Lesbian, Gay, Bisexual, Transgender and Queer Studies is concerned with the analysis and critique of sexual systems, discourses and representations, particularly those which animate, inform and impinge upon the lives of lesbian, gay, bisexual and transgender people. Such systems and discourses occur in institutional, community, domestic and intimate contexts, are closely connected to other social and cultural practices (such as nationalism, education or popular entertainment), and play a critical role in the formation and communication of individual and group identity. Members also work with the ICA leadership to represent the concerns of lesbian, gay, bisexual and transgender scholars in the Association.
Commentary and Criticism Call for Papers
16.2 Gender and Technologies of Work
In recent years, there has been increasing academic scrutiny of the cultures of work in response to the growing demands of the technologized/mediated workplace, heavy workloads, shifting contexts of labor, and heightened precarity of jobs. This issue of Commentary and Criticism invites essay contributions that specifically consider gendered dimensions of these diverse and changing work environments. We are particularly interested in submissions from beyond North America and the UK and welcome contributions from media industry professionals as well as feminist scholars.
Possible paper topics might include, but are not limited to, the following:
The Commentary and Criticism section of /Feminist Media Studies/ aims to publish brief (~1000 words), timely responses to current issues in feminist media culture, for an international readership. Submissions may pose a provocation, describe work in progress, or propose areas for future study. We will also consider book and event reviews, as well as contributions that depart from traditional academic formats.
We encourage all submissions to strategically mobilize critique to also offer a productive contribution to both feminist politics and media studies. Submissions must go beyond mere description in order to be considered for publication in Commentary and Criticism.
Please submit contributions by 1 December 2015, via email to both Susan Berridge (Susan.Berridge@stir.ac.uk) and Laura Portwood-Stacer (email@example.com). Questions and expressions of interest can also be addressed to Drs. Berridge and Portwood-Stacer in advance of the deadline.
Email submissions directly to both Susan Berridge and Laura Portwood-Stacer, as submissions for Commentary and Criticism will not be correctly processed if submitted through the main /Feminist MediaStudies/ site.
Please be sure to follow the /Feminist Media Studies/ style guide, which can be found at the following link:
Full PhD Scholarships in the School of Media and Communication, University of Leeds
The School of Media and Communication is offering a number of full PhD Scholarships for study commencing in October 2015. Applications submitted in December will have sufficient time for review and approval before the scholarship deadlines below. All scholarships require prior acceptance for admission.
Research Council funded awards are available from the AHRC through the White Rose College of the Arts and Humanities and from the ESRC through the White Rose Doctoral Training Centre. Closing dates for these are 2 February and 3 February 2015 respectively.
In addition the School is funding full scholarships covering maintenance and fees, equivalent to the Home/EU rate, for a period of three years from October 2015. They support full-time study leading to a PhD in any area of the School research activities, and are open to home/EU and international applicants. Closing date for School Scholarships is.
Further details for can be found on the ‘Fees & Funding’ tab at http://media.leeds.ac.uk/pg/
Queer Tracks: Subversive Strategies in Rock and Pop Music
Doris Leibetseder, Alpen-Adria Universität Klagenfurt, Austria
‘From Grace Jones to Gaga, divas to dildos, Queer Tracks is an original and theoretically important contribution to the corpus of queer popular music studies. Through captivating accounts of rock and pop performers and texts, Doris Leibetseder’s provocative analysis of queer aesthetics, tactics and subversive strategies makes for an utterly compelling and enlightening read.’ – Jodie Taylor, Queensland Conservatorium, Griffith U, Australia and author of Playing it Queer: Popular Music, Identity and Queer World-making
‘Queer Tracks takes up its place in a growing body of scholarship genuinely concerned with queer strategies in popular music. In it, Doris Leibetseder navigates well the waters of queer theory, drawing on a wide range of theoretical concepts, from irony, parody, satire and camp, through mimesis, mimicry, and masquerade, to cyborgs and trans. Along the way, she guides the reader confidently through well-informed interpretation of a number of classic cases – Madonna, Peaches, Björk, Grace Jones, Annie Lennox – and pulls in strands from feminism and critical race theory. This book will prove a useful resource to any scholar or student in the field of popular music studies who is interested in issues of gender, sexuality, race, or identity at its broadest.’ – Freya Jarman, U of Liverpool, UK
Queer Tracks describes motifs in popular music that deviate from heterosexual orientation, the binary gender system and fixed identities.
This cutting-edge work deals with the key concepts of current gender politics and queer theory in rock and pop music, including irony, parody, camp, mask/masquerade, mimesis/mimicry, cyborg, transsexuality, and dildo. Queer Tracks is a revised translation of Queere Tracks.
Subversive Strategien in Rock- und Popmusik, originally published in German.
Contents: Introduction: historical prelude; Irony – the cutting edge; Parody – gender trouble; Camp – queer revolt in style; Mask/masquerade – transforming the gaze; Mimesis/mimicry – poetic aesthetic; Cyborg – transhuman; Trans* – border wars?; Dildo –gender blender; Fade out: looking forward; Bibliography; Index.
Sample pages are available to view online at: www.ashgate.com/isbn/9781409437024
We are pleased to announce the launch of our new website for the Global Queer Cinema project; a collaborative research project engaged in investigating queer film cultures from a global perspective and analysing world cinema from a queer point of view. The project is led by Rosalind Galt (University of Sussex) and Karl Schoonover (University of Warwick) and it is funded by an Arts and Humanities Research Council Research Network Grant. We are partnered with the British Film Institute and CineCity – the Brighton Film Festival.
We would like to invite you to take part in the project by reading, commenting on and discussing the project over at our website. The editorial collective for the website comprises Karl, Rosalind, and Catherine Grant (University of Sussex and Film Studies for Free). Our fellow contributor is Laura Ellen Joyce (University of Sussex), GQC Project Coordinator. The website collective also benefits from the support of the international editorial advisory board of its publisher REFRAME.Writings from members of the editorial board and the GQC network are launching the site, but we are eager to publish work from guest contributors. Please see our call for contributions here.
As for what you can already find archived here, our series Queer Frames asks an author to take a look at a single frame from a movie and analyse it. Long Takes offer a deeper look at films, directors and issues in queer global cinema. There are several short series which cover themes from the Queer Uncanny to Home Movies to Queer Cosmetics.
Posts will also focus on Queer Film Cultures, raising awareness of film festivals, events and activities. In addition, there is an online, and openly accessible,queer film studies resources section.
We will update the website regularly to alert our readers to the events and opportunities arising from the GQC project. So please use our website feed for updates, and also follow and talk to us on Twitter and Facebook.
Please share this information with colleagues and friends who may be interested, and take part in our community.
Feminist Reception Studies in a Post-Audience Age: Returning to Audiences and Everyday Life
Andre Cavalcante, University of Virginia,
Andrea Press, University of Virginia,
Katherine Sender, University of Auckland,
From its inception, the qualitative study of media audiences has been informed by feminist concerns. Pioneering work in the field such as Herzog’s classic study about female listeners of daytime radio soap operas, Hobson’s analysis of the role of television in working class housewives’ daily round, and Radway’s exploration into female readers of romance novels, foregrounded women’s experiences with media, and pushed the boundaries of the social science/humanities divide that existed in media studies. In doing so, they exposed the lived realities of women’s everyday lives, which emerged as a worthy object of academic analysis, transcending existing methodological boundaries in the process.
Since this work, feminist media and communication studies has continued to pioneer analyses of media reception in the context of everyday life. Extending beyond women, the field has offered insight into lesbian, gay, bisexual, transgender, and queer (LGBTQ) experiences with media. It has also explored the changing role of sex, gender, and desire, as media have become increasingly portable, social, and integrated into the fabric of commerce, politics, culture, and daily life. In light of rapid and widespread shifts in contemporary communications technologies and the emergence of new media environments, we argue for a reinvestment in scholarship that critically attends to the relationship between media, audiences and everyday life, and that continues to transcend the divide between the social science and humanities in the tradition of earlier feminist audience research.
In this special issue of Feminist Media Studies, we call for abstracts that reflect a commitment to feminist and/or queer audience scholarship in our contemporary media environment, or what some call a “post-audience” age. We seek feminist audience research that interrogates the everyday world, attending to how it is differently experienced by individuals across the gender spectrum. In other words, our goal is to bring together a diverse body of work that deploys a feminist lens to study how our contemporary media culture deploys a feminist lens to study how audiences make media meaningful in the gendered context of everyday life.
Possible topics include, but are not limited to:
- What the ‘post-audience’ age means for everyday experiences of gender
- The ways LGBTQ individuals use new media in their everyday lives
- Conducting feminist audience research in the ‘post audience’ age
- The significance of media to women at various stages of life
- The gendered dimensions of transnational audiences
- The way gender influences audiences’ practices of reception and reading strategies
- How audiences conceive of feminism
- Media’s role in daily experiences of gender, embodiment, sexuality, and desire
- Experiences of gender and sexual subjectivity in virtual worlds
- The relationship between media, affect, and the body
- Thoughts on audience research methodology in the ‘post audience’ age of new media
- The impact of feminism and postfeminism on audience research methodology
Abstracts should be no more than 750 words and should be sent to all three special issue editors (firstname.lastname@example.org, email@example.com and firstname.lastname@example.org) by May 15, 2015. Please give your email the subject head “Abstract for special issue of Feminist Media Studies.” Abstracts should be submitted as a Word document. Please make sure your name and the paper title is on the abstract itself, not only in the email.
If accepted, final papers should be no more than 7,000 words long including bibliography, notes, and so on. Feminist Media Studies uses the Chicago-Author-Date citation style. Please refer to the general instructions for preparation of manuscripts here:
Submissions significantly over length or not consistent with the journal style will be returned for editing.
Abstracts to editors: May 15, 2015
First drafts to editors: January 20, 2016
Second drafts to editors: June 1, 2016
Final revisions to editors: November 1, 2016
Publication: February 2017