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<p>Call For Papers: Special Issue of <i>Journal of Popular Film & Television</i> - Digital Aesthetics of Violence</p>
<p><br>
</p>
<p>Please see detailed CFP here: <a title="Cmd+Click or tap to follow the link" id="LPlnk244611" href="http://www.tandf.co.uk/journals/cfp/vjpfcfp1.pdf">
http://www.tandf.co.uk/journals/cfp/vjpfcfp1.pdf</a></p>
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<p class="MsoNormal"><span lang="EN-US">This special issue of the<i> Journal of Popular Film and Television</i> is designed to focus on the implications of the relationship between digital technologies and the aesthetic of violence. Contributors may explore
(but are not limited to) questions such as:</span></p>
<p class="MsoNormal"><span lang="EN-US"> </span></p>
<p class="MsoListParagraphCxSpFirst" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1">
<span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" lang="EN-US"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span lang="EN-US">In what ways has the digital aesthetic changed the visual expression of violence in specific traditional media genres—action-adventure, science fiction, horror, crime dramas and police procedurals, etc.?</span></p>
<p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1">
<span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" lang="EN-US"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span lang="EN-US">How has the increased accessibility and affordability of digital technologies impacted production, reproduction, circulation, consumption of, and discourses around violent imagery?</span></p>
<p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1">
<span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" lang="EN-US"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span lang="EN-US">What can we learn about the cultural and historical impacts of the real-world violence encountered by citizen reporters transmitting digital video—live and viral—of pro-democracy protests worldwide?</span></p>
<p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1">
<span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" lang="EN-US"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span lang="EN-US">How has the digital aesthetic reimagined war and combat, from live feeds in war zones to film and television narratives, to videogame battle scenarios? In what ways has this impacted popular and critical reception of
war-themed media?</span></p>
<p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1">
<span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" lang="EN-US"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span lang="EN-US">As digital imaging continues to blur the line between live-action and animation, how has the aesthetic realism of violence changed—for media industries, filmmakers, and spectators?</span></p>
<p class="MsoListParagraphCxSpMiddle" style="text-indent:-18.0pt;mso-list:l0 level1 lfo1">
<span style="font-family:Symbol;mso-fareast-font-family:Symbol;mso-bidi-font-family:
Symbol" lang="EN-US"><span style="mso-list:Ignore">·<span style="font:7.0pt "Times New Roman"">
</span></span></span><span lang="EN-US">How has the audience experience and expectations of cinematic and televisual verisimilitude been transformed by spectacular displays of bodies, vehicles, and skyscrapers programmed into hyperreal collision?</span></p>
<p class="MsoNormal"><span lang="EN-US"> </span></p>
<p class="MsoNormal"><span lang="EN-US">We encourage a variety of academic, historical, critical, analytical, and theoretical approaches, as well as submissions from authors in the popular press. Submissions should be limited to twenty-five pages, double-spaced,
and conform to MLA style. Please include a fifty-word abstract and five to seven key words to facilitate online searches. Send an electronic copy no later than October 15, 2015</span></p>
<p class="MsoNormal"><span lang="EN-US">to Stuart Bender, Curtin University (email</span><span lang="EN-US"> Stuart.Bender@curtin.edu.au) OR Lorrie Palmer, DePauw University (email lorriepalmer@depauw.edu).
</span></p>
<p></p>
<p><br>
</p>
<p><br>
</p>
<p><br>
</p>
<div id="Signature">
<div name="divtagdefaultwrapper" style="font-family:Calibri,Arial,Helvetica,sans-serif; font-size:; margin:0">
Dr Stuart Bender<br>
Department of Film, Television and Screen Arts<br>
Curtin University<br>
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<b>Recent publications and creative works:</b> <br>
<ul>
<li>Bender, Stuart Marshall. (2014). "<a href="http://bitly.com/1xfwJ32">Blood Splats and Bodily Collapse: Reported Realism and the Perception of Violence in Combat Films and Video Games</a>."
<i>Projections: The Journal of Movies and Mind</i> (8), 2: 1-25.</li><li>Bender, Stuart Marshall. (2014). ‘“<a href="http://bit.ly/1z2J5A2">There is Nothing to Carry Sound”: Defamiliarization and Reported Realism in Alfonso Cuarón’s Gravity</a>.’
<i>Senses of Cinema</i> (71).</li><li><i>Excursion</i>. Short film (co-produced with Mick Broderick, 2013/2014). <a href="http://youtu.be/wYgEsJ6c2aA">
http://youtu.be/wYgEsJ6c2aA</a></li></ul>
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