{"id":247,"date":"2020-01-05T18:00:37","date_gmt":"2020-01-05T23:00:37","guid":{"rendered":"https:\/\/carleton.ca\/transmedialab\/?p=247"},"modified":"2020-02-17T13:09:14","modified_gmt":"2020-02-17T18:09:14","slug":"cfp-transing-cms","status":"publish","type":"post","link":"https:\/\/carleton.ca\/transmedialab\/2020\/cfp-transing-cms\/","title":{"rendered":"CFP: Transing Cinema and Media Studies&#8211;JCMS In Focus Entries"},"content":{"rendered":"<h2 style=\"text-align: center;\">Call For Proposals<\/h2>\n<h3 style=\"text-align: center;\">\u201cTransing Cinema and Media Studies\u201d<br \/>\n<em>Journal of Cinema and Media Studies<\/em> In Focus Section<\/h3>\n<p style=\"text-align: center;\">Edited by <strong>C\u00e1el M. Keegan<\/strong> (Grand Valley State University, he\/him)<br \/>\nand <strong>Laura Horak<\/strong> (Carleton University, she\/her)<\/p>\n<p style=\"text-align: left;\">In a recent <em>JCMS<\/em> <strong>In Focus<\/strong> on \u201cCripping Cinema and Media Studies\u201d (2019) Elizabeth Elcessor and Bill Kirkpatrick persuasively argue that centering a disability perspective in cinema and media studies means far more than looking for \u201cthe cripple in the text.\u201d Rather, it is about \u201cdecentering the physically and cognitively \u2018normal\u2019 character, the \u2018normal\u2019 viewer, the \u2018normal\u2019 producer, and so on\u201d (140). This critical attention to how the dynamics of power and normalization construct not only the content, but also the form, reception, and production of media texts has profound implications for every aspect of cinema and media studies.<\/p>\n<p style=\"text-align: left;\">Inspired by Elcessor and Kirkpatrick\u2019s call to approach cinema and media studies through the lenses of disability and able-bodiedness, we ask: What happens to cinema and media studies when we center trans, Two Spirit, nonbinary, intersex, and gender-nonconforming people, perspectives, and cultural production? What becomes possible when we bring theoretical, historical, and aesthetic approaches from the burgeoning interdisciplinary field of transgender studies to cinema and media studies?<\/p>\n<p style=\"text-align: left;\">When we survey cinema and media scholarship approaching \u201ctrans\u201d topics, we notice a number of patterns that sometimes limit the inquiry taking place at this intersection:<\/p>\n<ul>\n<li style=\"text-align: left;\">Media scholars write about transgender cinema and media without engaging work by transgender scholars or from the field of transgender studies. A few articles or book chapters (e.g. Jack Halberstam\u2019s \u201ctransgender look\u201d) therefore become the authority on all of trans cinema and media studies.<\/li>\n<li>A handful of well-known and primarily cisgender-authored works [e.g. <em>The Crying Game<\/em> (1992), <em>Boys Don\u2019t Cry<\/em> (1999), <em>Transparent<\/em> (2014-19), and, most recently, <em>Pose<\/em> (2018-)] stand in for \u201ctransgender cinema and media\u201d writ large. This narrow framing overlooks thousands of media texts made by transgender filmmakers as well as more interesting and less familiar works by cisgender cinema\/media producers.<\/li>\n<li>Media scholars reproduce a critically flat \u201crepresentations of\u201d approach that is chiefly interested in identifying \u201cgood\u201d and \u201cbad\u201d representations of transgender identities. Scholars using this framing then spend more time criticizing stereotypes in mainstream media than discovering or elevating alternatives. Similarly, scholars assume that older cinema and media texts have nothing to offer critically because they contain \u201cnegative\u201d representations.<\/li>\n<li>Scholars celebrate more and \u201cbetter\u201d transgender representations in mainstream media without considering the intersectional limits and risks of visibility for actual transgender bodies, as explored in trans filmmaker Sam Feder\u2019s conversation with Alex Juhasz in <em>Jump Cut<\/em>, \u201cDoes Visibility Equal Progress?\u201d (2016); <em>South Atlantic Quarterly<\/em>\u2019s 2017 special section, \u201cUnrecognizable: On Trans Recognition in 2017\u201d; and the anthology <em>Trap Door: Trans Cultural Production and the Politics of Visibility<\/em> (2017).<\/li>\n<li>Scholars treat \u201cqueer\u201d theories and methods as if they are sufficient for understanding transgender phenomena without considering critical differences between these approaches, key divergences in the theoretical assessment of sexuality vs. gender, or the historical tensions between gay\/lesbian and transgender politics.<\/li>\n<li>In general, scholars treat instances of transgender as if a singular theoretical or analytic approach will apply, when in reality \u201ctrans\u201d is a complex and intersectional set of phenomena.<\/li>\n<\/ul>\n<p>For this <strong>In Focus<\/strong>, we are seeking short essays that describe visions and versions of what a cinema and media studies informed by transgender studies&#8211;and more broadly, by the experiences and insights of trans people and scholars&#8211;<em>could<\/em> be. What does transgender studies mean for the field of cinema and media studies? What are the vital differences between queer and trans methods and modes of critique? What are the key transgender studies texts that should inform a new era of media scholarship? What could a genuinely trans cinema and media studies be and do? And, why is such a trans cinema and media studies important to practice now?<\/p>\n<p>Final contributions will be 2,500-3,000 words. We are interested in a variety of styles, ranging from personal essays to case studies, manifestos, or example research projects. Contributors may be scholars of any level, from undergraduate students through full professors, including film- and media-makers. Black, Indigenous, and people-of-color contributors are especially encouraged to submit.<\/p>\n<p>Please send a 150-word abstract and 100-word bio to <a href=\"m&#97;&#105;&#x6c;&#x74;&#x6f;:k&#101;&#101;&#x67;&#x61;&#x6e;c&#64;&#103;&#118;&#x73;&#x75;&#x2e;e&#100;&#117;\">&#x6b;&#x65;&#101;&#103;a&#x6e;&#x63;&#x40;&#103;vs&#x75;&#x2e;&#101;&#100;u<\/a> and <a href=\"&#109;&#x61;i&#108;&#x74;&#111;&#x3a;l&#97;&#x75;r&#x61;&#x2e;&#104;&#x6f;r&#97;&#x6b;&#64;&#x63;&#x61;&#114;&#x6c;e&#116;&#x6f;&#110;&#x2e;c&#97;\">l&#97;&#117;&#x72;&#x61;&#x2e;&#x68;o&#114;&#97;&#107;&#x40;&#x63;&#x61;rl&#101;&#116;&#x6f;&#x6e;&#x2e;ca<\/a> by <strong>February 29, 2020<\/strong>. We are also happy to answer any questions.<\/p>\n<p><\/p>\n<p style=\"text-align: center;\">Deadline for abstracts: February 29, 2020.<br \/>\nDeadline for full contribution: November 31, 2020.<br \/>\nProjected publication date: Winter 2022.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Call For Proposals \u201cTransing Cinema and Media Studies\u201d Journal of Cinema and Media Studies In Focus Section Edited by C\u00e1el M. Keegan (Grand Valley State University, he\/him) and Laura Horak (Carleton University, she\/her) In a recent JCMS In Focus on \u201cCripping Cinema and Media Studies\u201d (2019) Elizabeth Elcessor and Bill Kirkpatrick persuasively argue that centering [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","_mi_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[1],"tags":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.2 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>CFP: Transing Cinema and Media Studies--JCMS In Focus Entries - Transgender Media Lab<\/title>\n<meta name=\"description\" content=\"Call For Proposals \u201cTransing Cinema and Media Studies\u201d Journal of Cinema and Media Studies In Focus Section Edited by C\u00e1el M. Keegan (Grand Valley State\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/carleton.ca\/transmedialab\/2020\/cfp-transing-cms\/\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"laurahorak\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/carleton.ca\/transmedialab\/2020\/cfp-transing-cms\/\",\"url\":\"https:\/\/carleton.ca\/transmedialab\/2020\/cfp-transing-cms\/\",\"name\":\"CFP: Transing Cinema and Media Studies--JCMS In Focus Entries - Transgender Media Lab\",\"isPartOf\":{\"@id\":\"https:\/\/carleton.ca\/transmedialab\/#website\"},\"datePublished\":\"2020-01-05T23:00:37+00:00\",\"dateModified\":\"2020-02-17T18:09:14+00:00\",\"author\":{\"@id\":\"https:\/\/carleton.ca\/transmedialab\/#\/schema\/person\/ae91e3384371ff6f5ec30ebce9e5cc86\"},\"description\":\"Call For Proposals \u201cTransing Cinema and Media Studies\u201d Journal of Cinema and Media Studies In Focus Section Edited by C\u00e1el M. 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