Gerry Canavan

the smartest kid on earth

Posts Tagged ‘CFPs

SFFTV call for contributions: “What Was the MCU?”

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special section, call for contributions: “What Was the MCU?”
Science Fiction Film and Television (deadline extended to February 1, 2024)

Science Fiction Film and Television invites contributions (no more than 2000 words) to a special section tentatively titled “What Was the MCU?” Since Avengers: Endgame (2019), the once nigh-invulnerable Marvel Cinematic Universe has faced an increasing drumbeat of fan, critical/scholarly, and labor backlash, culminating in the domestic-box-office disappointment of The Marvels (2023), which made only US$47 million in its opening weekend. That The Marvels—starring a diverse, woman-led cast and helmed by the first Black woman director in the franchise—has already become widely recognized in the discourse as the symbol of this decline is unfortunate, as all of the post-Endgame MCU features have been heavily criticized for their increasingly shoddy scripting and effects work, while also having steep box-office drops from earlier franchise features. What accounts for this fall from grace, and what can those of us working in media studies, franchise studies, and science fiction studies learn from this massive shift in the cultural tide? How has the current state of the MCU been inflected by outside pressures like the shift to Disney+; the COVID-19 pandemic; hyperexploitation of writing, directing, editing and VFX staff; the right-wing targeting of “woke” media and of the Disney Corporation in particular; the fracturing of the existing Marvel fanbase; and a rising “Generation Z” that seems to be almost completely uninterested in this sort of franchise production? Is the moment of “the franchise” as the dominant mode of cultural production in the United States nearing its end—or, for that matter, are accounts of the death of the MCU premature? 

Contributions on any aspect of this topic are welcome; please query Gerry Canavan at gerry.canavan@marquette.edu with any questions.

Written by gerrycanavan

November 15, 2023 at 11:04 am

Fall Break Links? In This Economy?

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I’ve been very busy! It might not get better anytime soon! But at least I’ve closed all my tabs...

Baldwin: The defunding of public education has accelerated all the public universities’ forays into the realm of what they call “becoming entrepreneurial,” which I described above—land grabs, leveraging tax-free real estate, public-private partnerships, capturing intellectual property, and more. This story has to begin with the Higher Education Act of 1965. That legislation failed to directly fund higher education and instead offered indirect funding in the form of “student assistance” for tuition—a few grants but mostly loans, most of them private. Only through tuition, paid by most students through loans and debt, could institutions receive federal funds. This prompted a drive toward skyrocketing tuitions, the competition for higher-paying out-of-state and international students, and the debt financing of amenities to draw those students, which has created the massive national student-debt crisis. But even more, this strategy of raising tuition, funded through debt, wasn’t enough to offset decreases in public spending. So, at the same time, colleges and universities ramped up their participation in revenue-generating, community-destroying practices.

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October 24, 2022 at 9:00 am

Posted in Look at what I found on the Internet

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SFFTV Open Call for Submissions and Special Issue Proposals, as Well as Books for Review

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Science Fiction Film and Television invites article submissions on any topics related to sf and visual media; we especially invite articles related to the production economy of the culture industry and to non-US sf, as well as articles that related to possible upcoming special issues on (1) indigenous sf filmmaking and (2) the career of Taika Waititi. We also invite proposals from potential guest editors for special issues; please write gerry.canavan@marquette.edu for more information on this process.

SFFTV is currently edited by Anindita Banerjee (Cornell University), Gerry Canavan (Marquette University), Dan Hassler-Forest (Utrecht University), and its newest editor, Ida Yoshinaga (George Institute of Technology). Preferred length for articles is approximately 7000-9000 words; all topics related to science fiction film, television, gaming, other visual media will be considered. Typical response time is within three months. Check the journal website at Liverpool University Press for full guidelines for contributors; please direct any individualized queries to gerry.canavan@marquette.edu.

The journal is also seeking reviewers of recent works of sf and sf-adjacent critical theory as well as recent SF visual media. While we accept pitches, we also have the following books available for reviewers:

THE CAMBRIDGE COMPANION TO AMERICAN HORROR (edited by Stephen Shapiro and Mark Storey)

https://www.cambridge.org/core/books/cambridge-companion-to-american-horror/6112D13AE5342761D59714310C5E54CD

CITIZEN SCIENCE FICTION (Jerome Winter)

https://rowman.com/ISBN/9781793621481/Citizen-Science-Fiction

CONSTELLATIONS: THE OA (David Sweeney)

https://liverpooluniversitypress.co.uk/series/series-15365/?sort=vol_desc

THE OUTER LIMITS (Joanne Morreale)

https://www.wsupress.wayne.edu/books/detail/outer-limits

THE ROUTLEDGE COMPANION TO STAR TREK (edited By Leimar Garcia-Siino, Sabrina Mittermeier, Stefan Rabitsch)

https://www.routledge.com/The-Routledge-Handbook-of-Star-Trek/Garcia-Siino-Mittermeier-Rabitsch/p/book/9780367366674

STAR WARRIORS OF THE MODERN RAJ: MATERIALITY, MYTHOLOGY, AND TECHNOLOGY OF INDIAN SCIENCE FICTION

Sami Ahmad Khan

https://press.uchicago.edu/ucp/books/book/distributed/S/bo125520594.html

THE WORLD IS BORN FROM ZERO (Cameron Kunzelman)

https://www.degruyter.com/document/doi/10.1515/9783110719451/html?lang=en

Reviews typically run 1000-2000 words, or 2000-4000 words in our “review essay” format. Samples of both types of review are available upon request.

We are currently in the process of shifting the format of our media review section. We are now primarily interested in:

* reviewers who are calling attention to things that have gone overlooked in the larger entertainment-media-complex landscape, especially international film;

* reviewers with a specific aesthetic, political, or philosophical “take” on a text, as opposed to a more traditional review that recapitulates the plot at length and advises the potential viewer whether or not they ought to watch it.

This notion of a specific “take” is especially important for blockbuster franchise fare, like the MCU or Star Wars movies; in most cases we would only be interested in a review essay for such a film, discussing it within some larger critical context.

Due to a recent review backlog we have not been actively soliciting reviewers; as a result, much recent SF media is still available for reviewing. If there is a film you are interested in reviewing, please contact gerry.canavan@marquette.edu and let him know the name of the film and what you think you’d like to say about it. Deadlines are quite flexible. We look forward to hearing from you!

Written by gerrycanavan

July 29, 2022 at 1:24 pm

Carefully Curated Spring Break Links! Definitely Not Too Many!

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Why, I say, oh why, is it so hard to simply serve the concept and write the adventures of a smart, creative and kind-hearted teenage girl with superpowers? What purpose earthly or unearthly is served by making this character an embittered space tyrant?

… I questioned the desire to attribute the worst aspects of human behaviour to characters whose only useful function, as I see it, aside from simply entertaining young people and anyone else who fancies an uplifting holiday in a storybook world far from the grinding monotony of pessimism and disillusion, is to provide a primary-coloured cartoon taste of how we all might be if we had the wit and the will and the self-sacrifice it takes to privilege our best selves and loftiest aspirations over our base instincts. While that great day is unlikely to happen any time soon in any halfway familiar real world, why not let comic book universes be playgrounds for the kind of utopian impulses that have in the past brought out the best in us?

Written by gerrycanavan

March 12, 2022 at 6:38 pm

Posted in Look at what I found on the Internet

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Just Another Monday Morning, Just Another Set of Monday Morning Links

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Monday Morning Links!

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A Whole Summer’s Worth of Links Crammed into a Two-Weeks-Sized Bag

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Written by gerrycanavan

August 10, 2021 at 7:00 am

Posted in Look at what I found on the Internet, Look at what I put on the Internet

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Call for Papers: SFFTV 15th anniversary issue, “Oversights”

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For its fifteen anniversary issue, Science Fiction Film and Television invites submissions for a special issue loosely organized around the theme of “oversights” — that is, those texts from sf film, television, and interactive media that have not yet been a primary subject of an article in the journal. 

We see the special issue as a moment for canon creation, reconsideration, deconstruction, and deformation. What in sf, and in sf-adjacent genres, have we left out? What texts should become part of the core of the next fifteen years of SFFTV? We especially welcome submissions from outside the Hollywood system, outside the “blockbuster” media form, and outside the US and UK. 

Writers interested in pitching for the issue should contact Gerry Canavan at gerry.canavan@marquette.edu to confirm that the text you want to write about is eligible for the issue. (No need to do anything here but ask after the title.) After that, initial 6000-12000-word drafts will be due January 1, 2022. Articles not selected for the special issue will still be considered for regular issues of the journal.

Please note that beginning with its next volume, SFFTV will be switching to US spelling and Chicago-style citation. The updated SFFTV style guide will be made available to authors.

A full list of ineligible texts is much too lengthy to provide, but as you might expect much of the standard canon of SFFTV has already appeared, including 2001, A.I.: Artificial Intelligence, Akira, The Alien series, Arrival, Avatar, Back to the Future, Battlestar Galactica, Battlefield Earth, Black Mirror, Blade Runner and Blade Runner 2049, Children of Men, A Clockwork Orange, The Cloverfield movies, The Day the Earth Stood Still, District 9, Doctor Who, Dollhouse, E.T., Eternal Sunshine of the Spotless Mind, Evangelion, eXistenZ, Ex Machina, Firefly/Serenity, Frankenstein, Fringe, Get Out, Ghost in the Shell, Godzilla, Gravity, Gremlins, Hard to Be a God, Her, The Hunger Games, I Am Legend, Inglourious Basterds, IT, Lost, Lost in Space, Lucy, Mad Max, Minority Report, Monsters, The Matrix and its sequels, The MCU, Moon, The Omega Man, Orphan Black, Planet of the Apes, Primer, Robocop, The Running Man, Source Code, Soylent Green, Starship Troopers, The Star Trek franchise, The Star Wars franchise, Stranger Things, The Terminator franchise, The Thing, The Twilight Zone, Twin Peaks, Under the Skin, WALL-E, and The X-Files. Put all such films out of your mind — and please bring us instead your neglected and forgotten classics, your cult masterpieces, your triumphs of global cinema, and your weird obscurities…

Written by gerrycanavan

July 14, 2021 at 8:22 pm

new book series: MASS MARKETS: STUDIES IN FRANCHISE FICTION

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Mass Markets: Studies in Franchise Cultures (University of Minnesota Press)

Series editors: Gerry Canavan (Marquette University) and Benjamin J. Robertson (University of Colorado Boulder)

contact: gerrycanavan@gmail.com

Mission Statement

“90% of everything is crap.” —Theodore Sturgeon

Sturgeon’s Law suggests that the bulk of cultural production is not worthy of our attention, except perhaps as a guilty pleasure. However, as popular media storyworlds increasingly dominate the global entertainment landscape, they call out for serious criticism. The “Mass Markets” of our series title refers both to the audiences who consume media franchises and immerse themselves in those storyworlds and to one of the key media forms through which this consumption has taken place, the mass market paperback. This series thus investigates an archive traditional scholarship typically ignores—from video game franchises to longstanding comic storylines, from fantasy trilogies to Hollywood, Bollywood, and Nollywood blockbusters—even as it expands that archive to include cultural productions by marginalized auteurs and from the world beyond North America and Europe. These studies of the twentieth and twenty-first centuries’ most visible cultural texts are written for critics and fans interested in thinking through the joys and problems mass markets and their fandoms create.

Mass Markets books are 40,000 – 60,000 words each, focused on storyworlds developed in specific franchises and dedicated to expanding our understanding of what franchises can be and who can create and study them. Briefly put, Mass Markets: Studies in Franchise Cultures takes up popular narratives (from books and film to television, games, comics, and beyond) that:

  • are produced and distributed across relatively long timescales;
  • extend across multiple media (including film, television, streaming services, video games, books, comics, and, in certain cases, toys and other commodities);
  • generate extensive narrative storyworlds, both textually and through paratexts like maps, glossaries, indexes, and digital extensions like authorized encyclopedias and fan wikis;
  • have been produced by multiple writers, pen names, and work-for-hire journeymen rather than in accordance with elite notions of “authors” or “auteurs”;
  • are often governed more by a top-down corporate vision than aesthetic and political considerations;
  • and are created for large, mainstream audiences (although they may also contain Easter eggs and others sorts of fan service directed to longstanding fans of the franchise or the genre more generally).

The series aims not to produce full or complete histories of various franchises: their dates of inception, long lists of their various texts and descriptions of the relations among them, the economics and studio maneuvering behind their productions, and so on. Such nondiegetic history is necessary to the series, and we expect the individual texts that make up the series to situate the storyworlds they address in larger cultural movements and historical moments. However, the series shall focus on the diegetic natures of the worlds themselves created by franchises that wish to leverage those worlds into a sustainable condition for storytelling and profit, as well as on the varieties of reception and audience participation such worlds produce.

We therefore envision books on Tolkien’s Middle-earth, the Star Wars Universe, The Walking Dead’s ruined post-zombie America, Marvel’s Wakanda, Harry Potter’s Hogwarts, The Broken Earth’s the Stillness, Tin-Tin’s Africa, Akira’s Neo-Tokyo, Valérian and Laurelin’s City of a Thousand Planets, the stylized India of Bollywood film series such as Dhoom or Raaz, Full Metal Alchemist’s Amestris, and so on. But the storyworld we are most excited about is the one we haven’t thought of yet.

Interested authors should contact us for more information and consultation prior to writing anything, but we include the elements of a Minnesota book review for reference.

Elements of a Book Prospectus (University of Minnesota Press)

1.  Overview of the book, including

            •  a summary of the book’s main substantive contribution(s)

            •  an explanation of the theoretical framework that you employ

            •  a description of the methodological approach(es) that you employ

            •  a comparison of the book to others in the field, as well as an explanation of the unique contribution that this work makes (i.e., xdescribe other books and how, specifically, your differs from them)

            •  a description of the target audience(s) for the book.

2.  Table of contents and chapter-by-chapter descriptions (one page per chapter describing its relationship to the other chapters and to the overall argument of the book)

3.  Sample chapter(s), preferably including the introduction and at least two substantive chapters

4.  Current curriculum vitae (if the book is a collection of essays, include a list of contributors’ affiliations)

5.  Manuscript specifics, including estimated length, delivery date, electronic format, and any special requirements (e.g., artwork, tables, photographs, film stills)

Written by gerrycanavan

July 14, 2021 at 6:48 pm

Thursday Links!

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* Call for Papers: Trans-Indigenous Science Fictions. CFP: Activism and Resistance at the London Science Fiction Research Community. And don’t forget about the mini-ICFA in October!

* In a lousy year, Phil Wegner’s Invoking Hope was something that made me feel really good about the work I do, and gave me hope for the possibilities of the university (despite its managers). Read my review at Ancillary Review of Books!

* On the other side of things: The Hopeless University: Intellectual Work at the end of The End of History.

* The New Republic has another review of the Butler LOA volume.

* Science Fiction & … Economic Crisis! with Sherryl Vint, Hugh O’Connell, and Malka Older.

* While I’m recommending stuff: my 21C students loved Zadie Smith’s 2020 mini-memoir Intimations — it was their favorite book of the semester — and I’ve had great fun playing Clank: Legacy and Scooby Doo: Escape from the Haunted Mansion with my third-grader lately.

* I also wanted to buy every game listed in this fun YouTube study of Tomb of Horrors, because I’m just that game-crazed right now.

* Gloomhaven sequel Frosthaven will change to address cultural bias.

* Teen Vogue: Colleges are right-wing institutions.

Conservatives continually cite statistics suggesting that college professors lean to the left. But those who believe a university’s ideological character can be discerned by surveying the political leanings of its faculty betray a fundamental misunderstanding of how universities work. Partisan political preferences have little to do with the production of academic knowledge or the day-to-day workings of the university — including what happens in classrooms. There is no “Democrat” way to teach calculus, nor is there a “Republican” approach to teaching medieval English literature; anyone who has spent time teaching or studying in a university knows that the majority of instruction and scholarship within cannot fit into narrow partisan categories. Moreover, gauging political preferences of employees is an impoverished way of understanding the ideology of an institution. To actually do so, you must look at who runs it — and in the case of the American university, that is no longer the professoriate.

* To whit. Exhibit B.

* new demographic cliff just dropped

* First the U. of Vermont Announced Cuts. Then Enrollment Spiked. Now What?

* North Carolina schools are re-segregating. A Wisconsin county completely loses its shit at the very idea of equality.

* The shocking MOVE bombing was part of a broader pattern of anti-Black racism.

* Can Climate Fiction Writers Reach People in Ways That Scientists Can’t?

* Cory Doctorow has been having some 🔥🔥🔥 threads on Twitter lately: 1, 2, 3…

* The Secret Life of Deesha Philyaw (or, why we need university presses).

* How Much Money Do Authors Actually Earn?

* Krakoa as libertarian haven. A Clockwork Orange and #MeToo. Fear of a Black Superhero. Putting an animated series on the blockchain seems like a Rick and Morty bit, doesn’t it? Apparently the Brontës all died so early because they spent their lives drinking graveyard water.

* For some Navy pilots, UFO sightings were an ordinary event: ‘Every day for at least a couple years.’

* Ominous: Alien life looks more and more likely. Catholics are ready.

* Africans in Space: The Incredible Story of Zambia’s Afronauts.

* The Strange Story of Dagobert, the “DuckTales” Bandit.

* Colson Whitehead and Margaret Atwood Discuss The Underground RailroadThe Handmaid’s Tale and the Challenges of Adaptation.

* Randall Kennedy and Eugene Volokh have the case for allowing the use of the n-word and other slurs in the classroom.

* they say your first Amazon order defines your future

* Now you’re just being rude.

* Dick Van Dyke at 95.

* When you’re cancelled, you’re cancelled.

* At only $20,000/month, you’d be a fool NOT to rent it.

* Just 12 People Are Behind Most Vaccine Hoaxes On Social Media, Research Shows.

* How the world missed more than half of all Covid-19 deaths. Is this the end?

* Meet the Nun Who Wants You to Remember You Will Die. No, I don’t think I want to!

* The Darkness.

* Decolonization is not a metaphor. Imperialism: A Syllabus.

* But on the miracles and wonders beat: 1st Group Enrolled in Trial of uniQure’s AMT-130 Gene Therapy for Huntington’s Disease.

Thursday Night Links!

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Drastic as the decision may seem, particularly given that Pokémon cards aren’t the only things people wait in line for hours to buy, it comes days following a fight in a Brookfield, Wisconsin Target’s parking lot in which four people attacked a man, who then pulled his legally-owned gun on his assailants, prompting them to flee before later being arrested by the police. Target’s decision also comes just weeks after the company implemented new policies to curtail people camping out overnight at their stores. Beyond telling people not to line up like this, an alleged note to employees asked them to consider calling the police in order to force people to disperse.

Ceremonial End of the Semester Tab Purge and Semi-Annual Apology for Being So Busy

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Between my research, service obligations, Zoom teaching, the kids’ virtual schooling, and getting a new puppy, I’ve been just incredibly busy. Another man might say: hey, this is the perfect opportunity to let the blog you’ve been updating continuously since 2004 die! But I am no ordinary man...

First, just a few things I’ve been doing:

And a carefully curated, deliberately and self-consciously incomplete list of some things I’ve been reading this spring:

Written by gerrycanavan

May 11, 2021 at 1:41 pm

Posted in Look at what I found on the Internet, Look at what I put on the Internet

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Friday Links!

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March Links!

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Written by gerrycanavan

March 6, 2021 at 9:04 am

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Emergency Tab Closure Post – 2.9.21

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As Tolkien observed in an essay of the late 1950s, even Sauron’s motive was initially to attain a form of political utopianism: “He loved order and coordination, and disliked all confusion and wasteful friction.”46 As many characters are hopeful utopians in their political orientation, any opposition to this standard soon becomes a radical alternative: “It is wisdom to recognize necessity, when all other courses have been weighed, though as folly it may appear to those who cling to false hope.”47 In this scheme, the utopian-political becomes the conventional, while the utopian-ontological becomes the radical; indeed, the latter’s radicality derives not from making different political choices but different personal ones. This is no clearer than in the case of Faramir who, unlike his brother Boromir and father Denethor, will not allow himself to be tempted by the Ring:

I would not take this thing, if it lay by the highway. Not were Minas Tirith falling in ruin and I alone could save her, so, using the weapon of the Dark Lord for her good and my glory. No, I do not wish for such triumphs.

In these positive characterisations, with their exemplary portrayal of heroic subjective values, we can identify aspects of Levitas’s argument for a utopianism of the wholeness of being and human flourishing. As Levitas suggests, many utopias do their work by advocating better ways of being rather than by illustrating better forms of social organisation.