CFP: [Film] Building Walls in a Borderless World

full name / name of organization: 
Jaime Nasser
contact email:

USC School of Cinematic Arts, Critical Studies -- Spectator Special Issue:
Building Walls in a Borderless World: Old and New Media, Globalization and
Human (im)Mobility Volume 29, Number 1 (Spring 2009)

Deadline for submissions: December 15, 2008

The movement of persons across different regions has been a central
component to the building and disintegration of communities and empires
throughout the history of humankind. This issue seeks to address the
relationship between media and the regulation of human travel in different
time periods. Whether the experience of travel is voluntary, forced or
restricted, questions of human immigration and mobility actively shape and
influence different utopian and dystopian views of globalization that
energize (explicitly or implicitly) current studies of media. This issue
seeks to encourage a debate to explore and discuss the relationship between
media and the movement and regulation of people across borders, regions,
and nations.

Spectator is a biannual publication and submissions that address the above
topic in the following areas are now invited for submission:

●The representation and/or mediation in a variety of media of the
enforcement and/or building and/or strengthening of national borders.

●The ways in which media have represented -and communication technologies
have shaped- past and present attempts to build national and/or regional
borders and regulate human travel.

●The relationship between national, ethnic, sexual, racial, class, gender
and/or religious identities and the representation of borders, walls,
divisions in a variety of media (film, television, video, digital media,
radio, etc.)

●How are borders represented in media in the US and abroad? (E.g.,
Israel-Palestine, US-Mexico, India-Pakistan borders, Russia-Georgia and

●How do communication technologies (including but not limited to the
internet, surveillance cameras, and mobile phones) influence the
architecture of national borders and/or walls. Relating to this, how do
digital communications facilitate, disrupt, and complicate, the
undocumented immigration, terrorist activity or other forms of "illegal"
forms of travel?

●What are the links between the ways various media present immigration
policies/discourse and its effect or influence on racism and/or xenophobia?

●How do various media present who or what is/are allowed to cross borders
freely in relation to those who/that are not?

●How do different media address or ignore the violence involved in the
enforcement of the borders?

●Essays that discuss the representation of illegal trafficking of drugs
and/or humans (e.g.: undocumented immigrants, mail order brides, sex-trade).

●How are bodies represented in relation to immigration and border crossing?
Such as (but not limited to) bodily and/or mental traumas, transformations,
disfigurations, rape, accidents, etc.

●How are anxieties regarding the immigration of undocumented immigrants
embodied in mainstream media (fiction and nonfiction)? In other words, how
do generic or format conventions of particular films, television programs,
video games, etc. facilitate or complicate this representation? These may
include genres such as horror, disaster films, and political thrillers,
among many others.

●What is the relationship (if any) between shifts in global relations and
emerging, changing or continuing trends in video game aesthetics, video
game narratives and/or genres (such as first-person or third person
shooters, adventure, strategy, role-playing, etc.)?

●What are the shifts (if any) in representations of the Middle East, Latin
America, Asia in US media in relation to current and/or past political
discourse and the history of US relations and interests in these regions?

●Lastly, how does the actual experience of forced, voluntary or limited
travel influence our approach to media and globalization?

Submission Information

Queries about submissions should be emailed to the issue editor Jaime J.
Nasser at

Essay contributions should not be more than 5,000 words. All pages should
be numbered consecutively. They should also include a brief abstract for
publicity. Authors should also include a brief biographic entry. Articles
submitted to the Spectator should not be under consideration by any other

Book reviews on related topics may vary in length (300 to 1,000 words).
Please include title of the book, retail price and ISBN at the beginning of
the review. Forum or Additional Section contributions can include works on
new archival or research facilities or methods as well as other relevant
works related to the field.

Electronic submissions and formatting (preferred): Authors should send
copies of their work via e-mail as electronic attachments. Please keep
backup files. Files should be Microsoft Word in PC or Mac format, depending
on the editor's preference. Endnotes should conform to the Chicago Manual
of Style. Upon acceptance, a format guideline will be forwarded to all
contributors as to image and text requirements.

Mailed printed submissions: One copy of the manuscript should be submitted
as well as a copy on disk (Microsoft Word, PC or Mac). Manuscripts should
include the title of the contribution and the name(s) of authors. As well
as the postal address, e-mail address, and phone numbers for the author who
will work with the editor on any revisions. Please note that rejected,
mailed manuscripts and materials will not be returned. Manuscripts to be
considered for publication should be sent to:


University of Southern California
School of Cinematic Arts, Critical Studies
Lucas Building, Room 405
Los Angeles, CA 90089-2211
Attn: Jaime J. Nasser

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Received on Mon Oct 06 2008 - 11:54:28 EDT

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