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Publishing Opportunities:
Posted 10.14.25 We are currently soliciting partners for the summer 2026 program ahead of opening the application to students in February 2026. Our guidelines for partner applications are below. Application Instructions Please send a letter of interest and a 2-page resume of the primary internship supervisor(s) in a single PDF to Kevin Fox, Lepage Center Administrator, at lepage@villanova.edu Letters of interest should address the following: • What duties and outcomes will define the proposed internship? • How does the proposed internship use historical thinking, methods, and skills to address issues of public interest? • Who will be the primary internship supervisor(s)? What types of teaching, mentoring, and professional development will they provide for the student? • Will this internship be integrated into an existing internship program or is it a stand-alone opportunity? • Can this internship, or parts of it, be done remotely? • Can you tailor this internship to undergraduate or graduate expectations and mentorship, or is it best suited for one over the other? • Can you contribute funding toward an internship stipend, travel expenses, or housing? This is not a requirement for successful applications. Application Deadline is December 1, 2025 Please contact me a lepage@villanova.edu if you have any questions at all.
Posted 10.14.25 Editor-Elect Leland G. Spencer is now processing new manuscripts for general issues of Critical Studies in Media Communication. Critical Studies in Media Communication welcomes research that understands communication, critical studies, and media studies in the broadest possible terms. Since its inception, CSMC has published some of the most theoretically sophisticated and critically rigorous pieces of scholarship in the field. The journal publishes research that critiques the operation of power in the media. CSMC especially invites articles that center the voices and experiences of women, Black, indigenous, and people of color, queer and trans people, and people with disabilities—as scholarly interlocutors and as subjects of study. With respect to methodology, the journal welcomes all appropriate methods, including rhetorical, theoretical, critical, interpretive, (auto)ethnographic, poetic, creative, empirical, or mixed-method approaches. Potential topics include but are not limited to: the use of media in social movements, critical analyses of media texts or genres, theory development, the role of media in public and civic affairs, the political economy of the media, global media systems, and media industry studies. We welcome submissions from scholars, students, activists, and practitioners at any stage of their careers. All submissions undergo rigorous peer review in a mentorship-centered process committed to developing excellent scholarship. Preferred length for scholarly research and theory manuscripts is 6,000-9,000 words including endnotes and references; a 100-word abstract and 4-5 keywords should accompany submissions. Book reviews are also welcome and should be 1,200-1,500 words. Submissions should be formatted in APA style (7th edition). To submit, go to rb.gy/dvf29j
Posted 8.25.25 Rammstein and Philosophy: Sexuality, right wing politics, satire, body images, Echoes of 1920s Berlin Cabaret and the Weimar Republic (Working title) Edited By: Christopher M. Innes Abstracts of essays are requested for essays about the German rock group Rammstein. Essays will become part of chapters in an edited collection. I am aiming for a publication date of December 28, 2027. The publishers are McFarland; Company, Inc. Rammstein is a prominent part of the rock music scene in Germany and the world spanning the end of the 20th century to our present day. The book will focus on music, culture, social and political expression and any matter that an essay contributor might suggest writing about, though I would like some on Rammstein and Echoes of 1920s Berlin Cabaret and the Weimar Republic Chapters will be organized to discuss the different aspects of Rammstein. The book is aimed primarily at philosophy readers interested in Rammstein and rock music in general with a cross over to musicology and aesthetics, though it is also expected that a significant minority who are not scholars will read this book. Chapters must focus on topics that are closely connected to the music, life, work, or cultural impact of Rammstein. Chapters should not be merely exposition, nor merely expressions of Rammstein’s’ ideas, but should philosophically and fairly assess aspects of. The prose style should show research that is academically unpretentious. The essays will have philosophy shine light on an understanding of Rammstein. My interest is on Rammstein and Echoes of 1920s Berlin Cabaret and the Weimar Republic, but you can write an essay on what you find important. I first listened to Rammstein’s second album Sehnsucht in 1998. Its Berlin Cabaret and 1920s melodrama struck me as obvious. The rock band Rammstein has been influenced by many music genres, incidences, and social themes. I want to have one or two sections of the book center around the theme of the 1920s cabaret scene in Berlin, the social and political themes of the Weimar Republic and its influences on Rammstein’s music and stage performance. This is a controversial theme because the band denies the influence of 1920’s Berlin. With the Berlin Cabaret performed decadently in the Netflix series, Babylon Berlin, people have been exposed to its music (Operatic spectacle), stage performance and surrounding social and political upheaval. I also want to trace as satire and social criticism from the Weimar Republic, through East Germany, to a unified Germany in a European and American context of rising fascism and authoritarianism. This can be done with a view to politics and the social world without reference to the prewar Germany. It is your essay, and my ideas are only suggestions. Rammstein also struggle with their anti-fascist subtlety being co-opted by actual fascist and nationalist groups. I think it is important to understand that the band comes from what was the Communist East Germany, the DDR, and that their view about the state is conflicted, but the Theater and Brecht are probably, and other influences, influences. And what is happening on stage as well is something to consider. This book will be different from Littlejohn’s and Putnam’s book Rammstein on Fire: New Perspectives on the Music and Performances which talks of stage performance and art. Please refer to Littlejohn’s and Putnam’s book to avoid any reproduction, though the Berlin Cabaret and Weimar Republic and other themes with the analysis of sexuality and politics will keep us focused on other philosophical areas and should keep contributors away from such themes. Kindly submit abstracts by e-mail (with or without Word attachment) to cinnes@boisestate.edu Submission Guidelines: 1. Submission deadline for abstracts (200-300 words) and CVs: November 26, 2025 2. Submission deadline for drafts of accepted papers: March 24, 2026 3. Submission deadline for final essays of accepted papers: June 30, 2026
Posted 8.25.25 We have a book project titled Famous Faster studying the various means of Author-ity, Expertise, Influence and Organizing & Unifying interest (niche to macro) how culture adopts and propagates fame and fortune, we are open to consider any number of angles, approaches and viewpoints as long as the topic conveys a clear roadmap to conclusions while explaining in detail any processes.
Posted 8.25.25 This is a call for papers for the forthcoming volume The Works of Romanian Screenwriters, to be published by Bloomsbury as part of the Screen Storytellers series (series editor: Anna Weinstein). Although Romanian screenwriting remains largely unknown internationally, this anthology aims to offer one of the most comprehensive English-language resources on the subject to date—spanning Communist-era cinema, post-1989 transformations, and the globally acclaimed New Romanian Cinema. We welcome submissions that explore individual screenwriters or broader thematic and historical concerns, including practice-based approaches. We especially encourage proposals from female scholars, practitioners, and international researchers unfamiliar with Romanian cinema—we are happy to support contributors with translated archival materials, access to rare films, and contextual research assistance. Deadline for abstracts and bios: 01 October 2025. For enquiries or a PDF integral version of the CFP, please write to lucian.georgescu@unatc.ro.
Posted: 8.21.25 Frankensteinian Resonance, edited collection
Transtemporal Reanimations in Fiction, Film, and Video “Under Strong Interest” by McFarland’s Critical Explorations in Science Fiction and Fantasy series
Considering the still resonating waves of Mary Shelley’s timeless novel Frankenstein; or the Modern Prometheus (1818), due to its conveying the notions, issues, and messages which are both relevant to current times, and as a reflection of its own time, ‘Frankenstein’ continues to be a very appealing trope, phenomenon, or myth. The very idea of “humaneness” is speculated continuously due to the embeddedness of the “Frankenstein” the creator, the monster, and the novel itself, including its writer, within the literary and cultural landscape. It is an undeniable fact that it has been perpetually remembered and reinvented due to its uniqueness, even in the 21st century, prompting producers to adapt it. Yet, how it affects, appeals to, finds correspondences with, and elicits reactions or appreciations may be varied. Nevertheless, regardless of this differentiation in both the re-handlings and/or remembering, as well as the responses, the very speciality of the text remains visible. Notwithstanding the conventions of the genres or the adaptation mediums, as a very special text, Frankenstein transgresses the socio-cultural and even spatio-temporal boundaries that pave the way for the appreciation of contemporary readers and/or audiences.
The proposed edited volume, Frankensteineian Resonance: Transtemporal Reanimations in Fiction, Film, and Video, seeks to provide a rigorous, interdisciplinary exploration of how the Frankenstein mythos continues to evolve, adapt, and resonate across contemporary media landscapes. The volume thus proposes Frankenstein as a transtextual and transtemporal entity, a metaphorical conduit through which trauma, memory, identity, and otherness are endlessly renegotiated. It examines how contemporary rewritings and adaptations, spanning various genres and platforms, reveal the persistence of Frankensteinian concerns with artificial life, the ethics of creation, and the blurred boundaries between human and nonhuman. By assembling approximately 20 original chapters that analyse iconic novels, films, video games, and theatrical adaptations through transtemporal lenses, this collection aims to contribute to Gothic studies, adaptation theory, science fiction criticism, and broader discussions on the posthuman condition. Contributions will be selected through an open international call targeting scholars in literature, film, and cultural studies with PhDs or equivalent credentials.
Each contributor will offer a close and original analysis of a novel, film, or media work that actively reimagines the Frankenstein myth. Rather than adopting a purely descriptive approach, each chapter will develop a coherent and critical argument, connecting the selected work to key interpretive frameworks, such as monstrosity, hybridity, technological creation, identity fragmentation, and moral ambiguity. Contributors will be asked to choose a specific fictional or cinematic text and engage it through relevant theoretical and cultural lenses. While the exact titles and authors of the chapters will be finalized after the acceptance of proposals, all chapters will be unified by the volume’s overarching interest in Frankenstein as a resonant, reconfigurable myth that speaks to evolving human concerns.
Please choose one of the topics listed below as the focus of your chapter. Proposals should clearly identify the selected work (novel, film, or media) and your theoretical framework.
Part I - Literary Re-Visitations/ Rewritings 1-Frankenstein Unbound (1973) by Brian W. Aldiss 2-The Frankenstein Papers (1986) by Fred Saberhagen 3-Poor Things (1992) by Alasdair Gray
Part II- Movie/ Theatre/Video Game Adaptations
1-Frankenstein (1931) & Bride of Frankenstein (1935) – Dir. James Whale 2-The Curse of Frankenstein (1957) – Dir. Terence Fisher 3-Young Frankenstein (1974) – Dir. Mel Brooks 4-Mary Shelley’s Frankenstein (1994) – Dir. Kenneth Branagh 5-Frankenstein (2004) – Dir. Marcus Nispel 6-Victor Frankenstein (2015) – Dir. Paul McGuigan 7-Frankenstein (2015) – Dir. Bernard Rose 8-The Frankenstein Chronicles (2015–2017) – ITV Series 9-Frankenstein (1981) – by Victor Gialanella 10-Frankenstein – Playing with Fire (1988) – by Barbara Field 11-Frankenstein (2007) – by Nick Dear, directed by Danny Boyle 12-Frankenstein (2017) a musical theatre adaptation by Eric B. Sirota 13-Frankenstein: Through the Eyes of the Monster (1995) 14-Frankenstein: Master of Death (2015) 15-Frankenstein: Beyond the Time (2016) 16-Frankenstein Wars (2017) 17-Poor Things (2023)
Submission Details and Timeline
Please send a 300–500 word abstract describing the proposed chapter’s theory/framework, contributions, and structure, and a brief bio (100–150 words) to frankensteinianresonance@gmail.com
The abstract submission deadline is November 30, 2025.
Submission of Complete Chapters (for selected abstracts): March 30, 2026.
Final chapters will be expected to be around 5500-6000 words, in English, and referenced in MLA 9 style.
The book is expected to be published in late 2026, following peer review and editorial revisions.
All submissions will undergo a rigorous double-blind peer-review process.
For inquiries and questions, please feel free to contact us at frankensteinianresonance@gmail.com
Editors: Assoc. Prof. Ela İpek Gündüz, Gaziantep University, Turkey Dr. Ercan Gürova, Ankara University, Turkey
Posted: 8.21.25 Disney and Maternal Figures Call for Papers Special Issue for The International Journal of Disney Studies.
Disney, as a cultural juggernaut, has long played a role in shaping societal understandings of family, gender roles, and the maternal. From absent mothers to evil stepmothers to magical godmothers, Disney’s portrayals of motherhood are both enduring and evolving. This special issue seeks to explore how Disney constructs, complicates, and circulates ideas of motherhood across its vast narrative universe. While motherhood in Disney media has often been sidelined or stereotyped, recent texts such as Encanto, Turning Red, and Brave reflect a growing attention to the complexities of maternal identity. As contemporary conversations around gender, reproductive rights, and caregiving become more urgent, it is essential to examine how a global media empire like Disney frames and reimagines motherhood, and what these representations reveal about cultural anxieties and aspirations.
This special issue invites scholarly work that examines motherhood in Disney texts, animated or live-action, canonical or lesser-known, made by the Disney studios or any of their various acquisitions (e.g., Marvel, Lucasfilm, etc.). We encourage contributors to critically engage with how Disney mediates maternal power, agency, vulnerability, and identity. Contributions may examine biological mothers, pregnant women, adoptive or surrogate (appointed/substitute) mothers, stepmothers, mother-like figures, and older maternal characters, as well as any other aspect that defines motherhood under this broad conceptualization. This inclusive approach allows for explorations of diverse experiences, roles, and representations that reflect the multiple ways in which motherhood can be understood and enacted. We are especially interested in intersectional analyses that consider how race, class, queerness, age, or ability informs Disney’s portrayals of maternal experience.
Topics that explore Disney’s construction of motherhood may include, but are not limited to:
Submission Guidelines: Full paper submissions will be expected by 1st May 2026 and should be submitted to the IJDS’ website’s Pubkit system (https://www.intellectbooks.com/ijds). When you submit, you will have the opportunity to specify that your piece is for the special issue (though you do not have to).
Please note we are open to accepting articles, commentaries and reviews. Articles should be 6,000--8,000 words, Fresh Perspectives 1,000-3,000 words, and Reviews 1,000 words. The journal uses Harvard referencing, and other submission information can be found on the journal’s website.
For queries or to discuss potential topics, please contact: ● Dr. Marissa Lammon – marissa.lammon@colorado.edu ● Dr. Ali Saha – ali.saha@unimelb.edu.au
Posted: 8.21.25 Screen Storytellers: Call for Proposals: Edited volume on screenwriter, actor, director, and comedienne Elaine May
The Works of Elaine May Edited by Jonathan Winchell
This edited volume on the works of Elaine May will be a book in the SCREEN STORYTELLERS series published by Bloomsbury Academic. Seeking 250-word abstracts for previously unpublished chapters on Elaine May’s work as a screenwriter and comedy writer. Final chapters will be 3,000-3,500 words, written for an audience of student readers.
The SCREEN STORYTELLERS series is designed for students, professors, and enthusiastic consumers of film, television, and new media who seek information about contemporary and historically significant screenwriters that is both accessible and critically rigorous. The intention with this series is to bring much-deserved attention to screen and television writers who have developed noteworthy films and television series of significant aesthetic or cultural achievement, critical acclaim, or commercial success, and to offer close readings of the films and series from the perspective of story, screenwriting craft, audience reception, and cultural impact. Each volume explores the works of a single screen storyteller. The series places a strong focus on examining works by screenwriters often left out of classroom syllabi, including women, writers of color, LGBTQ writers, and international writers.
There have been several books published on Elaine May in recent years, including The Films of Elaine May (ReFocus series) edited by Alexandra Heller-Nicholas and Dean Brandum, Nichols and May: Interviews (Conversations with Filmmakers series) edited by Robert E. Kapsis, and Miss May Does Not Exist: The Life and Work of Elaine May, Hollywood’s Hidden Genius by Carrie Courogen. These books explore May as a film director, comedienne, actor, and screenwriter. The Works of Elaine May will focus on May’s work as a writer: screenwriter, script doctor, comedy writer, and improv writer/actor. Please see below for a list of May’s credited and uncredited screenwriting work.
The Works of Elaine May
Elaine May has been one of the most influential comedic voices in American comedy, film, television, and stage for more than seven decades. She revolutionized comedy in the 1950s and 1960s as part of the comedy duo with Mike Nichols, performing on television and Broadway and making Grammy-winning albums. In 1967, May began acting in films, and in the 1970s, she became a groundbreaking screenwriter and film director at a time when few women were writing and directing feature films in Hollywood. She wrote films such as Such Good Friends, Heaven Can Wait, The Birdcage, and Primary Colors and directed films such as A New Leaf, The Heartbreak Kid, Mikey and Nicky, and Ishtar. Although her credits as a screenwriter are limited to seven feature films to date, she was widely known as one of the top script doctors and consultants, working on films ranging from Tootsie to Reds to Bill Murray films such as Ghostbusters II and What About Bob? As a screenwriter, director, actress, and comedienne, she has remained one of the most significant women creatives from the second half of the 20th century to the present day. She is currently in development on a fifth feature film with Dakota Johnson attached in the starring role. |
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