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Call for Papers – Extension

Queering Camelot: LGBTQQA+ Readings, Representations, and Retellings of Arthuriana

Fantastika Special Issue

Guest Editors: Rebecca Jones and Sebastian F.K. Svegaard

This is an open call for papers for a special issue of Fantastika continuing on from its Queering Fantastika issue, which will explore the queer side of Arthurian tales, adaptations, and fanworks. It seeks to include any and all media, whether directly adapting or only alluding to Camelot and Grail narratives. This issue will present a multivalent approach and is seeking both critical and critical practice-based research on this subject. The call has been extended to reflect a need for a longer writing period.

Submissions can range from historic analyses of Medieval manuscripts up to and beyond analysis of fanworks published yesterday. This exploration seeks to acknowledge the ways in which Arthuriana has a legacy steeped in ideas of gender roles and relations; sexual encounters, taboos, and restraints; and the limitations that society and individuals place on themselves which break relationships and create toxic spaces. By exploring how adaptations, readings, games, and fanworks reframe these narratives and choose to explore more queer pairings (shipping in fanfiction) or the relationships already there (the polyamorous potential of Arthur, Lancelot, and Guinevere and the swinger Lord and Lady of Sir Gawain and the Green Knight) this collection seeks to open new explorations of adaptation practice, fan responses and reframing, and present new readings of these old tales by allowing scholars and authors alike to take the chivalric and question how we engage with it today.

We welcome work on any kind of Arthurian narrative with a queer background in theory and/or praxis. These could be, but are not limited to, BBC’s Merlin (2008-2012), Mists of Avalon (1982), The Green Knight (2021), Dark is Rising (1965-1977), Cursed (2020), Fables (2002-2015), Once and Future (2019), or the tabletop role playing system Romance of the Perilous Lands (2019). We are interested in all forms of media adaptation, allusion, and engagement. Subjects and ways of analysis may include, but are not limited to:

  • Critical and queer readings of Arthurian adaptations (ex. lesbian Morgana in Cursed, the homoerotic tension in Sir Gawain and the Green Knight)
  • Music and affect as queer and/or feminist influence in Arthurian adaptations
  • The queerness of chivalry and the Arthurian body (ex. the Fisher King’s body being bound to the land)
  • Queering Camelot through casting
  • Creative adaptations/retellings of Arthuriana
  • Game worlds and player interactions in Arthuriana-inspired role playing, video games, and board games

 

We are seeking articles and creative-critical* works which should be between 5000-7000 words. Please include a 500 word abstract which should contain any content warnings at the end if applicable (warnings are not included in word count) and a 100-word author biography. The deadline for submission is 16 December 2022, but early submissions are greatly encouraged. Email us if you have any questions about critical-creative submissions. Fantastika is an open access journal, so be sure you have proper permissions for any images or content submitted and are happy for your work to be publicly accessible. Feel free to ask if you have any questions about permissions and the accessibility of your work.

We will not accept submissions arguing for the importance of studying Fantastika, and in the same vein we will not be accepting anything that argues for the importance of LGBTQIA+ representation and criticism. We take these arguments as a given and not open to debate. These ideas may of course be part of a larger and more nuanced analysis, but we do not accept submissions which have as its central aim arguing for its value.

All submissions will be peer reviewed. As part of this process, we require contributors to also join in the anonymous peer review process by reviewing 1-2 submissions.

Email all submissions to Rebecca Jones and Sebastian Svegaard at Queering.Camelot@gmail.com using the subject line ‘Queering Camelot Submission’. Please indicate your preferred pronouns in your submission email.

 

* Creative-critical is the use of a critical framework to inform a creative practice that explores aspects of society, media and culture. It is a tradition going back to Plato’s dialogues, that we wish to continue here.

For creative-critical pieces, we require an abstract that explains the academic scope of the piece and how it relates to the theme of the journal as well as some element of contextual, critical writing to go along with the creative work, which can take any form that is replicable in the journal.

 

 

Rebecca Jones (she/they) is an American researcher interested in representation across media and has published on the representation of women within fantasy television adaptations and science fiction films, diversity within comics, and the representational shifts within survival horror video games. She is a reviewer for Foundation: The International Review of Science Fiction and BSFA Vector journals.

Sebastian F.K. Svegaard (he/him) is a Danish researcher who works in the intersection of media, fan studies, music and affect. He has published on feminist offense as a creative influence for fans, vidding research methodology, and presented on queered superhero bodies in fanvids. He is on the editorial board for the journal Riffs.

 

 

 

The IAFA is inviting members willing to volunteer as tech support during the upcoming virtual conference (also known as VICFA). The conference is scheduled for the weekend of October 7-9 (9 a.m. – 9 p.m. Eastern Daylight Time). At least partial availability during that time window is required.

Volunteers need to be:

available for the aggregate of at least 4 hours over the three days of the conference
comfortable with using Zoom and helping others with it

All volunteers will receive training before the conference.

Volunteers who are participating in the October 2022 VICFA will have their conference fee waived. Those who are not presenting during VICFA but want to help will receive ICFA 44 T-shirts (to be picked either in March 2023 at the conference or mailed after the conference).

If you’re interested in helping IAFA in this manner, please contact the IAFA President, who is also wearing the hat of the VICFA Coordinator, at p.frelik@uw.edu.pl by September 15 .

The IAFA is soliciting applications for the position of the Program Book Editor to edit the fall Virtual ICFA (VICFA) program and the ICFA conference program book. This appointment will be for one-year, with the possibility to renew indefinitely. Experience with IAFA culture is considered an asset for the position. Professional experience with layout and similar design work is a must. Those applying should have access to their own design software (InDesign or equivalent). The content for the book will be provided by the IAFA officers, and the files used in design of previous program books will be made available to help assist in the production of the new one. At the time of appointment, the IAFA will provide a detailed outline to the Program Book Editor of what should be included in the program book and in what order it should be printed.

The duties of the Program Book Editor include:

  • for the Fall VICFA, prepare a PDF program with information provided by the Board,
  • for the March ICFA, work with the Membership Coordinator to develop templates for the book in a professional design program (i.e., InDesign, Quark, or equivalent),
  • using these templates, and information provided by the First and Second Vice Presidents about the conference’s guests and program schedule, produce camera-ready copy for the production of this book,
  • with art provided by the Second Vice President, design the cover of the book,
  • submit the program book layout for approval to the IAFA Board by February 15 2023, and make any adjustments as required by the Board after this review,
  • continue to update the book with cancellations and other errata up to the time of printing; in consultation with the First Vice President maintain an errata sheet once the book has gone to print,
  • produce an index for this book, with individuals listed by name and session number, and include this index in the final book,
  • investigate appropriate vendors for printing the book in a cost-effective manner and arrange for the printing and delivery of the book to the hotel in numbers as specified by the Registration/Membership Coordinator.

The IAFA will pay a stipend of $500 for this work. Those interested in applying should submit

  • a cover letter, which provides details of professional layout and design experiences, as well as information about the candidate’s history with the IAFA;
  • a portfolio of previous design work;
  • a CV outlining relevant professional and academic experience.

Applications should be sent to Pawel Frelik, IAFA President, at p.frelik@uw.edu.pl.

The closing date for applications is September 15, 2022. An appointment will be made by the end of September.

We are very excited to announce our ICFA 44 Guest of Honor, Oghenechovwe Donald Ekpeki, and our ICFA 44 Guest Scholar, Dr. Isiah Lavender III!

 

ICFA 44 Guest of Honor – Oghenechovwe Donald Ekpeki 

 

Oghenechovwe Donald Ekpeki is an African speculative fiction writer and editor in Nigeria. He has won the Nommo award for Best Speculative Fiction by an African twice, both for Short Story and Novella, as well as the Otherwise and British Fantasy Awards. He is the first African to have won the Nebula Award for Best Novelette with his climate fiction story O2 Arena, for which he is also a BSFA, BFA and Nommo Award finalist, and the first African to be a Hugo Award Best Novelette finalist. He is the first African editor to be a finalist in the Hugo Award Best Editor categories and the first BIPOC editor to be a finalist in both the Hugo Award Editing and Fiction categories in the same year. He has been a finalist for the WFA, Locus, BSFA, Sturgeon, and This Is Horror Awards. His fiction and non-fiction have appeared in and are forthcoming in Tordotcom, Asimov’s, Uncanny Magazine, Apex Magazine, Strange Horizons, Galaxy’s Edge, and NBC, among other venues. He edited and published the first ever Year’s Best African Speculative Fiction anthology, a Hugo, WFA, Locus, and BFA finalist, and the Pan-African non-fiction anthology, Bridging Worlds: Global Conversations on Creating Pan-African Speculative Literature in a Pandemic. He co-edited the BFA-winning Dominion anthology and the Africa Risen anthology, which has a starred review from Publishers Weekly.  He guest-edited the collections window of Interstellar Flight Press and has slush read for Podcastle, Strange Horizons, Cosmic Roots, Eldritch Shores, and other publications. He is the founder of Jembefola Press and the Emeka Walter Dinjos Memorial Award for Disability in Speculative Fiction. He co-organized the Discon 3 African stream and 2021 Nommo Award ceremony, and is a Guest of Honour at the 2022 Can*Con. He is the first African-born Black writer and the youngest writer to be Guest of Honor at the International Conference for the Fantastic in the Arts.  You can find him on Twitter https://twitter.com/penprince_ and on his website https://odekpeki.com.

 

Please follow these links to immerse yourself in the works of Oghenechovwe Donald Ekpeki:

O2 Arena: https://apex-magazine.com/short-fiction/o2-arena/

 

Year’s Best African Speculative Fiction: https://jembefola.com/the-L-best-african-speculative-fiction-2021-by-oghenechovwe-donald-ekpeki/

 

Bridging Worlds: https://jembefola.com/bridging-worlds-global-conversations-on-creating-pan-african-speculative-literature-in-a-pandemic-cover-and-toc-reveal/

 

The Emeka Walter Dinjos Memorial Award For Disability In Speculative Fiction: https://file770.com/announcing-the-emeka-walter-dinjos-memorial-award-for-disability-in-speculative-fiction/

 

Discon 3 African Stream: https://file770.com/new-african-program-stream-distinguishes-disconiii-world-science-fiction-convention/

 

Publishers Weekly starred review: https://www.publishersweekly.com/9781250833006

 

Africa Risen pre-order: https://publishing.tor.com/africarisen-shereereneethomas/9781250833006/

 

“Destiny Delayed” in the May/June issue of Asimov’shttps://drive.google.com/file/d/1Kl0Iks1M8xk-zMC-FE3Xl3FsNf8Ce4f9/view?usp=drivesdk

 

Guest Scholar – Dr. Isiah Lavender III 

 

Isiah Lavender III is Sterling-Goodman Professor of English at the University of Georgia, where he researches and teaches courses in African American literature and science fiction. His books include Race in American Science Fiction (Indiana UP, 2011), Black and Brown Planets: The Politics of Race in Science Fiction and Dis-Orienting Planets: Racial Representations of Asia in Science Fiction (UP of Mississippi, 2014 and 2017 respectively), Afrofuturism Rising: The Literary Prehistory of a Movement (Ohio State UP, 2019), and Literary Afrofuturism in the Twenty-First Century (Ohio State UP, 2020), co-edited with Lisa Yaszek. His interview collection Conversations with Nalo Hopkinson is forthcoming from UP of Mississippi in early 2023. He is currently hard at work on The Routledge Handbook of CoFuturisms, co-edited with Bodhisattva Chattopadhyay, Grace Dillon, and Taryne Jade Taylor as well as his manuscript-in-progress Critical Race Theory and Science Fiction. If you would like to know more about Dr. Lavender, check out https://narrativeencounters.aau.at/how-reading-shapes-us-isiah-lavender/

The title of Dr. Lavender’s ICFA Guest Scholar presentation shall be “Imaginary Amendments and Executive Orders: Race in United States Science Fiction.” 

 

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Chaque année, la Relève Académique (NWF) de la GKS organise plusieurs activités dans le cadre du colloque annuel de la GKS à Grainau, en Allemagne. Pour le colloque de 2023, nous organisons un panel et un colloque, ainsi que des activités culturelles et sociales. Les candidats intéressés peuvent soumettre des propositions pour l’un des deux formats suivants : (1) panel sur les solidarités dans la SFF canadienne, la fanfiction, et la fiction d’horreur, et (2) second colloque des chercheur.se.s émergent.e.s.

Date limite pour les soumissions: 31 août 2022

Every year, the Emerging Scholars’ Forum (NWF) of the GKS organizes several activities as part of the annual GKS conference in Grainau, Germany. For the 2023 conference, we are organizing a panel and a colloquium, as well as cultural and social activities. Interested applicants may submit proposals for any of the two following formats: (1) panel on Solidarities in Canadian SFF, Fan, and Horror Fiction, and (2) 2nd Emerging Scholars Colloquium.

Deadline for submissions: August 31, 2022

See full CFP at: http://www.kanada-studien.org/6611/cfp-of-the-gks-emerging-scholars-forum-panel-on-solidarities-in-canadian-sff-fan-and-horror-fiction-colloquium

Dear IAFA Members,

As you know, the IAFA Executive Board has been gathering information in preparation for making the decision as to the future of the International Conference for the Fantastic in the Arts. In particular, we wanted to address concerns that had been vocalized to a number of us that our continued presence in Florida–a state whose government is actively passing laws and enacting policies that are anathematic to the values that an academic organization like ours holds to–was problematic at best.

We began the process by researching locations that might be amenable to us. For more information on this process, please review the FAQ found on our website: https://iaftfita.wildapricot.org/ICFAFAQs

What we discovered is that there are limited options due to our size and shape; rather than repeat the specifics here, we refer you to the email we sent out prior to the town hall meetings on May 24, 2022.

As part of this information seeking, we held three town hall meetings with our membership, at various days and times, encouraging input and ideas. We provided a Google document whereby people could additionally comment, including anonymously if they so chose. As a result of these conversations, we provided a survey, asking people for their input.

The overwhelming response to these inquiries has been that people prefer to continue to meet at the Orlando Airport Marriott Lakeside, and would like to have IAFA take steps to make our presence have greater meaning to the Florida academic community at large in a more tangible way.

This past week, the Executive Board voted to continue our relationship with the Marriott through 2026. We also decided to create a liaison position that will spearhead a task force to develop ideas and methods by which we may be an ally in Florida to all those who oppose the state’s current political drift and systemic injustice. To give you a sampling of some of the things we discussed: grants or brain trust support for creating campus organizations, guest lectures and author readings on campuses, and assistance and participation with organization of special campus events.

We are also actively seeking ways that we can support or co-sponsor a conference on the West Coast; in fact LA’s EagleCon has already reached out to us seeking this very thing. This is in recognition not only of how much our organization would benefit from a West Coast presence but also as part of a process of expanding the overall visibility and availability of IAFA that we are beginning next month with our co-sponsoring of the conference that the University of Glasgow’s Centre for Fantasy and the Fantastic is holding.

Thank you for your continued support of IAFA. If you have any questions or concerns, please feel free to reach out to us.

Pawel Frelik, President, IAFA (iafa.president@fantastic-arts.org) & Jeri Zulli, Conference Director, IAFA iafa.confchair@fantastic-arts.org

On behalf of the IAFA Board

UPCOMING EVENTS

TUCSON HARD-SCIENCE SF GROUP

Streamed at: https://www.youtube.com/channel/UCHUlsmR9M8Nqco76JyZnU4w 

July 2

Tosi Abegbija–“Internet of Things and Beyond”

Tosi is an amazing Prof. of electrical engineering at the Univ. of Arizona. He is back by popular demand. Plot material for SF is found repeatedly in what Tosi brings to our meetings.

Aug. 6 

Ben Kuipers–
Ben is a Prof. of Electrical Engineering at Univ. of Michigan. A longtime reader of SF. He investigates robotic knowledge, including knowledge of space, dynamical change, objects, and actions. He is currently investigating ethics as a foundational domain of knowledge for robots and other AIs that may act as members of human society.

Sep. 3

No meeting—ChiCon in session World Con in Chicago, IL

Oct. 1

David Gunkel and Ben Kuipers—“Can and Should ‘Bots have personhood, rights, and responsibilities?”
Dr. Gunkel is an Asst. Prof. Media Studies, M. Illinois Univ., so he comes to this through the lens of legal personhood, philosophical issues, and the now vexing questions that autonomous Internet of Things poses.

Nov. 5

Shane Larsen—“Astrobiology and You” (working title)
Teaches Astronomy at Northwestern University

Dec. 3

Urvashi Kuhad—“Four Indian Women SF Writers” 

She teaches in English Dept. of Univ. of Delhi.

 

Jan.  7

Mike Jansen—Dutch SF writer. Topic TBA. 

 

Feb. 4

Jack Dann—“On Working in Cultural Intersections and Markets” 

Much-awarded SF writer, Jack Dann works and lives in Australia, these days.

 

Mar. 4th

Christina Becher—“Traveling Plants in German SF Literature”

Christina is in German Lit Studies and is finishing her Ph.D. at Cologne Univ.

 

April 1

TBA

 

May 6

Sandi Petroshius—“Virtual Views of the RBEM” by Sandi, Dir. of the Ray Bradbury Experience Museum in Waukegan, IL. Not a “Great Man” Museum but something to help us learn how Ray drew upon his creative and imaginative potential.

This content comes from Dr. Gloria Lee McMillan (gmcmilla@arizona.edu) of the Tucson Hard-Science SF Group: https://m.facebook.com/HardScience-SF-Writers-Readers-Artists-Zoom-Group-1538157323143466/

IAFA Online Conference
October 7-9, 2022
“The Global Fantastic”

Deadline extended to July 31, 11:59 PM, EDT.

For a very long time, the fantastic and its spectrum of genres—science fiction, fantasy, horror, old and new weird, and others—has been perceived as very white and very English and French. The privileged circulation of texts by authors rooted in these two languages has been largely responsible for this condition, but the bias was also perpetuated by the international scholarship on these genres. Moreover, while the attention to Western authors and texts is definitely part of the problem, it can be argued that the very ways in which the conceptions of genres were originally formulated also contributed to the predominance of the Anglo-American (and, in some cases, Francophone) bias.

Things have changed, and, in 2022, attention has turned to the global fantastic that extends beyond a handful of former colonial centers. Several interrelated—albeit not necessarily mutually reinforcing—factors have been responsible for the new fantastic geography. First, the global spread of neoliberal capitalism, of which culture industries are an integral part, has seeded elements of Western imaginaries and transplanted models of production around the globe but also carved out opportunities for interaction with many local artists and creators. Second, the arrival and spread of digital technologies has dramatically expanded and democratized production and distribution of cultural texts, among which the broadly understood fantastic accounts for a sizable share. Most importantly, a range of political and cultural transformations going beyond storytelling has fostered a slow but steady realization that the category of the fantastic in general, and the genres of science fiction and fantasy in particular, can mean very different things in different places, and that a range of fantastic traditions has long flourished in many nations and regions around the world. This new lens reconfigures an understanding of not just the contemporary cultural landscape but allows for a discovery and recuperation of past traditions of the fantastic in the countries beyond the Anglo-French axis.

It is thus very apt that our inaugural October online conference, open to both regular ICFA attendees and those who cannot, for any reason, come to in-person events, should focus on the global fantastic to bring these traditions to the forefront.

The Guest of Honor is Tananarive Due, the winner of the American Book Award for The Living Blood (2001), the author of a dozen other speculative and mystery novels, and a film historian with expertise in Black horror. The Guest Scholar is Bodhisattva Chattopadhyay (University of Oslo), an internationally recognized scholar of global fantastic and the leader of the prestigious European Research Council grant “CoFutures: Pathways to Possible Presents.”

We invite paper proposals responding to, but not limited to, the following thematic areas and topics:

● Afrofuturism
● Africanfuturism
● Indigenous Futurisms
● non-Anglophone fantastic of the Global North
● local varieties of Western genres
● the fantastic produced in languages other than English
● slipstreams and interstitial genres
● non-Western genres of the fantastic
● postcolonial fantastic imaginaries
● non-Western media production in the fantastic: film, short film, television, video games
● theories of the fantastic beyond the Global North

Proposals not related to the conference theme are also welcome.

To submit a proposal, see https://forms.gle/souxbD9SjvN769cJ6. The submission portal will remain open until the deadline. Deadline extended to July 31, 11:59 PM, EDT.

For a list of the IAFA Divisions and Division Heads, see https://iaftfita.wildapricot.org/Division-Heads.

For more information, visit our website https://iaftfita.wildapricot.org/.

Follow us on Twitter @IAFA_TW #IAFAGlobalFantastic
“Like” us on Facebook: https://www.facebook.com/FantasticArts/

Please welcome the 2022-2024 Student Caucus Board!

Representative Andrew Erickson is doctoral researcher and instructor in American Studies at Europa-Universität Flensburg and Editorial Assistant for Amerikastudien / American Studies. Recent publications focus on anti-intellectualism and counterfactual history, and on the critical posthumanism of Black American disaster fiction. His current dissertation project understands speculative fiction by Black makers through the lens of the postapocalypses of American enslavement and settler colonialism. Research interests include postcolonialism, science and speculative fiction, posthumanism, and digital humanities.

Vice-Representative Amélie Hurkens is a Ph.D. candidate in American Literature at Uppsala University, Sweden. Her research is centred around the representation of diversity in popular culture and genre fiction, including superhero comics, YA literature, and science fiction and fantasy. She combines literary studies with data inquiries into the industries, institutions and corporate culture encompassing the works she is studying. This ranges from the Walt Disney Company and its subsidiary Marvel Comics to the Hugo Awards. She has published before on world literature and its industries and institutions.

Undergraduate Representative Anna Maria Grzybowska has recently graduated with an MA degree in American Studies from the University of Warsaw, and is further pursuing a degree in Psychology. With her dedication to understanding various (not-only-)human ways of experiencing the world, her research focuses on representations of human psyche—her recent thesis exploring the confluence of psychological violence and SF film—as well as its formation in collision with complexity of nonhuman beings within the realms of speculative fiction. Her current research project investigates how animals figure within cultural speculations of the worlds to come, with a particular focus on narrative transformations (or consolidations) of the animal-industrial complex.

And yours truly will transition to serving as the immediate past representative.

Their terms will start officially on August 1 and I look forward to everything they are going to do in the next two years.

Samantha Baugus, SCIAFA Representative

IAFA Online Conference
October 7-9, 2022
“The Global Fantastic”

Deadline extended to July 31, 11:59 PM, EDT.

For a very long time, the fantastic and its spectrum of genres—science fiction, fantasy, horror, old and new weird, and others—has been perceived as very white and very English and French. The privileged circulation of texts by authors rooted in these two languages has been largely responsible for this condition, but the bias was also perpetuated by the international scholarship on these genres. Moreover, while the attention to Western authors and texts is definitely part of the problem, it can be argued that the very ways in which the conceptions of genres were originally formulated also contributed to the predominance of the Anglo-American (and, in some cases, Francophone) bias.

Things have changed, and, in 2022, attention has turned to the global fantastic that extends beyond a handful of former colonial centers. Several interrelated—albeit not necessarily mutually reinforcing—factors have been responsible for the new fantastic geography. First, the global spread of neoliberal capitalism, of which culture industries are an integral part, has seeded elements of Western imaginaries and transplanted models of production around the globe but also carved out opportunities for interaction with many local artists and creators. Second, the arrival and spread of digital technologies has dramatically expanded and democratized production and distribution of cultural texts, among which the broadly understood fantastic accounts for a sizable share. Most importantly, a range of political and cultural transformations going beyond storytelling has fostered a slow but steady realization that the category of the fantastic in general, and the genres of science fiction and fantasy in particular, can mean very different things in different places, and that a range of fantastic traditions has long flourished in many nations and regions around the world. This new lens reconfigures an understanding of not just the contemporary cultural landscape but allows for a discovery and recuperation of past traditions of the fantastic in the countries beyond the Anglo-French axis.

It is thus very apt that our inaugural October online conference, open to both regular ICFA attendees and those who cannot, for any reason, come to in-person events, should focus on the global fantastic to bring these traditions to the forefront.

The Guest of Honor is Tananarive Due, the winner of the American Book Award for The Living Blood (2001), the author of a dozen other speculative and mystery novels, and a film historian with expertise in Black horror. The Guest Scholar is Bodhisattva Chattopadhyay (University of Oslo), an internationally recognized scholar of global fantastic and the leader of the prestigious European Research Council grant “CoFutures: Pathways to Possible Presents.”

We invite paper proposals responding to, but not limited to, the following thematic areas and topics:

● Afrofuturism
● Africanfuturism
● Indigenous Futurisms
● non-Anglophone fantastic of the Global North
● local varieties of Western genres
● the fantastic produced in languages other than English
● slipstreams and interstitial genres
● non-Western genres of the fantastic
● postcolonial fantastic imaginaries
● non-Western media production in the fantastic: film, short film, television, video games
● theories of the fantastic beyond the Global North

Proposals not related to the conference theme are also welcome.

To submit a proposal, see https://forms.gle/souxbD9SjvN769cJ6. Deadline extended to July 31, 11:59 PM, EDT.

For a list of the IAFA Divisions and Division Heads, see https://iaftfita.wildapricot.org/Division-Heads.

For more information, visit our website https://iaftfita.wildapricot.org/.

Follow us on Twitter @IAFA_TW #IAFAGlobalFantastic
“Like” us on Facebook: https://www.facebook.com/FantasticArts/