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[Commlist] CfP for 'Detecting Europe in contemporary crime narratives'
Fri Nov 06 12:59:19 GMT 2020
*International Conference - **Call for Papers*
**DETECTING EUROPE IN CONTEMPORARY CRIME NARRATIVES: PRINT FICTION,
FILM, AND TELEVISION**
Conference Website: https://www.detect-project.eu/detect2021/
*CONFIRMED KEYNOTE SPEAKERS *
Charlotte Brunsdon (University of Warwick)
Theo D’haen (Leuven University and Leiden University)
Janet McCabe(Birkbeck, University of London)
Peppino Ortoleva (University of Turin)
More info about the
*Dates and Location*
21-23 June 2021
Link Campus University
Via del Casale di San Pio V 44 – Rome (IT)
Among the different expressions of popular culture, no other genre more
than crime – meant as a composite made up of many different variants or
subgenres -- has proved able to travel and expand its reach into
international markets and with audiences. Nor has any other genre been
more adept at laying bare the conflicts and contradictions – social,
political and historical – that characterise contemporary European
societies. The Detecting Europe conference offers an open forum to
explore and discuss how narratives of crime and investigation, as well
as their production and reception, have helped define the major
industrial, commercial, thematic and stylistic trends of European
popular culture since 1989, fostering both the transnational circulation
of its products and the appearance of new transcultural representations
in line with the emergence
of new social identities. We welcome proposals that interrogate the
notion of Europeanness as a critical category, and its viability for the
study of contemporary popular culture, both in print and screen media.
We wish to explore both the scope and limits of the interrelated notions
of transnational identity and cosmopolitanism when applied to the works
of European crime fiction, including print fiction, film, and TV.
A few general — but not exclusive — questions may be asked. Are we to
conceive of cosmopolitanism and the process of European
transculturation merely as unifying factors, fostering the generation of
a shared and uniform transnational identity? Or should we better
acknowledge the existence of a variety of European transcultural
identities, expressed in different writing and audio-visual styles,
characteristic narrative models, place-specific production cultures and
distribution and consumption patterns? What is the impact of national
media ecologies in shaping the idea of the European, and how the
national translate the European when foreign products appear in its
mediascape? Should hybridization and transculturation be assumed as
markers and powerful drivers of cultural homologation? Or rather the
opposite is true, namely that cultural hybridization entails a growing
differentiation of narrative forms and styles, contents and formats,
production and reception practices, thus contributing to the emergence
of a post-national assemblage of multiple and possibly diverging
cosmopolitan identities? We deem it important, at this particular time,
that the notion of Europeanness and its eventual instantiations in
contemporary crime narratives is approached having in mind the multiple
crises that are currently affecting the continent and its population.
We invite proposals from multiple fields of cultural studies, including
representation studies, industry and production studies, and reception
and audience studies. Possible topics may include, but are not limited
to, the following:
• Main stylistic trends of the crime-genre works produced in Europe in
the last 30 years.
Debating/reframing Euronoir as a critical category for cultural studies.
• Hybridization and transculturation: toward homologation or increased
• Crime fiction and the European crisis: immigration, migrant labour,
Brexit, and the rise of right-wing popularism.
• The restaging and critical analysis of Europe’s recent past in the
work of crime writers, screenwriters and directors.
• Images of Europe and Europeans: investigating social change through
the study of popular crime narratives.
• Restating vs challenging class, gender and ethnic stereotypes,
prejudices and discrimination in the representation of crime.
• The multiple facets of European diversity: how have social, spatial
and historical identities been expressed in the works of the European
• Ecocriticism and environmental humanities in the era of widescale
ecological crisis: eco-noir and the challenges to European environment
• The profiled position of crime in fostering transnational cooperation
in the European cultural and creative sectors.
• Relationships and discrepancies between national/local creative
industries and transnational cultural policies in the production milieu
of the European crime genre.
• Transnational production and distribution and the emergence of
• The hopes and limits of European cohesiveness, as revealed in
practices of co-production and
distribution of crime novels, films and TV dramas across the continent.
• Crime narratives and the media discourse on organized trans-European
• Fictional representations of legal and forensic practices in
• Translation, dubbing, subtitling as strategies for cultural adaptation
• The imbrication of local, national and transnational identities in the
reception of foreign crime stories, between old and fresh perspectives
on proximate or distant neighbors.
• Transnational distribution and the role of audiences in shaping the
circulation patterns of European crime narratives across the continent.
• Detecting transcultural identity and social change through the study
of the audiences’ response to crime stories and trans/cross-media universes.
• Engagement and design of crime audiences in the age of digital markets
and online distribution.
• Making sense of social change through the audience’s response to the
representation of female, gay, lesbian and queer characters.
• Theorising transnational/transdisciplinary research for the study of
European crime narratives in print and screen media.
Monica Dall’Asta (University of Bologna), Federico Pagello (University
of Chieti-Pescara), Valentina Re (Link Campus University)
*Organizing Committee *
Luca Antoniazzi (University of Bologna), Sara Casoli (University of
Bologna), Massimiliano Coviello (Link Campus University), Paola De Rosa
(Link Campus University), Lorenzo Orlando (Link Campus University)
*Advisory Board *
Stefano Arduini (Link Campus University), Maurizio Ascari (University of
Bologna), Jan Baetens (KU Leuven), Luca Barra (University of Bologna),
Stefano Baschiera (Queen’s University Belfast), Giulia Carluccio
(University of Turin), Silvana Colella (University of Macerata), Caius
Dobrescu (University of Bucharest), Andrea Esser (University of
Roehampton), Nicola Ferrigni (Link Campus University), Katarina
Gregersdotter (Umeå University), Kim Toft Hansen (Aalborg University),
Annette Hill (University of Lund), Dominique Jeannerod (Queen’s
University Belfast), Sandor Kalai (University of Debrecen), Matthieu
Letourneux (University Paris Nanterre), Natacha Levet (University of
Limoges), Giacomo Manzoli (University of Bologna), Janet McCabe
(Birkbeck University), Jacques Migozzi (University of Limoges), Andrew
Pepper (Queen’s University Belfast), Marica Spalletta (Link Campus
Submissions are welcome as individual papers (max. 20 minutes) and
pre-constituted panels (3/4 papers).
Individual presenters are required to provide their name, email address,
the title of the paper, an abstract (max. 300 words), references (max.
200 words), and a short bio (max. 150 words).
Submit your paper proposal here
Submit your panel proposal here
<https://eu.jotform.com/DETECt/panel-submission> (panel organizers are
also asked to submit a panel title and a short description of the panel
(max. 300 words).
*Deadlines and practicalities*
Abstracts deadline: 15 November 2020
Feedback: 15 December 2020
Registration deadline: 31 January 2020
Regular conference fee: €120
Reduced conference fee (PhD students, Postdoctoral researchers): €90
Further information: (info /at/ detect-project.eu)
At present, we are still planning to hold the conference in person at
Link Campus University, taking all the necessary health and safety
precautions required by Italian authorities. We will also be monitoring
national and international guidelines for health and safety to
communicate any changes in a timely manner.
(Fees include: coffee breaks, 2 light lunches, 1 light dinner, 1
The conference is supported by CUC – Consulta Universitaria del Cinema,
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