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Boos Fight books is accepting pitches for non-fiction books about video games for the month of April.

For those interested in, say horror video games (Silent Hill, Resident Evil, Fatal Frame, etc.) - this might be a cool opportunity.


Copy/paste of text:

Pitch Submissions
 We will be open to pitches for the entire month of April 2020.

If you've already sent us a pitch in the off-season, we will consider your pitch as part of the new batch. (You are welcome to amend it, add to it, or leave as is.)


During our open reading period, you can send your pitch (or ideas/questions) to

Here's what we want: (1) A pitch that gives a strong, clear sense of what you'd do with the book and why you're the one to write it. (2) Links to or attachments of other writing you've done. (3) Optional: A sample chapter or section from the proposed book.

How long should my pitch/sample be? Not necessarily that long. And it does not need to be as polished as an actual book. Your job, again, is to give us a strong sense of what you'd do with the book.

We'd love to hear from writers of all stripes, including women, LGBTQ writers, writers from outside the US, and writers of color.

A few notes:

1. You're welcome to pitch books on newer games, just nothing that came out in the last year.

2. Nonfiction only.

3. Other hints:

- We'd love to see some pitches in game genres we haven't explored yet, or from new angles.

- We get extra excited when you show us that (1) you are serious about ambitious, thoughtful, researched writing, AND (2) you write in a voice that is not overtly academic/jargony.

 - Sometime we'd love to do another book in the Spelunky vein in which a game creator writes about their own game. Sometime we'd love to do a visual "graphic novel"-style exploration of a game in the tradition of Understanding Comics.

4. It'll take us awhile to get through all the subs! Also know that we won't be able to say yes as often as we'd like. Each of these books is an enormous time commitment and our team is very small.

Thanks so much for your interest in writing for us!
Edited Collection: Critical Perspectives on Stephen King’s It

Deadline: April 6, 2020
Contact email:

The “King of Horror” has confided that inspiration for his 22nd novel It struck, rather unexpectedly (if appropriately), while he crossed a bridge. As his worn boots “trip-trapped” against the wooden planks, reminding him of “The Three Billy-Goats Gruff,” Stephen King toyed with thoughts of trolls and bridges, monsters and crossings; cities, adulthood, and what lurks beneath them both. He found himself unable to shake these connections, mulling them over for three years before committing to the project. Reflecting on the book’s persistent haunting of his thoughts during that time, King reasons: “A good idea is like a yo-yo. It may go to the end of its string, but it doesn't die there; it only sleeps. Eventually it rolls back up into your palm.”

When King’s idea respooled and It debuted in 1986, featuring a monster whose preferred form was a murderous clown rather than a troll, it forever changed the legacy of the literary clown. Then, in 1990, the It TV miniseries visually and heartily cemented this alteration forevermore into the pop-cultural consciousness before retreating into the periphery to enjoy a cult status among horror fans. 27 years later, It returned for a sensational two-part film reboot (2017, 2019). Not only is this reappearance curiously in keeping with Pennywise’s hibernation cycle in the novel, but it also trends alongside a fascinating resurgence of the “evil” clown figure in popular culture. From John Watts’s Clown (2014) to two seasons of American Horror Story (Freak Show from 2014-2015 and Cult in 2017); from Joker (2019) to the clown-laden political imagery surrounding the current U.S. president, Pennywise’s–and It's–reemergence seems peculiarly timely. One must wonder if, like King’s yo-yo illustration, the “evil” clown only ever appears to sleep before returning, continually—perhaps uncomfortably—close at hand.

This collection will examine these pronounced cultural fluctuations by situating Stephen King’s It within the theoretical frameworks that animate it and ensure its literary (and pop-cultural) persistence. One of the key interests of this volume is an exploration of the ways the novel, so like its antagonist, replicates (or disavows) the icons of various canons and categories in order to accomplish specific psychological and cultural work. Although accepted contributions are welcome to discuss its various adaptations, each essay is expected to engage meaningfully with the novel in order to maintain the unity of the overall collection. Potential topics might include, but are not limited to:

Adaptation analysis that considers the novel (1986), the It American miniseries (1990), the Woh Indian television series (1998), and/or the American reboot films (2017,2019)
Transmedia studies
Queer theory
Labor history
Spatiality studies
History of capitalism
Critical race theory
Genre studies
Studies of gender and/or sexuality
Waste studies
Disability studies/crip theory
Medical humanities
Circus and sideshow studies and/or clowning
Theorizations of the Gothic or, more broadly, of horror
Military studies
Indigenous studies
Fat studies
Studies of death and dying
Music studies
Transportation studies

Please submit a 500-word abstract, as well as a brief, 150-word author bio, as Word attachments by April 6, 2020. Decisions will be made by April 15, 2020. For accepted proposals, final essays of 5,000-8,000 words will be due on August 15, 2020. As this will be a peer-reviewed collection, several rounds of revision and editing may be needed until the final manuscript is ready for publication.

Please send materials, or direct any questions, to Whitney May,
The Journal of Fantasy and Fan Cultures is an annual journal of scholarly work and creative non-fiction by undergraduate and graduate students. Our first issue, on Harry Potter, will be published in Summer 2020. Submissions for this issue are now open and will be open until April 1.

Submissions for our first issue (Harry Potter) will be open from February 1 until April 1.  Submissions can focus on the Harry Potter books, films, other media, or any expressions of the fan cultures of Harry Potter, including fan fiction, art, sports, or fan communities of other kinds. 

You may submit once per issue for each category (creative non-fiction and academic essays). We are not interested in publishing fan fiction or poetry.

Submissions must be 2500-7500 words and, if scholarly, must be in MLA citation format. Please use Times New Roman 12 pt font. Current undergraduates and graduate students in any major or field are eligible to submit, as are holders of master’s degrees.

We consider only previously unpublished work. We ask for first rights to publish accepted work online; after publication, all rights revert to the author.

To submit, please send an email to with the following:

Your document for submission attached to the email with a cover sheet (this will be the only place you put your name)
The word “submission” and the category (creative non-fiction or academic essay) in the subject line of the email
A brief bio in the body of the email

Call for full chapters for an edited collection for Palgrave Macmillan entitled "The Performativity of Villainy and Evil in Anglophone Literature and Media"

Deadline: March 31, 2020

The emphasis on “the performativity of texts” (Skinner x) has now become common in literary studies. “The notion of literature as performative” (Culler 96) is now entrenched. It pervades many of the recent studies of the theory of literature. This is why the concept of performance is no longer confined to literary forms that are traditionally written to be performed on the stage, the pulpit or the podium, like drama, songs and sermons. Every form of literature can be considered as performative. Moreover, the works of Judith Butler, Quentin Skinner, Richard Schechner, Jonathan Culler, Jacques Derrida, Richard Rorty, and others have shown that performativity characterizes all the aspects of literature. The writing, marketing, reading and analysis of literature are performative. It is quite common to describe them as acts, esp. the act of reading. This performativity extends the concept of literature irrevocably beyond the boundaries of the written text. It also proves that we need to cope with the looseness of the term literature that can no longer be confined to classical genres. Many traditional and new (non)-discursive practices started to fall into the category of literature, from which they have long been excluded.  Probably the most intriguingly appealing characters in traditional and contemporary literature, the representations of evil characters – be they villains in drama, antagonists in fiction and cinema, bosses in video games or corrupt public figures in satirical writings – has always been connected with the notion of performance. Evil characters, real or/and fictional, are – for the most part – defined by their deeds. This is why the notion of performance can be quite helpful in understanding them. To further contribute to the articulation of this interconnection between performativity and the literary representation of evil characters, we are seeking full articles for a collection of academic essays on the performativity of literary villains in literary texts that are conceived in the English language for Palgrave Macmillan. This volume tries to use the emerging interdisciplinary theories of performance to study the literary villain.  It attempts to cover a wide range of classical as well as nonclassical and even experimentalist genres. The aim of this collection is to investigate the literary representation of the villain in different literary texts. It tries to emphasize the role of the villains and their performative energy in shaping the texts under scrutiny. The reviewers recommended that we extend the scope of the collection and, therefore, we are seeking full articles on the following topics:

- Beowulf (we need more articles about this classic and its different adaptations)

- Medieval literature (Chaucer, Arthurian Legends, Metaphysical Drama)

- Evil in Everyman

- The figure of Mordred in and Beyond the Arthurian legends

- Celtic and Gaelic (folk)lore and its adaptations

- Witchcraft in Medieval literature

- The Murder of Thomas Beckett in Medieval Literature and Beyond

- Witchcraft and evil

- Fallen angels

- The seven deadly sins

- Evil spirits

- Dark rituals

- Giants

- Monsters

- Evil and body ornaments (Tattoos, branding, piercing, makeup, etc) 

- Robinhood Legends

- Evil (and) Hierarchies 

- Muslim and Jewish characters as Medieval and Renaissance Villains (not in Shakespeare we got that covered)

- Renaissance writers other than William Shakespeare (we do not accept any articles on Shakespeare we have enough. We only welcome articles on other early modern writers)

- The tool villain in Renaissance drama and beyond

- The plays of John Webster

- The Duchess of Malfi and The White Devil

-The History of King Richard the Third by Saint/Sir Thomas More

- The Early Modern representations of King John of England (Other than Shakespeare)

- Dr. Faustus and its different versions and adaptations

- Irish drama and fiction

- Native American lore

- Early American texts (may include early English versions/translations of Native American folklore)

- The Salem Witchhunt and trials in Early American literature (and in contemporary media)

- Milton's Paradise Lost

- Milton's Satan long after Stanley Fish's surprised by sin

- 18th century British Literature

- Evil in the historical fiction of Sir Walter Scott

- Romanticism

- Jane Austin

- The figure of Dracula (in and beyond Bram Stoker)

- Dickens' representation of evil

- Detective fiction

- African American Literature

- African literature in English

- Australian literature

- Canadian Literature

- Evil Indigenous Literature in North America and Australia even if it is not in English (the article, however, should be in English)

- Implications of the fact that indigenous villains in Western literature are not individualized like European villains

- Disney films and cartoon

- Comic books

- Representation of Evil and villainy in musical performances

- Music and evil

- Cartoon

- Caricature

- (silent) Films

- TV series

- Al Capone and El Chapo in films and literature

- Espionage in media (while we have articles on this topic, we would be very interested in an article about the TV series Mata Hari Series (esp. 2016) or Movies and/or James Bond Movies)

- Hitler in British and American Literature, film and media

- Evil intellectuals

- Stories of Holocaust survivors in literature and media

- Stalin in British and American Literature and (literary) media

- Free Masonry and secret societies in literature and media (some focus on the representations of the rites of initiation would be appreciated)

- Evil cults and cultists in literature and media

- Conspiracies and conspiracy theories

-Love as/and evil

- The representation of evil in pornography and eroticism

- Evil Fetishism and fetishized evil in literature and (literary) media

- The vilified and eroticized woman/person in charge

- Seduction as/and evil

- (Eroticized) evil step-parents

- The figure of the homewrecker in literature and film

- The (de/sexualized) figure of the evil teacher/mentor

- Evil philosophies/justifying evil in literature and (literary) media

- video games (with focus on their literary aspect)

- articles about telltale games and BioWare games are very welcome

- contemporary Gothic literature and media

- racialized evil

- Evil and age(ing)

- Evil in Netflix historical documentaries 

- evil in (auto)biographic literature

- Children literature

- Evil and the Law

- Evil and the state

- Shady organizations in literature and media

- Marvel cinematic universe

- The Lord of the Rings and its different adaptations

- The Joker movie of 2019

- The Witcher (book, game and movie)

 - The ethical controversies surrounding Joker (2019)or another film or video game (we have another article about the notion of the evil text but it is about a novel. Seeing a certain text as evil is worth investigation. Other articles written in this vein would be more than welcome)

- Game of Thrones

- Representation of Medieval evil in contemporary literature and media

- Contemporary Historical Fiction

- Vigilantism and/as evil

- Vigilantes in literature and media

- Philippa Kelly's fiction and its adaptations

- The Song of Ice and Fire and its adaptations

- Star wars and its different adaptations

- fan studies

- Celebrity and evil (also "evil"/mean celebrities) 

- Evil, clothing, and fashion in media (we have one article about evil and clothing in literature. One on media would be a great addition to this collection)

- Populism and evil

- Science and evil

- Artificial intelligence and evil in literature and media (we already have an article about Mass Effect but its focus is not on the geth or the reapers or ED or SAM such focus would be welcome)

- The evil imagination of villains

- Evil in/and the natural world in media and literature

- Medicine and evil in literature and (literary) media

- Drugs and drug addiction as/and evil

- Vilifying the media in the age of populism

- The axis of evil in political media and creative discourses during and after the Bush era

- Irani regime in British and US literature and media

- Posthuman evil

- Contemporary witchcraft in literature and media

- The notion of evil in performance theory (esp. in Judith Butler)

Unfortunately, other areas have already been covered and the reviewers recommended no further additions to them. Because the contract requires that we submit the full manuscript before the end of the year, we cannot consider abstracts. We are seeking full articles. Please send your full article (that has never been published before and is not under consideration elsewhere) and a short bio to no later than March 31, 2020. For any query please do not hesitate to contact the editor Dr. Nizar Zouidi e-mail: We look forward to your contributions.

The articles should be between 4000 and 8000 words. You can use MLA or Chicago style but please try to provide as much information as possible. (Please note that there are no publication or processing fees or anything of the kind. The quality of your article is what determines whether it will be published in this collection or not. Please do not inquire about fees)
English Language Notes 59.2 Fall 2021 (Duke University Press): "Trauma and Horror"

Deadline: September 1, 2020
Contact: (Editor)

Later nineteenth-century psychology appropriated the medical term trauma, used to denote a wound derived from the violent piercing of the skin, to describe a violent breaching of subjectivity. Thus trauma came to refer to the violation of psychic boundaries (often conjoined with a physical violation as in the case of railway and industrial accidents), the event that caused the breach, and the long-term aftereffects of the breach. The event instantiating psychic trauma is so shocking, so devastating, that the ego’s defenses are broken down, and the subject is powerless to resist the overwhelming impressions that flood its barriers or to manage the swell of affective distress that results.

The abreaction or working-through of trauma should be furthered by the most painstakingly accurate representation of its inception and effects. However, contemporary trauma theorists have described the difficulty, perhaps impossibility, of a “true” representation of traumatic events, given that the very experience of trauma involves the derangement or shattering of the subjective apparatus designed to process it. Traumatic events can only be understood belatedly and imperfectly; they give rise to repetitive dreams and uncontrollable flashbacks, and generate narratives characterized by disjunction and distortion, including the interpolation of fantasy elements. Thus the most faithful accounts of traumatic events, perversely, can only be rendered by means of narrative breaks and refusals, hyperbole and other modes of distortion, and displacement at one or more removes.

One genre that can be said to generate such perversely accurate representations of trauma is Horror. Horror specializes in hyperbolic scenarios of human subjects in the throes of excruciating physical and psychic pain, and develops these scenarios by means of phantasmatic images and hallucinatory narrative sequences. As a further complication, Horror invites its reader or spectator into a pleasurable relationship with trauma, offering up trauma as a compelling spectacle to be consumed and even enjoyed. This special issue invites essays that explore Horror’s strategies for representing personal and historical trauma, Horror’s ability (or failure, or refusal) to abreact trauma, and the paradoxical appeal of a popular genre devoted to the unpleasure of shock, violence, and psychic disorientation.

Other topics might include:

— Horror consumption as a form of traumatophilia, whereby the subject wilfully seeks out traumatic encounters that threaten to swamp or pulverize the boundaries of the psyche.

— Ecohorror and the post-apocalypse, from Mary Shelley to the Strugatsky brothers to Jeff VanderMeer.

— Horror as a genre that elicits “empathic unsettlement” (LaCapra 2001), as opposed to aversion, disgust, or other forms of denial, in its consumer.

— Critiques of Horror as an exploitative or “pornographic” genre, particularly in its representations of war, genocide, and other large-scale atrocities.

This CFP understands Horror as a capacious genre that may overlap or intersect with other fantastic genres such as Gothic, Science Fiction, Kaidan, the Weird, and so forth. It welcomes discussions of literature, film, television, graphic novels, visual arts, music, and other cultural forms, and essays that discuss national and/or regional traditions of Horror as well as individual texts. It also solicits essays that discuss the phenomenon of violent de-subjectification during earlier periods, and propose discursive antecedents (clinical, sociomedical, philosophical, religious) to the later-modern trauma paradigm.

Essays are due by September 1, 2020. They can be of varying lengths, including position papers and longer research articles. Please use Chicago-style formatting, and submit double-spaced, 12-point font, .docx files to the special issue editor, Kelly Hurley, Please omit identifying information from all pages except the cover page, as we use a blind review format. Send all inquiries to Kelly Hurley.

Posthuman Fantasies and Anxious Desires in Black Mirror

Deadline for submissions: March 1, 2020
Contact: Zahi Zalloua,

The Netflix series Black Mirror offers a critical dramatization of the phantasmatic promises of transhumanism. Set in the near future, Black Mirror not only paints a pessimistic vision of our neoliberal lives as cyborgs—biological subjects wired into a technology integral to the construction and projection of self—but also foregrounds the persistence and problem of desire, exceeding the interpretive paradigm of transhumanism along with its investment in the willful subject of humanism. New technologies do not deliver us from our weaknesses; they do not limit our vulnerabilities, but intensify them. Indeed, new technologies induce anxiety, unsettling the desiring habits of subjects. What Black Mirror arguably solicits is a posthumanism supplemented by a psychoanalytic framework—where desire is understood as a desire for the other/Other (for the personal human other and for the anonymous figure of authority), where the object (and subject) of desire is constitutively doubled. Read as an allegory for our posthuman condition, Black Mirror stages desiring cyborgs not as immunized subjectivities (the dream of transhumanism), nor as post-subjectivities (the dream of some posthumanisms) but as subjectivities whose ontological otherness—their inherent inhuman excess—is put on full display.

Black Mirror powerfully exposes what we might describe as the blind spots of transhumanism. This volume seeks to explore those blind spots and their implications for posthuman subjectivity. The editors invite proposals for a new edited collection of essays. We specifically look for essays that engage how fantasy helps situate the limitations of desire within the technological enhancements of Black Mirror’s terrain. Although psychoanalysis provides a particularly apt discourse for understanding Black Mirror and its implications, the goal of the collection is to offer an interdisciplinary dialogue that addresses the various posthumanist implications of Black Mirror. Media studies, cultural theory, psychoanalysis, philosophy, and literary theory—all these approaches serve both to enlighten and to complicate the dilemmas within, and the fantasies of, humanism and posthumanism and the instability of our evolving cyborg subjectivity.

Initially, the editors ask that potential contributors send a detailed abstract along with a full CV by March 1, 2020. For accepted proposals, completed essays (approximately 7000 words) will be due on August 1, 2020. Please email material to the editors, Dr. Zahi Zalloua,, and Dr. Jacob Blevins, Decisions on proposals will be made by March 15th.

Gothic Nature is seeking TV/ film reviews for its next issue. The show or film reviewed should have a clear thematic link to ecohorror/ecoGothic, and the reviews should aim to be about 1,000 words in length (Harvard style and British spelling and punctuation conventions appreciated). We prefer reviews that focus on recent films or TV (within the last couple years), but we can be flexible about this, especially if you want to concentrate on a longer thematic through-line. Send inquiries and submissions to Sara L. Crosby at For further information about the journal, please visit:

Deadline for submissions:  March 15, 2020
Genre/Nostalgia: A one day film and television studies symposium
University of Hertfordshire, June 30th 2020

Keynote speaker: Dr Kate Egan, Northumbria University: ‘Nostalgia for British Comedy’s Past: Monty Python, the 1960s and 1970s, and Fan Memories’

Film and TV genres and nostalgia have long been intertwined. Fundamentally, both are rooted in the practice of creatively recycling and adapting modes of the past; Steve Neale’s (1990) assertion that genres are processes of repetition and variation is also applicable to many films and programmes which reimagine historical events, past eras, earlier styles and classic works of literature. Period dramas regularly cite the codes and conventions of past genres as a means of triggering collective memories of an era, while for multiple other film and TV genres, the past is a key component: for instance, science fiction might depict the past as a function of time travel, while the Western is founded on its 19th century American frontier setting, and gothic horror is often associated with Victorian England or based on fin de siècle literature.

Relationships between genre and nostalgia are regularly explored in isolated studies, while broader publications and events often focus on one or the other. However, the focus is rarely on the relationship and interaction between them. This may in part be due to lingering doubts on the value of exploring it. When, in 1991, Fredric Jameson identified what he called ‘the nostalgia film’, he cited genre texts like the neo-noir Chinatown (Roman Polanski, 1974) as evidence of ‘the waning of our historicity’ (1991: 21). In their repetition of previously mediated images, it was, to a large extent, the genericity of films like these which so concerned Jameson and led him to judge them as lacking in historically critical depth. This perspective has to some extent persisted in studies of period and historical dramas, where engagements with the past in popular genres like horror, comedy and science fiction are considered less ‘serious’ or historically significant. Meanwhile, Jameson’s reading of postmodern nostalgia as inherently regressive, despite being subsequently questioned (see, for instance, Hutcheon 2000; Dika 2003), has encouraged some studies to look sceptically on the presence of nostalgia, reading it as a more or less straightforward indicator of longing for a simplified, comforting past rather than as a complex phenomenon.

Yet, links between genre and nostalgia have only deepened in the increasingly media-saturated 21st century. More genre films and programmes have opted for past settings, and more period dramas, in their style of historical adaptation, have rejected traditional notions of ‘authenticity’ in favour of self-reflexive genericity. As such, this one-day symposium, which we hope will lead to the development of an active research network, seeks to explore connections between film and television genres and nostalgia, memory and other manifestations of the past. The aim is to facilitate dialogue between these two rich and increasingly interconnected areas of study, and to connect scholars at all levels working in these areas.

Possible areas that may be explored include, but are not limited to:

  • Retro style in film and television genres such as comedy, horror, science fiction, the Western, noir, etc., and specific case studies of genre texts engaging with these styles
  • Reappropriations of past genre tropes in period dramas or other generic forms
  • Other forms of media, such as books, music videos and video games (e.g. L.A. Noire, 2011), which engage nostalgically with film and television genres
  • Foregrounding ignored or marginalised histories (e.g. via new representations of gender/race/class/sexuality) in period genres (e.g. literary adaptations, Westerns)
  • Revisiting genre texts on new platforms (e.g. streaming services), and the role of nostalgia in ways of watching (e.g. binge watching, or interactive texts like Black Mirror: Bandersnatch, 2018)
  • Nostalgias for genre texts and the nostalgic practices of fans, audiences and/or fan-creators
  • Recycle, remake, reboot: nostalgia’s role in genre seriality and multiplicities
  • The role of nostalgia in the reappraisal, re-release and/or canonisation of genre texts
  • Key genre filmmakers, showrunners, or other creatives engaging with nostalgia (e.g. Greta Gerwig, Ryan Murphy)
  • Genre stardom and nostalgia
  • The role of nostalgia in genre development, stages, eras and/or cycles
  • Genre narratives about nostalgia or memory (e.g. Ready Player One, 2018; 13 Going on 30, 2004, Westworld, 2016-)
  • Nostalgia in hybrid genres (e.g. Ashes to Ashes, 2009-2010; Back to the Future, 1985; Ripper Street 2012-2016)
  • Rewriting or rethinking historical narratives via genre (e.g. Once Upon A Time…in Hollywood, 2019; Jojo Rabbit, 2019; Chernobyl, 2019)
  • The past in the introduction of new generic styles and forms (e.g. steampunk, neo-noir)
  • Retro period ambiguity (e.g. It Follows, 2014; The Guest, 2014; Sex Education, 2019-)

We invite abstracts of c.200-250 words, along with a short biography, to be sent by March 31st 2020 to the organisers: Dr Caitlin Shaw ( and Dr Laura Mee ( Acceptances will be advised as soon as possible in the same week. Costs are to be confirmed ASAP, but as we would like to connect researchers at all stages, we are aiming to keep registration fees nominal in order to avoid being prohibitive.

Of Haunted Houses and Dark Nights of the Soul: Edgar Allan Poe in American Film
Fifth International Edgar Allan Poe Conference
Omni Parker House Hotel, Boston
April 8-11, 2021

Deadline: June 1, 2020
Contact: Dr. Kareem Tayyar -

From the Universal-produced monster movies of the 1930s and 1940s—which included Bela Lugosi starring in 1935’s The Raven—to the eight-picture, Roger Corman-Vincent Price cycle of low-budget Poe adaptations in the 1960s, Poe’s work has, both directly and indirectly, continued to inspire some of the most thought-provoking and entertaining horror films of the 20th and 21st centuries. This panel seeks papers which deal with movies directly based on Poe’s original work and on those true to the spirit of Poe’s aesthetics, imagery, and artistic ideology.

Please send abstracts to Dr. Kareem Tayyar, Golden West College, at the following email:
Boris Karloff: The Many Faces of a Film Icon – A Critical Symposium
30th October 2020
Plymouth College of Art, UK

Boris Karloff was born William Henry Pratt in 1887, in the then-small village of Camberwell, Surrey (now part of South London). Most often remembered as the star of Frankenstein (dir. James Whale, 1931) and two of its sequels (Bride of Frankenstein in 1935 and Son of Frankenstein in 1939), Karloff’s career spanned more than half a century, from the silent era to New Hollywood where he worked with Peter Bogdanovich on the highly experimental film Targets (1968), in what proved to be one of his final feature performances. In addition to Whale and Bogdanovich, Karloff worked under a number of significant directors over the course of his career, including Mario Bava, Roger Corman, Michael Curtiz, John Ford, Howard Hawks, Michael Reeves, Douglas Sirk, Jacques Tourneur, and Robert Wise. For many, Karloff was and remains “one of the screen’s greatest madmen” (Darryl Jones, 2002). While Karloff’s star image is mostly intertwined with the horror genre, this dedicated symposium hopes to invite both new perspectives on some of the actor’s most iconic roles, as well as draw attention to the many other faces of Boris Karloff, both on- and off-screen. It is our aim to demonstrate that Karloff was more than the sum of his most famous parts; that the mercurial man who gave a “profoundly sympathetic performance” (Jones) as Frankenstein’s infamous monster was an actor with impressive range that is demonstrated by a rich and expansive filmography.

Boris Karloff: The Many Faces of a Film Icon will take place at Plymouth College of Art on 30 October 2020 where we hope to draw together a range of speakers and attendees all interested in various aspects of Karloff’s life and career.

In correspondence with this event, we will showcase archival materials hitherto unseen that relate to Karloff’s career. The event is being organised in collaboration with the Plymouth Arts Cinema who will be providing an evening programme which includes screenings of some of Karloff’s feature films. More information regarding the event, as well as the keynote speakers, will be announced in due course.
Boris Karloff: The Many Faces of a Film Icon has already attracted the attention of a publisher. Our hope is that this symposium will lead to a peer-reviewed publication, providing an opportunity for some of the speakers to expand their work into full chapters in an edited collection.
Topics for chapters may include, but are not limited to:

Any of Karloff’s feature films
Karloff and his collaborators (co-stars, directors, producers, etc.)
Karloff in Hollywood
Marketing Karloff
Karloff and film stardom, or uses of his star image
Karloff’s performances, including as a silent film star through to his late-career performances
Karloff and franchises
Karloff as a horror icon
Karloff as a transnational star
Karloff and masculinity
Karloff and race
Karloff and monstrosity
Archival work on Karloff
Writing on Karloff, including biographies
Your own suggested idea

Submission details

We would like to invite abstracts for 20 minute papers of approximately 250 words, accompanied by a short biographical statement. The deadline for proposals is Friday 29th May 2020 (with confirmation to follow in the weeks following that). Please address any inquiries to Dr Eddie Falvey at who will reply on behalf of the organising panel. Abstracts should be emailed to
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