Popular Communication


Click to view division website

Popular Communication is concerned with providing a forum for scholarly investigation, analysis, and dialogue among communication researchers interested in a wide variety of communication symbols, forms, phenomena and strategic systems of symbols within the context of contemporary popular culture.

Division members encourage and employ a variety of empirical and critical methodologies with application to diverse human communication acts, processes, products and artifacts which have informational, entertainment, or suasory potential or effect among mass audiences.




QUEENSLAND UNIVERSITY OF TECHNOLOGY’s Creative Industries Faculty seeks an innovative, enthusiastic lecturer with a demonstrated track record in Entertainment Industries teaching and research. The successful applicant will contribute to teaching, research and administration in our Bachelor of Entertainment Industries program and must have a strong understanding of the process of getting entertainment products made: either from industry experience, or from research into industry processes. Applicants may be trained in Business or Creative Industries. The program focuses on cross-sector generic producing skills, and we encourage applicants with an interdisciplinary interest and expertise in any commercial entertainment sector, including but not limited to publishing, music, television, radio, computer games, theatre, dance, live entertainment, events, theme parks, sport or transmedia.



Head of Discipline (Entertainment and Arts Management),

Associate Professor Christy Collis on +61 7 3138 8189 or c.collis@qut.edu.au




Convergence: Special themed issue

Vol 22, no 3 (August 2016)

Deadline for submission:  31 July 2015


Connected Viewing: Multi-Platform Media in the Digital Era Guest Editors: Jennifer Holt, Karen Petruska, and Gregory Steirer

This special issue aims to bring together researchers from film, television, internet, and game studies to examine evolving trends in connected viewing, an evolution in how screen media is created, circulated, and consumed. Specifically referring to a multi-platform entertainment experience, connected viewing also relates to a larger trend across the media industries to integrate digital technology and socially networked communication with traditional screen media practices. This special issue will explore connected viewing as a crucial frame through which we can understand contemporary media in the digital era.

Connected viewing is more than digital distribution, for it encapsulates the broader ecosystem in which digital distribution is rendered possible and new forms of user engagement take shape.

Connected viewing is as much about the aesthetic and social experience of second-screen media as it is about the intermediaries that deliver content to mobile devices and the gatekeepers that regulate access. It also extends to those firms and individuals operating “outside” of the mainstream who are looking to create innovative connections to the digital, global, and mobile audience.

This call for papers invites contributions that focus on the evolving economics, technologies, regulations, texts, and audience practices of connected viewing. Possible topics may include digital distribution technologies and platforms; global markets and audiences; the economics of connected viewing; web series and transmedia content; data collection and privacy; cloud technologies and internet infrastructure; network neutrality, internet governance, and other regulatory issues; audience engagement and fandom.

Contributions on the following questions are welcome, but we are open to any substantive inquiry:

  • What are the historical continuities that limit or expand the landscape for digital media innovations?
  • Legacy companies today compete not only with each other but also with new entrants like Netflix and Amazon. How is the struggle between these companies transforming traditional media practices?
  • What innovations has connected viewing brought to the production and circulation of content, especially across platforms? How has this affected creative labor?
  • What are the emerging business models driving connected viewing, and how might these impact audience practices and priorities (i.e. in terms of digital divides, affordable content, privacy protections, etc.)
  • What are the most dynamic connected viewing developments in Latin American, Asian, European, or emerging economic markets?
  • Do “independent” companies have a competitive advantage in the connected viewing market for either film, TV, or games?
  • What audiences have the advances of connected viewing left behind, particularly considering racial, gender, class, and age differences?

Alternatively, how have audiences pushed connected viewing practices forward in ways media companies have not?

  • How is connected viewing transforming ideals of the public sphere and community life?

Research articles will be in the range of 6,000-8,000 words and all submissions should be formatted in the SAGE Harvard reference style.

We are also interested in publishing interviews of 3,000-5,000 words with connected viewing creators, intermediaries, distributors, etc. If you are interested in conducting an interview for this issue, please email the editors with a brief description to determine suitability.

Submission Instructions:

Please upload submissions of full papers to the Convergence manuscript submission site (https://mc.manuscriptcentral.com/convergence) by 31 July 2015. When prompted to enter a manuscript type, select “special issue: connected viewing” to flag your submission as a response to this call.

All correspondence and questions to Karen Petruska k.petruska@gmail.com .

You can read more about Convergence: The International Journal of Research into New Media Technologies here: http://con.sagepub.com/.



CFP: Science & Popular Culture Area

Papers, panels, and round tables are now invited for the Science & Popular Culture area of the PCA/ACA Conference

in Seattle, Washington to be held *March 21-25, 2016*

With the integral place of science in Western and global society as well as the current proliferation of science and technology on television and in films, it is more important than ever to examine what popular culture texts are telling us about science. Such analyses serve to illuminate where science features in these texts, as well as how science is viewed, digested, and discussed by the public. Studying science in popular culture is essential to understanding how scientific ideas are utilized, explored, critiqued and sometimes exploited outside of their formal contexts. The common fascination with science has also created a popular culture niche of its own, giving rise to new engagements with scientific knowledge, practices, and technologies. Presented papers will also be eligible for inclusion in the /Journal of Science and Popular Culture/ (Intellect, beginning publication 2017).

Submissions should be 100-250 words in length and can address any aspect of the complex interrelation of science and popular culture, including (but not limited to):

  •     Representations of science/scientists in television, film, art,  print (newspapers, magazines, novels, comics, etc.), and other media
  •     Use of science in popular culture
  •    The cultural influence of science
  •    influences of popular culture on science and scientists
  •    Internet culture and science
  •    Science-related cultural artifacts
  •    Scientists as celebrities, and celebrity advocates of science
  •    Popular science and public understandings of science
  •    Science communication and education
  •    Non-Western cultures and science
  •    Translations of science into the public domain
  •    Science of the everyday
  •    Molecular gastronomy and other food science
  •    Science as art/the artistic dimensions of science
  •    Science and science fiction
  •    The public and popular dimensions of scientific debates
  •    Science and music
  •    History and philosophy of science
  •    Reconciling primary science with public perceptions
  •    Moments of conflict between scientific discoveries/knowledge/work and cultural beliefs


Submissions can be made via the PCA/ACA site until *1 October 2015.*


Inquiries can be sent to:






CFP: Besides the Screen Brazil Conference - Methods and Materials of Curating
UFES: 23-25 November
USP/PUC-SP: 26-28 November

We are looking for papers and projects to be presented and developed at the next Besides the Screen conference, to be held in November 2015 in
the cities of Vitoria and Sao Paulo, Brazil.

Besides the Screen is an international research network that aims to reconfigure the field of screen studies by refocusing it on the objects,
processes and practices that exist besides the screen. In its second Brazilian edition, the conference will be tackling the creative and
discursive dimensions of curatorial practices in audiovisual systems, in an attempt to understand how the processes of movie selection and
exhibition are able to organize media circuits and affect their configuration.

Confirmed speakers include Thomas Elsaesser (University of Amsterdam, The Netherlands), Jane Giles (British Film Institute, UK), Sarah Cook
(University of Dundee, Scotland), Virginia Crisp (Coventry University, UK), Lucas Bambozzi (Labmóvel / FAAP, Brazil), Thereza Farkas (Festival Videobrasil, Brazil), Roberto Cruz (Duplo Galeria / FEBASP, Brazil).

It is possible to participate with papers, workshops, performances and artworks that address topics such as:

  •  Online and offline platforms for the exhibition and circulation of audiovisual media
  •  Movie theatres and projection spaces
  •  Festivals on film, video and new image trends (live cinema, videogames, etc)
  •  Alternative spaces and means of production, selection and diffusion
  • Heritage and historiography of audiovisual media
  •  Audiovisual in the gallery space
  •  Audiovisual circuits (awards, funding schemes, independent spaces, etc)
  •  Image territorialization
  •  Media archeology and exhibition design
  •  Preservation and exhibition of hyperephemeral media formats (Snapchat, Vine, etc)
  •  Relationships between cinema, art and technology from a curatorial perspective

Participation is free, but attendance is limited. To participate of the selection process, send an abstract of your proposal (~300 words) and a
short biographical note (~150 words) to the email besidesthescreen@gmail.com, indicating in the subject SUBMISSION: BESIDES THE SCREEN 2015. The
deadline is 10 August 2015.

The Besides the Screen network is supported by the British Arts & Humanities Research Council. More info can be found at the page besidesthescreen.com

The deadline for submissions to Volume 2.2 of The Narrator is 25th July.If you would like to submit creative or critical writing, or critically analyse a student’s creative work, contact us at thenarratoryork@gmail.comIf you know of anyone interested in submitting theatre or illustration, please direct them to this address.

We are also seeking a single critical submission on the theme of “faith and allegiance”, to be published in the next issue of The Durham Review of Books, our partner journal.Please enquire for more details.


The editors of the book series Palgrave Entertainment Industries are seeking to commission books on a number of specific topics (specified below) and are calling for expressions of interest.

The Entertainment Industries are a distinct sector of the Creative Industries, with particular business models, relationships with audiences and aesthetic systems. The Palgrave Entertainment Industries series – edited by Professor Alan McKee (University of Technology, Sydney), Associate Professor Christy Collis and Dr Stephen Harrington (Queensland University of Technology) – examines the processes and products of the Entertainment Industries, the ways they are used and the purposes they serve. The series addresses questions including:

  • What is distinctive about the Entertainment Industries?
  • What are the relationships between the Entertainment Industries and their audiences?
  • What are the political and cultural uses and impacts of Entertainment products?
  • What is the future of the Entertainment Industries?

The series editors are currently seeking to commission books in the following areas:

  • Sports and entertainment: This book will provide an overview of the way in which sports works as entertainment. It could include historical, business or cultural perspectives. It could be organised around a particular case study, or draw on a series of examples.
  • The history of the entertainment industries: This book will give a sense of how the entertainment industries emerged as a distinct cultural category. It could focus on a single national or cultural context, or could provide a comparative perspective. It could include business or cultural perspectives.
  • Experiential entertainment: This book will examine the nature of ‘experiential’ entertainment: a category distinct from mediated entertainment or live performance, which commodifies physical, or interactive experiences (including, but not limited to, theme parks, thrill rides and fairs). It will demonstrate how such products fit into the category of entertainment. It will explain the importance of this category for understandings of entertainment.

If you’re interested in writing any of these titles, please contact in the first instance Professor Alan McKee on alan.mckee@uts.edu.au, sending your CV and a single paragraph outlining your ideas for the book you would like to write. Please note that we are not seeking full book proposals at this stage.

If you would like any more information please contact Professor McKee at the above email address.

Please feel free to distribute this email as widely as possible through your own networks.




Abstracts Sought for a special issue of Feminist Media Studies

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, Editors

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 (apress@virginia.edu, amc7jc@virginia.edu and k.sender@auckland.ac.nz) 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: http://www.tandfonline.com/action/authorSubmission?journalCode=rfms20&page=instructions#.U-BUKYCSzew.

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


Sound Studies: An Interdisciplinary Journal Launching in 2015


Editors Michael Bull, Professor of Sound Studies, U of Sussex, UK 

Veit Erlmann, Professor of Ethnomusicology and Anthropology, U of Texas at Austin, USA



Global Fusion 2015 - CFP
Development and resilience in communication
Texas A&M University Department of Communication
Friday October 23 – Sunday October 25, 2015, Bolton Hall, Texas A&M University campus, College Station, Texas, USA

Call for Papers

The theme for the sixteenth annual Global Fusion conference is “Development and resilience in communication.” We invite global media and international communication researchers to submit abstracts contributing to this conference theme. Development refers not only to the long tradition of development communication research beginning in the 1940s and 1950s linking development with democracy, but also suggests topics related to social change more broadly construed since the NWICO movement and global responses to Washington Consensus reforms. Resilience in the communication context can refer to the survival of existing systems, navigating in the face of change or crisis, and the possibility or desirability of transforming systems. We are particularly interested in proposals that address new approaches to development and transformation as well as discussions on how sustainable, community based and cooperative initiatives are appropriating new technologies effectively.  Also of interest are research on marginalized or under-resourced groups' use of media and technology, including refugee, migrant, and indigenous populations’ appropriation of communication technologies for empowerment of activism.

Abstracts no longer than 500 words should be submitted through the open conference system (globalfusion-ocs-tamu.tdl.org) before June 1, 2015. Please title your abstract. Follow APA 6th edition guidelines for abstract style, and save your document as a .doc or .docx file. To preserve anonymity, on a separate page from your abstract, put the title of the paper, contributors’ names, affiliations, and email addresses.

Global Fusion 2015 is cosponsored by Media Rise.

Graduate paper competition. A “Best Paper” award winner will be selected from among paper submissions by graduate students wishing to enter the competition. For consideration, please submit full papers and mark them clearly as submissions for the competition.

About the conference. The Global Fusion conference consortium seeks to promote and sustain excellence in international communication and global media research. Our institutional members are Ohio University, Southern Illinois University, Temple University, Texas A&M University, University of Texas at Austin, and University of Virginia.

Invited speakers. Thomas Tufte (Roskilde University, Denmark) and Drew McDaniel (Ohio University)

Special event #1. Workshop on the Media Monitoring System following Global Fusion 2015 (Sunday, no registration charge). Explore the Media Monitoring System deployed at Texas A&M University -- a unique set of integrated technologies that allows real time harvesting, translation into English, and archiving of global media in Arabic, Chinese, Farsi, and Russian multichannel television, Twitter feeds, and targeted websites. Learn to develop, annotate, code, and share data sets; brainstorm research methods and explore possible collaborations with others using the system; and brainstorm research design with others. Leave the session with a free account to use from home!

Special event #2. Media Rise Networking Lounge: Media Rise will host a curated, informal, "professional speed dating" networking session. It will bring together media educators, artists/content creators, and activists from around Texas to interact with Global Fusion participants. If you are interested in participating in this session, please send a brief 2-3 paragraph statement about your interest to Dr. Srivi Ramasubramanian at srivi@mediarisenow.org by September 30. Media Rise is a global alliance that connects people with ideas for promoting meaningful media for social good. More information at www.mediarisenow.org.

Special event #3. Interactive Workshop on Transformative Leadership to Inspire Creativity:  Media Rise will co-host an interactive workshop with Global Fusion on the role of transformative leadership in promoting meaningful media for peace, sustainability and social justice. Media Rise is a global alliance that connects people with ideas for promoting meaningful media for social good. More information at www.mediarisenow.org.

Getting to the conference. Texas A&M University is served by Easterwood Airport (CLL) with multiple daily connections to Dallas-Fort Worth (DFW) and Bush Intercontinental Airport (IAH) on American Airlines and United Airlines, respectively. The university is one and a half hours’ drive from both IAH and Austin-Bergstrom Airport (AUS). MAP: http://www.openstreetmap.org/way/45787898

Conference registration. The $100 registration fee can be paid online at http://globalfusion-ocs-tamu.tdl.org and on-site at the conference. Early birds (until October 1) pay only $75.

2015 Conference Committee. Sandra Braman, Patrick Burkart, Antonio LaPastina, Heidi Campbell, Randy Kluver, Srivi Ramasubramanian, Department of Communication, Texas A&M University

Conference Manager. Patrick Burkart, Department of Communication, Texas A&M University

Conference Administrator. Forrest Rule, Department of Communication, Texas A&M University globalfusion2015@tamu.edu.


Capitalism, Culture and Media

A two day international conference at the University of Leeds

7-8 September 2015

Keynote and plenary speakers include

Alison Hearn (University of Western Ontario), Bev Skeggs (Goldsmiths), David Hesmondhalgh (University of Leeds), Des Freedman (Goldsmiths), Jeremy Gilbert (University of East London), Richard Sennett (NYU/LSE – subject to teaching commitments),

The conference is organised by the School of Media and Communication, University of Leeds, in conjunction with the following:

  • The ECREA (European Communication Research and Education Association) Media Industries and Cultural Production Working Group
  • The IAMCR (International Association for Media and Communication Research)
  • The SCMS (Society for Cinema and Media Studies) Media Industries Scholarly Interest Group
  • The Carsey-Wolf Center at University of California Santa Barbara

For many decades, capitalism was a concept largely ignored in the social sciences and humanities. Things have changed since the continuing global financial crisis began. Capitalism is now taken seriously not only by Marxists, but also by non-Marxian feminists, social democrats and conservatives. Yet research on how we might understand relations between capitalism, media and culture has remained relatively limited. The rise of approaches to capitalism that emphasise the need to understand it in broad terms, including but not confined to the economic, potentially provide an inspiring basis to reinvigorate analysis of capitalism/media/culture relations. So too does the interest of cultural studies and other researchers in the nature of relations between culture and economy.

This conference brings together international scholars and activists from a range of disciplines and perspectives, to share research and ideas about the relations between capitalism, media and culture. It aims to combine contemporary and historical perspectives, and to bring theoretical, empirical and action research into dialogue. It will provide a forum for the conceptual and empirical analysis of relations between capitalism, media and culture, regardless of the tradition and perspective in which analysis is grounded (Marxian or otherwise) and regardless of the disciplinary background of the analyst.

Topics and approaches on which we would welcome proposals for papers and panels include the following but are not confined to them, and are in no particular order:

  • Phases, varieties and modes of capitalism and their relevance to media and culture
  • Intersections between capitalism and key dynamics of social identity and power: for example gender, sexuality, ethnicity and class
  • How might cultural production research throw light on capitalist media and vice versa?
  • Anti-capitalist movements and the media
  • Media labour, exploitation and class
  • Alienation and media labour
  • Power, inequality and capitalism
  • The problem of commodification
  • Capitalism and subjectivity
  • Alternatives to capitalist systems of cultural production
  • Gift, commodity and capitalism
  • Moral economies of media and culture
  • Political economy of media and culture – its contributions and limitations
  • Cultural economy, and relations between culture and economy under capitalism
  • The profit motive and the media
  • Cultural capitalism, cool capitalism, cognitive capitalism, digital capitalism etc
  • Intellectual property as an aspect of contemporary capitalism
  • Markets, their benefits and limitations – and their relation or otherwise to capitalism
  • Capitalism, the internet, social media
  • The concept of “creative industries” and the knowledge economy
  • Any individual media industry (music, film, journalism, television) in relation to capitalism
  • Theories and theorists of capitalism and their relations to culture and media: Anderson, Badiou, Boltanski, Bourdieu, Castells, Chiapello, Fraser, Garnham, Gibson-Graham, Habermas, Hall, Harvey, Hirschman, Marx, Piketty, Ranciere, Rubin, Sen, Weber, Williams, Zizek

Leeds is the third biggest city in England, the main city of Yorkshire, and a major cultural and business hub. Immediately to its north are hundreds of miles of beautiful countryside, including the Yorkshire Dales and the Lake District. It is extremely well served by transport links. It has an international airport with five daily flights from Amsterdam. It is 200 miles/320 kilometres north of London, just over two hours by train. Manchester Airport, the major airport of the north of England, is an hour away by train. The University of Leeds campus is superbly located in the centre of this historical city, a short walk away from numerous hotels.

Please send panel proposals or abstracts to Liz Pollard at e.v.pollard@leeds.ac.uk by 2 February 2015 as an email attachment in Word. Abstracts should be 250 words maximum and should explain the connection to the conference theme. Panel proposals should provide an outline of the panel idea and its relations to the conference theme (200 words max), and provide abstracts of the 3-4 speakers (250 words maximum per abstract), and the name of a person who will chair the panel.

Conference fee: 150 pounds/180 euros (80 pounds/96 euros for students), includes lunch and refreshments for the duration of the conference. Researchers from countries where it is difficult to fund research travel should consult the conference organisers.

Local organising committee: David Hesmondhalgh, Giles Moss, Anna Zoellner, Jason Cabanes, Leslie Meier, Lee Edwards, Kate Oakley, David Lee, Andreas Rauh Ortega, Jennifer Carlberg, Luca Antoniazzi, Ellis Jones, Jeremy Vachet

Advisory committee: Janet Wasko (University of Oregon, IAMCR), Rodrigo Gomez Garcia (Metropolitan Autonomous University, Mexico City, IAMCR), Kevin Sanson (Carsey-Wolf Center, University of California Santa Barbara), Michael Curtin (Carsey-Wolf Center, University of California Santa Barbara), Paul McDonald (University of Nottingham/SCMS Scholarly Interest Group), Alisa Perren (University of Texas/SCMS Scholarly Interest Group), Hanne Bruun (University of Aarhus/ECREA Working Group), David Fernandez Quijada (European Broadcasting Union/ECREA Working Group).






New book: Making and Remaking Horror in the 1970s and 2000s

Roche, David. Making and Remaking Horror in the 1970s and 2000s: Why Don't They Do It Like They Used To? Jackson, MS: UP of Mississippi, 2014. ISBN 978-1617039621


In Making and Remaking Horror in the 1970s and 2000s author David Roche takes up the assumption shared by many fans and scholars that original horror movies are more "disturbing," and thus better than the remakes. He assesses the qualities of movies, old and recast, according to criteria that include subtext, originality, and cohesion. With a methodology that combines a formalist and cultural studies approach, Roche sifts aspects of the American horror movie that have been widely addressed (class, the patriarchal family, gender, and the opposition between terror and horror) and those that have been somewhat neglected (race, the Gothic, style, and verisimilitude). Containing seventy-eight black and white illustrations, the book is grounded in a close comparative analysis of the politics and aesthetics of four of the most significant independent American horror movies of the 1970s--The Texas Chain Saw Massacre, The Hills Have Eyes, Dawn of the Dead, and Halloween--and their twenty-first-century remakes.

To what extent can the politics of these films be described as "disturbing" insomuch as they promote subversive subtexts that undermine essentialist perspectives? Do the politics of the film lie on the surface or are they wedded to the film's aesthetics? Early in the book, Roche explores historical contexts, aspects of identity (race, ethnicity, and class), and the structuring role played by the motif of the American nuclear family. He then asks to what extent these films disrupt genre expectations and attempt to provoke emotions of dread, terror, and horror through their representations of the monstrous and the formal strategies employed? In this inquiry, he examines definitions of the genre and its metafictional nature. Roche ends with a meditation on the extent to which the technical limitations of the horror films of the 1970s actually contribute to this "disturbing" quality. Moving far beyond the genre itself, Making and Remaking Horror studies the redux as a form of adaptation and enables a more complete discussion of the evolution of horror in contemporary American cinema.

The latest issue of Philosophy of Photography (Vol. 4, No. 2) will be available soon. It includes:


Jose Cuevas & Laurence Heglar, Photography and the Discovery of the
Double Helix Structure of DNA

Helen Petrovsky, Document: Fact and Fiction

John Lechte, The Photographic Image: the ‘Face of Sydney’ and August
Sander’s Typologie

Kelly Wood, In Favour of Heroines: Lincoln Clarkes’s Vancouver Photographs

Shepherd Steiner, Photography at a Crossroads: Studio as Genealogy,
Dispositif, Spur


Elodie Hiryczuk and Sjoerd van Oevelen, Seeing, of course, is also an Art


Tom Slevin on Technology


Lisa Stein on Francois Laruelle’s Photo-Fiction

Jenee Mateer reports on a recent Society for Photographic Education


Andrew Fisher
Goldsmiths, London

Daniel Rubenstein
Central Saint Martins, London

Associate Editor

Sandra Plummer
Sotheby’s Institute, London

For more details see:

If you are interested in making a submission to Philosophy of
please see the notes for contributors and style guide for
authors at:




  • Marie Aizawa, Member
  • Eno Akpabio, Member
  • Omar Al-Ghazzi, Member
  • Kath Albury, Member
  • Angela Alilonu, Member
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  • Jennifer Carlberg, Member
  • Nico Carpentier, Member
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  • Melissa A. Click, Chair
  • Stephen Harrington, Vice-Chair
  • Alfred Leonard Martin, Jr., Secretary
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