[Commlist] Call for Chapter Proposals: Women who write our worlds

Women who write our worlds: Shaping Global Screen Culture

An edited volume


Call for Chapter Proposals


Deadline for Submission of Abstracts: July 30 2022


View the full call here>>

https://www.intellectbooks.com/asset/1601/call-for-chapter-proposals-women-who-write-our-worlds.1.pdf 
<https://www.intellectbooks.com/asset/1601/call-for-chapter-proposals-women-who-write-our-worlds.1.pdf>


Call for Abstracts


We welcome proposals for chapters in Women Who Write Our Worlds: Shaping 
Global

Screen Culture, an edited volume to be published by Intellect Books in 
2023-24.


Abstracts can be submitted as either a Word or PDF. Title format:

“yourname_Abstract” and should include:

• Title/Subject

• Author’s name

• Affiliation (university, independent, etc.)

• Contact details

• Abstract (max. 250 words)


Editors:

Rose Ferrell

(rosieglow /at/ westnet.com.au) <mailto:(rosieglow /at/ westnet.com.au)>

Rosanne Welch

(rosanne.welch /at/ gmail.com) <mailto:(rosanne.welch /at/ gmail.com)>


ABOUT THE BOOK


Films change lives. Women who write our worldstells global stories about 
women screenwriters and creators from diverse cultures whose screen 
stories have created positive change in their communities.


Organised around geographical regions, Women who write our worldsis 
international in scope. Each of our chapters will focus on a specific 
female screenwriter and a specific project/s originated by her. Since 
the personal is always political (and vice versa) stories should place 
the woman within her own personal as well as professional, cultural 
context, and may show how these different aspects of her life interacted 
with and enriched the screen work. The chapters will cover regions 
throughout the world, showing that from the largest continents to the 
smallest island communities women’s voices have been raised to challenge 
injustice and create a fairer, more humane world. We seek to nurture an 
understanding of screen stories as each arises from within its own 
cultural context. For this reason, we deliberately seek to privilege 
contributors who come from the culture within which the project had its 
impact.


Though not the major research focus, an important aspect of each chapter 
will be to offer evidence of the impact of the screen work. Impact may 
be evidenced through structural change on the level of society, for 
example, change in community and organisational practices, funding, or 
legislation, or attitudinal change and awareness, such as through social 
movements like #MeToo. Well-structured arguments based on anecdotal 
evidence will be acceptable. For this volume, local impact through 
social change is considered more important than global impact through 
awards or international recognition.


The screen work may be of any screen-based storytelling form, from 
feature film, television, web series to virtual reality, gaming and new 
media formats. Fiction, nonfiction and hybrid works will all be considered.


This Call for abstracts is open to all. However, the writer who is the 
heart of each story will be a woman or women-identifying screenwriter / 
creator.


The regions covered within the volume are named: African Worlds, 
American Worlds, Asian Worlds, English-speaking Worlds, European Worlds, 
Island Worlds. Although islands may be integrated into other nations 
(e.g. a territory or protectorate), stories may belong to an ‘island 
world’ because of the distinctiveness of the project with regard to the 
cultural heritage and community it portrays.


As a multidisciplinary work, chapters may approach the topic from a 
range of theoretical and/or creative practice frameworks and research 
methodologies. Chapters are expected to be between 6000 - 8000 words.


Chapters may include, but are not limited to:


• how the screenwriter worked within frameworks, methods and 
decision-making hierarchies to develop her project and bring it to fruition.

• the way her life experiences led to the story told

• the challenges to their projects screenwriters often meet which speak 
to political, religious, gender or other barriers which may not apply to 
their male counterparts.

• the real world impact of the script on its audiences and society.

• offer a powerful example of the ways women stepped out of traditional 
roles to work for change and an improved future for themselves and their 
communities through screenwriting.

• how the screen story tackled issues of culture, religion, identity, 
gender and race

• how these women have negotiated screen industry norms and practices, 
biases and social hurdles in order to tell their screen stories.

• ways in which the professional woman’s everyday life, romance, 
marriage, parenthood status or citizenship has been challenged or made 
more challenging because of her professional work, and vice versa.

• impact upon the people and culture within which the story was distributed.

• the confluence of events which created the zeitgeist which led to 
social recognition or social change


Sample Topics:


• Louise Riber from a story by Tsitsi Dangarembga (Neria, 1993, 
Zimbabwe) which led to legislation being passed which sought to protect 
Zimbabwean women and children from dispossession and ownership by their 
brothers-in-law on the death of their husbands.

• Janet Green and John McCormick (Victim, 1961, UK) which influenced the 
passing of the Sexual Offenses Act of 1967, decriminalizing homosexual 
relations in the UK.

• Gina Prince-Bythewood (Love and Basketball, USA, 2000), questioning 
why women can’t be as ambitious about their athletic abilities as men.

• Christine Olsen (Rabbit-Proof Fence, Australia, 2001), dealing with 
forced relocation of indigenous young women in Australia.

• Claudia Llosa (La Teta Asustada [The Milk of Sorrow], Peru, 2009), 
dealing with trauma experienced by women who were raped by members of 
security forces.

• Audrey Diwan, Marcia Romano and Anne Berest (L’Evènement [Happening], 
France, 2021) dealing with abortion in France in 1963.

• Lana and Lilly Wachowski (Sense8, 2015-2017), using a fictional 
species who can feel empathy for one another the writers expressed the 
idea that one day nonfictional humanity will be united in diversity and 
tolerance.

• Vickie Curtis (Comparsa), nonfiction about two teenage sisters on the 
outskirts of Guatemala City using circus and theatre to dismantle the 
systems of oppression that threaten their lives & Island Soldier (2017)

• Sharmeen Obaid-Chinoy (A Girl in the River: The Price of Forgiveness, 
2015, Pakistan) dealing with a young woman whose father feels justified 
in killing her in order to protect his family from dishonour. Nawaz 
Sharif, the Pakistani Prime Minister declared that after watching the 
film, he was determined to change the law on honour killings.


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