Deadline extended for "The Handbook of Trans Cinema." We warmly invite additional chapters, with high priority for chapters exploring transgender films from Africa, Latin America, Asia, Oceania, and Europe. Proposals due March 6. We already have 40+ confirmed chapters exploring trans films from 6 continents. Following this list of confirmed chapters, you will find details about how to submit your proposal for additional chapters. The handbook will include only one chapter for each topic, so please do not send proposals for any of the confirmed chapters listed here:

CONFIRMED CHAPTERS FOR "THE HANDBOOK OF TRANS CINEMA"

• Foreword, Cáel M. Keegan, Concordia University, Canada

PART I. FILM GENRES

• Coming-of-Age Trans Cinema, James Cleverley, University of Melbourne, Australia
• Romance as Trans Cinema, Laura Horak, Carleton University, Canada
• Romantic Comedy as Trans Cinema, Allison Rittmayer, Northwestern State University of Louisiana, USA
• Fantasy as Trans Cinema, Niall Richardson, Frances Smith, and Luke Brookman, University of Sussex, UK
• Science Fiction as Trans Cinema, Shaista Irshad, Iswar Saran Degree College, India
• Apocalyptic Trans Cinema, M.A. Miller, Washington State University, USA
• Horror as Trans Cinema, Kaela Joseph, Palo Alto University, USA
• Body Horror as Trans Cinema, Eamon Schlotterback, Northeastern University, USA
• Animation as Trans Cinema, Jacqueline Ristola, University of Bristol, UK and Evelyn Ramiel, York University, Canada
• Anime as Trans Cinema, Elk Paauw, University of Western Ontario, Canada
• Sports Films as Trans Cinema, Allison Rittmayer, Northwestern State University of Louisiana, USA
• Experimental Trans Cinema, Sammy Holden, Edge Hill University, UK
• Expanded Cinema as Trans Cinema, Jean Hyemin Kim, Independent Scholar, South Korea

PART II. CORE CONCEPTS

• Adaptations and Trans Cinema, Alexa Alice Joubin, George Washington University, USA
• Auteur Theory and Trans Cinema, Joshua Bastian Cole-Kurz, Quinnipiac University, USA
• Abjection and Trans Cinema, Xena Dulac and Todd W. Reeser, University of Pittsburgh, USA
• Precarity and Trans Cinema, Barirah Nazir, University of Sargodha, Pakistan
• Law and Trans Cinema, Emily E. Roach, The University of Law, UK
• Reveal and Trans Cinema, Iliana Cuellar, University of California, Riverside, USA
• Gender Dysphoria and Trans Cinema, Slava Greenberg, University of Amsterdam, The Netherlands
• Dissociative Identity Disorder and Trans Cinema, Britt Rhuart and Dylan Reid Miller, Bowling Green State University, USA
• Identity and Trans Cinema, Fabio Vittorini, IULM University, Italy
• Historicity and Trans Cinema, Marlowe Mitchell, Northern Film School, UK and Kit Heyam, Leeds Queer Film Festival, UK
• Kinship and Trans Cinema, Teagan Bradway, SUNY Cortland, USA
• Dance and Trans Cinema, Addie Tsai, William and Mary, USA
• Exit Scapes and Trans Cinema, Wibke Straube, Karlstad University, Sweden
• Reterritorialization and Trans Cinema, Aaron Hammes, Case Western Reserve University, USA
• Travesti and Trans Cinema, Angela Rodriguez Mooney, Texas Woman's University, USA and Sara J. Pancerella, Tulane University, USA
• Hijras and Trans Cinema, Sony Jalarajan Raj and Adith K. Suresh, MacEwan University, Canada

PART III. NATIONAL OVERVIEWS OF TRANS CINEMA

• Trans Cinema from Ireland, James Brunton, University of Nebraska-Lincoln, USA
• Trans Cinema from Germany, Marlowe Mitchell, Northern Film School, UK and Kit Heyam, Leeds Queer Film Festival, UK
• Trans Cinema from Poland, Elżbieta Durys, University of Warsaw, Poland
• Trans Cinema from Italy, Fabio Vittorini, IULM University, Italy
• Trans Cinema from France, Todd W. Reeser and Xena Dulac, University of Pittsburgh, USA
• Trans Cinema from Spain, Pedro Cabello del Moral, City University of New York and Vassar College, USA
• Trans Cinema from Brazil, Juma Pariri, São Paulo State University (UNESP), Brazil and Ribamar Jos‚ de Oliveira Junior, Federal University of Rio de Janeiro (UFRJ), Brazil
• Trans Cinema from South Africa, Allison McGuffie, University of Oregon, USA
• Trans Cinema from India, Parvin Sultana, Pramathesh Barua College, India
• Trans Cinema from Pakistan, Aqdas Aftab, Loyala University Chicago, USA and Aon Ul Abideen, University of Alberta, Canada
• Trans Cinema from Japan, Nemo Madeleine Sugimoto Martin and Yutaka Kubo, Kanazawa University, Japan
• Trans Cinema from Vietnam, Trung M. Nguyen, Oregon State University, USA
• Trans Cinema from the Philippines, Brenda Rodriguez Alegre, The University of Hong Kong, Hong Kong
• Trans Cinema from Australia, Yves Rees, La Trobe University, Australia and Joanna McIntyre, Swinburne University of Technology, Australia
• Trans Cinema from Aotearoa New Zealand, Paige Macintosh, Te Herenga Waka—Victoria University of Wellington, Aotearoa New Zealand

"The Handbook of Trans Cinema" provides an encyclopedic overview of international trans cinema, with chapters examining the variety of genres of trans cinema from around the world, as well as the connections between these films and core concepts in trans studies and in film theory. Each chapter will provide a broad overview of its subject, with extensive references to both trans theory and film theory. In addition to giving surveys of the chapter’s topic, chapters will include in-depth discussion of at least three films. Abstracts for proposed chapters should include several references to both trans theory and film theory.

Our highest priority is additional chapters for Part III (National Overviews of Trans Cinema) to ensure representation of films from additional countries in Africa, Latin America, Asia, Oceania, and Europe. Each of the chapters in Part III will focus on films from a single country, ideally examining at least three films in-depth, which should be listed in the abstract. For countries that have not created numerous films on trans themes, an in-depth analysis of two films is enough, and this may include short films.

We also welcome proposals on additional film genres dealing with trans themes for Part I (Film Genres). All genres may be proposed (except those already covered by confirmed chapters), with proposals for the following chapters especially encouraged: "Documentary as Trans Cinema," "Biopic Trans Cinema," "Comedy as Trans Cinema," "Musical Trans Cinema," "Historical Trans Cinema," "Westerns as Trans Cinema," "Mystery Trans Cinema," "Fan Fiction Trans Cinema," "Action Adventure Trans Cinema," and "Silent Trans Cinema." To be most competitive, each proposal for Part I should examine at least three films in-depth, and these films should come from different countries and should be in different languages.

Proposals are also invited for Part II (Core Concepts). Any concept related to trans studies or to film studies may be proposed (except those already covered by confirmed chapters), with proposals for the following chapters particularly welcome: "Shimmering and Trans Cinema," "Performativity and Trans Cinema," "Camp and Trans Cinema," "The Transgender Gaze and Trans Cinema," "Passing and Trans Cinema," "Wrong Body and Trans Cinema," "Queer Phenomenology and Trans Cinema," "Colonialism and Trans Cinema," "Disability and Trans Cinema," "Sound and Trans Cinema," "Music and Trans Cinema," and "Archives and Trans Cinema." To be most competitive, each proposal for Part II should examine at least three films in-depth, and these films should come from different countries and should be in different languages.

The senior editor of "The Handbook of Trans Cinema," Douglas Vakoch, has edited over two dozen books, including "The Routledge Handbook of Trans Literature" (with Sabine Sharp, 2024) "Transgender India: Understanding Third Gender Identities and Experiences" (2022), and "Transecology: Transgender Perspectives on Environment and Nature" (2020).

Interested authors should submit a 300-word abstract, a 200-word biography, and a sample of a previously published chapter or article to https://bit.ly/HandbookofTransCinema no later than March 6, 2025. Proposals submitted by email will not be accepted. Abstracts and biographies should be submitted as Word documents, and previously published chapters or articles should be submitted as PDFs. Both Word files and PDFs should contain the author’s name in the file names. Please include your email address in your biography file so we can contact you with our decision about your proposal.

Proposals should focus on films with a specifically trans focus, not merely a broadly LGBTQ focus.

You are welcome to submit more than one abstract. If you submit multiple abstracts for different chapters, please add a note at the top of each abstract to indicate whether you wish to be considered for writing only a single chapter, or whether you wish to be considered for writing more than one chapter.

The most competitive proposals will detail the author's argument. It is not enough to describe what you plan to do in your chapter. You should summarize what you will conclude. For example, it's not enough to say you will examine multiple films from diverse countries. List the specific films you propose to include and then explain what your analysis will demonstrate.

Authors will be notified whether their proposals are accepted by March 20, 2025. Partial first drafts are due by July 15, 2025; solid first drafts of full chapters are due by October 1, 2025; and final versions that cross-reference other chapters extensively are due December 1, 2025. All chapters must include at least one author with a PhD. In your 200-word biography, please note the year and university where you earned your doctorate. Only previously unpublished works will be considered.