CFP: Game of Thrones – An International Conference

CFP: Game of Thrones – An International Conference

6-8 September 2017

University of Hertfordshire, School of Creative Arts, College Lane, Hatfield, Hertfordshire,
AL10 9AB

Deadline for proposals: 30 March 2017


Widely rumoured to be moving into its final season, HBO’s
Game of Thrones (2011- ) has enjoyed 6 years of global popularity, attracting international scholarly and critical attention and reaching record-breaking audiences.  Famously adapted from George R.R. Martin’s book series, ‘A Song of Ice and Fire’, HBO’s
medieval fantasy world spans two continents, Westeros and Essos, and focuses on the power struggles between competing dynasties for possession of the Iron Throne and ultimate power over the Seven Kingdoms.  It is not only political intrigue that threatens
the inhabitants of this world, however, as dragons, witches, giants and whitewalkers also stalk its shores.

Not just a simple fantasy series, Game of Thrones has been likened to ‘The Sopranos in Middle-Earth’ by showrunner David Benioff and is notorious for its controversial storylines, particularly those centred on its women.  Rape, incest and power brokering through marriage reveal a patriarchal society in which political intrigue is not always gendered but inevitably leads to uneasy alliances between families – both friend and foe – and violent ends for many. Game of Thrones continues to enrage and enthral a global audience unsure if the series is misogynist, feminist or anti-feminist; or an uncomfortable blend of all three.

Populated by a large ensemble cast (reputedly the largest on television today), Game of Thrones is filmed in many global locations: Belfast to Morrocco and Dubrovnik to Iceland, the series has impacted upon the tourist economies as well as providing employment for a vast array of ‘behind-the scenes’ personnel from post production and special effects designers through to technicians, production designers, directors and producers to camera
operators, editors and carpenters (to name but a few).  The series has also spawned a vast merchandising enterprise from models to games and comics to spin-off books.  In short, the production of Game of Thrones has played a large part in the creative industries since 2010 through the many employment opportunities it has offered transnationally.

This international conference invites proposals on a wide range of subjects.  While there have been several significant studies on the seriesits adaptation from literature to television as well as its multimedia engagements, Lozano Delmar, Javier; Raya Bravo, Irene; López Rodríguez, Francisco Javier (Eds.), Reyes, Espadas, Cuervos Y Dragones. Estudio Del Fenómeno Televisivo Juego De Tronos. Madrid, Fragua. Colección Fragua Comunicación, 2013 (to name but three). This conference aims to widen the scope to include contributions from all aspects of the creative industries.  We hope this conference will offer an opportunity to open up the discussion, make links between practitioners and theorists, industry personnel and critics as well as key creative personnel who have worked on the series.

Short abstracts (250 words + bio) are invited on any Game of Thrones related subject by 30 March 2017.  Varied presentation styles are encouraged, including formal papers (20 mins), fully formed panels, poster and digital presentations as well as roundtable discussions, short/lightning presentations (5 mins) and PechaKucha (20X20).  Proposals for fully formed sessions will also be considered.  All abstracts and proposals will be peer-reviewed and a response will be sent by
31 May 2017.

Please email all proposals to Kim Akass at

Keynotes will be announced in the near future and publishing opportunities are currently being sought.

CfP Performance and the Body

Call for Papers: The Velvet Light Trap #77 – Performance and the Body

Deadline: January 15, 2015

Historically, studies of performance have often been tied to star images, focusing on issues of celebrity in professional, public, and private spaces. As a result, a large body of research has explored how the star is constructed through extratextual discourses and how this off-screen persona may shape perceptions of on-screen performance. However, scholarly attention to performers has been shifting from star image and celebrity to acting and performance. Several collections on film acting and performance – most recently Cynthia Baron and Sharon Marie Carnicke’s Reframing Screen Performance (2008) and Aaron Taylor’s Theorizing Film Acting (2012) – have extended our knowledge of the historical evolution of acting practices. The editors of The Velvet Light Trap would like to further the ongoing conversation surrounding performance studies by focusing attention on the relationship between performance and the body and the ways in which the body is being performed across the mediums of film, television, and new media.

Such unavoidably embodied performances as Buster Keaton’s physical comedy and Misty Copeland’s athletic Under Armour ad serve to foreground a fundamental, yet often taken for granted, premise: the body is the central locus of performance. Through movement, gesture, facial expressions, and vocalizations, the body provides the basic physical language of performance. Yet this language is neither fixed nor ideologically neutral but is instead continuously shaped and reshaped by historical and cultural pressures brought to bear on the body as contested site of identity. Much scholarly work has been attentive to identity construction and the body: Judith Butler’s Gender Trouble (1990), Kathleen Rowe’s The Unruly Woman (1995), and Deborah Harris Moore’s Media and the Rhetoric of Body Perfection (2014), for example, have explored identity issues pertaining to body shaming, body disorders, bodily violence, expressions of sexuality, and gender and sexuality performativity. Moreover, as Baron, Diane Carson, and Frank Tomasulo argue in More than a Method (2004), performative mediations of the body “lie[] at the intersection of art, technology, and culture” (p. 1). Thus, the representational practices through which bodies are enacted offer particularly fertile ground for interrogating the production and reception of performance from both interpretive and historical perspectives. Recent developments in new media (such as video games, social media, YouTube) and digital technologies (such as motion capture, 3D, and Photoshop) may have shifted how the body is viewed, visualized, and altered. The body can now appear in otherwise impossible situations or be changed into otherwise impossible shapes.

Issue #77 of TVLT, “Performance and the Body,” seeks both to advance discussions of the centrality of the body to performance studies and to encourage greater scholarly attention to performative bodies across mediums. The editors are particularly interested in work focusing on the performance of the body through movement and voice; the aesthetic and ideological construction of performative bodies through fashion, makeup, body modification, and digital manipulations; and digital performance of virtual bodies. For this issue, the editors seek to bring together original scholarship that engages new theoretical frameworks, archival sources, and historical perspectives that encourage re-evaluations of this crucial aspect of media studies.

Suggested topics include, but are by no means limited to:

  • Performative bodies and the construction of identity (gender; sexuality; queerness; transgenderism; race; ethnicity; nationality; age; ability; political beliefs; nationalism)
  • Body modification as a performative practice (body augmentation and plastic surgery; extreme weight changes; the use of makeup and prosthetics)
  • Training the performing body (athletic training; military training; dance training; musical training; vocal training)
  • Performing bodily excess (representations of the drugged or drunken body; the grotesque body; death; illness; bodily violence; sex acts)
  • Performing the Other (blackface performance; racial masquerade; performing queerness; cross-gender performance; stereotyping bodies; voices; and accents)
  • The performance of the body through costume and dress
  • Laboring bodies (body doubles; stunt doubles; stand-ins; Steadicam operators)
  • Digital technologies and performance (performance in video and role-playing games; virtual reality user performance; digital resurrection; Photoshopping or airbrushing the body; robotic and non-human performers)
  • Performing animated bodies (vocal performance; motion-capture; rotoscoping; anatomical studies in producing animated bodies)
  • Supporting bodies (background performers; stand-ins; stunt performers)
  • Social media and YouTube (selfies; Instagram; YouTube makeup/fashion tutorials)
  • Non-traditional body performance studies (animal performance)
  • Genre and performance (action film performance and “hard bodies”; performing bodily humor; “body genres”)
  • The body and performance style (early cinema; silent/transitional; classical; Method acting; pastiching performance styles; performance styles in an actor’s “body of work”)
  • Performing “real” bodies (biopics; performers playing themselves; cameo performances)
  • Multiple bodies performing a single character and single performers representing multiple bodies (double casting; body/voice doubles; replacing performers in long-running texts)
  • Fans as performers/producers (reenacting and reproducing performances through cosplay; adjusting celebrity bodies in photo manipulations; fan art; and fan vids)

Submission Guidelines

Submissions should be between 8,000 and 10,000 words, formatted in Chicago style. Please submit an electronic copy of the paper, along with a separate one-page abstract, both saved as a Microsoft Word file. Remove any identifying information so that the submission is suitable for anonymous review. The entire essay, including block quotations and notes, should be double spaced. Photocopies of illustrations are sufficient for initial review, but authors should be prepared to supply camera-ready photographs on request. Illustrations will be sized by the publisher. Permissions are the responsibility of the author. Send electronic manuscripts and/or any questions to

About the Journal

TVLT is a scholarly, peer-reviewed journal of film, television, and new media. It publishes articles and interviews written with the highest scholarly standards yet accessible to a broad range of readers. The journal draws on a variety of theoretical and historiographic approaches from the humanities and social sciences and welcomes any effort that will help foster the ongoing processes of evaluation and negotiation in media history and criticism.

Graduate students at the University of Wisconsin at Madison and the University of Texas at Austin coordinate issues in alternation.TVLT’s Editorial Advisory Board includes such notable scholars as Charles Acland, Richard Allen, Mark Betz, Michael Curtin, Kay Dickinson, Scott Higgins, Jon Kraszewski, Nicholas Sammond, Jacob Smith, Jonathan Sterne, and Cristina Venegas. TVLT’s local advisors include: Mary Beltrán, Ben Brewster, Jonathan Gray, Michele Hilmes, Lea Jacobs, Derek Johnson, Vance Kepley, Shanti Kumar, Charles Ramírez Berg, Thomas Schatz, and Janet Staiger.

Chamada sobre Materialidades da Música na Era Digital. CFP Musical Materialities in the Digital Age

Até sexta-feira, 14 de março ainda é possível enviar abstracts (ver as normas abaixo) para o evento Musical Materialities in the Digital Age que acontecerá dias 27 e 28 de junho na University of Sussex, Inglaterra. Corre lá!

Call for Papers
Musical Materialities in the Digital Age
27-28 June 2014, University of Sussex

Keynote Speakers
Will Straw (Professor, Department of Art History and Communications Studies, McGill University; Director, McGill Institute for the Study of Canada)
Noel Lobley (Ethnomusicologist and Research Associate, Pitt Rivers Museum, University of Oxford)

Conference outline
Music, while summoning notions of intangibility, transience and loss, is also associated with material objects that serve to ground the musical, make the transient permanent and defer loss. Unearthing music’s association with materiality reveals a fascinating array of artefacts, including instruments, scores, transcribing devices, sound recordings and much more. Such artefacts provide vital reference points for historical research as well as inviting new creative uses, rediscoveries and (re)mediations. They also add to the ever-growing archives of past objects, whether stored in ‘physical’ or digital forms. Music’s material traces serve as vital ways of mediating memory, whether in private collections or public exhibitions. Furthermore, the use of musical ‘ephemera’ such as record sleeves, programmes, flyers and posters as a primary means for putting the popular musical past on display in museums and galleries has highlighted the ways in which such objects are not so ephemeral after all.

The persistence of musical artefacts and musical materialities following the period of their initial use value poses interesting questions. What is the fate of musical artefacts once they become obsolescent? What becomes of music and its objects once relegated to archives? What is the role of musical artefacts in helping us to understand the past? What is the relationship between the physical and the digital in terms of music’s objects? To what extent does a focus on music’s objects challenge the idea of music as a social process? Conversely, what role does musical materiality play in the maintenance and development of rituals long associated with music? What rituals reformulate musical materiality? What does the remediation of the musical past via ‘media archaeology’ have to tell us about present desires, anxieties and needs? What is the role of museums, galleries, sound archives and libraries in these processes?

Working from the premise that musical materiality matters, the aim of this two-day interdisciplinary conference (welcoming papers from media studies, music studies, cultural studies, museum studies, memory studies and other cognate disciplines) will be to reflect upon the materialities of music objects/technologies in the digital age, with an emphasis on:

– Processes of remediation
– Residual media of ‘dead media’
– Cultural waste
– Media archaeology (and particular manifestations relating to sound and music, e.g. ‘vinyl archaeology’)
– The recycling of memory and material culture
– The digital archive
– The future of music creation and consumption
– Nostalgia and ‘retromania’
– Music as ‘thing’ and/or ‘process’
– Commodification

The contexts of reception, production and circulation of digital objects as well as existence of residual media and formats (playback devices, vinyl records, etc.) could be examined. We would welcome papers focusing on theoretical approaches (considering for instance the meanings and implications of digitisation), but also papers on particular case-studies (for instance on specific formats and devices i.e. MP3s, iPods, etc. or specific creative and consumptive practices). A broader contextualisation of the historical and technological scapes within which the issues of materiality and remediation emerge would also be very useful.

The conference organisers welcome individual papers, proposals for panels and round table discussions, and proposals for practical demonstrations/performances related to the themes of the conference. For individual papers, demonstrations and performances, abstracts of no more than 300 words should be submitted. Panels and round table proposals should include a session overview, participant biographies and description of individual contributions. Abstracts and proposals (as well as event queries) should be sent to Dr Richard Elliott  ( by 14 March 2014.

Conference organisers
Richard Elliott, University of Sussex
Elodie Roy, Newcastle University

Dr Richard Elliott
Lecturer in Popular Music
School of Media, Film and Music
University of Sussex

T: 01273 877271

Chamada para o dossiê da Revista Infinite Earths sobre Noir Nórdico e a Invasão Escandinava

A revista Infinite Earths – –  está fazendo um dossiê sobre Noir Nórdico e a Invasão Escandinava. Abaixo as informações.

Call For Contributors: Special Issue Of Infinite Earths – “Nordic Noir & The Scandinavian Invasion”

Since the publication and inordinate success of Stieg Larsson’s The Girl with the Dragon Tattoo series of novels globally, the genre of so-called ‘Nordic Noir’ has fast become a cultural phenomenon both in the United Kingdom and on the international stage. BBC Four’s recent broadcast of The Killing, The Bridge, Borgen and Wallander have been met with critical acclaim and influenced a surge in the popularity of Scandinavian Crime Fiction in film, perhaps more pointedly, literature. Lars Kepler, Jusse Adler-Olsen, Hakan Nesser, Jo Nesbo, and many more besides.

This special issue of Infinite Earths seeks contributions that analyse, dissect or review these texts from inter-disciplinary perspectives. The pieces should range from 1000 words onwards and may include reviews of TV series, books or films that fit within this purview.

The Bridge
The Killing (series and novels)
Sjowall and Wahloo
Henning Mankell
Stieg Larsson
Hakan Nessen
Jo Nesbo (films and books)
Jan Costin Wagner

CfP 35th International Conference on the Fantastic in the Arts Empire

35th International Conference on the Fantastic in the Arts Empire
March 19-23, 2014
Marriott Orlando Airport Hotel

The ICFA welcomes papers on any aspect of the fantastic – broadly defined as including fantasy, science fiction, weird fiction, horror, gothic, and fairy tales – in Literature, Drama, Film, Music, Video Games and Comics. The Visual & Performing Arts and Audiences (VPAA) Division accepts papers on

  • visual arts such as comic books, paintings, architecture, sculpture, photographs and illustrations;
  • the performing arts, including (film, TV, game, pop/rock) music, dance and theater;
  • games, including fanfic, fan artwork and cosplay;
  • transformative texts, both fan and professional, including mashups and viral marketing;
  • and audience/reception studies concerning audiences for any medium or genre of the fantastic.
This year, we are particularly interested in topics related to our theme, Fantastic Empires. From space operas to horror film to pop/rock music, the fantastic abounds in fabulous empires. ICFA 35 will investigate the widest range of topics relating to empire, including discussions of particular texts/sounds/performances, analyses of the hegemonic and counterhegemonic forces of empire, evaluations of individual resistances to imperialism (and of empires striking back), and various other aspects of the theme. We welcome proposals for scholarly papers and discussion panels that seek to examine, interrogate, and expand any research related to empire and the fantastic.

For more information on the IAFA and its conference, the ICFA, see Deadline for paper and panel proposals on the fantastic and/or empires is 31 October through the IAFA website, The VPAA Division Head is Isabella van Elferen. Queries can be sent to her email address, . Further contact information can be found below.

Please join us in Orlando in 2014.  We will add your intellectual and creative distinctiveness to our own.  Resistance is futile.

Isabella van Elferen
Professor of Music
Kingston University London
Coombehurst House
Kingston Hill
United Kingdom

Call for Papers: Neo-Victorian Cultures: The Victorians Today

Neo-Victorian Cultures: The Victorians Today
24-26 July 2013

Liverpool John Moores University

Keynote Speakers:

Dr. Helen Davies (Teesside University)

Prof. Margaret Stetz (University of Delaware)

A. N. Wilson (Author of The Victorians and The Potter’s Hand)

While aesthetic, political and artistic returns to the Victorians have been prevalent throughout the twentieth century, the last decade has seen a particular surge in scholarly work addressing the seemingly ever continuing desire to reassess and adapt Victorian texts, theories, ideas and customs. This work has focused in particular on manifestations of the neo-Victorian on page and on screen, and this conference seeks to build on but also expand these debates by bringing together writers, practitioners and researchers working on the lasting presence of the Victorians since 1901 in a wide variety of realms, ranging from art and architecture to science, politics, economics, fiction and film. In doing so, the event aims to further expand the vibrant field neo-Victorian studies both within and beyond the arts and humanities through an examination of the Victorians’ continuing influence on twentieth and twenty-first century culture. We therefore welcome and encourage abstracts from postgraduate students, academics and independent researchers from all academic realms in the hope of capturing the diverse work being done on Victorian afterlives across a wide spectrum of disciplines and across traditional disciplinary boundaries.

Topics may include, but are by no means limited to, the following:

* the ethics, politics and aesthetics of adaptation

* neo-Victorian politics, economies and economics

* neo-Victorianism on page, screen and canvas

* neo-Victorian subcultures

* the Victorians in contemporary architecture, art and design

* neo-Victorian journalism/ the Victorian press and contemporary journalism

* the Victorians in contemporary science and medicine

* the neo-Victorian canon

* teaching neo-Victorianism

* the neo-Victorian marketplace; marketing the (neo-)Victorians

* Steampunk

Presentations should take the form of 20-minute papers. We also welcome proposals for fully-formed panels or roundtables. For individual papers, please submit a 300-word abstract as well as a short biographical note. For panel and roundtable proposals, please provide a brief outline of the session’s aims together with abstracts and biographical notes for each speaker and for the proposed panel chair or discussant. All proposals should be emailed to the organizers at<> no later than 1 March 2013. Please do not hesitate to email us if you have any questions about the event. You can follow us on Twitter (@Neo_Vic_Cult), find more info at, and join us on Facebook (

We look forward to receiving your proposals and hope to welcome you to LJMU in July!

The Organisers

Nadine Muller, Lucinda Matthews-Jones, Jonathan Cranfield

SIMSOCIAL – Simpósio de Pesquisa em Tecnologias Digitais e Sociabilidade

Em outubro estarei em Salvador participando da 2a edição de um evento que foi comentadíssimo no ano passado, o SIMSOCIAL – Simpósio de Pesquisa em Tecnologias Digitais e Sociabilidade, organizado pelo GITS – Grupo de Pesquisa em Interações, Tecnologias Digitais e Sociedade da UFBA. Abaixo, o release de divulgação do evento:

Ocorre nos dias 10 e 11 de outubro, na Universidade Federal da Bahia, o SIMSOCIAL – Simpósio de Pesquisa em Tecnologias Digitais e Sociabilidade. O evento, idealizado pelo GITS – Grupo de Pesquisa em Interações, Tecnologias Digitais e Sociedade, tem caráter acadêmico e se destina a promover debates e circulação de pesquisas sobre tecnologias digitais e sociabilidade.

Na programação, estão previstas atividades como conferências e apresentação de comunicações em núcleos temáticos, baseados em questões como consumo e estratégias de mercado, política e ativismo, dinâmicas interacionais, educação e aspectos cognitivos e práticas colaborativas. Como palestrantes e conferencistas, já estão confirmados importantes nomes como Adriana Amaral, André Lemos, Edvaldo Couto,Marcos Palácios, Raquel Recuero e Tânia Hetkowski.

Em sua segunda edição, o SIMSOCIAL tem como tema Práticas Interacionais em Rede e pretende agregar pesquisadores, professores e estudantes universitários, além de profissionais de instituições relacionadas ao campo da Cibercultura. Chamada de trabalhos e demais informações em