[Commlist] CFP issue 13 and 14 (Dossier on Horror Film & TV) Tecmerin: Journal of Audiovisual Essays

/Tecmerin. Journal of Audiovisual Essays/ launches its CFPs for issues & 
13 and 14. It is a biannual, peer-reviewed journal, which also offers a 
monographic dossier each year. This journal is published by the research 
group Tecmerin (Television, Cinema, Memory, Representation and Industry) 
of Universidad Carlos III de Madrid (Department of Media).

Issue 13 is an ordinary open call. We invite scholars, researchers, and 
creators to send pieces centered on film, TV and digital production, 
consumption, circulation, and cultural exchange. We are particularly, 
but not exclusively, interested in works that focus on Spanish and Latin 
American cultural production.

Issue 14: Dossier:  Special issue on “Horror Film & TV”

Horror has exponentially grown in the 21^st  century as one of the most 
commmercially successful and critically acclaimed film and television 
genres. In the cinematic arena, franchises such as /It/, /The 
Conjuring/, /Saw/, /Final Destination /or /A Quiet Place/ have smashed 
previous records, topping the highest-grossing lists. In addition, new 
trends, cycles and approaches have also taken center stage. For example, 
the early 2000s was the heyday of the Hollywood remakes of Japanese 
horror (J-Horror) with films such as /The Ring/ or /The Grudge/. In the 
same period, the rise of digital technology as a storytelling tool and a 
production /modus operandi/ gave birth to groundbreaking found footage 
independent features like /The Blair Witch Project/ or, a bit later, 
/Paranormal Activity/. Subsequently this trend entered the mainstream 
with /Cloverfield/, produced by one of the power players in the world 
film industry, J.J. Abrams. In the US and elsewhere,  TVseries such as 
/American Horror Story/, /The Walking Dead/, /Servant/, /Inside No. 9/, 
/Penny Dreadful/, /True Blood, The Returned/, /Dark, 30 coins/, o /Tales 
To Be Awake /or /Kingdom/ have opened new paths for serialized fiction, 
turning into critical components of the contemporary social imaginary.

Not all horror films or series have been new feats though. Hollywood 
continues to endlessly recycle and reshuffle some of its most coveted 
properties. Thus, franchises such as /The Exorcist/, /Halloween/, /The 
Invisible Man, The Walking Dead /or /Scream/ have been rebooted to 
update the original films for new audiences, reinventing their mythology 
or, at times, shamelessly exploiting their popularity. Economic and 
critical returns have been uneven.

At the same time, new voices have reinvigorated horror filmmaking from 
very diverse perspectives and modes of production. Jordan Peele’s 
independent feature /Get out/ (2017) earned over 250 million dollars 
worlwide and was universally acclaimed as a vanguardist and necessary 
development within horror, bringing to the forefront cultural, social 
and economic anxieties and bigotry within the contemporary US imaginary. 
Peele has followed this effort with two other notable films, /Us /and 
/Nope/, earning significant profits and critical acclaim. In the same 
period, other filmmakers such as Ari Aster have conquered the critics’ 
favor with well-crafted films like /Hereditary /or /Midsommar/. David 
Robert Mitchell shocked everyone with /It Follows/, a rearticulation of 
the latent dangers within the apparently safe white picket fence 
suburbia that the original /Halloween /explicitly deconstructed. Former 
theater designer and director Robert Eggers returned to the origins of 
“America” in /The Witch/, designing a disturbing tale in 17^th  century 
New England by focusing on the Puritan mindset that organized society in 
this era.

21^st  century horror film has not only been a US phenomenon. Not at 
all. In fact, elsewhere, some of the most innovative cinematic 
endeavours have fallen within this generic category. In South Korea, for 
example, Bong Joon-Ho updated with extraordinary results the monster 
movie in /The Host/ (2006). Other remarkable South Korean horror films 
include, for example, /A Tale of Two Sisters /and /I Saw the Devil/. 
Japanese cinema, as mentioned above, has also produced a remarkable 
amount of horror films, which have been deeply influential across the 
globe. Among others, we may highlight /Audition/, /Pulse /(or /The Curse/.

Latin American has reshuffled national myths and socioeconomic realities 
to receive great critical attention. /Vuelven / Tigers Are not Afraid 
/by Mexican filmmaker Issa López triumphed in the Austin Film Festival 
and garnered critical acclaim. Guatemalan /La Llorona/  updated a 
traditional popular tale for a new area, receiving great international 
attention. Additionally, Guillermo del Toro has been a pioneer since his 
debut film /Cronos/, subsequently making transnational works in Spain 
before becoming a /de facto/ Hollywood director.

In Europe, filmmakers have engaged with the very history of horror and 
have also explored untapped territories. /28 Days Later /started to put 
in the map the zombie narratives; a subgenre that has increasingly 
populated mainstream cinema for the last two decades. /Let the Right One 
In /reinvented the vampire narrative and was soon thereafter remade in 
the US. /Martyrs/ (explored the limits of sadism and representation. 
Furthermore, in Europe, women filmmakers have center taken stage. Films 
such as /Trouble Every Day/, /Hotel/,/ Dorothy Mills/, /Raw/,/ Good 
night, mommy!/, /A Girl Walks Home Alone at Night /or /Revenge/ have 
turned upside the horror genre, adopting a diversity of female points of 
view that reframe horror filmmaking from novel perspectives.

Finally, in Australia and New Zealand, horror films have emerged 
strongly, with global franchises like /The Babadook /and incredibly 
creative endeavors such as /What We Do in the Shadows/, later turned 
into a critically acclaimed television series.

In issue 14 of /Tecmerin. Journal of Audiovisuals/, we invite 
contributors to focus on the horror genre both within the film and 
television arenas. We are especially interested in 21^st  century 
horror. However, we will also accept proposals of 20^th  century 
pioneering horror films and television shows, genres and subgenres, 
stars and production companies.

Submissions may include but are not limited to the following topics:

  * Horror and gender.
  * Genre hybridity & horror.
  * Horror subgenres (slasher, zombie films etc.)
  * Stars & horror.
  * Horror & the representation of LGBTQI+ subjectivities and bodies.
  * Horror & class.
  * Distribution and exhibition of horror films.
  * Connections between different film industries.
  * Horror fandom.
  *  From Media to Media: horror films and TV shows that have existed
    across multiple viewing platforms.
  * TV and film horror franchises, remakes and reboots.

We are also launching a special call about horror stars for the *Screen 
Stars Dictionary*. See specific guidelines for this section here:

https://tecmerin.uc3m.es/project/screen-stars-dictionary/?lang=en 
<https://tecmerin.uc3m.es/project/screen-stars-dictionary/?lang=en>

*Instructions for authors:*

Researchers and creators may send their audiovisual essays to one of the 
following sections:

 1. Video-Essays: audiovisual essays that offer a critical take on
    diverse aspects of cinema, television and popular culture.
 2. Creators: experimental or documentary pieces that approach a
    specific cultural topic, as long as it is related to the history of
    audiovisual media.

Video-Essays must be uploaded on VIMEO, as private. If this were not 
possible, contact us and we will offer an alternative. Each author will 
send the following information to this email: (tecmerinrevista /at/ uc3m.es) 
<mailto:(tecmerinrevista /at/ uc3m.es)>

 1. Vimeo url address.
 2. Password for video.
 3. 500-800 word text, presenting the video in word format (also 
anonymous).

4.Three-to-five (3-5) keywords.

 5. Description of the video to be shown at the journal home.
 6. A video frame that could work as a thumbnail. Format: .jpg
    preferably with dimensions 300×260 px and weight less than 1MB.

*Deadline:*

Call for Papers Issue 13 (May, 2024):* April 15th, 2024*

Call for Papers Issue 14 (October, 2024) – Dossier. Horror Film & 
Television: *September 1st, 2024*

Videos cannot contain the name of the author to facilitate the blind 
peer review.

*Language*: Video essays can be in any language with Spanish or/and 
English subtitles.

*Length*: the maximum length of the video essays is preferably 10-15 
minutes.

*Video size: *less than 800 MB.

*Guidelines for the text of the audiovisual essay*

The text must accompany the audiovisual essay and its purpose is to 
deepen, in a scientific manner, aspects of the piece, such as the 
theoretical background of the essay or the justification of the 
analysis. In no case should it be a transcription of the voice-over used 
in the video essay, and it should avoid reiterating the information seen 
in the audiovisual essay.

The text should include:

 1. Title of the piece (bold).
 2. Author and full affiliation
 3. Abstract (100-150 words)
 4. Keywords (between three and five, arranged in alphabetical order)
 5. Text (500-800 words)
 6. Bibliography (and filmography)

This text must establish a dialogue with other previous theoretical 
proposals, so it is necessary to reference the works it is based on. 
These references should appear as in-text citations and in a 
bibliography at the end of the text (which does not fall within the 
500-800 word limit). It is also pertinent to add a filmography with the 
titles referred to in the text or used in the audiovisual essay. Thus, 
works that have not been cited in the body of the text should not appear 
in the list of references.

It is also advisable to add a filmography with the titles referred to in 
the text. Both bibliographical and filmographic references must follow 
the APA rules (7th edition).

*Authors who publish an audiovisual essay will have to wait 1 year to 
publish again.*

You can follow us @tecmerinrevista on Twitter.

If you have any questions, do not hesitate to contact us at 
(tecmerinrevista /at/ uc3m.es) <mailto:(tecmerinrevista /at/ uc3m.es)>


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