Archive for the ‘CFP’ Category

After/Lives: What’s Next for Humanity?

Posted: July 9, 2012 by zombieacademy in Academy, CFP
The cfp reads:
Special issue of the Journal of the Fantastic in the Arts with guest editors Sarah Juliet Lauro and Kyle William Bishop
contact email:
afterlivesjfa@gmail.com

The recent flurry of critical attention paid to the zombie and other forms of living dead, such as the vampire (back again to haunt the cultural imagination of a new generation) or the ghost (gliding along a spectrum from spiritual to secularized in the era of the cybergothic), illustrates how our monsters personify the question “What comes next for me?” Additionally, post-apocalyptic fantasies and necroscapes dramatizing the end of human civilization pose the query continually recurring in our collective nightmares: “What is next for humanity?” Recent trends in humanities scholarship move beyond the human to a broader perspective of what constitutes being by looking to the animal, the machine, or the environment, while interest in posthuman figures like the cyborg and the android has not waned.

The special issue will investigate ways of imagining what comes after human life ends—for example, liminal beings that defy this boundary line; narratives about worldwide crisis (doomsday prophesies and environmental catastrophes alike); or simply a deceased person’s facebook page left “live” as a perpetual, virtual shrine. Such imaginings are, variously, philosophical thought experiments, records of our contemporary moment, warnings about the limitations of our current understanding of “humanity” and “being,” as well as admonitions forecasting an end to the anthropocene era if our values do not change. In our contemporary moment, fantasies about the end of life offer new possibilities for imagining “what comes next” for the human, humanism, and even the humanities.

Call for Papers: “After/Lives: What’s Next for Humanity?”

Journal for the Fantastic in the Arts, the journal of the International Association for the Fantastic in the Arts, invites contributions for a special issue on “After/Lives: What’s Next for Humanity?” Looking at various portrayals of what comes “after” death, the works investigated in this issue will raise the broader question of how such representations reflect our contemporary moment and suggest what will come next for humanity. We welcome essays from all disciplines of the humanities that investigate late 20th and 21st century works of film, literature, the visual and performing arts, and new media. Articles between 5,000-9,000 words might address, but are by no means limited to, the following:

• Representations of monsters/figures of living death, such as zombies, vampires, revenants, ghosts, cyborgs, etc.
• Metaphoric representations of death
• Representations of death in video games and new media, or discussions of death and technology
• Post-apocalyptic spaces, disaster zones, or dystopias that represent a changed relationship between the living and the dead
• Representations of cannibalism in the zombie/vampire and the ethics of meat eating
• Narratives about the afterlife, including virtual afterlives in cyberspace
• Lifestyle and performance of death: Goths, raves, LARPing, and zombie walks (i.e., “playing” dead or undead)

In accordance with the journal’s policy, all contributions will be peer reviewed by the Journal of the Fantastic in the Arts (JFA) and subject to their acceptance. JFA uses the MLA style as defined in the latest edition of Handbook for Writers of Research Papers (New York: The Modern Language Association). For more details, please see and the “Submission Guidelines” section: http://wiz.cath.vt.edu/iafa/jfa/submission.html.

Please submit a 500-word abstract as a Word file via email toafterlivesjfa@gmail.com by 1 September 2012, including a description of what stage of development the piece is in: i.e., already in progress, in development, in draft form, etc. Please declare at this time whether you can commit to an end of 2012 (December 31) deadline for a full-length manuscript.

Fear, Horror and Terror cfp

Posted: December 19, 2011 by zombieacademy in Academy, Brains, CFP

6th Global Conference

Fear, Horror and Terror

Friday 7th September 2012 – Sunday 9th September 2012

Mansfield College, Oxford, United Kingdom

Call for Papers:

This inter-disciplinary and multi-disciplinary conference seeks to examine and explore issues which lie at the interface of fear, horror and terror. In particular the project is interested in investigating the various contexts of fear, horror and terror, and assessing issues surrounding the artistic, cinematic, literary, moral, social, (geo)political, philosophical, psychological and religious significance of them, both individually and together.

In addition to academic analysis, we welcome the submission from practitioners, such as people in religious orders, therapists, or victims of events which have been provoked by experiences of fear, horror and terror – for example, social workers, those involved with the legal system, medical practitioners, or fiction authors whose work aims to evoke these reactions.

Papers, reports, work-in-progress and workshops are invited on issues related to any of the following themes:

1. The Contexts of Fear, Horror and Terror

– case studies

– professions dealing with the Fear, Horror and Terror (Therapists, Clergy, etc.)

– creating and experiencing fear, horror and terror

– the properties of fear, horror and terror

– contexts of fear, horror and terror

– the language, meaning and significance of fear, horror and terror

2. At the Interface of Fear, Horror and Terror

– the role of fear, horror and terror

– emotional releases (pleasant or negative) achieved by Fear, Horror and Terror

– techniques of fear, horror and terror

– marketing fear, horror and terror

– recreational fear, horror and terror

– aesthetic fear, horror and terror

– the body, temperature, touch, taste or sound and fear, horror and terror

-silence as a strategic subversion of the operation of fear, horror and terror

-fear, horror and terror and the visible/invisible

3. Representations of Fear, Horror and Terror and:

– the imagination or the sublime

– pleasure, hope, despair, anxiety, disgust, dread, loathing

– art, cinema, theatre, media and the creative arts

-survival horror video games

– literature (including children’s stories)

– the other

– technology

– the future

Papers will be accepted which deal with related areas and themes. 300 word abstracts should be submitted by Friday 16th March 2012. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 22nd June 2012. 300 word abstracts should be submitted to the Organising Chairs; abstracts may be in Word, WordPerfect, or RTF formats, following this order:

a) author(s), b) affiliation, c) email address, d) title of abstract, e) body of abstract, f) up to 10 keywords

E-mails should be entitled: FHT Abstract Submission

Please use plain text (Times Roman 12) and abstain from using any special formatting, characters or emphasis (such as bold, italics or underline). Please note that a Book of Abstracts is planned for the end of the year. All accepted abstracts will be included in this publication. We acknowledge receipt and answer to all paper proposals submitted. If you do not receive a reply from us in a week you should assume we did not receive your proposal; it might be lost in cyberspace! We suggest, then, to look for an alternative electronic route or resend.

Organising Chairs

Shona Hill & Shilinka Smith

Conference Leaders

Inter-Disciplinary.Net

New Zealand

E-mail: shs@inter-disciplinary.net

Rob Fisher

Network Founder and Network Leader

Inter-Disciplinary.Net, Oxfordshire, United Kingdom

E-mail: fht6@inter-disciplinary.net

The conference is part of the ‘At the Interface’ series of research projects. The aim of the conference is to bring together people from different areas and interests to share ideas and explore various discussions which are innovative and exciting. All papers accepted for and presented at this conference are eligible for publication in an ISBN eBook. Selected papers may be invited to go forward for development into a themed ISBN hard copy volume.

For further details of the conference, please visit:
http://www.inter-disciplinary.net/at-the-interface/evil/fear-horror-terror/

Please note: Inter-Disciplinary.Net is a not-for-profit network and we are not in a position to be able to assist with conference travel or subsistence.

CFP – “Merchants of Menace”

Posted: July 28, 2011 by zombieacademy in Academy, Brains, CFP, Movies
Tags:

A call for papers from the MeCCSA mailing list, ‘Merchants of Menace: The Business of Horror Cinema’.

Despite scary movies having occupied prominent locations on the rosters of film producers, distributors, exhibitors, and other creative industry professionals around the world for about a century, the economic dimensions of horror cinema remain largely unexplored; the theoretical terrain remains loosely sketched and it has been supported by a quite limited number of specific case studies. Instead, scholars have tended over the years to approach horror films as organically occurring – even inevitable – by-products of myriad psychological, social, and political demons said to haunt the psyches of individual filmmakers, the populations of the nation states they call home, or chiefly a combination thereof (see for example Wood & Lippel; Creed; Clover; Benshoff; Lowenstein; Middleton). Such approaches have led to horror movies routinely being framed as mouthpieces for misogynistic sadists operating from the shadows of the exploitation sector, as subversive expressions of resistance enacted by noble progressives of various stripes, or as platforms for reactionary politics invariably supported by the biggest, scariest monster of all: Hollywood. As a consequence of these tendencies, the specific forms of commercial logic, strategy, and conduct that contribute to bringing individual horror films and specific horror trends to the screen have more often than not been side-stepped altogether or have been reduced gnomically and unhelpfully to the profit-making imperative underwriting all capitalist endeavours. A recent – albeit marginal – shift among historians of the culture industries towards centralizing considerations of the business side of fright flicks has, however, begun to suggest a range of sources, methods, approaches, frameworks, and models capable of illuminating the complex character of this largely unexplained aspect of media history (see for example Heffernan; Spadoni; Ryan; Nowell; Laboto & Ryan). Given that horror’s status as an industrial category cuts across budgetary categories, across industry sectors, across national film cultures, and across media, the possibility of revealing new information about the commercial objectives and strategies that have underwritten horror cinema also promises to shed new light on the economics of global cinema more generally. It is therefore the aim of Merchants of Menace: The Business of Horror Cinema timely to fill a sizable and significant void in film history through a focused, sustained, and far-reaching effort to illuminate the multifaceted commercial logic that has shaped the production, distribution, and exhibition of one of the world’s most enduring audiovisual forms.

Accordingly, proposals are sought for original essays that focus on the business of bankrolling, making, marketing, disseminating, and exhibiting chillers, shockers, and other forms of horror cinema in a variety of national contexts and at different historical junctures. Suggested topics for this proposed collection include but are by no means restricted to:

· Models of financing horror films
· The logic of micro-budget horror
· The economics of art-horror cinema
· Nationally specific models of horror film financing
· The economics of early horror cinema
· Child- and “tween”-friendly horror
· Horror and race demographics
· Making and marketing horror to “mature” audiences
· Horror and the commodification of nostalgia
· Horror and appealing to specific sub-cultural taste formations
· The economics of horror date movies
· The economics of horror blockbusters
· Merchandizing horror cinema
· Publicizing horror
· Strategies in the marketing of horror
· Industrial histories of historically specific trends and cycles
· The economics of stardom in horror cinema
· The economics of brand name horror filmmakers, studios, and labels
· Music and horror
· Relationships between film horror and other creative industries
· Horror and the commodification of prestige
· The impact of economics on the portrayal of violence and gore
· The business of horror film exhibition
· The economics of exporting horror film

Please send by 31 October 2011 your 200–400 word abstract and a 50–100 word academic biography to richard_nowell@hotmail.com. All notifications of acceptance will be emailed no later than 30 November 2011. If an abstract is accepted, essays can be expected to be between 7,500 and 8,000 words in length (including references).

Dr. Richard Nowell, Editor.

Richard Nowell teaches American Cinema at Charles University in Prague. He is the author of Blood Money a History of the First Teen Slasher Film Cycle, has served as a guest editor of Iluminace: The Journal of Film Theory, History, and Aesthetics, and his articles have been published or are forthcoming in, among others, Cinema Journal, Journal of Film and Video, Post Script, and The New Review of Film and Television Studies

Works Cited

Benshoff, Harry. Monsters in the Closet: Homosexuality and the Horror Movie. Manchester: Manchester University Press, 1997.

Clover, Carol. J. Men, Women, and Chainsaws: Gender in the Modern Film. London: BFI 1992.

Creed, Barbara. The Monstrous Feminine: Film, Feminism, and Pyschoanalysis. New York: Routledge, 1993.

Heffernan, Kevin. Ghouls, Gimmicks and Gold: Horror Films and the American Movie
Business, 1953–1968. Durham: Duke University Press, 2004.

Laboto, Rabon, and, Mark David Ryan. “Rethinking Genre Studies through Distribution Analysis: Issues in International Horror Movie Circuits”, New Review of Film and Television Studies (Forthcoming)

Lowenstein, Adam. Shocking Representation: Historical Cinema, National Trauma, and the Modern Horror Film. New York: Columbia University Press, 2005.

Jason Middleton, “The Subject of Torture: Regarding the Pain of Americans inHostel”, Cinema Journal, vol. 49, no. 4 (Summer 2010), pp. 1–24

Nowell, Richard. Blood Money: A History of the First Teen Slasher Film. New York: Continuum, 2011.

Ryan, Mark David. “Australian Cinema’s Dark Sun: The Boom in Australian Horror
Film Production”, Studies in Australian Cinema, vol. 4 no. 1, pp. 23–41.

Spadoni, Robert. Uncanny Bodies: The Coming of Sound and the Origins of the Horror Genre. Berkeley: University of California Press, 2007.

Wood, Robin, and Richard Lippel (eds.). The American Nightmare: Essays on the Horror Film. Toronto: Festival of Festivals, 1979.

Call for Brains

Posted: July 12, 2011 by zombieacademy in Academy, Brains, CFP, Events
Tags:

From the Media, Communications and Cultural Studies Association (MeCCSA)
ARGH! BRAINS! BLOOD! ARGH!
Locked deep in the bowels of Winchester University a team of deranged (social) scientists from the School of Media and Film have been conducting hideous research into the living dead (clearly ignoring the guidelines of the Faculty of Arts Research Ethics committee). The research has now escaped and we invite colleagues to join us and spread your own diabolical research on Zombies at ‘ZOMBOSIUM’ – a one day symposium / conference on zombies on the 28th October 2011.
The Zombie virus (if that is what caused them) has spread across the media and now infects film, television, new media (especially web 2.0 and social media), computer and video games, print media (comics and other formats) and literary texts.

We welcome papers that will infect the audience with research considering zombies in the above media and with topics such as:
· Zombie culture;
· Aspects of Zombie films and ‘Cinema Zombie’;
· Zombie B movies;
· George A. Romero’s world;
· Shopping malls and zombie geography
· Self help videos for the post apocalyptic world;
· Zombie guides;
· Zombie creatives and practitioners;
· Theorising zombies;
· Zombie fan fiction and fan film;
· Online communal texts on zombie;
· Zombie TV shows: including The Walking Dead and Dead Set;
· Nazi zombies;
· Zombie games and mods;
· Zombie novels;
· Zombie comics;
· Zombies in music.
Keynote to be announced.
Abstracts of up to 250 words should be emailed to marcus.leaning@winchester,.ac.uk by September 9th 2011.
The Zombosium is free to attend and lunch will be provided.

International Journal of Communication

Special Section on Academic Labor and Administration in Communication Studies

Edited by Jonathan Sterne

The cfp reads:

Academic labor today is characterized by a series of disconcerting trends: an increasingly casualized professoriate; universities that increasingly depend on chronically undercompensated part-time and graduate student labor to support their course offerings; a top-down managerial style and erosion of faculty governance; increasing economic exploitation of staff and undergraduates; rising student debt; governments that attack public education; shrinking endowments (for the schools that had them) and heighted expectations for sponsored research; wooden research assessment exercises; and the acute uncertainty of the academic job market for recent PhD graduates. Against these, there is a growing academic labor movement, with its own intellectual organs like Workplace and Edufactory and a wide range of activist manifestations, from labor unions to non-commercial alternative universities. Academic journals have also fielded debate in this area, from Social Text’s foray into the Yale Strike to Topia’s announced special issue on the anniversary of Bill Readings’ The University in Ruins.

This special forum of the International Journal of Communication aims to make two contributions to the ongoing discussion of academic labor.

1. To encourage university administrators – current and former – who are sympathetic to the academic labor movement and the new student activism to reflect on their experiences in administration and thereby provide useful knowledge for activists, organizers, and others. Much of the existing literature on academic labor treats university administrations as a fairly monolithic “management,” yet university administrations are riddled with conflict, contradiction and constraint. In most instances, administrators used to be faculty members, and in many they will be again, once their administrative terms are over. A better understanding of the politics and conflicts of administration may be useful in the struggle for better conditions within universities as places to work and study.

2 To encourage people in Communication Studies – at all levels in the field – to reflect directly on the state of academic labor in our field. Much of the academic labor literature has come from fields with considerably worse job markets than Communication Studies, like English and History. Yet Communication Studies does not conform so well to models of those other fields, either academically or institutionally. More importantly, it is possible that within professional organizations and within departments we can begin to address some of these issues. But first, we need to confront them.

Submissions should be 500-4000 words in length and may come in any form of critical commentary piece, ranging from academic analysis of some aspect of the current crisis; to personal/political reflection; to recommendations for activism, policy, or best practices; or any other style of critical commentary. We are particularly interested in pieces that not only identify problems but offer potential solutions or new perspectives.

Multimedia submissions are also welcome.

Although the section will be edited and reviewed, it will not be subject to blind peer review.

For the purposes of this forum, “Communication Studies” will be interpreted broadly to include all related fields and subfields, theoretical and applied.

We welcome commentary from any and all parts of the world, though submissions should be made in English. Submissions by current or former administrators in fields outside Communication Studies are most welcome.

Send queries, proposals or essays to al@sterneworks.org .

Deadline for submissions: 1 June 2011

Decisions, and comments on accepted submissions will be returned by 1 July 2011

Expected date of publication will be September 2011.

All submissions must follow IJOC style. Author guidelines for the IJOC are available at: http://ijoc.org/ojs/index.php/ijoc/about/submissions#authorGuidelines

This CFP is also available here: http://sterneworks.org/academiclaborijoccfp.pdf

Out of the Ruins: The University to Come cfp

Posted: March 14, 2011 by zombieacademy in Academy, CFP, Uncategorized

Call for papers reads:

This special issue of TOPIA seeks contributions (articles, offerings, review essays and book reviews) that reflect on the contemporary university and its discontents. Fifteen years after the publication of Bill Readings’ seminal book The University in Ruins and in the wake of the UK government’s new austerity budget, Nick Couldry and Angela McRobbie proclaim the death of the English university. In Italy students demonstrating against the Bologna Process protect themselves from police with giant books. On the heels of severe budget cuts and increasing privatization in the California state system, protesting students occupy university buildings, while in British Columbia and Quebec hundreds of students gather for rallies against spiraling student debt and increasing corporate influence on campus. Everywhere university systems are being eviscerated by neoliberal logics asserting themselves even in the face of economic recession. After decades of chronic under-funding and restructuring, public universities have ceded the university’s public role in a democracy and embraced “academic capitalism” as a “moral” obligation. Acting as venture capitalists, they pressure academics to transfer and mobilize knowledge and encourage research partnerships with private interests; acting as real estate developers, they take over neighbourhoods with callous disregard for established communities; acting as military contractors, they produce telecommunications software and light armoured vehicles for foreign governments; acting as brand managers, they open branch plant campuses around the world and compete for foreign students who can be charged exorbitant fees for access to a “first world” education. With tuition fees and student debt on the rise, academic labour is tiered, cheapened and divided against itself; two-thirds of classes in U.S. colleges and universities are taught by faculty employed on insecure, non tenure-track contracts. The casualization of academic labour and a plea for sustainable academic livelihoods were at the core of the longest strike in English Canadian university history. As collegiality, academic freedom, and self-governance recede from view, the university remains a terrain of adaptation and struggle.

We will need all the conceptual tools that cultural studies can muster to analyze the changing university as the foundation for our academic callings and scholarly practices. In addition to external influences such as globalization, technoscience, corporatization, mediatization, and higher education policy, internal managerial initiatives, bureaucratization, deprofessionalization, structural complicity between administration and faculty, and intellectual subjectivities must also be analyzed. All of us, no matter what our political position, must take the time to reflect on the broad questions raised by these changes. Is the site of the university worth struggling over or re-imagining? Can the neoliberal university be set against itself? Is it time for reform or exodus? What other practices of knowledge production, interpretations, modes of organization, and assemblages are possible? This special issue is designed to reflect upon, analyze and strategize about the past, present and future of the university.

In addition to these matters of concern, possible topics to further dialogue and enable further study include but are not limited to:

  • analyzing and assessing the crisis of the public university
  • implementing globalizations: theory, rhetoric and historical experience
  • continuity and transformation in national academic cultures
  • the position and role of the arts, humanities and social sciences
  • university leaders and university making
  • managerial theory/practice, academic ethics, and the symbolism of university finance
  • university-private sector intermediaries and initiatives; “innovation” and “creativity” as alibis for academic capitalism; knowledge “transfer” and “mobilization”
  • marketing, media relations and the promotional condition of the university
  • space, time, speed and rhythm in the network university
  • the professor-entrepreneur, research practice, and the imperative to produce
  • academic labour, tenure, stratification and precarity
  • faculty governance, unions and institutional democracy
  • the indebted, student-worker and the decline of academic study
  • scholarly disciplines and territories, infrastructure, information practices, communication and publishing
  • the scholarly community of money: grant agencies, writing, committees and adjudication
  • media/cultural production and critical/radical pedagogy
  • the development of knowledge cultures and the expansion of the commons
  • the university in relation to nearby communities and wider social movements
  • resistance, common and counter-knowledge, alternative educational formations
  • remaking the public university in Canada and in other national contexts

Submissions

To view the author guidelines, see http://pi.library.yorku.ca/ojs/index.php/topia/about/submissions#authorGuidelines.

To submit papers (with titles, abstracts and keywords) and supplementary media files online, you need to register and login to the TOPIA website at http://pi.library.yorku.ca/ojs/index.php/topia/user/register.

See here for more info.

CFP Monstrous Cultures

Posted: January 19, 2011 by zombieacademy in Academy, CFP, News
Tags:

*CALL FOR PAPERS: Monstrous Cultures: Embracing and Resisting Change in the 21st Century (Edited Collection) – DEADLINE 3/1/2011*

Eds: Marina Levina, PhD and Diem-My Bui, PhD (Eds.)

Book Description: In her famous book, *Our Vampires, Ourselves* (1997), Nina Auerbach writes that each age embraces the vampire it needs. This statement speaks to the essential role that monster narratives play in culture. They offer a space where society can safely represent and address anxieties of its time.  In the past decade, our changing world faced fears of terrorism, global epidemics, economic and social strife, new communication
technologies, immigration, and climate change to name a few.   These fears reflect an evermore-interconnected global environment where rapid mobility of people, technologies, and disease have produced great social, political, and economical uncertainty.  It is safe to say that, over the past decade, we have been terrorized by change. The speeding up of cultures, technologies, and environments –what Paul Virilio refers to as a defining organization concept for contemporary world – has also led to a surge in narratives about vampires, zombies, werewolves, ghosts, cyborgs, aliens, and other monstrous bodies.  Popular films and television shows, such as Popular films and television shows, such as *True Blood, Twilight, 28 Days/Weeks Later*, *Paranormal Activity*, *District 9*, *Battlestar Galactica*, *Avatar, The Walking Dead*, and other multiple monstrous iterations have allowed us to deal with the profound acceleration in changing symbolic, economic, and technological systems.  This collection purports to explore monstrous culture at the advent of the 21st century.  As a whole, it argues that monstrous narratives of the past decade have become omnipresent specifically because they represent social collective anxieties over resisting and embracing change in the 21st century.  They can be read as a response to a rapidly changing cultural, social, political, economic, and moral landscape. And while monsters always tapped into anxieties over a changing world, they have never been as popular, or as needed, as in the past decade. This collection explores monstrosity as a social and cultural category for organizing, classifying, and managing change. Moreover, it puts monster narratives within the cultural perspective of change in the 21st century.

Contribution Details: We are seeking chapters that engage with monstrosity in the 21st century from critical cultural studies and media studies perspectives.  We are especially interested in works that engage with monstrosity as a social and cultural category for organizing, classifying and managing change in the past decade. Chapters can be either case studies of particular monstrous media narratives or theoretical explorations of monstrosity in the 21st century.  Possible topics can include, but not be limited to:

Narratives of terrorism as monstrosity in popular culture

Alien films and immigration

Cyborgs, cylons, and the changing notions of humanity

Ghosts, ghouls and the specters of 9/11

Zombies and viral pandemics

Zombies and the economic crisis

Monsters and globalization

Robotics, machines and mechanical monstrosity

Network as a monster

New technologies, social media, and other monstrous information technologies

Genetics, biotechnology and the production of monstrous bodies

Cloning and Cloned Bodies

Vampires and addiction narratives

Vampires and the New Sexuality

Racial, ethnic, and religious identity in monstrous narratives.

We have strong interest in the collection from several publishers and we expect to place the collection shortly after abstracts are submitted.

Submission Deadlines:

March 1st – 500 word abstract + brief bio and short publication CV (Word or
PDF format)

April 1st – Acceptance notification

August 1st – Draft of Chapters is due, about 6,000 words

Sept 30th  – Feedback from Editors

Dec 1st – Final Chapters are due

Please direct all questions and submissions to monsterculture2011@gmail.com

Editors Bios:

Marina Levina is an Assistant Professor at the Department of Communication at the University of Memphis. Her research focuses on critical studies of science, technology and medicine, network and new media theory, visual culture, and media studies.  She is an avid fan of monster and horror narratives and has written articles and book chapters on critical meaning of monsters, and especially their connection to scientific and medical cultural anxieties. She has also repeatedly taught a course on monster films. Recent publications include an edited collection *Post-Global Network and Everyday Life* (with Grant Kien Peter Lang, 2010); a chapter in the volume *A Foucault for the 21st Century: Governmentality, Biopolitics and Discipline in the New Millennium* (edited by Sam Binkley and Jorge Capetillo, Cambridge Scholars Publishing, 2009), and articles in* Journal of Science Communication* and in *Spontaneous Generations: History and Philosophy of Science and Technology*.  *You can find her at *www.marinalevina.com*.***

Diem-My T. Bui currently is a Visiting Assistant Professor in the Department of Communication at the University of Illinois at Chicago.  Her, research interests include transnational feminist media studies, critical cultural studies, ethnic studies, popular culture, and film. Her work examines cultural production, cultural memory, and embodiments of difference in representations of Vietnamese women in the U.S. cultural imaginary. Her publications are included in the journal *Cultural Studies–Critical Methodologies* and in an edited book, *Globalizing Cultural Studies* (2007). She has taught courses on communication, Asian American studies, film studies, and popular culture.