[Commlist] Call for Chapters: Screening Controversy

February 1^st is the final deadline for abstracts for the edited 
collection /Screening Controversy/.

Response to call has been fantastic with interest far exceeding 
expectation. Responses have concentrated on cinema from the 1970s on, 
with less interest in film prior to this date. I would still encourage 
anyone with interest in the contemporary controversial film to submit an 
abstract, but in this last call I would particularly like to encourage 
abstracts for chapters that address cinema before 1970.

Please see the original call below.

You are invited to submit an abstract for the upcoming edited collection 
/Screening Controversy/, part of the Routledge /Screening Film/ series 
of books that aim to support the use of individual film screenings as a 
core aspect of film studies pedagogy. Books devoted to individual films 
are often difficult to assign as set readings due to their length and 
approach which is not conceptualized for screening-based support. 
/Screening Film/ is positioned to fill this gap in teaching film where 
screenings are a core activity. Each volume of Screening Film includes 
fifty key readings on individual films specifically designed with the 
aim of supporting film screenings. Contributions should be short, 
focused, contextual and analytical readings that address an individual 
film of your choice, and, as the title of this volume suggests, this 
volume is specifically interested in films whose reception has been 
marred by controversy. We invite established and emerging scholars 
specializing in film studies and cognate disciplines, to contribute 
chapters of a maximum of 4000 words on an individual film that responds 
to the theme of the collection. It is expected that each chapter 
includes any key historical, political, stylistic, industrial contexts 
which are necessary for understanding the film more broadly, especially 
in relation to the canon, movements, and debates which circulate around 
the text and that this is in advance of, or alongside, any new insights, 
research, and arguments brought to the analysis.

Since the beginning of the twentieth century as the early experiments 
with celluloid evolved into the first feature-length narratively driven 
films, film has enthralled and entertained its audiences. However, it 
has simultaneously functioned as a barometer for social mores and often 
served as an uncomfortable reflection of the society that produced it. 
With representations of religious imagery, political commentary, sex and 
violence frequently at the forefront of debates around what is, and what 
should be, permissible within the cinematic frame, controversy has 
followed films that seek to push the boundaries of cinematic expression, 
ensuring that cinema has retained the ability to shock and offend. 
/Screening Controversy/ aims to bring together scholarship that offers 
insightful analysis into film that has been demarcated as controversial, 
exploring key concepts, theories, arguments, histories, and debates 
within film studies or pertaining to the film’s wider contexts. Chapters 
should consider 2-4 key themes or issues relevant to the film of your 
choice and be mindful that the book’s purpose is to support and 
supplement the screening of that film. We welcome historic examples and 
examples from outside of the Anglo/American/European canon.


Chapters might explore but are not limited to:

  * Aesthetic, technological, economic and/or social histories
  * Obscenity and offence
  * Morality
  * Blasphemy and religious controversy
  * Sexuality and sexual representation
  * Pornography
  * Representations of rape and sexual violence
  * Subversion and transgression
  * The representation of violence
  * Political Controversy
  * Profanity
  * Drug use
  * Satire and comedy
  * Fascism
  * xenophobia and racism
  * Censorship and censors
  * Moral panics and responses to problematic media in the public sphere
  * Nationally specific responses
  * Associations with trends, i.e. Video Nasties/Torture Porn/New French
    Extremism
  * Responses to new technologies
*Key dates*

Abstract submission deadline: 1 February 2021
Notification of acceptance: 28 February 2021
Full chapter submission (min / max 4000 words): 31 December 2021

Please send in abstracts of max 300 words and a brief biographical note 
of 150 words to:
Dr Mark McKenna,
Department of Media and Performance,
Staffordshire University,
United Kingdom,
(Mark.Mckenna /at/ staffs.ac.uk) <mailto:(Mark.Mckenna /at/ staffs.ac.uk)>

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