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[Commlist] Atalante - CFP nº29 - The impact of Japanese and South Korean audiovisual production on the Spanish-speaking world
Tue Apr 02 07:58:12 GMT 2019
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:
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/
(info /at/ revistaatalante.com) <mailto:(info /at/ revistaatalante.com)>
*THE IMPACT OF JAPANESE AND SOUTH KOREAN AUDIOVISUAL PRODUCTION ON THE
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, theyhave 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
- 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
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
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.
Hills, M. (2016). Transnational Cult and/as Neoliberalism: The Liminal
Economies of Anime Fansubbers. /Transnational Cinemas 8/(1), 1–15.
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
/Kim, Y. (ed). (2013). The Korean Wave: Korean Media Go Global/. New
/Kim, Y. (ed). (2019). /S/outh Korean Popular Culture and North Korea/.
New York: Routledge.
/Kinsella, S. (2014). //Schoolgirls, Money and Rebellion in Japan/.
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
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.
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.
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).
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):
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
- 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.
- 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)
<mailto:(info /at/ revistaatalante.com)>
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