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.
SECOND ISSUE (2016):
DEADLINE FOR THE SUBMISSION OF MANUSCRIPTS: 15th November 2015
Dagitos Journal (revistadigitos.com http://revistadigitos.com is a peer review publication specialized in digital communication from the University of Valencia. It is calling for articles for its second issue (2016). If you wish to participate these are the different sections:
Special issue on the digitization of TV series
In recent years, the revolution of digital technologies has undoubtedly made its way into the world of entertainment and TV shows and series, to the point that the notion of the death of television? has spread itself as an inevitable presage (the CEO of Netflix has even prophesized that 2030 will mark the final date of death). Within the academic sphere, this ever-shifting phenomenon has been christened under several names: the end of mass media (Carln y Scolari, 2014); post-television (Ramonet, 2002); the end of television? (Missika, 2007).
Digital technology has substantially altered customary habits surrounding production and consumption, and new cable TV channels have joined forces with the progressively less arcane world of downloading and the consumerist culture of media and entertainment inhabiting the Internet. Digital market demand has drastically evolved in recent years, crowning itself as the leading sector within the media and entertainment industries when it comes to growth and development. According to all predictions, TV series will continue at the top of the supply chain materialized by the digital market.
Consumerist habits have evolved from formatting in one or two screens to the multiscreen and the multiplatform. Teenagers were the first to be referred to as media polyconsumers (Casas, 2007: 226, 228), exhibiting a behavior that society at large has come to emulate. From the point of view of production, TVs have incorporated the concept of multi-channelâ€? and multicast? (TousRovirosa, 2009: 127). Nowadays monitoring social network activity is considered a reliable way to measure and evaluate ratings, and the quantification of followers on Twitter, as done for instance by Kantar Media, has become instrumental in the assessment of rating charts. Watching TV is strongly linked to follow-up online activity in which the content is subjected to commentaries and responses on social networks.
Audiences have become segmented and the attention of viewers has become one of the most sought-after resources. From broadcasting to narrowcasting, television contents must inevitably be more specialized.
New companies, such as Netflix and Amazon, are offering services that indicate profound changes in the consumption of TV series. Netflix has shifted the dynamics of the value chain both in terms of the business model and the supply and production of contents. Teenagers and youngsters seem particularly prone to streaming consumption and binge-watching, which involves marathon-viewing of episodes.
State-of-the-art factors and approaches have been incorporated in the production of TV series, showcased through more traditional methods or online.
This issue on digitization and television series will focus precisely on these new patterns and landscapes of production, distribution and consumption of television shows. Key topics in the discussion include (but are not limited to) the following:
Journal website for submitting proposals:
Guidelines for authors:
Length of articles: 3000-10000 words (for both Open and Monographic Sections)
Length of reviews: 800-1500 words
Call for Papers
The Radio Conference 2016:
Transnational Radio Encounters Utrecht University, 5-8 July 2016
Continuing the series of Transnational Radio Forums*, the Department of Media and Cultural Studies at Utrecht University, in collaboration with the HERA Collaborative Research project Transnational Radio Encounters (transnationalradio.org), and an international committee in association with the MeCCSA Radio Studies Network is pleased to host the 2016 edition of the Transnational Forum at Utrecht, 5-8 July 2016. This year we would like to invite participants to mobilize the ‘transnational’ in the forum’s name. As engineers, regulators, listeners – and indeed scholars – have long pointed out, radio waves are not stopped by national borders. But also in ostensibly national or local settings, radio is intricately entangled in transnational processes of production and programming, as well as transnational cultures of listening and identity formation. We would like to extend a special invitation for papers that explore:
Luton (2013), Auckland (2011), Toronto (2009), Lincoln (2007), Melbourne (2005), Madison (2003), Brighton (2001) Paper and session topics can include, but are by no means limited to:
Proposals for panels that combine individual/national perspectives are also welcome, as are papers exploring the current state of the art in radio research.
All proposals should include name and affiliation, as well as brief (50-100 word) bio, of all speakers.
Proposals for INDIVIDUAL PAPERS (20 minutes) should be 250 words in length
Proposals for PRE-COMPOSED PANELS (90-minutes) should include a 200-word abstract explaining the rationale of the panel as a whole as well as 250-word abstracts of the individual presentations
Besides classic paper presentations and panels, we would like to invite proposals for a limited number of LISTENING SESSIONS (also roughly 90 minutes) in which listening and discussion are central. While the precise formats can vary, listening panels should be primarily devoted to presenting whole or excerpted broadcasts, or indeed radio experiments, and be oriented toward group discussion and/or interaction.
The theme of transnational radio encounters should encourage sessions that explore the ways in which radio sound crosses national barriers, developing methodologies for taking up challenges of transnational and/or collaborative research, or conducting reception research among a group of diverse experts. Proposals for listening sessions should be 250-350 words in length and outline the material to be presented, the format of the session and the themes or questions to be explored through listening.
Deadline for submissions: Sunday, November 15, 2015.
Please make submissions digitally to email@example.com
Call for Papers
Interdisciplinary Colloquium of Gender Research
at the University of Rostock
19-21 May 2016
POPULAR CULTURE, GENDER, AGENCY
I definitely can feel the third or fourth feminist wave in the air, so maybe this is a good time to open that Pandora?s box a little bit and air it out.? (Björk, /Pitchfork/, January 2015)
In the light of recent heated debates around questions of gender in popular culture?for instance around the feminist implications of Charlotte Roche?s novels, the political relevance of Lady Gaga?s pop music, or Emma Watson?s speech in front of the UN?it is fair to say that the pop-cultural field is both object of and the stage for several discourses around the production, performance and representation of gender. The diversity of discourses corresponds to the diversity of media and actors: the aforementioned debates can be found on all levels of public sphere, in blogs, pop songs, in YouTube videos, in film as well as in newspapers and academic writing. Gender, it seems, is the new leading paradigm for the ethical and moral evaluation of pop-cultural artefacts.
We invite scholars of all disciplines to join an interdisciplinary exchange on popular culture and gender.
We welcome national and international papers, which address one of the following issues:
(New) presentations of gender
Gender-specific conditions of (pop) cultural production
Historical gender discourses and forms of media
Social movement/activism/politics and gender
Reception of popular culture
Education and training
Paper presentations should not exceed 20 minutes. If you are interested to participate, please send your abstract (300 words) by 30 November 2015 to Lisa Waschkewitsch firstname.lastname@example.org On behalf of the work group ?Gender Research? at the University of Rostock.
Radical Film Network - Call For Participants
Over the 2016 May Day holiday weekend (29 April - 2 May), Glasgow will host the Radical Film Network http://www.radicalfilmnetwork.com festival and unconference. This unique and innovative constellation of events brings together the collective efforts of activists, academics, and cultural workers from over twenty Scottish-based organisations engaged with radical film culture. The Glasgow event builds on the 2015 inaugural conference of the Radical Film Network in Birmingham which explored alternative film cultures and political cinema in the 21st century. At the inaugural conference, initial steps were taken to open up spaces for discussion involving academics and participants in film culture. Grounding itself in Scotland’s vibrant radical film culture, the 2016 unconference and festival will respond to one another, allowing for questions and ideas to be explored beyond the conventional boundaries of academic events and film festivals.
The organising committee invites expressions of interest from anyone wishing to participate in discussions over the weekend. These conversations will take the form of an ‘unconference’, in which the agenda will be decided by the participants according to their interests and in response to the weekend’s range of screenings and events. Within this flexible format, participants are invited to share their practical experiences, research, skills, and insights on any aspect of radical film culture including -Your or your organisation’s practice (as filmmaker/s, exhibitors, researcher/s, activist/s, etc) -Film exhibition, festivals, community cinemas, -Consequences and possibilities of new technologies and platforms, -Political filmmaking, -Education and radical film practices, -Critical perspectives on the representation of marginalised groups, -Radical film history, culture, theory and practice
Possible forms of participation include
-Short illustrated talks (up to 6 minutes) -Poster presentations -Digital or printed material that can be distributed at the event
In keeping with the ethos of the unconference, the organisers will consider proposals for other formats. The unconference will take place at the University of Glasgow, the University’s Queen Margaret Student Union, and the Scottish Trades Union Congress’ headquarters, which are all in close proximity. Across these fully accessible venues, we will have ample space to facilitate additional activities as requested.
Please contact the organisers if you require childcare facilities or have any other access questions.
While the support of the University of Glasgow and the STUC allows us to keep costs to a minimum, in order to provide food and materials for the attendants the unconference will have a ‘Pay What You Can’ registration system, with a suggested contribution of £50 from salaried academics and those with access to funding, but free of cost to all unwaged and voluntary sector participants.
Glasgow is a city with a rich, radical political and cultural history, which includes a wide-ranging, alternative film culture. The May Day Bank Holiday weekend, which takes place in the run up to the 2016 Scottish Parliamentary elections, is the perfect time for the city to play host to activists and academics – from Scotland, the UK and beyond – interested in exploring radical film cultures. We’d very much like to hear from you! Please answer a few questions about your interests using this form https://docs.google.com/forms/d/1IRy8o6-mww_8TBltnxqJZS3BoQu2DFxcFFGj-956gTM/viewform?c=0&w=1or download it here https://stir.box.com/RFNparticipant and send it to email@example.com by 31 December 2015.
To see this information on the web:
Organisations supporting and taking part in the Radical Film Network weekend include:
Africa in Motion Film Festival http://www.africa-in-motion.org.uk
Bristol Radical Film Festival https://www.facebook.com/RadicalFilmFestival
Camcorder Guerrillas https://camcorderguerillas.wordpress.com
The Drouth: Scotland's Literary Quarterly http://www.thedrouth.org Glasgow Human Rights Network http://www.gla.ac.uk/research/az/glasgowhumanrightsnetwork
Glasgow University Queen Margaret Student’s Union http://www.qmunion.org.uk Glasgow Women’s Library http://womenslibrary.org.uk Govanhill Baths http://Govanhill%20Baths Lefty Film Club ?Life Mosaic http://www.lifemosaic.net Liverpool Radical Film Festival http://www.liverpoolradicalfilmfestival.org.uk
Plantation Productions http://plantation.org.uk Radical Film Archive http://autonomous.org.uk/events/radical-film-archive
Reel News http://reelnews.co.uk
Room 8 Studios Ltd http://room8studio.tumblr.com Scottish Mental Health Arts and Film Festival http://www.mhfestival.com Scottish Queer International Film Festival http://www.sqiff.org Scottish Trades Union Congress http://www.stuc.org.uk Social Bite http://www.social-bite.co.uk Take One Action Film Festival http://www.takeoneaction.org.uk
University of Glasgow http://www.gla.ac.uk
VISUALIZING THE STREET
Confirmed Keynote Speaker: Professor Gillian Rose http://uva.us2.list-manage1.com/track/click?u=d716ad4643f2e0f147befb9d9&id=9f6eedee15&e=f001d8ee38
(The Open University)
For the international conference /Visualizing the Street, the ASCA Cities Project http://uva.us2.list-manage1.com/track/click u=d716ad4643f2e0f147befb9d9&id=afe299d654&e=f001d8ee38 invites papers that explore the impact of contemporary practices of image-making on the visual cultures of the street.
Date: Friday, 17 June 2016
Place: University of Amsterdam
New technologies of visualization have opened up the practices of photographing, filming, and editing to everyone who carries a phone and is connected online, resulting in the mass circulation of privately produced imagery. This development has social, cultural and political significance. For example, Larsen and Sandbye (2014) write that “increasingly, everyday amateur photography is a performative practice connected to presence, immediate communication and social networking, as opposed to the storing of memories for eternity, which is how it has hitherto been conceptualized.” Hito Steyerl (2009) points towards the potential of such low resolution imagery in propagating a less hierarchical and more democratic regime of visuality. At the same time, new technologies have also contributed to the expansion of an urban visual culture that is subject to a professional system of visual production and distribution. The visual experience of the contemporary street is partly shaped by artistic visualizations, detailed advertisements, big-scale billboards and high resolution renderings that pervade urban environments. Although responding to different sensibilities, there are striking similarities between these various registers of everyday visual experience of the street. The digital means of production of street imagery – never delivering a clear end product and always in circulation between material and virtual networks – and the fleeting glance with which consumers relate to that imagery, point towards a distinctly performative visual language. It seems that what is most important to this visual culture is not so much the content of the imagery as its immediacy. This development asks for new concepts, theories and research methods that would combine close analyses of the image with the study of the practices of production, circulation and consumption of the image, and the diverse set of social, cultural, affective and performative implications of it in everyday life.
Please submit abstracts (max 300 words, for 20 min papers) together with an academic CV to Pedram Dibazar (email: firstname.lastname@example.org) by 1 November 2015.
Please note that we are also working on a publication on the same topic for the Amsterdam University Press book series Cities and Cultures http://uva.us2.list-manage.com/track/click?u=d716ad4643f2e0f147befb9d9&id=f43ea60594&e=f001d8ee38.
A selection of contributions to the conference will be included in the book.
For any inquiries please contact organizers Pedram Dibazar http://uva.us2.list-manage1.com/track/click?u=d716ad4643f2e0f147befb9d9&id=b5dc4c1f20&e=f001d8ee38
SCREENING THE SUPERNATURAL
Film Journal, the international peer-reviewed online journal founded by SERCIA (http://www.ucl.ac.uk/silva/filmjournal), is seeking contributions for a special-themed issue on the supernatural in film, edited by Andrea Grunert (email@example.com).
DEADLINE FOR ABSTRACTS: 30 November 2015
The Haunted Screenâ?? is the title used both by Lotte Eisner for her famous reading of German Expressionism and Lee Kovacs for her investigation of ghost figures inspired by the literature-based Gothic tradition in film from the 1930s and 1940s to interpretations of the supernatural in productions of the 1990s. Nineteenth-century literature was preoccupied with phenomena which exist above and beyond nature and the vampire entered English literature via Byron and John Polidori, becoming especially popular a hundred years later with Bram Stoker's Dracula. Spiritual seÌances, most fashionable in the late nineteenth century, mingled spiritualism and spectacle, anticipating new entertainment media such as the cinema. At the intersection of reality and fiction, belief and spectacle, film appeared as a form of modern magic. Even today, digital creation has not dispossessed film of its magical aura and the power to bring to life and enchant. As a projection of thoughts, film gives visibility to the unknown and explores the unconscious. It represents everyday reality and recreates the world of dreams, creating a space in which religious belief and superstition co-exist.
This issue of Film Journal seeks to explore the various occurrences and functions of the supernatural in film. It proposes to investigate the narratives and the methods of narrative mediation, as well as questions of representation and perception. Written in different contexts and very different in style, Eisnerâ??s and Kovacsâ?? books, reveal the complexity of the topic and the historical, ideological, social and aesthetic aspects at stake. Narratives of the fantastic cross spatio-temporal and generic boundaries, creating a feeling of instability through the blend of generic elements. By exploring the abyss between rationality and fantasy, films dealing with supernatural phenomena and devices recall the complexity of the viewing experience in cinema which is composed of feelings, body reactions and thoughts. As Octave Mannoni put it, the modern viewer does not believe in illusion anymore, yet, part of him/her is still captured by the suggestive power of the image and the spectacular.
Why are elements of the mystifying and supernatural so fashionable today and how is cinema able to keep this fascination alive? The mixture of spiritualism and entertainment at cinemaâ??s roots continues to find expression in contemporary films and their updating of ghost tales under the auspices of psychological knowledge. Christopher Nolanâ??s The Prestige (USA/UK, 2006) deals with both the â??uncannyâ?? (events which can be explained by using logic) and the â??marvelousâ?? (events which are unexplainable), two concepts described by literary theorist Tsvetan Todorov. Moreover, the mystifying elements borrowed from Gothic tradition fulfill the viewerâ??s wish to be entertained by unmasking the illusion at the very heart of filmmaking. Guy Ritchieâ??s Sherlock Holmes (2009), for instance, allies the pre-cinematic world and its preoccupation with the magical with a taste for spectacular events far from everyday experience.
Occult rituals integrated in the narrative delve back to the historical roots of film while also pointing to contemporary tendencies in filmmaking. The photographic representation of ghosts often follows older forms of representation, that of fluid, transparent bodies such as they appeared in nineteenth-century occultism. From the silent film to ultra-contemporary productions, what have been the aesthetic approaches to ghosts or spirits in cinema? There are filmmakers who forgo special effects â?? sometimes for financial reasons â?? and allow ghostly visitations to be played by actors, while still filming them â??realisticallyâ??. But then, what is the most realistic way to film a ghost or spirit? Questions that may be raised concern the significance of the different approaches â?? mise-en-sceÌ?ne devices for representing external reality, as opposed to ghosts and phantoms, or the images and sounds of the supernatural realm and how editing, sound effects and music score contribute to the creation of a world beyond our experience and knowledge.
The supernatural invades all genres. At the end of Allan Dwanâ??s The Iron Mask (1929) Dâ??Artagnan and his Musketeer-friends are dead, but appear again as translucent, ghostly figures (an effect created by overexposure) to greet the audience. Seen from our point of view, the sequence seems to comment on the history of film, anticipating the end of the silent era by showing one stars, Douglas Fairbanks, Sr., in one of his last roles. In todayâ??s cinema, elements of the fantastic increasingly inspire film, updating generic forms and devices, in films as different as Clint Eastwood's western Pale Rider (1985) or Bertrand Tavernier's French-American production In the Electric Mist (2009). Horror films and science fiction tales narrate the supernatural within their own frame of conventions. Vampires, werewolves and other creatures that haunt the cinema from its beginnings have been reborn in films addressing adolescent audiences. What points in common does Polidori's Vampire have with Edward in the Twilight Saga films? And what links Francis Ford Coppola's Dracula to its predecessors or the latest update of the figure in the US television Dracula (2013-2014)?
New readings of the vampire figure have also appeared in Neil Jordan's Interview with the Vampire: The Vampire Chronicles (USA, 1994), Byzantium (UK/Ireland, 2012) or Jim Jarmush's Only Lovers Left Alive (UK/Germany, 2013).
Angels and demons, zombies and aliens people the realm of the supernatural. Yet, the other, the unknown is not only expressed by photographed or computer animated characters. It may be an invisible threat, creating constant tension, as in The Blair Witch Project (1999).
Phantoms or zombies and other creatures challenging normalcy can be seen as materializations of fear, as figures of individual and social crisis.
The supernatural expressed through horror film devices and the recurrence to spirits may be linked to loss, grief and death, as in two very recent productions, David Keatingâ??s Wake Wood (Ireland/UK, 2008), the first theatrical release from Hammer Films in 30 years and Conor McPhersonâ??s The Eclipse (Ireland, 2008). The mourner, who is unable to overcome the death of a beloved person, is haunted by visions which the cinema materializes. Trauma, inner images and sensations are brought to the surface of the film. The fantastic may be experienced as a real presence by characters facing fear, guilt and grief. Once again, occultism and psychology are blended in a filmic discourse that relies on generic devices and aesthetics (like film noir in The Eclipse). In Spellbound (1945), psychiatric experience and surrealism are brought together to depict mental images, whereas one of the recent Hammer-productions, The Woman in Black (2012), the adaptation of a successful British play written in the eighties, but set in the Edwardian era, constantly reveals the psychological meaning behind the conventions of the horror genre.
The Eclipse and The Woman in Black are only two, recent samples of a variety of films which explore encounters between everyday life and the supernatural. In so doing, they attempt to deal with the complexities of past, present and future and reveal the extent to which film is able to overcome the boundaries of time and the constraints of realism. Just as the voice of Joe Gillis in Sunset Boulevard (1950), the voice of a dead man, may echo the magical power of film â?? or its power to allow the viewer to â??suspend disbeliefâ?? â?? so the ghost of the protagonistâ??s dead wife in The Eclipse is a signifier of the abolition of boundaries. At a time of interest in the occult and realms beyond rationality, it would indeed be interesting to examine how â??magicalâ?? thinking is integrated in film, not only in more recent Native American, Aboriginal or Maori films (Whale Rider, Nikki Caro, NZ/Germany, 2002), but in Jim Sheridanâ??s In America (Ireland/UK, 2002), for example, which blends Irish folklore with voodoo and contemporary New York society.
Botting, Fred. Limits of Horror: Technology, Body, Gothic. Manchester:
Manchester UP, 2010.
Eisner, Lotte. The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt. 2nd edition. Berkeley, University of California Press, 2008.
Kovacs, Lee. The Haunted Screen: Ghosts in Literature and Film. New York, McFarland, 2005.
Lafond, Frank. Cauchemars ameÌ?ricains: fantastique et horreur dans le cineÌ?ma. LieÌ?ge, CeÌ?fal, 2003.
Morgan, Jane. The Biology of Horror: Gothic Literature and Film.
Chicago, University of Southern Illinois, 2002. Richardson, Michael.
Surrealism and Cinema. Oxford, Berg, 2006.
Skal, David J. Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen. London, Faber & Faber, 2004.
Todorov, Tzvetan. The Fantastic: A Structural Approach to a Literary Genre. Ithaca, NY, Cornell UP, 1975.
______________________________________________________________________________________________The 100 Greatest Video Game Characters (working title)
The 100 Greatest Video Games (working title)
Robert Mejia (State University of New York, Brockport), Co-Editor
Jaime Banks (West Virginia University), Co-Editor
Aubrie Adams (University of California, Santa Barbara), Co-Editor
The field of game studies has grown substantially since the turn of the century, and yet the field lacks a rigorous reference collection on the cultural significance of video game franchises. Such a reference collection is needed as it can be difficult for even well-versed scholars to keep track of the range and complexity of the many significant franchises that populate the industry.
Hence, we are seeking essays for an edited collection on the cultural and historical significance of 100 video game franchises. The collection, titled “The 100 Greatest Video Games,” will be published by Rowman & Littlefield in early 2017. This collection will serve as a companion volume to the edited collection, titled “The 100 Greatest Video Game Characters.”
Academics, game industry personnel, gaming journalists, and others are invited to submit proposals addressing the historical and cultural significance of a specific video game franchise. Suggested franchises include (but are not limited to):
Age of Empires
Call of Duty
Dance Dance Revolution
Ecco the Dolphin
Grand Theft Auto
Leisure Suit Larry
Medal of Honor
Sonic the Hedgehog
The Legend of Zelda
The Oregon Trail
Tony Hawk Pro Skater
We welcome (1) proposals focusing on franchises listed above or (2) proposals suggesting franchises not listed above. The hope is that this collection will serve as a rigorous reference guide to the historical and cultural significance of 100 of the most important video game franchises. Likewise, considering that the field of game studies consists of academics, industry professionals, and journalists, we encourage contributors to submit with an eye toward academic and non-academic audiences alike.
Please submit the following: (1) an abstract (250 word max) addressing the rationale for inclusion of your selected or proposed franchise in terms of the franchise’s cultural and historical significance; (2) a short bio (250 word max); and (3) a 1-page CV or 1-page publication list emphasizing expertise in game studies to firstname.lastname@example.org by November 1st, 2015. Authors will be notified by December 1st, 2015 if their proposals have been accepted. Full essays should be within the range of 800 – 1000 words, submitted as a Word or Rich Text Format. Full essays will be due by January 15th, 2016. Multiple submissions are acceptable. For more information please contact the co-editors at email@example.com.
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:
The series editors are currently seeking to commission books in the following areas:
If you’re interested in writing any of these titles, please contact in the first instance Professor Alan McKee on firstname.lastname@example.org, 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.
For many years, the back catalogue of Perfect Beat: The Asia-Pacific Journal of Research into Contemporary Music and Popular Culture was only available in print form. We are pleased to announce that most of the old issues -- starting with the first publication in July 1992 -- are now digitised and can be accessed via the journal's website.
Go to https://www.equinoxpub.com/journals/index.php/PB/issue/archive to search the archives. Further issues will be added. My thanks to the former editors, Mark Evans and Denis Crowdy, for making this happen! (Full article access requires a subscription to EBSCO, ProQuest or another database; book reviews are free to view).
You will find a wealth of articles about contemporary/popular music in the Asia-Pacific region, for example:
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
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.