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Mostrando entradas con la etiqueta fandom. Mostrar todas las entradas

CFP: K-POP AND THE WEST; MEDIA, FANDOM AND TRANSNATIONAL POLITICS




K-pop and the West: Media, Fandom, and Transnational Politics
 

October 27-28, 2023


The University at Buffalo’s Asia Research Institute will host its second annual Korean studies symposium, “K-pop and the West: Media, Fandom, and Transnational Politics,” on October 27-28, 2023. The symposium aims at creating an opportunity to think about research, pedagogy, and methodologies in our critical study of K-pop in the West. There has been some debate about whether K-pop’s popularity in the U.S. market represents its status as a mainstream—as compared to an ethnic—pop genre. Some would argue that the current success of K-pop be viewed as a collective achievement of K-pop fans. In this view, American fans have, in particular, “fought against” the U.S. media industry’s commercial devaluation of K-pop and their racially discriminatory practices that adversely affect K-pop artists.

The UB Asia Research Institute calls for proposals that critically engage in interdisciplinary dialogues among fields of humanities and social sciences. Drawing from the expertise of our keynote scholars Dr. Dafna Zur, Stanford University, and Dr. Thomas Baudinette, Macquarie University, the symposium seeks proposals from various disciplines and theoretical approaches addressing, but not limited to, the following questions: How do Western media, fandom, and academia contribute to the formation of K-pop and its global circulation? What are the potentials and limits that we encounter as K-pop scholars in Western academia? How do actors in the K-pop world engage in translocal politics and public discourses in the West?

Possible topics may include but are not limited to:

Globalization: music and media circulation; transnational development and localization of Korean popular music; making of the K-pop production system; Western hegemony in K-pop nation branding: postcolonial or Orientalist formation of Koreanness; marketing strategies in the Western market; imagining Korea through K-pop

Fandom: participatory culture in Anglophone K-pop fandom; fan activism; fans as promoters; K-fans and K-media; Koreaboos; K-pop tourism; Korean language and translation

Gender and sexuality: K-pop bodies and Asian stereotypes; understanding K-pop as androgynous, queer, and/or patriarchal; critiques of soft masculinity; Western representation of K-pop “fangirls”

K-pop pedagogy: how to apply participatory culture and ethnography; how to avoid cultural misunderstanding and mistranslation; creative ways to teach K-pop

Race and racial politics: K-pop fans’ engagement in American/Western racial politics; racism in Western music/media industries; circulation and formation of race in K-pop; non-Korean K-pop idols

Western media and Orientalism: critiques of “the dark side of K-pop”; K-pop artists’ social mobility and glass ceiling in Western pop scenes; media ethics; (mis)translation of Korean language and culture

For this symposium, the Asia Research Institute seeks submissions from researchers of all stages in interdisciplinary fields of humanities and social sciences. Presenters must be present at the symposium in person, although the presentations will be livestreamed. To apply, please send your CV with a 250-word abstract in a single PDF file to kpop2023@buffalo.edu. We are accepting proposals until July 15, 2023, and notifications will be sent by mid-August, 2023. The Asia Research Institute will provide local hotel accommodations and meals during the symposium to all participants whose papers are accepted. In addition, there will be a limited number of modest travel grants available by application to those who are in need of further support.

The University at Buffalo Asia Research Institute is a multidisciplinary hub and collaborative space for research and education about Asia and its diasporic communities. The institute leverages and amplifies existing UB faculty expertise on many regions of Asia; provides enriching research and experiential learning opportunities for students; and engages with local Asian and Asian heritage communities through educational and cultural programming to promote a diverse and inclusive environment.

This symposium is possible because of funding from the Academy of Korean Studies, Korea.


Inquiry:

Stephanie Choi, Postdoctoral Associate: schoi43@buffalo.edu

Bruce Acker, Assistant Director: backer@buffalo.edu

CFP: EDITED VOLUME "FAIRYTALE IN EAST ASIAN FASHION"


Fairytale in East Asian Fashion (edited collection)



We are soliciting chapter proposals for an edited collection on Fairytale in East Asian Fashion. Stories of yokai (Japan), yogoe (Korea), or yaoguai (China), such as “The Crane Wife” and “The Robe of Feathers,” manifest themselves everywhere in East Asian popular culture these days—from manga, anime / donghua / webtoons, and Pokémon, to fashion. One sees this phenomenon through brands such as Maison Kitsune, yokai-themed collections, street style, cosplay, and of course, traditional ethnic dress. Chapters may cover any fairytale or any fantastical creature that features strongly in Asian fairytale—baku, dokkaebi, kappa, kitsune / huli jing / gumiho, qilin, yuki onna, etc etc. Essays on Chinese and Japanese fashion are particularly needed, but essays on Southeast Asia are also quite welcome. (The editor is writing on yogoe fashion through K-Pop and K-Drama.)

Please send a brief c.v. and 150-200 word abstracts for 6,500 word chapters by June 30, 2023 to Amanda Sikarskie, Ph.D., asikarsk@umich.edu. Dr. Sikarskie is working with Frances Arnold, Acquisitions Editor at Bloomsbury. If selected, finished chapters will be due in early 2024.

CFP: EDITED VOLUME FOR BLOOMSBURY SERIES IN ASIAN CELEBRITY AND FANDOM STUDIES


‘Star and Celebrity Branding within Asia: Using Comradery Capital’

edited volume for Bloomsbury Series in Asian Celebrity and Fandom Studies


The centrality of the celebrity commodity to the flow of cultural and economic capital in mediascapes has been explored by scholars such as Driessens and Marshall who note that celebrities are “manufactured by the celebrity industry” (Driessens, 2012, p. 643), and a mechanism to sell products. Marshall notes that the “celebrity as public individual who participates openly as a marketable commodity serves as a powerful type of legitimation of the political economic model of exchange and value – the basis of capitalism – and extends that model to include the individual (2014 [1997], p. xlviii).

In a recent publication, Celebrity Bromances (Routledge, 2022), we engage with the notion of the celebrity commodity, expanding Driessens’ celebrity capital to the dynamics of celebrity relationships. Driessens outlines how celebrities become part of the currency in a commodity culture, amassing capital that can be traded for profit to the benefit of the celebrity or affiliated products. Celebrities are therefore seen as cultural commodities (Marshall, 2014; Driessens, 2012, 2013); products of culture that contain value which can be traded for economic capital.

The commodification of celebrity interactions is a lens through which celebrity bromances are explored. We suggest that a “bromance capital” operates in contemporary celebrity culture, wherein the bromance is not only used as a tool to draw attention to individual celebrity figures. It also becomes a cultural “product” which gains value as a consequence of the affective attachments it provokes. Expanding the discussion beyond male homosocial intimacy, we also propose the concept of comradery capital, which is inclusive of group dynamics and functions across genders. Comradery capital refers to inherent value of the presentation of celebrity friendships and how these are utilised for the promotion of movies, television shows, charities, and products. The capital can fluctuate depending on levels of authenticity and how the relationship is performed.

While Celebrity Bromances explored some examples of comradery capital, these examples originated mostly from Hollywood celebrity culture. In our efforts to explore the operation of comradery capital, we wish to examine the various readings of comradery capital across countries in Asia. For example, The Avengers cast promotes their dynamic and films in interviews across Asian countries. Similarly, the way Gal Gadot and Chris Pine perform their friendship in the promotion of the Wonder Woman films or Chris Hemsworth and Tessa Thompson for Men In Black International.

We would like to capture cultures from around Asia including Japan, Korea, Dubai, Lebanon, India, China, Iran, Singapore, Pakistan, Malaysia, Israel and Indonesia. In examining the way comradery capital is performed and perceived in these various regions, the book would be able to capture the way in which celebrities vary their performances of friendship to take into account cultural differences of acceptable physical contact, understanding of language and slang, and the reading of sexuality and gender. It will also examine how comradery capital is a global promotional tool, breaking the barriers of communication.

We welcome contributions that focus on the political economy of comradery capital, as well as the affective/empowering dimensions of comradery capital, including fan and consumer relations.

We encourage interested authors to review definitions of bromance and comradery capital in Celebrity Bromances by accessing the open access chapters at the below links. We encourage an engagement with these concepts in abstracts submitted.


Chapter 5 – Beyond Bromances


Topics could include, but are not limited to:
  • Promotion of Hollywood films in Asian contexts
  • Reception of Hollywood cast dynamics in Asian contexts
  • The creation and presentation of cast dynamics in Asian contexts, including same and mixed gender (binary and non-binary) casts
  • The reception of regional cast dynamics in Asian contexts
  • Creation and reception of joint or group celebrity persona

Submission

Please send the following to the editors at: cjcelebrityresearch@gmail.com by April 1, 2023:
  • 300-word abstract
  • 100-word bio
  • 5-6 key words

Contact

cjcelebrityresearch@gmail.com


Anticipated timeline
If the proposal is accepted, full chapters would be expected by November 2023.

CFP: ASIAN POPULAR CULTURE AND THE GOTHIC


Asian Popular Culture and the Gothic



Article proposals are welcome for an upcoming collection on Asian Popular Culture and the Gothic, edited by Li-hsin Hsu, Deimantas Valančiūnas and Katarzyna Ancuta. The collection is planned for submission to the Routledge Advances in Popular Culture Studies series.

Popular culture is often described as “the culture of the people,” containing cultural elements related to objects, beliefs, and practices that embody shared social meanings, and regularly produced for and consumed by mass audiences. As an object of investigation, it is mostly conceived of as a study of cultural products and media, such as literature, film, television, radio, games, comics, digital media, or fashion, that have mass accessibility and appeal. In today’s globalised world, more than ever, popular culture is increasingly diverse, expansive, dynamic, mobile, and often transnational, regardless of its point of origin.

In their introduction to the special Asian issue of The Journal of Popular Culture, published in 2016, Lisa Funnel and Yuya Kuchi remonstrate that in popular and critical imagination, “Asian Popular Culture” tends to be limited to selected East Asian genres and media, such as Japanese manga and anime, or Chinese martial arts films (2016, p. 963). Today we can safely add Korean music and television drama to this list but this does not quite change the fact that while we have seen dozens of publications focused on East Asian pop culture, large areas of popular Asian cultural production remain routinely excluded from scholarly examinations. While South Asian popular culture studies are a relatively vibrant discipline, even if the investigation here tends to be focused mostly on India and rarely goes beyond the study of popular cinema, Southeast Asian pop culture, in contrast, has so far received very limited attention, with studies examining the impact of “Japanisation” or Korean wave outshining those on local production. The field of Asian popular culture and its connection to the Gothic remains also an under-examined area.

Recent scholarship on the Gothic has extended the analysis of cultural production beyond the usual references to literature and cinema, and often includes a variety of media forms and practices of public/popular culture, such as television, video games, music, fashion etc. The term has also transcended not only its generic and historical, but also geographical boundaries, becoming a truly transnational phenomenon. The contemporary Gothic manifests in a variety of media forms way beyond the European or American contexts, and the appearance of Asia in the Gothic-related debates is not an oddity anymore. The ongoing decentralisation of Gothic studies and de-westernisation of its methodologies has opened up new possibilities for including cultural productions from diverse geographical locations, and the willingness to accept Asian Gothic as a legitimate category has rapidly increased with most edited collections and companions now carrying at least one chapter discussing Asian texts and contexts.

Asia has long been regarded as a vital hub of production and consumption of popular culture, with an extensive variety and spectrum of media forms and topics. However, the Gothic aspect of popular culture of Asia has not been addressed in a systematic and extensive way. Therefore, this collection for the first time invites papers to explore the ways Gothic manifests in popular culture and its consumption in Asia. By the term “popular culture” we imply both a variety of media forms of everyday consumption – video and digital games, comic books, television, music etc., as well as forms of everyday public culture and practices, associated with festivals, fashion, rituals, ceremonies etc. We also invite papers that explore the issues of knowledge production and cultural reception in Asia, rethinking the social and political role the Gothic might play in the circulation and transmission of popular culture in an Asian context, and how Asian popular culture might redefine or reshape the Gothic mode / aesthetics as we know it.

We invite proposals that consider the Gothic not as a fixed western-centred generic category, but as a fluid and shifting conceptual framework through which distinctive local cultural practices, historical and social traumas, anxieties, collective violent histories and diverse belief systems are expressed and discussed. In this sense, the Gothic can be read as a distinctive aesthetical and narrative practice, where conventional gothic tropes and imagery (monsters, ghosts, haunting, obscurity, darkness, madness etc.) are assessed anew, and disseminated and consumed through the many forms of popular culture. We also encourage approaches that rethink the affective power of the Gothic, and how its heterogeneous, transmedia, transcultural and transnational complexity is manifested in Asian contexts.

We are interested in examining a number of broader issues highlighting the appropriation of Gothic tropes and conventions in popular culture texts that engage with representations of colonial legacy, wars, conflicts, and historical trauma, gender / class / race issues and various forms of social critique. We would like to encourage the examination of the relationship between popular Asian Gothic texts and the audience / the marketplace, as well as the contexts of production and reception of such texts. We are keen on receiving proposals exploring the connection between Asian Pop Gothic and authorship / celebrity culture and possible political contexts related to the use of popular Gothic themes and motifs, for instance in relation to propaganda and censorship.

Below is a list of themes the edited collection is willing to address. It is not an exhaustive list and is intended as a guide, not as a set of limitations. We welcome suggestions and proposals on related topics and various media forms.
  • Gothic/Horror elements in B-movies and popular cinema (e.g., HK Cat III movies, Ramsay Brothers horror films, Japanese splatterpunk and tokusatsu eiga)
  • Popular Asian gangster films (e.g., the Japanese yakuza/ninkyo films, HK Triad films, or Korean kkangpae films)
  • Horror comedies / comic Gothic
  • Gothic/Horror elements in popular / pulp fiction (e.g., supernatural romances, light novels)
  • Popular Asian crime fiction (e.g., honkaku and henkaku mysteries, or gong’an crime-case fiction.
  • Asian horror television series and game shows
  • Serial killer television series
  • Mediums, shamans and ghost detectives in supernatural crime procedurals
  • Gothic cyberpunk / post-human in manga and anime
  • Eco-Gothic approaches to manga and anime
  • Horror comics in Asia
  • Asian ghosts and monsters in popular culture
  • Sentimentalism and sensationalism in Asian ghost story
  • Asian pop culture adaptations of Gothic texts (e.g., Dracula in Asian texts, Japanese reworkings on Chinese zhiguai, Rebecca in India)
  • Vampires in Asian music videos
  • Visual Kei and post-punk / Goth music
  • Gothic/Horror elements in Asian heavy metal music
  • Gothic/Horror and gaming cultures
  • Survival video games and survival game films and TV shows
  • Horror-themed RPGs and ARGs inspired by Asian folklore
  • Gothic/Horror themes in user-generated fiction and Internet-based lore
  • Ghosts, curses and viral videos
  • Ghost-hunting and paranormal radio broadcasts / podcasts
  • Gothic/Horror in popular theatre (e.g., kabuki plays, likay, Chinese/Taiwanese opera, Tamasha, Jatra)
  • Gothic/Horror in puppet theatre (e.g., budaixi, nang yai, wayang kulit, kathputli)
  • Gothic traditions and (religious) festivals
  • Asian Gothic folklore and urban lore
  • Ghost storytelling and oral lore
  • Asian Horror fandom and audiences
  • Gothic Lolitas and Gothic cosplay
  • Asian Goth subcultures / Gothic fashion
  • Gothic/Horror-themed merchandise
  • Gothic/Horror-themed attractions (e.g., haunted houses, amusement parks, escape rooms)
  • Ghost tours and dark tourism
  • Gothic media personalities / TV and radio hosts
Proposals of approx. 300 words accompanied with a short biographical note of max. 150 words should be sent to the editors at asianpopgothic@gmail.com by 31 October 2022.


Contact email: kancuta@gmail.com

CFP: BTS (방탄소년단) A GLOBAL INTERDISCIPLINARY CONFERENCE PROJECT.


BTS (방탄소년단) A global interdisciplinary conference project
Kingston University


Korean boy group BTS are the first ever Korean act to perform at Wembley Stadium as part of their Love Yourself: Speak Yourself world tour. Debuting in 2013 under Big Hit Entertainment, BTS initially struggled to gain recognition in Korea as they didn’t come from one of the big three Korean entertainment companies. However, the last few years have seen BTS become the most internationally successful Korean act of all time, amassing not only domestic awards but prestigious US awards including The Best Duo/Group at the 2019 Billboard Music Awards. Their recent sold-out concerts at Wembley clearly delineate BTS as a dominant force in global music and within popular culture. This inclusive inter-and multi-disciplinary conference seeks to examine the success and popularity of BTS from a variety of academic, practice, and fan-based perspectives.