Call for Book Chapters: Femininity and Masculinity in Flux: Rethinking Fluidity, Gaze, and Gender Representation in Postmodern Cinema

Published On: 22 Jul 2025

NO PUBLICATION FEES WILL BE CHARGED TO THE CONTRIBUTORS

Concept Note

In a world marked by rapidly evolving technologies, cultural flux, and shifting identities, the cinematic terrain has become a vital site for negotiating the politics of gender, power, and sexuality. The notion of feminism and masculinity is constantly changing and evolving with time, media and culture, both in terms of theory and its praxis. Its ideologies adapt in response to changing cultural contexts, technological innovations, and shifting media narratives especially within the visual and ideological space of postmodern cinema. The ideology of feminism and masculinity is no longer bound by traditional binaries or singular narratives. Hereto, contemporary cinematic narratives put forward a complex terrain where gender roles, identity formations, and the politics of representation are constantly questioned and reinterpreted. Feminine and masculine discourse on gaze, power, and visibility emerged more nuanced with the rise of fragmented and self-aware media. The intersection of femininity and masculinity in flux manifests how cinematic spaces can simultaneously subvert and reinforce dominant ideologies around the concept of gender and power. From the subversion of classical tropes to the celebration of non-binary and queer subjectivities, cinema today offers new vocabularies of feminist and gender expression.

This edited volume titled Femininity and Masculinity in Flux: Rethinking Fluidity, Gaze, and Gender Representation in Postmodern Cinema seeks to explore how postmodern cinematic narratives that challenge, reaffirm, or reshape feminist and masculine discourses, offering new perspectives of seeing and representing gender, sexuality, and identity on screen. Postmodem cinema, with its experimental forms, fragmented narratives, and self-reflexive modes, provides a fertile ground for questioning and challenging normative constructions of gender and the traditional male gaze. Within this fluid and dynamic framework, feminist film studies critically engage with how bodies, identities, and experiences are visualised, often resisting binary categorisations and essentialist definitions.

This volume aims to bring together interdisciplinary perspectives that explore the intersections of feminist theory, visual culture, and cinematic practice. It invites contributions that analyse films across global contexts, with a focus on how feminist and masculine filmmakers, critics, and scholars are reshaping the narrative, form, and politics of cinema in the postmodern and digital era.

Thus, the forthcoming edited volume seeks to engage with scholarly works around but not confined to the following themes:

Feminine/Masculine Film Studies
Gender Representation through the Lens of Femininity/Masculinity
Female/Fluid Gaze
Queer Cinema
Gender Performativity
Fandom/Fans Celebrations
Digital Fandom
Women/Men Filmmakers
LGBTQ Representation
Postfeminism
Body Politics in Cinema
Feminist/Masculine Aesthetics
Erotic/Sexual Representation in Cinema
Experimental Cinema
Digital Feminine/Masculine
Gender Representations in OTT Platforms
Gender and Genre
Cyborg and Posthuman Bodies
Feminism/Masculine Popular Culture

As an edited volume of scholarly articles, the book would be of interest to scholars and students of media, cinema, as well as practitioners of law, film writers and filmmakers. The book will be published by Naamak Publication.

SUBMISSION GUIDELINES

Authors are requested to adhere to the following guidelines as:
Compliance to MLA stylesheet latest edition (8th edition).
Paper size: A4 (margin 1 inch on all four sides).
Full title of the paper: Times New Roman, 14 font size, Bold.
Main body of the paper. Times New Roman, 12 font sizes, justified, 1-5 line space.
Length of the paper: About 3000-4000 words including works cited.

The paper should be accompanied with:

An abstract in about 200-300 words along with 5-8 keywords and a short bio note of the contributor(s) in 100 words maximum.
A declaration that "It is an original research work of the author and has not been published anywhere else or has not been sent for publication anywhere and that it is free
from plagiarism and has not been generated using Artificial Intelligence (AI) tools or applications; all external sources in the paper are duly acknowledged and documented."
A plagiarism report must be attached along with the final submission. Plagiarism exceeding 10% will lead to outright rejection of the chapter.
A short bio note of the contributor(s) to be attached along with an abstract indicating name, designation, affiliation and brief career history, contact details and email.

Editor

Dr. Sweta Kumari.

Mr. Roudrajjal Dasgupta

ABSTRACT SUBMISSION- scholarsofcinema@gmail.com

Contac: sweta777sah@gmail.com