Queer Representation: Pasts, Presents,
Futures conference.

When: May 21st - 22nd 2020
The Institute for Advanced Studies in the Humanities, University of
Edinburgh

Keynote Speaker: Prof Richard Dyer (King's College London)

This conference aims to examine how LGBTQ representation has changed
through time, continues to evolve in the present, and what role it might
play in the future. It draws on recent developments in queer on-screen
representation - ranging from the increased focus on transgender and
queer of colour protagonists in series such as Pose (2018, FX-),
Transparent (2014-2019, Amazon Prime), Vida (2018-, Starz) and Orange is
the New Black (2013-2019, Netflix), to depictions of queer characters in
children’s programmes such as Cartoon Network’s Steven Universe (2013-)
- in order to trace how LGBTQ media comments on both the current state
of queer rights, as well as the possibility of queer futurity (Edelman
2004; Muñoz 2009). At the same time, it builds on work done on queer
archives and histories (Cvetkovich 2003; Castiglia and Reed 2012; Dunn
2016; De Kosnik 2016) in order to question how queer lives were once
commemorated, how these memories live on, and how representation has
changed from then to now.

We invite presentations on queer art, film, television, and literature,
as well as social media and digital scholarship. The conference will
work to represent a multiplicity of queer experiences, spanning
divergent historical and geographical areas of representation, as well
as the plurality of ideas of what it means to identify as queer today,
and what this identification might look like in the future. We build
here on work looking at the evolution of LGBTQ representation in diverse
contexts, as well as notions of transnational queer representation
(Schoonover and Galt 2016) and regionality (Yue 2014; Chiang and Wong
2016). With our inclusive focus on transmedia representations of
queerness, we hope to examine narratives of sex, identity, politics,
family and gender across a broad range of contexts, mediums and
artforms. We ask how queer representation has changed, what versions of
queerness we remember today, and how that can manifest in our hopes or
fears for the future. Through investigating which narratives of
queerness persist, and how representational patterns have changed, we
hope we may learn about creative spaces in which queerness can thrive.

We invite abstracts dealing with different examples of LGBTQ
representation, as well as presentations which analyse the overall
evolution of queer representation in specific mediums and contexts.
Topics may include but are not limited to:


* the evolution of queer on-screen representation in film,
television, literature, gaming, etc.
* different regional and national representations of queerness
* the past, present and future of queer intersectionality
* representations of queer histories and memory
* queer adaptation
* queer representation in different countries and contexts
* different conceptualisations of what it means to represent queerness
* The evolutions of homonormativity and homonationalism
* queer futurity and the future of queer representation

Organisers: Dr Anamarija Horvat
(anamarija.horvat@ed.ac.uk<mailto:anamarija.horvat@ed.ac.uk>) and Dr
Alice Kelly (Alice.kelly@ed.ac.uk<mailto:Alice.kelly@ed.ac.uk>)

To submit an abstract (200-300 words), please contact us by March 20th
2020 at
queerrep.conference@gmail.com<mailto:queerrep.conference@gmail.com>. We
offer a small amount of travel bursaries to assist presenters who are
students/unwaged/low-waged. If you would like to be considered for these
please indicate so when submitting an abstract. Web page:
https://www.iash.ed.ac.uk/news/call-papers-queer-representation-pasts-presents-futures

The conference will take place in the Old College at the University of
Edinburgh, which is fully accessible.

(Don’t) Look Back: Our Nostalgia for Horror and Slasher Films

Editors: Karrȧ Shimabukuro and Wickham Clayton

On first consideration it may not seem like “nostalgia” and horror and
slasher films have any clear connections. Usually nostalgia is applied
to events and experiences that have a pleasant connotation, even if
these pleasant feelings are a result of a rose-tinted view of the past.
While nostalgia can refer to personal feelings as well as larger
communal or cultural memory and pleasure, there is also an implied
action to it- that someone is seeking to reclaim, or revisit a specific
time period or place for an explicit reason. Applying this understanding
to remakes, revisions, reimaginings helps us understand what the purpose
of these reworked creations are, the work they’re doing, and how they
build on and expand on an already understood and accepted set of
narratives, tropes, characters, and beliefs.

Since the national and global trauma of 9/11 we have seen dozens of
remakes, reboots, revisions, and reimaginings of horror and slasher
films from the 1970s and 80s. Each work seeks to capture some element of
the original- the simple understanding of good and evil, the audience
reaction to scares, an aesthetic homage, the commercial popularity. If
we shift our perspective to view these films through the lens of
nostalgia, we can see that many of these narratives are grounded in
trauma, the performance of it, the aftermath, how people survive and
later work through it. Whether it is a movie, mini-series, television
show, or video game, these remakes can be organized according to several
subtopics that perform different work within the media and reflect
different fears, anxieties, and desires of a specific historical and
cultural moment, although the argument could be made that some texts
belong in a variety of categories, and there is noticeable overlap.

Movies such as Carrie (2013) , Prom Night (2008), The Fog (2005),
Piranha (2010), and Piranha 3DD (2012), My Bloody Valentine 3D (2009),
Friday the 13th (2009), Predators (2010), The Predator (2018), and
Fright Night (2011) as well as the television show Ash vs. Evil Dead
(2015-2018) all seek to recapture the pleasant memories either of the
creator upon their first exposure, or the often initial teenage
experience of the audience. It’s also worth noting remakes that seek to
capture this feeling and audience reception but fail as is the case with
Pet Semetary (2019) and Prometheus (2012) and Alien: Covenant (2017) or
remakes of films that were considered cult classics, or lacked the
recognition of many of these titles such as Sorority Row (2009). While
many of these movies have trauma as their inciting incident, or
backstory, films such as The Hills Have Eyes (2006), Texas Chainsaw
Massacre (2003), Amityville Horror (2005), and The Thing (2011),
explicitly deal with trauma in their narratives. A large number of
remakes seek to correct or revise perceived errors, erasures, or
missteps in the original source material. Certainly this is true in The
Shining (1997 mini-series), The Stand (1994 and in production 2020), The
Last House on the Left (2009), Straw Dogs (2011), Suspiria (2018), and
Nightmare on Elm Street (2010). Some texts like The Haunting of Hill
House (2018-present) begin as a revisionbut ultimately go deeper,
seeking to uncover a narrative within the source material. With the
explosion of streaming services, alternative storytelling, and
multimedia narratives, we’re seeing more and more adaptations that use
horror or slasher narratives as their foundation but create their own
stories from them. Bates Motel (2013-2017), The Exorcist (2016-2018),
Doctor Sleep (2019), Castle Rock (2018-present), The Conjuring (2013),
and Hannibal (2013-2015) all fit this category.

This edited collection would seek contributions that view these and
other texts through this lens of nostalgia, how these remakes, reboots,
revisions, and reimagings are the vehicle for the anxieties and concerns
of a particular moment, and what work they are doing. We’re particularly
interested in contributions that analyze texts that interact with the
source material in new and interesting ways, deconstruct tropes and
styles innate to these genres, as well as the application of adaptation
and fan studies to these works. The editors are accepting proposals for
chapters focusing on nostalgia in horror after 9/11. Topics for
contributions, focused through a lens of nostalgia, can address, but are
not limited to:

Case studies that relate to nostalgia as:
- Trauma
- Revision/Rewriting
- Recapturing past pleasure
- Using past forms to fill new concerns
Theoretical approaches to understanding horror and trauma
Understanding socio-political and economic cultural contexts
Pleasures of horror nostalgia post- 9/11
Slashers, subtexts, and tonal intensification
Paranormal embodiments of contemporary fears


Proposals should be submitted by 31 March 2020 to Karrá Shimabukuro
khkshimabukuro@gmail.com and Wickham Clayton wickscripts@hotmail.com.
First drafts due 31 December 2020. We welcome questions and expressions
of interest at any stage.

We at Frames Cinema Journal (ISSN 2053-8812) (Department of Film
Studies, University of St Andrews)//are looking to recruit
peer-reviewers for our editorial team.

Established in 2012, /FCJ/is a peer-reviewed, open access, biannual
academic journal which aims to provide a space for cutting-edge research
among scholars of film, media, and screen studies. Each issue of /FCJ
/is themed, and includes original research articles, point-of-view
pieces, film featurettes and scene reviews which correspond to the
issue’s topic. Book reviews and a letter from the editors are also
published in every issue. Visit ourSubmissions
<https://framescinemajournal.com/submissions/>page, for more details.

Each issue of /FCJ/is committed to expanding the boundaries of film
studies by publishing scholarship which is reflective of exciting new
developments in the field.

*Members of the editorial team are required to edit and provide feedback
on 1-2 article submissions per issue.*

*_Requirements for an editorial position:_*

* Must be an ECR or established academic in the field of film and/or
screen studies.


If you are interested in joining the /Frames Cinema Journal /editorial
team, please email Ana Maria Sapountzi and Peize Li
atframesjournal@gmail.com <mailto:framesjournal@gmail.com> expressing
your interest, along with a *150-200 word bio*, by*Friday, February 28,
2020.*

https://ithaca.peopleadmin.com/postings/16858
<https://ithaca.peopleadmin.com/postings/16858>

POST-DOCTORAL TEACHING FELLOW IN SCREEN STUDIES
<https://ithaca.peopleadmin.com/postings/16858>
ithaca.peopleadmin.com

Job Title POST-DOCTORAL TEACHING FELLOW IN SCREEN STUDIES
Department Media Arts, Sciences & Studies
School/Parent Organization School of Communications
Division Provost and Educational Affairs Division
Employment Category Fulltime-Temporary
Academic Year 2020-2021
Academic Semester Fall 2020 and Spring 2021
Anticipated start date 08/16/2020
If temporary, expected end date
Faculty Status Non-Tenure Eligible, Notice (NTEN)
Position/Job Summary

Three-year Postdoctoral Teaching Fellow in Screen Studies in the
Department of Media Arts, Sciences and Studies in the Roy H. Park School
of Communications at Ithaca College (located in Ithaca, NY).

The Roy H. Park School of Communications at Ithaca College is
acknowledged as one of the top comprehensive schools of communications
in the nation, offering ten undergraduate and two graduate degrees that
enroll over 1800 students. Our 53 full-time and 20 part-time faculty are
dedicated to teaching excellence, but also maintain active profiles as
scholars, media-makers, curators, consultants, and writers. Our
facilities include two broadcast studios, a sound stage,
state-of-the-art post-production system, cameras and support ranging
across 16mm and 4k cinema production; the facilities are supported by a
professional staff of 16 engineers, technicians, and facility managers.
Our school also offers semester-long programs centered on internships in
Los Angeles and New York City and Ithaca College maintains a campus in
London where students are also able to intern. The Park School embraces
a philosophy of liberal arts education as the foundation for the study
of theory and practice that leads to immediate career-readiness in a
constantly changing industry. The Park School is fortunate to be endowed
by such prestigious organizations as The Park Foundation and the
Pendleton Foundation, among others. Some of our illustrious alumni
include Robert Iger (CEO of The Walt Disney Company), David Muir (anchor
of ABC World News Tonight), David Boreanaz (star of Angel, Bones, and
SEAL Team), Liz Tigelaar (writer/producer of Once Upon a Time, Revenge,
Bates Motel, Casual, etc.), and Barbara Gaines (executive producer of
The Late Show with David Letterman), among many others.

This position will teach a number of undergraduate screen studies
courses, such as an introductory course in film aesthetics and analysis
and survey courses in American film history and classical and
contemporary film theories in documentary/experimental/narrative, with
some limited opportunities for courses in various areas of screen
studies depending on enrollment, curricular, and institutional needs.
These required courses are team-taught, large lecture classes with
smaller breakout discussion sections. The anticipated annual teaching
load is 24 credits.
We are especially interested in recruiting candidates with proven
expertise in film history, screen industries studies, close textual
analysis, documentary/experimental/narrative screen theories,
international/transnational/multicultural cinemas, and critical race
studies/postcolonial/decolonized screen studies.

The successful candidate will demonstrate an ability to teach in ways
that value the varied learning needs and interests of a culturally
diverse student population, and that reflect a commitment to encouraging
the academic success and engagement of all students.
The non-tenure eligible, non-renewable position offers full benefits
plus some travel support for research and conferences. It also offers
opportunities to be mentored by senior tenured faculty in both large
lecture and small class settings, as well as in online and blended
teaching environments.
We seek candidates who possess relevant experience and/or a record of
engagement with groups and communities underrepresented in the academy.
Candidates from underrepresented groups whose exclusion from the academy
has been longstanding are strongly encouraged to apply.
Position/Job Qualifications

PhD in screen studies or related field required, to be completed and
awarded no later than June 1, 2020, and no earlier than three years prior.
EEO Statement

Ithaca College is committed to building a diverse academic community and
encourages members of underrepresented groups to apply. Experience that
contributes to the diversity of the college is appreciated.
Instructions for submitting your application:

Interested applicants must apply online at http://ithaca.edu/jobs/ and
attach a curriculum vita, letter of interest, and names and contact
information of three references. Questions about online application
should be directed to the Office of Human Resources at (607) 274-8000.
Screening of applications will begin immediately. To ensure full
consideration, complete applications should be received by January 13, 2020.
Work authorization (select one): Visa sponsorship will be considered
for this position
Department description
College description

At Ithaca College, a comprehensive residential campus community of 6,500
students, we strive to be at the forefront of the higher education
landscape. We offer a distinct integrative learning experience that
makes students ready for the personal, professional, and global
challenges of our age.

We seek candidates who embrace integrative learning and want to be a
part of this exciting time in Ithaca College history. We encourage
creative collaboration and innovation in our faculty and staff,
providing support and resources for them to grow in their fields and
lead students to their own innovative ideas and achievements.

We welcome different ways of thinking and look for candidates with
unique points of view and life experiences. We are inclusive of
individuals with a wide range of cultural, personal, and professional
backgrounds, talents, and skills. Our campus is a vibrant and rewarding
community where diverse minds can learn, succeed, and excel.

When reviewing candidates, we are looking for indicators of a number of
core competencies. Prospective candidates must be adaptable,
collaborative, inclusive, respectful, responsive, results driven, and
sustainable. They must communicate effectively, demonstrate leadership,
exhibit professional integrity and ethics, take initiative, value
personal and professional development, and show that they will engage in
the college.

Nestled in the heart of New York State’s scenic Finger Lakes region,
Ithaca College sits atop South Hill overlooking picturesque Cayuga Lake
and is just minutes away from the city center. Combining small town
warmth and charm with the vibrancy of a college community, the thriving
and culturally diverse city of Ithaca has been rated by Kiplinger’s as
one of the top 10 places to live in the United States.

To learn more about Ithaca College, visit us at http://ithaca.edu
FLSA Status Exempt
Is this position eligible for benefits? Yes
Is this position covered by the SEIU? No
Vacancy ID F2190
Quick Link http://ithaca.peopleadmin.com/postings/16858

The Politics of Colour Media

Issue 17, Summer 2020

Guest Editor: Dr Kirsty Sinclair Dootson

Co-Editors-in-Chief:*Ana Maria Sapountzi & Peize Li

Book Review Editor: Patrick Adamson

Although colour has historically been trivialised as superficial,
feminine, cosmetic, and decorative, the 17^th issue of/Frames Cinema
Journal/,//guest edited by Dr Kirsty Sinclair Dootson, interrogates and
celebrates colour as a potent political force. Colour media around the
globe, chief amongst them film and television, have established,
reinvented, progressed, andaestheticised national, political, social,
and cultural profiles, evolving an ideological currency alongside their
aesthetic values. This issue of/Frames/therefore examines the political
power of colour media by simultaneously gazing at these intersecting
ideological, technical, and aesthetic histories. Precisely because
colour does not comprise a single technology or set of visual practices,
but a host of interlocking apparatuses and contingent aesthetic
principles, we invite submissions that attend to any aspect of chromatic
media from around the world.

From the analogue histories of colour in the studio and laboratory, to
the practicalities of chromatic coding and programming in the digital
era, from the aesthetic issues of colour in experimental media practice,
to its value for state-sponsored propaganda, and from issues of national
progress and transnational relationships, to colour’s role in forging
oppositional subject-positions and identities, we are eager to hear from
contributors working on original research involving previously
unexamined chromatic media, particularly in relation to contexts outside
Western Europe and America.

Topics may include, but are certainly not limited to:

* Colour, governmental politics, and political regimes
* Colour and colonialism/post-colonialism
* Colour and national/transnational cinemas
* Colour and the politics and ethics of restoration, preservation and
archiving
* Colour and labour
* Colour and avant-garde/experimental film
* Colour and issues of modernity/post-modernity
* Colour, materiality and material culture
* Colour and digital technologies
* Colour and acts of political subversion
* Colour and animation
* Colour and the politics of identity (gender, sexuality, race)
* Colour, the sensorium and affect
* Colour media beyond film: television, video, and gaming

*_Notes for Contributors:_*

*Proposal abstracts*should be no more than*250 words*and must be
accompanied by an*indicative bibliography.*A*brief third-person bio*of
approx.*150 words*should be provided along with the abstract.

Abstracts should be sent through as Word Documents and titled “Frames
Issue 17 Author First name Author Surname” (e.g. Frames Issue 17 Natalie
Kalmus).

__

/
/

/Frames/accepts a variety of written pieces for submission, such as:

* *Feature Articles*, which are research essays that engage in
theoretical, practical, pedagogical, and/or historical analysis of
the visual narrative in film or related digital media. Feature
Articles are typically between 5,000-7,000 words in length,
inclusive of footnotes, but exclusive of the bibliography.
* *Point-of-View (POV) Featurettes*, which are shorter research essays
which seek to examine or express a specific critique about a theme
in a more succinct fashion. Point-of-View (POV) Featurettes are
typically between 1,000-3,000 words in length, inclusive of
footnotes, but exclusive of the bibliography.
* *Film Featurettes,*which are shorter research essays, discuss and
review one film in detail. Film Featurettes are typically between
1,000-3,000 words in length, inclusive of footnotes, but exclusive
of the bibliography.
* *(New section!)****Scene Reviews,*which are shorter research essays,
investigate and review one scene in detail. Scene Reviews are
typically between 1,000-2,000 words in length, inclusive of
footnotes, but exclusive of the bibliography.
* *Book Reviews,*which are essays that provide a scholarly critique of
the latest texts in the field. The text choice may range from the
theoretical and the practical to the pedagogical and the historical.
Book Reviews are typically 1,000-1,500 words in length, inclusive of
footnotes, but exclusive of the bibliography. If you would like to
publish a book review, please contact our*Book Review Editor*,
Patrick Adamson, at*pa41@st-andrews.ac.uk*
<mailto:pa41@st-andrews.ac.uk>*.*

/Frames/also accepts video essay submissions:

* *Video essays*can be of varying length and should be discussed with
the editors on a case-by-case basis. Video essay submissions must be
sent to the editors in the form of a link using an online platform
(Vimeo, YouTube, etc.).

All submissions to/Frames/should not be under consideration elsewhere,
and should be original and previously unpublished.

Please refer to ourSubmissions
<https://framescinemajournal.com/submissions/>page for more details.


Please submit your proposal to Ana Maria Sapountzi and Peize Li
at***framesjournal@gmail.com* <mailto:framesjournal@gmail.com>*.*

*_Timetable for Issue 17:_*

*Abstract Proposal Deadline:*28/02/2020

*Abstract Decision Announcement:*09/03/2020

*First Draft Deadline:*27/04/2020

*Editorial Review:*27/04/2020-10/05/2020

*Final Copy Deadline:*08/06/2020

*Intended Publication Week:* 22/06/2020

Abstracts are to be submitted no later than*Friday, February 28, 2020*,
as they will not be considered after that. Authors should expect to be
notified of the editorial committee’s decision by*Monday, March 9, 2020*.

If you have any questions, do not hesitate to contact us
at*framesjournal@gmail.com*