CALL FOR SUBMISSIONS CineAction #95: GLOBAL NIGHTMARE: HORROR AND APOCALYPSE Contemporary film and television is filled with the images and narratives of apocalypse; the IMDB has a list of 185 ‘end of the world’ thrillers. From The Walking Dead to Battle: Los Angeles to Melancholia, as Fredric Jameson memorably observed, “it is easier to imagine the end of the world than to imagine the end of capitalism.” We are entertained and terrified with the aesthetics of destruction and nightmare. Destruction comes with terrorists, zombies, witches, aliens, robots, meteors, the Internet, ecological breakdown, psychological despair, plagues beyond Biblical, or perhaps from God. The future may bring total destruction of the globe, blowing up the White House or California, or just an ongoing dystopian hell. Heroism sometimes saves us, probably fails, or sometimes it is all just for laughs: The Hunger Games, World War Z, This is the End. This nightmare is usually global and it crosses genres – comedy, family melodrama, art cinema, action thrillers, science fiction and horror. Maybe especially horror. I am particularly recalling the collection, edited and written in 1979 by future CineAction editors Richard Lippe and Robin Wood, along with contributions from Andrew Britton and Tony Williams, The American Nightmare: Essays on the Horror Film. That volume had a powerful influence on subsequent political, social and psychological interpretations, from scholarly to popular criticism, of horror films, as particular texts and as a genre. Now the horror has spread from America to the globe and reaches beyond any one genre: from multiple Texas Chainsaw Massacres to the world-ending Cabin in the Woods. Doubtless, these films still have much to tell us about the politics of gender, race, class, sexuality and the body, ecology and, of course, globalizing capitalism. Submissions welcome on film and television of global and local nightmare, from catastrophe to apocalypse, contemporary or classic, in any genre or across genres, focused on particular auteurs or any national cinema. Submissions on work beyond Hollywood, or beyond film and television to games and transmedia, are particularly encouraged. Mail to address below, or email papers, or queries, to [log in to unmask] Editor: Scott Forsyth, Department of Film, Centre for Film and Theatre, York University, Toronto, Ontario, CANADA M3J 1P3. Contributor guidelines are at cineaction.ca. SUBMISSION DEADLINE: SEPTEMBER 30, 2014 ---- Online resources for film/TV studies may be found at ScreenSite http://www.ScreenSite.org