Archives par mot-clé : culture médiatique / media culture

CFP: Edited Collection on Sherlock Holmes Adaptations (2 avril)

CFP

Edited Collection on Sherlock Holmes Adaptations (2 avril)

Arthur Conan Doyle’s Sherlock Holmes stories have recently gained new popularity through a variety of adaptations and re-interpretations in a broad variety of media forms. This edited collection will focus on three ways to access these texts: Fan and audience activity, adaptations throughout history and their political and ideological contextualization, and intertextual influences. We welcome submissions for articles of 200 word abstracts on adaptations of Sherlock Holmes. Possible topics include, but are not limited to:

– Adaptation in film, television, theatre/performance, graphic novels, games, and other media forms
– Fan activity surrounding all texts, including fan fiction, slash fiction, shipping, online fandom, etc.
– Reception of adaptations
– Historical adaptations
– Influences on other franchises, such as the CSI franchise or The League of Extraordinary Gentlemen graphic novel series, or literary influences, such as Patricia Cornwell’s Kay Scarpetta series
– Games adaptation from board games to contemporary video gaming
– Adaptation in varying political contexts and systems
– Influences on the genre

Please submit 200 word abstracts by the 2nd of April to Stephanie Jones (sbj@aber.ac.uk), Nia Edwards-Behi (nne09@aber.ac.uk) and Mareike Jenner (mmj09@aber.ac.uk)

Beauté fatale. Les nouveaux visages d’une aliénation féminine de Mona Chollet

Beauté Fatale. Les nouveaux visages d’une aliénation féminine

Mona Chollet

Soutiens-gorge rembourrés pour fillettes, obsession de la minceur, banalisation de la chirurgie esthétique, prescription insistante du port de la jupe comme symbole de libération : la « tyrannie du look » affirme aujourd’hui son emprise pour imposer la féminité la plus stéréotypée. Décortiquant presse féminine, discours publicitaires, blogs, séries télévisées, témoignages de mannequins et enquêtes sociologiques, Mona Chollet montre dans ce livre comment les industries du « complexe mode-beauté» travaillent à maintenir, sur un mode insidieux et séduisant, la logique sexiste au coeur de la sphère culturelle.
Sous le prétendu culte de la beauté prospère une haine de soi et de son corps, entretenue par le matraquage de normes inatteignables. Un processus d’autodévalorisation qui alimente une anxiété constante au sujet du physique en même temps qu’il condamne les femmes à ne pas savoir exister autrement que par la séduction, les enfermant dans un état de subordination permanente. En ce sens, la question du corps pourrait bien constituer la clé d’une avancée des droits des femmes sur tous les autres plans, de la lutte contre les violences à celle contre les inégalités au travail.

Introduction
1. Et les vaches seront bien gardées. L’injonction à la féminité
Pour des femmes en jupe et des hommes qui en ont
Le charme retrouvé des territoires féminins
« N’exister que par la beauté»
Backlash et marketing
Fermer des portes pour l’avenir
2. Un héritage embarrassant. Interlude sur l’ambivalence
« Avec quoi elle vient ! »
Sagesse de la parure
L’univers en modèle réduit
Derrière la fascination du it bag
Congédier le monde
3. Le triomphe des otaries. Les prétentions culturelles du complexe mode-beauté
« Il faut faire un effort, Jenn’ ! »
Actrices ou communicantes ?
Le paradigme Gossip Girl
L’aristocratie du showbiz
Les marques en terrain conquis
Patauger dans son aliénation
Les femmes et la culture de masse
Une « fin de l’Histoire » au féminin ?
4. Une femmes disparaît. L’obsession de la minceur, un « désordre culturel »
Exister sans corps
Femmes et nourriture, un rendez-vous toujours manqué
L’anorexique : anormale ou trop normale ?
Un modèle impossible
Hypocrisie et perversité
Couper les ponts
Une question de santé ?
5. La fiancée de Frankenstein. Culte du corps ou haine du corps ?
Nier la douleur
Un couteau sans lame…
Un éclairage impitoyable
L’aura confisquée
« Ce qui me fait chanter »
Le piège de l’homologation
Une merveilleuse « liberté de choix »
6. Commnet peut-on ne pas être blanche ? Derrière l’ode à la « diversité»
S’afficher dans le camp des gagnants
Soigner les corps « dégénérés »
« Illuminer les recoins sombres de la Terre »
« Suprématie blanche » dans la mode
Une créativitéétouffée
La lumière, encore
7. Le soliloque du dominant. La féminité comme subordination
Yohji Yamamoto contre le « style recherche d’emploi »
Les femmes sont-elles des objets ?
Grands hommes et petites pépées
Banalité du Pygmalion lubrique
Un érotisme de ventriloques
L’horreur : une femme qui pense

Mona Chollet, Beauté fatale. Les nouveaux visages d’une aliénation féminine, La Découverte, 2012.

CFP: Popular Romance (30 avril 2012)

Call for Papers: Popular Romance


2012 Midwest Popular Culture Association/American Culture Association Conference
Friday-Sunday, October 12-14, 2012
Columbus, OH
Renaissance Columbus Downtown Hotel
(Conference info: http://www.mpcaaca.org)

Deadline for submission: April 30, 2012.

The most prevalent narrative structure of popular romance is an integral element of any story, regardless of forum: film, television, fiction, manga, advertising. Not only is romance exceptionally popular, it is so pervasive as to become ordinary and overlooked. As the popularity of romance increases, so too does the need for serious scholarship of the genre in all its incarnations. We are interested in any and all topics about or related to popular romance and its representations in popular culture (fiction, stage, screen—large or small, commercial, advertising, music, song, dance, online, real life, etc.)

Proposals may be for individual papers or 3-person panels.

Topics can include, but are not limited to:
• critical approaches, such as readings informed by critical race theory, queer theory, postcolonial studies, or empirical science
• depictions in the media and popular culture (e.g., film, television, literature, comics)
• literature and fiction (genre romance, poetry, animé)
• types of relationships (marriage, gay and lesbian)
• historical practices and traditions of and in romance
• regional and geographic pressures and influences (southern, Caribbean)
• material culture (valentines, foods, fashions)
• folklore and mythologies
• jokes and humor
• romantic love in political discourse (capitalism)
• psychological approaches toward romantic attraction
• emotional and sexual desire
• subcultures: age (seniors, adolescents), multi-ethnic, inter-racial
• individual creative producers or texts of popular romance
• gender-bending and gender-crossing

Submit a one-page (200-250 words) proposal or abstract by 30 April 2012 to Maryan Wherry, Popular Romance, http://submissions.mpcaaca.org. Please include name, affiliation, and e-mail address with your abstract. Also, please indicate in your submission whether your presentation will require a TV and DVD player. Note that LCD projectors will not be provided by MPCA/ACA.
More conference information can be found at http://www.mpcaaca.org/.
For further inquiries or concerns, please contact Romance Area Chair, Maryan Wherry, Black Hawk College, wherrym@bhc.edu.

CFP: Fan CULTure: An Examination of Participatory Fandom in the 21st Century (15 mai)

Fan CULTure: An Examination of Participatory Fandom in the 21st Century

With the advent of new media technologies and social networking sites making communication faster and easier than ever, there exists a dearth of opportunity to see how fan cultures have evolved as a result. For example, fans can now have a direct impact on how some of their favorite TV shows are made and have influenced the storylines taking place. This type of “participatory” fandom has reached new heights in the 21st century as fans and creators become better connected. With this in mind, Dr. Kristin M. Barton and Dr. Jonathan M. Lampley are seeking proposals for an edited volume under consideration at McFarland titled Fan CULTure: An Examination of Participatory Fandom in the 21st Century. The question this volume will seek to address is: How are fans interacting with or participating in cultures associated with popular culture objects? Proposals should look at specific properties (media or non-media) and how fan culture intersects with them using new or modern techniques. Each essay will ideally focus on a different media vehicle or object. We expect to have essays that focus on some (if not all) of the following topics: Star Trek, Star Wars, Dr. Who, Lord of the Rings, Joss Whedon’s creations, Game of Thrones, the Harry Potter franchise, and LEGOs, among others. Possible topics to explore with regard to these properties include (but are not limited to):
– Fan fiction
– Incorporating fans in DVD production/distribution/release
– Use of social media
– Fan involvement in helping create/steer storylines
– Fan films/Fan trailers/“Sweding”
– Theme parks/rides
– “Shipping” (fan fictionalization of characters in existing TV/film series)
– Fan participation within a property (fans as zombies in The Walking Dead)
– Costuming (Star Wars’ 501st Legion)
– Fan activism (Lady Gaga’s “Little Monsters” rallying for gay rights)

Again, the focus of the essays should be how these have been adopted into fan culture within a 21st century context.

The editors invite articles (5,000-6,000 words) that respond to the focus of the volume. Article abstracts (300-400 words) and a brief CV should be submitted by May 15, 2012 to Dr. Jonathan Lampley at jlampley@daltonstate.edu. Submissions with detailed outlines or in draft form will be given stronger consideration. Completed essays must be submitted by November 15, 2012. Brief queries are welcome should there be questions about appropriate submission topics. Selected authors will be notified by the end of May 2012, and please note that invitation to submit a full essay does not guarantee inclusion in the volume.

CFP: 1st Global Conference Immersive Worlds and Transmedia Narratives

1st Global Conference
Immersive Worlds and Transmedia Narratives

Tuesday 13th November – Thursday 15th November 2012
Salzburg, Austria

* The Novel
* The Film
* The Television Series
* The Graphic Novel
* The Facebook Page
* The Tweets
* The Fan-Sites
* The Video Game
* The You-Tube Clips
* The Smart Phone
* The Convention
* The Theme Park
* The Merchandising

THE CALL
This call for papers is about where the story starts and where it ends, about who writes the story and who reads it and whether any of these definitions apply when we are in the story itself. This then is about world making and about the media, mediums and machinery that converge to make it possible. The rhizomic qualities of a smart phone that enmesh us into the real world also connect and implicate large parts of ourselves in imaginary and virtual spaces; with people we have never met and places we will never see other than through the app, the blog or the social networking site.

“In the final decade of the 21st Century, men and women in rocket ships landed on the moon. By 2200 AD, they had reached the other planets of our solar system. Almost at once there followed the discovery of hyperdrive through which the speed of light was first obtained and later greatly surpassed. And so, at last, mankind began the conquest and colonization of deep space”
(The Forbidden Planet)

THE EXAMPLE
True Blood. Originally from Charlene Harris’ Southern Vampire Mysteries series of novels. Now a hit television show. It has a facebook page and characters from the series produce You Tube videos (Jessica- Baby Vamp). The stars from the show share tweets with fans and each other but not as themselves but the characters they play. Viral marketing spreads adverts and teasers for products that come from the show, not just simple merchandising but items such as Tru-Blood, the synthetic blood substitute that bases the premise of the show where vampires can become part of society. The graphic novel, written by the television series creator Allan Ball and which extends storylines from the show. Fangtasia, the vampire bar from the series is recreated in actual real life venues and where people can dress as vampires. At each point of entry the “reader’ can choose which parts and to what level they want to engage, or participate, in the narrative enabling various levels of emersion and ways to influence and change the world that one is entering. Who writes the story and what story are they writing and who consumes what and who and is everyone welcome?

“Welcome to my house! Enter freely and of your own will!” (Dracula)

But who can enter this world and how does it impinge on our own? Is it only for the wealthy, the westernised, the capital-ised? How does it purposely exclude and include certain groups and why? What is the future of the technologies and the types of narratives involved? Will it become a world that people never want to leave or one that will expand to consume our former notions of what constituted reality. Where does the story end and real life begin?

(Keywords: Transmedia, Convergence, Particpatory, Affinity, ReMix, Hypersocibility, Techologies, Medium, Narrative, Story, Play, Interaction, Emersive, Virtual)

THE WHAT?

The Steering Group particularly welcomes the submission of pre-formed panel proposals, works in progress, performances, literary and visual presentations and practitioner case studies. Papers will also be considered on any related theme. 300 word abstracts should be submitted by Friday 4th May 2012. All other significant dates please see Details page.

THE WHO?
Those that study, research or take part in transmedia narratives or convergence cultures, film and media studies, gaming and virtual worlds, literature and fandom, marketing and advertising, graphic novels and animation, artists, writers …SHOULD APPLY

THE HOW?
Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats with the following information and in this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords
E-mails should be entitled: TM1 Abstract Submission.

Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs:
Phil Fitzsimmons: philfitz@uow.edu.au
Rob Fisher: tm1@inter-disciplinary.net
Simon Bacon: baconetti@googlemail.com

For further details of the project, please visit:
http://www.inter-disciplinary.net/critical-issues/ethos/immersive-worlds…

For further details of the conference, please visit:
http://www.inter-disciplinary.net/critical-issues/ethos/immersive-worlds…

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP: The Modern Day Fairy Tale in Film and Television (Deadlline May 14th)

The Modern Day Fairy Tale in Film and Television (Deadlline May 14th)

SAMLA November 9-11th, 2012
contact email:
shane.trayers@maconstate.edu

The Modern Day Fairy Tale in Film and Television
(Popular Culture Panel)
SAMLA November 9-11, 2012
Durham, North Carolina

Fairy tales never seem to go out of style. This panel seeks papers that discuss the significance and implications of works that take traditional fairy tales and make them modern. They may take elements of fairy tales or the whole tales themselves and revise or rework them, but there is still some basis in traditional fairy tale. These tales may also be reworked in order to show a more modern sense of race, class, or gender as well or may swap characters or roles.

Examples of these works includes (but are not limited to) the following:
Once Upon a Time
Grimm
Hanna
Penelope
Red Riding Hood
Ella Enchanted
Pan’s Labyrinth
Stardust
Harry Potter

Please submit a 250 word abstract and a short bio (no longer than 200 words) to shane.trayers@maconstate.edu by May 14th, 2012.

CFP: Media Across Borders The 1st International Conference on the Localisation of Film, Television and Video Games (2 avril 2012)

Media Across Borders

The 1st International Conference on the Localisation of Film, Television and Video Games

Saturday 9th June, 2012 at the University of Roehampton, London

Launch event of the Media Across Borders network, funded by the Arts & Humanities Research Council (AHRC) as part of the Translating Cultures programme.

What happened when the UK TV series The Office was reworked for French audiences as Le Bureau? Or when Vishal Bhardwaj adapted Othello in the Bollywood musical Omkara? Or when the Tomb Raider video game had to be altered for the Japanese market? The practice of adapting media content across borders is spreading. Opportunities offered by digital technologies have accelerated creative borrowing and have firmly established content franchising.

This international conference seeks to interrogate the myriad ways in which media content is translated and adapted across cultural borders. Bringing together academic scholars and industry professionals, the conference will discuss processes of media localisation and contemplate the broader significance of cultural translation within the creative industries.

We will consider all proposals relevant to this theme, although we particularly welcome those that engage with the following topics:

– Cross-cultural remakes and adaptations
– TV Formats
– Video game localisation
– Media content franchising
– Transmedia storytelling
– Localisation through para-texts
– Fan appropriation across borders
– Cultural translation
– The universal and the particular

Please submit an abstract of 300 words along with a short biographical note to:

mab@roehampton.ac.uk

Deadline for abstracts is 2nd April 2012

CFP – Dispositifs transmédiatiques, convergences et constructions des publics

Équipe d’accueil 3476 – communication, langue, art, culture

AJC CREM
Association des Jeunes Chercheurs du Centre de Recherche sur les Médiations

3ème colloque international de l’AJC CREM

Appel à contribution

Dispositifs transmédiatiques, convergences et constructions des publics

(Metz, 24 et 25 mai 2012)

Date limite d’envoi des propositions : 15 mars 2012

Langues de travail : français et anglais

Dans la continuité du précédent colloque sur « Les dispositifs de médiation : théories, méthodes et enjeux » (Aghababaie, Bonjour, Clerc, Rauscher, 2010), organisé les 19 et 20 novembre 2009, l’association des jeunes chercheurs du Centre de recherche sur les médiations (CREM, EA 3476) organise son 3ème colloque international les 24 et 25 mai 2012 à l’université de Lorraine autour de la thématique : « Dispositifs transmédiatiques, convergences et constructions des publics ».

Des chercheurs (doctorants, docteurs et post-doctorants) de toutes origines et de toutes disciplines sont invités à venir proposer leurs réflexions, aussi bien théoriques, épistémologiques, que méthodologiques, et à débattre autour de ce sujet.

Lire l’appel complet (en français et en anglais)

Pop en stock (revue en ligne)

Nouvelle revue numérique entièrement dévolue à l´observation en temps réel de la culture populaire contemporaine dans une perspective académique:

http://popenstock.ca/

Les collaborations sont encouragées, soit sous forme d´articles soumis à des dossiers déjà établis (ceux-ci restent perpétuellement ouverts à des nouveaux ajouts, contrairement aux numéros clos des revues traditionnelles), soit par la création de nouveaux dossiers (chaque responsable de dossier établit l´appel à contribution et assume le suivi des réceptions d´articles; dès qu´on a un nombre minimum de 3 articles on met le dossier en ligne) ou l´apport de nouveaux articles sans dossier préalable, soit tout simplement par la diffusion de cette  bonne nouvelle.

Contact:

Antonio Dominguez Leiva

CFP: Dracula and the Gothic in Literature, Pop Culture and the Arts.



DRACULA AND THE GOTHIC IN LITERATURE, POP CULTURE AND THE ARTS
An Interdisciplinary Colloquium at the Centenary of Bram Stoker’s death

University of Minho – Braga, Portugal
29-30 June 2012; Abstract deadline: 15 April 2012

Few literary works have had such a lasting influence on popular culture as Bram Stoker’s Dracula (1897). One hundred years after the Irish author’s death, the abundance of adaptations of the Romanian Count’s tale spans over all the arts and modes of expression. More than 200 film versions of Dracula exist, from Murnau’s inaugural 1922 Nosferatu to Coppola’s 1992 box office hit, but it is perhaps Bela Lugosi’s iconic interpretation in the 1931 horror film classic that first comes to mind. Theatre plays and musicals, as well as dance performances, also abound, making Dracula a trendy stage motif. TV adaptations are countless and even a remarkable radio version of Stoker’s story by Orson Welles (1938) is on record. Stoker’s character also features in such diverse media as video games, cartoons, comics, anime and manga.

In literature, the Gothic – a combination of horror, romance and melodrama in supernatural plots – can be traced back to Walpole’s 1764 The Castle of Otranto, A Gothic story, and the vampire theme also bears a Romantic matrix: Lord Byron’s epic poem “The Giaour” (1813), Coleridge’s “Christabel” (1816) and John W. Polidori’s short story The Vampyre (1819), not to mention Mary Shelley’s Frankenstein (1818), all present undead creatures as their uncanny protagonists. After Elizabeth C. Grey’s influential story The Skeleton Count (1828), two Victorian milestones are Varney the Vampire (1847), attributed to James M. Rymer, and Sheridan le Fanu’s novella Carmilla (1872). In the 20th century, Gothic and vampire fiction proliferated, with such authors as Algernon Blackwood, William H. Hodgson, M. R. James and, of course, H.P. Lovecraft, the most reputed writer of ‘cosmic horror’. To this day a steady production flow, which ranges from Richard Matheson to best-selling Stephen King, bears witness to Stoker’s ‘undying’ impact.

This interdisciplinary colloquium seeks to reappraise the multimodal and multimedia adaptations of Stoker’s Dracula, in their literary, cinematic, theatrical, televised, and computerized facets, as well as the origins, evolution, imagery, mythology, theory and criticism of Gothic fiction and of the Gothic (sub)culture. We welcome contributions for 20-minute papers in English on any aspect of Bram Stoker’s legacy, as well as on Gothic / horror / supernatural manifestations in literature, pop culture and the arts.

Possible topics include (but are not restricted to):
• Stoker’s Dracula in its social, cultural and political environment
• Gothic forerunners: Horace Walpole, Clara Reeve, Ann Radcliffe
• Romanticism, melodrama and the supernatural
• Victorian Gothic: from Dickens to the Brontës
• Fin-de-siècle revival of the Gothic: Robert Louis Stevenson’s Dr Jekyll and Mr Hyde (1886) and Oscar Wilde’s The Picture of Dorian Gray (1891).
• Stoker abroad: issues of reception and translation of Dracula around the world
• Female Gothic romance in the 20th century: Phyllis A Whitney, Victoria Holt, Joan Aiken, Barbara Michaels
• Southern Gothic: Carson McCullers, Flannery O’Connor, Tennessee Williams, William Faulkner
• Present-day horror: from Anne Rice to Stephen King
• Language and style in Gothic literature
• Gothic imagery, Gothic bodies and Gothic monsters
• Dracula on film and stage
• Dracula and Gothic motifs in cartoons and comics
• Gothic fiction and the struggles between “high” and “popular” culture
• Satirizing the Gothic: parody and humor
• Transgressive sexuality in vampire fiction
• Post-colonial perspectives on the vampire legend: from Nalo Hopkinson to Tananarive Due
• Feminist reworkings of vampire fiction
• Vampirism and the teenage vampire craze of the 21st century

Abstracts of 250-300 words, including full title of paper, name of speaker, institutional affiliation and position, a bio-sketch and contact details (postal address and e-mail address), should be sent as Word attachments to Prof. Isabel Ermida at colloquiumonthegothic@gmail.com. E-mails should be titled: “Colloquium on the Gothic”.

Important dates:
• Deadline for submission of proposals: 15 April 2012
• Notification of acceptance: 30 April 2012
• Registration: 1 May 2012 – 31 May 2012
• Registration fees: Delegates: 60 euros /Students: 20 euros
• Late registration (1 June–15 June 2012): Delegates: 80 euros / Students: 25 euros

Please note: Delegates failing to register before the deadline cannot be included in the programme.

Organizing Committee:
• Isabel Ermida (Chair)
• Anabela Rato
• Amélia Carvalho
• Jaime Costa
• Salomé Osório

This International Colloquium is hosted by DEINA (Department of English and North-American Studies) and supported by CEHUM (Center for Humanistic Studies) and ILCH (Institute of Arts and Humanities) of the University of Minho at Braga, Portugal.

All speakers are responsible for their own travel arrangements and accommodation. Relevant information about hotels and transportation from the nearest airport (Oporto) is provided on the colloquium website.

Updated information at: http://sites.google.com/site/laipax/.