[ecrea] CFP: Global TV After 9/11 (edited anthology)

Call for Papers (edited anthology)

Global TV After 9/11. Shifts in international television programs and 
practices.

The anthology explores industrial, ideological, cultural, narrative, and 
aesthetics shifts in the production of global television after September 11.


In the U.S., animated series - and especially those targeting an adult 
audience - and satirical programs have become the flagship of 
counterhegemonic narratives of and for American television, while 
simultaneously being very much part of the consumer capitalist system 
they question and mock (through DVD sales, merchandising, and 
outsourcing). Similarly, although officially created before the events 
of 9/11, dramas like Alias, 24, The Agency and The West Wing have 
strongly been affected – especially in their subsequent plot development 
– by the attacks on the World Trace Center and the Pentagon. The 
response, in these cases, has generally been the construction of 
patriotic narratives aimed at reassuring the American public against the 
fear of U.S. vulnerability, while re-establishing traditional American 
values such as individualism and capitalism.

Considering the shifting meaning of American television after 9/11 as a 
starting point, the editor aims to open up a wide range of questions, 
selecting a variety of essays that critically explore the following 
issues in relation to international media industries:



-       How have international responses to the catastrophic events of 
9/11 affected national television productions? Have genres, formats, and 
fiction in general, changed (examples: the Indian adaptation of 24, the 
production of Hatufim in Israel, the original inspiration for Homeland)?



-       How has TV news changed? Have official news channels lost their 
credibility and satirical news programs proliferated as it has happened 
in the U.S. with The Daily Show (like Al-Bernameg in Egypt)?



-       How has the production of TV documentary (specifically about 
surveillance) increased/changed as a result of 9/11 (examples include 
HBO’s Vice Series and BBC’s Meet the Stans)?



-       What processes of adaptation (audiovisual translation, 
censorship, etc.) do post-9/11 U.S. TV programs go through when exported 
abroad? How does a foreign country - where the consequences of 9/11 
might not be as strongly and ideologically present as they are in the 
U.S - import a post-9/11 TV show? How can a program remain a post-9/11 
text in a country lacking a post-9/11 culture?



-       How do post-9/11 irony and satire travel abroad?

-       Have consumer culture and the very practices of media 
consumption changed globally after 9/11? How do international audiences 
perceive and “consume” 9/11 narratives?



-       How has media production changed in the Middle East (where the 
consequences of 9/11 where directly felt, and yet where radically 
different than the U.S.)?



-       Have strong global media markets (such as India) included 
post-9/11 themes in their productions? If so, to what extent and with 
what objectives?



Please consider submitting a 500-word abstract and a short bio by 
November 31, and direct all questions to Chiara Ferrari at 
(cfferrari /at/ csuchico.edu).



Timeline

Abstracts due by November 31, 2014;

Selection of abstracts by end of December, 2014;

Full essays (7500 words, including bibliography and notes) due by May 
31, 2015;

Final (revised) drafts due by August 31, 2015.



About the volume and editor

The specific idea for the Global TV After 9/11 anthology was developed 
as I completed an essay, titled: “The Taming of the Stew(ie): Family 
Guy, Italian Dubbing, and Post-9/11 Television”. The article discusses 
the cultural and ideological changes applied to the animated series 
Family Guy - considered a flagship of post 9/11 American television - 
when it is exported and translated in countries (Italy, specifically) 
that lack an “official” post-9/11 culture. I have previously published 
two books, including an edited anthology (Beyond Monopoly, Rowman & 
Littlefield, 2010) and I have established preliminary contact with a 
respected University Press.



Thank you,

Chiara Ferrari, Ph.D.
Associate Professor
California State University, Chico
Dept. of Communication Design
530-898-4647
530-898-5877 fax
(cfferrari /at/ csuchico.edu)
www.chiaraferrari.org



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