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<p class="gmail-MsoNormal" align="center" style="text-align:center;margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><b style="font-size:12pt"><span style="font-family:Times"><br></span></b></p><p class="gmail-MsoNormal" align="center" style="text-align:center;margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><b style="font-size:12pt"><span style="font-family:Times">CALL FOR PAPERS</span></b><br></p>
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<p class="gmail-MsoNormal" align="center" style="text-align:center;margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><b><span style="font-family:Times">Special Issue of <i>Feminist Media Studies </i>(</span></b><b><span style="font-family:Times">Vol.
19, No. 6, December 2019</span></b><b><span style="font-family:Times">)</span></b><b><span style="font-family:Times"><br>
<br>
</span></b><span style="font-family:Times"><span></span></span></p>
<p class="gmail-MsoNormal" align="center" style="text-align:center;margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><b><span style="font-family:Times">Independent Women: From Film to Television<span></span></span></b></p>
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<p class="gmail-MsoNormal" align="center" style="text-align:center;margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span style="font-family:Times">Issue Guest Editors: Claire Perkins (Monash University) and
Michele Schreiber (Emory University)<span></span></span></p>
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<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times">Working in television has historically been considered </span><span lang="EN-AU" style="font-family:Times">‘</span><span lang="EN-AU" style="font-family:Times">bread and butter</span><span lang="EN-AU" style="font-family:Times">’ labour for female
filmmakers around the world. For decades, women have taken on roles in the
production, writing and direction of broadcast series as a way of supporting
their ‘real’ and hard-won work in feature filmmaking, with these television j</span><span lang="EN-AU" style="font-family:Times">obs rarely
considered part of their professional profile by themselves or others. Insofar
as it functions as paid employment but is not seen or valued at a symbolic or
material level in the same way as the development of a film, this type of
women’s television work functions as a form of invisible labour. And, given
that a large majority of female filmmakers work primarily in spaces outside the
global channels that are constructed and understood as ‘mainstream’, this mode
of labouring has been especially recognisable in the career pathways of women broadly
identified with independent sectors of film production around the world. <span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times">As we move toward the end of the twenty-first century</span><span lang="EN-AU" style="font-family:Times">’s second decade, though,
this narrative is undergoing a critical transformation. Radically displaced
from the cultural and technological profile that it developed during the
twentieth century, television<i> </i>is now regularly
valued as the preeminent screen art format of our age, with its once defining
distinction from cinema far less pronounced. At the same time, a change in the
profile of popular feminism in the contemporary era has led to the reanimation
of issues and discourses from earlier feminist movements, such as systemic
inequality, body politics and labour. And, relatedly, the issue of gender
equity in screen industries is in the spotlight, with renewed calls for action
from industry, government and celebrity organisations leading to schemes that
actively support women’s creative leadership in television production. <span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times">In this environment, the work that female practitioners from the
independent sector undertake in and on television has taken on a wholly
different status and potential. In the Anglophone west, the critical logic of ‘Peak
TV’ is in large part founded upon a conception of the current moment as a
golden age for female-driven and female-focused content. As a result, women
such as Jane Campion (<i>Top of the Lake</i>),
Ava DuVernay (<i>Queen Sugar</i>), Lena
Dunham (<i>Girls</i>) and Sharon Horgan (<i>Catastrophe</i>) are now hailed as the
visionary creators of their celebrated series, and the historically negative
role of the director-for-hire has become a type of acclaimed cameo appearance
for the numerous women who labour on multiple or individual episodes of high
profile series, including Lisa Cholodenko (<i>Olive Kitteridge</i>, <i>The
Slap</i>), Andrea Arnold (<i>Transparent</i>, <i>I Love Dick</i>), So Yong
Kim (<i>Queen Sugar</i>) and Susanne Bier (<i>The Night Manager</i>). </span><span style="font-family:Times"><span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span style="font-family:Times"> <span lang="EN-AU"><span></span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times">Many questions arise as a result of this shift. For instance, have these
programs increased the presence of imperfect female characters, with women
valued for their unlikeability, anger, vulnerability and precarity, rather than
traditionally feminine characteristics? Has the rise of digital platforms
allowed women practitioners to exercise more control and singularity of vision
than has been historically offered in traditional television production? How is
the global conception of independent production shifting along with these
industry paradigms? <span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times">This special issue interrogates this shift in women’s television work
and how it is being understood and valued globally. It aims to cast a
transnational perspective on the migration of female practitioners from film to
television, exploring how the industrial, textual and critical logic of
independence moves across formats in different contexts. How is the profile of
women’s television work changing around the world as a result of this migration,
even if women still hold only a small percentage of the share of creative roles
overall? How does this television work connect to the revitalisation of the
category of ‘women’s filmmaking’ in academic screen studies and distinguished
media circuits over the past decade or so? How does the narrative of imperfect
womanhood operate outside the Anglophone west? And, ultimately, (how) are these
changes impacting upon the long-standing marginalisation of women in screen
production?<span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times">Topics for consideration by both scholars and practitioners include, but
are not limited to:<span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoListParagraph" style="margin:0cm 0cm 0.0001pt 36pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Symbol">·<span style="font-variant-numeric:normal;font-stretch:normal;font-size:7pt;line-height:normal;font-family:"Times New Roman""> </span></span><span lang="EN-AU" style="font-family:Times">the gender
politics of television series driven by women from independent film sectors
around the world<span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoListParagraph" style="margin:0cm 0cm 0.0001pt 36pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Symbol">·<span style="font-variant-numeric:normal;font-stretch:normal;font-size:7pt;line-height:normal;font-family:"Times New Roman""> </span></span><span lang="EN-AU" style="font-family:Times">the transnational
reach and reception of content identified with the narrative of ‘Peak TV’ that is
driven by women from the independent sector<span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoListParagraph" style="margin:0cm 0cm 0.0001pt 36pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Symbol">·<span style="font-variant-numeric:normal;font-stretch:normal;font-size:7pt;line-height:normal;font-family:"Times New Roman""> </span></span><span lang="EN-AU" style="font-family:Times">the historical and
political significance of the invisible labour of women from independent film
sectors working in television<span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoListParagraphCxSpFirst" style="margin:0cm 0cm 0.0001pt 36pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Symbol">·<span style="font-variant-numeric:normal;font-stretch:normal;font-size:7pt;line-height:normal;font-family:"Times New Roman""> </span></span><span lang="EN-AU" style="font-family:Times">the impact of transnational
digital television platforms around the world upon the kinds of feminisms that
female filmmakers from the independent sector can engage and generate, and the
politics of independence that surround these (conglomerate) platforms<span></span></span></p>
<p class="gmail-MsoListParagraphCxSpMiddle" style="margin:0cm 0cm 0.0001pt 36pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoListParagraphCxSpLast" style="margin:0cm 0cm 0.0001pt 36pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Symbol">·<span style="font-variant-numeric:normal;font-stretch:normal;font-size:7pt;line-height:normal;font-family:"Times New Roman""> </span></span><span lang="EN-AU" style="font-family:Times">the strategies by
which independent female filmmakers working in television both promote and
resist traditional auteur practices and discourses<span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoListParagraphCxSpFirst" style="margin:0cm 0cm 0.0001pt 36pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Symbol">·<span style="font-variant-numeric:normal;font-stretch:normal;font-size:7pt;line-height:normal;font-family:"Times New Roman""> </span></span><span lang="EN-AU" style="font-family:Times">the potential of
the category of ‘Indie TV’ for female filmmakers and contemporary television
feminisms<span></span></span></p>
<p class="gmail-MsoListParagraphCxSpMiddle" style="margin:0cm 0cm 0.0001pt 36pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Times"> </span></p>
<p class="gmail-MsoListParagraphCxSpLast" style="margin:0cm 0cm 0.0001pt 36pt;font-size:12pt;font-family:Calibri"><span lang="EN-AU" style="font-family:Symbol">·<span style="font-variant-numeric:normal;font-stretch:normal;font-size:7pt;line-height:normal;font-family:"Times New Roman""> </span></span><span lang="EN-AU" style="font-family:Times">practitioner
experience of moving from independent film to television production <span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span style="font-family:Times"> </span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span lang="EN-US" style="font-family:Times">Please submit a 350-word abstract as well as a short (2-page) CV to
Michele Schreiber (</span><a href="mailto:mjschre@emory.edu)" style="color:blue;text-decoration:underline"><span lang="EN-US" style="font-family:Times">mjschre@emory.edu)</span></a><span lang="EN-US" style="font-family:Times"> and Claire
Perkins (</span><a href="mailto:claire.perkins@monash.edu)" style="color:blue;text-decoration:underline"><span lang="EN-US" style="font-family:Times">claire.perkins@monash.edu)</span></a><span lang="EN-US" style="font-family:Times"> by April 15,
2018. Authors whose abstracts are selected will be notified by July 1, 2018 and
asked to submit complete manuscripts by December 15, 2018. Acceptance of the
abstract does not guarantee publication of the paper, which will be subject to
peer review. <span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><b><span lang="EN-US" style="font-family:Times"> </span></b></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><b><span lang="EN-US" style="font-family:Times">Aims and Scope <span></span></span></b></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span style="font-family:Times">Feminist Media Studies
</span><span style="font-family:Times">provides
a transdisciplinary, transnational forum for researchers pursuing feminist
approaches to the field of media and communication studies, with attention to
the historical, philosophical, cultural, social, political, and economic
dimensions and analysis of sites including print and electronic media, film and
the arts, and new media technologies. The journal invites contributions from
feminist researchers working across a range of disciplines and conceptual
perspectives.<span></span></span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span style="font-family:Times"> </span></p>
<p class="gmail-MsoNormal" style="margin:0cm 0cm 0.0001pt;font-size:12pt;font-family:Calibri"><span style="font-family:Times">Feminist Media Studies
</span><span style="font-family:Times">offers a
unique intellectual space bringing together scholars,<span></span></span></p>
<span style="font-size:12pt;font-family:Times">professionals and
activists from around the world to engage with feminist issues and debates in
media and communication. Its editorial board and contributors reflect a
commitment to the facilitation of international dialogue among researchers,
through attention to local, national and global contexts for critical and
empirical feminist media inquiry. When preparing your paper, please click on
the link ‘Instructions for Authors’ on the </span><span style="font-size:12pt;font-family:Times">Feminist Media Studies </span><span style="font-size:12pt;font-family:Times">website
(<a href="http://www.tandf.co.uk/journals/rfms">www.tandf.co.uk/journals/rfms</a>) which provides guidance on paper length,
referencing style, etc. When submitting your paper, please </span><span style="font-size:12pt;font-family:Times">do not </span><span style="font-size:12pt;font-family:Times">follow the link
‘Submit Online’ as special issue papers are handled directly via email with the
special issue Editors.</span> <br></div><div class="gmail_default" style="font-family:arial,helvetica,sans-serif"><br></div><div><br></div>-- <br><div class="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr">Dr Claire Perkins<div><div><br></div><div>Senior Lecturer in Film and Screen Studies</div><div>Honours coordinator, School of Media, Film & Journalism</div><div><br></div><div>School of Media, Film & Journalism</div><div>Room B4.27a, Caulfield Campus</div><div>Monash University</div><div>Victoria 3145</div><div>AUSTRALIA</div><div><br></div><div>+61 3 9903 1239</div><div><a href="mailto:claire.perkins@monash.edu" target="_blank" style="color:blue;text-decoration:underline">claire.perkins@monash.edu</a></div><div><br></div><div><a href="http://profiles.arts.monash.edu.au/claire-perkins/" target="_blank" style="color:blue;text-decoration:underline">http://profiles.arts.monash.edu.au/claire-perkins/</a></div><div><br></div><div><br></div></div><div>New <a href="http://mediacommons.futureofthebook.org/intransition/2017/09/07/dead-time" target="_blank" style="color:blue;text-decoration:underline">videographic essay</a> for InTransition out now </div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>
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