Like film genres, film cycles are a series of films associated with each other due to shared images, characters, settings, plots, or themes. But while film genres are primarily defined by the repetition of key images (their semantics) and themes (their syntax), film cycles are primarily defined by how they are used (their pragmatics). In other words, the formation and longevity of film cycles are a direct result of their immediate financial viability as well as the public discourses circulating around them. And because they are so dependent on audience desires, film cycles are also subject to defined time constraints: most film cycles are financially viable for only five to ten years. The contemporaneity of the film cycle—which is made to capitalize on a trend before audience interest wanes—has contributed to its marginalized status, linking it with “low culture” and the masses.
As a result of their timeliness (as opposed to timelessness), film cycles remain a critically under examined area of inquiry in the field of film and media studies, despite the significant role film cycles have played in the history of American and international film production. This collection of essays seeks to remedy that gap by providing a wide-ranging examination of film cycles, sequels, franchises, remakes and reboots in both American and international cinema. Submissions should investigate the relationship between audience, industry and culture in relation to individual production cycles. We are also soliciting essays that examine how production cycles in the television industry are tied to audience, culture, and production trends in other media.
Possible topics include, but are not limited to:
-sequels, trilogies, and franchises as cycles
-the relationship between film cycles and subcultures
-the relationship between film cycles and political and social movements
-analyses of intrageneric cycles (film cycles within larger film genres) such as teen-targeted musicals (High School Musical, Save the Last Dance, You Got Served) or torture porn horror films (Saw, Hostel, Touristas)
-analyses of intergeneric film cycles (stand-alone film cycles) like disaster films (The Day After Tomorrow, Poseidon, 2012) or mumblecore ((Baghead, Cyrus, Tiny Furniture)
-the transmedia nature of cycles (the relationship between Harry Potter books, films, toys, video games, fan fiction, vids, etc.)
-the relationships between cycles in television, music, and film, like the appearance of fairytale television shows (Once Upon a Time, Grimm) and films (Snow White and the Huntsman, Mirror, Mirror) in 2011-2012
-production cycles found within television (television musicals, comedy verite, etc.)
– essays that explore the (dis)connections between film cycles, on the one hand, and remakes, sequels, adaptations, and appropriations on the other
please note: Essays dealing with the American blaxploitation cycle of the 1970s should approach it from a fresh perspective, not yet represented in the substantial scholarly literature on the topic.
Please submit your abstracts of 400 words and a brief (1-page) CV via email to both of the editors by August 30, 2012. Finished essays should be approximately 6,000 to 7,000 words in length, including footnotes. Acceptance of essays will be contingent upon the contributors’ ability to deliver an essay that conforms to the work proposed by the submitted abstract. We will notify contributors by November 2012.
Please email your abstract and CV to both editors:
R. Barton Palmer: PPALMER@clemson.edu
Amanda Ann Klein: email@example.com