SCMS2015 calls for papers

Summer is the time for forming SCMS panels, as August 31 is the submission deadline for the 2015 conference in Montreal. Since not everyone in the field (especially abroad) is a current SCMS member or uses the website, I thought I would round up the current calls for papers there. There are too many to include the actual call, but if a topic interests you and you cannot access the website, leave me a comment within the next couple of days and I will post the full call. Deadlines for many are coming up very soon - late July and early August - and some may have even passed already.


African American Film History and Literary Adaptations
Animation and Politics
Animation Theory and Cognition
Approaching the WWE Universe
Asian Comics and Graphic Novels
Authorship in Contemporary Documentary
Autobiography and Writing the Self in Cinema
Between the Lines: On Film Festivals and the Politics of Language
Cinema and Literary Modernism
Cities in the Sky: Public Housing in Global Cinema and Television
Color and Animation
Composite Media
Contemporary Rural Noir
Creatives vs. Suits: Battles for Control over Media Production
Data City: media visualizations of/as urban knowledge
Decolonial Feminism in Film and Media
Digital Film and Media Historiography: Techniques, Theories, Epistemology
Directors Take the Leap: Transitions from Big to Small Screen in the 1950s
Documenting the Different Body
Ecocriticism and Moving Image Archives
Enclaves of the 1%: The Transnational Capitalist Class in Cinema
Excavating Exhibition: Mining the Sites of Media History
 Fashion, Film and Media
Felines of Sight: Cats in Visual Culture
Femininity in Historical and Contemporary TV Dramas
Film-Philosophy: New Horizons for the Inter-discipline
From Historical to New Materialism?
Gender and Genre Through a Post-9/11 Lens
Gesture, Performance, Mediation
Historicizing Music and Transmedia
Hollywood I.T.: Critiquing Big Data in Film Industries
How French Cinema Thinks Through Social History
Imaging Asian/Americans: Screened Identities and Cinematic Exchanges
Imagining Contemporary Political Bodies and Personalities
Impersonating Sovereignty
Informal Media Networks in Global Context
Intermediality in Industry History: The Hollywood Studio Era
Investigating the Theme of Punishment in Crime Films
Jesus/Montreal: The Cinema, the City, and the Sacred
Looking for LGBT Audiences
Media Platforms and Cultural Identities
Media Studies Beyond the Screen
Memory and Medium
Neighboring Cinemas: Intersections between Japanese and Korean Cultures
New Approaches to Marriage, Romance, and Conjugality
New Romanian Cinema
On Subtitles
Podcasting: A Decade into the Life of a “New” Medium
Porn on the Move
Post-secular Adaptation in the Digital Era
Postfeminism Across Media Platforms
Postfeminist (Im)perfections: Aesthetics of Postefeminist Failure
Problematizing Postfeminism
‘Public’ Media Beyond Broadcasting: North American Public Service Media Institutions
Radio Studies
Reading Berlin School Films
Reincarnating the Western
Representations of Female Empowerment and Leadership in Film and Media
Rethinking French Film History From the 1940s
Screen Acting: Beyond Star Studies
Silent Film Realisms
Silent Serial Kings
Soccer, Cinema, Media, and Culture
Staging the Image: Film and Video in Theater
Television, Historicity, Theory
The Auteur in Your Living Room
The Comedy of Stephen Merchant and Ricky Gervais
The Metrics, revolutions: Audiences, Analytics, and Art
The Politics and Ethics of Remix Video
The Politics of Food in Film and Media
The Transforming Figure: New Histories of Metamorphosis in Animation
Translations, Transformations, & Mutations: The Malleable Superhero
Transnational Hybridity and the Horror Genre Panel
TV: Complexity, Form and Format
Variations on Suburbia: Uncovering Heterogeneous Imagery in Film and TV
What makes Montreal a film festival city?
Women in Film Sound
Women in the Archives
Women's Narratives in War, Conflict and Combat
“Your Bovine Design Was Not Divine. Where’s the Beef?”: The Politics, Perils, and Pleasures of Rupaul’s Drag Race
Youth Culture in Contemporary Media


Animated Media Archives
Film & Media Studies: Careers outside the Academy
Film Festival Pedagogy: Study Away Courses & Campus Film Fests
Foucault and Media Studies
New Approaches to Teaching Genres
Pedagogy Workshop


Jen said…
Thanks for this! Would you mind posting the full call for the Remix Ethics & Politics panel?
Chris Cagle said…
The Politics and Ethics of Remix Video
Much has been written about the utopian potential of remix culture in the digital era, of the possibilities engendered by the ability for amateurs to take preexisting sounds and images and to recombine them in order to express their own ideas. At the same time, there has also been extensive discussion of the problematic copyright laws that, in the pursuit of profit, threaten to repress this burgeoning creative practice. Amidst this attempt to valorize remix practices in the face of corporate forces that demonize it, however, the question of the politics and ethics of particular remix videos has often been overlooked. This panel seeks to explore the ways in which contemporary remix video – both popular and experimental – is being used for a range of progressive, subversive, and liberatory as well as reactionary, sexist, racist, homophobic and other effects. This range of possible effects raises questions about how we think about remix as a political and/or ethical practice. While this panel does not intend to define or categorize given remix videos as “good” or “bad” objects, it does hope to sketch out a preliminary framework for thinking about the political tendencies apparent in contemporary remix video and the ethical responsibilities engendered between remixed subject, remix artist, and remix viewer. (Note: This is NOT a panel about copyright.) Topics that might be addressed:• Experimental remix videos and their political/ethical implications• Popular– i.e. YouTube – remix videos and their political/ethical implications• The reuse of clips on talk shows (The Daily Show, The Colbert Report, etc.)• Examinations of particular remix strategies or remix “genres,” i.e. the recut trailer, supercut, literal version video, video essay, etc.• Examinations of the use of particular kinds of source materials – historical documents, contemporary news footage, home movies, etc. – in remix video• Disruptions or reinforcements of status quo ideologies through remix• Gender and sexuality as represented, questioned, and/or reinforced in remix video• Race and ethnicity as represented, questioned, and/or reinforced in remix video• The potential for remix to provoke critical thinking (or not) in the viewer • The role of the viewer – and extratextual knowledge – in determining the politics and/or ethics of remix video• The use of remix for particular political causes or campaignsPaper proposals of no more than 300 words and a bio of no more than 100 words should be sent to Jaimie Baron at by August 1, 2014.

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