After the recent seventieth anniversary of the end of World War II and with new films centered on World War II emerging, the implications of these popular, contemporary representations in American culture seem pertinent to investigate. Several contemporary and popular films depict the sheer violence and implied heroism from this war: Saving Private Ryan (1998), Pearl Harbor (2001), the mini-series Band of Brothers (2001), Letters from Iwo Jima (2006), Defiance (2008), Valkyrie (2008), and The Monuments Men (2014).
film and television
Queer Resistance / Queer Media
Society for Cinema and Media Studies: Toronto, March 14 - 18, 2018
The 46th annual Louisville Conference on Literature & Culture since 1900 will be held at the University of Louisville, February 22-24, 2018.
Critical papers may be submitted on any topic that addresses literary works published since 1900, and/or their relationship with other arts and disciplines (film, journalism, opera, music, pop culture, painting, architecture, law, etc). Work by creative writers is also welcome.
Submissions may be in English or Spanish. Submissions will be considered if received by 11:59 P.M. EST September 11, 2017.
Submitter’s cover page to include:
Name (as it will appear in the program)
Address (home or institutional)
For the joint national conference (28-31 March 2018 in Indianapolis, IN) of the Popular Culture & American Culture Associations (PCA/ACA), we invite proposals of individual papers or special panels.
Presentations related to fresh-water or sea-water may include topics like
Literature, comics, art, music, television & movies
History, politics, war & peace
Culture, anthropology & ecology
Folklore, mythology, legends & hoaxes
Ships, boats, & other water craft
Recreation, travel, tourism & festivals
(UN)ETHICAL FUTURES: UTOPIA, DYSTOPIA AND SCIENCE FICTION
16 & 17 December 2017
With pre-conference activities for postgraduate students on 15 December 2017
Hosted by Monash University in Melbourne, Australia
Organised by Monash University and the University of Warwick with funding provided by the Monash Warwick Alliance
CALL FOR PAPERS
Deadline: 13 August 2017
In the last two decades, Young Adult (YA) literature has become increasingly popular; both the YA fan base and YA publishing imprints have continued to grow at a time when many other subsets of book publishing are shrinking. Debates about whether YA literature qualifies as “High Art” or is always relegated beyond an arbitrary boundary to be “Low Art” are ongoing. Regardless of those debates, YA literature and its adaptations dominate popular culture.
BFS Journal 18
BFS Journal 18 is due out in October/November
The journal is a mix of articles and is keen to accept submissions from people who want to write about fantasy, horror and science fiction. Our focus is primarily the former, but our readers have interests across all three genres.
Academic articles for the BFS Journal should be between 2500 and 6000 words. We prefer nearer the former, as this is about the size of a conference paper. References in the text should be (Author, Date of Edition: Page Number) with a full publication listing for the bibliography given for each article at the end. Please don't use footnotes in your submissions.
Urban Gothic is a subgenre of Gothic fiction, Gothic crime fiction, and television whose narratives spring from discourse on industrial and post-industrial urban society. Often dystopic, it was pioneered in the mid-19th century in Britain and the United States and developed in serialisations such as R. L. Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde (1886); into novels such as Oscar Wilde’s The Picture of Dorian Gray (1890). Much has been written on 19th century Anglo-centred Urban Gothic fiction and vampiristic, monstrous Urban Gothic, but less has been written on the 21st century reimagining and re-serialisation of the Urban Gothic in mechanised, altered, disabled, and dystopic states of being.
A Place To Call Our Own: Contesting and Constructing the Home in Independent Film and
An area of multiple panels for the 2017 Film & History Conference:
Representing “Home”: The Real and Imagined Spaces of Belonging
November 1-November 5, 2017
The Hilton Milwaukee City Center
Milwaukee, WI (USA)
EXTENDED DEADLINE for abstracts: August 1, 2017
It’s been more than 20 years since the release of Danny Boyle’s cult classic adaptation of Irvine Welsh’s gritty novel about a group of heroin addicts in Edinburgh, Trainspotting, but the 2017 release of the follow-up, T2: Trainspotting, begs the question found in more than one headline “but did we really need a sequel?” Welsh’ oeuvre with and since Trainspotting has situated his work within the category of being what James Gardner describes as “transgressive fiction” or that which “violently attacks the center of culture” and is “literature of self-defined immorality, anguish, and degradation.” With this mission of transgression in mind, it seems odd that work by transgressive authors like Bret Easton Ellis, Chuck Palahniuk and