CFP: Text to Screen

From: matthew wilhelm kapell <[email protected]>

=46rom Text to Screen: Spinning Words into Film in the Science-Fiction =
and Fantasy genres

The translation of pre-existing works (plays, novels, short stories) to =
the big screen remains a problematic process fraught with difficulties =
of cultural translation and updates as well as differences media forms =
and traditions. How do filmmakers take a work =96 especially one that =
existed in a different cultural and historical time =96 and translate it =
for contemporary audiences?

Such films are seeing unprecedented success in American and world =
cinema. Having received initial interest from an academic publisher the =
editors seek chapter proposals on films and the pre-existing texts they =
are based upon for a work that asks questions about the two kinds of =
=93translation=94 happening here: How do filmmakers produce a film based =
on a non-filmic text? And, at the same time, how do they update the =
cultural ideas in those pre-existing texts for a modern audience without =
losing the inherent ideas of the original work?

Proposals should consider the following list in assessing their idea=92s =
suitability for this project:

1. Proposals should include either recent films, =93classics,=94 or =
films underrepresented in academic discussions.
2. Films should be based on non-film texts (preferably written) that are =
either genre or non-genre.
3. Preference to texts/films that have a somewhat significant period of =
time between the original text and the filmed version (i.e., Ender=92s =
Game) unless the film/text are undeniably popular (i.e.: Jurassic Park).
4. Emphasis on the needs of the filmmaker to "culturally update" the =
original text to make it relevant for contemporary audiences, especially =
along lines of =93race/class/gender=94 and technology/philosophy.
5. Emphasis on the cultural/mythic/folkloric importance of both the =
original text and the film version.
6. Preference to works that have seen more than a single film =
production.
7. The editors also wish to indicate a strong preference for avoiding =
unnecessary academic jargon and emphasizing clear writing and =
readability.
8. The editors also prefer not to receive proposals on the works of =
Philip K. Dick at this time.
=20
Proposals:

Chapter proposals should provide a brief abstract (200-400 words) for a =
chapter of 5,500 to 7,000 words and detail the main thesis of the =
proposed chapter. Proposals should also include the name, discipline, =
and current affiliation (if any) of the author(s) with a separate, =
single page C.V. The editors are willing to consider proposals from =
graduate students and independent scholars. Proposals should be sent, as =
a Word and Word-compatible attachment to [email protected] by 1 =
March. Decisions on proposals will be made by 31 March and initial =
drafts are expected by 2 June with final drafts due by 18 August. The =
dates listed are subject to modification as deemed appropriate by the =
Press but the editors do not anticipate moving the dates up in the =
calendar.

The editors are interested in proposals on all possible films or film =
franchises, but are especially interested in the following:

War of the Worlds (Wells/Haskin [1953]/Spielberg [2005])
Oz (Baum/Semon [1925]/Fleming [1939]/Raimi [2013, Oz The Great and =
Powerful]
The Day the Earth Stood Still (Bates/Wise [1951]/Derrickson [2008])
The Thing (Campbell, Jr./Nyby [1951, as The Thing from Another =
World]/Carpenter [1982]/Heijningen, Jr. [2011])
Planet of the Apes (Boulle/Var. Directors, 1968-2014)
Ender=92s Game (Card/Hood)
Harry Potter (Rowling/Var. Directors, 2001-2011)
I, Robot (Asimov/Proyas)

The editors also welcome general queries and questions concerning =
possible proposals and the suitability of specific films/texts at =
[email protected] address.
Editors: Matthew Wilhelm Kapell & Ace G. Pilkington
 _______________________________
 Matthew Wilhelm Kapell |  matthewkapell.com

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