Call for Papers: Doing Women’s Film and Television History IV

Doing Women’s Film and Television History IV:
Calling the Shots – Then, Now, and Next
May 23 – 25, 2018

University of Southampton, UK
Organising team: Shelley Cobb, Linda Ruth Williams, and Natalie Wreyford

As researchers of the AHRC-funded project Calling the Shots: Women and Contemporary UK Film Culture 2000-2015 we are proud to host the fourth International Doing Women’s Film and Television History conference in association with the Women’s Film and Television History Network – UK/Ireland.

The focus for DWFTH-IV is predicated on the idea of the contemporary as an historical formation. The conference will offer a space to think about the interconnectedness of the past, present and future in feminist historiography and theory, as well as across all forms of women’s film culture and film and television production. It will also consider women’s film and television histories and their relationships with the contemporary, framed and read historically, to reflect on our methodological, theoretical, ideological and disciplinary choices when researching and studying women and/in film and television. In addition to this theme, we are interested in proposals/panels on all topics related to women’s film and television history, from all eras and from all parts of the globe. We hope that DWFTH-IV will build on the successes of the previous conferences through new work on women, both historical and contemporary, and fresh thinking on what we mean by women’s film and television history.

Confirmed Keynote Speakers

Professor Jane Gaines, Columbia University, USA
Dr. Oluyinka Esan, University of Winchester, UK
Dr Rashmi Sawhney, Srishti Institute of Art, Design and Technology, India
Professor Shelley Stamp, University of Santa Cruz, USA
Professor Yvonne Tasker, Universit of East Anglia, UK

The conference will also include screenings with practitioners and other industry professionals.

Papers are invited on any aspect of women’s work in, consumption of, and relationship with film and television. The following is an indicative (and by no means exhaustive) list of possible topics:

·      women’s film/TV historiography: filling gaps or changing history?

·      history formulated as in medias res: how do we do contemporary history, and what are the implications of thinking of the historical in this way?

·      methodologies: archive searches, data collection (uses, limitations, difficulties collecting); interviews with practitioners; creative/cultural industrial approaches

·       the impact of social, economic and industrial conditions (including industry regulation) on women’s roles and creative practices

·      new ways of doing textual analysis of women’s films (rethinking feminist theory?)

·      the intersection of class, race, sexuality, disability and women both on screen and behind the camera

·      issues of archiving and preservation for women’s film and television

·      distribution and exhibition and broadcasting – finding and seeing women’s film and television

·      re-thinking women as ‘auteurs’ of film and television (directors, showrunners, producers, actors)

·      feminism & women’s film history; historicizing women’s film collectives of 1970s and 80s; feminist filmmaking today (and tomorrow?)

·      international and transnational contexts: connections, comparisons, collaborations, migration

·      crossing industry boundaries: film, television, theatre, radio, journalism, art, etc

·      practice-based research: directing, screenwriting, sound/set/costume design, etc

– the relationship between practice-based research and history

·      women audiences/viewers and women as fans

·      women campaigner/activists in film and television and for on-screen/off-screen change

·      women’s film criticism/women film critics

·      the uses of social media by women filmmakers/showrunners/actors/critics/fans/campaigners etc

·      digitisation in women’s filmmaking and future histories

·      ‘women’s cinema’ as critical category in post-feminist contexts

·      women’s independent filmmaking and/versus women’s mainstream (or blockbuster) directing

·      changing the curriculum: critical canons; pedagogies of women’s film and television history; teaching feminist history and theory; women’s film and television in core curricula

·      the relationship between film and television genres, their gendered affiliations and women’s involvement in their production

·      women practitioners’ negotiations of femininity and/or feminism in their working lives

Proposals for twenty-minute presentations must include the title of the presentation, a 250-word abstract and a brief biography the author(s). Pre-constituted panels of three speakers may also be submitted, and should include a 250-word panel rationale statement, as well as individual abstracts. Proposals from both established scholars and early career researchers including postgraduate students are welcomed. Proposals should be submitted to before the 3 November 2017. Participants will receive a response from the selection committee before 20 December 2017.

Calling the Shots: Women and Contemporary Film Culture in the UK, 2000-2015 is an AHRC funded research project, running from 2014-2018. Further details of the project can be found at:
Further details on the Women’s Film and Television History Network – UK/Ireland can be found at:

Call for Papers: Geriaction Cinema: A Symposium on the Ageing Action Star

Geriaction Cinema: A Symposium on the Ageing Action Star

Bournemouth University, 10th – 11th May 2018

Keynote speaker: Professor Rajinder Dudrah (Birmingham City University)

The action film has been widely analysed for its investment in spectacle, its hyperbolic masculinity, its significance for film marketing and its ideological implications across various conflicts and contexts of the twentieth and twenty-first centuries. So too have its stars been extensively framed in their cultural-political surroundings over recent decades of film scholarship. As the action-adventure format’s most contemporary manifestation in the blockbuster era reaches middle age, and the personae of Cold-War era action stars increasingly adapt to incorporate themes of ageing, debates around seniority in the genre’s marquee personnel are ever more timely.

This symposium will offer delegates the opportunity to discuss the concept of the ageing action star across historical periods, genders, ethnicities and national cinemas, bringing together diverse perspectives on the historical and political coordinates of this enduring genre. We are especially keen to encourage scholars looking at stars from outside Hollywood and Europe. Likely topics include but are not restricted to:

*   The ageing star in early action cinema
*   Reinvigorated transnational stardom in the twilight of action careers
*   Studies of action cinema’s political / historical contexts relating to ageing
*   The impact of ageing on star personae (eg Arnold Schwarzenegger, John Wayne)
*   Themes of ageing in action cinema
*   The older female action star
*   Gender relations in action cinema
*   Digital De-ageing
*   Careers after action movies
*   Action stardom late in a career

We seek proposals for 20-minute papers, or for pre-constituted panels of three or four papers, that engage with any aspects of the above topic. Abstracts of no more than 300 words, along with a short biographical note, should be submitted for peer review to

Dr Laura Crossley:<> and/or

Dr Austin Fisher:<>

Call for Papers: The Fourteenth International Congress of Qualitative Inquiry May 16-19, 2018 University of Illinois (USA)

The Fourteenth International Congress of Qualitative Inquiry May 16-19, 2018 University of Illinois at Urbana Champaign (USA)

Session Organizer:

Kevin Howley Professor of Media Studies Department of Communication DePauw University

On July 4, 1852, the former slave and abolitionist leader Frederick Douglass, thought to be alive and well by the current occupant of the White House, famously proclaimed: “At a time like this, scorching irony, not convincing argument, is needed. O! had I the ability, and could reach the nation’s ear, I would, today, pour forth a stream, a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke.” Douglass’s recognition of the value and importance of pointed satire in troubled times is deeply relevant to the current historical moment. From climate change and the rise of authoritarianism to austerity politics and the criminalization of dissent, these are most assuredly troubled times.

Drawing on classic and contemporary scholarship that examines the discursive power of political dissent in the satiric register, this session seeks to address the following questions: What role does satire play in such vexed and perilous times as these? Do we laugh to keep from crying? More critically, are we, as cultural critic Neil Postman famously put it, merely “amusing ourselves to death”? Or is satire a potent, if somewhat underappreciated, resource for resistance, resilience, and renewal in the wake of the ascent of anti-democratic forces; the deepening of social, political and economic inequalities; and the wholesale destruction of our fragile ecosystem? In correspondence with this year’s conference theme, Qualitative Inquiry in Troubled Times, this session examines the form, function, and political efficacy of satirical discourse in contemporary culture.
Theoretical and empirical papers employing qualitative methodologies may include, but are not limited to, the following lines of inquiry:

* Satire as creative resistance

* Political mobilization within and through satire
* Satirical discourse and digital culture
* Satirizing neoliberalism
* Political satire in national, international, and transnational contexts
* Limits and possibilities of racial satire
* Assessing the efficacy of political satire
* Form and content in satirical discourse
* Satirical interventions in public policy
* Historical perspectives on political satire


Send 300-word abstracts, a short biographical statement, and contact information to the session organizer no later than October 30, 2017 <>.

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