Archive | Call for Papers (CFP)

U2 Studies Alert | CFP: FPRC Conference Fame and Fandom: Functioning On and Offline. Dec. 8-10, 2019. UWA, Perth, Western Australia.

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FPRC Conference Fame and Fandom: Functioning On and Offline
December 8-10, 2019
Perth, Western Australia
The University of Western Australia

Keynote speaker: Professor P. David Marshall.

Media is dependent on consumers. Celebrities are reliant on fans and mass media. One cannot exist without the other. However, in academia there is a divide between fan studies and celebrity studies. This conference aims to draw these fields together by uniting fan studies, celebrity studies, media, film and television, advertising, marketing, Internet studies, education, politics and any other field.

We invite you to look at what on and offline platforms offer fans and celebrities in terms of moments of interaction, presentation/shaping of persona (both fan and celebrity), and agency. How are fans consuming, creating and/or sharing content? Why are celebrities important to the fans? What can celebrity status achieve? Can they be activists, endorsers, promoters or more? What legacy do they leave behind? How can they influence change in society and politics? Does the Australian film and television industry differ to others? How does distance impact on Australian fans?

Attendees may present papers or create a roundtable discussion on the themes of celebrity, fandom, social media or Australian fan culture.

Roundtables you can apply to join include:

  • Reality Behind Reality TV – inviting actual reality TV stars to present their experiences
  • Manufacturing Minogue – discussing the fashion and brand behind Kylie Minogue
  • Discovering Disney: Fans as Creators

Potential roundtables you could form:

  • Michael Jackson: Falling Icon and Fighting Fans
  • Digital Distance: Bringing Australian fans closer
  • Diversity in Australian Television: Cleverman, Dead Lucky, East West 101

Or create your own theme and form a panel.

Extended versions of selected papers will be published in a peer-reviewed edited book by University of Iowa Press.

We will be holding an exclusive book launch as a part of our welcoming drinks on December 8, commencing 6pm at 399 Bar in Northbridge.

Registration includes: Your printed conference package, welcome drinks and food, catered lunch, coffee / tea breaks, eligibility to publish in edited book, and consideration for the best paper award. Register at https://www.eventbrite.com/e/fame-and-fandom-functioning-on-and-offline-tickets-59682231160

Submission guidelines:

  • 200-word abstract or workshop / roundtable proposal
  • Include a title, your name, e-mail address, and affiliation if applicable
  • Submit to conference Chairs Dr Jackie Raphael and Dr Celia Lam at email address: cjcelebrityresearch@gmail.com
  • Deadline for abstract submission: June 17, 2019
  • Notification of acceptance: June 25, 2019
  • Early bird registrations open: June 25, 2019
  • Full text due: October 1, 2019
  • Pre-Conference reception and book launch: December 8, 2019 (6pm-11pm)
  • Conference presentations: December 9-10, 2019 (full days)
  • Estimated publication of edited book: 2021

Other topics include but are not limited to:

Fandom and Audiences
Fan Fiction
Celebrity – Fan Interaction
Fan Forums
Cosplay and conventions
Australian Fandom
Australian Television, Film and Music
Feminist Identities
Gender and Power
Race and Fandom
Whitewashing in Films
Celerity fall from Grace
Celebrity Activism and Philanthropy
Celebrity Endorsements and Advertising
Icons and Status
Branding and Identity
Politics and Leadership
Persona and Online Presence
Mass Media and Social Media
Celebrities online
Beauty Ideals, Pageants and Culture
Models as Role Models
Sporting Identities
Life After Sports
Literature and Photography
Film and Television
Laws and Policies
Ethics and Morality
Social Innovation and Change
Education and Advocacy

Conference Chairs: Dr Jackie Raphael and Dr Celia Lam
Conference Committee Members: Dr Renee Middlemost and A/Prof Ian Dixon

Keynote speaker Professor P. David Marshall holds a Professorship and Personal Chair in New Media, Communication and Cultural Studies at Deakin University in Melbourne Australia. He is the world-leading scholar in the study of celebrity and public personality systems.  Along with many articles and book chapters, Professor Marshall’s books include Persona Studies: An Introduction (2019), Advertising and Promotional Cultures: Case Histories (Palgrave, 2018), Celebrity and Power (Minnesota, 2nd edition 2014), Celebrity Persona Pandemic(Minnesota, 2016), New Media Cultures (Oxford Arnold, 2004), Web Theory (2003) and Fame Games (Cambridge, 2000). His edited or co-edited books include A Companion to Celebrity (Blackwell-Wiley, 2016), Contemporary Publics (Palgrave, 2016), and The Celebrity Culture Reader (Routledge, 2006). His current research has focussed on the concept of persona and the now associated sub-field of Persona Studies which investigates the strategic construction of the public display of the self, both in its online forms and in other transforming contexts.  His forthcoming research and publications include: the General Editor of the 6-volume Cultural History of Fame (for Bloomsbury Academic), the co-authored), and the future book Emoji Culture and Gestural Communication (McGill Queens University Press, 2020).  His expertise has led to interviews published in many newspapers including the New York TimesGlobe and Mail and the Sydney Morning Herald as well as appearances on other legacy media including the BBC, CNN, Fox News, the ABC and many other media outlets around the world. Professor Marshall has also appeared in the recent documentary film about celebrity called Big in Japan (2017). Along with occasionally publishing more journalistic articles and other media, he maintains a very intermittent personal blog at www.pdavidmarshall.com

U2 FANS: CALLING FOR YOUR PROPOSALS

U2 fans are the hearts and minds of a great U2 Conference. We can’t do it without you and we wouldn’t want to try.  You can be on the programme in a variety of ways:

  • giving a presentation
  • speaking on a panel you’ve organised with friends
  • leading an open-call round-table discussion on a topic of your choice
  • presenting a poster display
  • sharing your own creative expression of your U2 fandom

There are many ways to contribute and we are open to your suggestions. Leave us a reply below if you want to talk through your ideas, but we need a proposal submission from you to make it official. Submitting your proposal is easy. Check out our full Call for Presentations for more information about the POPVision conference theme, but we also invite general U2-related topics, particularly related to U2’s latest album Songs of Experience. The deadline for proposals is December 31, 2017.

Here are some suggestions (and that’s all they are: suggestions!) to get your thoughts started:

  • If you became a U2 fan during the POP era, how did it define you? How does it separate you from U2 fans born of other eras?
  • Did you attend the PopMart Tour? How does it stand up next to the other tours?’
  • How should Pop be regarded in the U2 catalog? As one of their best albums? A mistake or failed experiment? Was it a necessary step for U2?
  • What connections do you see between Pop and Songs of Innocence and Experience? How are both U2 eras related and what progression do you see from Pop to Songs of Experience?
  • In what ways is Pop underrated or critically successful compared to other records of the time?
  • Seen as the great “unfinished’”album, what has been the real impact of Pop in U2’s catalog and career?
  • Have the single mixes or The Best of 1990–2000 remixes changed your view of Pop?
  • Is the Pop album itself paradoxically the least important part of U2’s POP era?
  • Do you prefer the irony, parody and hyperbole of the POP era to U2’s more straight-ahead approach to messaging in the Songs of Innocence and Experience era? Which U2 is more effective?
  • Do you want more music from U2 like what’s on the Songs of Innocence  and Experience albums, or do you miss the experimentation, weirdness and genre-bending of the band in the 90s?
  • U2 have not released an anniversary remastered version of Pop. Should they do so and if so what should a deluxe edition include?
  • Do you feel so strongly in favor or against the Pop album that you would be willing to participate in a panel discussion with other fans?
  • Are you a musician and do you perform Pop songs as part of a band? Has it changed your appreciation of U2’s achievements on the album? Would you be willing to talk about playing the songs?
  • How much of the “pop” aesthetic of Andy Warhol, Roy Lichtenstein and related artists did U2 absorb and employ? How did U2’s use of this imagery relate to the initial emergence of the Pop Art movement?
  • Did U2’s Pop Art homages stand in contrast to the album’s content? Did Pop Art’s spiritual overtones and pathos find commonality with U2’s long running themes?
Individual presenters should submit all in one Word document: a paper title; a 300-word abstract; presenter information including full name, institutional affiliation/independent scholar/student status; contact information; and, one-page listing credentials and recent publications, presentations or other notable activities. Individual paper presentations should be about 15 minutes long.

Panel proposals should specify either three or four presenters and should be designed to finish in about 60 minutes. Panel proposals should submit all in one Word document: a title for the panel; the name of the panel chair; a 200-word abstract describing the panel’s purpose and theme; a 200-word abstract for each presentation on the panel; presenter information for each panel member, including full name, institutional affiliation/independent scholar/student status; contact information; and, one-page listing credentials and recent publications, presentations or other notable activities for each presenter. 

Poster display presentations should submit all in one Word document: a title for the poster; a 150-word statement explaining the thesis for the presentation and the method(s) of demonstration on the poster; the anticipated size of the poster; presenter information including full name, institutional affiliation/independent scholar/student status; contact information; and, one-page listing credentials and recent publications, presentations or other notable activities. An image may be placed in the Word document to help demonstrate elements of the poster.

Performances or other creative presentations should submit all in one Word document: a title for the presentation; a 150-word statement explaining the thesis for the presentation and the method(s) of demonstration; the anticipated duration for the performance, size of space needs, technical support needs, etc., presenter(s) information including full name, institutional affiliation/independent scholar/student status; contact information; and, one-page listing credentials and recent publications, presentations or other notable activities.

We welcome proposals not fitting into the above categories. Please ask for submission advice. 

Delegates who also wish to chair a session not their own should also submit a separate Word document including full name, institutional affiliation/independent scholar/student status; contact information; and, one-page listing credentials and recent publications, presentations or other notable activities.

The deadline for all proposal materials is December 31, 2017. Submit all proposals to U2Con2018proposals@gmail.com. Every effort will be made to notify all who submit a proposal of its status by January 15, 2018. Registration for the conference will open February 1, 2018 and all presenters are expected to pay the registration fee.

 

Call for Chapters — Mysterious Ways: U2 and Religion — Bloomsbury Press

Call for Chapters

Mysterious Ways: U2 and Religion

Bloomsbury Studies in Religion and Popular Music

Edited by Scott Calhoun

I invite proposals for chapters in an edited collection with an interdisciplinary focus on U2 and religion for Bloomsbury’s series on Religion and Popular Music. U2’s art, inclusive of its songs, videos, live concerts, concert films, graphic design, live staging and production design, performance visuals, material artifacts, and activism, has long sought to investigate and present the human experience as also a religious endeavor, with metaphysical and physical concerns, and as such U2’s art is various, extensive, and culturally engaged.

As editor, I’m especially interested in new examinations which broaden and deepen the understanding of U2’s interest in issues of religion, ethics, and spiritually informed identities and practices.

New examinations of U2 and religion might start by pursuing an unconventional line of inquiry into U2 and religion topics. For example, new examinations might start by considering U2 as comprised of artists working in an Anglo-Irish, post-colonial milieu, who, though influenced by close-to-home religious contexts and popular music traditions, sought other cultural experiences and understandings found in intersections of religion and popular music, such as in Caribbean, African-American, North African, and Arabic contexts. (The suggested relationship between Celtic Sean-nós and North African musical traditions as possibly influencing U2, for example, might complicate and enrich an understanding of religion and music in U2’s art.) New examinations might also look at how U2 has employed sectarian and nonsectarian themes to popular success with sectarian and nonsectarian audiences. New examinations might take a musicological interest in examining U2’s songs as joining or disrupting established religious musical traditions. New examinations might focus on understanding and/or critiquing fandom rhetorics and behaviors that approach U2 as a religion. Or, perhaps, new examinations might pursue how and why U2 has framed issues central to both traditional and nontraditional religions by employing or redefining language, forms, and images often identified with a specific religion.

Traditional lines of inquiry can still produce new examinations of U2 and religion of course, and are therefore most welcome.

Religion, when considering U2 for this Bloomsbury volume, should be broadly understood as meaning a system of beliefs, ceremonies, and prescriptions used for worshiping a/the transcendent divine and maintaining a connection with it, which also directs the adherent’s actions in the world.

Studies coming out of, but not limited to, interests in folk, popular, rock, classical, and sacred music traditions, as pertaining to U2, are welcome.

Studies coming out of, but not limited to, disciplinary interests in art, anthropology, cultural studies, communication studies, fan cultures, literature, material cultures, philosophy, psychology, musicology and music performance, religion, rhetorics, sociology, theater, and theology (as broadly understood), as pertaining to U2, are welcome.

Recent essay collections in U2 Studies with some essays on religious topics are Exploring U2 and U2 Above, Across, and Beyond, both edited by Scott Calhoun. Additional scholarly and bio-critical works on U2 are listed on the U2 Studies Bibliography.

A description of the Bloomsbury Studies in Religion in Popular Music series with other titles is here.

Complete proposals are due by February 1, 2016, and will include an abstract of about 400 words and a current CV, which should include institutional affiliation or independent scholar status, a record of presentations and publications, and contact details. Proposals should be sent to calhouns@cedarville.edu

Notification of acceptance for the collection will be sent by February 15, 2016.

Chapter submissions of 6000-7000 words, including references, are due by October 1, 2016, with anticipated publication of the volume in late 2017.

I invite inquiries about potential chapter proposals at calhouns@cedarville.edu

Scott Calhoun
Professor of English, Cedarville University
Director, the U2 Conference

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