CFP: Doing Women’s Film and Television History IV

 Doing Women’s Film and Television History IV: Calling the Shots – Then, Now, and Next

University of Southampton, May 23 – 25, 2018

Organising team: Shelley Cobb, Linda Ruth Williams, and Natalie Wreyford

As researchers of the AHRC-funded project Calling the Shots: Women and Contemporary UK Film Culture 2000-2015 we are proud to host the fourth International Doing Women’s Film and Television History conference in association with the Women’s Film and Television History Network – UK/Ireland.

The focus for DWFTH-IV is predicated on the idea of the contemporary as an historical formation. The conference will offer a space to think about the interconnectedness of the past, present and future in feminist historiography and theory, as well as across all forms of women’s film culture and filmmaking. It will also consider women’s film and television histories and their relationships with the contemporary, framed and read historically, to reflect on our methodological, theoretical, ideological and disciplinary choices when researching and studying women and/in film and television. In addition to this theme, we are interested in proposals/panels on all topics related to women’s film and television history, from all eras and from all parts of the globe. We hope that DWFTH-IV will build on the successes of the previous conferences through new work on women, both historical and contemporary, and fresh thinking on what we mean by women’s film and television history.

Calling the Shots is producing important new research on women in cinema now, through interviews, data analysis and writing. We are finding and recording all the women who have been employed in six key roles in British film production since 2003. We are interviewing over 50 of these women thereby producing a record of their involvement and achievements. The scale and forensic detail of the project shows both what they have done and where they have been excluded. Since its inception, Calling the Shots has been affiliated with WFTHN-UK/Ireland, and in doing our research we continually reflect on how contemporary study both relies on historical precedents and develops new models for thinking and working historically, while being focused on the present.

Keynote speakers TBC

(The conference will include screenings with special guests, as well as sessions with film and television practitioners and other industry professionals.)

Papers are invited on any aspect of women’s work in, consumption of, and relationship with film and television. The following is an indicative (and by no means exhaustive) list of possible topics:

  • women’s film/TV historiography: filling gaps or changing history?
  • history formulated as in medias res: how do we do contemporary history, and what are the implications of thinking of the historical in this way?
  • methodologies: archive searches, data collection (uses, limitations, difficulties collecting); interviews with practitioners; creative/cultural industrial approaches
  • the impact of social, economic and industrial conditions (including industry regulation) on women’s roles and creative practices
  • new ways of doing textual analysis of women’s films (rethinking feminist theory?)
  • re-thinking women as ‘auteurs’ of film and television (directors, showrunners, producers, actors)
  • feminism & women’s film history; historicizing women’s film collectives of 1970s and 80s; feminist filmmaking today (and tomorrow?)
  • international and transnational contexts: connections, comparisons, collaborations, migration
  • crossing industry boundaries: film, television, theatre, radio, journalism, art, etc
  • practice-based research: directing, screenwriting, sound/set/costume design, etc

– the relationship between practice-based research and history

  • women audiences/viewers and women as fans
  • women campaigner/activists in film and television and for on-screen/off-screen change
  • women’s film criticism/women film critics
  • the uses of social media by women filmmakers/showrunners/actors/critics/fans/campaigners etc
  • digitisation in women’s filmmaking and future histories
  • ‘women’s cinema’ as critical category in post-feminist contexts
  • women’s independent filmmaking and/versus women’s mainstream (or blockbuster) directing
  • changing the curriculum: critical canons, teaching & film programming; pedagogies of women’s film and television history; teaching feminist history and theory; including women’s film and television in core modules/classes
  • the relationship between film and television genres, their gendered affiliations and women’s involvement in their production
  • women practitioners’ negotiations of femininity and/or feminism in their working lives
  • the intersection of class, race, sexuality, disability and women both on screen and behind the camera
  • issues of archiving and preservation for women’s film and television
  • distribution and exhibition and broadcasting – finding and seeing women’s film and television

Proposals for twenty-minute presentations must include the title of the presentation, a 250-word abstract and a brief biography the author(s). Pre-constituted panels of three speakers may also be submitted, and should include a 250-word panel rationale statement, as well as individual abstracts. Proposals from both established scholars and early career researchers including postgraduate students are welcomed. Proposals should be submitted to before the 3 November 2017. Participants will receive a response from the selection committee before 20 December 2017.

Calling the Shots: Women and Contemporary Film Culture in the UK, 2000-2015 is an AHRC funded research project, running from 2014-2018. The project team are: Dr Shelley Cobb (Southampton); Prof Linda Ruth Williams (Exeter); Dr Natalie Wreyford (Research Fellow, Southampton); Ania Ostrowska and Sarah Smyth (PhD candidates, Southampton). Further details of the project can be found at:

Further details on the Women’s Film and Television History Network – UK/Ireland can be found at:



CFP: Let’s Go to Work: The Legacy of Angel – A Slayage Special Issue

On October 5th 1999, the first episode of Angel – the spin-off to Buffy the Vampire Slayer – aired on the WB.  The television show ran for five seasons and ended with a bang – or at least with a dragon – on May 19th 2004. The story continued in comic book form, including Angel: After the Fall (IDW Publishing), Angel & Faith Season 9 and Angel & Faith Season 10 (Dark Horse Comics).  While the show has received critical attention in the form of journal articles in Slayage: The Journal of Whedon Studies, Critical Studies in Television, Refractory, and Intensities: The Journal of Cult Media, as well as a small number of booksthe series has never received the same level of critical attention as its parent-text Buffy as well as other Whedon/Mutant Enemy texts. Yet its aesthetic hybridity and horror pedigree, as well as its preoccupation with themes of redemption, masculinity, corporate evil, apocalypse, and the need to keep fighting the good fight in the face of seemingly insurmountable odds, make it increasingly relevant. More so than ever, Angel’s epiphany ‘If nothing you do matters, then all that matters is what you do’ speaks to the contemporary reality of our socio-political landscape.
The show’s 20th anniversary in 2019 is an ideal opportunity to reflect once again upon Angel, not only in terms of its significance as a series, but also the legacy and influence of the show, in terms of content, theme, and personnel.  The editors of this special issue – Stacey Abbott and Simon Brown –  thus invite proposals for papers on any aspect of Angel the television series and/or its comic-book spin-offs. As Angel tells his team as they face a horde of demons and monsters ‘Let’s go to work’.
Proposals may include, but are not restricted to:
·        Aesthetics and production contexts
·        Discussions of direction, editing, music, set design, and sound
·        Representations of the city
·        Examinations of key themes such as: masculinity, redemption, apocalypse, and/or Corporate Evil
·        Issues of gender
·        Angel as apocalyptic/post-apocalyptic fiction
·        Angel and genre (comedy, horror, Film Noir, melodrama)
·        The Angel finale
·        Angel in relation to other Whedon texts
·        Angel in relation to other vampire TV series (True Blood, Vampire Diaries, The Originals, The Strain, Penny Dreadful)
·        Angel and TV Horror
·        The legacy of the sympathetic/reluctant vampire
·        Angel: After the Fall, Angel & Faith, and other comics
·        Transmediality
·        Fandom
·        Legacy of the creators of Angel (e.g. Joss Whedon, David Greenwalt, Jim Kouf, Tim Minear, Jane Espenson, Steven DeKnight, Ben Edlund, Drew Goddard, Jeffrey Bell, Elizabeth Craft, Sarah Fain, Marita Grabiak)
·        Legacy of the cast
Please send a 200-300 word proposal and a short bio by the 15th January 2018 to Stacey Abbott ( and Simon Brown ( Decisions will be made, and everyone will be notified, by the 12th February 2018. If your proposal is accepted please note that a first draft will be due by the 29th June 2018.

Call for Papers: Women and New Hollywood

Please see the  CFP announcement below.  Full details and further information can be found at:  Queries can be directed to: or to one of the conference organizers: Aaron Hunter ( or Martha Shearer (

Women and New Hollywood
Maynooth University, Ireland
29-30 May 2018

Recent decades have witnessed no shortage of critical or academic writing on the industrial upheaval and creative innovations of New Hollywood (1967-80). But as scholarship has shaped the era, it has done so around a very narrow set of concerns, the overriding one casting New Hollywood as an era of great directors, which, by default, has meant an era of “great men.” Such a vision relies on the kind of identification of creativity with masculinity that Geneviève Sellier has discussed in relation to the French New Wave, and its construction has required a marginalisation, erasure even, of the creative labour of countless women practitioners.

Media Studies at Maynooth University and the Irish Research Council are happy to announce the conference Women and New Hollywood, to be held at Maynooth Unversity on 29-30 May, 2018.

The conference will endeavour to excavate and reassess the various roles that women’s creative labour played in shaping the New Hollywood era across all facets of production and within the broader cultural context. We hope to challenge the dominant discourse around New Hollywood, which is, among other things, heavily gendered in its bias towards a creativity, an innovation, and a labour that continue to be framed as almost entirely male.

To that end we invite proposals on any aspect of Women and New Hollywood, including but not limited to:

  • women practitioners – analysing the work of specific editors, designers, directors, writers, producers, etc.;
  • how the work of particular women of the ‘70s has influenced later Hollywood filmmakers;
  • actors behind the camera;
  • women in charge – charting the rise of the first wave of women executives and studio heads and their influence on later eras of Hollywood;
  • the relationship between women in production and women’s representation on screen;
  • women’s film criticism during the era;
  • women, New Hollywood, and second-wave feminism;historiography & institutional memory – how contemporary institutions such as publishers, archives, or film studies departments perpetuate or challenge the marginalisation of New Hollywood women;
  • theorizing the ‘70s – through a contemporary lens or by revisiting ‘70s feminist theory.

Proposals should be submitted in one email to by 20 December 2017. Participants will be notified by the selection committee before the end of January 2018.

WFTHN Seeks Twitter & Website Editor

Are you a budding social media enthusiast? If so, we’d love to hear from you!

The Women’s Film and Television History Network is looking for a volunteer to lead our social media presence on Twitter and to support the website, specifically by updating content and posting the WFTHN blog. The Twitter and Website Editor will join colleagues on the WFTHN Steering Committee and will work alongside a smaller group of members who deliver the social media and online outputs of the Network.

The role offers experience in terms of using social media platforms, research, administration and representation at committee level alongside experienced colleagues with interests in women’s film and television history.

We particularly welcome applications from disabled and Black, Asian and Minority Ethnic (BAME) women who are under-represented on the WFTHN committee at present. Training will be offered to candidates who demonstrate commitment and enthusiasm but may lack previous experience. However, experience of using WordPress and other social media platforms is welcome.

The role will be initially for 1 year and involve the following:

*  administration of the Network’s Twitter account
*  sourcing and posting news, events, and resources to the WordPress website
*  contributing to the Network’s other social media outputs, particularly the posting of the regular Network blog
*  participating in the organisation of the Network as a steering committee member

Expressions of interest are welcomed until midnight on Friday 30 June, after which the role will be appointed.

For further information, please contact Clare Watson via the Contact Us page on the WFTHN website.

Trailblazing Women Symposium


Trailblazing Women On and Off Screen

A One Day Symposium Blending Theory and Practice

Department of Creative Professions and Digital Arts (CPDA), University of Greenwich

Thursday 29th June 2017

The Creative Professions and Digital Arts Department at the University of Greenwich, in collaboration with the Women’s Film and Television History Network UK/Ireland, are proud to host a one-day symposium blending theory and practice to explore the themes of trailblazing women on and off screen, past and present. 

The event is aimed at both academic researchers and film and television practitioners. The day will comprise a blend of screenings, keynote talks and panels, including representatives from the BFI, Raising Films, Calling the Shots (AHRC-funded research project), Women’s Film and Television History Network and Women Over 50 Film Festival.  This promises to be a unique day to explore the challenges and opportunities encountered in contemporary film and television culture.  

The event is free and places can be reserved through Eventbrite, where further details (including confirmed speakers) can currently be found here.

You can find the full PDF advertising the event here.

Please direct any queries to