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December 2016, Week 3


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Pamela Demory <[log in to unmask]>
Reply To:
Film and TV Studies Discussion List <[log in to unmask]>
Wed, 14 Dec 2016 14:26:55 -0800
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Submissions are sought for a collection of essays tentatively titled *Queer
/ Adaptation.*

Please send inquiries and proposals of 300-400 words to Pamela Demory (
[log in to unmask]) by January 15, 2017. Full articles of approximately
5000 words are due September 1, 2017.

*This collection of essays will illuminate the intersection of queer and
adaptation. *

In recent years, Adaptation Studies has moved well beyond the study of
novels adapted for film, dismantling the oppositions that have
characterized so much popular discourse on adaptation—original/copy,
faithful/unfaithful, book/film—and questioning the formerly assumed
“natural” progression of original text to inferior copy. The study of
adaptation now encompasses multiple media: books and film, yes, but also
stage plays, musicals, video, games, songs, toys, fanfiction . . . the very
promiscuity of which could be said to be queer. In fact, a Venn diagram of
*queer* and *adaptation* would reveal a significant overlap. To *queer*
something is to deconstruct it, to demonstrate the instability of all those
apparently obvious oppositions—male/female, gay/straight,
homosexual/heterosexual, normal/deviant—that structure our understanding of
ourselves and others. Queer revels in fluidity; it resists the supposed
“natural” plot of heterosexual courtship to marriage to children—in life
and in texts. Both queer and adaptation can disrupt the idea of an original
unified whole; can bring to light unstated assumptions, fissures in
normative ideologies; can be processes of rewriting, of resistance, of

Proposals should be grounded in current adaptation and/or queer theory,
should be rigorous and scholarly, but written for a broad academic
audience. Topics might include (but are not limited to) the following:

*Process* would explore the queerness of adaptation itself; processes of
reading, of resisting, of destabilizing notions of authorship, authority,

*Form* would explore adaptations that—by critiquing or resisting a source
text’s conventional narrative structure or normative ideologies—can be read
as queer, or by using nontraditional (even “inappropriate”) media (fan
fiction, videogames, comics, merchandise, themepark rides, popular songs,
artwork in a variety of media)—might be considered queer.

*Performance* would explore how queer actors or performers affect meaning
in a given adaptation (any adaptation that plays with gender roles and/or
sexuality)—as well as drawing connections between gender and adaptation *as*

*Reception* would explore how queer readers, spectators, theatregoers, and
consumers of adaptations shape meaning—as well as drawing connections
between queer reading practices and adaptation.

*Authorship* would explore how queer authors—including novelists,
filmmakers, journalists, producers, screenwriters, and other adapters—shape
meaning, and how that meaning shifts when some or all of the authors or
adapters identify as queer.

*Characters and Story* would explore stories about queer characters and/or
about homosexuality that have been adapted from one medium to another.

*About the Editor: *

Pamela Demory, PhD, is Continuing Lecturer in the University Writing
Program at the University of California, Davis, where she has taught
courses in film adaptation, queer cinema, and writing in film studies. She
is the co-editor (with Christopher Pullen) of *Queer Love in Film and
Television: Critical Essays* (Palgrave Macmillan, 2013) and the author of
“Queer Adaptation” (in *The Routledge Companion to Adaptation Studies*,

*Dr. Pamela Demory*
University Writing Program
367 Voorhies
University of California, Davis

*Faculty page:*

*Production Editor, Writing on the Edge*

*Co-editor, Queer Love in Film and Television*

Screen-L is sponsored by the Telecommunication & Film Dept., the
University of Alabama: