[ecrea] CFP: Special Issue of NANO on Star Wars: The Force Awakens

Call for Papers: NANO New American Notes Online Issue 12 on Star Wars: 
The Force Awakens

Deadline: February 1, 2017

Special Issue: Star Wars: The Force Awakens: Narrative, Characters, 
Media, and Event

Guest Editors: Jason W. Ellis, Alan Lovegreen, and Sean Scanlan

This thing [Star Wars] communicates. It is in a language that is talking 
to young people today, and that’s marvelous.
--Joseph Campbell in conversation with Bill Moyers, The Power of Myth (1988)

There are certainly many more themes in The Force Awakens that speak to 
us, and help us to learn more about these characters and what makes them 
tick.
--Dan Zehr, “Studying Skywalkers” column on starwars.com 
<http://starwars.com> (May 18, 2016)

It is the aim of this special issue of NANO to address the significance 
of the latest installment of Star Wars by exploring its narrative, 
characters, media, and event. Across nearly four decades, audiences 
spanning generations have experienced Star Wars through films, 
television programs, books, video games, special events such as the 
annual “celebrations,” and other storytelling media, including action 
figures and LEGO. Following Disney’s acquisition of Lucasfilm, George 
Lucas’ production company, audiences experienced a new transmedia event 
and a continuation of the old stories with the release of Star Wars 
Episode VII: The Force Awakens in 2015. Joseph Campbell’s earlier 
observations about the first film raises new questions that deserve to 
be answered about the latest: How does this new film communicate? What 
language does it use? And, to whom is it speaking?

One way to approach these issues of communication and language is 
through the convergence of the film’s narrative and characters, 
especially how the transmission of this convergence gets revealed 
through a variety of media as an event. For example, how does the film’s 
narrative respond to, continue, and challenge those that it follows? And 
what about the cast of characters—some returning and some new? What do 
these characters and their performance of the narrative have to say 
about the here-and-now as well as the past? Of course, the narrative is 
told through media, which includes different film technologies, digital 
distribution, DVD and Blu-Ray discs, websites, video games, and apps. 
And stepping back for a larger perspective, the release of the film and 
its transmedia supporting elements inform The Force Awakens as an event, 
in part orchestrated by Disney/Lucasfilm, and in part connected to 
contemporary events, including #oscarssowhite, #womeninfilm, and 
#paygap. Furthermore, how does its event(s) relate to those of the past, 
including specifically those centered on the release of the earlier 
films and subsequent events awakening fans’ nostalgic enthusiasm. The 
Force Awakens’ considerable box office performance and tie-in successes 
signal how significant this film (and its progenitors) is, and it is the 
aim of this special issue to explore the promise and pitfalls of its 
cultural influence.

This issue welcomes multimodal essays up to 4,000 words (excluding works 
cited) exploring topics relating to Star Wars: The Force Awakens, 
including but not limited to the following:

* transmedia storytelling and The Force Awakens (including “Journey to 
Star Wars: The Force Awakens” publications, such as Chuck Wendig’s 
novel, Star Wars: Aftermath, and comic books Star Wars: Shattered Empire 
and Star Wars: Poe Dameron
* media transformation and adaptation (e.g., comparing the film with 
Alan Dean Foster’s novelization)
* materiality and The Force Awakens (e.g., LEGO, play, and collecting)
* Star Wars fandom and cosplay
* Star Wars reference materials and publications
* starwars.com <http://starwars.com> and the official Star Wars app
* Star Wars videogames including LEGO Star Wars: The Force Awakens, Star 
Wars Battlefront, and the now defunct Disney Infinity tie-ins
* Jakku Spy VR experience
* Star Wars Celebration and ComicCon special events
* social and political movements’ coinciding/connecting with The Force 
Awakens
* the hero’s journey and the heroes’ journeys
* movement and storytelling
* vehicles as characters
* nostalgia and familiarity
* inclusive casting/characters
* droids and aliens
* hidden bodies/cgi characters (e.g., Maz Kanata/ Lupita Nyong’o and 
Captain Phasma/Gwendoline Christie)
* race and gender in The Force Awakens
* terrorism, insurgency, war, and militarism
* surveillance

Direct questions to the Special Issue co-editors: Jason W. Ellis 
[(jellis /at/ citytech.cuny.edu) <mailto:(jellis /at/ citytech.cuny.edu)>], Alan 
Lovegreen [(alanlovegreen /at/ yahoo.com) <mailto:(alanlovegreen /at/ yahoo.com)>], 
and Sean Scanlan [(sscanlan /at/ citytech.cuny.edu) 
<mailto:(sscanlan /at/ citytech.cuny.edu)>].

NANO is a multimodal journal. Therefore, we encourage submissions that 
include images, sound, or video in support of a written argument. These 
multimodal components may consist of objects and data sets that go 
beyond traditional media. The multimodal components of the essay must be 
owned or licensed by the author, come from the public domain, or fall 
within reasonable fair use (see Stanford University Libraries’ Copyright 
& Fair Use site, http://fairuse.stanford.edu/overview/fair-use/ and the 
U.S. Copyright Office’s Fair Use site, 
http://www.copyright.gov/fls/fl102.html for more information. NANO’s 
Fair Use Statement is available on its submission page, 
http://www.nanocrit.com/submissions-information/).

For questions about video, audio, or image usage, please contact NANO: 
(editornano /at/ citytech.cuny.edu) <mailto:(editornano /at/ citytech.cuny.edu)>.

NANO uses modified MLA (Modern Language Association) formatting and style.

Submission style guidelines: 
http://www.nanocrit.com/submissions-information/style-guide-nano/

Submission form: 
http://www.nanocrit.com/submissions-information/submission-form-page-nano1

Keywords and abstract: Each author is asked to submit 5 keywords and a 
150-word abstract to accompany their submission.

Schedule: Deadlines concerning the special issue to be published in NANO:

* Submission deadline: February 1, 2017
* Complete comments and peer review June 2017
* Pre-production begins August 2017
We look forward to receiving your contributions.


--
Jason W. Ellis, Ph.D.
Assistant Professor of English
New York City College of Technology
English Department
300 Jay Street, N512
Brooklyn, NY 11201

blog: http://dynamicsubspace.net/
twitter: @dynamicsubspace

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