With its insightful and quirky brand of humour, Issa Rae’s popular web series The Mis-Adventures of Awkward Black Girl (2011- 2013) has shown how alternative pathways for the production, circulation and reception of interactive new media also makes possible a more expansive approach to the question of who and what can be funny. Much of the humour in Awkward Black Girl arises from the social ineptitude of J, its titular character. The series’ characterization of her subjectivity as multi-layered and complex also prompts interrogation of gender and racial stereotypes through humour, and the ways in which digital platforms create opportunities for women and minority media-makers to develop their projects outside of mainstream media industries.
Prior to Awkward Black Girl, a number of feminist theorists and activists throughout the 1980s and 1990s also interrogated humour as a strategy of empowerment and disruption. Donna Haraway in “A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century,” for instance, positioned irony as feminist rhetorical strategy, political method, and means of play (Haraway 1991). For Haraway, irony reveals irresolvable contradictions within truths. Like her figure of the cyborg, it is also a technology that both disrupts and helps reconfigure accepted boundaries of the human and Western binaries of power (woman/man, machine/animal). Building upon theories of humour—and the work of feminist media-makers and humourists like Issa Rae—this issue aims to explore intersections of humour, media practice, and feminism by positioning humour as political technology or apparatus of mass communication in its own right.
Following Jo Anna Isaak’s declaration of “the revolutionary power of women’s laughter” (Isaak 1996), this issue of Synoptique is seeking completed articles dedicated to the many uses and expressions of humour—including the carnivalesque, irony, satire, parody, and mimicry—within feminist theories and women’s media practices. Submissions may offer innovative approaches to a wide range of intersections between feminist media and humour, such as: media production, circulation, exhibition and reception; intersections of race, gender, and power; feminisms and solidarities; asymmetrical access to technologies and modernity; women’s moving image cultures; and all matter of media (video games, video art, interactive films, web-video, user-based video technologies, and cinema). For a longer list of potential topics, please see the extended CFP posted online: http://ift.tt/1GncrfC
Because the issue is invested in exploring humour and feminist media practice in all its manifestations, we welcome long-form essays for peer review, as well as non-peer review conference or exhibition reports, book reviews, original translations, and previously unpublished interviews. Additionally, Synoptique is organizing its first colloquium HUMOROUS > DISRUPTIONS, also dedicated to humour in feminist media practices. The colloquium will be held at Concordia University in October 2015, and abstracts for individual conference papers will be accepted until August 1, 2015.
In conjunction with both the Synoptique Journal Colloquium and this issue, we are also curating an online installation of video essays and web-based interactive artwork that explore the issue’s themes. Video essays, animation, web games, and other digital projects accompanied by an explanatory text will be enthusiastically considered. The curated installation will be presented in collaboration with the colloquium, and later exhibited online at the Synoptique website. For more information about the colloquium and the call for abstracts, please visit: www.synoptique.ca
Essay submissions for peer review should be approximately 20-30 pages (or 5,500-7,500 words), and include both footnote citations and a bibliography formatted according to The Chicago Manual of Style. All images must be accompanied by photo credits and captions.
Conference, festival and exhibition reports, book reviews, translations, and interviews for the non-peer review section should be 2-8 pages (maximum 2,500 words), including a bibliography formatted according to Chicago style. The inclusion of images, particularly from an artist’s work or festival (with permission), or edited audio-video recordings is strongly encouraged.
All essays, reports, and other textual materials should be submitted online through the Synoptique website (www.synoptique.ca). Authors must create a Username and Password in order to submit items online and to check the status of current submissions. Submissions are accepted in either French or English.
SUBMISSION DEADLINE: December 31, 2015
Video Essay Installation
Video essays and creative submissions for the curated installation should run a maximum of 8-minutes, be accompanied by a critical explanatory text situating the work within the themes of the special issue, and include an acknowledgement of sources or bibliography adhering to The Chicago Manual of Style.
Video essays will be accepted on a rolling basis until September 1st, 2015.
All video essay submissions and inquiries should be emailed to the Colloquium Organizational Committee at: firstname.lastname@example.org
Please direct questions to guest editors Desirée de Jesús, Tess McClernon, Julia Huggins, and Rachel Webb Jekanowski: email@example.com
May 19, 2015 at 12:56PM via category: religion