Archive for 2019

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

Mon Jun 03 07:18:11 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/



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?


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 - 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/

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