UNE Popular Culture Research Network

PopCRN (the Popular Culture Research Network) hosting a virtual symposium exploring uniforms in popular culture to be held online on Thursday 20th & Friday 21st April 2023.

This symposium aims to interrogate the ways that uniforms are used to in popular culture. We invite papers which examine uniforms of every type, from the formal to the informal, from military to sports and school uniforms. We welcome papers from researchers across the academic spectrum and encourage papers from postgraduate researchers and early career researchers. Presenters will have the opportunity to publish a refereed journal articles in a special symposium edition of Clothing Cultures.

Topics can include, but are not restricted to:

• I always did like a man in uniform. And that one fits you grand. Why don't you come up sometime and see me? – romancing the solider
• It is always an honour to put on a uniform – the emotional effects of inhabiting the uniform
• I was just lucky to have a uniform – access to uniforms and status in popular culture
• When I’m relaxed, jeans and a shirt are my uniform – quasi and informal uniforms
• If you put on the military uniform, you’re a prima facie hero – the transformative power of the uniform
• Am I still in uniform? Then I ain’t retired – Age constraints of the uniform
• School uniforms? Ain’t nobody got time for that – rejecting the uniform
• Women in Uniform – gendered aspects of uniform
• Freaks in Uniform – subverting the uniform
• They should have never given us uniform if they didn't want us to be an army – the uniform of rebellions
• Just because I wear a uniform doesn't make me a girl scout – misinterpreting the uniform
• Who in their infinite wisdom decreed that Little League uniforms be white? – emotional labour and the care of the uniform
• Three Lions on My Chest – national symbols embedded in uniforms
• Would I do anything to disgrace this uniform? - uniform as a moderator of being
• So, why aren't you wearing uniforms like real superheroes? – Uniforms as essential to identity
• It's the uniform, or the man in the uniform? – conflating identity of the person with the organisation
• Should we not come to school until we can buy new uniforms?- The exclusionary power of a uniform
• Excuse me, but that's not a baseball uniform! – The social expectations of uniform design

Please email abstracts (200 words) to popcrn@une.edu.au by 31/1/2023. Please include your name, affiliation, email address, title of paper and a short biography (100 words). Registration is free.

Aviation Cultures Mark VII

PopCRN & Aviation Cultures are celebrating the 54th anniversary of the first lunar landings with a virtual conference exploring all things aviation in popular culture to be held online on Thursday 21st & Friday 22nd of July 2023.

The romance of aviation has been celebrated in popular culture for millennia. Greek myths tell us of Daedalus and Icarus who attempted to escape Crete with wings made from feathers and wax. Leonardo da Vinci sketched helicopters and parachutes. Jules Verne imagined trips to the moon. Leslie Nielsen asked Robert Hays not to call him Shirley. And For All Mankind explores an alternate history of the space race.

This conference aims to explore the impact of all things aviation in popular culture. If it flies (or fails to fly), whether it be from human endeavour or the natural world, mythology, or storytelling, this is the forum to present your work.
We welcome papers from researchers across the academic spectrum and encourage papers from postgraduate researchers and early career researchers.

Topics can include, but are not restricted to:

• There is an art to flying. The knack lies in learning how to throw yourself at the ground and miss – aviation in comedy
• I have often said that the lure of flying is the lure of beauty – feminine constructions of aviation
• I confess that in 1901 I said to my brother Orville that man would not fly for fifty years – the rapid transformation of aviation technology and its representations in popular culture
• Aeronautics was neither an industry nor a science. It was a miracle – the wonder of flight in popular culture
• You’re flying Buzz! No Woody we’re falling in style! – Aviation in children’s film and television
• I think it is a pity to lose the romantic side of flying and simply to accept it as a common means of transport – the golden age of flying and the modern reality in popular culture
• Helicopters don’t fly, they vibrate so badly the ground rejects them – popular understandings of how aircraft work
• I’m leaving on a jet plane, don’t know when I’ll back again – aircraft as symbols of geographical distance
• Look! Up in the sky! It's a bird! It's a plane! It's Superman! – When superheroes take to the skies
• I want $200,000 in unmarked 20-dollar bills. I want two back parachutes and two front parachutes – Hijacking, skyjacking and other crimes in the air
• The Fastest Hunk of Junk in the Galaxy – space travel as a vehicle for popular storytelling
• To boldly go where no man has gone before – Implied gender roles in aviation popular culture
• Never was so much owed by so many to so few – the flying war hero in popular culture
• It can hardly be a coincidence that no language on earth has ever produced the expression, 'As pretty as an airport’ – airport architecture in popular culture
• Did you ever notice that the first piece of luggage on the carousel never belongs to anyone? – The mystery of everyday flight in popular culture
• The moment you doubt whether you can fly, you cease for ever to be able to do it – fairies, dragons, griffins, and other mythological flying creatures
• If you were born without wings, do nothing to prevent them from growing – humans with wings in popular culture
• There's only one job in this world that gives you an office in the sky; and that is pilot – representations of the aviation professional in popular culture
• A journey of a thousand miles starts with a single step.........the step taken to climb the ladder which gets you into the airplane... – the ease and convenience of flight

Please email abstracts (200 words) to popcrn@une.edu.au by 30th April 2023. Please include your name, affiliation, email address, title of paper and a short biography (100 words). Registration is free for everyone.

PopCRN (the UNE Popular Culture Network) are exploring the concept of royalty with a virtual symposium focused on the representations of the British royal family in popular culture to be held online on Thursday 28th & Friday 29th September 2023.

The British monarchy has played a leading role in various ways over the last millennium of world history and as such have been frequently depicted in popular culture from the plays of Shakespeare to the extensive coverage in popular magazines.

We welcome papers from researchers across the academic spectrum, and encourage papers from postgraduate researchers and early career researchers. Presenters will have the opportunity to publish a refereed book chapter in a book published in 2024.

Topics can include, but are not restricted to:

• We are not amused – Royal reactions to popular events
• In the words of one of my more sympathetic correspondents, it has turned out to be an annus horribilis – The intersections of the private and public lives of royalty
• I do not want a husband who honours me as a queen, if he does not love me as a woman – Love and British royalty
• I’d like to be queen of people’s hearts – The rhetorical power of royal themes
• The king is dead, Long live the king – British royals past, present and future
• I think the relations between the monarchy and the press is very much a two-way street. Anthony Holden – Reporting the royals
• Spencer – Diana and the gothic
• Diana, The peoples’ princess – Royalty and celebrity
• The real intelligence in the royal family comes through my parents to Prince Philip and the children. (Lord Mountbatten) - Celebrity royal children
• The Crown – Royal representations in film and television
• Princess for a day – Royal wedding dresses and royal wedding culture
• I myself prefer my New Zealand eggs for breakfast (Queen Elizabeth II) Royal food and wine
• Fashioning a Queen – Royal fashion, then and now
• Men fight wars. Women win them - The powerful Queen in the patriarchal institution
• I know what my job was; it was to go out and meet the people and love them. (Princess Diana) – The working royal
• The important thing is not what they think of me, but what I think of them – Royal views of the general public
• I know I have but the body of a weak and feeble woman; but I have the heart of a king, and of a king of England, too – Representations of royal gender
• A horse, a horse, my kingdom for a horse – Shakespearian depictions of royalty
• All my birds have flown – The ridiculed royal
• I have as much privacy as a goldfish in a bowl. (Princess Margaret) – The public gaze and celebrity
• Let not poor Nelly starve – Royal mistresses
• Alvanley, who's your fat friend? – Royalty and friends
• Was 'arold, with eyeful of arrow, On 'is 'orse, with 'is 'awk in 'is 'and – Representations of royalty in folktales
• You have sent me a Flanders mare – Royal marriages of convenience in popular culture
• I find doing speeches nerve wrecking (Kate Middleton) – Performing royalty
• I have found it impossible to carry the heavy burden of responsibility and to discharge my duties as king as I would wish to do without the help and support of the woman I love – The reluctant royal
• When I am dead and opened, you shall find 'Calais' lying in my heart – Royal concerns of conquest and loss
• Camelot – The American fixation with the British Royals
• It is as Queen of Canada that I am here. Queen of Canada and all Canadians, not just one or two ancestral strains (Queen Elizabeth II) – The Royals in the colonies
• You have to give this much to the Luftwaffe: when it knocked down our buildings it did not replace them with anything more offensive than rubble. We did that. (Prince Charles) – The Royals and war
• For Portraits to Pop – Queen Elizabeth as a cultural icon
• Value for money – The Royals and the British economy
• Royal fever – The Royals and consumer culture
• They’re changing guards at Buckingham Place – The Royals in children’s literature
• For a time during the 1980s the Royal Family were not just the most influential family in Britain but probably in Europe and Prince Charles specifically was very much like a defacto Cabinet member and what he said actually had impact on public policy (Andrew Morton) – The Royals and No. 10
• I should like to be a horse (Queen Elizabeth II) - British royals and animals
• One day I’m going up in a helicopter and it’ll just blow up. M15 will do away with me. (Princess Diana). Royal conspiracies
• The state is nothing but an instrument of oppression of one class by another - no less so in a democratic republic than in a monarchy. (Friedrich Engels) – The royals and the British class system

Please email abstracts (200 words) to popcrn@une.edu.au by 31/6/23. Please include your name, affiliation, email address, title of paper and a short biography (100 words). Registration is free.

PopCRN (the Popular Culture Network) is back with a virtual symposium exploring adaptations, reboots and remakes in popular culture. To be held online on Thursday 1st December & Friday 2nd December 2023.

Adaptations, reboots and remakes do not just extend the popular appeal of a work or artist, they can cause controversy as they reinterpret the text. This is further complicated by the feeling of ownership that artists and fans have over the original, and arguments over the definitive version or interpretation prevail. This symposium aims to examine how popular texts have been adapted, rebooted and remade in popular culture.

We welcome papers from researchers across the academic spectrum and encourage papers from postgraduate researchers and early career researchers.

Topics can include, but are not restricted to:

• Play it Again, Sam – misremembering original texts
• This never happened to the other fellow – different interpretations of character
• The part of [character] will now be played by [new actor] – who is more important, the actor or the character?
• I’m the Doctor. Or will be if this regeneration works out – popular culture tropes in recasting
• As If! – can adaptations ever be true to the original work
• You can’t stop change any more than you can stop the suns from setting – is change inevitable in popular culture
• That it’s all just a little bit of history repeating – recycling and reimagination in popular culture
• Surely the Second Coming is at hand – religious aspects of reinvention
• I’ll be back – the promise of more.
• Mamma mia! Here we go again – how can we forget when popular culture is recycled
• Oh God, please don't say Reboot. That's never a good idea – rebooting popular culture favourites
• I’m baa-aack! – should some texts never be revived?
• Backstreet’s Back! – Is the original the only one with artistic value?
• Get back to where you once belong – the historical-social constraints of popular culture texts
• They take an old movie and change just enough to make you pay for the same shit all over again – economic motivators for recycling popular culture
• It was always a story that should’ve been told from a queer perspective or a woman’s perspective…or any perspective other than a cis white man’s – how changes of perspective evolve the text.
• I’ve seen your face before my friend, but I don’t know if you know who I am – the unrecognisable adaptation
• I’ve got a bad feeling about this – fan receptions of remakes and reboots
• I’m too old for this shit – modern adaptations of classic texts
• It’s no use going back to yesterday, because I was a different person then – classic characters reflecting contemporary norms
• This above all; to thine own self be true – faithful adaptations
• “Of all the space bars in all the worlds, you had to re-materialise in mine” – How modern adaptations can evoke nostalgia for original texts
• That’s how this story could have ended, but how about this? – multiple interpretations of the central text
• If I could turn back time – auteurs and artists revisiting and reworking existing cultural artefacts
• Janet, I can't reboot you. That will intensify your feelings for Jason, and that's what got us into this mess in the first place – when texts should not be remade

Please email abstracts (200 words) to popcrn@une.edu.au by 31st August 2023. Please include your name, affiliation, email address, title of paper and a short biography (100 words). Registration is free.

Join us on the 10^th of February 2022 for our free online symposium exploring the many ways love is represented in popular culture.

Keynote: Dr Jodi McAlister, Deakin University

It’s Not You, It’s Me: Breaking Up in Popular Culture

Programme and book of abstracts are available here.

*Call for papers extended to 15^th April 2022*

PopCRN, UNE’s Popular Culture Research Network, are celebrating Ian Fleming’s birthday with a virtual symposium focused on all things James Bond in popular culture to be held online on Thursday 26th of May 2022.

As the quintessential English spy serving on her majesty’s secret service the character of James Bond has been a mainstay of Western popular culture since the publication of the first novel Casino Royale in 1953. You may only live twice, but the character of Bond continues to regenerate, evolving as the popular culture landscape changes. Always at the centre of the Bond universe are the iconic books, films, songs, technology, Bond girls and fashion. This symposium explores the impact and durability of James Bond in popular culture.

Keynote by Dr Ian Kinane, University of Roehampton

We welcome papers from researchers across the academic spectrum and encourage papers from postgraduate researchers and early career researchers. Presenters will have the opportunity to publish a refereed journal articles in a special symposium edition of the International Journal of James Bond Studies to be released in 2023.

Topics can include, but are not restricted to:

• Bond, James Bond - The character of James Bond
• Yes, this is my second life – Bond and the actor/s who play him
• James Bond Theme – the music of James Bond
• Sorry. I'll shoot the camera first next time – Writing, directing and producing Bond films
• There's a Good Book about goodness and how to be good and so forth, but there's no Evil Book about how to be evil and how to be bad – James Bond in novels, comics, graphic novels and gaming
• The things we do for frequent flyer mileage – space and place of James Bond and Ian Fleming
• A martini. Shaken, not stirred - Drink as metaphor in the Bond universe
• Red wine with fish. Well, that should have told me something – Food in James Bond
• Do you expect me to talk? There’s a saying in England. Where there’s smoke, there’s fire – The use of language in James Bond
• Well, I like to do somethings the old-fashioned way - Representations of cultural tradition in James Bond
• Just a slight stiffness coming on … in the shoulder - The corporeal James Bond
• Keeping the British end up, sir – Representations of British culture in James Bond
• Shocking. Positively shocking – The aging of Bond movies
• That’s just as bad as listening to the Beatles without earmuffs – Popular culture referencing in James Bond
• Oh, I travel – a sort of licenced troubleshooter - Tourism and James Bond
• Now there’s a name to die for – Names and then there are names
• I must be dreaming – liminality in Bond films
• I always enjoyed studying a new tongue – Representations of race in James Bond
• I’ll do anything for a woman with a knife – Women, power and misogyny in Bond
• Pistols at dawn; it’s a little old-fashioned, isn’t it? - Weapons in James Bond
• I’m sorry. That last hand…nearly killed me – The gambling Bond
• Well, if I'm gonna be forced to watch television, may I smoke? - Bond on the small screen
• This never happened to the other fellow - The uniqueness of Bond in the Bondiverse
• Governments change. The lies stay the same - Politics of James Bond films
• They say you're judged by the strength of your enemies - The Bond villain
• I trust you can handle this contraption, Q? - The role of gadgets in Bond films
• Remember, 007, you're on your own – The mythic figure of the lone hero
• Well, I’m afraid you’ve caught me with more than my hands up - James Bond and sex
• The Chinese have a saying; “Before setting off on revenge, you first dig two graves.” - Representations of ethnicity in Bond.
• No small talk? No chit chat? That's the trouble these days. Nobody takes the time to do a real sinister interrogation. It's a lost art - Bond and the Twitter mob
• It's alright. It's quite alright, really. She's having a rest. We'll be going on soon. There's no hurry, you see. We have all the time in the world. - Expressions of grief, trauma and mental health in Bond
• That's quite a nice little nothing you're almost wearing. I approve – The Fashion of James Bond films
• Right idea, Mr. Bond ... wrong pussy/ he disagreed with something that ate him – James Bond and Animals
• Surround yourself with human beings, my dear James. They are easier to fight for than principles (Casino Royale) – Ethics and morality in James Bond
• History is moving pretty quickly these days, and the heroes and villains keep on changing parts. (Ian Fleming, 1953) – States and geopolitics in Bond
• Universal Exports – The British Empire: Bond and ‘M’
• “This is an Aston Martin … You don't run over dead bodies in an Aston Martin." Aspiration and consumption in Bond films.

Please email abstracts (200 words) to popcrn@une.edu.au by 15/4/2022. Please include your name, affiliation, email address, title of paper and a short biography (100 words).

Lippmann’s ‘Public Opinion’ at 100: The yesterday and tomorrow of post-truth, disinformation and fake news

Disillusioned with his experience as propagandist for the Wilson government during the First World War, the then journalist Walter Lippmann shut himself in his Summer cottage to write a book about the limits of popular self-government in contemporary complex societies. Given that journalism was unable to provide an accurate and comprehensive picture of events to a mostly inattentive audience, it was time to acknowledge that a group of insiders should pre-cook the choices for the outsiders at large.

Published in 1922, Public Opinion would become an instant success. The ‘manufacture of consent’ enabled by propaganda and the mass media, the ‘stereotypes’ we use as cognitive short-cuts to make decisions about politics, the ‘pseudo-environment’ that we build with the ‘pictures in our heads’, coming from the vicarious experience of foreign events provided by the news media… These ideas espoused by Lippmann in the book served to remind us that we live in Plato’s cave, doomed to passively stare at the shadows that we take for reality, and therefore incapable of governing ourselves as fully-competent citizens.

Historian Ronald Steel, the definitive biographer of Lippmann, noted that the legendary journalist evolved from a mechanic concern (how to report events objectively, de-contaminated of bias and prejudice) to an organic conundrum: What if people do not want to know the truth? This evolution, traceable from Liberty and the News (1920) to The Phantom Public (1925), the prequel and sequel, respectively, of Public Opinion, still puzzles us today: What if all the fact-checking is useless? What if democracy cannot escape from the limits of confirmation bias and selective exposure? As Steel recalls, Lippmann was well ahead of his time in advancing some of the most recent findings in political psychology: facts won’t change our minds.

The International Journal of Media & Cultural Politics would like to invite submissions for a special issue celebrating the centennial of the publication of Lippmann’s landmark book, Public Opinion. The topics likely to be covered will include:

• The reception and influence of Public Opinion, both in the USA and internationally.
• Current research addressing Lippmann’s original concerns: distorted reporting and the distorted perception of public affairs.
• The connection of Lippmann’s early insights with today’s phenomena of affective polarization, self-exposure, echo-chambers and post-truth politics.
• Accuracy in reporting, fact-checking inside and outside news organizations.
• Pitfalls in the coverage of international crises, echoing Lippmann’s and Mertz’s essay on the reporting of the Russian Revolution by the New York Times in A test of the news (1920).
• The professionalization of journalism: education, trade associations and ethical codes.
• The professional politician in the age of populism.
• The role of experts in government: scientific management, technocracy and intelligence offices.

Submissions will be considered in a two-step fashion: first, interested authors should submit an abstract by 10 December 2021. Those authors whose abstracts are deemed appropriate for the special issue will be notified by the end of January 2022 and will be invited to submit a full paper by 31 July 2022.

The titles and abstracts of the proposed papers may be sent to francisco.seoane@uc3m, and should include title, author(s) institutional affiliantion(s), and a 300-word summary. Please, state in the subject of your email ‘Lippmann special issue’.

For more information about the International Journal of Media & Cultural Politics, please visit the website: www.intellectbooks.com/international-journal-of-media-cultural-politics.

Submission Timeline:

• Abstract submission deadline: 10 December 2021
• Notification on acceptance: 31 January 2022
• Article submission deadline: 31 July 2022

Design in Choas the New Beginning: Fashion, Style, Design, Brands & Consumer Culture

In the past few years, we have seen a revision of historicism with events that include racial and social reckoning, the removal of perceived racially oppressive brands, body size inclusivity, unprecedented global pandemic loss of life, multiple global shutdowns, falsely contested elections, large scale falsehoods orchestrated through social media, and a general individualization of experience. New ways of living have emerged that include the wearing of face coverings, shopping online, curb and home delivery, new styles of clothing that are worn, more engagement with computers and social media, concerns of global warming, the race into outer-space, global vaccination, and governmental control. We ask, what does a new beginning look like for consumers? How do fashion, style, design, branding, and consumer culture emerge from upheaval and remake themselves in the face of older misconceptions?

The Editors ask for papers that include the topics related to fashion, style, design, branding, and consumer culture with regards to:

• Crisis and disaster both historical and contemporary
• Post crisis changes in fashion, style, consumption, art, and lifestyle
• Inclusiveness, equality, and diversity and conversation foregrounding historic and contemporary change movements such as LGBTQIA+/BLM
• Impacts of change movements on popular, cultural, and material design
• Historic or current popular events and cultural shifts in point-of-view new mode of normal for all societies
• Intersection of fashion, interiors, lifestyles, media, art, and design
• Design-driven by cultural change both historical and current, will be the thread connecting this volume of diverse disciplinary expertise
• Post chaotic design practice to research to theory to history
• New movements and innovations (both historical and contemporary) in how we live, what we buy, what we wear, and how we consume
• Other relevant topics, the editors are open to topics that focus on the book’s overall content

Each section will examine this new conception of art, design, innovations, and changes through the concepts of popular movements in media, sexuality, the body, and changes in identity. Intellect prides itself on original thought and ideologies and the editors will ‘push the envelope’ of scholarship. This book will take on the same philosophy to be inclusive of new perspectives and methods. The book seeks to align with volumes capturing current thought on the leading edge of design thought, including change movements in design and the disciplinary redirection resulting there-in.

Interested authors should submit their manuscripts of 5000-7500 words to the editors no later than March 1, 2022.

For details on Intellect House Style or questions regarding the format of your manuscript please contact the editors Diana S. Nicholas at dsn35@drexel.edu, Clare M. Sauro at cms393@drexel.edu or Joseph H. Hancock, II at joseph.hancockii@gmail.com.

Comics and graphic novels by female practitioners that explore themes of identity and belonging from a feminist or LGBTQ+ standpoint are at the heart of a current resurgence of the medium. Whether fiction or autobiography, and across a wide range of genres and discourses, critiques of mainstream patriarchal culture are a key aspect of their narrative content, context and structure.

This CFP invites papers to explore graphic novels across cultural and social boundaries and through a range of critical methodologies. These could focus on a theme or movement or the work of salient practitioner(s).

For example, Alison Bechdel is a leading proponent of comics autobiography, using the form to interrogate received and gendered ways of being and seeing. From Rutu Modan’s range of tightly plotted urban fictions to Isabel Greenberg and Emily Carrol’s reworking of myth and fairy-tale, and Tillie Walden’s LGBTQ+-inflected SF, are just a few landmarks in this innovative, culturally and creatively diverse field. Although these examples spring from the field of “literary” comics, mainstream and superhero comics are, of course,  a potentially rewarding field of study, from Noelle Stevenson and Grace Ellis’ Lumberjanes to G. Willow Wilson’s groundbreaking reinvention of Ms Marvel, to name but two.

In addition, as a multimedia journal, MAI welcomes original creative contributions, such as creative writing, comics and video or visual/comics form essays.

There have been a number of studies of specific genres, such as autobiographical comics, and monographs on individual authors, but this special issue seeks to bring together an exploration of feminist strands across genres and forms of the graphic novel that are usually treated separately. Linking these disparate genres, and exploring the parallel and contrasting ways they present women as embodied subjects, narrators and will enable us to trace the ways in which this form has re-energised contemporary feminist discourse.

Visit the MAI webpage for more information.

Costumes in film and television reflect the choices of filmmakers, directors and producers; certain items of clothing have become identified with popular characters, from Indiana Jones’ brown fedora and the white jumpsuits and black bowler hats of Alex and his cohort in A Clockwork Orange to Neo’s sunglasses and long black trench-coat in The Matrix. Costume is used to depict particular types of masculinities on screen.

Costuming is more than the framing of characters and narratives in popular culture. Costuming, particularly in relation to gender, can also produce stereotypes around masculinity, which may shape social attitudes and influence social behaviour. Conversely, representations of masculinity in popular culture can also act to counter social attitudes and behaviour. What is of interest here is how masculinity is recognised as a cultural construction, and the role of costuming in informing the narratives and discourses of masculinity. The aim of this Special Issue is to critically examine costumed masculinity in ways that reveal and challenge the very idea of what masculinity is.

The Special Issue will consider the ways masculinity has been constructed on screen through costuming, whether in historical or contemporary contexts. We are particularly interested in how these are reflected in, or influenced by, fashion and/or everyday clothing.

Key themes for discussion:

• Constructing marginal masculine identities on screen
• The fashion industry’s involvement with the film industry
• Iconic fashion statements by male actors
• Masculine film fashion on the high street
• The professional male on the screen
• How costuming contributes to masculine typecasting
• Class, race, ethnicity, and/or sexuality as they intersect with representations of masculinity on screen
• Shifting patterns of masculinity evidenced in costume
• Representations of masculinity in different genres
• Violence and masculinity via costuming
• Costuming and masculinity in music videos and other screen media
• Power and disempowerment of masculinity evidenced in costuming
• Representations of political masculinity via costuming
• Masculine costumes in different historical and geographical settings
• Aspects of masculinity, screen and fashion/costume in different political, social and cultural contexts

Email proposals to Guest Editors Lisa J. Hackett and Jo Coghlan.

The Journal of Class & Culture is a new peer-reviewed journal bringing a cultural dimension to the analysis of class, and a class optic to the understanding of culture.

The journal offers a welcome home to class-orientated research of culture both in terms of specific artistic forms (literature, film, theatre, music, etc.), their contexts of production and formal qualities and consumption, as well as the lived cultural practices and rituals of everyday life and their modes of expression.

The journal recognizes that culture is inextricably tied into state apparatuses and power structures and the dynamics of capitalism. It recognizes that class is a contested concept, formulated and understood in different ways, but it insists that such debates are worth having because class relations urgently need to be understood, critiqued and changed.

The journal seeks articles from across the disciplines and articles that are interdisciplinary, using whatever critical frameworks and methods of data generation are suited to the aims of the research. The journal will have themed and general issues and this is a call for submissions to a general issue.

Articles must not normally exceed 8000 words and we are also looking for other content, such as reviews and interviews. To discuss any ideas please contact the principal editor, Deirdre O’Neill (d.oneill3@herts.ac.uk).

For further details on the journal, and submission guidelines see: www.intellectbooks.com/journal-of-class-culture

Join us on the 6^th of October 2022 for our free online symposium exploring the many ways animals are represented in popular culture.

If you are interested in presenting please read the Call for papers

To register for attendance please send an email to popcrn@une.edu.au.

Email: PopCRN@une.edu.au

Ph. +61267731761

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