International Congress on Fantastic Genre, Audiovisuals and New Technologies is an activity of scientific and academic dissemination that is part of Elche International Fantastic Film Festival – FANTAELX, with the collaboration of Miguel Hernández University.
Its mission is to disseminate research studies within the different thematic lines and discourses of the Fantastic Genre, covering all its possible variants and platforms: cinema, television, theatre, literature, comics, video games, virtual reality, plastic arts, etc.
In this modality, the proposals of the Communications will follow the main thematic line of the new edition of the Congress and the Festival: Science and Fantastic Creatures.
The “creature”, as a concept open to the enormous bestiary of beings imagined by the Fantastic Genre, represents one of its main pillars and one of the first creative underpinnings of its various sub-genres (from science-fiction or high fantasy, to the territories of horror or mystery). Although the word “creature” initially alluded to living beings in a biblical and religious context (in terms of species that formed part of creation), it was in the XV century when its terminology acquired a new meaning and expanded towards the fantastic, referring to those beings whose imprint was circumscribed to legends, fables, mythologies, folklore and, in short, to any entity born of belief, superstition and human inventiveness.
In the figure of the fantastic creature lies the drive to confront the unknown or a superior adversity, the attraction to bend the forces of nature. But also the interest in connecting with otherness; as an extension of our concerns, or as a possibility of dialogue with our reflection, our nemesis, or our own history and society.
Over the years, pseudoscience has also taken up the subject of fantastical creatures, bringing its “enquiries” under umbrellas as diverse as parapsychology, dianetics and, among them, cryptozoology, whose efforts aim to prove the existence of animals that have disappeared, are hidden or come from the collective imagination. These “cryptid” beings include extinct creatures (such as dinosaurs), as well as others that may have lived in the past or may still be alive today, but whose existence has not been proven, such as the Loch Ness Monster, Chupacabra, Cuélebre or Big Foot.
In this particular relationship between fantastic creatures and science, the models of artistic and cultural representation that have woven a wide range of possibilities are well known, where both elements find their points of intersection: monstrosities born from the test tubes of human beings (sometimes at the hands of mad doctors), giant animals and other biological alterities, crosses between organisms and machinery, mutants, zombies, etc. Authors such as Mary Shelley, H. G. Wells and R. L. Stevenson cultivated the origins of this relationship in literature. Others such as David Cronenberg, Mark Schultz, Frank R. Paul, H. R. Giger or Karla Zimonja, continued this proposal from film, comics, plastic arts, sculpture or video games, respectively. All of them, among many other creators, give a good account of the existing relevance between science and fantastic creatures, and how their themes, points of union and approaches cross, with significant success, the different pages and screens of our cultural kaleidoscope.
Within its broad spectrum, the abstracts submitted for this main thematic line may follow variations such as the following:
1) The research and theoretical reflection around science and fantastic creatures, from their interconnection with the genre in its various modes of expression: studies, currents, movements, works and prominent authors and authors.
2) The concept of “fantastic creature” as an entity derived from experimentation and creation in the scientific field, and its link with the various models of audiovisual culture and new technologies: its interweaving in cinema, television series, comics, video games, virtual reality, theatre, plastic arts, etc.
3) The research and theoretical reflection on the development and evolution of the duo “science and fantastic creatures” in the various cultural and technological models, and from the perspective of the study of currents (works, outstanding authors, etc.) and variants on which to establish this relationship.
4) The connection between science and fantastic creatures as a tool for communication, reflection or social and political analysis from audiovisual fiction and the fantastic.
In this modality, the abstracts will follow the generic thematic line of the Congress: The Fantastic Genre and its possible interconnection with the different platforms of culture, audiovisual and new technologies.
Within its broad spectrum, the abstracts submitted for this generic thematic line may follow variations such as the following:
1) The research and theoretical reflection on the Fantastic Genre in its various modes of expression: studies, currents, movements, works and prominent authors.
2) The Fantastic Genre and its interconnection with the various models of audiovisual culture and new technologies: the hybrid nature of the fantastic together with cinema, comics, video games, virtual reality, plastic arts, etc.
3) Possible methodologies and tools for communication and/or teaching through platforms related to the Fantastic Genre.
4) The fantastic in the political context: approaches and studies where the fantastic establishes a discourse connected to social debate, collectivity and political action.
The deadline for submission of abstracts for both options is 21 October 2023 (inclusive).
Oral communications and their abstracts may be submitted in English, French, Spanish or Valencian; and their reading during the Congress must not exceed 15 minutes.
The presentation of the paper at the Congress is not compulsory. In the event of not attending the event as a speaker, either in person or online, the paper will also appear in the corresponding book edition.
Authors who wish to participate simultaneously in both modalities (Option 1 and Option 2), in order to include their Communication(s) in the edition of both books (paper publication in Spanish and digital publication in English), may do so:
Sending independently an email with the paper proposal for Option 1; and another email with the paper proposal for Option 2.
The period for payment of the registration fee is from 23 to 29 October 2023 (inclusive).
Once the Communication has been accepted, participants must pay a registration fee of 170€ per author, following the instructions that will be sent to them by e-mail. The fee includes:
1) Presentation of the paper at the Congress (online or in person).
2) Certificate of Communication and Attendance.
3) Proceedings book with ISBN.
4) Academic publication in Tirant Lo Blanch publishing house (1st in the absolute General Index of SPI) with book chapter in Spanish and on paper with ISBN and delivery of the book on paper.
Once the Communication has been accepted, participants must pay a registration fee of 120€ per author, following the instructions that will be sent to them by e-mail. The fee includes:
1) Presentation of the paper at the Congress (online or in person).
2) Certificate of Communication and Attendance.
3) Proceedings book with ISBN.
4) Academic publication in Ediciones Universidad de Salamanca (first quartile in the absolute General Index of SPI) with digital book chapter in English with ISBN.
All submissions must be sent to: congreso@festivalcinefantaelx.com
The mode of submission of Communications proposals must follow the following scheme, in which two text files must be sent:
A_METADATA_OPTION_1_Title, or A_METADATA_OPTION_2_Title
The word “Title” should not be written literally, but three words of the title of the Communication separated by underscores. For example:
A_METADATA_OPTION_1_Science_dinosaurs_cinema
A_METADATA_OPTION_2_History_archetypes_fantasy
B_ABSTRACT_OPTION_1_Title, o B_ABSTRACT_OPTION_2_Title, following the same system as the first downloaded document.
Authors whose texts appear in academic publications will accept the following terms:
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