We warmly invite additional chapters for The Handbook of Trans Cinema, with high priority for chapters exploring transgender films from Africa, Latin America, Asia, Oceania, and Europe. Proposals are due April 17, 2025. We already have over 70 confirmed chapters exploring trans films from 6 continents. After the following 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

• Silent Cinema as Trans Cinema, Chris O’Rourke, University of Warwick
• Coming-of-Age Trans Cinema, James Cleverley, University of Melbourne, Australia
• Road Movies as Trans Cinema, Page Maitland, University of Newcastle, Australia
• Romance as Trans Cinema, Laura Horak, Carleton University, Canada
• Romantic Comedy as Trans Cinema, Allison Rittmayer, Northwestern State University of Louisiana, USA
• Greek Tragedy as Trans Cinema, Dimitris Papacharalampous, Hellenic Film and Audiovisual Center, Greece
• 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
• Chinese Opera as Trans Cinema, Yuqing Liu, University of Hong Kong, Hong Kong
• Musicals as Trans Cinema, Niall Richardson, University of Sussex, UK and Sofía Otero-Escudero, University of Seville, Spain
• Glam Rock as Trans Cinema, Yu-Yun Hsieh, Baruch College, USA
• 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. NATIONAL OVERVIEWS OF TRANS CINEMA

• Trans Cinema from Iran, Arash Mohammad Avvali, Leiden University, The Netherlands
• Trans Cinema from Pakistan, Aqdas Aftab, Loyala University Chicago, USA and Aon Ul Abideen, University of Alberta, Canada
• Trans Cinema from India, Parvin Sultana, Pramathesh Barua College, India
• Trans Cinema from Bangladesh, Nibu Thomson, Nirmala College (Autonomous), India
• Trans Cinema from Mainland China, Ke Zhu, University of Amsterdam, The Netherlands and Wenxi Hu, The Education University of Hong Kong, Hong Kong
• Trans Cinema from Japan, Nemo Madeleine Sugimoto Martin and Yutaka Kubo, Kanazawa University, Japan
• Trans Cinema from South Korea, Kyoung-suk Sung, National Research Foundation of Korea, South Korea
• Trans Cinema from Taiwan, Chung-Hao Richard Ku, National Yang Ming Chiao Tung University,Taiwan
• Trans Cinema from Hong Kong, Cecilia Ka Hei Wong and Chi Shing Lee, Chinese University of Hong Kong (CUHK), Hong Kong
• Trans Cinema from Thailand, Nick Pozek, Columbia University, USA
• Trans Cinema from Vietnam, Trung M. Nguyen, OregonState 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
• Trans Cinema from Canada, Libe García Zarranz, Norwegian University of Science and Technology (NTNU), Norway
• Trans Cinema from Mexico, Ariadna Tenorio, University of Florida, USA
• Trans Cinema from Brazil, Juma Pariri, São Paulo State University (UNESP), Brazil and Ribamar José de Oliveira Junior, Federal University of Rio de Janeiro (UFRJ), Brazil
• Trans Cinema from Venezuela, Claritza Arlenet Peña Zerpa, Universidad Católica Andrés Bello (UCAB), Venezuela and José Alirio Peña Zerpa, Universidad Austral (UA), Argentina
• Trans Cinema from Colombia, Paola Uparela, University of Florida, USA and Paulo Alejandro Barón Castaño, Filmmaker, Colombia
• Trans Cinema from Peru, Bethsabé Huamán Andía, Saint Catherine University, USA
• Trans Cinema from Chile, Cristián Opazo, Pontificia Universidad Católica de Chile, Chile and Ignacio Pastén Lopez, City University of New York (CUNY), USA
• Trans Cinema from Argentina, Madison Felman-Panagotaco, Middlebury College, USA
• Trans Cinema from Portugal, Fernanda Belizário and Rita Alcaire, University of Coimbra, Portugal
• Trans Cinema from Spain, Pedro Cabello del Moral, City University of New York and Vassar College, USA
• 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 Ireland, James Brunton, University of Nebraska-Lincoln, USA
• Trans Cinema from Sweden, Ester Jiresch, University of Groningen, The Netherlands
• Trans Cinema from Germany, Marlowe Mitchell, Northern Film School, UK and Kit Heyam, Leeds Queer Film Festival, UK
• Trans Cinema from Poland, Arkadiusz Lewicki, University of Wrocław, Poland
• Trans Cinema from Romania, Andrei Nae and Andreea Moise, University of Bucharest, Romania
• Trans Cinema from Greece, Dimitris Papacharalampous, Hellenic Film and Audiovisual Center, Greece
• Trans Cinema from Uganda, Naoki Kambe, Hirosaki Gakuin University, Japan
• Trans Cinema from Cape Verde, Lidiana de Moraes, Vanderbilt University, USA
• Trans Cinema from South Africa, Allison McGuffie, University of Oregon, USA
• Trans Cinema from Nigeria, Naoki Kambe, Hirosaki Gakuin University, Japan

PART III. CORE CONCEPTS

• Blackness and Trans Cinema, Naminata Diabate, Cornell 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
• Waria and Trans Cinema, Satrya Wibawa, Yuyun Wahyu Izzati Surya, and Kandi Aryani, Universitas Airlangga, Indonesia
• Jung's Trickster Archetype and Trans Cinema, Michael Jacob, Bunker Hill Community College, 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
• Archives and Trans Cinema, Christopher Wolff, Concordia University, Canada and Jonah I. Garde, University of British Columbia, Canada
• Activist Historiography and Trans Cinema, Elisabeth Weiß-Sinn, University of Würzburg, Germany
• Historicity and Trans Cinema, Marlowe Mitchell, Northern Film School, UK and Kit Heyam, Leeds Queer Film Festival, UK
• Dictatorship, Democracy, and Trans Cinema, Daniel Everhart, Lake Forest College, USA
• Gender Dysphoria, Disability, 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
• Monstrosity and Trans Cinema, Elliot Mason, Concordia University, Caada
• Identity and Trans Cinema, Fabio Vittorini, IULM University, Italy
• Reveal and Trans Cinema, Iliana Cuellar, University of California, Riverside, USA
• Kinship and Trans Cinema, Teagan Bradway, SUNY Cortland, USA
• Exit Scapes and Trans Cinema, Wibke Straube, Karlstad University, Sweden
• Reterritorialization and Trans Cinema, Aaron Hammes, Case Western Reserve University, USA
• Adaptations and Trans Cinema, Alexa Alice Joubin, George Washington University, USA
• Auteur Theory and Trans Cinema, Joshua Bastian Cole-Kurz, Quinnipiac University, USA
• Movie Posters and Trans Cinema, Naminata Diabate, Cornell University, USA and Aaron M. Pichel, Imagination Graphics, USA
• Film Festivals and Trans Cinema, Loreta Gandolfi, University of Cambridge, UK

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.

We 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," "Noir Trans Cinema," "Melodrama as Trans Cinema," "Westerns as Trans Cinema," "Historical Trans Cinema," "Fan Fiction Trans Cinema," "Heritage Trans Cinema," "Spy Films as Trans Cinema," "Mystery Trans Cinema," "Action Adventure Trans Cinema," and "Military Films as 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.

We also seek additional chapters for Part II (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 II 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 or even a single film is enough, and this may include short films.

Finally, proposals are invited for Part III (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," "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," and "Music and Trans Cinema." To be most competitive, each proposal for Part III 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 April 17, 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 May 10, 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.

For examples of abstracts for handbook chapters, see samples from the editor's previous handbooks: The Routledge Handbook of Trans Literature and The Routledge Handbook of Ecofeminism and Literature.