[Commlist] CfP True crime

True crime has always been popular, and with the growing accessibility 
of alternative forms of on-demand media, including streaming services 
and podcasts, the popularity of the genre has only grown, strengthened 
by its appeal to the armchair detective and often the invitation to 
participate in the solution of the crime itself. As Larke-Walsh (2023) 
observes, the viewer’s compulsion to close the case—or to contest 
it—testifies to the text’s ‘potential for positive social impact’. 
Alternatively, Milliken and Anderson argue (2021) that the use of 
fictional devices in true crime drama raises ethical questions about the 
exploitation of personal tragedy for public consumption, with true crime 
often accused of sensationalist reporting, moralising missions, and 
victim exploitation rather than advocacy. Located at the intersection of 
these tensions, this collection explores the contemporary infiltration 
or personalisation of true crime through its myriad associations with 
domestic media in a range of forms. In particular, this collection is 
interested in the individual and collective memorialising and forgetting 
associated with true crime and the ways in which public belief and 
popular memory are influenced by domesticated modes of media 
representation. As such, this collection is also interested in the 
interplay between fact and fiction, and the various inflections and 
incarnations of horror in true crime media in the Digital Streaming Age.

Topics may include but are not limited to:

* Netflix Horror and the networked affect

* Gendered crime and horror in contemporary film and television

* True crime mania in the digital streaming age

* Emotion and affect in true crime documentary

*Binge-watching, binge-worthiness, and binge-ability

*The glorification and/or commodification of true crime

*Representations of victimhood and survival

*Forensic fandom, digital sleuthing, and the culture of detection

*The remediation of crime and memory across multiple media platforms

*The ethics of testimony and witness

*Cultural memory and signal crime

*Memory, mobility, and the moving imageDeadly obsessions, sensations, 
and embodied responses

*True crime chronicles, crime revival, and the new nostalgia

*The rise of serialised storytelling

*The comforts and pleasures of viewing true crime and horror

Prospective contributors should email an abstract of 200–250 words, 
along with a 100-word biographical note, to the editors, by April 8, 
2024. Abstracts should include the chapter title. For further 
information and to submit, please email:

Jessica Gildersleeve: (jessica.gildersleeve /at/ unisq.edu.au) 
<mailto:(jessica.gildersleeve /at/ unisq.edu.au)>
Professor of English Literature, School of Humanities and Communication, 
UniSQ


Please note that no payment from the authors will be required.

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