CFP Global TV after 9/11 (Edited Anthology)

Call for Proposals
Global TV After 9/11: Shifts in international television programs and practices

The anthology explores industrial, ideological, cultural, narrative, and aesthetics shifts in the production of global television after September 11.

In the U.S., animated series – and especially those targeting an adult audience – and satirical programs have become the flagship of counterhegemonic narratives of and for American television, while simultaneously being very much part of the consumer capitalist system they question and mock (through DVD sales, merchandising, and outsourcing). Similarly, although officially created before the events of 9/11, dramas like Alias, 24, The Agency and The West Wing have strongly been affected – especially in their subsequent plot development – by the attacks on the World Trace Center and the Pentagon. The response, in these cases, has generally been the construction of patriotic narratives aimed at reassuring the American public against the fear of U.S. vulnerability, while re-establishing traditional American values such as individualism and capitalism.

Considering the shifting meaning of American television after 9/11 as a starting point, the editor aims to open up a wide range of questions, selecting a variety of essays that critically explore the following issues in relation to international media industries:

How have international responses to the catastrophic events of 9/11 affected national television productions? Have genres, formats, and fiction in general, changed (examples: the Indian adaptation of 24, the production of Hatufim in Israel, the original inspiration for Homeland)?

How has TV news changed? Have official news channels lost their credibility and satirical news programs proliferated as it has happened in the U.S. with The Daily Show (like Al-Bernameg in Egypt)?

How has the production of TV documentary (specifically about surveillance) increased/changed as a result of 9/11 (examples include HBO’s Vice Series and BBC’s Meet the Stans)?

What processes of adaptation (audiovisual translation, censorship, etc.) do post-9/11 U.S. TV programs go through when exported abroad? How does a foreign country – where the consequences of 9/11 might not be as strongly and ideologically present as they are in the U.S – import a post-9/11 TV show? How can a program remain a post-9/11 text in a country lacking a post-9/11 culture?

How do post-9/11 irony and satire travel abroad?
Have consumer culture and the very practices of media consumption changed globally after 9/11? How do international audiences perceive and “consume” 9/11 narratives?

How has media production changed in the Middle East (where the consequences of 9/11 where directly felt, and yet where radically different than the U.S.)?

Have strong global media markets (such as India) included post-9/11 themes in their productions? If so, to what extent and with what objectives?

Please consider submitting a 500-word abstract by November 31, 2014, and direct all questions to Chiara Ferrari.

Timeline
Abstracts due by November 31, 2014;
Selection of abstracts by end of December, 2014;
Full essays (7500 words, including bibliography and notes) due by May 31, 2015;
Final (revised) drafts due by August 31, 2015.

About the volume and editor
The specific idea for the Global TV After 9/11 anthology was developed as I completed an essay, titled: “The Taming of the Stew(ie): Family Guy, Italian Dubbing, and Post-9/11 Television”. The article discusses the cultural and ideological changes applied to the animated series Family Guy – considered a flagship of post 9/11 American television – when it is exported and translated in countries (Italy, specifically) that lack an “official” post-9/11 culture. I have previously published two books, including an edited anthology (Beyond Monopoly, Rowman & Littlefield, 2010) and I have established preliminary contact with a respected University Press.

Univ Central Missouri job ad

The University of Central Missouri’s Department of Communication invites applications for a full-time, tenure track position at the assistant professor level to teach courses in film studies and related areas with an appointment date effective for the 2011-2012 academic year. Along with teaching responsibilities, academic advising, departmental committee assignments, research/creative activities, and professionally-related service are required. Successful candidates will have expertise in film studies, film history, production, and at least one of the following areas: media industries in an international context, cultural studies, screenwriting, or digital media. Experience in digital film production a plus, as is evidence of quality teaching.

Qualifications: ABD considered, Ph.D. in Film Studies or a related field is preferred and necessary for tenure. The standard teaching load is 12 hours per semester, and teaching responsibilities would include Film Appreciation, History of American Film, Single Camera Dramatic Production, and Screenplay Writing, plus other possible courses in Multimedia or Video Production (production classes use digital video with editing facilities in both Avid and Final Cut Pro). There may be chances to contribute new courses to the curriculum in areas of the candidate’s specialty, and possible summer employment opportunities exist.

Priority consideration will be to applications received by May 1, 2011, but applications will be accepted until the position is filled. To apply: complete an on-line faculty profile at jobs.ucmo.edu and apply for position #998430. Attach to the faculty profile a letter of application addressing the candidates qualifications for the position, a vita, teaching philosophy, teaching evaluations, and contact information for at least 3 references. For information about the on-line application process contact Human Resources at jobs@ucmo.edu or (600) 543-4255. For more information about the position contact Dr. Barbara L. Baker at bbaker@ucmo.edu or (660) 543-8625.

The University of Central Missouri is an equal opportunity employer committed to building a culturally diverse community and strongly encourages applications from women and historically underrepresented groups. UCM’s 1,561-acre campus is located in Warrensburg, a town of nearly 17,000 residents located 50 miles southeast of Kansas City. Classes also are offered at the UCM Summit Center located in Lee’s Summit. Some 2,183 graduate and 9,168 undergraduate students from 40 states and 56 nations attend classes on the UCM campus. UCM offers 150 programs of study leading to an associate’s degree, certificate, bachelor’s degree, master’s degree, education specialist degree, or cooperative doctorate