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CFP: EAST ASIAN ECOCINEMA CONFERENCE, UNIVERSITY OF IDAHO


East Asian Ecocinema Conference,

University of Idaho, February 22-23, 2024


Description:

Ecocinema has recently drawn scholarly attention in East Asian cinema studies, though usually within nation-state frameworks. This conference will contribute to exploration of ecological thinking with regards to media by encouraging inter-Asian conversations about ecocinema. Given the global issue of climate change, it is urgent to develop ecocritical perspectives beyond national cinema frameworks. For example, what can we learn about the relationship between cinema and natural disasters by comparing documentaries from Japan and China? How did filmmakers capture the changing cityscape and landscape during industrialization in different regions in East Asia? Challenging the Euro-America-centric discourse of Theory, what kind of ecocritical approaches and concepts are formed in media theories and criticisms in Asia? Can the increasing popularity of anime, which often reflects on natural disasters such as 3/11, inspire ecocritical thinking in the global audience? By providing scholars in East Asian cinema with a space for dialogue, this conference aims at mapping out alternative perspectives toward ecocinema beyond national borders.

This conference invites paper proposals from all areas in East Asian film studies. Interdisciplinary submissions from across the humanities are welcomed. Possible topics include but are not limited to the following:
  • Catastrophe in anime
  • Eco-activism by celebrities
  • Ecocinema as a genre
  • Ecocriticism and media theory in Asia
  • Ecological documentary
  • Environmentalist film
  • New media and environment
  • Non-anthropocentric worldview
  • Sustainability and the film industry
Keynote speakers:

Submission process:

We invite scholars at all stages of their careers, across multiple disciplines as well as employing diverse methods and theories to submit proposals to this in-person conference. We will consider publishing selected contributions in an edited volume. The conference sponsor (the Idaho Asia Institute) will provide presenters with three nights lodging at a hotel in Moscow, Idaho (room shared with one other participant) and some meals. Participants will be expected to fund their own travel to and from Moscow, Idaho and other expenses.

Please submit the paper title, a 300-word abstract, and a short CV to Yuta Kaminishi (yutak@uidaho.edu) by July 30, 2023. Acceptance of proposals will be communicated by August 14, 2023.

Conference Organizers:

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.

CURSO ONLINE CASA ASIA «EL ÉXITO GLOBAL DEL CINE Y LAS SERIES DE COREA DEL SUR»

 
Curso online Casa Asia

«El éxito global del cine y las series de Corea del Sur»


¿Cuáles son las claves del éxito que están cosechando el cine y las series de Corea del Sur? En este curso realizaremos un repaso histórico a estas industrias culturales a partir de la estrategia globalizadora llevada a cabo por el país desde los años 90. A través de este recorrido, recordaremos algunos hechos históricos que marcaron para siempre a estas industrias y, muy especialmente, esas películas y series que han sido importantes para la evolución de la cultura contemporánea de Corea del Sur, permitiéndonos comprender, de esta manera, cómo ha sido la trepidante estrategia de expansión que se ha producido en estos últimos 25 años.

No es necesario tener conocimientos previos, por lo que esta actividad podría ser interesante tanto para quienes disfrutan con la ficción surcoreana como para quienes desean comenzar a conocerla.


Programa:

1ª Sesión: Los inicios de la globalización: el nuevo cine coreano

Desde los años 90, la industria del cine de Corea del Sur experimentó importantes cambios que tuvieron su base en el plan Segyehwa anunciado por primera vez en 1995 por el antiguo presidente Kim Young-Sam. Los efectos de la globalización se vieron reflejados en una nueva ola de cine que acabaría conociéndose entre la crítica especializada y el público como el “Nuevo Cine Coreano”. La Generación 386 de cineastas, encabezados por Bong Joon-ho, Park Chan-wook, Kim Jee-woon, Lee Chan-dong, Kim Ki-duk y Hong Sang-soo, obtuvo, de forma inesperada, el mayor reconocimiento internacional.

2ª Sesión: Las últimas tendencias del cine surcoreano

La consolidación de la Generación 386, la proliferación de los nuevos talentos o la experimentación con los géneros cinematográficos han consolidado la presencia del cine surcoreano en el panorama internacional. Así pues, éxitos como Parásitos (Gisaengchung, 2019), de Bong Joon-ho, han permitido dar a conocer a esta cinematografía al público masivo, pero también responden a una estrategia de expansión que comienza a cosechar frutos.

3ª Sesión: Evolución de las series de ficción surcoreanas

La década de los 90, trajo consigo el surgimiento de nuevos canales en la televisión por cable, pero también un incremento en la competitividad en su apuesta por la ficción local. Tras las importantes ventas de la serie What is Love? (Sarangyi Mwogilrae, Park Cheol, 1991-1992) y la consolidación de la ficción surcoreana en la región con Winter Sonata (Gyeoul yeonga, Yun Seok-Ho y Lee Hyung-Min, 2002), los medios de comunicación chinos y japoneses comenzaron a utilizar el término Hallyu para definir el impactante éxito y dominio que aún, a día de hoy, mantiene esta industria.

4ª Sesión: La ficción surcoreana en las plataformas digitales

Por último, finalizaremos nuestro recorrido histórico dedicando una última sesión a la presencia de la ficción surcoreana en las plataformas digitales. Desde 2016, con la participación de Netflix en la superproducción de Okja, de Bong Joon-ho, se ha producido un incremento exponencial en la visibilización del cine y las series de factura surcoreana. De esta forma, se ha facilitado su circulación a escala global, pudiéndose tener acceso a una gran variedad de contenido desde nuestras propias casas.


Profesora:

Sonia Dueñas Mohedas, becaria predoctoral PIPF en el departamento de Comunicación de la Universidad Carlos III de Madrid y miembro del grupo de investigación TECMERIN (Televisión-Cine: Memoria, Representación e Industria). Ha sido becaria Korea Foundation Field Research en la Korea National University of Arts en 2021. Su tesis está centrada en Planet Hallyuwood, la industria cinematográfica de Corea del Sur en la era de la globalización, labor que también combina con el proyecto de investigación «Cartografías del Cine de Movilidad en el Atlántico Hispánico» (CSO2017-85290-P) y la docencia. Es miembro fundador de la Asociación de Difusión de Estudios y Cultura Coreana en España (ADECCE).


Más información
  • Fechas: del 4 al 7 de julio de 2022. Lunes a jueves, de 18.00 h a 19.30 h CEST. 4 sesiones de 1,5 horas: total 6 horas.
  • Lugar: Online. 24 horas antes del acto las personas inscritas recibirán la información necesaria para acceder.
* Comprueba tu bandeja de correo no deseado en caso de no haberla recibirlo.
  • Precio: 39 euros.


CFP: THE HALLYU PROJECT, A POST45 CONTEMPORARIES CLUSTER


The Hallyu Project,

A Post45 Contemporaries Cluster


Squid Game’s global impact barely needs introduction. The first ever television series to top Netflix daily charts in every single country where the streaming service is available. Netflix’s most-watched series as of October 2021, a distinction previously held by the American period drama Bridgerton. What is more impressive is that the South Korean show achieved this in a non-English language, proving that Parasite’s cultural breakthrough in 2019 was not simply an anomaly. Perhaps English-speaking viewers have finally, to quote Parasite director Bong Joon-ho, overcome “the one-inch tall barrier of subtitles.”

But why now?

The Hallyu Project cluster invites contributors to think about how, why, and whither Korean popular culture is resonating worldwide at this moment in time. What distinctive structures of feeling do Korean cultural products offer in a world that must increasingly reckon with neoliberal precarity, physical displacements, and global systems of exploitation? How has the production and reception of Korean pop culture opened up questions of racial capitalism, super-exploitation, neocolonialism, cultural hybridity, media trans-nationalization, and fandom culture?

Squid Game shines a light on these issues, but it is far from the only Korean show to do so. Reflective of what has been termed South Korea’s “compressed modernity,” in which explosive post-war economic growth also led to tremendous social upheaval, Korean television and film tend to underscore the ways in which individual lives are caught within broader socioeconomic, gender, national, and imperial contexts. Tracing all the way back to the Golden Age of South Korean Cinema (1955-72), these narratives have long been invested in exploring how, as Kathleen McHugh writes, “personal frustration becomes the basis for interpersonal identification that is at once familial, social, and political.”

What new understandings emerge when we locate Squid Game within this long history of performing the personal as the political? How is that politics complicated by the ambivalent status of the Hallyu commodity, a commodity produced both to express domestic concerns and for exporting to a global audience? Is Hallyu necessarily self-conscious? How are Hallyu products differently received by Koreans, the Korean diaspora, countries outside of Korea, seasoned Hallyu fans, and other international viewers? What implications does this hold for our understanding of Hallyu and online fandom?


Suggested lines of inquiry for cluster contributions include, but are not limited to:
  • The unstable meanings of Hallyu: What is it, who owns it, who is it for, what ends does it serve?
  • Cultural analyses of Korean media content: Analyze Korean tv shows, music, film, variety programs, and other relevant narrative/audiovisual modes within a domestic and/or transnational context. What makes them distinctive?
  • Hallyu’s (neo)colonial roots and/or (post)colonial implications
  • Cross-cultural comparisons: Compare Korean and non-Korean popular media. As an example: What distinguishes Squid Game from other cultural offerings within the “battle royale” genre, such as America’s Hunger Games and Japan’s Alice in Borderland?
  • The self-consciousness of Hallyu products: their mutual references and porous boundaries. As an example: How does Squid Game’s themes, motifs, and eye-popping sets connect and/or consciously allude to other Korean cultural exports, including variety game shows, K-pop, and other internationally popular tv shows?
  • Digital Hallyu: The influence of streaming and social media platforms on Korean popular culture
  • Hallyu fandom: Fan practices and their potentially transformative power
  • Hallyu's uneven reception across different communities and cultures: Koreans, the Korean diaspora, the Global South, the Global North, seasoned fans, novice viewers, etc.

What is a Post45 Contemporaries “cluster”?

Post45 Contemporaries provides a forum for writers to converse with one another more directly and informally than in traditional academic publications. These curated conversations, or “clusters,” range from sets of relatively autonomous short essays on a common theme to extended epistolary exchanges.

Please visit the Post45 Contemporaries website for examples of what clusters look and sound like.


What should a contribution sound like?

Intellectually stimulating, but conversational; rigorous, but accessible. Designed to spark thought and debate, at dinner tables and in undergraduate classrooms alike.

Not too long—about 3,000 words or so. Multi-modal and alternative formats also welcomed!


Editorial Process and Timeline

Abstracts due: March 1, 2022
Response to abstracts: March 15, 2022
First drafts due: August 15, 2022
Second drafts due: October 2022
Publication: Winter 2022

Please submit a 300-word abstract and a 100-word bio to Yin Yuan (yy8@stmarys-ca.edu) by March 1, 2022. Questions can also be directed to this same email. We look forward to hearing from you!


SESIONES CULTURALES ONLINE, INSTITUTO SEJONG DE BARCELONA


Sesiones Culturales online


Con ánimo de superar las barreras que nos impuso el COVID-19, la Fundación del Instituto Sejong ha organizado un conjunto de sesiones online para promocionar y difundir la cultura coreana. Estas sesiones se retransmitirán por YouTube en los enlaces que proporcionamos a continuación.

Las sesiones se harán del 23 al 29 de noviembre de 2021 de 11 a 13h, hora coreana.


Aquí tenéis el programa (si hacéis clic en el contenido os llevará al canal de YT:


Martes 23


Miércoles 24 


Jueves 25


Viernes 26 


Lunes 29


(música instrumental)

CFP: CONTAGION; MATTER, METHOD, AND MEDIUM


Contagion: Matter, Method, and Medium

University of Minnesota,

April 30 - May1, 2021


Details:

Due to the COVID-19 pandemic, this conference will be held online through Zoom. 

Call for Paper deadline: Thursday, December 31, 2020

Organizers: Soyi Kim (kim4190@umn.edu) / Soo Jackelen (leex7096@umn.edu)


Keynote Speaker:

Scott O’Bryan, Indiana University (East Asian Languages and Cultures)

Sangjoon Lee, Nanyang Technological University (Wee Kim Wee School of Communication and Information)


This year, global “contagions” reached multiple tipping points, as seen in the COVID-19 pandemic that compounded racialized hatred and Black Lives Matter protests that fanned out worldwide. These cases materially and biologically substantiated the interconnection between racism, pathological discourse, postcolonialism, necropolitics, and media culture. Now more than ever, “contagion” is a dominant form for thought. The biological dimensions of contagion take on social resonances, and vice versa. The unknowability of contagious diseases tends to boost public anxiety over racial, ethnic, and sexual minorities as well as “exotic” animals. On the other hand, social phenomena, like public rioting, Internet vernaculars, and even collective laughter, are often dubbed “contagious.” In science studies, contagion is biological, viral, material. In the humanities and social sciences, it is geopolitical, racialized, and gendered. From an ecocritical perspective, contagion is material and political, as when the ecological impacts of capitalism create new points of contact with viruses. We propose to think through pandemic and post-pandemic epistemologies, adapting contagion as a methodology that productively blurs the boundaries of nation, discipline, media, genre, gender, and race.

For this biennial Graduate Conference on “contagion,” graduate student scholars in East Asian studies are invited to respond broadly to this theoretical concern with contagion across different media, cultures, genres of writing, research methodologies, geopolitical areas, and disciplinary languages. Papers will emphasize East Asian studies. We welcome work in post/neo/colonial studies, biopolitics, ethnic studies, critical racist studies, feminism, queer studies, trans studies, disability studies, cinema and media studies, and more.


Possible topics for the conference may include, but are not limited to: 

  • Disease on media/art/literature
  • Politics/life/media and COVID-19
  • History/Historiography of epidemiology in East Asia
  • Contagion as a methodology in social science and humanities
  • Transnational cinema and media studies
  • Meaning of border crossing / translation in media and literature study 
  • Biopolitics and necropolitics in East Asia
  • Memes, virality, and internet culture
  • Contagious laughter and comedy
  • Translation and perception in humor studies
  • Affect theory and media/art/literature in East Asia
  • Transversality and gender studies (trans, queer, feminist studies)
  • Ecocriticism
  • Public health Issues (epidemics, pandemics, and other contagious diseases) 
  • Anthropocene, posthumanism, animal, etc.
  • Object oriented ontology in East Asian context


We accept submissions from current graduate students from all disciplines whose research interests are in the East Asian area. Please send the abstract (up to 250 words), and a short bio (up to 100 words) to gvkoreabeyond@gmail.com by December 31, 2020.


Host: 

Asian & Middle Eastern Studies at the University of Minnesota

IAS Research and Creative Collaborative, “Gender and Violence: South Korea and Beyond”


Sponsors: 

Department of Asian & Middle Eastern Studies Institute for Advanced Study


The Imagine Fund

CASA ASIA ENCUENTRO ONLINE SOBRE CINE COREANO


Casa Asia

Encuentro online sobre cine coreano


Los Encuentros sobre cine asiático surgen ante la necesidad de replantear la manera de llegar a nuestros públicos de forma no presencial ante el aplazamiento del Asian Film Festival Barcelona 2020 (AFFBCN) en su formato presencial, entendiéndose como un espacio de encuentro y debate en el ámbito del cine. El AFFBCN cumple este año su octava edición como certamen especializado en cine asiático y Casa Asia ha querido organizar estos encuentros, con expertos en este ámbito, para ofrecer al público una inmersión total antes de la reanudación del festival en las salas de cine.

En esta primera sesión de los Encuentros de cine asiático, contaremos con la participación de Roberto Cueto, miembro del Comité de Selección del Festival de Cine de San Sebastián, donde ejerce como delegado de Corea del Sur, y Ángel Sala, director del SITGES Festival International de cine Fantàstic de Catalunya, los cuales nos ofrecerán perspectivas complementarias sobre el panorama del cine coreano actual.

Este encuentro se realiza en el marco del 70 aniversario de las relaciones diplomáticas entre España y Corea y, además, estas sesiones se plantean ante la necesidad de llegar al público del Asian Film Festival Barcelona. En este encuentro, Roberto Cueto y Ángel Sala hablarán sobre los éxitos de taquilla surcoreanos: Oldboy (Park Chan-wook, 2003), The Host (Bong Joon-ho, 2007), Train to Busan (Yeon Sang-ho, 2016), Burning (Lee Chang-dong, 2018) y Parásitos (Bong Joon-ho, 2019). Las aportaciones de estos cineastas han supuesto una presencia inédita del cine coreano en el mercado nacional e internacional, y los ponentes tratarán de reflejar los cambios que se han producido en la industria y en su aceptación.

Roberto Cueto (Madrid, 1965) es profesor de Comunicación Audiovisual en la Universidad Carlos III de Madrid, miembro del Comité de Selección del Festival de Cine de San Sebastián, donde ejerce como delgado de Corea del Sur, y miembro del Consejo de Redacción de la revista Caimán Cuadernos de Cine. Es autor de varios libros de temas cinematográficos como: Cien bandas sonoras en la historia del cine (1996), Drácula: de Transilvania a Hollywood (1997), El lenguaje invisible: Entrevistas con compositores del cine español (2003), Arrebato… 25 años después (2006), Otras miradas de Carlos Saura (2009) y 62 Donostia Zinemaldia (2014). Además, ha sido colaborador de los volúmenes: Seúl Express: La renovación del cine coreano (2004), Nuevo cine coreano (2007), Asia Noir: Serie negra al estilo oriental (2007) o Japón en negro: Cine policíaco japonés (2008). Ha sido asesor y redactor de textos en Cine Coreano-Arco 2007, en el marco de la Feria de Arte Contemporáneo ARCO, y ha sido nombrado Korean Culture Supporter 2016 por el Centro Cultural Coreano en España, con el que colabora habitualmente.

Ángel Sala (Barcelona, 1964) es director, guionista, crítico de cine y el actual director del SITGES Festival International de cine Fantàstic de Catalunya desde 2001 hasta el momento actual. Se licenció en Derecho por la Universidad de Zaragoza, pero no tardó en dedicarse a la crítica cinematográfica. Además de colaborar en diferentes revistas y periódicos, como el Periódico de Catalunya o como asesor de programación cinematográfica en TV3, ha escrito más de treinta libros entre los que cabe destacar los siguientes títulos: Cine fantástico y de terror alemán. 1913-1927 (2005), Universo Lynch (2006), El demonio en el cine (2007), American Gothic. El cine de terror USA. 1968-1980 (2007), El cine de ciencia ficción. Explorando mundos (2008) o Profanando el sueño de los muertos: Una historia oculta del cine fantástico español (2010). No obstante, además de crítico de cine también ha sido guionista de películas como Rottweiler (2004), Beneath the Still Waters (2004) y Nunca he estado en Poughkeepsie (2013), que también dirigió.

Ponentes:

Roberto Cueto, miembro del Comité de Selección del Festival de Cine de San Sebastián.

Moderadora:

Menene Gras Balaguer, directora de Cultura y Exposiciones de Casa Asia.

Detalles:
  • Fecha: Martes 24 de noviembre a las 19.00 h. Inscripciones abiertas.
  • Online. 24 horas antes del acto las personas inscritas recibirán la información necesaria para acceder.
  • Precio: Actividad gratuita.

CFP: "WORLDS OF IMAGINATION: MEDIA, PLACE AND TOURISM IN TODAY’S GLOBAL WORLD" ONLINE CONFERENCE


"Worlds of Imagination: Media, Place and Tourism in Today’s Global World"

April 7th- 9th 2021

Online conference / Erasmus University Rotterdam


Keynote speakers:


In today’s globalized, transnational and digitalized media environment, popular culture plays a significant role in the establishment and (re)negotiation of place identities and the ways in which people relate to physical locations. Traveling to film locations, participating in fan re-enactments or visiting theme parks are some of the varied and multifaceted ways in which the ties between people’s worlds of imagination and the real worlds they inhabit are made tangible through place. 

This conference highlights the interconnections between media, tourism and place and aims to bring together the diverse perspectives, approaches and actors involved in this process while focusing on critical issues accompanying this multifaceted phenomenon. We venture off the beaten track by adopting a decidedly global perspective and putting emphasis on the exploration, analysis and comparison of cases from around the world. Consider Bollywood, which produces more films, for a larger audience, than Hollywood does every year, and how Chinese, Indian and Russian travellers increasingly determine the face of international tourist flows. This conference aims to broaden the horizons by including and comparing research into, for example, Bollywood films, Brazilian telenovelas and South Korean K-pop culture. 

We proudly present the following keynote speakers: Prof. Dal Yong Jin (Simon Fraser University), editor of Transmedia Storytelling in East Asia: The Age of Digital Media (2020) and author of Transnational Korean Cinema: Cultural Politics, Film Genres, and Digital Technologies (2019);  Prof. Sangkyun Kim (Edith Cowan University), editor of Food Tourism in Asia (2019, with Ian Yeoman and Eerang Park) and Film tourism in Asia: Evolution, transformation and trajectory (2018, with prof. dr. Stijn Reijnders); Prof. Mimi Sheller (Drexel University), author of Island Futures: Caribbean Survival in the Anthropocene (expected 2020) and Mobility Justice: The Politics of Movement in an Age of Extremes (2018); Prof. Peter U. C. Dieke (University of Nigeria), editor of Research Themes for Tourism (2011, with Peter Robinson and Sine Heitmann) and The Political Economy of Tourism Development in Africa (2000); Prof. Lúcia Nagib (University of Reading), author of Realist Cinema as World Cinema: Non-cinema, Intermedial Passages, Total Cinema (expected 2020) and Brazil on screen: Cinema Novo, new cinema and utopia (2007), and Prof. Matt Hills (University of Huddersfield), author of Fan Cultures (2002) and Doctor Who: The Unfolding Event (2015).

This year the current Corona crisis has hit the world hard, also with regard to its media and tourism industries. The lockdown has seriously hampered filming and all other media production practices both on location and in the studio. At the same time, the tourism industry as a whole is suffering a disastrous year after a virtually constant annual growth since the late 1950s. At the time of writing there are modest signs the media and tourism industries are finding answers to the current crisis. It is clear, though, that the need to find more sustainable ways to deal with the interrelation between popular culture and tourism is even more relevant now that the Corona crisis has become part of the global agenda. This conference also aims to address this issue.

We seek to bring together scholars across disciplines, including, but not limited to, media studies, cultural studies, cultural geography, fan studies, tourism studies, and development studies. We invite papers that address all themes around media, place and tourism, such as:

  • Media tourism
  • Popular culture and heritage
  • Film location production
  • Film (and) tourism policies
  • Impacts of filmmaking and tourism on locations and communities
  • Imaginative geographies in media and tourism
  • Fan re-enactments
  • Place identity and belonging
  • Media tourist experiences
  • Theme-parks and tourism
  • Critical issues in media tourism
  • Comparative studies on media tourism
  • (Interdisciplinary) theories on media tourism

Creative presentation formats are welcomed. Moreover, we warmly encourage participation by scholars from the Global South, early career researchers and filmmakers working at the intersection of media, place and tourism. The conference aims to include a special (online) movie screening session, where filmmakers are invited to showcase and discuss their work on this topic. 

Due to governmental measures regarding COVID-19, the conference will take place predominantly online. We plan on organizing some live events in the city of Rotterdam (such as public lectures), but these will also be livestreamed for those preferring to participate fully online. The conference is organized by the ‘Worlds of Imagination’ research group consisting of Prof. dr. Stijn Reijnders, dr. Emiel Martens, Débora Póvoa, Apoorva Nanjangud, Henry Chow and Rosa Schiavone, and sponsored by the European Research Council (ERC). 

Please submit your abstracts of max. 300 words and a short biographical statement (max. 50 words) to info@worldsofimagination.eu before December 1st, 2020. For more information, please access our website. 

Kind regards,

Worlds of Imagination Organizers 


Contact Info: 

The Worlds of Imagination research group: 

Prof. dr. Stijn Reijnders, dr. Emiel Martens, Débora Póvoa, Apoorva Nanjangud, Henry Chow and Rosa Schiavone


Contact Email: info@worldsofimagination.eu

URL

CFP: REFOCUS: THE FILMS OF YIM SOON-RYE


Call For Papers
ReFocus: The Films of Yim Soon-Rye

Yim Soon-Rye is one of very few leading women filmmakers in Korea who has written, produced and directed over a dozen films since her debut in 1996. Her most renowned films including Waikiki Brothers (2001), Forever the Moment (2007), South Bound (2012) and The Whistleblower (2014), have been recognized for their explicit interrogation of gender, political and cultural norms. She is also known as an activist for animal rights and a founder of KARA, Korea Animal Rights Advocates, through which she dedicated herself as much as she did to cinema. Her activism is rooted in Little Forest (2018), Sorry, Thank you (Yim’s episode, 2011) and Rolling Home with a Bull (2010) with the thematic focus on the relationship of humanity and nature.  

CFP: SPYING ON EAST ASIA: INTELLIGENCE AND SURVEILLANCE IN THE AGE OF INFORMATION.


Spying on East Asia: Intelligence and Surveillance in the Age of Information

October 31-November 1, 2020
Department of East Asian Languages and Cultures, Washington University in St. Louis


This two-day conference will focus on secret agents and hidden control during hot, cold, and information wars in East Asia throughout the twentieth century to the present. Competition over information formed an invisible yet vitally important battlefield that had paramount effects on the war front in the first half of the twentieth century. Newly invented media technologies, such as radio, telegram, and tape recording, were mobilized to gather, reproduce, and disseminate intelligence. Secret agents and spies crossed institutional, regional, and national boundaries, destabilizing senses of truth and trust. The prevalence of the espionage genre in East Asia reflects the heightened political tension that persisted throughout the cold war, and also contributes to contemporary imaginations of wartime. Today, new technologies of surveillance and information control have largely reshaped people’s social experience and sense of security, raising pressing questions about power, privacy, and identity.

Bringing together scholars from various disciplines, this conference presents a collective effort to unveil the secrecy and significance of information circulation and control in changing historical contexts. How did hidden forms of control impact the trajectory of social history as well as everyday life? How is the secret world of espionage represented in popular culture? In what ways do new media technologies shape social relations and the production of identity? Topics contributors may wish to consider include:
  • Spy novels, films and TV dramas
  • Wartime and Cold War espionage trainings and activities
  • Disguised identity and the issue of collaboration
  • Media technology (radio, telegram, recording devices, computer, facial recognition, Artificial Intelligence, etc.) in information gathering and circulation
  • Surveillance and control
  • Security and privacy
Related creative approaches and inquires are welcome.


We invite scholars and Ph.D. students in the humanities and social sciences to attend the conference, to be held on the campus of Washington University in St. Louis, October 31-November 1, 2020. Please email an abstract of no more than 300 words to Dr. Yuqian Yan (yyuqian@wustl.edu) by May 15, 2020. Graduate students should also submit a short curriculum vita (1-2 pages) to receive full consideration. Successful applicants will be notified before June 1, 2020, and will be asked to submit a completed draft of their papers by October 10, 2020 for pre-circulation purposes.

Local accommodations including food and lodging will be covered by the conference. We regret that we are unable to cover faculty participant’s travel costs. Graduate students will be reimbursed up to $300 to cover travel expenses.


Contact Info

Name: Dr. Yuqian Yan (East Asian Languages and Cultures. Washington University in St. Louis)

Contact Email: yyuqian@wustl.edu

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