[Commlist] CFP: Edited Collection – Ryan Murphy: Genre, Gender and Authorship

*Call for Papers*

**

*Edited Collection – Ryan Murphy: Genre, Gender and Authorship*

**

Editors:Dr. Melanie Robson (UNSW Sydney), Dr. Jessica Ford (University 
of Newcastle, Australia) and Dr. Phoebe Macrossan (Queensland University 
of Technology)

In his 20 years in the US television industry Ryan Murphy has amassed a 
large and diverse body of television work. Murphy exemplifies the modern 
TV mogul, operating as an executive producer, creator, showrunner, 
writer and director on a wide range of series. Murphy is well-known for 
creating or co-creating /Nip/Tuck /(FX 2003-2010)/, Glee /(FOX 
2009-2015)/, American Horror Story /(FX 2011-)/, Scream Queens /(FOX 
2015-2016)/, American Crime Story /(FX 2016-)/, Feud /(FX 2017), /Pose 
/(FX 2018-), /9-1-1 /(FOX 2018-) and /The Politician /(Netflix 2019-), 
among others/./

In 2018, Murphy signed an unprecedented $300 million deal with streaming 
giant Netflix to create content for the platform for the next five 
years. Murphy’s television series and made-for-TV movies have been 
distributed across broadcast, cable and streaming, and they have a 
distinct recognizable style and aesthetic. Murphy has re-popularised the 
television anthology format and is known for his camp aesthetics and 
experiments with genre, form and style. Murphy’s television series often 
champion underdogs and non-traditional lead characters, such as people 
of colour, minoritized women, trans* and non-binary characters and 
people who are diverse in their sexuality, gender, and/or sex 
characteristics. While these characters may be marginalized in other 
television series, in Murphy’s series they are rendered in complex and 
dynamic ways, challenging and subverting gender and genre expectations.

This edited collection seeks to investigate the key concerns, forms, and 
central abiding questions of Murphy’s television oeuvre, paying 
particular attention to the question of how and why his particular 
creative and business decisions have made him so powerful in the current 
television and streamed content environment.

We are particularly interested in papers that address how Murphy and his 
work sits at the intersection of many contemporary debates in television 
studies around genre, gender and authorship, including but not limited to:

-Genre studies of Murphy’s work

-Genre hybridity and fluidity

-Questions of television aesthetics and style

-“Quality” television, “cinematic” television and “peak” TV

-Movie stars on television and television celebrity

-Expansion of television distribution networks

-Shifting genre boundaries and expectations

-Diversity of voices and perspectives on television

-Non-traditional television protagonists, including queer characters, 
older women, trans* characters and people of colour

-Questions of gender and sexuality in visual culture

-Changing models of television authorship

-Questions of television authorship, paratexts and branding

-And more

*Please send 400-word abstracts and a short bio to Melanie Robson 
((m.robson /at/ unsw.edu.au) <mailto:(m.robson /at/ unsw.edu.au)>) by April 1, 2020.*

If you have any questions or concerns, please contact Jessica Ford 
(jessica.ford /at/ newcastle.edu.au) <mailto:(jessica.ford /at/ newcastle.edu.au)> or 
Phoebe Macrossan on (phoebe.macrossan /at/ qut.edu.au) 
<mailto:(phoebe.macrossan /at/ qut.edu.au)>.

Notification of acceptance: May 1, 2020.

Full papers due: 16 September, 2020.

All papers will be double-blind peer reviewed.



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