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Calls for Presentations / Multiverse scifi/fantasy con - Deadline: 2021-06-30
« Last post by nicholasdiak on April 10, 2021, 10:02:24 AM »
Multiverse Science Fiction & Fantasy Convention

Event Date & Location: October 15-17, 2021, Westin Atlanta Perimeter North
Deadline for Submissions: June 30, 2021
Name of Organization: Multiverse Science Fiction and Fantasy Convention
Organization Website:
Contact Email: Rhonda Jackson Joseph,


Multiverse Science Fiction and Fantasy Convention was formed from our belief that great stories don’t only come from the books and comics we love to read. Each fan is their own universe as well, with their own unique story to tell. Added together, these infinite stories create the Multiverse of modern fandom.

This Multiverse also informs the creation of works of speculative fiction, a body of work encompassing every imaginable academic field. In this light, we seek to create a multidisciplinary academic program that will showcase the innumerable ways speculative fiction is inspired by various branches of academia.  


Multiverse Science Fiction and Fantasy Convention is seeking academic presentations of 15, 25, and (a limited number) 45 minutes in length for the 2021 convention. While we require presentations to reflect rigorous academic scholarship, we are not requesting conference paper readings. Presentations only, please.

We are seeking presentations that approach an academic topic in a way that non-academic audiences will find accessible and entertaining. Ideally, presentations will incorporate a core theme or topic of interest to speculative fiction fans.

Example topics may include, but are not limited to:

    • An interesting historical event that garners immense speculation. What really happened?
    • A comparison between modern governments and dystopian societies
    • The application of a sociological lens in examining a popular speculative fiction TV show or movie
    • From a scientific angle, could one of the monsters from horror tropes really exist?
    • How might the fantasy elements of speculative fiction lend themselves to child development in teaching various lessons?
    • A chemistry presentation that teaches children how to create spider webbing
    • A presentation on new, emerging technologies or scientific breakthroughs (e.g., artificial intelligence, biotech, space travel, etc.)

Presentations on specific authors, works of fiction, or genres within speculative fiction are also welcome. Of particular interest are presentations on the works of any of our Guests of Honor and/or focusing on voices within speculative fiction that are not typically amplified.
Please note: we would like to include at least one presentation per convention day that fits our theme and is targeted to a child/family friendly audience, so please submit those presentation proposals, as well. Our definition of child/family targeted includes any images, videos, or handouts accompanying the presentation.

Please provide the following in your submission:

    • 300-500 word abstract
    • Preliminary bibliography
    • Length of presentation (15, 25, or 45-minute category)
    • 150-word biography (should reflect academic credentials)
    • Any required props or specialized A/V equipment
    • Do you have any special accommodations or other requests we should be aware of?
    • What are your pronouns?

Email your submissions and/or questions to Rhonda Jackson Joseph at:

Accepted presenters will receive a complimentary Multiverse membership for 2021 and may be invited to participate in other panels within the convention’s other programming tracks. If you would like to be considered for other programming at the convention, separately or in conjunction with your proposed academic presentation, please fill out our guest application here.

Proposals will be selected for acceptance on a rolling basis until June 30th, 2021.
Anthology on Japanese Horror

Deadline: May 1, 2021
Editor: Fernando Gabriel Pagnoni Berns


Subashish Bhattacharjee (Jawaharlal Nehru University),
Ananya Saha (Jawaharlal Nehru University)
Fernando Gabriel Pagnoni Berns (Universidad de Buenos Aires, Argentina)

We, the editors, are looking for four additional chapters for our book on Japanese horror. The deadline for the full manuscript to Lexington Press is May 10, 2021, so potential contributors must have in mind the process will be quickly as possible. Below, our original CFP.

The cultural phenomenon of Japanese Horror has been of the most celebrated cultural exports of the country, being witness to some of the most notable aesthetic and critical addresses in the history of modern horror cultures. Encompassing a range of genres and performances including cinema, manga, video games, and television series, the loosely designated genre has often been known to uniquely blend ‘Western' narrative and cinematic techniques and tropes with traditional narrative styles, visuals and folklores. Tracing back to the early decades of the twentieth century, modern Japanese horror cultures have had tremendous impact on world cinema, comics studies and video game studies, and popular culture, introducing many trends which are widely applied in contemporary horror narratives. The hybridity that is often native to Japanese aestheticisation of horror is an influential element that has found widespread acceptance in the genres of horror. These include classifications of ghosts as the yuurei and the youkai; the plight of the suffering individual in modern, industrial society, and the lack thereof to fend for oneself while facing circumstances beyond comprehension, or when the features of industrial society themselves produce horror (Ringu, Tetsuo, Ju on); settings such as damp, dank spaces that reinforce the idea of morbid, rotten return from the afterlife (Dark Water)—these are features that have now been rather unconsciously assimilated into the canon of Hollywood or western horror cultures, and may often be traced back to Japanese Horror (or J-Horror) cultures. Besides the often de facto reliance on gore and violence, the psychological motif has been one of the most important aspects of Japanese Horror cultures. Whether it is supernatural, sci-fi or body horror, J-Horror cultures have explored methods that enable the visualising of depravity and violent perversions, and the essence of spiritual and material horror in a fascinating fashion, inventing the mechanics of converting the most fatal fears into visuals.

The proposed volume will focus on directors and films, illustrators and artists and manga, video game makers/designers and video games that have helped in establishing the genre firmly within the annals of world cinema, popular culture and imagination, and in creating a stylistic paradigm shift in horror cinema across the film industries of diverse nations. We seek essays on J-Horror sub-genres, directors, illustrators, designers and their oeuvre, the aesthetics of J-Horror films, manga, and video games, styles, concepts, history, or particular films that have created a trajectory of J-Horror cultures. Works that may be explored in essay-length studies include, but are not limited to, Kwaidan, Onibaba, Jigoku, Tetsuo: The Iron Man and its sequels, Audition, Fatal Frame, the Resident Evil game franchise, Siren, Uzumaki, Gyo, Tomie, besides the large number of Japanese horror films that have been remade for the US market, including Ringu, Ju on, Dark Water, and Pulse among others, and a host of video games with Western/American settings (such as the Silent Hill franchise) and film adaptations (Resident Evil franchise)—analysing the shift from the interactive game form to consumable horror in the cinematic form. For adaptations, we are also looking for essays that analyse the shift from the interactive game form or image-and-text form to consumable audiovisual horror in the form of cinema and vice versa. Analyses of remakes could also focus on the translatability of Japanese horror vis-à-vis American or Hollwood-esque horror, and how the Hollywood remakes have often distilled western horror cinematic types to localise the content.

Directors, designers and manga artists working in the ambit of Japanese horror cultures who may be discussed include, but are not limited to, Nobuo Nakagawa, Kaneto Shindo, Masaki Kobayashi, Hideo Nakata, Takashi Miike, Kiyoshi Kurosawa, Ataru Oikawa, Takashi Shimizu, Hideo Kojima, Junji Ito, Kazuo Umezu, Shintaro Kago, Katsuhisa Kigtisu, Gou Tanabe and others. Other issues that may be explored in J-Horror cultures may include the issue of violence and gore, gender and sexuality, sexual representation, the types of the supernatural, cinematic techniques and narrative techniques and others.

At this stage we are looking for both, submission of complete articles of up to 7000 words or abstracts for proposed chapters up to 500 words. 

Enquiries and submissions are to be directed to Fernando Pagnoni Berns at


Horror Studies – Special issue on 1980s Horror Film Culture

Guest Editor: Dr Sorcha Ní Fhlainn, Manchester Metropolitan University.


This special issue will re-evaluate the horror genre in the 1980s and the legacy of this decade in contemporary horror studies. While many disparage the decade as a period of soulless commercialism, avid consumerism and the decade that fashion forgot, the 1980s introduced new modes of communication, new commercial appreciation for horror texts, and is now, in contemporary times, suffused with a sense of nostalgia. The seeds of discontent in our contentious and fractured present were sown in the 1980s, making it an important if divisive decade. It is the decade of Threads, The Terminator, and Ghostbusters (all 1984); ‘stranger danger campaigns’, milk carton kids, and child abductions (Adam Walsh etc); media spectacle, 24 hour news cycles, and numerous ‘shocking’ TV specials; increased and explicit special FX in film and the popularity of ‘plastic reality’; the rise of censorship, the PG13 certificate, the Parental Advisory sticker, ‘video nasties’ and the 1984 Video Recordings Act. It is the last decade of the analogue era before the global advent of the internet.

This special issue is open to submissions on any geographical region or emphasis which evaluates or (re)considers the impact of horror in the 1980s. Topics of interest include but are not limited to texts and contexts around neoliberalism, culture wars; conflict crises, famine,
political protest and distrust of government, Alien(ation) and homeland invasion; deadly pathogens, and fearing/fetishising the rise of new technologies; calls for censorship and concerns on increased violence; and a glut of horror-tinged children's fantasy films and TV
shows (Knightmare, for example), and horror games. Contemporary culture looks back on this era paradoxically as a period of intense upheaval and neo-conservative backlash, while simultaneously fetishizing it through retro-horror nostalgia. Most striking of all, Hollywood is
currently cycling through remakes/reboots featuring the decade's most iconic monsters and monster hunters, including A Nightmare on Elm Street; Halloween, Poltergeist, Friday the 13th, Ghostbusters, IT, Hellraiser etc. As a logical, if nightmarish, persistence of this nostalgia, the
ascension of Donald Trump to the American Presidency in 2016 consolidates many aspects of 1980s American ideals turned nightmare, which may continue its purchase in US culture. On the whole, this special edition of Horror Studies looks back and examines the darkness of the decade
as a distinct disjuncture in recent cultural history.

Topics may include but are not limited to:

o The 1980s and Postmodern horror
o The ‘serial killer’ decade in popular culture (TV culture, cases, Ramirez, Bundy, Nilsen
o Horror and politics (i.e. neoliberalism/deregulation etc)
o Remaking (and revisiting) 1980s films and aesthetics today
o 1980s film and TV industry practices (sequels, mini-series, film to TV adaptations etc)
o Explicit versus implicit horror/terror
o Horror Literature of the 1980s
o Body Horror/ Splatterpunk and reshaping the flesh
o Film and TV adaptations of 1980s texts
o Horror and 80s music and subcultures
o Nostalgia for 1980s horror programming
o Analogue vs digital horror (including VHS culture)
o Horror games (i.e board games/computer games etc)
o Film franchises/reboots/remakes
o 80s Fantasy Horror

Submissions due Monday, 17 January 2022
Decisions and/or Requests for Revisions by Monday, 07 March 2022
Revisions due Monday, 02 May 2022
Manuscript into Press by late June 2022
Published autumn 2022.
The Slasher Studies Massacre: An International Conference on Slasher Theory, History and Practice

Date: Friday the 13th / Saturday the 14th / August 2021

Confirmed Keynote Speakers
Professor Vera Dika (New Jersey City University, USA)
Dr Steven Jones (Northumbria University, UK)

Call for Papers

Slasher, a disreputable offcut of the horror genre, has been the subject of intense criticism over the last 40 years. Despite an emergent body of scholarship that closely examines this subgenre across various forms and periods, seminal works from the 1980s and early 1990s still continue to monopolise the field, heavily referenced and applied to contemporary texts. It is undeniable that critics in film studies such as Robin Wood, Carol J. Clover, Vera Dika, Linda Williams and Barbara Creed provide us with important theoretical foundations that are still useful today. However, more needs to be done to examine the ways in which their works have been interpreted, developed and innovated by recent scholarship to create a critical discourse that appears to situate itself in “slasher studies,” a seemingly distinctive branch of horror studies that has gradually emerged over the last 20 years.

By collating papers that consider the relationship between slasher theory, history and practice, this online conference interrogates the very notion of “slasher studies” and its potential definition(s). Indeed, this conference fundamentally asks if “slasher studies” is an academic discipline in its own right, distinctive from horror studies, and if so, how did it become? Alternatively, if “slasher studies” is not its own academic discipline, why not and what are the disciplinary politics at play?

In asking these questions, this conference is the first of its kind and provides a safe and supportive interdisciplinary space for scholars to present their research, share their ideas and build a network with others working in the field, questioning and rectifying a plethora of theoretical, historical and practical assumptions in the process.

We welcome abstracts of 250 words for papers to be presented as part of this online conference to be held on Friday 13th and Saturday 14th August 2021, addressing any topics that develop theoretical, historical and practical traditions and analyses of the slasher subgenre.

Topics might include, but are not limited to:

slasher and the (inter)disciplinary politics of theory
style and form, aesthetics and narrative
film and the mechanics of cross-media platforms (television, video games, novels, music, etc.)
characterisation and identification
national cinema(s) and (trans)national reception
Hollywood, production and distribution
audience and reception
gender and sexuality
race and ethnicity
disability and the politics of representation
class and the politics of representation
psychoanalytic and cultural readings

Please email abstracts of no more than 250 words, and a short bio, to Daniel Sheppard ( and Dr Wickham Clayton ( by Friday 30th April 2021.

For more information and regular updates, follow us on Twitter @SlasherStudies or visit our website:
Dysfunctional Relationships and Abuse in American Horror Story

Collection Editors: Lizzy Walker, associate professor & metadata/digital initiatives librarian at Wichita State University Libraries, Women in Horror Movement Librarian & Cecilia Abate, independent researcher & editor-in-chief of the Horror Scholar Journal
Deadline for Abstracts: April 30, 2021
Publisher: We are aiming to pitch the concept to McFarland Publishing.

We are inviting chapter submissions for a new edited collection focusing on representations of dysfunctional families on the tv show American Horror Story. Finished chapters should aim to be between 7,000-10,000 words.

This edited collection aims to examine the myriad variety of abusive family dynamics on the show and the complex implications of showing abusive families on TV, as well as the legacy of various family tropes in horror (such as evil children, bad mothers, etc.) This collection aims to cover (but not limited to) topics such as:

- Perceptions of motherhood and the "bad" mother
- Possession/"evil children" tropes
- Class, politics, marriage, and socioeconomic consequences
- Representations of queer couples & queer families
- Mental illness & stereotypes of mental health
- Representations of parenting & child-adult dynamics
- Violence & sexual abuse in families

We hope to encourage diverse perspectives and also welcome early career researchers and new voices to offer their thoughts on AHS.
Please send abstracts of approximately 300 words to

Calls for Papers/Publications / Lunar Gothic - Deadline: 2021-08-31
« Last post by nicholasdiak on March 03, 2021, 07:04:01 PM »
The Moon has been a powerful presence in all human cultures since the beginning of time. Linked to femininity and death; witchcraft and the occult; ghosts and shapeshifters, the Moon was the focus of fears and superstitions. A constant element in fairy tales and pagan rituals, the Moon was seen as the dark, mysterious, and dangerous opposite to the Sun.

With the development of astronomy, the Moon, our planet’s satellite, figured prominently in early science fiction as the locus for speculations about the possibility of life on other planets. From Poe to Jules Verne and H. G. Wells, the Moon became both the symbol of scientific progress and a warning of its dangers; a penumbra of the Gothic falling across the face of science and reason.

Lunar horror and the Lunar Gothic exists on the intersection of these two trends: pagan mythology and scientific aspirations; the deep past and the near future. It is unique among other horror sub-genres in drawing upon both “hard” sci-fi and folk horror.
With the revival of the space program and possibility of building a base on the Moon, lunar horror is experiencing a renaissance as popular culture responds to the renewed interest in our satellite.

Possible topics might include, but are it limited to:

• Lunar Gothic/Horror in the Victorian Age: lunar hoaxes, Edgar Allan Poe, Jules Verne, and H. G. Wells (The First Men in the Moon).
• The Moon in Eastern Europe:  Jerzy Żuławski (The Lunar Trilogy); Soviet movies and the era of the sputnik; the Cold War; Lem’s stories of Commander Pirx.
• Lunar Gothic/Horror and the Apollo mission (Apollo-13)
• The Moon in folk horror (Ramsay Campbell’s The Hungry Moon)
• Lunar Gothic/Horror and the poetics of monstrosity (werewolves, vampires, zombies)
• Lunar Gothic/Horror and generic hybridity (dark SF, lunar noir): Sharman DiVono’s Blood Moon; Johan Harstad’s 172 Hours on the Moon; Ian McDonald’s Luna.
• Lunar Gothic/Horror and fairy tales: Meredith Pierce’s Darkangel;  Marissa Meyer’s The Lunar Chronicles; Cinderella Moon
• Lunar Gothic/Horror and conspiracy theories

Please send a 300-words abstract and a bio by August 31st, 2021 to:
Elana Gomel and Simon Bacon
Final essays of 6,000 words will be due October 31st, 2023.
ReFocus: The Films of Wes Craven

It can be argued that the late Wes Craven reinvented the modern American horror film on three different occasions and across three different decades with his trendsetting The Last House on the Left (1972), A Nightmare on Elm Street (1984) and Scream (1996). The director, who once told Robin Wood that he wanted “to make films that engaged directly and progressively with social issues” has a body of work that is rich in recurring concerns and provocative imagery as well as mediative of both technological and socio-political change. From his earliest, most controversial work in the 1970s, which includes the recently rediscovered hardcore text The Fireworks Woman (1975), through to the postmodern experimentation of New Nightmare (1994) and his more accessible mainstream outings, such as Red Eye (2005), Craven’s oeuvre is also stylistically and thematically adventurous, changeable and even unpredictable. For this edited collection, the first of its kind on the director’s work, I am particularly interested in gaining chapter proposals on some of Craven’s lesser-studied texts, with a wider discussion of how these projects link to his more famous and groundbreaking efforts such as The Last House on the Left (1972), The Hills Have Eyes (1977), A Nightmare on Elm Street (1984) and Scream (1996). Nonetheless, I am also eager to obtain new approaches to these canonical motion pictures so that this publication can stand as a unique and provocative collection.

Suggestions for chapter submissions might include:

● Analysis of individual films (including made-for-television projects)
● Gender representation
● Representation of organised religion
● Dream logic
● Class and family conflict
● Body-horror
● Abjection
● Postmodernism
● Sexuality
● Colonialism and postcolonialism
● Craven’s wider influence on horror cinema
● Craven as an auteur within horror cinema
● Your suggested topic

Please send your 250-350 word proposal and a 100-word bio or complete CV to Calum Waddell at Friday 30th October (perfect timing for your Halloween!). Final chapters will be expected to be of a minimum of 5,000 words and a maximum of 10,000, in English, and referenced in Chicago endnote style with American spelling and formatting. Final chapters will be expected towards the end of the year. Our volume will be published by the University of Edinburgh Press in the ReFocus series on American film directors. Series editors are Robert Singer, Gary D. Rhodes and Frances Smith.

Calum Waddell, PhD
Lincoln School of Film and Media
University of Lincoln

A round-table discussion at the 2022 Modern Language Association (MLA) convention sponsored by the MLA CLCS Gothic Studies Forum (deadline 3/15/21; convention 6-9 January 2022)

What are the driving forces behind and recurring conceits of the twenty-first-century Gothic? Why has the Gothic assumed such a position of prominence in contemporary literature and media?

The Gothic Studies Forum of the Modern Language Association invites proposals for short presentations (7-8 minutes) addressing these questions for a round-table discussion at the 2022 MLA Convention in Washington, DC.

200-word proposals focused on a specific keyword or theme and abbreviated CVs, as well as questions, may be directed to Jeffrey Andrew Weinstock at The deadline for submissions is March 15th. Those selected for the round-table must be MLA members or join by April 7th, 2021.
Black Gothic (15 March 2021; MLA convention 6-9 January 2022)

How have Black authors worldwide engaged, deployed, and reworked the Gothic to disclose the histories and complexities of Black life?

The Gothic Studies Forum of the Modern Language Association invites proposals for a paper session at the 2022 MLA Convention in Washington, DC.

300-word abstracts and 100-word bios by March 15 to Panelists must be MLA members by April 7th, 2021.
Archived - Calls for Papers / The Many Lives of the Purge Deadline: 2021-02-28
« Last post by nicholasdiak on February 17, 2021, 07:37:34 AM »
Ron Riekki and Kevin Wetmore, editors, call for abstracts for consideration for inclusion in a volume with the working title The Many Lives of The Purge.

We seek essays analyzing any and all parts of Blumhouse’s Purge Universe: The Purge (2013), The Purge: Anarchy (2014), The Purge: Election Year (2016), The First Purge (2018), The Purge TV series (2018-2019), The Forever Purge (2021), or other aspects of the franchise, including parodies of and references to in contemporary politics. 

Proposals due by: February 28, 2021

Accepted proposals will be informed immediately on March 1 and sent a style sheet.
First drafts are due June 15.  The draft will be 5-6K words (all inclusive of notes and works cited).

The editors will return edited drafts to contributors by July 4.  Final drafts will be due in early October. 

Email proposals and/or any questions to  Thank you.
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