Call For Papers: 2018 'Stars and Screen' Film and Media History Conference | September 27-29, 2018

CALL FOR PAPERS
September 27-29, 2018
Rowan University
Glassboro, NJ

The “Stars and ScreenFilm and Media History Conference is an Interdisciplinary Symposium dedicated to Film History, Archival Research, Cinema and Media History.

In the ‘Golden Age’ of Classical Hollywood Cinema, MGM was known as the motion picture studio with “More Stars Than There Are In Heaven.” In fact, ‘Stars’ have illuminated cinematic screens for over 100 years, from classic movie stars (Bogart, Bacall, Hepburn, Chaplin) to films about Hollywood’s star factory (A Star Is Born, What Price Hollywood?) to shooting stars (Deep Impact), falling stars (Sunset Boulevard, Raging Bull), and stars in ‘space, the final frontier’ (Star Trek) in a ‘galaxy far, far away’ (Star Wars). Digital video streaming and binge watching of films and media also re-imagines and creates new moving image ‘stars’ transforming the cinematic or televisual production, distribution, and viewing reception experience. What does this nostalgic re-imagining of film history and cinematic production of stars on screen tell us about the cultural moment we find ourselves in? The 2018 Film and Media History Conference explores the theme of “Stars and Screen.”

The 2018 “Stars and ScreenFilm and Media History Conference invites paper proposals from all areas of Film History, Cinema and Media Studies and interdisciplinary submissions from across the humanities, arts, sciences and social sciences, including: 
 
  • Film History,
  • Classical Hollywood Cinema,
  • Archival Research,
  • Film/Media Industry,
  • Historical Development of the Studio System,
  • Women Writers, Directors and Producers in Hollywood
  • Film Noir, Femme Fatales, Hard-Boiled Antiheroes,
  • Star System, Major Studios, Independent Production,
  • Censorship, Film/Media Propaganda,
  • Film Genres (Science Fiction, Musical, Comedy, Western, Gangster, Thriller, Horror),
  • Hollywood ‘Star Factory,’
  • Women and Men in the Dream Factory,
  • Émigrés, Immigrants, and Refugees,
  • Filmmakers as behind-the-scenes ‘Star’ Auteurs,
  • Hollywood Blacklist,
  • Evolution of Stars (Bogart, Bacall, Chaplin, Hepburn, Cagney, Hayworth, Brando) from the Silent Era to ‘Contract’ Studio Creative Talent to Independent Filmmakers/Producers
  • International Cinema,
  • TV/Netflix/Long-Form Cinematic Drama,
  • Motion Picture Technology, New Media,
  • Convergence between Film and Television,
  • Television History,
  • Music, Jazz, Soundtracks, ‘Star’ Musicians, Musical Stars,
  • Hollywood and Democracy,
  • Radio, Music/Recording Industry
  • American Studies,
  • Documentary, Third Cinema,
  • Popular Culture, Animation, Avant-Garde Cinema,
  • Images of Women, Gender, Ethnicity/Race, History, Science, Politics in Film and Media. 
Paper proposals are invited from ALL AREAS of film history and media studies. Proposals relating to the conference theme are encouraged, but also of interest are submissions on film history, classical Hollywood cinema, archival research, national cinemas, film genres and stars, auteur studies, film and music, media industry, television history and new media, science fiction, and cultural or political issues connected to the moving image. Proposal abstracts should be 200-300 words in length and are due by June 15, 2018. 

Please submit your proposal electronically by entering your abstract on the Stars and Screen Conference Submission Form

The conferences keynote speakers and screenings include: 

Thomas Schatz, Professor and Chair of the Department of Radio-Television-Film at The University of Texas at Austin and author of Hollywood Genres: Formulas, Filmmaking, and the Studio System; The Genius of the System: Hollywood Filmmaking in the Studio Era; and Boom and Bust: American Cinema in the 1940s. He is working on a study of contemporary Hollywood, a history of Universal, and a revised edition of Hollywood Genres

Matthew Bernstein, Professor and Chair of the Department of Film and Media Studies at Emory University and author of Walter Wanger, Hollywood Independent; Screening a Lynching: The Leo Frank Case on Film and Television; editor of Controlling Hollywood: Censorship and Regulation in the Studio Era and Michael Moore. He is working on Segregated Cinema: Atlanta, 1895-1962 and a history of Columbia Pictures.

Brian Neve, Honorary Reader in Art and Politics of Film at The University of Bath, UK and author of Film and Politics in America: A Social Tradition; Elia Kazan: The Cinema of an American Outsider; and The Many Lives of Cy Endfield: Film Noir, the Blacklist, and Zulu

Cynthia Baron, Professor of Theatre and Film Studies, American Culture, and Women’s, Gender & Sexuality Studies at Bowling Green State University and author of Denzel Washington; Modern Acting: The Lost Chapter of American Film and Theatre; and co-author of Reframing Screen Performance and More Than a Method. 

Charles Maland, Professor of Film Studies, American Cultural Studies and American Literature at The University of Tennessee and author of Chaplin and American Culture: The Evolution of a Star Image; Frank Capra; City Lights; and American Visions: The Films of Chaplin, Ford, Capra, and Welles.

Jonathan Olshefski, Filmmaker and Rowan University Radio-TV-Film Associate Professor, will screen and discuss his award-winning documentary, Quest, which premiered in competition at Sundance in 2017 and went on to play in over 70 film festivals across 15 different countries winning the Grand Jury Prize at Full Frame Documentary Film Festival and the Truer than Fiction award at the Independent Spirit Awards.  

Jonathan Mason, Filmmaker and Associate Professor (RTF) at Rowan University. His most recent short film, Lechappée is the recipient of the CANAL+ Short Film Prize, and screened at more than 50 festivals and on television in 25 countries, including the Clermont Ferrand Film Festival and Lincoln Centers African Film Festival New York. He is currently developing the feature screenplay Schule (based on Lechappée) which was a selection of the 2017 Sundance Film Institute Writers Intensive.
 


The conference will take place at Rowan University, located in Glassboro, in South New Jersey. It is within easy driving distance of Philadelphia, Baltimore, Washington, D.C., and about 100 miles south of New York City, and is served by the nearby Philadelphia (PHL) airport. The Courtyard Marriott Glassboro-Rowan University Hotel is located adjacent to the Rowan University campus. The Fairfield Inn Deptford Hotel and Residence Inn Deptford Hotel are just 15 minutes away and there are numerous hotels in the nearby South Jersey, Philadelphia, and Delaware local area.

For more information, visit the ‘Stars and ScreenFilm and Media History Conference website at https://starsandscreen.blogspot.com/

2016 Literature/Film Association Conference | October 13-15 – Schedule


Literature/Film Association Annual Conference
October 13-15, 2016
Rowan University
Glassboro, NJ


2016 Literature/Film Association Conference Schedule - Download PDF

All events are scheduled on the Rowan University, Glassboro campus. - Map

Thursday, October 13 3:30 pm – 6:00 pm
Bozorth 112 Auditorium
Keynote Speaker: Nate Chinen, New York Times/JazzTimes

Nate Chinen is a music critic for The New York Times and a columnist for JazzTimes. His work appears in Best Music Writing 2011 and in the recent anthologies Miles Davis: The Complete Illustrated History and Pop When the World Falls Apart: Music in the Shadow of Doubt. He has received multiple honors from the Jazz Journalists Association, including the Helen Dance-Robert Palmer Award for Review and Feature Writing, and Best Book About Jazz, for Myself Among Others: A Life in Music, which he wrote with impresario George Wein. He is an alum of the University of Pennsylvania in English - Creative Writing - Poetry, Penn's Kelly Writers House, and CounterParts.
Screening: Jazz on a Summer’s Day (1960)
Moderator, Joseph Bierman, Rowan University

Thursday, October 13 6:30 pm
Student Center Ballroom
Opening Reception
Keynote Speaker: Thomas Doherty, Brandeis University

Thomas Doherty is Professor and Chair of American Studies at Brandeis University, an Academy Film Scholar, Fulbright Scholar, associate editor for Cineaste, film review editor for the Journal of American History, and cultural historian with a special interest in Hollywood cinema. His books include Hollywood and Hitler, 1933-1939; Hollywood's Censor: Joseph I. Breen and the Production Code Administration; Cold War, Cool Medium: Television, McCarthyism, and American Culture; Pre-Code Hollywood: Sex, Immorality and Insurrection in American Cinema, 1930-1934; Projections of War: Hollywood, American Culture, and World War II; and Teenagers & Teenpics: The Juvenilization of American Movies in the 1950's.


Friday, October 14 9:00 am - 10:45 am Bozorth Hall
Panel 1A: Adapting Images of WWII and the Holocaust
Chair, Walter Metz

Walter Metz,
Southern Illinois University
"This Way for the Cinema, Ladies and Gentlemen"
Claire Soares, University of Texas at Dallas
“The netherworld created for the film
Defiance (2008)”

Mia Martini,
University of Oklahoma
“Flags and Letters: Counter-narratives in World War II Film”


David Young,
Duquesne University
“‘I can work with this’: Media Consumption, Ideology, and the Return of Hitler in Look Who’s Back

Panel 1B: Adapting Alternate Worlds, Long Form TV/Video, Cinematic Binge-watching
Chair,
Courtney Polidori and William Bartley

Courtney Polidori,
Rowan University
“‘I Cried After Each Episode’: Perspectives on Orange is the New Black from Currently Incarcerated Women”


Teresa Fleming, Grinnell College
“‘Why can’t you see me’: Exposing the Cinematic Apparatus in Lemonade and Daughters of the Dust


William Bartley, University of Saskatchewan
“What is Long Form Television? An Answer to Jason Mittell’s Complex TV


Jennifer Leah Peck, Rowan College at Burlington County, RCGC, University of the Arts
“Why We Can’t Be Happy for Olivia Benson (or I had a One Night Stand with House): How modern television, including binge watching, is destroying the shared experience”


Friday, October 14 11:00 am - 12:45 pm
Panel 2A: Adapting Music, Jazz, Cinema
Chair, Peter Lev

Peter C. Kunze,
University of Texas at Austin
“Belles are Singing: David O. Selznick's Failed Musicalization of Gone With the Wind


David R. Adler,
Queens College, CUNY
“Jazz Video: A New Golden Age?”


Paula Musegades,
Brandeis University
“Challenging Neutrality: Aaron Copland’s Film Score for Of Mice and Men (1939)”

Panel 2B: Adapting Magic, Fantasy and Science Fiction as Alternate World
Chair, Noel Sloboda

Noel Sloboda,
Penn State University, York
“Degrees of Fantasy: Institutionalized Magic in The Magicians on Page and Screen”


John Alberti,
Northern Kentucky University
“Magic World, Muggle World: The Double Adaptation of the Harry Potter Series”


Michael Saffle, Virginia Tech
“Alternate Worlds, Adapted Tales, Real Music: The Beatles and Science Fiction”


Andrew M. Hakim, Princeton University
“Magic, Misdirection, and Representations of America in Christopher Nolan’s Adaptation of The Prestige”

Friday, October 14 1:00 pm - 2:45 pm
Panel 3A: Adapting Hollywood Cinema: From Wartime To Postwar
Chair, Sheri Chinen Biesen

Peter Lev,
Towson University
Sources for Casablanca

Sheri Chinen Biesen,
Rowan University
“Adapting Women in Jazz Film Noir: From Virginia Van Upp To Joan Harrison”


Julie Grossman,
Le Moyne College
“‘Something Different out of Hollywood’: Ida Lupino and The Filmakers”


Ann T. Torrusio,
University of Missouri - St. Louis
“Hitching a Ride through an Alternate World: The Fictionalization of Billy Cook in Ida Lupino’s The Hitch-Hiker

Panel 3B: Adapting Queer Cinema/TV
Chair, Andrew Scahill

Victoria L. Smith,
Texas State University
“The Heterotopias of Todd Haynes: Creating a Space for Same Sex Desire in Carol


Joshua Bastian Cole,
Cornell University
“‘Here We Go’: In a Queer Time and Place with Gregg Araki’s Mysterious Skin


Mark DeStephano,
Saint Peter's University
"Queer Space: 'Star Appeal,' 'New China,' and the Construction of a Cosmic Asian Queerness"


Seung-A Lee,
Bowling Green State University
“Where Hath Thy Queer Father Begone?”

Friday, October 14 3:00 pm - 4:45 pm
Panel 4A: Adapting Music, Melodrama, Cinema
Chair, John Alberti

Maxfield Fulton,
Yale University
“Affective Adaptation: Music, Gender, and Irony in The Heiress


Carol M. Dole,
Ursinus College
“Bette Davis, Edith Wharton, and Maternal Melodrama”


William Mooney,
Fashion Institute of Technology (SUNY)
“Sirk According to Fassbinder: Film to Film Adaptation of the Classics”


Melissa Elliot,
Michigan State University
“Legendary (Other-Worldly) Music: The Role of Music in Heiner Carow’s Die Legende von Paul und Paula”

Panel 4B: Adapting Hitchcock/ Kubrick
Chair, Elizabeth Welch

Elizabeth Welch,
Brookdale Community College
“Prim and Proper to Sharp and Shameless: Norma Bates' Transformation from Psycho's Fragmented Depiction to Bates Motel's Complex Persona”


Andrew Scahill,
Salisbury University
“Serialized Killers: Prebooting Horror in Bates Motel and Hannibal”


Christina Parker-Flynn,
Florida State University
“Chickening Out: Fear and Poultry in Hitchcock”


Jeff Rowell,
Independent Scholar
“Looking Closer at Stanley Kubrick's Adaptation of Stephen King's The Shining

Friday, October 14 5:00 pm - 6:45 pm
Panel 5A: Adapting History, Places and Literary Spaces as Alternate Worlds
Chair, Jayson Baker

Brigitte E. Humbert,
Middlebury College
“Paris on Film: Alternate Visions of the City of Love”

Jayson Baker, Curry College
“Recent Antebellum Cinema: Alternate Worlds of the Global Present”
Naghmeh Rezaie, University of Delaware
“Between National and International Identity of Iranian Cinema: Taqvai’s Cross-cultural Adaptation of Hemingway’s To Have and Have Not


Joseph Bierman, Rowan University
Respondent

Panel 5B: Adapting Literature, Film, TV
Chair, Kate Newell

Chloe Smith,
Stony Brook University
A Delicate Balance of Power: Towards a Reconciliation of Authorial Intent and Creative Cinematic License in the Adaptation of Jane Austen’s Works”

Jennifer van Alstyne,
University of Louisiana – Lafayette
“‘The Good Wife’ Then and Now: Feminism and Gender Roles from the Medieval Page to Contemporary Television Screen”


Candace E. C. O’Brien,
University of Alabama
“Alternate World: Paralleling Patriarchal Sexual Violence in Jonathan Glazer’s Under The Skin
Kate Newell, Savannah College of Art and Design
“Pop-up Adaptation”

Saturday, October 15 9:00 am - 10:45 am
Panel 6A: Adapting from Page to Screen
Chair, Jack Ryan

Matthew Pincus,
University of Louisiana- Lafayette
“David Reading David: Lynch as Auteur of Sincerity”


Mackenzie Leadston,
Ohio State University
“Lettres d’une autrichienne: Rethinking Infidelity and Adaptation in Sofia Coppola’s Marie-Antoinette (2006)”
Dennis Rothermel, Calilfornia State University, Chico
“Aki Kaurismäki’s Outrageously Improvisatory Adaptations of Four Familiar Literary Source Texts”
Jack Ryan, Gettysburg College
“The Warner Brothers Wine Cellar: Jim Harrison’s Adaptation Rewards”

Panel 6B: Adapting TV/Comics/New Media
Chair, Nicholas-Brie Guarriello

Tania Darlington,
Northwestern State University
“Veronica in Zombie Land: Remixing iZombie in the Rob Thomasverse”


Elise Lockwood,
Ball State University
“Peter Pan Has a Blog and Jane Eyre Has a Twitter: A Grounded Theory Approach to Transmedia Adaptations of Literature”


Tomas Elliott,
University of Pennsylvania
“‘A world ransomed, or one destroyed’: Shakespeare’s possible worlds and the romance of video games”
Nicholas-Brie Guarriello, University of Minnesota
“Coliver: Fan Fiction, Alternate Universes, & Homonormative Storytelling in Shonda Rhimes’s How to Get Away with Murder”

Panel 6C: Adapting Myth, Modernity and Morality
Chair, Marton Marko

Lauren Rocha,
University of New Hampshire
“The Hag and the Seductress: Depictions of Grendel’s Mother in Contemporary Interpretations of Beowulf”
John VanOverbeke, University of St. Thomas
“Leone's American Myth”


Sinan Akilli
, Hacettepe University
“Three Shades of Humanimality on Screen: The Case of Equine Mortality in the Film Adaptations of Thomas Hardy’s Tess of the D’Urbervilles”
Marton Marko, University of Montana
“Between Myth and Modernity: Cinematic Temptations in F. W. Murnau’s Faust”


Saturday, October 15 11:00 am - 12:45 pm
Panel 7A: BBC Adaptations
Chair, John Murray

Laura Birkin,
Millersville University
“Queering the Victorian in Sarah Waters' Tipping the Velvet


Meghan Parker,
McMurry University
“Victorian Doctors and Gothic Horrors: which is the greater monster?”


Amy B. Hagenrater-Gooding,
University of Maryland Eastern Shore
“Men Suck, or How John Logan Re-Writes the Traditional Gothic Tale to Feed Women”
John Murray, Curry College
“Adaptation and Rhizomatic Growth in the Neo-Victorian Sherlock

Panel 7B: Adapting Spanish and Latin American Images
Chair,
Claudia Schaefer

Amanda McMenamin,
Wilson College
“Almodóvar’s Harbingers of Spanish Hybridity: Genre-Crossing Adaptations and Intertexts in Bad Education (2004), Volver (2006), and The Skin I Live In (2011)”


Laura Hatry,
Universidad Autónoma de Madrid
“Ideology and Religion in Strawberries and Chocolate”
Claudia Schaefer, University of Rochester
“Debunking Chronology with Schrödinger’s Cat: What Exactly Are the Crimes of Timecrimes?”


Raúl Rodríguez-Hernández,
University of Rochester
“To Drink or Not to Drink? Pactia as the Opiate of the Masses in 2033: Future Apocalypse”

Panel 7C: Adapting the Classics
Chair, Dean R. Cooledge
Dean R. Cooledge, University of Maryland Eastern Shore
“Third Time’s a Charm: Allen’s perpetual engagement with Crime and Punishment”
Steve Benton, East Central University
“To Be or Not To Be Digitized for a Global Audience: Hamlet, NT Live, and the Allure of Hollywood”
Hee-seong Lim, Iowa State University
“The Gothic Wilderness as the Alternate Worlds in Irving's Story and Burton’s Film”



Saturday, October 15 1:00 pm - 2:45 pm
Panel 8A: Adapting (to) New Technologies
Chair, Charles Hamilton
Nathaniel Henry Epstein, The New School
“Robocop: Waiting for the Cyborg Messiah”
Charles Hamilton, Texas A&M University-Central Texas
“Adaptation of Public Perception: The Acceptance of Technological Confusion and the Intertextuality of Fear in a Conspiracy Culture”
Sadie Crow, Duquesne University
“Artificial Intelligence or Artificial Emotion?: Exploring Gendered Artificial Intelligences in Her and Ex Machina”
Chris Gazzara, Rowan College at Burlington County
“Tweet First, View Second: Assessing the Processing of the Rhetorically Intensive Viewer”

Panel 8B: Adapting Gender
Chair, Charity Fox
Trinidad Linares, Bowling Green State University
“Body, Space, and Gaze in Outlander
Joseph Giunta, New York University
“I'm Not Meant to Play This Part”
Charity Fox, Penn State University, Harrisburg
“American Romance, Exotic Lands: Lessons on Gender and Family in Soldier of Fortune (1954, 1955)”
Robyn Rowley, Carnegie Mellon University
“Rethinking True Love’s Kiss: Female Embodiment, Power, and Rehabilitation in Stromberg’s Maleficent”

Panel 8C: Adapting Genre
Chair, Kristopher Mecholsky
Rebecca Hammonds, Bowling Green State University
“Digitally Mediated ‘Live’ Theatre Events”
Eric Hahn, New York University
“What Follows? Socioeconomic Durée and the Contemporary Horror Film”
Kristopher Mecholsky, Louisiana State University
“The Alternate Television Worlds of Patricia Highsmith”

Saturday, October 15 3:00 pm - 4:45 pm
Panel 9A: Adapting New Hollywood: Reboots & Franchises
Chair, Thomas Leitch

Thomas Leitch,
University of Delaware
“Origin Stories: Franchises, Reboots, and Adaptations”


Rochelle Plummer,
Wilson College
The Characters Within Us


Erica McCrystal,
St. John's University
“Gotham City and the Evolution of Gothicized America”


Catrina Hoppes,
Harvard University
“Mad Max: Fury Road: A Narrative Apocalypse”

Panel 9B: Adapting Politics
Chair, Fareed Ben-Youssef
Fareed Ben-Youssef, University of California, Berkeley
“Challenging the Rules of America’s Wartime Game: Alba Sotorra's ‘Game Over’”
Shoshana Milgram Knapp, Virginia Tech
“Adapting the Alternate Futures of Ayn Rand’s Atlas Shrugged: Three Funerals and a Renaissance”
Tatiana Prorokova, Philipps University of Marburg, Germany
“Detecting U.S. Humanitarian Intervention in David O. Russell’s Three Kings”
William Patrick Wend, Rowan College At Burlington County
“Peasants and Barbarians: How Valkyria Chronicles Uses The Tropes Of War To Reexamine The Past And Present”

Panel 9C: Adapting Stories to Social Norms, and Vice Versa
Chair, Jess Wilton
Jodi Van Der Horn-Gibson, CUNY/Queensborough Community College
“New Jim Crow Minstrelsy in 21st Century Performance: Black Masculinity in Kevin Hart and Will Ferrell’s Get Hard
Bruce Plourde, Rowan University
“‘Trust the Test’: Education as Antagonist in Film”
Jess Wilton, Carnegie Mellon University           
“‘Airworld,’ Playground and Nightmare of the Twenty-First Century Worker”


Dany Jacob, State University of New York at Buffalo
“‘But there is no real me’: the film adaptation of the literary dandy”

 
Saturday, October 15 4:45 pm - 5:45 pm
LFA Meeting

Call For Papers: 2016 Literature/Film Association Conference | October 13-15


CALL FOR PAPERS

Literature/Film Association Annual Conference
October 13-15, 2016
Rowan University
Glassboro, NJ

“Alternate Worlds”

Every work of fiction in every medium presents a world distinct from our own. Adaptations in particular can be defined in terms of their worlds, which provide alternatives to both the world of their audience and the world of their source texts. And some works of fiction invite us to think more speculatively and precisely about what it means to present or encounter an alternate world. Film and media adaptations have frequently projected an alternate cinematic world on screen that re-imagines the past and future. Movies (Blade Runner, The Quiet American), TV shows (Sherlock, Agent Carter), and digital ‘new media’ series—increasingly streamed and ‘binge watched’ on Netflix (House of Cards) and Amazon (The Man in the High Castle)—have been inspired by a variety of fiction novels, short stories, plays, comics, graphic novels, and historical works of nonfiction, memoirs (Bridge of Spies) or documentary (Jazz on a Summer’s Day) cine-essays that mediate and reframe history to portray an alternate worldview which re-imagines the past and anticipates a vision of future events. Digital video streaming and binge watching of films and media also creates an alternate world transforming the cinematic or televisual viewing reception experience. What does this cinematic adapting, re-imagining of the past (or future), and projection of an alternate world on screen tell us about the cultural moment we find ourselves in? The 2016 Literature/Film Association conference explores the theme of “Alternate Worlds.”

The conference’s keynote speakers will be: 

Nate Chinen, award-winning New York Times and JazzTimes critic (co-author of Myself Among Others: A Life in Music with George Wein) will discuss adapting jazz to film in the Newport documentary Jazz on a Summer’s Day

Thomas Doherty, Professor and Chair of American Studies at Brandeis University, an Academy Film Scholar, Fulbright Scholar, associate editor for Cineaste, film review editor for the Journal of American History, and cultural historian with a special interest in Hollywood cinema. Doherty’s books include Hollywood and Hitler, 1933-1939 (Columbia UP); Hollywood's Censor: Joseph I. Breen and the Production Code Administration (Columbia UP); Cold War, Cool Medium: Television, McCarthyism, and American Culture (Columbia UP); Pre-Code Hollywood: Sex, Immorality and Insurrection in American Cinema, 1930-1934 (Columbia UP); Projections of War: Hollywood, American Culture, and World War II (Columbia UP); and Teenagers & Teenpics: The Juvenilization of American Movies in the 1950's (Unwin Hyman).

The conference registration fee is $150 before September 15, 2016 and $175 thereafter.  All conference attendees must also be current members of the Literature/Film Association.  Annual dues are $20.  To register for the conference and pay dues, visit the Literature/Film Association website at http://litfilm.org/conference/ and use our PayPal feature.  

The conference will take place at Rowan University, located in Glassboro, in South New Jersey. It is within easy driving distance of Philadelphia, Baltimore, Washington, D.C., and about 100 miles south of New York City, and is served by the nearby Philadelphia (PHL) airport.  The official conference hotel is the Courtyard Marriott Glassboro-Rowan University, located adjacent to the Rowan University campus, where a special rate of $119/night is available to attendees who book rooms before September 15, 2016. Reservations can be made by calling 1-888-236-2427 or online at http://www.marriott.com/hotels/travel/phlgb-courtyard-glassboro-rowan-university/
The hotel is right next to campus.

For more information, visit the Literature/Film Association website at http://litfilm.org/conference/

The Literature/Film Association will make available two travel awards of $500 each for graduate student or junior faculty attendees who demonstrate a need for financial assistance.  A special prize of $250 will also be awarded for the best graduate student paper delivered at the conference.

Presenters will be invited to submit their work to Literature/Film Quarterly for potential publication.  For details on the journal’s submission requirements, visit www.salisbury.edu/lfq.

Paper proposals are invited from ALL AREAS of film and media studies.  
Proposals relating to the conference theme outlined above are especially encouraged, but also of significant interest are submissions on adaptation studies, film and history, national cinemas, film genres and stars, auteur studies, film and technology, television and new media, and cultural or political issues connected to the moving image—including any presentations concerning the alternate worlds adaptations theme and other works of imaginative fiction create in a broader context across film, literature, and media

Proposal abstracts should be 300-500 words in length and are due by June 20, 2016.  
Please submit your proposal electronically by entering your abstract on the LFA Conference Submission Form: http://goo.gl/forms/iWjDWFODZj