

Folk horror’s encroachment on the city

Magical cities

Alternative/parallel cities

Urban folklore/legends

Urban fantasy and genre

YA and children’s magical cities

Monsters and demons at large in the city (Dracula, Dorian Gray, Angel, Cat People, King Kong, Elephant Man, The Werewolf of London, Sweeney Todd, Jack the Ripper, Lestat, Zombie ‘R’, mummies, witches, etc.)

Psychogeography

Gothic architecture

Cities and the incursion of the wilderness

Civilisation and nature

Alternative urban histories; neo-Victorianism and steampunk

Gothic/magical fashion, music, and subcultures of the city

Supernatural city creatures (demons, gargoyles, ghosts, vampires, angels)

Animal hauntings and city spectres

Decay, entropy, and economic collapse

Supernatural cityscapes in video games

Gotham City/comic books/dark knights

The disenchantments of modernity and re-enchantment of the city

Dark spaces/borders/liminal landscapes

Wild, uncanny areas of the city

Drowned/submerged cities

 

Keynote Speakers:

Prof. Owen Davies, historian of witchcraft and magic, on ‘Supernatural beliefs in nineteenth-century asylums’

Dr Sam George, Convenor of the Open Graves, Open Minds Project, ‘City Demons: urban manifestations of the Pied Piper and Nosferatu Myths’

Adam Scovell, BFI critic and Folk Horror film specialist, on ‘the Urban Wyrd’

Dr Karl Bell, Convenor of Supernatural Cities, on ‘the fantastical imagination and the urban environment’ (title tbc)

Delegates will engage with our Gruesome Gazetteer of Gothic Hertfordshire and accompany us on a tour of Supernatural St Albans and its environs.

 

Abstracts (200-300 words) for twenty-minute papers or proposals for two-hour panels, together with a 100-word biography, should be submitted by 1 January 2018 as an email attachment in MS Word document format to all of the following:

Dr Sam George, s.george@herts.ac.uk

Dr Bill Hughes, bill.enlightenment@gmail.com

Dr Kaja Franck, k.a.franck@gmail.com

Dr Karl Bell, karl.bell@port.ac.uk

 

Please use your surname as the document title. The abstract should be in the following format: (1) Title (2) Presenter(s) (3) Institutional affiliation (4) Email (5) Abstract. Panel proposals should include (1) Title of the panel (2) Name and contact information of the chair (3) Abstracts of the presenters.

Presenters will be notified of acceptance by 30 January 2018. Visit us at OpenGravesOpenMinds.com and follow us on Twitter @OGOMProject