Screen Studies Conference 2009 Programme



Friday 29 June2-4pmREGISTRATIONFoyer4-6pmOPENING KEYNOTESLecture TheatreChairs: Jackie Stacey, Sarah StreetAmelie Hastie, Amherst CollegeTheoretical legacies and speculative histories: loving women of the New HollywoodJoshua Yumibe, Michigan State UniversityChromatic modernity: standardization and experimentation in 1920s cinema6-7.30pmCIVIC RECEPTIONHallWelcomeBailie Ade Aibinu, representing the Rt Hon Lord Provost of GlasgowResults of 2018 Annette Kuhn Essay AwardKaren Lury, award panel judgeSaturday 30 JuneListings are alphabetical: the order of talks on the day can be agreed by chairs and panelists.9.15-10.45218Non-actorsChair: Christine GeraghtyLani AkandeNigeria’s cinema of character recurrence: the articulation of a postcolonial film modeMiguel GaggiottiUntrained actorship in early Soviet cinema (1915–30): a comparative approachCatherine O'RaweGirls, stardom, and the danger of film acting in postwar Italy221NostalgiaChair: MaoHui DengZhun GuNostalgia of the youth in So Young and internet drama With YouMimi WhiteEverything old is new again: the appeals of Hallmark televisionDavid M. J. WoodExcavating the abject: Mexican pulp cinema as archival object224Spaces of modernity in British cinemaChair: Sarah StreetJoni Kay HaywardThe obedient flame(s): women and gas industry films in interwar BritainHollie PriceLiving together again: uncanny visions of home and modernity in postwar British cinemaJingan Young‘All the world lives in Soho, even including some English’: engineering the immigrant landscape of Emeric Pressburger’s Miracle in Soho227Austrian amateur filmsChair: Erica CarterSandra LadwigForm follows function? Possibilities and limitations of amateur film(making)Sarah Lau?Motifs of the everyday? An iconography of Austrian amateur filmMichaela ScharfModes of self-visualizations in ambitious amateur films from National Socialist Austria230Popular genres/cinemaChair: Anne CieckoYasin Ayd?nl?kNational fantasies: the Kurdish question in popular Turkish cinemaGregory KeenanStranger on The Third Floor as meta-noirMomina MasoodPakxploitation; or the B-movie circuit in Pakistan237bThe ‘natural’ image of cinemaChair: Michael LawrencePansy DuncanThe natural history of film form: celluloid, plasticity and the Vue а? TransformationsCassandra Xin GuanLiving media: vodka, church and cinemaLukas RieppelBringing dinosaurs back to life10.45-11.15COFFEE BREAK11.15-13.00218Foucault and film studies (Workshop)Chair: Jocelyn Szczepaniak-GilleceBill MarshallUses of Foucault: memory, space and subjectivityRichard RushtonDeleuze / Foucault on cinemaJocelyn Szczepaniak-GilleceFoucault and exhibition221Puzzle narrativesChair: Joshua YumibeDominic LashCoherence as achievement: Leos Carax’s Holy MotorsJared OrthIncreasing suspicion during mystery film viewingZachary PriceVirality and the rise of network narratives 224Queer IChair: Jackie StaceyClara Bradbury RanceThe lingering pleasures of CarolShu-Yi LinQueer kinship in new queer Chinese-language documentary: the ethical turn Chris PullenFeud, ‘hagsploitation’ and female work in Hollywood filmAna Maria SapountziLook, but don’t touch: Laurence Olivier’s queer erotic self-display in Rebecca227Spectatorship/theoryChair: Amelie HastieMal AhernApparatus theory and the emergence of neoliberal spectatorshipOdeya Kohen Raz and Sandra Meiriobjet a and the dynamic of desire/fantasy in Rebecca and HerNonie May‘Who is you, Chiron?’: lost childhoods, lost objects and melancholia in Moonlight Jenelle TroxellClose Up and the emergence of a feminist counter-cinema230Re-use/found footageChair: Alison ButlerMhairi BrennanBBC Scotland’s television archive and the new digital channel for ScotlandKatia HoudeActs of resistance: reappropriation of identity in Ellen Cantor’s found-footage image worksE. Charlotte StevensConstructing memory in film and television sequels: T2 Trainspotting and DamienKirsten StromUndead: the afterlife of avant-garde films as 1980s band graphics237bStarsChair: Mary DesjardinsMarion HalletThe body on display: Romy Schneider’s conflicted persona in the 1960sLifei LiuThe cultural dilemma of Chinese female film stars’ production in the 1920s: Zhang Zhiyun’s screen persona and media propagandaPai WangThe first Hallyu star in China? Jin Yan’s passage from Korean exile to Chinese movie emperor1-2.15pmLUNCH2.15-4pm218Feminism/post-feminismChair: Clara Bradbury-RanceSofia BullThe new normal: TV’s assisted reproduction familiesMaría Gámez Fuentes and Rebeca Maseda GarcíaRewriting gender violence in popular culture: accountability and sorority in Big Little Lies (HBO, 2017)Marija LaugalyteNarratives of networks and networks of narratives: female-centred TV and social mediaJennifer O'MearaMeme girls vs Trump: digitally recycled screen dialogue as political discourse221Scottish screens and culturesChair: Karen LuryAlexandra ColtaCarving a niche: the history and development of Document Human Rights Film Festival in GlasgowXavier RamonRevisiting the Scottish shared sports culture: an analysis of PurpleTV’s football documentaries for BBC ALBAKaelie ThompsonEngaging Hollywood: the Films of Scotland Committee and the projection of Scotland abroad224Protest and political filmmakingChair: Hamish FordSean Batton‘Change the images of the past’: Sanrizuka and the temporalities of political cinemaAnne Tereska CieckoTransmediated political threads: Hollywood award show sartorial protests and red carpet fashion activism Finn Daniels-YeomansCinematic ‘fallism’ in Metalepsis in Black: an anticolonial aesthetics for South Africa’s neocolonial ageHuimin DengThe construction of the post-socialist urban identity: China’s reform and drifting urban population227Screening ChinaChair: Tim BergfelderSimran BhallaSmall worlds: screens, space and modernity in Jia Zhangke’s The World and Mountains May DepartKirsty Sinclair DootsonTechnicolor in China: dye-transfer printing in Beijing 230LightChair: Alastair PhillipsChristopher GerrardThe Lantern and the Music of LightPatrick KeatingTime, storytelling and lighting: the case of neorealismWai Fung So Aesthetics of light: a study of Shunji Iwai’s film aesthetics237bTrue lives/true liesChair: Julie LevinsonDennis BinghamKnocking out the great man: Raging Bull, the Hollywood Renaissance and the reinvention of the biopicJulie LevinsonDevouring one’s own tale: Adaptation as metafictive biopicVirginia Newhall RademacherBiofictions: paradox and poetry in Pedro Larraín’s deceptive Neruda 4-4.30pmCOFFEE BREAK4.30-6pmAdaptationChair: Bill MarshallChristine GeraghtyDiversity, integrated casting and classic adaptations: frameworks for viewing character and performance in recent Dickens adaptationsNatthanai PrasannamFrom Saint Petersburg to the Eastern Sea: the afterlife of Fyodor Dostoevsky in October Sonata Flávia Rodrigues Monteiro‘Location, location, location’: moving through settings in The Hollow Crown’s Richard III221Contemporary audiencesChair: Karen LuryKerr CastleComforting digressions: viewer motivation and television’s placeholder emotionsRaz Greenberg (not present: paper will be presented by Gilad Padva)The animation of gamers and gamers as animators in Sierra On-line’s graphic adventuresJason NebergallVideospace: abstract video on American public television224Dance, body, musicChair: Lawrence WebbLisa DuffyThe revolution will be sung: musical television series and the disruption of genrePamela KrayenbuhlElectronic bodies for digital futures: Twyla Tharp’s Making Television Dance and the dancing body as technologyMichael LawrenceThe Perfect workout: aerobic dance exercise spectacle in narrative film227Demons of the mindChair: Sarah StreetDavid KirbyMorally acceptable madness: psychiatry, Catholics and censorship at the Legion of Decency in the 1960sWilliam MacauleyDisentangling the Twisted Nerve: genetics, chromosomal disorders and psychopathy in 1960s cinemaTim SnelsonClinical classifications: psychiatric expertise at the British Board of Film Censors (BBFC) 230Slow cinema and temporalitiesChair: Richard RushtonMichele Barker‘Qualities of movement’: slow motion from Maya Deren to recent screen media arts MaoHui DengThe digitally haunted index: fantasy from genre to ontologyAleksander KorenLoops and circular temporalities in contemporary slow cinema237bWomen filmmakersChair: Flavia LaviosaAlicia ByrnesA history of secrets: lies and the presumption of reality in Sarah Polley’s oeuvre Katharina KamleitnerReframing women’s film festivals through feminist theoryAdelaide McGinity PeeblesViolence, rape and feminism in Angelina Nikonova’s Twilight PortraitMaya SidhuSocial engineers: women and the con in two films by director Marguerite Viel 8.30pmDINNER Café AndaluzPre-bookings onlySunday 1 July9.15-10.45218Cities/infrastructureChair: Alastair PhillipsIvana MarasQuintessentially urban: house of moving imagesAdam O'BrienInfrastructure, eventhood and worldhoodErica SteinRenovating centrality: the politics of mid-century city symphonies221Early cinemaChair: Tim BergfelderStephen McBurneyThe Great Fire of Bridge Place, in ‘natural colours’: an exploration into the social and political significance of early cinema in AberdeenMario SluganStaged re-enactments in early cinema: fake, fact, fiction224Performing IrishnessChair: Marija LaugalyteLiam BurkeAdapted by John Ford: better understanding Ford through his Irish literary adaptationsLoretta GoffPerforming the Irish-American woman: Saoirse Ronan and BrooklynDara WaldronA self in place: art, song and the modèle in Pat Collins’s Song of Granite 227SoundChair: Joshua YumibeKaveh AskariTehran mambo: sound technology and the worries of circulationHsin-Yi WuRethinking the significance of narrators in The Great Buddha+230Space and narrativeChair: Alison ButlerAmedeo D'AdamoGhosts and shades and place: empathetic hauntology in the films Gravity, Lars and the Real Girl and Hiroshima Mon AmourIvan GirinaLudic cinema: the ludification of space and time in Gravity and The Edge of TomorrowCassice LastCinematographic space and agency in the contemporary American survival filmClive James NwonkaDefensible spaces: race, identity and architecture in Attack the Block237bTeen screensChair: Virginia Newhall RademacherIlana EmmettThe issue of religion: a brief overview of religion as difference and identity formation on global teen televisionElisa Hernández-PérezSocial reproduction, father figures and the welfare state: the Clintonian Third Way in the fourth season of The WireTracey MolletLooking through the upside down: hyper-postmodernism and trans-mediality in the Duffer Brothers’ Stranger Things series10.45-11.15COFFEE BREAK11.15-12.45pm218Queer IIChair: Sarah StreetChantal NadeauDolan. Dolan XGilad PadvaPhallic fantasies and multiethnic erections in Pierre Paolo Pasolini’s Arab Nights221ScreenwritingChair: Miguel GaggiottiJoshua McNamaraHolding ground,?moving targets: scriptwriting and?terrorism in urban?East AfricaRakesh SenguptaTracing the talkie transition: a study of early screenwriting practices in South Asia (1927–31)224Documentary spaces and culturesChair: Ivan GirinaBruno CornellierExtracting footage from a digital Terra NulliusElizabeth WatkinsA cinephiliac moment and the presentational aesthetic of archival film227Genre theoryChair: Tim BergfelderPatrick AdamsonTransnationalizing American history: the silent epic Western abroadHamish FordGenre and identity inside out: WhityAngelos KoutsourakisEpic cinema: defining our terms 230Politics of Maori representationChair: Michael LawrenceRuth LysaghtSpongebob Square Eyes: minority-language television and childrenJani WilsonExploring tikanga and kawa as tools of Māori film analysis237bPoint of view/point of auditionChair: Dominic LashFernando Morais da CostaPoint of audition and the absent bodyMarcela Soalheiro CruzAdapting Jane Austen: closeup, point-of-view shot and subjectivity12.45-2pmLUNCH2-3.30/3.45pmCLOSING KEYNOTE AND THANKSLecture TheatreChairs: Jackie Stacey, Sarah StreetErica Carter, King’s College LondonWhat is the distribution of the sensible? Cinema and mobility in the postwar white Atlantic. ................
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