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.
CULT CINEMA AND TECHNOLOGICAL CHANGE CONFERENCE
An AHRC Global Cult Cinema in the Age of Convergence Network Conference
Aberystwyth U, UK
15- 16 April 2014
Registration now open (closes next Monday 17th March). Please go to the conference website http://cultconference.wordpress.com/ for the conference programme and registration form.
Professor Barbara Klinger, Indiana U, USA
Professor Mark Jancovich, U of East Anglia, UK
Conference events include: A 3D screening of Creature From the Black Lagoon (Jack Arnold, 1954) in association with Abertoir: Wales' International Horror Festival http://www.abertoir.co.uk/
While academic study of cult cinema can be traced back to the 1980s, there has recently been a surge of scholarly interest in – alongside an increasing popular awareness of – the field. In particular, the advent and development of digital networks has led to an increasing awareness of a variety of cult followings and access to unprecedented cult films from around the world. Research addressing the changes wrought by increased digitization and global connectivity has, however, been relatively scant, as have sustained attempts to discuss and debate these issues. The aim of this conference (organised in association with the AHRC Global Cult Cinema in the Age of Convergence Network) is to bring together scholars to engage in a sustained dialogue addressing the role of technologies in different areas of cult film culture.
If you have any queries relating to the conference, please email: email@example.com
Jamie Sexton, Kate Egan, Matt Hills, Emma Pett and Rebecca Edwards (conference organisers)
Conference on Pop Music
Erasmus U Rotterdam - The Netherlands
6-7 November 2014
Together with the International Association for the Study of Popular Music and Tilburg U we are organizing an international conference on popular music at Erasmus U titled:
A long way to the top: The production and reception of music in a globalized world
Keynotes by John Street and Fabian Holt
Regarding the production of music, we aim for papers on - but not strictly limited to - these themes:
· Music industries and scenes: for example, what challenges are music industries facing in the 21st century? How have their business models changed over the last decade? To what extent is music increasingly produced within translocal and virtual scenes outside of traditional music industries?
· Careers in pop music: for example, to what extent have artist labor markets changed over the last decades? Have music careers become longer and more flexible? What factors determine success?
· Pop music policy: for example, to what extent and why do government organizations (national and local) fund what types of music? How are pop musicians promoted abroad and for what reasons? What role does music play in urban development and city branding?
· New media and pop music: for example, how have streaming services changed music industries? Did social media affect the marketing of pop music? How do (online) consumer critics affect sales?
Regarding the reception of music, we aim for papers on - but not strictly limited to - these themes:
· Pop music consumption and identity construction: for example, how important is pop music in processes of bounding and bridging social groups and group identities? How do music fans use the Internet in processes of meaning-making and sacralization?
· Music performance, festivals and rituals: for example, how can music performances achieve intended transformative effects? How are they clustered in a particular period of time at a particular place? How can we explain the growing popularity of music festivals among international audiences?
· Pop music, political activism and social movements: for example, what role does pop music play in social change? How politically engaged are pop musicians and what topics do they address?
· Popular music heritage and tourism: for example, how and which pop music is being canonized? How does this relate to generational conflict, feelings of nostalgia and authenticity?
Please send your abstract of 400 words in English (including a research question, theory and methodology) together with a short biography (100 words), including name, institutional affiliation and position, phone number, postal and e-mail addresses, to: firstname.lastname@example.org
Abstract deadline: 1 June 2014. Participants will receive notifications of acceptance by 1 August, 2014.
If you have any questions, don't hesitate to contact us:
MUSIC MATTERS MASTER CLASS! (5 November)
Are you a PhD student? Then definitely consider joining one day earlier to take part in the very first Music Matters Master Class. This master class is hosted in Tilburg as a prelude to the conference in Rotterdam (just 45 min. by train). Also if you can’t make the conference, but would like to discuss your work in an inspiring setting: continue reading! We aim to get together a group of PhD students who conduct research on music and meaning making in the broadest sense. Think of topics such as music in relation to identity formation, rituals, tourism, festivals, and urban and social development: but the scope of the master class is certainly not limited to these topics. We invite proposals that deal with both popular and classical music. We will be asking at least two conference speakers to host the master class.
Call for Papers Journal of Screenwriting 6.2 - Television Writing Issue
We invite researchers, educators and practitioners to contribute to Issue 6.2 of the Journal of Screenwriting, a peer-reviewed journal that focuses on this important aspect of moving image pre-production and conceptualisation.
This special issue is concerned with writing for television. Papers submitted for consideration might include but are by no means limited to the following areas:
• The television writer as auteur
• The writer and his or her relationship with the television industry.
• Television institutional practice and the writer.
• Writing television series and serials.
• Television writing practice in different nations and national contexts.
• Collaborative writing.
• Analysis of television scripts.
• The script development process.
• The history of television writing.
• Genre and television writing.
• The television writer as showrunner or creative producer.
• Television writing in the digital multi-platform age.
The peer reviewed Journal of Screenwriting brings together research and reflection on pedagogy, professionalism and practice in an area which has been somewhat overlooked in academic discourse. New work has conventionally been scattered throughout journals devoted to specific aspects of media theory or practice, and this academic journal aims to bring together serious screenwriting related work under one title. The Journal is international in scope, and seeks wide-ranging work that is critical, rigorous and original in its contribution to this developing area of study. We expect to include work that employs a diverse range of methodological approaches, including textual analysis, production analysis, practice as research and historical investigation.
Articles should be between 4000 and 8000 words in length.
Articles, to include a 200 word abstract, should be sent by 1 June 2014 to the Principal Editor, Jill Nelmes (email@example.com), and to the Co-Editors of this issue, John Cook (J.Cook2@gcu.ac.uk) and Eva Redvalleva@hum.ku.dk ). Please contact either Jill , John or Eva regarding any queries about suitability of subject or other requirements.
* CALL FOR PAPERS *
International Workshop: AUDIOVISUAL SECTOR IN THE DIGITAL AGE:POLICIES AND STRATEGIES FOR DIVERSITY
5-7 November 2014
It is now open the call for submitting papers to the international workshop Audiovisual sector in the digital age: policies and strategies for diversity that will be held on 5-7 November 2014 at the Faculty of Humanities, Communication and Documentation of Carlos III U of Madrid. This event is part of the activities that are being developed by the research project ?Audiovisual and cultural diversity: good practices and indicators? and its aim is, a decade after the publication of the Convention on the Protection and Promotion of the Diversity of Cultural Expressions (UNESCO 2005), to consider the major issues of the diversity in the audiovisual, nowadays constantly changing.
The Scientific Committee of the workshop will select eight proposals.
Abstracts should be 400-500 words in length and should deal with the following topics:
- Convention on the Protection and Promotion of the Diversity of Cultural Expressions and its development in the digital era (UNESCO,
- Public policies, audiovisual sector and cultural diversity.
- Diversity in the audiovisual sector: cinema, radio, television, music and videogames.
- ?Good practices? for diversity in the digital age. - Copyright and audiovisual diversity. - Coalitions for cultural diversity and its relationship with the audiovisual sector.
- Measuring and statistics for diversity: indicators in the digital age.
Based on selected papers, two panel discussions will be arranged to be held in the morning of 6-7 November. The authors of the papers will have 20 minutes for their presentations. Previously, (being 20 October 2014 the deadline) successful applicants must send the final paper ?unpublished and original-. Papers should be between 6,000 - 8,000 words in length.
Deadline for applications and abstracts: 1 July 2014.
Notification of abstracts acceptance: 15 April 2014.
Registration fee ? deadline: 50? - 15 September 2014. Deadline for full papers (unpublished and original): 20 October 2014 Deadline for final versions in English (*): 25 November 2014
(*)Papers presented at the international workshop Audiovisual sector in the digital age: policies and strategies for diversity will be revised to be sent as a monographic proposal to a peer-reviewed scientific publication.
Contact e-mail: firstname.lastname@example.org
For further information about the international workshop and the research project: www.diversidadaudivisual.org
CALL FOR PAPERS: Film Noir
An area of multiple panels for the 2014 Film& History Conference: Golden Ages: Styles and Personalities, Genres and Histories
20-24 November 2014
The Madison Concourse Hotel and Governor’s Club Madison, WI (USA)
DEADLINE for abstracts: 1 July 2014
AREA: The Golden Age(s) of Film Noir
Motion picture audiences have long grown accustomed to dramatic narratives in which the protagonist struggles to discover some element of truth among a myriad of circumstances and characters. As suggested by Kaplan, Spicer, Harvey, Place, and others, the style of Film Noir represented a different entity within the history of film; one that drew upon social eclecticism, and the seamy underbelly of popular culture. This style, or to some, film genre, forced audiences into re-examining American values, including traditional gender roles, race, and sexuality.
While the war years of 1941-46 featured the private eye or hard-boiled detective’s trip through the social fantastic, the post-war years drew upon the social malaise that was a large part of American culture, and a war ravaged Europe. A later construct was that of psychopathic behavior and criminal intent in which villains and villainesses harbored dark childhoods, and psychological wounds of war.
What can be said about the effects Film Noir, and the novels from which they derive, have had upon traditional Western societies? What cultural or historical factors affected audience perceptions of these stories, and their subsequent pleasures? How did female spectatorship factor prominently in postwar narratives? How has the anti-hero figured prominently in the deconstruction of patriarchy, if at all? This area, comprising multiple panels, explores the concept of “Golden Ages” across the production systems surrounding Film Noir. Topics might include the following:
• Decoding the Production Codes through Film Noir
• Feminism, female sexuality, and fandom
• Gay, Lesbian characters and Queer considerations
• Racial relations, and social disruption
• The existence, or non-existence, of Neo-Noir
• The Family in Film Noir
• The military man or woman in wartime Films Noir
• The recognizable star vs. the unknown actor in Films Noir
• The Tough Guy guise, and the fascination with the Femme Fatale
• Wet, dangerous, and dark: the visual tropes of the Film Noir city
Proposals for individual papers should include a 200-word abstract and the name, affiliation, and contact email of the presenter. Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter.
Deadline for Abstracts: 1 July 2014. For updates and registration information about the upcoming meeting, see: www.filmandhistory.org/The2013FilmHistoryConference.php
Please send submissions or queries to the area chair:
Darrell M, Newton
Music and Movies: National and Transnational Perspectives
Radboud U, Nijmegen, Netherlands
18-20 September 2014
20th Anniversary SERCIA Conference
SERCIA, founded in France in 1993, is a European-based association of scholars dedicated to the study of English-speaking cinema. It organizes an annual conference dedicated to a particular theme. The theme of the 2014 conference is "Music and Movies: National and Transnational Perspectives." It will be hosted by the Department of American Studies, Radboud U, Nijmegen, the Netherlands on September 2014.
Nijmegen is the oldest town in the Netherlands and well known to movie experts from Richard Attenborough's A Bridge Too Far (1977). This year will mark the 70th anniversary of Operation Market Garden, designed to end the war quickly. During the operation, launched on 17 September 1944, American, Canadian, British, and Polish troops liberated Nijmegen.
Our conference participants will consequently find the scenic town center buzzing with international visitors, parades, concerts, and film events around the theme of liberation. In addition to our conference lectures, panels, and workshops on the aural dimension of film, we will present an exhibition as well as a live musical performance on "The Soundtrack of Liberation" synchronized with live screenings.
Program and updates: www.ru.nl/col/SERCIA
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.
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
Call for Papers
Sound Studies: An Interdisciplinary Journal will be an international, peer reviewed and inter-disciplinary journal in sound studies, providing a unique forum for the development of the subject within a range of disciplines such as ethno/musicology history, sociology, media and cultural studies, film studies, anthropology, philosophy, urban studies, architecture, arts and performance studies. The journal will encourage the study and research of sound by publishing submissions that are interdisciplinary, theoretical, empirically rich and critical in nature and situated at the cutting edge of sound studies. It will build upon the pioneering work of key academics in the field such as Veit Erlmann, Douglas Kahn and Jonathan Sterne, and encourage further innovative thinking.
For its inaugural issue Sound Studies invites original work on any aspect of sound that meets the above criteria.
(Print): ISSN 2055-1940
(Online): ISSN 2055-1959
Paper submission, if you wish to be considered for the first issue: 15 August 2014
Notification of acceptance: 15 October 2014
Final Draft submitted to editors: 15 November 2014
Initially, please submit an abstract of between 300-500 words, accompanied by a C.V. to the editors at (email@example.com).
If you would like your article to be considered for inclusion in the first issue of Sound Studies then abstracts should be submitted no later than 15 May 2014. Full manuscripts would need to be submitted no later than 15 August 2014. Articles submitted after this date will be considered for future issues of the journal.