[Commlist] Atalante - CFP nº29 - The impact of Japanese and South Korean audiovisual production on the Spanish-speaking world

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We are pleased to announce the call for papers of the next issue of 
/L’Atalante. Revista de Estudios Cinematográficos/ which, under the 
title of “The impact of Japanese and South Korean audiovisual production 
on the Spanish-speaking world”, is open to contributions. You can find 
detailed information at:
http://www.revistaatalante.com/index.php?journal=atalante&page=announcement&op=view&path%5B%5D=59

The deadline for article proposals for the “Notebook” section is June 
30th 2019. The issue will be published in January 2020.

We sincerely hope that this information may be of your interest. Please 
feel free to share this call among your contacts. Thank you in advance.

/L’Atalante. Revista de estudios cinematográficos/

http://www.revistaatalante.com

(info /at/ revistaatalante.com)

*THE IMPACT OF JAPANESE AND SOUTH KOREAN AUDIOVISUAL PRODUCTION ON THE 
SPANISH-SPEAKING WORLD*

**

Acceptance of articles for the section “Notebook”: *from June 1st to 
June 30th *

In recent years, even while interest has been growing in China’s 
increasing influence as the dominant power in East Asia, the global 
presence of different expressions of contemporary Japanese and South 
Korean culture has been constantly on the rise. The interest in 
literature, graphic products, pop music, video games, cuisine, and 
especially audiovisual productions from Japan and South Korea has turned 
these two countries into cultural superpowers with a prominent place in 
an increasingly fragmented global entertainment industry (Lie, 2014; 
Kuwahara, 2014; Otmazgin & Lyan, 2013).

In addition to the regular appearance of Japanese and South Korean films 
on international festival circuits —at festivals dedicated either to the 
horror and fantasy genres (Brown, 2018; Tezuka, 2012) or to art-house 
films (Martinez, 2009; Chung & Diffrient, 2015)—, their presence is 
becoming increasingly common in catalogues of subscription 
video-on-demand platforms (Lobato, 2018), with highly popular forms like 
K-dramas, Japanese /doramas/ and anime (Hernandez Hernandez & Hirai, 
2015; Kirsch, 2015; Wada Marciano, 2010), which in some cases form part 
of powerful crossmedia and transmedia narratives with a transnational 
reach. Proof of the consolidation of Japanese and South Korean film and 
television productions in the global circulation of popular culture is 
the role they are playing in the transformation of the social landscape 
through new consumer practices—such as fansubbing (Hills, 2016), 
cultural pilgrimages (Sabre, 2016), and memorabilia collecting 
(Steinberg, 2017). Increasingly, they have contributed to the 
establishment of influential languages and aesthetics inspired by horror 
(Wee, 2014) or by the design of /manganime/ characters (Pellitteri, 
2018; Morisawa, 2019) and stereotypes turned into visual tropes (Hinton, 
2013; Kinsella, 2014), as well as to the emergence of expressions of 
identity associated with specific market niches and subcultures, like 
the active /otaku/ communities (Lamarre 2006; Miller, 2017).

Academic research on this topic has focused mainly on the dissemination, 
reproduction and consumption of Japanese and South Korean audiovisual 
productions in English-speaking and Intra-Asian contexts (Chua and 
Iwabuchi, 2008; Iwabuchi 2002, 2004; Iwabuchi, Thomas and Muecke, 2004; 
/Kim 2008, 2013, 2019)/, while the question of their reception and 
influence in the Spanish-speaking world has been largely overlooked. In 
the interests of filling this void, we present this call for papers for 
our /Notebook/ section. We welcome contributions related to case studies 
of exceptionally significant individual products, as well as the 
development of conceptual approaches aimed at clarifying the 
representational, aesthetic and/or artistic aspects of contemporary 
Japanese and South Korean productions in the Spanish-speaking world. 
With this in mind, we suggest the following questions as points that may 
be addressed in submissions for publication:

- What are the predominant aesthetic and narrative features of the 
contemporary Japanese and South Korean audiovisual productions consumed 
in the Spanish-speaking world? In exploring this question, it would be 
interesting to identify South Korean and Japanese audiovisual franchises 
and explore the strategies or pre-existing factors that have facilitated 
their popular acceptance around the world.
- Are these audiovisual productions involved in the creation of unique 
visual discourses, narrative articulations and aesthetic 
conceptualisations? For example, authors could identify the aesthetic 
influences of /manganime/ on film and television productions in the 
Spanish-speaking world.
- Do these audiovisual productions exhibit their own shared 
characteristics? Are they related to the existence of specific media 
outlets, consumer practices and modes of appropriation? We are seeking 
explorations of creative interactions and mechanisms for redeveloping 
and appropriating aesthetic and narrative features of Japanese and South 
Korean audiovisual production, as well as consumer groups and the 
relationships they establish with others, either in the same region or 
in the rest of the world.
- What specific variations and overlaps can be identified at an 
intra-regional level?  And what role do consumer groups, audiovisual 
industries and national and transnational distribution circuits play at 
that level? Authors are invited to explore the grassroots initiatives 
that mobilise cultural resources, representational discourses and 
configurations of taste in public perceptions of Japan and South Korea 
through their contemporary audiovisual production.
- To what extent do historical developments, cultural legacies and 
social and political formulations pre-existing in the region influence 
this phenomenon?

*References*

Brown, S. T. (2018). /Japanese Horror and the Transnational Cinema of 
Sensations/. New York: Palgrave Macmillan.
Chua B. H. y Iwabuchi, K. (eds). (2008). /East Asian Pop Culture: 
Approaching the Korean Wave/. Hong Kong: Hong Kong University Press.
Chung, H. S. & Diffrient, D. S. (2015). /Movie Migrations: Transnational 
Genre Flows and South Korean Cinema/. New Brunswick: Rutgers University 
Press.
Hernandez Hernandez, A. D. & Hirai, T. (2015). The Reception of Japanese 
Animation and Its Determinants in Taiwan, South Korea and China. 
/Animation: An Interdisciplinary Journal/ /10/(2), 154–69. 
doi:10.1177/1746847715589061.
Hills, M. (2016). Transnational Cult and/as Neoliberalism: The Liminal 
Economies of Anime Fansubbers. /Transnational Cinemas 8/(1), 1–15. 
doi:10.1080/20403526.2016.1245921.
Hinton, P. (2013). The Cultural Context and Social Representation: The 
Japanese Schoolgirl in British Popular Culture. /Journal of 
Intercultural Communication/, no. 31.
Iwabuchi, K., Thomas, M. & Muecke, S. (eds). (2004). /Rogue Flows: 
Trans-Asian cultural traffic/, Hong Kong: University of Hong Kong Press.
Iwabuchi, K. (2002). /Recentering globalization: Popular culture and 
Japanese transnationalism/. Durham: Duke University Press.
Iwabuchi, K. (ed). (2004). /Feeling Asian Modernities: Transnational 
consumption of Japanese TV drama/. Hong Kong: University of Hong Kong Press.
/Kim, Y. (ed). (2008). Media Consumption and Everyday Life in Asia./ New 
York: Routledge.
/Kim, Y. (ed). (2013). The Korean Wave: Korean Media Go Global/. New 
York: Routledge.
/Kim, Y. (ed). (2019)./ S/outh Korean Popular Culture and North Korea/. 
New York: Routledge.
/Kinsella, S. (2014)./ /Schoolgirls, Money and Rebellion in Japan/. 
London: Routledge.
Kirsch, G. (2015). Relocating japan? Japan, China and the West in 
Japanese Television Dramas. En Kirsch, G., Martinez, D. P., & White, M. 
(eds.), /Assembling Japan: Modernityr, Technology and Global Culture/ 
(pp. 113–133). Oxford: Peter Lang.
Kuwahara, Y. (ed.). (2014). /The Korean Wave: Korean Popular Culture in 
Global Context/. New York: Palgrave Macmillan.
Lamarre, T. (2006). Otaku Movement. En Yoda, T. y Harootunian, H. 
(eds.), /Japan after Japan. Social and Cultural Life from the 
Recessionary 1990s to the Present/ (pp. 358–394). Durham: Duke 
University Press.
Lie, J. (2014). /K-Pop. Popular Music, Cultural Amnesia and Economic 
Innovation in South Korea/. Oakland: University of California Press.
Lobato, R. (2018). Rethinking International TV Flows Research in the Age 
of Netflix. /Television & New Media/ /19/(3), 241–256. 
doi:10.1177/1527476417708245.
Martinez, D. P. (2009). /Remaking Kurosawa. Translations and 
Permutations in Global Cinema/. London: Palgrave Macmillan.
Mihara, R. (2018). Involution: A Perspective for Understanding Japanese 
Animation’s Domestic Business in a Global Context. /Japan Forum/, 1–24. 
doi:10.1080/09555803.2018.1442362
Miller, L. (2017). Access and the Construction of Fan Identity: Industry 
Images of Anime Fandom. /Participations. Journal of Audience & Reception 
Studies/ /14/(1): 49–66.
Morisawa, T. (2019). Rethinking Anime in East Asia: Creative Labour in 
Transnational Production, Or, What Gets Lost in Translation. En Guarné, 
B., Lozano-Méndez, A. & Martinez, D. P. (eds.), /Persistently Postwar. 
Media and the Politics of Memory in Japan/ (pp. 162–180). London: Berghan.
Otmazgin, N. & Lyan, I. (2013). Hallyu across the Desert: K-Pop Fandom 
in Israel and Palestine. /Cross-Currents: East Asian History and Culture 
Review E-Journal/ /9/: 68–89.
Pellitteri, M. (2018). Kawaii Aesthetics from Japan to Europe: Theory of 
the Japanese ‘Cute’ and Transcultural Adoption of Its Styles in Italian 
and French Comics Production and Commodified Culture Goods. /Arts 7/(3). 
24. doi:10.3390/arts7030024
Sabre, C. (2016). French Anime and Manga Fans in Japan: Pop Culture 
Tourism, Media Pilgrimage, Imaginary. /International Journal of Contents 
Tourism/ /1/(1): 1–19.
Steinberg, M. (2017). Media Mix Mobilization: Social Mobilization and 
Yo-Kai Watch. /Animation: An Interdisciplinary Journal/ /12/(3): 
244–258. doi:10.1177/1746847717739565.
Tezuka, Y. (2012). /Japanese Cinema Goes Global: Filmworkers’ Journeys/. 
Hong Kong: Hong Kong University Press.
Wada-Marciano, M. (2010). Global and Local Materialities of Anime. En M. 
Yoshimoto, E. Tsai & J. B. Choi (eds.), /Television, Japan, and 
Globalization/, (pp. 241–258). Ann Arbor: Center for Japanese Studies, 
University of Michigan.
Wee, V. (2014). /Japanese Horror Films and Their American Remakes: 
Translating Fear, Adapting Culture/. New York: Routledge.

/L'Atalante. Revista de estudios cinematográficos/ accepts submissions 
of unpublished essays on topics related to film theory and/or praxis 
that stand out for their innovative nature. Articles should focus on 
approaches to the cinematographic fact made preferably from the 
perspectives of historiography or audiovisual analysis. Those texts that 
approach novel objects of study with rigorous and well-evidenced 
methodologies will be appreciated. Articles that take as their main 
reference the processes of signification through the analysis of the 
audiovisual form and/or the narratological elements specific to our 
field, focusing on methodologies specifically related to the treatment 
of the image will be favoured in the selection process. Although we 
accept works with other methodologies that approach the filmic fact from 
transversal perspectives (Cultural Studies, philological approaches, 
etc.) we consider that the main interest of the journal is located on 
the studies that take the specifically cinematographic expressive tools 
as the main elements of discourse. Likewise, texts that are not limited 
to describing, enumerating or summarizing details of the plot, but that 
rigorously apply a specific and well-evidenced analysis methodology, 
reaching particular and novel results, will be given priority.

Below are a few aspects to keep in mind:
- Submissions must be original and must conform to the submission 
guidelines of the journal and to the standards and scientific rigour 
expected of an academic publication 
http://www.revistaatalante.com/index.php?journal=atalante&page=about&op=submissions
- Submissions will be evaluated for the originality of the topic 
explored, especially if it relates to an issue not previously addressed 
in the publication. Submissions dealing with topics previously addressed 
in the journal may be rejected. The content of the issues published to 
date can be consulted on the journal's website.
- All submissions will undergo an external peer review process that will 
respect the anonymity of both authors and reviewers (double blind peer 
review) in an effort to prevent any possibility of bias. In the event of 
a very high number of submissions, the Editorial Board will make a prior 
selection of the articles to be peer reviewed, choosing the articles 
deemed the most appropriate for the issue. Failure to observe the 
submission guidelines and/or standards of originality and academic 
rigour will result in rejection of the submission by the Editorial Board 
without external review.
- Authors of accepted submissions will be contacted within six months.
- Articles (which should be between 5,000 and 7,000 words including all 
sections) must be submitted via the website of the journal as .rtf, .odt 
or .docx files, using the template provided for this purpose. Files 
containing the author's statement (.pdf) and any images (.psd, .png, 
.jpg, .tiff) must be uploaded to the website as complementary files. A 
detailed version of the submission guidelines can be found at the 
following link. Any articles that fail to meet these requirements will 
be rejected automatically. 
http://www.revistaatalante.com/index.php?journal=atalante&page=about&op=submissions
- The selected articles will be published in a bilingual edition 
(Spanish and English). The authors of the texts accepted for publication 
must pay the costs that result from the translation or revision - in the 
case of providing, along with the original, a translated version - of 
their article. In all cases, and in order to guarantee the quality of 
the translations and the unity of linguistic criteria, the text must be 
translated or reviewed by the translator recommended by the journal. His 
work will be paid in advance and via Paypal by the authors.
- /L'Atalante/ does not offer any compensation for published articles. 
For more information: (info /at/ revistaatalante.com)


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