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.
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.