We are pleased to announce the call for papers of the next issue of
*L'Atalante.
Revista de Estudios Cinematográficos* which, under the title of "The impact
of Japanese and South Korean audiovisual production on the Spanish-speaking
world", is open to contributions. You can find detailed information at:

http://www.revistaatalante.com/index.php?journal=atalante&page=announcement&op=view&path%5B%5D=59



The deadline for article proposals for the "Notebook" section is June 30th
2019. The issue will be published in January 2020.



We sincerely hope that this information may be of your interest. Please
feel free to share this call among your contacts. Thank you in advance.



*L'Atalante. Revista de estudios cinematográficos*



http://www.revistaatalante.com



info@revistaatalante.com



*THE IMPACT OF JAPANESE AND SOUTH KOREAN AUDIOVISUAL PRODUCTION ON THE
SPANISH-SPEAKING WORLD*



**



Acceptance of articles for the section "Notebook": *from June 1st to June
30th *



In recent years, even while interest has been growing in China's increasing
influence as the dominant power in East Asia, the global presence of
different expressions of contemporary Japanese and South Korean culture has
been constantly on the rise. The interest in literature, graphic products,
pop music, video games, cuisine, and especially audiovisual productions
from Japan and South Korea has turned these two countries into cultural
superpowers with a prominent place in an increasingly fragmented global
entertainment industry (Lie, 2014; Kuwahara, 2014; Otmazgin & Lyan, 2013).



In addition to the regular appearance of Japanese and South Korean films on
international festival circuits --at festivals dedicated either to the
horror and fantasy genres (Brown, 2018; Tezuka, 2012) or to art-house films
(Martinez, 2009; Chung & Diffrient, 2015)--, their presence is becoming
increasingly common in catalogues of subscription video-on-demand
platforms (Lobato,
2018), with highly popular forms like K-dramas, Japanese *doramas *and
anime (Hernandez Hernandez & Hirai, 2015; Kirsch, 2015; Wada Marciano, 2010),
which in some cases form part of powerful crossmedia and transmedia
narratives with a transnational reach. Proof of the consolidation of
Japanese and South Korean film and television productions in the global
circulation of popular culture is the role they are playing in the
transformation of the social landscape through new consumer practices--such
as fansubbing (Hills, 2016), cultural pilgrimages (Sabre, 2016), and
memorabilia collecting (Steinberg, 2017). Increasingly, they have
contributed to the establishment of influential languages and aesthetics
inspired by horror (Wee, 2014) or by the design of *manganime*
characters (Pellitteri,
2018; Morisawa, 2019) and stereotypes turned into visual tropes (Hinton,
2013; Kinsella, 2014), as well as to the emergence of expressions of
identity associated with specific market niches and subcultures, like the
active *otaku *communities (Lamarre 2006; Miller, 2017).



Academic research on this topic has focused mainly on the dissemination,
reproduction and consumption of Japanese and South Korean audiovisual
productions in English-speaking and Intra-Asian contexts (Chua and
Iwabuchi, 2008; Iwabuchi 2002, 2004; Iwabuchi, Thomas and Muecke, 2004; *Kim
2008, 2013, 2019)*, while the question of their reception and influence in
the Spanish-speaking world has been largely overlooked. In the interests of
filling this void, we present this call for papers for our *Notebook*
section. We welcome contributions related to case studies of exceptionally
significant individual products, as well as the development of conceptual
approaches aimed at clarifying the representational, aesthetic and/or
artistic aspects of contemporary Japanese and South Korean productions in
the Spanish-speaking world. With this in mind, we suggest the following
questions as points that may be addressed in submissions for publication:



- What are the predominant aesthetic and narrative features of the
contemporary Japanese and South Korean audiovisual productions consumed in
the Spanish-speaking world? In exploring this question, it would be
interesting to identify South Korean and Japanese audiovisual franchises
and explore the strategies or pre-existing factors that have facilitated
their popular acceptance around the world.

- Are these audiovisual productions involved in the creation of unique
visual discourses, narrative articulations and aesthetic
conceptualisations? For example, authors could identify the aesthetic
influences of *manganime* on film and television productions in the
Spanish-speaking world.

- Do these audiovisual productions exhibit their own shared
characteristics? Are they related to the existence of specific media
outlets, consumer practices and modes of appropriation? We are seeking
explorations of creative interactions and mechanisms for redeveloping and
appropriating aesthetic and narrative features of Japanese and South Korean
audiovisual production, as well as consumer groups and the relationships
they establish with others, either in the same region or in the rest of the
world.

- What specific variations and overlaps can be identified at an
intra-regional level? And what role do consumer groups, audiovisual
industries and national and transnational distribution circuits play at
that level? Authors are invited to explore the grassroots initiatives that
mobilise cultural resources, representational discourses and configurations
of taste in public perceptions of Japan and South Korea through their
contemporary audiovisual production.

- To what extent do historical developments, cultural legacies and social
and political formulations pre-existing in the region influence this
phenomenon?





*References*



Brown, S. T. (2018). *Japanese Horror and the Transnational Cinema of
Sensations*. New York: Palgrave Macmillan.

Chua B. H. y Iwabuchi, K. (eds). (2008). *East Asian Pop Culture:
Approaching the Korean Wave*. Hong Kong: Hong Kong University Press.

Chung, H. S. & Diffrient, D. S. (2015). *Movie Migrations: Transnational
Genre Flows and South Korean Cinema*. New Brunswick: Rutgers University
Press.

Hernandez Hernandez, A. D. & Hirai, T. (2015). The Reception of Japanese
Animation and Its Determinants in Taiwan, South Korea and China. *Animation:
An Interdisciplinary Journal* *10*(2), 154-69. doi:10.1177/1746847715589061.

Hills, M. (2016). Transnational Cult and/as Neoliberalism: The Liminal
Economies of Anime Fansubbers. *Transnational Cinemas 8*(1), 1-15.
doi:10.1080/20403526.2016.1245921.

Hinton, P. (2013). The Cultural Context and Social Representation: The
Japanese Schoolgirl in British Popular Culture. *Journal of Intercultural
Communication*, no. 31.

Iwabuchi, K., Thomas, M. & Muecke, S. (eds). (2004). *Rogue Flows:
Trans-Asian cultural traffic*, Hong Kong: University of Hong Kong Press.

Iwabuchi, K. (2002). *Recentering globalization: Popular culture and
Japanese transnationalism*. Durham: Duke University Press.

Iwabuchi, K. (ed). (2004). *Feeling Asian Modernities: Transnational
consumption of Japanese TV drama*. Hong Kong: University of Hong Kong Press