[ecrea] Call for Chapters: /ReFocus/**: The Films of Mary Harron

We are pleased to release a call for chapters for an exciting new volume 
in the Edinburgh University Press /ReFocus 
<http://www.euppublishing.com/series/refoc> /series, this time on the 
divisive and understudied work of Mary Harron. Please find details below 
and in the attachment. We hope this will be of interest to many of you, 
and we'd be very grateful if you could forward this message to anyone 
you think may be interested. If you require any further information, 
please don't hesitate to email myself and Kyle Barrett on our addresses 
given below. Many thanks for your attention, and we look forward to 
hearing from you!

Best wishes,
Paula

*/
/*

*/ReFocus/**: The Films of Mary Harron*


Edited by Kyle Barrett and Paula Blair

Edinburgh University Press

Series Editors: Gary D. Rhodes and Robert Singer

Canadian-born filmmaker and screenwriter Mary Harron has created a 
distinctive body of work over the past twenty years, largely working in 
the United States, examining feminism in /I Shot Andy Warhol/ (1996) and 
/The Notorious Bettie Page/ (2005), consumerist hyper-masculinity in 
/American Psycho/ (2000) and teenage coming-of-age in /The Moth Diaries/ 
(2011).Harron has also directed episodes of network, cable and streaming 
television series, including /Homicide: Life on the Street/ (1993-1999), 
/Six Feet Under/ (2000-2005) and /Constantine/ (2014-2015) as well as 
the television film /Anna Nicole /(2013).This /ReFocus/ volume seeks 
chapters that focus on Harron’s diverse career as an independent 
filmmaker and director-for-hire within television.


Harron emerged during the “Indiewood” boom in the 1990s and has often 
been overlooked in favor of filmmakers such as Quentin Tarantino and 
Steven Soderbergh. Harron has also been accused of misogyny within her 
work, particularly in /American Psycho/, which she co-wrote with actress 
Guinevere Turner, a collaboration that would continue with /The 
Notorious Bettie Page/.In examining such perceptions in relation to 
Harron’s growing and understudied feminist project, this book aims to 
unearth the significance of the subversive themes and practices that 
emerge throughout Harron’s understudied career, and to investigate her 
standing as a diverse and challenging filmmaker working in North America 
today.


We welcome a range of theoretical, philosophical, historical and 
industrial approaches to engaging with all aspects of Mary Harron’s 
work, including chapters concerning, but not limited to, the following;

-Harron’s place in the history of women in the film and television 
industries

-Adaptation and authorship

-Biopics

-Harron’s treatment of gender, feminism and/or sexuality

-The economics of the projects to which Harron is attached

-Harron as screenwriter and/or collaborator

-Performance and performativity in Harron’s films

-Harron’s television work

-An exclusive interview with Harron

-Engagements with Harron’s recent or new projects (e.g. /The Family/)

-Your suggested topic


       We will accept expressions of interests and abstracts of up to 500
       words accompanied by a 100-word bio, to be sent to
       (Kyle.Barrett /at/ uws.ac.uk) <mailto:(Kyle.Barrett /at/ uws.ac.uk)>and
       (peablair /at/ gmail.com) <mailto:(peablair /at/ gmail.com)>by 30 July 2016. We
       will aim to announce successful proposals by mid-September. Full
       chapters of 5000-7000 words will be provisionally due by the end
       of December 2016.


       Chapters should adhere to US English spellings and technical
       formatting, and endnote (Chicago) style citation.

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