Archives par mot-clé : culture médiatique / media culture

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/.

CFP: Distinctions that Matter: Popular Literature and Material Culture (Belphegor)

Distinctions that Matter: Popular Literature and Material Culture

Belphegor

(abstract deadline: March 1, 2012)

Belphégor: Popular Literature and Media Culture
contact email: anthony.enns@dal.ca

Essays are invited for a special issue of Belphégor that seeks to explore the relationship between distinctions of taste and textual production by examining how the materiality of literary texts influences and perhaps even determines their cultural status. In the nineteenth century, for example, printing and binding became cheaper, faster, and more easily accessible than ever before, which resulted in an explosion of print material. As printing costs decreased and print runs increased, the price of books became cheaper and publishers were able to attract more readers, which led to a greater demand for new content. The cultural impact of this shift was twofold. On the one hand, this decrease in printing costs lowered the cultural entrance level, which resulted in the expansion of popular or trivial literature as well as a wide range of new popular formats, such as dime novels, pulp magazines, comic books, and paperbacks. On the other hand, publishers also attempted to mimic the conventions of exclusiveness through printing and binding techniques in order to preserve the highbrow status of literature as a marker of class distinctions. This led to the rise of competing formats that attempted to challenge the perceived lowbrow status of popular literature, such as deluxe editions and graphic novels. As the divide between highbrow and lowbrow taste widened, the materiality of the text became the primary site where the cultural status of popular literature was both constructed and contested. The same issues also inform cultural debates concerning digital media, as cultural distinctions are now being reconfigured through new forms of electronic display in the post-print era.

Contributions are invited on any of the following topics:

-The impact of printing technologies on the production and distribution of literary texts.
-The relationship between the material properties of literary texts and their cultural status.
-The production and reception of popular literary formats, such as dime novels, pulp magazines, comic books, paperbacks, etc.
-The relationship between forms of electronic display and the cultural status of digital texts, such as blogs, e-books, e-readers, and cell phone novels.

Please submit abstracts of no more than 1,000 words by March 1, 2012. If an abstract is accepted, a full draft of no more than 10,000 words should be submitted by July 1, 2012. Papers may be submitted in English, French, Italian, German, Spanish, or Portuguese. For more information, or to submit an abstract, please contact our guest editors:

Dr. Anthony Enns, Dalhousie University: anthony.enns@dal.ca
Dr. Bernhard Metz, Freie Universität Berlin: bernhard.metz@fu-berlin.de

Belphégor is an international refereed scholarly journal dedicated to the study of popular literature and media culture. The journal welcomes all types of theoretical analysis and encourages interdisciplinarity and comparative studies. Our goal is to stimulate discussion, research, and exchange between researchers of all stripes in the Anglo-Saxon, French, Italian, German, Spanish, and Portuguese-speaking worlds. For more information, please visit http://etc.dal.ca/belphegor/.

Parution: D. Pinsolle, Le Matin (1884-1944) Une Presse d'argent et de pouvoir

Le Matin

Une presse d’argent et de chantage (1884-1944)

Dominique Pinsolle

Presses universitaires de Rennes, 2012
ISBN : 978-2-7535-1735-6
Prix : 20,00 €

Ce livre retrace l’histoire du journal Le Matin à partir de sources jusque-là inexploitées. Le Matin est à la fois le premier quotidien « à l’américaine » lancé en France (en 1884) et le premier titre à reparaître sous l’Occupation. Dès le départ dirigé par un affairiste sans scrupules, il devint cependant très rapidement une feuille de chantage et un organe corrompu largement discrédité. Au-delà du cas particulier, ce livre entend poser la question de la liberté de la presse en régime capitaliste.

Dominique Pinsolle est agrégé et docteur en histoire. Il enseigne à l’université Bordeaux 3 et poursuit ses recherches sur les rapports entre médias, argent et politique dans le cadre du Centre d’études des mondes moderne et contemporain (CEMMC).

Sommaire

Préface de Christian Delporte

L’échec commercial d’une feuille vénale (1884-1897)

  • L’éphémère Matin américain (1884-1885)
  • L’officine d’Edwards (1885-1890)
  • L’impossible redressement (1890-1897)

Une « Grande Puissance » (1897-1914)

  • L’entrée dans la cour des « Grands » (1897-1903)
  • « L’infatigable serviteur de l’intérêt public » (1903-1914)
  • Le règne de l’Empereur de la Maison rouge (1903-1914)

Un pouvoir vacillant (1914-1932)

  • La fin de l’« âge d’or »
  • Bunau-Varilla « plane » : un patron de presse aveuglé par ses obsessions
  • La tentation de la radicalisation

Déclin et dérive politique (1932-1944)

  • Effondrement financier et dérive vers l’extrême droite (1932-1940)
  • La collaboration (1939-1944)

Journée d'étude: "Le monde du livre face aux lois de copyright international au 19ème siècle

9 mars 2012

Journée d’étude: “Le monde du livre face aux lois de copyright international au 19ème siècle : Grande-Bretagne, France, Belgique, Etats-Unis.”

CRIDAF, Université Paris 13, salle D300, UFR LSHS

Objectif : proposer une réflexion théorique et des études de cas sur le copyright au 19ème siècle, en particulier sur le copyright international : effets sur les auteurs, les éditeurs, et les traducteurs.

Matin: accords bilatéraux au milieu du dix-neuvième siècle: France, Grande-Bretagne, Belgique

9h30-10h30
Jean-Yves Mollier, Université Versailles St-Quentin-en-Yvelines : “De la contrefaçon belge aux accords de 1852-1854”.
Laurent Pfister, Université Versailles St-Quentin-en-Yvelines :  “Internationalisation du droit d’auteur et droit comparé : la convention franco-anglaise du 3 novembre 1851.”

10h30-10h45 Discussion

10h45-11h15: pause

11h15-12h15
Blaise Wilfert, ENS: “Droit d’auteur et stratégie d’éditeur : Hachette, Dickens et la Bibliothèque des meilleurs romans étrangers.”
Susan Pickford, Université Paris 13 : “Les traducteurs face aux enjeux du copyright au 19ème siècle.”

12h15-12h30 : discussion

12h 30: déjeuner

Après-midi: Le cas des Etats-Unis

14h-15h30:
Michael Winship, University of Texas at Austin : “Napoleon Comes to America:
The Publishing of Walter Scott’s Life of Napoleon Buonaparte (1827)”

Will Slauter, Université Paris 8 : “Marks of Ownership and Acknowledgment: The Transformation of Newspaper Texts in 19th-Century America.”

Ellen Gruber Garvey, New Jersey City University: “Mark Twain’s Self-Pasting Scrap-Book, the Authorship of Blank Books, and Intellectual Property”

15h30-16h: discussion et conclusion : l’état du champ

Renseignements :
Claire Parfait claire.parfait@univ-paris13.fr
Susan Pickford, susan.pickford@univ-paris13.fr

Comment venir à Paris 13 : 
http://www.univ-paris13.fr/acces-aux-campus.html

Plan du campus de Villetaneuse :
http://www.univ-paris13.fr/images/stories/plans_des_campus/acces_v.pdf