Ekhprasis (Vol. 22, Issue 2/2019)

Deadline (extended): March 25, 2019

Issue editors: Fátima Chinita and Liviu Lutas

From times immemorial people have been telling stories to one another; humanity at large as well as entire civilizations have been built open this storytelling impetus. First orally, later through other media and art forms, stories have spread among cultures, eras, and generations engaging an ever-growing dissemination. Technical and technological developments have helped in this enterprise, across a vast array of long-lasting and canonical art forms as well as more popular and recent ones.

Film is precisely at that intersection, which makes it a privileged form for media confluences at the service of narrative spreading.

But how does this dialogue between film and other media and/or art forms operate? How are stories conveyed form the former to the latter(s), and vice versa? To what purpose and through what means?

What, if anything, changes in that transposition, and what remains the same? How does creativity work at this border-crossing and exactly what does it entail? How can film and other media be contained in or influence one another, not just in fictional-oriented works, but also, in keeping up with the times, in more factual and self-representative artistic outputs?

Volume 22, issue 2/2019 of Ekphrasis looks for novel and creative approaches on film and mediality at large, be it dual-, multi-, -inter or transmediality. We aim to contribute to the reflection on media collaboration from the perspective of the content, i.e. the subject of the films and other art works, i.e., its narrative aspects, whether fictional or not. This, of course, is highly influenced by the nature of the media/arts involved.

Therefore, we will prioritize submissions that are solidly grounded on theoretical work already published on this field and that combine the argument on content with the requirements made by the different media/arts involved.

Suggested Topics: (not limited to this sample)

• Intertextuality, intermediality, intramediality.
• Mediation, remediation, transmediation.
• Art forms as qualified media.
• Phenomena of hybridization.
• Transfer among media.
• Narrative adaptation, appropriation.
• Cinematic ekphrasis.
• Allusion, quotation, pastiche, parody, motifs.
• Remakes, sequels, prequels, spin-offs, reboots.
• Transmedia storytelling projects.
• Cinematic worlds and other media.
• Impossible worlds, characters, and narrative structures across media.
• Medium specificity and collaboration among media/arts.
• Palimpsest, embedding, layering.
• Narrative genres in-between or across media.
• Alternate realities, reworking facts and fiction.
• Myths, legends, fairytales and post-celluloid adaptation.

Deadline for abstracts of between 700 and 1000 words: MARCH 25, 2019.

Acceptance notice: April 15th 2019.

Final submission is due AUGUST 30th 2019.

Date of publication: DECEMBER 30th 2019.

Both proposals and final texts should be in English and should follow the style sheet available on our website.

The final submission should include: a 5,000-8,000-word article, including a 150-word abstract, 5-7 keywords, a list of references (only the cited works) and a 150-word author's bio. Proposals and final submissions should be formatted as

Word documents and sent to: chinita.estc@gmail.com and liviu.lutas@lnu.se

The articles should be original material not published in any other media before.

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