Call for Papers: Women and New Hollywood

Maynooth University, Ireland

29-30 May 2018

Deadline for proposals: 20 December 2017

Recent decades have witnessed no shortage of critical or academic writing on the industrial upheaval and creative innovations of New Hollywood (1967-80). But as scholarship has shaped the era, it has done so around a very narrow set of concerns, the overriding one casting New Hollywood as an era of great directors, which, by default, has meant an era of “great men.” Such a vision relies on the kind of identification of creativity with masculinity that Geneviève Sellier has discussed in relation to the French New Wave, and its construction has required a marginalisation, erasure even, of the creative labour of countless women practitioners.

In reality, the late ‘60s and ‘70s saw women begin to re-enter Hollywood production in numbers never before seen. While achieving nothing close to real parity, women nevertheless wrote, edited, designed, and produced many of the era’s most influential films. Most of these contributions have been, at best, paid lip service, but more often overlooked almost completely.

For example, one of New Hollywood’s iconic films, Bonnie and Clyde, is regularly recognized for its innovative editing – Dede Allen arguably changed the style of Hollywood filmmaking forever. And yet, Allen is marginalised within discourses that discount women’s contributions and privilege the roles of men like Arthur Penn and Warren Beatty.

Media Studies at Maynooth University and the Irish Research Council are happy to announce the conference Women and New Hollywood, to be held at Maynooth Unversity on 29-30 May, 2018.

The conference will endeavour to excavate and reassess the various roles that women’s creative labour played in shaping the New Hollywood era across all facets of production and within the broader cultural context. We hope to challenge the dominant discourse around New Hollywood, which is, among other things, heavily gendered in its bias towards a creativity, an innovation, and a labour that continue to be framed as almost entirely male.

To that end we invite proposals on any aspect of Women and New Hollywood, including but not limited to:

  • women practitioners – analysing the work of specific editors, designers, directors, writers, producers, etc.;
  • how the work of particular women of the ‘70s has influenced later Hollywood filmmakers;
  • actors behind the camera;
  • women in charge – charting the rise of the first wave of women executives and studio heads and their influence on later eras of Hollywood;
  • the relationship between women in production and women’s representation on screen;
  • women’s film criticism during the era;
  • women, New Hollywood, and second-wave feminism;
  • historiography & institutional memory – how contemporary institutions such as publishers, archives, or film studies departments perpetuate or challenge the marginalisation of New Hollywood women;
  • theorizing the ‘70s – through a contemporary lens or by revisiting ‘70s feminist theory.

Furthermore, while the main topic of the conference is Hollywood filmmaking, we recognize that artistic women have often been impelled to work across creative spheres. So we are also open to proposals on the following, especially where links can be made to the conference’s main topic:

  • independent women filmmakers;
  • women in television;
  • women working in other national film industries.

We are accepting submissions for individual papers or pre-constituted panels of three papers each. In either case, please include abstracts of no more than 300 words and brief biographies for each presenter (100 words). Pre-constituted panels should also include a brief rationale statement (250 words). In keeping with the spirit of the conference, we would like to discourage all-male panels. Proposals should be submitted in one email to by 20 December 2017. Participants will be notified by the selection committee before the end of January 2018.

Further queries can be directed to the email address above or to one of the conference organizers: Aaron Hunter ( or Martha Shearer (




Call for Papers: Blackpool: Heritage, Regeneration and Representation 

One-day Interdisciplinary Symposium

University of Central Lancashire – 16 November 2017

Deadline for proposals: 30 September 2017

Blackpool is one of the most famous seaside resorts in Europe and a large entertainment centre. It came to prominence in the nineteenth century. Although a ‘late developer’, it caught up very rapidly in the later nineteenth century, successfully capitalising on the growth of the railway network that dovetailed with increased working-class spending power in the industrial North of England. Blackpool also benefited from both world wars. However, since the 1970s, the town has experienced a period of decline due to a range of structural and cultural factors. Changing patterns of leisure and consumption in the UK, characterised most pointedly by the arrival and growth of cheap package holidays to southern European resorts catering specifically for British holidaymakers together with emergent notions of post-Fordist leisure, have left Blackpool struggling to sustain its traditional role as a working class family resort whilst simultaneously reinventing itself as the location of niche leisure markets. In areas such as presenting itself as a LGBT friendly resort, a weekend destination for hen and stag parties, as well as appealing to the grey pound at the quieter ends of the season, the town has met with a sizable degree of success. Similarly, the annual punk music and street art festivals are now regular features on the Blackpool calendar and have been successful in bringing non-traditional consumers to the town, as well as raising its profile within alternative cultures. In other areas, notably on ‘big ticket’ projects, Blackpool has experienced sustained blows to its aspirations; in the mid-1960s Blackpool narrowly lost out to Lancaster as the site for a new university in the North-West of England; in the 1970s Blackpool was a serious candidate for EuroDisney before Paris was chosen; whilst the ambitious Millennial plans to transform Blackpool into a Las Vegas type resort, modelled on the regeneration of Atlantic City in the USA, were stymied by a 2006 Government Report favouring Manchester ahead of the favourites Blackpool for location of any ‘supercasino’. The contemporary image of Blackpool is one of kitsch and decline, a perception that is not helped by the volume of socio-economic indicators that cast the town in an unenviable light. In recent years a number of league tables which, amongst other indicators, identified Blackpool as having the lowest male life expectancy in England, the largest per capita number of prescriptions issued for anti-depressants, and the lowest full-time average wage in the UK, positioned Blackpool as a ‘left behind’ town in terminal decline. The large vote in favour of leaving the EU in the 2016 referendum did nothing to challenge such perceptions.

This one-day cross-disciplinary conference is meant to discuss the past, the present and the future of Blackpool as a tourist destination and cultural centre, and its representation in different media. Possible topics of papers include:

  • Blackpool on film, television, photography, literature, graphic art and postcards
  • Blackpool and the history of the music hall
  • Blackpool and the tourist gaze
  • Blackpool and the problem of regeneration
  • Blackpool and the North
  • Blackpool and the working class’ consumption and heritage
  • Music scenes in contemporary Blackpool
  • Live entertainment in Blackpool
  • The history and meaning of Blackpool Illuminations
  • ‘Gay Blackpool’
  • The growth and decline of sport in Blackpool
  • Blackpool and national, regional and local politics

Conference organisers

Ewa Mazierska, Peter Atkinson, Les Gillon, Alan Hughes

Please send 200 word proposals for papers with short biogs to  by 30 September 2017

Call for Papers: MeCCSA 2018

10—12 January 2018
London South Bank University
Theme: Creativity and Agency
DEADLINE FOR PROPOSALS: Monday 2 October 2017

We are pleased to invite you to submit abstracts, panel proposals and posters for the next Annual MeCCSA Conference, to be held on 10—12 January 2018 at the School of Arts and Creative Industries, London South Bank University.

The conference is the annual presentation of the best work across the whole range of MeCCSA interests, and is also an opportunity to hear about and discuss important topics in both media and HE policy relevant to MeCCSA members.

We welcome scholarly papers, panels, practice contributions, film screenings, and posters across the full range of interests represented by MeCCSA and its networks, including, but not limited to:

• Cultural and media policy
• Film and television studies and practice
• Radio studies and practice
• Representation, identity, ideology
• Social movements
• Digital games studies
• Women’s media studies
• Disability studies within media studies
• Approaches to media pedagogy
• Children, young people and media
• Diasporic and ethnic minority media
• Political communication
• Methodological approaches
• Media practice research and teaching

The theme of the MeCCSA 2018 conference is Creativity and Agency. ‘Creativity’ is a concept that is, at least implicitly, central to many courses in our subject area, which often entail analysis of ‘creative industries’ and include elements of ‘creative practice’ as part of the curriculum. Yet it remains a highly contested concept, from the official promotion of the ‘creative economy’ through to more recent debates about the commodification of everyday ‘creative labour’ via social media. How has the concept developed in the twenty-first century? How should we interpret today’s creative landscape?

Confirmed keynote speakers:

• Professor David Gauntlett (University of Westminster)
• Professor Angela McRobbie (Goldsmiths, University of London)
• Professor Andy Miah (University of Salford)

We invite proposals for papers, practice contributions, themed panels and other presentations which engage with the various artistic, organisational, social, political, economic, individual, collective and technological dimensions of creativity and agency. Potential topics could include, but are not limited to:

• art and activism
• creativity and cultural policy
• everyday creativity
• public service media as a creative agent
• technology and creativity
• creative entrepreneurship and cultural industries
• individual and collective conceptions of creativity
• non-fiction and creativity
• creativity and pedagogy
• creative labour and social media
• creativity and practice research

Extended Deadline for proposals: Monday 2 October

Individual abstracts should be up to 250 words. Panel proposals should include a short description and rationale (200 words) together with abstracts for each of the 3-4 papers (150-200 words each including details of the contributor), and the name and contact details of the panel proposer. The panel proposer should co-ordinate the submissions for that panel as a single proposal.

Practice-based work

We actively support the presentation of practice-as-research and have a flexible approach to practice papers and presentations. This may include opportunities to present papers and screenings in the same sessions or as part of a separate screening strand.  We also welcome shorter papers in association with short screenings/sharing. We have dedicated presentation spaces to display practice artefacts including screenings and computer-based work. For displaying practice work, please include specific technical data (e.g. duration, format) and a URL pointing to any support material when submitting your abstract.

Direct link for proposals submission:
Conference website:
Email enquiries:
Twitter: @MeCCSA2018

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