Conference Outline

Schedule of Events at a Glance Jump to Index


Wednesday, March 19, 201410:00AM-11:45AM Session A
 12:00PM-01:45PM Session B
 02:00PM-03:45PM Session C
 04:00PM-05:45PM Session D
Saturday, March 22, 201409:00AM-10:45AM Session M
 11:00AM-12:45PM Session N
 01:00PM-02:45PM Session O
 03:00PM-04:45PM Session P
 05:00PM-06:45PM Session Q
Thursday, March 20, 201409:00AM-10:45PM Session E
 11:00AM-12:45PM Session F
 01:00PM-02:45PM Session G
 03:00PM-04:45PM Session H
 05:00PM-06:45PM Session I
Sunday, March 23, 201409:00AM-10:45AM Session R
 11:00AM-12:45PM Session S
 01:00PM-02:45PM Session T
Friday, March 21, 201409:00AM-10:45AM Session J
 12:15PM-02:00PM Session K
 02:15PM-04:00PM Session L

Program Sessions

Wednesday, March 19, 2014 10:00AM-11:45AM (Session A)

A1: Cognition, Epistemology, and Style
Room: 1
Chair: Vinzenz Hediger (University of Frankfurt)
  • Keith Bound (University of Nottingham), "Defining a Rapid Form of Cinematic Suspense for the 21st Century Short Thriller Film"
  • John Rhym (University of Pittsburgh), "Vehicle Externalist Theories of Mind: Revisiting the Modernity Thesis"
  • Rick Warner (University of North Carolina, Chapel Hill), "Four Kinds of Countershots: Philosophic Variations in Hitchcock, Bresson, Godard, and Farocki"
  • Vinzenz Hediger (University of Frankfurt), "The Existence of the Spectator. On a Paradox of Film Theory"

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A2: War and Film
Room: 2
Chair: Kristen Fallica (University of Pittsburgh)
  • Rebecca Harrison (University College London), "Cinema and the Writing of History: Life on Britain’s First World War Ambulance Trains"
  • Colleen Montgomery (University of Texas, Austin), "Version Originale: Rebecca and the Distribution of Selznick Pictures in Postwar France, 1945-1949"
  • Steven Carr (Indiana University, Purdue Fort Wayne), "Hollywood, Nazism, and the Motion Picture Division of the Los Angeles Jewish Community Committee, 1938-1946"
  • Kristen Fallica (University of Pittsburgh), "Regulation and Resistance: Pittsburgh’s Fulton Theater in the 1940s"

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A3: Reconsidering the Work of National Cinemas
Room: 3
Chair: Jorge Perez (University of Kansas)
  • David Fresko (Stanford University), "Démontage, My Fine Care: The Dziga Vertov Group's Negative Dialectic"
  • Stuart Davis (University of Texas, Austin), "Following the Trail of the Political Blockbuster: Analyzing the Impact Networks of City of God (2002) and Elite Squad: The Enemy Within (2010) in Rio de Janeiro"
  • Mary Adekoya (University of Chicago), "Narrating Nollywood"
  • Jorge Perez (University of Kansas), "Confessional Cinema: Religion and Film in the Spanish Public Sphere (1957-1975)"

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A4: French Auteurs: Becker, Demy, Bresson, Bunuel
Room: 4
Chair: Richard Neupert (University of Georgia)
  • Alastair Phillips (University of Warwick), "Beyond the Flâneur: Jacques Becker and the Parisian Everyday"
  • Tracy Cox-Stanton (Savannah College of Art and Design), "Film Sound, Footsteps, and Unvoiced Desire in Bresson's "Pickpocket" (1959) and Bunuel's "Belle du Jour" (1967)"
  • Alexander Greenhough (Stanford University), "The Lower Depths: Solitude in Robert Bresson’s "Mouchette""
  • Richard Neupert (University of Georgia), "Jacques Demy's "Bay of Angels": Genre, Gender, Empathy"

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A5: Cinemas of India
Room: 5
Chair: Ajay Gehlawat (Sonoma State University)
  • Usha Iyer (University of Pittsburgh), "The "Bhadramahila" Dancer-Actress: Sadhona Bose and the Relationship between Screendance and Female Stardom in Hindi Cinema of the 1930s and 1940s"
  • Veena Hariharan (University of Southern California), "The Shikar film – Hunting in Colonial India"
  • Anuja Jain (New York University), "Stars of Bombay Cinema: Rajesh Khanna and Stardom"
  • Ajay Gehlawat (Sonoma State University), "When Was Bollywood? Coming to Terms with a Dubious History"

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A6: Ecocinema, Ecocriticism
Room: 6
Chair: Joshua Lund (University of Pittsburgh)
  • Katrin Pesch (University of California, San Diego), "Stealth Killers - Rethinking the Notion of Environment with Claire Denis’ "I Can’t Sleep""
  • Graig Uhlin (Oklahoma State University), "Monkey-Wrenching as Modernist Device: Sabotage and Ecocinema"
  • Paul Newland (Aberystwyth University), "The Armpit of the World: Borders, Boundaries, and Post-carnivalesque British Space in 'Last Resort' (2000)"
  • Joshua Lund (University of Pittsburgh), "The Scene of Fabrication: Werner Herzog and the Limits of Anti-Developmentalism."

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A7: Still Moving
Room: 7
Chair: Allan Cameron (University of Auckland)
  • Colin Williamson (American Academy of Arts and Sciences), "Animating the Animate: The Artful Science of John Ott and Nature Documentaries in the 1950s"
  • Poulomi Saha (Dickinson College), "Inanimate Violence: The Ethics and Aesthetics of the Terrorist Image"
  • André Kunigami (Cornell University), "Movement and Stillness: Photographic Archive, Historical Imagination, and Alice Miceli’s 88 de 14.000"
  • Allan Cameron (University of Auckland), "Time and the Digital Face in Contemporary Effects Cinema: Movement, Motion Capture, and the Micro-Event"

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A8: Theorizing the Virtual
Room: 8
Chair: Eric Freedman (Queens University of Charlotte)
  • Alexander Champlin (University of California Santa Barbara), "Labor, Leaderboards, and the Bachelor Machine"
  • Beach Gray (University of Pittsburgh), "The Virtual Index"
  • Eric Freedman (Queens University of Charlotte), "Variations on a Theme Park: The Horrors of Game Engine Architecture"
  • Andrew Culp (Ohio State University), "It Is Raining: Aleatory Materialism and the Digital Stream in Four Movements"

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A9: TV Histories (Very Heterogeneous)
Room: 9
Chair: Hojin Song (University of Iowa)
  • Yves Picard (Cegep Andre-Laurendeau), "The Television's Third Golden Age, the Second-Degree Style, and the Quebec's TV Series or The French (Quebec) Connection Makes Waves Also on the TV Screen"
  • Nick Holm (Masey University), "Veep, The Thick Of It, and the Politics of (Transnational) Humour"
  • Amy Villarejo (Cornell University), "Of Hotels and Museums: Alan Bennett at the BBC"
  • Hojin Song (University of Iowa), "How Pasta Became the Desired: The Genre of Gourmet Drama as an Indirect Teacher of Cultural Globalization in South Korea"

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A10: Knowing the Score
Room: 10
Chair: Christine Sprengler (University of Western Ontario)
  • Kevin Donnelly (University of Southampton), "Phantom Power: Electrifying an Old Silent Film"
  • Ariane Lebot (New York University), "Composing the Narrative: Bernard Herrmann's Contribution to De Palma's 'Obsession' (1976)"
  • Megan Alvarado Saggese (Berkeley University), "From Sound to Cinema: Dissonance and Disruption between Adorno's Theory of Film and Kagel's "Antithese""
  • Christine Sprengler (University of Western Ontario), "'The Broom That Sweeps the Cobwebs Away': Vertigo’s Soundtrack as Sound Art"

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A11: Strategies of Performance
Room: 11
Chair: Jesse Schlotterbeck (Denison University)
  • Robert Ashmore (University of Southern California), "'You Need More Than Luck in Shanghai': Rita Hayworth, Performance, and Spectatorship in "The Lady from Shanghai""
  • Niamh Rosario Thornton (University of Liverpool), "Movements, Gestures, and Looks: María Félix’s star performances"
  • Peter Jameson (Queen's University Belfast), "The Constructivist Hearts of Joseph Losey and Sergei Eisenstein"
  • Jesse Schlotterbeck (Denison University), "A Different Kind of Rock Doc: The Passionate and Semi-successful Star Performers of Anvil: The Story of Anvil (2008) and Last Days Here (2011)"

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A12: Locating Transnational Cinema Studies
Room: 12
Chair: Austin Fisher (University of Bedfordshire)
Workshop Participants:
  • Tim Bergfelder (University of Southampton)
  • Lucia Nagib (University of Reading)
  • Flavia Laviosa (Wellesley College)
  • Deborah Shaw (University of Portsmouth)

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A13: New Studies in Melodrama
Room: 13
Chair: Alison McKee (San Jose State University)
  • Shannon Davies Mancus (The George Washington University), "Mother Earth Tied to the Train Tracks: Melodrama and Global Warming"
  • Paul Ramaeker (University of Otago), "Mad Love: Surrealism and the Supernatural Romantic Melodrama"
  • Kathleen Murray (University of Pittsburgh), "Television’s First Woman Detective: 'Decoy,' Melodrama, and Realism"
  • Alison McKee (San Jose State University), "Toward an Androgynous Spectatorship: Reevaluating Classical Hollywood Cinema via the 1940s Woman's Film"

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A14: The Televisual Archive: New Directions for Research and Access
Room: 14
Chair: Mark Cooper (University of South Carolina)
Workshop Participants:
  • Mark Quigley (University of California, Los Angeles)
  • Amelie Hastie (Amherst College)
  • Karen Cariani (WGBH Educational Foundation)
  • Mark Cooper (University of South Carolina)
  • Mark Williams (Dartmouth College)

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A15: Dynamic Contexts: Case Studies in Production
Room: 15
Chair: Serra Tinic (University of Alberta)
  • Sebnem Baran (University of Southern California), "After a Decade, Relocating "The O.C." : The Rise of Turkey as a Regional Center Within the Global TV Markets"
  • Jeffrey Brassard (University of Alberta), "The Russian Sitcom: From Post-Soviet Copycats to Aspiring Global Player"
  • Kimberly Owczarski (Texas Christian University), "'Please Make Something Great': Google, the YouTube Space L.A., and the Incubation of Creativity"
  • Serra Tinic (University of Alberta), "Where in the World is "Orphan Black"?: Global Television Production and Distribution in the Post-network Era"

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A16: Re-viewing Feminisms
Room: 16
Chair: Alexander Russo (Catholic University of America)
  • Leah Vonderheide (University of Iowa), "Before Mulvey: The (Funny) Feminist Films of Věra Chytilová and Nelly Kaplan"
  • Teresa Rizzo (University of New South Wales), "Without Judgment: A Feminist Reading of the Immanent Ethics and Aesthetics in 'Morvern Callar'"
  • Elizabeth Watkins (University of Leeds), "Gesture and the Female Voice"
  • Alexander Russo (Catholic University of America), "Androids as the New ‘Other’: Janelle Monae’s Feminist Afrofuturism in The Metropolis Suite"

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A17: Visualizing Race
Room: 17
Chair: Gilbert Rodman (University of Minnesota)
  • Mike Civille (New York Film Academy), "Our Interests Are Identical: Race and Class in "The Breaking Point" (1950)"
  • Nova Smith (University of Chicago), "The Sugar Honey Iced Tea: Abjection, Black Aesthetics, and the (Post-Racial?) Cinema of Steve McQueen"
  • Artel Great (New York University), "Toward a Better Tomorrow: The Interracial Buddy Film from The Defiant Ones to Django Unchained"
  • Gilbert Rodman (University of Minnesota), "Thirteen Ways of Looking at a Black Film: Wrestling with the Racial Politics of "Django Unchained""

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A18: Government Interventions
Room: 18
Chair: James Schwoch (Northwestern University)
  • Rachel Kapelke-Dale (University College London), "“Exploiting Our Own People”: 1937 House Debates on Foreign Actors"
  • Noah Zweig (University of California Santa Barbara), "Exporting the Revolution: Bolivarian State Broadcasting as Nation Building"
  • Kia Afra (Independent Scholar), "Defining the Boundaries of Consolidation: the DOJ and FTC Confront Hollywood (1925–1928)"
  • James Schwoch (Northwestern University), "Native Americans, Telegraphy and Telephony, and the Conquest of the American West from the War with Mexico through the First World War"

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A19: Media and Embodiment: Perception, Projection, and Prohibition
Room: 19
Chair: Sheila Murphy (University of Michigan)
  • Katariina Kyrola (University of Turku), "“Feeling Bad,” Precious (2009), and Body Image"
  • Theresa Cronin (Middlesex University), "Censorship Cultures: The Search for Authenticity - the Case of a Serbian Film"
  • Scott Selberg (Portland State University), "Emergent Fantasies: Bioethics of Fantasy Football"
  • Sheila Murphy (University of Michigan), "I Can Has Cute: Why and How Online Cute Animal Videos Matter"

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A20: Film, Media, and the Right to the City
Room: 20
Chair: Erica Stein (University of Arizona)
Workshop Participants:
  • Mark Shiel (King's College London)
  • Lawrence Webb (University of Gothenburg)
  • Laura Podalsky (Ohio State University)
  • Mona Damluji (University of California, Berkeley)
  • Jeffrey Hou (University of Washington)

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Wednesday, March 19, 2014 12:00PM-01:45PM (Session B)

B1: A Post-Secular Cinema? Film, Faith, Politics
Room: 1
Chair: Bennet Schaber (SUNY Oswego)
  • Sean Desilets (Westminster College), "Weak Apocalypticism"
  • Claudia Breger (Indiana University), "Beyond ‘the Fundamentals’: Religion and Affect in The Reluctant Fundamentalist"
  • Andrew Kaplan (University of Illinois, Urbana-Champaign), "Grace-in-Nature: Malick’s Object-Oriented Theology"
  • Anders Bergstrom (Wilfrid Laurier University), "Spectral Realism: The 'Post-Secular' Cinema of Apichatpong Weerasethakul"

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B2: Shooting Soldiers: The Cinematic Image and Experience of the US Veteran
Room: 2
Chair: Nathan Blake (Northeastern University)
  • Nathan Blake (Northeastern University), "“Every One of Us Is In Some Way a Cripple”: Frank and Lillian Gilbreths’ Engineering of the World War I Veteran"
  • Kaia Scott (Concordia University), "Moving Pictures to Soothe the Man of Battle: Film Technologies as Therapy in the Second World War"
  • Renee Pastel (University of California Berkeley), "Melodramas of Uneasy Reintegration: Moving Images of Iraq and Afghanistan War Veteran Homecomings"
  • Allison Whitney (Texas Tech University), "War Stories: Oral Histories of Military Film Culture"

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B3: What’s Happening Now?: Black Film and Genre in the Age of Obama
Room: 3
Chair: Monica Ndounou (Tufts University)
Workshop Participants:
  • Monica Ndounou (Tufts University)
  • Stephen Duncan (Loyola Marymount University)
  • Stephanie Larrieux (Brown University)
  • Karen Bowdre (Arcadia University)

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B4: Shifting Geographies in Contemporary European Cinema
Room: 4
Chair: Thibaut Schilt (College of the Holy Cross)
Respondent: Stefania Benini (University of Pennsylvania)
  • Thibaut Schilt (College of the Holy Cross), "Crossing Borders and Queering Identities in French Road Cinema"
  • Giovanna Lerner (Franklin & Marshall College), "Landscapes of Alienation in Contemporary Italian Cinema"
  • Elena Past (Wayne State University), "Giov vs. the Volcano: Itinerant Cinema, Gendered Ecologies, and the Aeolian Islands"

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B5: Genre in Contemporary East Asian Cinema
Room: 5
Chair: Yun Mi Hwang (University of Ulsan)
  • Rayna Denison (University of East Anglia), "Ghibli Genre: Toshio Suzuki and the Creation of Studio Ghibli’s Anime Brand"
  • Yun Mi Hwang (University of Ulsan), "Contemporary Costume Drama in South Korea: Genre and Genrification"
  • Christopher Howard (Chongqing University), "Televisual Blockbusters in Japan – A New National Genre?"
  • Aaron Magnan-Park (University of Hong Kong), "Americanization and the Aesthetic Annihilation of Asian Cinema: The Case of Wong Kar Wai’s ‘The Grandmaster’ (2013)"

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B6: Policy: The Law and other Gatekeepers
Room: 6
Chair: Lyn Goeringer (Oberlin Conservatory of Music)
  • Danny Kimball (University of Wisconsin, Madison), "Net Neutrality and the Data-capped Internet"
  • Birk Weiberg (Zurich University of the Arts), "Roy J. Pomeroy, Dunning Process Co., Inc., and Paramount Publix Corporation vs. Warner Bros. Pictures, Inc., Vitaphone Corporation, and Frederick Jackman: How the Movie Industry Learned about Patents"
  • Jennifer Petersen (University of Virginia), "Visuality and the Law of Media, or Why Justice is Not Blind When it Comes to Media"
  • Lyn Goeringer (Oberlin Conservatory of Music), "No Avatar Required: Audio-reactive Games and Physical Connectivity"

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B7: Photographic Events and Geopolitical Frames
Room: 7
Chair: Rijuta Mehta (Brown University)
Co-Chair: Stephanie Harris (Independent Scholar)
Respondent: Ani Maitra (Hampshire College)
  • Rijuta Mehta (Brown University), "Photography’s Anti-colonial Lexicon: Kashmir and Statelessness, 1947-48"
  • Norma Musih (Indiana University), "Angels in the skies over Manshiye: A Visual Genealogy"
  • Stephanie Harris (Independent Scholar), "High Walls and High-Value Targets: Architectural representations of Osama bin Laden’s compound"
  • Elizabeth Wolfson (Brown University), "Searching for Civilization, Finding Empire: Archaeology, Photography and the Politics of Place"

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B8: Contemporary Screens and Innovation
Room: 8
Chair: Annie Dell'Aria (City University of New York)
  • Michael Arnold (University of Michigan, Ann Arbor), "The Virtual Reach of the Screen: Japanese Pachinko and the Trap of Moving Image Entertainment"
  • Zach Melzer (Concordia University), "Outdoor Digital Advertising and the Aesthetics of Transience"
  • Alicia Kozma (University of Illinois, Urbana-Champaign), "Downloading Soon to a Theater Near You: Digital Film, Local Exhibition, and the Death of 35mm"
  • Annie Dell'Aria (City University of New York), "Innovation, Olympics, and Community: the BBC Big Screens (2003-2013)"

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B9: Reality TV Personalities
Room: 9
Chair: Tisha Dejmanee (University of Southern California)
  • Justin Bergh (University of Minnesota, Twin Cities), "Authenticity and the Art of Distinction: The Cultural Work of Anthony Bourdain"
  • Diane Cormany (University of Minnesota, Twin Cities), "Suze Orman: Cruel Optimism as Post-Feminism"
  • Andrea Ruehlicke (University of Illinois, Urbana-Champaign), "Necessary but Expendable: Reality Show Contestants and Systems of Exploitation"
  • Tisha Dejmanee (University of Southern California), "Branding Regional Femininity: The Domestication of Postfeminist Personalities on the Food Network"

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B10: The Channel Panel
Room: 10
Chair: Heidi Zimmerman (University of Minnesota)
  • Evan Elkins (University of Wisconsin, Madison), "Geoblocking the BBC iPlayer: National Public Broadcasting, Streaming Platforms, and Transnational Television"
  • Shawna Kidman (University of Southern California), "It's Not (Just) TV: Quality Programming and Industrial Strategy at HBO in the 1990s"
  • Chris Haak (Hobbs Municipal School District), "Movies on the Cheap: The Syfy Model"
  • Heidi Zimmerman (University of Minnesota), "Branding Environmentalism for TV: The Rise and Fall of Discovery’s Planet Green"

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B11: Stardom, Celebrity, The Media
Room: 11
Chair: Martin Roberts (University of Derby)
  • Nandana Bose (University of North Carolina, Wilmington), "The Stardom of Madhuri Dixit: Star Vehicles and Collaborators in the Construction of a Dancing Star in 1990s Popular Hindi Cinema"
  • Akiva Gottlieb (University of Michigan), "Walking the Line: Performing the Reality Phenomenon in I’m Still Here: The Lost Year of Joaquin Phoenix"
  • Jonathan Cannon (Oklahoma State University), "Touristic Deathgazing: Dark Fan Tourism, Memorial Culture, and Mobile Posthumous Celebrity Worship"
  • Martin Roberts (University of Derby), "The Rake's Progress: Steve Coogan and Celebrity Culture"

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B12: Word-Image: Ekphrasis, Dialogue, Criticism
Room: 12
Chair: Elizabeth Alsop (Western Kentucky University)
  • Pablo Martins (Federal University), "The Film in Words: Ekphrasis and Script in Peter Handke and Wim Wenders"
  • Andrea Gyenge (University of Minnesota), "Writing with Bloodshot Eyes: On Jean-Luc Nancy's Ekphrasis of Cinema"
  • Samuel Burd (Concordia University), "The Life of the Author: Autobiographical Trends in Film Scholarship"
  • Elizabeth Alsop (Western Kentucky University), "Emphasis Added: Theorizing Dialogue in European Art Cinema"

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B13: Film Theories in Context
Room: 13
Chair: Katie Bird (University of Pittsburgh)
  • James Rosenow (University of Chicago), "Forgotten First Encounters of Industry and Underground: The Janus-faced Legacy of Slavko Vorkapich"
  • Eric Morel (University of Washington, Seattle), "Early Cinema, Ecocinema Studies, and Environmental Imaginations of the 1910s"
  • Rachel Fabian (University of California, Santa Barbara), "Reconsidering the Work of Claire Johnston"
  • Katie Bird (University of Pittsburgh), "Beautiful—Hard—Dangerous!: Béla Balázs, Sports Cinematography, and the Mountain Film Camera Operator"

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B14: Downshift: The Disenchantment of the Automobile (Industry) in American Media
Room: 14
Chair: Mobina Hashmi (Brooklyn College)
Respondent: Steve Macek (North Central College)
  • Chris Robe (Florida Atlantic University), "Detroit Rising: The League of Revolutionary Black Workers, Newsreel, and the Making of “Finally Got the News”"
  • Daniel Marcus (Goucher College), "Three Scenes from the Car Culture: Documentary and the Economically Abject"
  • Mobina Hashmi (Brooklyn College), "From Automobiles to Novelties: Tracing the Economic and Cultural Displacement of American Workers in “Gung Ho” and “Outsourced”"

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B15: Promotional Culture
Room: 15
Chair: Heather McIntosh (Notre Dame of Maryland University)
  • Nicholas Benson (Old Dominion University), "Promoting TRON's Legacy: Generational Turf Marking Strategies within Media Industry Discourse"
  • William Gombash (Valencia College), "The Evolution of Media Convergence and Popular Music: The Promotional Films for “Penny Lane” and “Strawberry Fields Forever”"
  • Ben Harris (University of California, Los Angeles), "Cultures of Distribution: The International Presale and the American Film Market"
  • Heather McIntosh (Notre Dame of Maryland University), "The Programming Failure of Oprah's Documentary Club"

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B16: Principles and Practices of Openness
Room: 16
Chair: Leah Shafer (Hobart and William Smith Colleges)
Workshop Participants:
  • Christina Petersen (Eckerd College)
  • Gina Giotta (California State University, Northridge)
  • Elizabeth Ellcessor (Indiana University)
  • Bryce Peake (University of Oregon)

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B17: Histories of Sex and the Cinema, Queer, and Otherwise
Room: 17
Chair: Ryan Powell (King's College, London)
  • Andrew Owens (Northwestern University), "Speaking of Supernatural Sex: 1970s Pornography and the Rise of Queer Underground & Euro Horror"
  • Matthew Prigge (University of Wisconsin, Milwaukee), "Tough Times and Bare Skin: The Post-War Movie Marketplace and the Emergence of the Modern Sex Film"
  • Matthew Connolly (University of Wisconsin, Madison), "'The First Gay Box Office Smash': Examining the Industrial and Cultural Contexts Surrounding the Success of “La Cage aux Folles”"
  • Ryan Powell (King's College, London), "The Postwar Queer Trance Film"

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B18: Documentary Politics (Heterogeneous)
Room: 18
Chair: Giovanna de Luca (College of Charleston)
  • Elizabeth Gleesing (Western Washington University), "Disrupted Identification: Islamicate Gaze Theory in Iranian Documentary"
  • Belinda Smaill (Monash University), "Animals, Politics, and Documentary Poetics"
  • Nadia Yaqub (University of North Carolina), "What Can Photos Do: Stillness and Photographic Appropriation in Contemporary Palestinian Cinema"
  • Giovanna de Luca (College of Charleston), ""Placido Rizzotto" and "Segreti di Stato": Italian Investigative Cinema and Memory"

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B19: Avant-garde Aesthetic Strategies
Room: 19
Chair: Eivind Rossaak (National Library of Norway)
  • Ben Ogrodnik (University of Pittsburgh), "The Queer ‘Stilled’ Image as Avant-garde Intermedial Practice in Richard Oswald’s Anders als die Andern (1919)"
  • Dustin Zemel (Louisiana State University), "Polyphony and Documentary Presentness"
  • Kian Bergstrom (Roosevelt University/Columbia College Chicago), "Surrealism and Its Opposite in Rose Hobart"
  • Eivind Rossaak (National Library of Norway), "Error: The Role of 'Mistakes' in Avant-garde Cinema and New Media Art"

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B20: Genders and Sexualities in Contemporary Cinema
Room: 20
Chair: Allen Redmon (Texas A&M University Central Texas)
  • Katarzyna Paszkiewicz (Universitat de Barcelona), "G(r)aze Encounters: Negotiating Proximity and Distance in Kelly Reichardt’s “Meek’s Cutoff”"
  • Keeley Saunders (University of Kent), "Urinary Segregation and the Trans*-cinema Plot Device"
  • Cristina Stasia (University of Alberta), "“What is this Training Day?”: Gender, Race, and “The Heat”"
  • Allen Redmon (Texas A&M University Central Texas), "Male Sexuality in the Coens’ Idiot Trilogy"

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Wednesday, March 19, 2014 02:00PM-03:45PM (Session C)

C1: Media after Heidegger?
Room: 1
Chair: Christina Vagt (Berlin Institute of Technology)
  • Richard Dienst (Rutgers University), "After the Age of the World Picture"
  • Michaela Wuensch (University of California, Los Angeles), "Enframings and Emplacement. Analyzing Television with Heidegger."
  • Anton Pluschke (Freie Universität Berlin), "Heidegger on the Rise of the Typing Empires"
  • Christina Vagt (Berlin Institute of Technology), "Heidegger, Physics, Media."

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C2: Palimpsestic Cities
Room: 2
Chair: Yomi Braester (University of Washington)
  • Hatim El Hibri (New York University), "The Before/After Shot: Solidére’s Corporate Films and the Work of Images in Postwar Beirut"
  • Cortland Rankin (New York University), "Unstable Structures: Interrogating the Aesthetics of Construction and Deconstruction in Postwar New York Experimental Documentary City Films"
  • Andrew Opitz (Hawaii Pacific University), "Hawaiian Dreams: Representations of Hawai'i in HGTV's Real Estate Porn"
  • Yomi Braester (University of Washington, Seattle), "Palimpsest, Scroll, Screen: Cinematic Visualizations of Gentrified Beijing"

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C3: Specters of the Dictatorship in Contemporary Chilean Cinema
Room: 3
Chair: Luisela Alvaray (DePaul University)
Co-Chair: Gilberto Blasini (University of Wisconsin, Milwaukee)
Respondent: Laura Podalsky (Ohio State University)
  • Gilberto Blasini (University of Wisconsin, Milwaukee), "“No” Promises"
  • Luisela Alvaray (DePaul University), "Missing Links: Hidden Histories and Traumatic Memories in Contemporary Chilean Documentaries"
  • Elaine Basa (University of Wisconsin-Milwaukee), "ReCOUPerating and Encountering the Past in Chile: Obstinate Memory"

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C4: Cold War Facticities: East Germany and Nonfiction Cinema
Room: 4
Chair: Reinhild Steingrover (Univerity of Rochster)
  • Sara Blaylock (University of California, Santa Cruz), "The Body under Duress in Heynowski and Scheumann's Piloten im Pyjama (1968)"
  • Victoria Rizo-Lenshyn (University of Massachusetts, Amherst), "Socialist Documentary Filmmaking: Representational Performance in Heynowski & Scheumann’s Experimental Vietnam Films"
  • Evan Torner (Grinnell College), "Space Capsule as Time Capsule: Jim Finn's Interkosmos (2006)"
  • John Lessard (University of the Pacific), "Home Movies and the Transmission of East German Culture in Marten Persiel’s This Ain’t California (2012)"

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C5: 21st Century TV: Genders and Genres
Room: 5
Chair: Kathleen McHugh (University of California, Los Angeles)
  • John Alberti (Northern Kentucky University), "“The Killing as Feminist Noir”"
  • Liora Elias (University of Minnesota), "Different Selves on Demand: An Examination of Gender, Sexuality, and Selfhood on Showtime’s United States of Tara (2009-2012)"
  • Matthew Ferrari (University of Massachusetts, Amherst), "Born Survivors and Their Trickster Cousins: Masculine Primitive Ideals on Reality Television"
  • Kathleen McHugh (University of California, Los Angeles), "A Tale of Two Series: Generational and Aesthetic Feminisms in "Top of the Lake" and "Orange is the New Black""

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C6: Narrative Forms of/and American Authorship
Room: 6
Chair: Paul Cote (University of Maryland)
  • Mark Minett (University of Wisconsin-Madison), "Early Altman and the Elaborative Zoom: Rethinking Altman's Zoom Style from M*A*S*H to Nashville"
  • Shelley Cobb (University of Southampton), "Stories They Tell: The Actress-Director and Female Authorship in Contemporary Cinema"
  • Daniel Singleton (University of Rochester), "Stanley’s Ghosts: Kubrick at the Horizons of Industrial Auteurism"
  • Paul Cote (University of Maryland), "Encountering Sonic Memories: Sound, Childhood, and Escapism in Steven Spielberg's "Close Encounters of the Third Kind.""

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C7: Cinema and the Nineteenth Century Imaginary
Room: 7
Chair: Anne-Gaelle Saliot (Duke University)
  • Syed Feroz Hassan (University of Michigan), "Idealist Film History: The Case of Eric Rohmer's Le Celluloïd et le Marbre"
  • Andrew Yale (University of Chicago), "Vachel Lindsay’s Museological Theory of Film Aesthetics"
  • Anne-Gaelle Saliot (Duke University), "Godard and Nineteenth-Century Aesthetics"
  • Samantha Wilson (Concordia University), "The Aesthetics of Astonishment and Contemplation in the Early British Scenic Film"

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C8: The Spaces of Media Production and Consumption
Room: 8
Chair: Laura LaPlaca (Northwestern University)
  • Meredith Ward (Northwestern University), "Black Boxes and Rich, Repressed Sounds: Architecting Listening in the Cinema House"
  • Diana Dill (University of California, Los Angeles), "Fan vs. Industry: Conceptualization of Space in “M*A*S*H” and the Korean Landscape"
  • Ian Peters (Georgia State University), "Total Media Consumption: Theme Cafes, Love Hotels, and Bodily Immersive Experiences"
  • Laura LaPlaca (Northwestern University), "'Building' Narratives: Fan Re-Creations of the Network Era Sitcom Mise-en-Scene"

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C9: Expanding Japanese Cinema: Local Practices and Global Perspectives
Room: 9
Chair: Rea Amit (Yale University)
Co-Chair: Ryan Cook (Harvard University)
Respondent: Philip Rosen (Brown University)
  • Rea Amit (Yale University), "Programming Success: Narrative and Style in the Heyday of the Japanese Postwar Studio System"
  • Naoki Yamamoto (University of California, Santa Barbara), "Montage Theory in Postwar Japan"
  • Ryan Cook (Harvard University), "Play It Again, Yūjirō: International Influence and the “Remaking” of Casablanca in High-Growth Japan"

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C10: Listening to Films: Cinematic Sound and Media Culture in East Asia
Room: 10
Chair: Nicole Huang (University of Wisconsin Madison)
  • Nicole Huang (University of Wisconsin Madison), "Listening to Films: Radio and Communal Film Culture in 1970s China"
  • Kerim Yasar (University of Notre Dame), "Otozukuri: Affect, Ontology, and Techne in Early Japanese Radio Drama and Talkie Sound Effects"
  • Giorgio Biancorosso (The University of Hong Kong), "Double Agents and The Poor Man’s Orchestra: Music and the Aesthetic of the Self in *Chunking Express* (1994)"
  • Ling Zhang (University of Chicago), "The Flowing Ambiguity of Soundscape: Female Voice-over in Spring in a Small Town and Fei Mu’s Chinese Operatic Sound Aesthetic"

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C11: Materialities of Fantastic Media
Room: 11
Chair: Bob Rehak (Swarthmore College)
Respondent: Julie Russo (The Evergreen State College)
  • Matt Hills (Aberystwyth University), "“We Don’t Do General Doctor Who Topics and We Don’t Do Fiction”: Dalek-Building and the Craft of Mimetic Fandom"
  • Matt Yockey (University of Toledo), "The Bright Knight Returns: Contemporary Merchandising of the Batman Television Series"
  • Bob Rehak (Swarthmore College), "Little Warriors: Markers, Figurines, and Collectibles in Gaming Media"

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C12: Studying Media Event Spaces
Room: 12
Chair: Avi Santo (Old Dominion University)
Workshop Participants:
  • Tamara Falicov (University of Kansas)
  • Erin Hanna (University of Michigan)
  • Tim Havens (University of Iowa)
  • Aswin Punathambekar (University of Michigan)
  • Kevin Sandler (Arizona State University)

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C13: Horror, Documentary, and the Real
Room: 13
Chair: Cecilia Sayad (University of Kent)
  • Stefano Ciammaroni (Manchester Metropolitan University), "In Too Deep (Red): Political Reality and the Haunting Specter of National Cinema in Dario Argento’s “Profondo rosso”"
  • Adam Lowenstein (University of Pittsburgh), "Beyond “Las Hurdes”: Horrific Eruptions of the Documentary Impulse in Late Buñuel"
  • Anna Green (New York University), "Fear and the Other: Modes of Representation in Documentary and Horror Films"
  • Cecilia Sayad (University of Kent), "Framing the Found-Footage Horror Film"

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C14: New Paths to Teaching Film History
Room: 14
Chair: Robert Gerst (Massachusetts College of Art and Design)
Co-Chair: George Larke-Walsh (University of North Texas)
Workshop Participants:
  • Amy Borden (Portland State University)
  • Robert Gerst (Massachusetts College of Art and Design)
  • Maurizio Viano (Wellesley College)

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C15: Urban Traffic: Film, Motion, and the World City
Room: 15
Chair: Stanley Corkin (University of Cincinatti)
Respondent: Mark Shiel (King's College London)
  • Kirk Boyle (University of North Carolina, Asheville), "David Cronenberg’s Cosmopolis and the Metaphorical Resonance of Traffic in the Great Recession"
  • Jana Braziel (University of Cincinnati), "Urban Traffic in the Ghosts of Cité Soleil (2006)"
  • Stanley Corkin (University of Cincinatti), "Social Mobility and Place in the “New” Boston"
  • Celestino Deleyto (Universidad de Zaragoza), "Traffic in the Border City: Los Angeles in Crossing Over (2009)"

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C16: The Rise of the War Film in Silent Cinema
Room: 16
Chair: John Trafton (University of St. Andrews)
  • John Trafton (University of St. Andrews), "For We Shall Meet Again: Civil War Soldier Diaries and Early War Cinema"
  • Peters Mersereau (University of Toronto), "From Germany’s Glory Days: The Prussian Historical Epic as Early War Film"
  • Kristin Harper (New York University), "Fair Columbia Fights for All: The Question of Suffrage Iconography in Wartime American Cinema"
  • Sue Collins (Michigan Technological University), "Star Testimonies: Speeches, Tours, and Trailers in War Mobilization"

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C17: Visible Lesbians?
Room: 17
Chair: Susan Potter (University of New England)
  • Stephanie Yeung (University of Southern California), "Which One's the Girl?: Gender, Race, and TV Lesbians"
  • Katrin Horn (Friedrich-Alexander University, Erlangen-Nuremberg), "'Where Else Would We Go?' - The Bar in Lesbian Romantic Comedies"
  • Jennifer Fogel (State University of New York, Oswego), "Fostering a New Kind of Family: ABC Family, “The Fosters,” and Family Values"
  • Susan Potter (University of New England), "Troubling Sexual History: The Anachronistic Lesbian of ‘Pandora’s Box’ (1929)"

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C18: Orphans and Archives
Room: 18
Chair: Brett Service (University of Southern California)
  • Dana Mustata (University of Groningen), "Best Practices in Digital Television Historiography"
  • Joel Frykholm (Stockholm University), "'Cycles,' 'Libraries,' and Archival Imaginaries in American Cinema in the 1910s: The Case of 'George Kleine’s Cycle of Film Classics' (1916)"
  • Alex Kupfer (New York University), "The University Archive: Motion Picture Collecting in the U.S. and Developing the National Film Negative Library, 1920-1941"
  • Brett Service (University of Southern California), "A Home for Orphans: Copyright Activism and the Preservation of Educational Film"

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C19: The Idea of Cinema: Framing Conceptual Art
Room: 19
Chair: Eli Horwatt (York University)
Respondent: Jonathan Walley (Denison University)
  • Lindsey Lodhie (Harvard University), "Contents Unknown: Filming the Empty Set"
  • Joana Pimenta (Harvard University), "Walking, Crawling, Crashing, Falling: The Films and Videos of Robert Morris"
  • Eli Horwatt (York University), "“Inventories of Limbo”: Institutional Critique and the Cinematic Apparatus"

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C20: Personal Trademarks: Bodies, Brands, and Genres in Contemporary American Media
Room: 20
Chair: Jennifer Lynn Jones (Indiana University, Bloomington)
  • Janani Subramanian (Indiana University - Purdue University Indianapolis), "Horror, Bodies, and Brand Implosion"
  • Jennifer Lynn Jones (Indiana University, Bloomington), "Fat Funny People: Corpulence and the Apatow Brand"
  • Jorie Lagerwey (University College Dublin), "Black and White and Bravo All Over: The Raced Bodies of "Real Housewives of Atlanta""
  • Mary Beltran (University of Texas, Austin), "'Post-racial' Blackface? Unreal Raced Bodies in Millennial TV Satire"

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Wednesday, March 19, 2014 04:00PM-05:45PM (Session D)

D1: Looking Back on Society of the Spectacle, the Film
Room: 1
Chair: Morgan Adamson (Macalester College)
Co-Chair: Jason Smith (Cornell University)
  • Soyoung Yoon (The New School), "Debord’s 4:3"
  • Jason Smith (Cornell University), "Some Corrections to The Society of the Spectacle"
  • Tom McDonough (Binghamton University), "Theoretical Westerns"
  • Morgan Adamson (Macalester College), "Society of the Spectacle: An Essay Without End"

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D2: Filming Non-human Subjects: An Ethical Consideration
Room: 2
Chair: Katy Ralko (University of Michigan)
  • Thomas West (Syracuse University), "Going Ape: The Posthuman Ethics of Animality, Affiliation, and Affect in Rise of the Planet of the Apes (2011)"
  • Samantha Close (University of Southern California), "Shelter can haz cute? Towards an Ethical Discourse of Cuteness for Rescue Animal Online Publicity"
  • Pete Porter (Eastern Washington University), "Overcoming Otherness: Species Ideology of the Animal Rescue Narrative"
  • Katy Ralko (University of Michigan), "Kittens and Stilettos – Crush Films, Freedom of Expression, and Digital Media"

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D3: Contemporary PRC and Hong Kong
Room: 3
Chair: Deron Overpeck (Auburn University)
  • Wesley Jacks (University of California, Santa Barbara), "Queues, Blackouts and Clusters: Import Distribution Strategies in the People’s Republic of China from 2011-2013"
  • Xiaoxi Zhu (London School of Economics and Political Science), "The Political Economy of Chinese Film Industry in the 21st Century"
  • Shu Ching Chan (Taipei National University of the Arts), "Hong Kong-China Co-production - From Root-seeking to Gold-digging?"
  • Deron Overpeck (Auburn University), "Transnational Tensions: Developments in the Cinematic Relationship between China and the United States"

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D4: The Globalization of Post-Millenial Persian Media
Room: 4
Chair: James Udden (Gettysburg College)
Respondent: Josh Shahyar (Al Jazeera English)
  • James Udden (Gettysburg College), "“Iran’s Janus-Faced Screens: Cinema, Broadcasting, and Institutionalized Factionalism”"
  • Negar Mottahedeh (Duke University), "Iran’s HispanTV"
  • Matt Sienkiewicz (Boston College), "Uncle Sam’s Koran: American Broadcasting, Koranic Values and Hybrid "Radio Islam" in Afghanistan"

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D5: Beyond Human Worlds: East Asian Religion, Spirituality, and Ecology in Contemporary Film
Room: 5
Chair: Kiu-wai Chu (University of Hong Kong)
Respondent: Adrian Ivakhiv (University of Vermont)
  • Anna Banks (University of Idaho), "The Second Nutriment: Slow Cinema as Dharma Art"
  • Lina Verchery (Harvard University), "Paradigms of Place: Religious Cosmologies and Environmental Contexts in "La Trappe" (2008) and "In Ordinary Life" (2013)"
  • Conor Mckeown (University of Cambridge), "Disrupting Eco-assumptions of Shinto in the Cinema of Miyazaki Hayao"

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D6: Objects: The Medium Is the Material
Room: 6
Chair: Sarah Juliet Lauro (Clemson University)
Co-Chair: Meredith McCarroll (Clemson University)
  • Steen Christiansen (Aalborg University), "Things Gone Wild: The Movie Camera in the Drone Age"
  • Lee Knuttila (York University), "Monitoring Things: CCTV as Metaphysical Site"
  • Jacob Gaboury (New York University), "What is a Digital Thing?: On the Materiality of Simulated Objects"
  • Paul Jasen (Carleton University), "Infrasound: Spectres of the Manmade Unknown"

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D7: Production Histories (Heterogenous)
Room: 7
Chair: Ben Rogerson (University of North Carolina, Chapel Hill)
  • Lawrence Webb (University of Gothenburg), "American Baroque: Rollover (Alan Pakula, 1981) and the Imagination of Financial Disaster"
  • Michael Witte (University of California, Los Angeles), "Brecht before Lenin: "Hangmen Also Die!" as an Allegory for Marxist Struggle"
  • Andrew Davis (Oklahoma State University), "Analyzing "Tarnation"’s Promotion, Reception, and the Mainstreaming of Queer Documentary"
  • Ben Rogerson (University of North Carolina, Chapel Hill), "Independent No More? Onscreen Autonomy at United Artists after 1967"

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D8: Technology, Imagination, and New Media Histories
Room: 8
Chair: Jeff Scheible (Concordia University)
Respondent: Wendy Chun (Brown University)
  • Morgan Ames (University of California, Irvine), "Imagining Childhood through Technology and Design"
  • Nicole Starosielski (New York University), "Fiber Futures and the Aesthetics of Lag"
  • Jeff Scheible (Concordia University), ""My Name Is Number Sign": Hash Logic and Digital Indexicality"

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D9: Television Comedy Aesthetics
Room: 9
Chair: Alex Clayton (University of Bristol)
  • Alex Clayton (University of Bristol), "Sketch Comedy and the Surge of Vital Feeling"
  • Jason Jacobs (University of Queensland), "‘I Am Going to Die!’ Corpses, Corpsing, and Ricky Gervais’ 'Derek'"
  • Brett Mills (University of East Anglia), "Ego Tripping: Rob Brydon, Comedy, the Self and Age"
  • Steven Peacock (University of Hertfordshire), "Alan Partridge: Welcome to the Places of My Life"

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D10: Physician, Heal Thy Selfie
Room: 10
Chair: Tim Seiber (Univesity of Redlands)
  • Stephanie Brown (University of Illinois, Urbana-Champaign), "‘A Waiting Room That Doesn’t Suck’: Negotiations of Agency, Authenticity, and Community in the "Mental Illness Happy Hour Podcast""
  • Nicole Keating (Woodbury University), "The Unexamined "Selfie" is Not Worth Taking: The Explosion of Digital Image Technologies in the Early 21st Century"
  • Linnea Hussein (New York University), "Visualizing Mental Health: Direct Cinema, New Media, and Museums of the Mind"
  • Tim Seiber (Univesity of Redlands), "Network Bodies: Blogging Medical Experience as Collective Anatomy Theater"

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D11: Race, Class, Gender in Contemporary Media
Room: 11
Chair: June Deery (Rensselaer Polytechnic Institute)
  • Mandy Elliott (University of Manitoba), "Reflecting the Man: Gender (Re)Appropriation in Paul Haggis’s “Crash” and Mira Nair’s “Mississippi Masala”"
  • Krin Gabbard (Stony Brook University), "Everything but the Burden: Negrophilia in "Spring Breakers""
  • Jennifer McClearen (University of Washington), "Gladiator in a Suit?: Scandal’s Olivia Pope and the Post-identity Regulation of Physical Agency"
  • June Deery (Rensselaer Polytechnic Institute), "Red (neck), White (trash) and Blue (collar): Class Coloring on American TV."

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D12: Capturing the Beast: Transmedia, Digital Ephemera, and the Archive
Room: 12
Chair: Vicki Callahan (University of Southern California)
Workshop Participants:
  • Yvonne Welbon (Bennett College/Duke University)
  • Helen De Michiel (Univerity of Oregon)
  • Robert Pratten (Conducttr)
  • Sarah Atkinson (University of Brighton)

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D13: New Histories of Animation
Room: 13
Chair: Nicholas Miller (Loyola University Maryland)
  • Katherine Rochester (Bryn Mawr College), "Animated, Emancipated: Stop-Motion Animation as Socialist Object in Dziga Vertov’s “The Man with the Movie Camera” (1929)"
  • Lora Mjolsness (University of California, Irvine), "Sound, Synchronization, and Subversion: The Early Animation of the Brumberg Sisters"
  • Olga Blackledge (Universty of Pittsburgh), "Two Decades of Publications: "Iskusstvo Kino" on Quality and Quantity of Soviet Animation from 1936 to 1956"
  • Nicholas Miller (Loyola University Maryland), "Unsettling the Cinematic Imagination: Continuous Metamorphosis in Early Drawn Animation"

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D14: Contemporary Issues in Cinematic Remaking
Room: 14
Chair: Sean O'Sullivan (Ohio State University)
Respondent: Jennifer Forrest (Texas State University)
  • Frank Kelleter (Freie Universitat Berlin), "The Remake as Pop-Art: Gus Van Sant's "Psycho" and the Franchise That Knew Too Much"
  • Kathleen Loock (Freie University Berlin), "Hollywood’s Franchise Era and the Logic of Remaking"
  • Constantine Verevis (Monash University), "New Millennial Remakes"

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D15: Distribution in the Digital Age
Room: 15
Chair: Derek Kompare (Southern Methodist University)
  • Tim Anderson (Old Dominion University), "Why Don’t We Give it Away?: Value and “Free” for an Emerging Music Industry"
  • Jeremy Morris (University of Wisconsin, Madison), "'App'etite for Digitization: App-based Albums and the Virtual Commodification of Music"
  • Josh Jackson (University of California, Berkeley), "Streaming the Small Screen: YouTube and the Experience of Television"
  • Derek Kompare (Southern Methodist University), "Streaming the Past: Online Media and Cultural Canons"

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D16: The Production of Worry in Postfeminist Media Culture
Room: 16
Chair: Amanda Rossie (The Ohio State University)
  • Allison P. Palumbo (University of Kentucky), "What Doesn’t Kill Her Makes Her Stronger: The Fraught Fighting Female in Popular Culture"
  • Dayna Chatman (University of Southern California), "The Black Girl Curse: Matrimonial and Reproductive Panic in "Think Like a Man" and “35 and Ticking”"
  • Kate Harper (Arizona State University), "Romanticizing Dysfunction: The Spectacle of Failed Romance in Post-feminist Media Culture"
  • Amanda Rossie (The Ohio State University), "Maternal Technologies: Mommy Blogs, Subject-formation, and the ‘New Domesticity’"

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D17: Optic Thanatos: The Continuum of Blackness in Visual Media
Room: 17
Chair: Kara Hunt (University of Maryland, Baltimore County)
  • Darol Kay (University of California Irvine), "The Price of Admission: Civil War Films, The Black Soldier, and the Image of the Nation"
  • Selamawit Terrefe (University of California, Irvine), "Technological Haunting: Blackness as Political Thaumaturgy"
  • Jakeya Caruthers (Stanford University), "The Read: Race, Sex, and the Social Discipline of New Media"
  • Kara Hunt (University of Maryland, Baltimore County), ""Ain't Nobody Got Time for That!": Humor as a Matter of Humanity in the Black Neighbor Meme Phenomenon"

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D18: New Documentary Studies
Room: 18
Chair: James Lyons (University of Exeter)
  • Hangping Xu (Stanford University), "A Chinese Past Written in Blood: Docudramatizing the Historical Sublime"
  • Faye Woods (University of Reading), "The Squaddies of BBC Three: Televising Conflict for a Youth Audience in ‘Our War’"
  • Pierre Floquet (Bordeaux University), "Filmed, Filming, Watching Entities in the "7UP" Documentary Film Series (1964 - 2013)"
  • James Lyons (University of Exeter), "Gore is the World: Embodying Risk in An Incovenient Truth"

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D19: Contemporary Pedagogy
Room: 19
Chair: Holly Willis (University of Southern California)
  • Zoe Graham (New York University), "A Model of Sustainable Documentary Film Training: the Transnational Reach of the Ateliers Varan"
  • Claire LaBar (Old Dominion University), "America's New Media Classroom: How the Government's Shift to STEM Curriculum Affects Education in the Age of the 'Participatory Culture'"
  • Steve Anderson (University of Southern California), "Multiplicity + Synchronicity: Media Scholarship Beyond the Video Essay"
  • Holly Willis (University of Southern California), "World Building: Emergent Narratives for a Generative Culture"

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D20: Archive Archaeology: Disrupting the TV Canon
Room: 20
Chair: Taylor Cole Miller (University of Wisconsin Madison)
Workshop Participants:
  • Jane Feuer (University of Pittsburgh)
  • Lynne Joyrich (Brown University)
  • Stephen Tropiano (Ithaca College)
  • Alfred Martin, Jr. (University of Texas at Austin)

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D22: Current Topics in Film and Media Studies
Room: 22
Chair: Dave Sagehorn (Northwestern University)
  • Sharon Sharp (California State University, Dominguez Hills), "Film and Television Animal Trainers: Considering Animal Training and Performance"
  • Christian Gosvig Olesen (University of Amsterdam), "From Film Historiography to Videography: Film Historical Video Essays as Scholarly Research Practice"
  • Arzu Karaduman (Georgia State University), "From Psychoanalysis to Film-Philosophy: What is Cryptonymy?"
  • Dave Sagehorn (Northwestern University), "Semi-Homemade with Michel Gondry: When Auteur Meets Amateur"

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Thursday, March 20, 2014 09:00AM-10:45PM (Session E)

E1: Gender and Contemporary Technologies
Room: 1
Chair: Jacqueline Vickery (University of North Texas)
  • Sarah Arnold (Falmouth University), "Gender and Online Viewing: Theorising the Interactive Spectator"
  • Ian Hartman (Northwestern University), "The Power Glove, the U-Force, and the Gendering of Gestural Gaming Technology"
  • Jacqueline Vickery (University of North Texas), "Mobile Phones, a Girl’s Best Friend?: How the Mobile Phone Industry Legitimizes Surveillance, Commodifies Talk, and Genders Technology"

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E2: Carceral Media: Screening the U.S. Prison Regime
Room: 2
Chair: Michael Litwack (Brown University)
  • Alison Griffiths (Baruch College, CUNY), "The Carceral Aesthetic and 'Border Thinking’: Prisons on Screen Before 1910"
  • Michael Litwack (Brown University), "'Dead Time Is at Work': Television and Primitive Accumulation in the Early Neoliberal-Carceral Era"
  • Catherine Harrington (Northwestern University), "Prison ‘Reality’ at Home and Abroad : Exposing Prison Discourse through Televisual Tourism"
  • Shreerekha Subramanian (University of Houston), "Mediated Humanities in the Texas Men's Prison"

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E3: Afterthoughts on the Centenary of Bombay Cinema
Room: 3
Chair: Lalitha Gopalan (University of Texas, Austin)
Workshop Participants:
  • Tejaswini Ganti (New York University)
  • Lalitha Gopalan (University of Texas, Austin)
  • Anupama Kapse (CUNY, Queens College)
  • Neepa Majumdar (University of Pittsburgh)
  • Meheli Sen (Rutgers University)

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E4: A Homage to Bigas Luna (1946-2013)
Room: 4
Chair: Santiago Fouz-Hernandez (Durham University)
  • Santiago Fouz-Hernandez (Durham University), "Bigas Luna’s Early Erotic Passions: ‘Bilbao’ (1978) and ‘Caniche’ (1979)."
  • Alfredo Martinez Exposito (University of Melbourne), "After-images and Imagination: Image and Nation in Bigas Luna’s ‘Anguish’ (1987) and ‘Volaverunt’ (1999)."
  • Carolina Sanabria (University of Costa Rica), "Back to the Origins: Bigas Luna’s ‘Iberian Portraits’ Trilogy."
  • Marvin D'Lugo (Clark University), "Sexual and Cinematic Commodities: Bigas Luna’s ‘Chambermaid “and” the Titantic’"

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E5: Colonialism in Chinese Cinema: Reconfiguring the Past; Renegotiating Its Global Future
Room: 5
Chair: Yanhong Zhu (Washington and Lee University)
Respondent: Yanhong Zhu (Washington and Lee University)
  • Victor Fan (King's College London), "Politics at Play: Jazz and Chinese Cinema, 1937-1949"
  • Jing Jing Chang (Wilfrid Laurier University), "The Cold War Project of the Southern Film Corporation: Film Distribution and Censorship in British Hong Kong"
  • Wei Yang (University of the South), "My Blueberry Nights Revisited: Wong Kar-wai and Transnational Auteurism"
  • Frederik Green (San Francisco State Univerity), "The Twelve Chinese Zodiacs: Jackie Chan, Ai Weiwei, and the Aesthetics (and Politics) of Revisiting a National Wound"

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E6: Mid-Century Modern: New Directions in Historical Media Industries
Room: 6
Chair: Rebecca Prime (Hood College)
Respondent: Eric Smoodin (University of California, Davis)
  • Ross Melnick (University of California, Santa Barbara), "Exodus and Genesis: Egyptian Revolution, Postwar Zionism, and the Ramifications for Hollywood’s Middle Eastern Theater Circuits, 1947-1957"
  • Rebecca Prime (Hood College), "“This is Cinerama": Merian C. Cooper’s Widescreen Politics"
  • Emily Carman (Chapman University), "Twilight Stardom: Excavating the Postwar Careers of Constance Bennett and Gloria Swanson"

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E7: Rethinking the Cliché: Historical Perspectives on Hollywood Conventions
Room: 7
Chair: James MacDowell (University of Warwick)
Co-Chair: Elizabeth Rawitsch (Independent Scholar)
  • James MacDowell (University of Warwick), "The Sense of a Happy Ending: Clichés and Conventions, Myths, and Fictions"
  • Oliver Gruner (University of Portsmouth), "“A New Birth of Freedom”?: The Gettysburg Address in Film"
  • Elizabeth Rawitsch (Independent Scholar), "Charlie Chan’s Multicolored Passport: Hollywood’s Asian Detectives and Transnational Identity"
  • Peter Falconer (University of Bristol), "The Rhetoric of Genre in the “Afterlife” of the Western"

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E8: “New” Wars, “New” Media: The War on Terror in a Digital Age
Room: 8
Chair: Lindsay Palmer (University of California, Santa Barbara)
  • Abigail Hinsman (University of California Santa Barbara), "Mediating the Human Head: Helmet-Mounted Systems as Media Objects in Aerial Intelligence"
  • Catherine Zimmer (Pace University), "Satellite Surveillance, Desert Landscapes, and the Political Aesthetics of the “War on Terror”"
  • Tung-Hui Hu (University of Michigan), "Serious Games: On the Sovereignty of Data"
  • Lindsay Palmer (University of California, Santa Barbara), "Reporting War (for the iPad): Condition One and the Tactile Consumption of Conflict"

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E9: Television Industries and the Production of Film Culture: Interventions in the UK Context
Room: 9
Chair: Paul McDonald (University of Nottingham)
  • Laura Mayne (University of Portsmouth), "Channel 4, Film4 and the Impact of Brand Identity on the UK Film Industry"
  • Rachael Keene (Creative Skillset), "Films for Television: Channel Branding, the Production of Cinephilia, and the Role of Programme Planners in the Multichannel Economy"
  • Ieuan Franklin (Bournemouth University), "Building a Television Audience for World Cinema in the (Late) Era of Media Scarcity"
  • Justin Smith (University of Portsmouth), "We Need to Talk About Subsidy: Television and the UK Film Industry - A 30-Year Relationship"

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E10: Sound: Aesthetics and Ideology
Room: 10
Chair: Alejandra Bronfman (University of British Columbia)
  • Justin Morris (University of Toronto), "Radio Ranch: Emergent Seriality in 1930s Film and Radio"
  • Paula Musegades (Brandeis University), "Silence is Golden: Aaron Copland’s Film Score for “The Heiress”"
  • Yuki Takinami (University of Tokyo), "The Issue of Sound-Cinema Aesthetics in Early-1930s Japan: Theory and Practice"
  • Alejandra Bronfman (University of British Columbia), "Screeches, Static, and Silence: The Fragmented Terrain of Caribbean Radio"

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E11: Post-3.11: Representing Disaster
Room: 11
Chair: Mark Roberts (University of Tokyo)
  • Minori Ishida (Niigata University), "The Lack of Media: the Invisible Domain after 3.11"
  • Akira Lippit (University of Southern California), "The Place of Disaster: Fukushima and "3.11""
  • Mitsuyo Wada-Marciano (Carleton University), "Post 3.11.2011: Hitomi Kamanaka and Video Activism, "Ashes to Honey" (2010)"
  • Mark Roberts (University of Tokyo), "Social Documentary after 3.11"

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E12: Online Teaching in Film and Media Studies
Room: 12
Chair: Murray Leeder (University of Manitoba)
Co-Chair: Sylvie Jasen (Carleton University)
Workshop Participants:
  • George Larke-Walsh (University of North Texas)
  • Russell Meeuf (University of Idaho)
  • Allison Whitney (Texas Tech University)
  • April Miller (University of Northern Colorado)

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E13: Deleuzian Aesthetics
Room: 13
Chair: Justin Horton (Georgia State University)
  • Andrea Brooks (University of British Columbia), "Theorizing Thinspiration and the (De)composed Body"
  • Edward Troy (University of California, Riverside), "Krzysztof Kieslowski and the Outsides of Cinema"
  • Michael Eng (John Carroll University), "History, Cinema, Affect: Deleuze and the Case of Fei Mu’s "Spring in a Small Town""
  • Justin Horton (Georgia State University), "Vibration, Resonance, Deformation: Deleuze’s Soundful Aesthetics"

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E14: Visualizing Media Studies: The Expansion of Scholarly Publishing Into Video Essays
Room: 14
Chair: Christine Becker (University of Notre Dame)
Workshop Participants:
  • Catherine Grant (University of Sussex)
  • Christian Keathley (Middlebury College)
  • Drew Morton (Texas A&M University, Texarkana)
  • Benjamin Sampson (University of California, Los Angeles)
  • Matthias Stork (University of California, Los Angeles)

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E15: Videogaming’s Undefined, Defining Feature: Exploring the Origins, Manifestations, and Limits of Interactivity
Room: 15
Chair: Harrison Gish (University of California, Los Angeles)
Co-Chair: David O'Grady (University of California, Los Angeles)
  • David O'Grady (University of California, Los Angeles), "Domesticating Interactivity: Examining Early Industry Efforts to Introduce Videogames to the Home"
  • Harrison Gish (University of California, Los Angeles), "Sandboxes and Surrogates: Spatialized Avatar Interactivity in Grand Theft Auto’s Expanding Open World"
  • Jonathan Cohn (University of Alberta), "Following a Story to the Endtimes: Choice, Precarity, and Fatalism in Dystopian Gameplay"
  • Jessica Aldred (University of Montreal), "To Survive the Zombie Apocalypse, Point and Click: Transmedia Character Interactivity and Player Agency in The Walking Dead Franchise"

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E16: Beyond the Game: Screening Sports in the 21st Century
Room: 16
Chair: David Lerner (Loyola Marymount University)
  • Sudeep Sharma (University of California, Los Angeles), "HBO’s Hard Knocks and the NFL as Reality Cable Television Programming"
  • Paul Reinsch (Texas Tech University), "“The Real Rocky,” the “Fake” Chuck Wepner and the Politics of Intertextuality"
  • Robert Cavanagh (Northwestern University), "Nine for IX: Sport and Gender"
  • David Lerner (Loyola Marymount University), "Romantics and Analytics: Moneyball as Sabermetric Melodrama"

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E17: Queer Remix Video: Hacking Telesexuality
Room: 17
Chair: Hunter Hargraves (Brown University)
  • Dayna McLeod (Concordia University), "Navigating the Heterosexual Matrix of Remix Culture"
  • Julie Russo (The Evergreen State College), "Spirit of Chaos: "My Little Pony" Remix as Queer Fan Labor"
  • Hunter Hargraves (Brown University), "“Now Shut Up and Get Me High”: Affective Economies of Perversion in Remixed Television"
  • Alexis Lothian (Indiana University of Pennsylvania), "Queer Cinema Remixed Straight? Vidding, Aesthetics, and "Born in Flames""

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E18: Art Documentaries: Aesthetics, History, Theory
Room: 18
Chair: Steven Jacobs (Ghent University)
  • Angela Dalle-Vacche (Georgia Institute of Technology), "Andre Bazin, Science and the Art Documentary"
  • Steven Jacobs (Ghent University), "Magritte, ou la leçon des choses (Luc De Heusch, 1960)"
  • Susan Felleman (Southern Illinois University Carbondale), "Mystical Mediation: Jay DeFeo’s THE ROSE Conjured, Captured, and Preserved by Bruce Conner and Wallace Berman"
  • Brigitte Peucker (Yale University), "Enter Ekphrasis: Greenaway Reads Rembrandt"

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E19:
Room: 19
Chair: Michael Zryd (York University)
  • Alison Wielgus (University of Iowa), "Watch Out! The World’s Behind You: Warhol’s Exploding Plastic Inevitable and the Promises of Expanded Cinema"
  • Hava Aldouby (Hebrew University), "Experimental Cinema Enters the Worlds of Gaming: Considering Phil Solomon’s Recent Works"
  • Claire Henry (Whitney Museum of American Art), "(Un)commercial: Andy Warhol and the Television Ad, 1964-68"
  • Michael Zryd (York University), "Documentation in Hollis Frampton’s Magellan: Artists’ Notes as Conceptual Art"

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E20: Cine-Ethics: The Role of Moral Intuition, Reason, and Expression in Ethical Responses to Film
Room: 20
Chair: Jinhee Choi (King's College London)
Respondent: Richard Allen (New York University)
  • Carl Plantinga (Calvin College), "Film Affect and the Genealogy of Morals"
  • Malcolm Turvey (Sarah Lawrence College), "Vertov and the Expanding Circle"
  • Jinhee Choi (King's College London), "The Ethics of the Monad: Leibniz and Film Spectatorship"

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E22: Re-viewing TV
Room: 22
Chair: Mark J.P. Wolf (Concordia University, Wisconsin)
  • Gina Giotta (California State University, Northridge), "Dreamless Dream: Re-visiting Adorno on TV"
  • Katharine Zakos (Georgia State University), "The Wedding Industrial Complex, or How I Learned to Stop Worrying and 'Say Yes to the Dress'"
  • Jonathan Lupo (Saint Anselm College), "From Ambivalence to Agency: Binge-viewing Discourse and Television Spectatorship"
  • Mark J.P. Wolf (Concordia University, Wisconsin), "'People Can Like You Just the Way You Are': The Diverse Ontological Spectrum of Mister Rogers’ Neighborhood"

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Thursday, March 20, 2014 11:00AM-12:45PM (Session F)

F1: Reconsidering Psychoanalysis and Media Studies: Towards a Productive Intersection
Room: 1
Chair: Hannah Zeavin (New York University)
Co-Chair: Lana Lin (New York University)
Respondent: Marie Shurkus (Pomona College)
  • Laura Stamm (University of Pittsburgh), "Between the Acts: Kristeva’s Chora and a Cinematic Re-Imagining of Gender Acquisition"
  • Lana Lin (New York University), "Are These Thoughts My Own?: A Psychoanalytic Reading of Upton Sinclair’s "Mental Radio""
  • Hannah Zeavin (New York University), "The Art Of Treatment: Documenting Analysis"

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F2: Cinema and the New Deal
Room: 2
Chair: Patrick Keating (Trinity University)
  • Harvey Cohen (King's College, London), ""Footlight Parade": Supporting and Undermining the New Deal, 1933"
  • Mary Samuelson (University of California, Los Angeles), "Radical Moment: The National Recovery Administration and Hollywood’s ‘New Deal’"
  • Patrick Keating (Trinity University), "Capitalism and Coincidence: Disrupting Classical Hollywood Narrative in Films of the Great Depression"

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F3: Argentine and Chilean Cinema: Historical Revisions, Political Shifts
Room: 3
Chair: Kathleen Newman (University of Iowa)
Respondent: Ana Lopez (Tulane University)
  • Kathleen Newman (University of Iowa), "Left Unsaid: History and Memory in Recent Chilean Cinema"
  • Jessica Stites Mor (University of British Columbia), "Argentine Political Filmmakers in Solidarity: The Road from Algiers to Cine piquetero"
  • Nilo Couret (University of Michigan), "The Accidental Time Capsule: Raul Ruiz’s "Palomita Blanca" (1973) and the Humorous Dimensions of New Latin American Cinema"

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F4: Television Networks and Brand Identity
Room: 4
Chair: Amanda Keeler (Marquette University)
Co-Chair: Cory Barker (Indiana University)
  • Amanda Keeler (Marquette University), "AMC: American Male Channel?”"
  • Cory Barker (Indiana University), "What is Drama?: The Evolution of TNT’s Genre-infused Brand Identity"
  • Andrew Zolides (University of Wisconsin, Madison), "BBC America’s Dual Citizenship: Naturalizing the Immigrant Network"
  • Stefania Marghitu (King's College London), "FX’s The Bridge: Strategizing Towards an Expanding Hispanic Demographic"

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F5: Margins of the New Wave: Japanese Cinemas of the 1960s
Room: 5
Chair: Takuya Tsunoda (Yale University)
  • Takuya Tsunoda (Yale University), "The Cinema as Pedagogical Loop: Bad Boys and the Japanese New Wave"
  • Roland Domenig (Meiji Gakuin University), "Reconsidering the “Shôchiku Nouvelle Vague”"
  • Michael Raine (University of Western Ontario), "Music, Musicals, and the Margins of the Japanese New Wave"
  • Go Hirasawa (Meiji Gakuin University), "Toward Cinematic Activism: Student Radicalism, Avant-garde Movement, and the Japanese New Wave"

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F6: Video Cultures, Communities, and Circulation in the 21st Century
Room: 6
Chair: Juan Llamas Rodriguez (University of California, Santa Barbara)
Respondent: Daniel Herbert (University of Michigan)
  • Matthias Mushinski (Columbia University), "Are You Guys Closing? – Video-clubs and the Third World of the Internet"
  • Michael OBrien (University of Texas, Austin), "Limited Release: Online Cine-Clubs and Digital Archives"
  • Juan Llamas Rodriguez (University of California, Santa Barbara), "What Is (In) A Diasporic Video Store?"

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F7: Architectures of Moving-Image Display
Room: 7
Chair: Alla Gadassik (Northwestern University)
  • Swagato Chakravorty (Yale University), "An Architecture of Phantasms: Screen, Space, Play"
  • Brian Jacobson (University of St Andrews), "Of Black Boxes and White Cubes, or, Film Architecture in the Gallery"
  • Alla Gadassik (Northwestern University), "Perceptual Cells: Modified Vision in the Work of James Turrell"
  • Ian Robinson (McGill University), "From Screen to City Square: Space and Spectatorship in Immersive-participatory Cinema"

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F8: Interfaces with the Unrepresentable: Networks and Affect
Room: 8
Chair: James Hodge (Northwestern University)
Respondent: Lisa Nakamura (University of Illinois, Urbana)
  • James Hodge (Northwestern University), "Love is All Around: Frances Stark’s My Best Thing"
  • Patrick Jagoda (University of Chicago), "Journey Stories: Digital Games, Emergent Narratives, and Affective Networks"
  • Scott Richmond (Wayne State University), "Networked Boredom: On the Desire for Connection"

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F9: Self-Portraiture and Autobiography in Contemporary Film & Media
Room: 9
Chair: Mary Ann Doane (University of California, Berkeley)
Co-Chair: Damon Young (University of California Berkeley)
  • Greg Youmans (Colgate University), "One-Way Mirrors: Gay Auto/Ethnography in the 1970s"
  • Damon Young (University of California Berkeley), "The Subject of Digital Media: On Tarnation (2003)"
  • Homay King (Bryn Mawr College), "Virtual Memory: Agnès Varda’s Beaches"
  • Kristopher Fallon (University of California, Davis), "Data’s Indexicallity"

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F10: Time and the Cinema of Richard Linklater
Room: 10
Chair: Peter Lurie (University of Richmond)
  • Ellen Grabiner (Simmons College), "The Holy Moment: Waking Life and Linklater’s Dream Time"
  • Maria San Filippo (Indiana University, Bloomington), "Linklater’s Before Trilogy and The Evolution of U.S. Indie Cinema"
  • Katrina G. Boyd (University of Oklahoma), "“Grief Tragically Becoming Comedy”: Linklater’s Bernie and Oral History"
  • Peter Lurie (University of Richmond), "“Spatio-Temporality, Framed Emptiness, and Medial Integrity in Linklater’s Before Trilogy”"

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F11: Judging WWII Hollywood and the Jews: Cinema Studies and Recent Debates Over History and Accountability
Room: 11
Chair: Steven Carr (Indiana University, Purdue Fort Wayne)
Workshop Participants:
  • Jon Wilkman (Wilkman Productions)
  • Laura Rosenzweig (San Franciso State University)
  • Steven Ross (University of Southern California)

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F12: Enacting 'Oriental Femininity': Three Crossover Performers in 1910s-30s American Cinema and Theater
Room: 12
Chair: Ramona Curry (University of Illinois, Urbana-Champaign)
Co-Chair: Yiman Wang (University of California, Santa Cruz)
Respondent: Kent A. Ono (University of Utah)
  • Krystyn Moon (University of Mary Washington), ""Blending the Dreamy Mysticism of the East with the Prosaic Culture of the West": Alla Nazimova and "The Red Lantern" (1919)"
  • Ramona Curry (University of Illinois, Urbana-Champaign), ""The First Chinese Film Star in America": The Artful Racial Masquerade of Lady Tsen Mei/Josephine Moy"
  • Yiman Wang (University of California, Santa Cruz), "“Ghosting” the Oriental: Anna May Wong’s Racial Reenactment"

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F13: Horrified, Horrifying, Horrifiable: Composition, Genre, Affect
Room: 13
Chair: Eugenie Brinkema (Massachusetts Institute of Technology)
  • Karla Oeler (Emory University), "Horror and “The Cinema of Poetry”"
  • Caetlin Benson-Allott (Georgetown University), "Horror By Design: Affect and Visual Environments in Art and Film"
  • Jason Middleton (University of Rochester), "Protraction, Disruption, Flux: Forms of Horror in 'The Texas Chainsaw Massacre'"
  • Eugenie Brinkema (Massachusetts Institute of Technology), "Order and the List: 'Final Destination' and Death by Design"

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F14: Teaching Video Game Studies Across Disciplines
Room: 14
Chair: Matthew Payne (University of Alabama)
Co-Chair: Jennifer Malkowski (Miami University of Ohio)
Workshop Participants:
  • Christopher Hanson (Syracuse University)
  • Carly Kocurek (Ilinois Institute of Technology)
  • Jennifer Malkowski (Miami University of Ohio)
  • TreaAndrea Russworm (University of Massachusetts, Amherst)

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F15: The Screen Idea, Screenwriting, and Media Production Research
Room: 15
Chair: Eva Redvall (University of Copenhagen)
  • Ian Macdonald (University of Leeds), "The Screen Idea, the Work Group, and Screen Narrative Production"
  • Bridget Conor (King's College London), "Good and Bad Roles for the Professional Screenwriter"
  • Raija Talvio (Aalto University, Finland), "Subjective Dreams: The Idea of the Pre-existing Film"
  • Eva Redvall (University of Copenhagen), "Screenwriting and the Screen Idea System: Writing and Producing Television Drama in Denmark"

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F16: Feminist Approaches to War Media
Room: 16
Chair: Debra White-Stanley (Keene State College)
  • Karen Randell (Southampton Solent University), "Duty over Love; WWI Nurses on Film"
  • Debra White-Stanley (Keene State College), "Combat Medicine, Gendered Trauma, and Audio-Vision"
  • Andrew Myers (University of Southern California), "The Tailhook Taboo: The U.S. Military’s Influence Over Representations of Military Women in Film and Television, 1986-1997"
  • Stacy Takacs (Oklahoma State University), "Embrace the Suck! Trauma on the Really Small Screen"

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F17: Negotiating Race in Digital Spaces
Room: 17
Chair: Sarah Florini (University of Wisconsin-Madison)
  • Sarah Florini (University of Wisconsin-Madison), "Networked Enclaves: Black Podcasters’ Responses to the George Zimmerman Verdict"
  • Andre Brock (University of Michigan), "Race, Identity, Politics: The Zimmerman Verdict and Black Conservative Online Responses"
  • Kishonna Gray (Eastern Kentucky University), "The Avatar as Blackface: Using Color-blind Racism to Examine Stereotypical Representations and Performances of Blackness in Xbox Live"
  • Meredith Clark (University of North Carolina-Chapel Hill), "#Kujichagulia: Naming Ourselves <140 Characters at a Time"

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F18: Documentary Sound and the Global City
Room: 18
Chair: Jennifer Fleeger (Ursinus College)
  • Rita Safariants (Vassar College), "The Gig is in the Boiler Room: Filming Leningrad’s Rock-n-Roll Counterculture"
  • Josh Glick (Yale University), "The Renegade in the Network: Joe Saltzman, CBS, and Soundtrack Innovations"
  • Ashish Chadha (University of Rhode Island), "Sound in the City: Experimental Documentaries of Films Division in India"
  • Noelle Griffis (Indiana University), "Telling it Like it Is: The Camera as Voice in AFI Supported Minority Youth Films of the 1960s"

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F19: Other Spaces: Experimental Film, Sexuality, and Urban Geographies
Room: 19
Chair: Amy Herzog (Queens College, CUNY)
Respondent: Elena Gorfinkel (University of Wisconsin, Milwaukee)
  • Ara Osterweil (McGill University), "City of Desire, City of Anger: Mapping Fireworks"
  • Juan Suarez (University of Murcia), "Queer Space and Cultural Memory in Barbara Hammer"
  • Amy Herzog (Queens College, CUNY), "Architectures of Exchange: Feminism, Public Space, and Expanded Cinema"

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F20: Middle East Caucus Panel: Defining Experimental and Art Films in Middle Eastern Cinemas
Room: 20
Chair: Samirah Alkassim (Palestine Center & Jerusalem Fund)
  • Laura Marks (Simon Fraser University), "Experiments in the Archive"
  • Anna Cavness (University of Califorinia, Irvine), "Experimental Cartographies in Tariq Teguia’s "Gabbla" (Inland)"
  • Maryam Monalisa Gharavi (Harvard University), "Screen Interrupted: Contested Spaces and Spectatorship in Shirin Neshat’s "Turbulent" Trilogy"
  • Sara Saljoughi (University of Minnesota), "The Antagonistic Image: Experimental Cinema in Iran, 1962-1979"

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F22: Geopolitics and Media Aesthetics
Room: 22
Chair: Colleen Jankovic (University of Pittsburgh)
  • Ali Sengul (Artuklu University), "A Geneology of Cinematic Realism in Turkey"
  • Courtney Ritter (University of Michigan), "Programming Democracy: Italian Neorealism and the Transnational Code of Everyman TV"
  • Dong Hoon Kim (University of Oregon), "The Poetics of North Korean Juche Cinema"
  • Colleen Jankovic (University of Pittsburgh), "Cinema’s Palestine: Exploring Location and B-Roll in Cinematic Constructions of Palestinian Space"

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Thursday, March 20, 2014 01:00PM-02:45PM (Session G)

G1: Cult Mediations: Television, Sexploitation, Fantasy
Room: 1
Chair: Karin Beeler (University of Northern British Columbia)
  • Ross Garner (Cardiff University), "The Series that Changed Television?: Twin Peaks, ‘Classic’ Television and Temporal Capital"
  • Jamie Hook (Indiana University), "Genre Trouble: Radley Metzger’s "Score," Male Bisexuality, and the Boundaries of Sexploitation"
  • Karin Beeler (University of Northern British Columbia), "Coming of Age Films and Contemporary Youth Culture: Framing Technology and Place in American Fantasy Film"
  • Benjamin Kruger-Robbins (University of Texas at Austin), "ABC’s Queer Failures: "Twin Peaks" and "My So-Called Life""

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G2: Chorological Mapping: Negotiating Place in Cinematic and Digital Geographies
Room: 2
Chair: Thomas Forget (University of North Carolina at Charlotte)
  • Mark Thorsby (Lone Star College), "Cinema as Chorology: An Exposition of the Concept of Chorology and its Relation to Cinematic Mediation"
  • Nathan Koob (University of Michigan), "In-Centricities: Filmmaking’s ‘Place’ in the Work of Robert Altman"
  • Jennifer Stob (Colgate University), "Reality Without Reference Points: Mapping The Place of Time (1985)"
  • Thomas Forget (University of North Carolina at Charlotte), "Neither Here nor Now: the Discernment of Space and Time in New Media Mapping"

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G3: The Authentic Body
Room: 3
Chair: Heather Warren-Crow (Texas Tech University)
Co-Chair: Susan Kerns (Columbia College Chicago)
  • Susan Kerns (Columbia College Chicago), "Seeing Double: How Real Conjoined Twins Complicate the Place of Narrative in Fiction"
  • Defne Tuzun (Sabanci University), "Confessions of a Porn Star: The Uses and Misuses of Stardom in "The Girlfriend Experience""
  • Thomas Schur (Claremont McKenna College), "Body Parts: The Somatic Chain in Godard’s Sauve qui peut (la vie)"
  • Heather Warren-Crow (Texas Tech University), "Voice Work: Two Girls One Cup and the Labor of Reaction"

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G4: The Migrant Image in African Cinema
Room: 4
Chair: Aboubakar Sanogo (Carleton University)
  • Jude Akudinobi (University of California, Santa Barbara), "Critical Spaces and Discourses of Migration in African Cinema"
  • N. Frank Ukadike (Tulane University), "African Cinema: Migrations, Intersections, and Representations"
  • Aboubakar Sanogo (Carleton University), "Three Modalities of the Migrant Image in African Cinema"
  • Beatriz Leal-Riesco (Independent Scholar), "Narratives of Migration in Contemporary Spanish Cinema"

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G5: The Cold War in East Asian Cinema
Room: 5
Chair: Man Fung Yip (University of Oklahoma)
  • Sangjoon Lee (U of Michigan), "The Asia Foundation’s Motion Picture Project in Cold War Asia, 1953-1959"
  • Michael Baskett (University of Kansas), "Terminally Entertaining: Japanese Cold War Nuclear Holocaust Films for Mainstream Audiences"
  • Han Sang Kim (Harvard University), "Projecting the “Free World” on the Colonial Screen"
  • Man Fung Yip (University of Oklahoma), "The Age of Lost Ideals: The Cultural Revolution, Modernization, and the Demise of Hong Kong’s Leftist Cinema"

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G6: Technics and the Image
Room: 6
Chair: Wheeler Winston Dixon (University of Nebraska)
  • Sam Ishii-Gonzales (The New School), "Tarkovsky and Technics"
  • Jordan Schonig (University of Chicago), "Encountering the Monolith: Minimalism, Technics, and the Metaphysics of Origin in "2001: A Space Odyssey""
  • Domietta Torlasco (Northwestern University), "Cinema by Other Means: Translation and Image Disappearance"
  • Wheeler Winston Dixon (University of Nebraska), "The Eternal Spectator: Movies, Myth, and Memory"

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G7: Real Estate as Crime
Room: 7
Chair: Mario Trono (Mount Royal University)
  • Jon Lewis (Oregon State University), "The Dahlia and Transition-era Hollywood … An Epigram on Transient Lives"
  • Mario Trono (Mount Royal University), "The Cinematic Space of Corporate Personhood"
  • Linda Liu (University of Massachusetts, Boston), "Haunted without History: McMansions in the Paranormal Activity Franchise"
  • Erica Stein (University of Arizona), "The Car Wash’s Dirty Secret: The Dual Space of the Criminal Front"

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G8: The Social and Aesthetic Dimensions of New Media Innovation
Room: 8
Chair: Aviva Dove-Viebahn (Arizona State University)
  • Peter Labuza (Columbia University), "Kings and Pawns: Andrew Bujalski’s "Computer Chess" and “Digital Psychology”"
  • Katherine Morrow (University of Washington), "Youku’s Citizen Journalists: Chinese Video Sharing as Archive and Community"
  • Laszlo Gardonyi (Eotvos Lorand University), "Towards a New Aesthetics: Fractalized and Iterated Texts on Tumblr"
  • Aviva Dove-Viebahn (Arizona State University), "The Aesthetics of Portability: Advertising, Virtual Communities, and the Promise of Mobile Technology"

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G9: Producing Industry Studies
Room: 9
Chair: Arthur Knight (College of William & Mary)
  • Annie Sullivan (Northwestern University), "From Motown to Mediatown: Detroit 187 and the Politics of Urban Media Production"
  • Martin Zeilinger (York University), "Ghostwriting the Hollywood Whip: Creative Authorship and Film Trailers"
  • Jillian Sandell (San Francisco State University), "Short Circuits: Short Film Programs as Ephemeral Collective Texts"
  • Arthur Knight (College of William & Mary), "Crowdfunding Independence: Kickstarter, IndieGoGo, and the Idea of “Independent Film”"

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G10: To Tell the Truth
Room: 10
Chair: Mimi White (Northwestern University)
  • Michela Ardizzoni (University of Colorado), "Narratives of Change and Connected Production Practices in Italian Social Documentarties"
  • Christie Milliken (Brock University), "'It’s Not a Political Issue. It’s a Moral Issue': The Uses and (Ab)uses of Melodrama in Contemporary Environmental Documentary"
  • Sabiha Khan (University of Texas, El Paso), "The Modernist Spectacle of Nutrition Science in Edgar Anstey’s Early Food Documentary "Enough to Eat?" (1936)"
  • Mimi White (Northwestern University), "On Truth and Lies in an HGTV Sense: The Stakes of Fakery on Lifestyle TV"

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G11: Memory and Nostalgia
Room: 11
Chair: Areum Jeong (University of California, Los Angeles)
  • Areum Jeong (University of California, Los Angeles), "Performing Colonial Imagi-"nation""
  • Adam Ochonicky (University of Wisconsin, Milwaukee), "The Aesthetics of Nostalgia: Dissolves and Simultaneity in "The Straight Story""
  • Andrea Schmidt (University of Washington), ""It's Going to Get Interesting": German Media Reaction to the Production of Werner Herzog's "Fitzcarraldo""
  • Kirsten Moana Thompson (Victoria University), "Nostalgic Myth: Aggie Grey, Tourism and Nation, or the Americans Come to the South Pacific"

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G12: Sexual Politics and Cinematic Intimacy in Viet Nam and the Philippines
Room: 12
Chair: Kent A. Ono (University of Utah)
  • Hoang Nguyen (Bryn Mawr College), "Fooled by Love: Việt Kiều Intimacy in Contemporary Vietnamese Cinema"
  • Mariam Lam (University of California, Riverside), "Compromising Positions: The World within Reach for Vietnamese Film and Media"
  • Celine Parrenas Shimizu (University of California, Santa Barbara), "Scars of Brown Skin: New Filipino Cinema by Brillante Mendoza"
  • Jose Capino (University of Illinois, Urbana-Champaign), "Love and Death in Strange Lands: Migrant Laborers in Transnational Philippine Cinema"

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G13: European Horror Cinema and Transcultural Exchange
Room: 13
Chair: Johnny Walker (Northumbria University)
  • Austin Fisher (University of Bedfordshire), "Translocal Violence in the Italian Hinterland: Politics, Identity, and the Giallo"
  • Stefano Baschiera (Queen's University, Belfast), "Contemporary Horror Cinema and European Locations"
  • Shaun Kimber (Bournemouth University), "Borderlands: "Big Bad Wolves" and Transcultural Exchange within European Horror Films and Film Cultures"
  • Johnny Walker (Northumbria University), "Amateur British Horror and "Informal" Distribution"

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G14: Mediated Citizenship and Practices of Resistance
Room: 14
Chair: Laura Portwood-Stacer (New York University)
  • Rivka Ribak (University of Haifa), "Blissfully Ignorant: News Avoidance as an Expression of Civic Disengagement"
  • Nabil Echchaibi (University of Colorado, Boulder), "The Muslim Home, Space and Media Practices"
  • John Cheney-Lippold (University of Michigan, Ann Arbor), "Jus Algoritmi: The NSA's Algorithmic Citizenship and Foreignness"
  • Avi Marciano (University of Haifa), "Biometric Technologies in Israel: Surveillance, Citizenship, and Resistance"

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G15: Cinema and the Military: Case Studies in Exhibition
Room: 15
Chair: Andrea Kelley (Indiana University)
  • Haidee Wasson (Concordia University), "Military Designs on the Visible Future: Portable Projectors in the American Armed Forces at Mid-Century"
  • Andrea Kelley (Indiana University), "“Capt. Jimmy’s Jukes”: the Panoram Film Jukebox and WWII’s Small Screen Exhibition Practices"
  • Nate Brennan (New York University), "Gregory Bateson’s Hitlerjunge Quex Experiment: The U.S. Military, Cinematic Intelligence, and the Practical Application of Film Theory during World War II"
  • Alexander Thimons (Northwestern University), "Blurred Visions: Atomic Testing, Television, and Technological Failure"
  • Alexander Thimons (Northwestern University), "Blurred Visions: Atomic Testing, Television, and Technological Failure"

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G16: Self-Awareness and Identity Politics in Media Pedagogy
Room: 16
Chair: Melissa Lenos (Donnelly College)
Workshop Participants:
  • Guillermo Avila-Saavedra (Salem State University)
  • Chelsea Bullock (University of Oregon)
  • Anthony Bleach (Kutztown University)
  • Amanda Klein (East Carolina University)
  • Mel Stanfill (University of Illinois, Urbana-Champaign)

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G17: Cinema/Media Intersections
Room: 17
Chair: Genevieve Yue (Eugene Lang College, The New School)
Co-Chair: Tara McPherson (University of Southern California)
Workshop Participants:
  • Steve Anderson (University of Southern California)
  • Jeffrey Sconce (Northwestern University)
  • Tung-Hui Hu (University of Michigan)
  • McKenzie Wark (The New School for Social Research)

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G18: Between Speech, Music, and Noise: The Voice in Recent Film and Television
Room: 18
Chair: Claudia Gorbman (University of Washington, Tacoma)
  • John Richardson (University of Turku), "Between Dialogue and Sound: The Voice, Audiovisual Flow, and the Aestheticizing Impulse"
  • Robynn Stilwell (Georgetown University), "Walking and Talking and Singing and Dancing: Axes and Boundaries in the Television Soundscape"
  • Claudia Gorbman (University of Washington, Tacoma), "The Master's Voice"
  • Mitchell Morris (University of California Los Angeles), "Fictions of the Facture: Vocal Realities in "Velvet Goldmine""

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G19: Video Art’s Exemplarity (Approaches to Early Video Art)
Room: 19
Chair: Solveig Nelson (University of Chicago)
Co-Chair: Kris Cohen (Reed College)
  • Beth Capper (Brown University), "Video’s Intimate Spaces: Feminist media environments at the Women’s Interart Center"
  • Solveig Nelson (University of Chicago), "The End of Early Video? Gretchen Bender and the 1980s"
  • Kris Cohen (Reed College), "Scrolling Seriality: A History"
  • Adam Hartzell (Independent Scholar), "Addressing the Distracted Viewer: Gary Hill’s "Around & About" (1980)"

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G20: Television Writing: Creative Freedom and Constraint
Room: 20
Chair: Joanne Morreale (Northeastern University)
  • Christina Kallas (Columbia University), "On Writing for Television"
  • Mary Beth Haralovich (University of Arizona), ""Army Wives": Realism and Primetime Drama"
  • Caryn Murphy (University of Wisconsin, Oshkosh), "White Writers, Black Characters: Racial Discourse in 1960s Television"
  • Joanne Morreale (Northeastern University), "Negotiating Innovation and Convention on “The Dick Van Dyke Show”"

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G22: Affective Economies of Cinema and the Labors of Reparative Criticism
Room: 22
Chair: Carrie Rentschler (McGill University)
Respondent: Jennifer Petersen (University of Virginia)
  • Lisa Henderson (University of Massachusetts, Amherst), "Getting to the Next Place: Visual Culture and the Question of Well Being"
  • Li Cornfeld (McGill University), "We Are Santa’s Elves: The Labor of Wish Fulfillment between Cinema and Macy’s Santaland"
  • Carrie Rentschler (McGill University), "Grief Work and Video Testimonials of Victimization"

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G25: Historiography Blues: Challenges in Writing Histories of Adult Film and Video
Room: 25
Chair: Eric Schaefer (Emerson College)
Co-Chair: Peter Alilunas (University of Michigan)
  • Russell Sheaffer (Indiana University Bloomington), "Smut, Novelty, Indecency: Reworking a History of Early 20th Century ‘Stag Film’"
  • Peter Alilunas (University of Michigan), "Conspiracy or Regulation?: Floyd Bloss and the Complexities of Adult Film Historiography"
  • Kevin Heffernan (Southern Methodist University), "The Trouble with Nanny States and Nymphettes: Researching the American Adaptation and Reception of Swedish Erotic Cinema"
  • Eric Schaefer (Emerson College), "“Pornography Is Geography”: Porn, Place, and the Historiography of Early Theatrical Hardcore"

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G26: Indie Reframed: Women and the Contemporary American Independent Cinema
Room: 26
Chair: Christine Holmlund (University of Tennessee)
Respondent: Yannis Tzioumakis (University of Liverpool)
  • Michele Schreiber (Emory University), "Actress/Writer/Director: The Hybrid Careers of Julie Delpy, Rashida Jones, and Jennifer Westfeldt"
  • Linda Badley (Middle Tennessee State University), "Down to the Bone: Neo-neorealism and Genre in Contemporary Women’s Indies"
  • Claire Perkins (Monash University), "Not Just a Female Judd Apatow: Lynn Shelton and Mumblecore"

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Thursday, March 20, 2014 03:00PM-04:45PM (Session H)

H1: The Vitality of the Cinematic Image I: Aesthetics, Mood, Fantasy
Room: 1
Chair: Chris Tedjasukmana (Free University, Berlin)
  • Chris Tedjasukmana (Free University, Berlin), "Mechanical Vitalization: Bergson and Film Experience"
  • Eszter Polonyi (Columbia University), "Béla Balázs and the Bergfilm"
  • Inga Pollmann (University of North Carolina, Chapel Hill), "Milieu and Mood—The Long Shot in Balázs’ Film Theory"
  • Lee Carruthers (University of Calgary), "Reading the Radiant Image: Vitality, Receptivity and Film Hermeneutics"

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H2: Impossible Mournings: The Cryptic Space of Loss in Cinematic Representations of Trauma
Room: 2
Chair: Ofer Eliaz (Ohio University)
  • Ofer Eliaz (Ohio University), "George Franju and the Grave of History"
  • Kevin McDonald (California State University, Northridge), "In Search of the Primal Scene: In the Valley of Elah, War Trauma, and Cryptic Remains"
  • Claudia Pummer (University of Hawaii, Manoa), "Trauma, the Sublime, and the Global Uncanny in Recent Tsunami Disaster Films"

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H3: Negotiating Identity, Belonging, and Citizenship in Transnational Latino Communities in the US
Room: 3
Chair: Carlos Jimenez (University of California, Santa Barbara)
Co-Chair: Zaira Zarza (Queen's University)
  • Zaira Zarza (Queen's University), "From Exilic to Diasporic: New Cuban Migrant Cinemas in the United States"
  • Carlos Jimenez (University of California, Santa Barbara), "The Social Media Campaigns for Field Workers in California"
  • Veronica Zavala (University of California, Santa Barbara), "Alivianadas: Spanish-Language Radio Incentives"

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H4: French Film Archives: New Findings, New Forms
Room: 4
Chair: Kelley Conway (University of Wisconsin, Madison)
  • Colin Burnett (Washington University, St Louis), "Unknown Unknowns: Roger Leenhardt after “La petite école du spectateur” (1936)"
  • Jenny Oyallon-Koloski (University of Wisconsin, Madison), "'Un demi, Jacques!': Three Seats for the 26th and the Undiscussed Demy"
  • Charlie Michael (Emory University), "The Lescure Report and the Future of French Audiovisual Policy"
  • Kelley Conway (University of Wisconsin, Madison), "When Archives Become Art"

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H5: Moviegoing Cultures and Film Exhibition in China
Room: 5
Chair: Yi Lu (University of Texas, Austin)
Respondent: Ying Zhu (College of Staten Island-CUNY)
  • Yoshino Sugawara (Kansai University), "Birth of Moviegoing: Separation, Succession, and Transformation from Traditional Theatergoing in Shanghai"
  • Ti-Kai Chang (Columbia University), "The Open Air Cinema Practices in Post-1949 PRC"
  • Zhiwei Xiao (California State University, San Marcos), "Official Propaganda and Audience Appropriation – Movie-going in China, 1949-1966"
  • Yi Lu (University of Texas, Austin), "Promoting Motion Picture Consumption: Chinese Multiplexes and Movie Theater Marketing in the New Millennium"

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H6: The Aesthetics and Ideology of Cuteness
Room: 6
Chair: Anthony P McIntyre (University College Dublin)
  • Anthony P McIntyre (University College Dublin), "Cuteness as Subversion in the Star Text of Sarah Silverman"
  • Elizabeth Affuso (Pitzer College), "Adorkable?: Zooey Deschanel and Mindy Kaling’s Aesthetic of Thirtysomething Cuteness"
  • Dorothy Hendricks (Georgia State University), "Collect Them All!: Disney’s New Token Minorities"
  • Kathryn Thompson (Indiana University), "“No ‘Sad’ Content or Sob Stories”: The Regulation of Cuteness, Affect, and Power(lessness) on Reddit.com’s r/aww"

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H7: First-Person Singular: Cinephilia and Writing with the “I” in Cinema and Media Studies
Room: 7
Chair: Sam Roggen (University of Antwerp)
Respondent: Girish Shambu (Canisius College)
  • David Johnson (Salisbury University), "Remembering Early Cinema: Cinephilia, Lumière Views, and First-Person Criticism"
  • Sam Roggen (University of Antwerp), "If Looks Could Kill: Fallen Angel and the Cinephiliac Moment"
  • Christian Keathley (Middlebury College), "Video Essays and the First-Person Singular"

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H8: Star-spangled Banter: Hollywood, Fan Magazines and Stardom
Room: 8
Chair: Tamar Jeffers McDonald (University of Kent)
  • Diana Anselmo-Sequeira (University of California Irvine), "Movie-Mad Girls: Motion Picture Magazines, Girl Fandom, and Adolescent Agency in the 1910s"
  • Heather Addison (Western Michigan University), "Holding Our Heartstrings in Their Rosy Hands: Children in Early Hollywood"
  • Gaylyn Studlar (Washington University, St. Louis), "'The Day Baby Died': Jean Harlow, Fan Magazines, and Star Death"
  • Tamar Jeffers McDonald (University of Kent), "Dressing and Addressing the Audience: Movie Magazines and Film Costume"

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H9: Regionalism, Accent, and Dialect at the BBC, 1930-1955
Room: 9
Chair: Ian Whittington (University of Mississippi)
  • Debra Rae Cohen (University of South Carolina), "“There’s No Such Thing as Reet”: Reclaiming Region in Burbleton”"
  • Ian Whittington (University of Mississippi), "Regional Voice, National Crisis: J.B. Priestley as Second World War Radio Celebrity"
  • Emily Bloom (Georgia State University), "Speaking Oirish: The BBC Third Programme and Irish Drama"
  • Damien Keane (University at Buffalo - SUNY), "A Back-Window on Belfast: W.R. Rodgers’ The Return Room"

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H10: Sexual Diversions on Prime Time: Displacing Economic Anxieties and the Post-Recessionary “Multicultural” Subject in Popular Television
Room: 10
Chair: Pamela Thoma (Washington State University)
Respondent: Suzanne Leonard (Simmons College)
  • Mary Jo Klinker (Winona State University), "It’s Showtime! Portrayals of White Neoliberal Masculinity in “Ray Donovan” and “Californication”"
  • Pamela Thoma (Washington State University), "The Not-So-New Normal or the Sexual Politics of Women’s Employment: Navigating the Postfeminist Workplace from HBO’s “Girls” to Bravo’s “Eat, Drink, Love.”"
  • Sujata Moorti (Middlebury College), "Out-Sourcing Queerness: Narrating Racialized Femininities in “The Good Wife” and “The Mindy Project”"

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H11: Animation and Video Games: Theoretical Intersections
Room: 11
Chair: Mihaela Mihailova (Yale University)
  • Tanine Allison (Emory University), "Beyond the Photoreal: Motion Capture, Performance, and Identification in Video Games"
  • Andrew Johnston (Amherst College), "To Render Ghosts: 8-bit Color Algorithms and Aesthetics"
  • Timothy Jones (University of East Anglia), "Serious Interactive Animations: Issues of Realism in Game-based Instructional Environments"
  • Mihaela Mihailova (Yale University), "Click for Cartoons: The Video Game as Exhibition Space for Animation"

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H12: The 1968 that Was: Representing Revolt
Room: 12
Chair: Ken Feil (Emerson College)
Respondent: Dan Humphrey (Texas A&M University)
  • Ken Feil (Emerson College), "Of Myra and Monkees and Rowan and Martin: Countercultural Comedy on NBC, 1968-1969"
  • Andrew Lantz (Texas A&M University), "No-spaces of Resistance and Pere Portabella´s “Umbracle”"
  • Matthew Hubbell (University of Chicago), "Revolution in Black and White: The Zanzibar Films and the Style of ‘68"

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H13: Cinema & Wagner
Room: 13
Chair: Ken Eisenstein (University of Chicago / Bucknell University)
  • Amy Stebbins (University of Chicago), "Acting Wagner: History, Myth, and the Biopic"
  • Jessica Mulvogue (York University), "The ‘Meantime’ of ‘Transcreation’: Peter Sellars’ and Bill Viola’s “Tristan und Isolde”"
  • Rebekah Rutkoff (CUNY), "The Language of Diamonds: Markopoulos and Wagner"
  • Ken Eisenstein (University of Chicago / Bucknell University), "‘All Things Pass Into the Night’: Music, Montage, and Wagner in Billy Wilder’s “Love in the Afternoon” (1957)"

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H14: Queer Media Pedagogy: Principles, Practices, Possibilities
Room: 14
Chair: Nick Davis (Northwestern University)
Workshop Participants:
  • Theresa L. Geller (Grinnell College)
  • David Gerstner (College of Staten Island, CUNY)
  • Lokeilani Kaimana (University of Texas, Austin)
  • Erica Rand (Bates College)
  • Kathryn Bond Stockton (University of Utah)

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H15: Branded Entertainment of the Past
Room: 15
Chair: Cynthia Meyers (College of Mount Saint Vincent)
  • Kathryn Fuller-Seeley (Georgia State University), "“The Dean of Radio Salesmen” vs. “The Huckster”: Jack Benny’s Struggle with Sponsor Lucky Strike, 1944-1948"
  • Cynthia Meyers (College of Mount Saint Vincent), "The Problems of Branded Entertainment: BBDO, Sponsors, and Blacklists on Radio and Early Television"
  • Lauren Bratslavsky (University of Oregon), "Soft Hands and Soft Westerns: The True Stories of Death Valley Days, 1930-72"
  • Andrew deWaard (University of California, Los Angeles), "Marty Weiser, Exploitation Agent: Product Placement, Publicity, and the Tie-Up Business in Hollywood, 1940-1980"

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H16: Lost Girls and Victimized Heroines: Gender, Violence and TV Crime Drama
Room: 16
Chair: Tanya Horeck (Anglia Ruskin University)
Respondent: Elke Weissmann (Edge Hill University)
  • Sofia Bull (University of Gothenburg), "Bloodlines to Kill For: Policing Sexual Reproduction in Contemporary Crime Drama"
  • Tanya Horeck (Anglia Ruskin University), "It’s Not Just Any Girls, It’s the Lost Ones: Reframing Violence in The Killing"
  • Lisa Coulthard (University of British Columbia), "Feminist Gothic: Forensic Femininity and the Uncanny Landscape of Sexual Difference in Top of the Lake"

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H17: Reframing "The Boys in the Band"
Room: 17
Chair: Joseph Wlodarz (University of Western Ontario)
Respondent: Amy Villarejo (Cornell University)
  • Matt Bell (Bridgewater State University), "“Perverse Interest”: A Reception History of The Boys in the Band"
  • Steven Cohan (Syracuse University), "Let’s Hear it for the Boys: The Camps in "The Band""
  • Joseph Wlodarz (University of Western Ontario), ""Turning": Alcohol and Queer Affect in The Boys in the Band"
  • Dana Luciano (Georgetown University), "A Pockmarked Ethos: The Boys in the Band and New Queer Cinema"

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H18: Documentary Proxemics: Near and Far
Room: 18
Chair: Eylem Atakav (University of East Anglia)
  • Katherine Steinbach (University of Iowa), "Aerial (Re)vision: Rhetorical Strategies of the Aerial View in Errol Morris's "The Fog of War.""
  • Kevin Sherman (University Of Florida), "The Literate Voice of Autobiographical Documentary"
  • Vinicius Navarro (Georgia Institute of Technology), "Ethics, Nonfiction, and the Event"
  • Michael Renov (University of Southern California), "Documentary and Psychoanalysis: Putting the Love Back in Epistephilia"

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H19: Intermedial Modernisms: Cinema’s Expanded Horizons in the 1920s
Room: 19
Chair: Sarah Street (University of Bristol)
  • Joshua Yumibe (Michigan State University), "The Glass Architecture: On Scheerbart and Cinematic Space"
  • Michael Cowan (3465 Durocher St.), "Productive Animation: Electric Light Advertisements in the 1920s"
  • Sarah Street (University of Bristol), "Synthetic Dreams: Color-Film-Music in the 1920s"
  • Gregory Zinman (Columbia University), "The Eternal Return of the Cinematic Event: Oskar Fischinger’s Raumlichtkunst, Materiality, and the Museum"

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H20: New Frontiers in Comedy Studies
Room: 20
Chair: Philip Scepanski (Concordia University Chicago)
Workshop Participants:
  • Donald Crafton (University of Notre Dame)
  • Jonathan Gray (University of Wisconsin, Madison)
  • Bambi Haggins (Arizona State University)
  • Matt Sienkiewicz (Boston College)

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H22: Specters, Bodies, Archives
Room: 22
Chair: Matilda Mroz (University of Greenwich)
  • Carlos Ezcurra (University of Cambridge), "Cinematic Shamanism. Specters, Bodies, and Performance in Three Argentine Films about "Desaparecidos""
  • Sarah Harris (University of California, Santa Barbara), "Visualizing Networked Erasure: Digital Archiving for Human Rights Reform in Turkey"
  • Diana Norton (University of Texas, Austin), "Justice or Money: Trauma and (Conspi)racism in the Work of Enrique Urbizu"
  • Matilda Mroz (University of Greenwich), "Polish Cinema Face-to-Face with Levinas: Ethics and Jewish Memory in Contemporary Holocaust Representation"

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H25: Once More with Feeling: Audiences, Origins, and Affect in the Hollywood Musical
Room: 25
Chair: Desiree Garcia (Arizona State University)
  • Desiree Garcia (Arizona State University), "Life Upon the Wicked Stage: The Origins of the Hollywood Show Musical"
  • Sean Griffin (Southern Methodist University), "Don’t Fence Me In: B Studio Musicals’ Appeal to Marginalized Audiences"
  • Caryl Flinn (University of Michigan), "The Kitschy Feelings of Kitschy Musicals"
  • Kelly Kessler (DePaul University), "I Dreamed a Dream of Close-Ups Gone By: "Les Misérables" and the Visual Excess of Stage-to-Screen Transfers in the FX Era"

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H26: Redefining Cinema in Digital Culture
Room: 26
Chair: Rosanna Maule (Concordia University)
Respondent: Martin Lefebvre (Concordia University)
  • Rosanna Maule (Concordia University), "Reconceptualizing Women’s Cinema in the Digital Age"
  • Andre Gaudreault (Universite de Montreal), "Goodbye Cinema, Hello Moving Images! Or: Is Planet “Cinema” Spinning out of Control?"
  • Richard Begin (Universite de Montreal), "Cinema in the Age of Digital Mobility"

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Thursday, March 20, 2014 05:00PM-06:45PM (Session I)

I1: “The Vitality of the Cinematic Image II--The Life and Afterlife of the Cinema”
Room: 1
Chair: Gregory Flaxman (University of North Carolina, Chapel Hill)
Respondent: Alanna Thain (McGill University)
  • Gregory Flaxman (University of North Carolina, Chapel Hill), "The Inorganic Life of the Cinema"
  • Adam Nocek (University of Washington, Seattle), "Vital Technics: The Life and Soul of Animation"
  • Patricia Pisters (University of Amsterdam), "A Metaphysical Star War? Cosmic Outside and Celestial Consciousness in Contemporary Cinema"

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I2: Reconsidering Realism: Socialist Realist Aesthetics Within and Beyond the Soviet Union
Room: 2
Chair: Karla Oeler (Emory University)
Respondent: Lilya Kaganovsky (University of Illinois, Urbana-Champaign)
  • Natalie Ryabchikova (University of Pittsburgh), "Sergei Eisenstein’s Views on Modernism and Socialist Realism: the 1930s"
  • Maria Corrigan (University of California Santa Barbara), "The Politician vs. the Trickster: "The Maxim Trilogy" and the Eccentric Legacy"
  • Anastasia Fedorova (Kyoto University), "The Discourse on Cinematic Realism in Postwar Japan (1945-1955)"

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I3: The Superhero Beyond the Blockbuster
Room: 3
Chair: Dru Jeffries (Concordia University)
  • Kevin Hatch (University of British Columbia), "Earth’s Multimedia Heroes: The Avengers Cartoon as Textual Conglomerate"
  • Brian Keilen (University of Wisconsin, Milwaukee), "Flying in the City: The Superhero Aesthetic and Video Games"
  • Matthias Stork (University of California, Los Angeles), "Hollywood's Game-Play: Superhero Marketing as Fan Engagement and Labor"
  • Dru Jeffries (Concordia University), "This Looks Like a (Blow)job for Superman: Servicing Fandom with Superhero Porn Parodies"

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I4: Museum as Medium: Technology, Spectatorship, Space
Room: 4
Chair: Beatriz Bartolome Herrera (Concordia University)
Co-Chair: Philipp Dominik Keidl (Concordia University)
  • Adeena Mey (University of Lausanne), "Mobility and Event. Fragments towards an Archaeology of the Ambulant Spectator."
  • Philipp Dominik Keidl (Concordia University), "One Screen Is Not Enough: Expanded Cinema and Museum Pedagogy"
  • Beatriz Bartolome Herrera (Concordia University), "Coming to a Museum Near You: When Blockbuster Cinema Encounters the Science Museum."
  • Karine Bouchard (University of Montreal), "(Im)mobilized Sound: Towards Listening Experiences in the Museum Exhibition."

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I5: Delineating East Asian Animations: Industries and Aesthetics
Room: 5
Chair: Daisy Yan Du (Hong Kong University of Science and Technology)
Co-Chair: Thomas Lamarre (McGill University)
  • Sean Macdonald (University of Florida), "Naming Media"
  • Daisy Yan Du (Hong Kong University of Science and Technology), "Aesthetics of Absence: Theorizing Chinese Ink-Painting Animation"
  • Sandra Annett (Wilfrid Laurier University), "Weighing Imbalance: Haptic Visuality in Japanese and South Korean Cinematic Animation"

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I6: Eco-aesthetics
Room: 6
Chair: Thomas Pringle (McGill University)
  • Stephanie Lam (Harvard University), "Slow Cinema as Ecocinema: Temporal Estrangement in Experimental Nature Films"
  • Brady Fletcher (New York University), "'And Don’t You Listen to the Song of Life': Werner Herzog and the Nature of Documentary"
  • Elena Gorfinkel (University of Wisconsin, Milwaukee), "Scaling Leviathan: Materiality, Exhaustion, Impossible Temporalities"
  • Thomas Pringle (McGill University), "Atomic Cinematography: An Archaeology of Toxic Media"

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I7: Queer Silent Cinema
Room: 7
Chair: Laura Horak (Stockholm University)
  • Mark Lynn Anderson (University of Pittsburgh), "Say It Ain’t So!: The Queer Business of Falsifiable Film History"
  • Ronald Gregg (Yale University), ""Close Up," Late Silent Film, and Queer Spectatorship"
  • Paul Flaig (University of Aberdeen), "A German (Jewish and Queer) Harold Lloyd: Curt Bois’s Weimar Career"
  • Laura Horak (Stockholm University), "Artist, Cosmopolitan, Homosexual, Jew: Mauritz Stiller and "Vingarne" (1916)"

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I8: Regional Film Festivals, Identities Adapting, and Transforming
Room: 8
Chair: Diane Burgess (University of British Columbia)
  • Diane Burgess (University of British Columbia), "A Tale of Two Cities: Local Exhibition, Regional Alliances, and the Development of Major Film Festivals in the Pacific Northwest"
  • Przemyslaw Suwart (Bauhaus University Weimar), "The Art of Mediation. Klaus Wildenhahn’s “Film for Bossak and Leacock” and the Oberhausen International Short Film Festival"
  • Enrico Vannucci (Oxford Brookes University), "2.0 Could Be Cool, but Respectability Is Earned in the Real World – The ViaEmili@DocFest Case Study"
  • Ilona Hongisto (University of Turku), "Differentiating Nations, Imagining the People: Post-Soviet North Eastern European Documentaries at the Festival Circuit"

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I9: Seeing Close from Afar (or Afar from Up-Close): Enacting Distances, Violent Intimacies, and Immediacy through Television
Room: 9
Chair: Claudia Salamanca (Pontificia Universidad Javeriana)
Respondent: Kris Paulsen (Ohio State University History of Art)
  • Katherine Chandler (University of California Berkeley), "A Flying Torpedo with an Electric Eye: Targeting Enemies with Television"
  • Claudia Salamanca (Pontificia Universidad Javeriana), "Global Counterinsurgency: Policies of Non-Direct Involvement through Screen Mediated Presence in Colombia"
  • Althea Wasow (University of California, Berkeley), "Quantification, Code, Conversion, and the Permutations of Bus 174"

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I10: Sounds of Labor: Musicians’ Employment in Hollywood’s Transition to Sound
Room: 10
Chair: Rob King (Columbia University)
Co-Chair: Katherine Spring (Wilfrid Laurier University)
  • Jennifer Fleeger (Ursinus College), "Putting Opera to Work: Song, Stardom, and Labor in the Vitaphone Opera Shorts"
  • Rob King (Columbia University), "“I Want Music Everywhere”: Underscoring in the Hal Roach Studios’ Early Sound Films"
  • Katherine Spring (Wilfrid Laurier University), "Film Music, Moral Rights, and the Case of John G. Paine v. ERPI (1935)"
  • Daniel Goldmark (Case Western Reserve University), "The Musical Roots of "The Jazz Singer""

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I11: Rethinking Wong Kar-wei: New Approaches to an Established International Auteur
Room: 11
Chair: Frank P. Tomasulo (City College of New York, CUNY)
Respondent: Martha Nochimson (Professor Emerita)
  • Stephen Teo (Nanyang Technological University), "Wong Kar-wai’s Genre Practice and Romantic Authorship: The Cases of "Ashes of Time/Redux:" and "The Grandmaster""
  • Angelo Restivo (Georgia State University), "Wong Kar-wai: Sound + Image"
  • Helen Leung (Simon Fraser University), "New Queer Angles on Wong Kar-wai"

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I12: (Dis)Comforting Impacts and (Un)Common Senses: Embodied Affect in Cinema and Media
Room: 12
Chair: Heather Collette-VanDeraa (University of California Los Angeles)
  • Julia Alekseyeva (Harvard University), "Nuclear Skin: Hiroshima and the Critique of Embodiment in "Affairs Within Walls""
  • Lynne Stahl (Cornell University), "Unhappy Medium: Tomboys, Lesbians, and Frustrated Spectatorship"
  • Mila Zuo (University of California, Los Angeles), "The Un-common Sense of Beauty: Joan Chen, Lucy Liu, and the Uneasy Consumption of Chinese American Actresses"
  • Heather Collette-VanDeraa (University of California Los Angeles), "Realdoll™, (Lesbian) Robots, and Labors of Love: Sensational Bodies and Affective Orientations"

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I13: Horror and Performance: Alternative Modes of Stardom and Reception
Room: 13
Chair: Sarah Thomas (Aberystwyth University)
Respondent: Harry Benshoff (University of North Texas)
  • Mark Bernard (University of North Carolina at Charlotte), "From Stuntman to Celebrity: Kane Hodder and His Self-fashioning of a Star Image in the 'Friday the 13th' Series"
  • Kate Egan (Aberystwyth University), "Victimising the Victim: Fan Responses to the Kubrick-Duvall Relationship in 'The Shining' (1980)"
  • Sarah Thomas (Aberystwyth University), "Re-viewing Hannibal Lecter: Changing Contexts of Horror Performance and Reception"

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I14: The Conceptual and Pedagogical Work of Ageing and Star Studies
Room: 14
Chair: Diane Negra (University College Dublin)
Workshop Participants:
  • Lucy Bolton (Queen Mary University of London)
  • Hannah Hamad (King's College London)
  • Deborah Jermyn (Uni of Roehampton)
  • Karen Randell (Southampton Solent University)

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I15: Before the Lights Dim: Visual and Material Encounters with Film Publicity
Room: 15
Chair: Nichole Neuman (University of Minnesota, Twin Cities)
Respondent: Gregory Waller (Indiana University)
  • Suzanne Schulz (University of Texas, Austin), "Arresting Rhythms: The Body, the Street, and the Film Poster in Post-Independence India"
  • Nichole Neuman (University of Minnesota, Twin Cities), "Is Green the Same Color in LA? Film Programs and Advertising German Identity"
  • James Fiumara (University of Colorado, Denver), "Shock Treatment: Carnival Ballyhoo and the Role of Attraction in Classic Era Horror Film Publicity"

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I16: Digital Labor and Web Start-ups: At Work and Play on the Internet
Room: 16
Chair: Daniel Bernardi (San Francisco State University)
  • Daniel Bernardi (San Francisco State University), "Post-structuralism for Profit: Tracking Transmediation from Simultaneously Inside and Outside the Academy"
  • Catherine Johnson (University of Nottingham), "From Television Presentation to ‘On-brand TV’: Red Bee Media and the Production Cultures of the Digital Transmedia Industries"
  • Denise Mann (University of California, Los Angeles), "YouTube’s Content Partners—Monetizing the Web is Scary Business"
  • Kevin Sandler (Arizona State University), "FX then and FX Now: Reconceptualizing the FX network(s) in the Netflix Age"

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I17: Developing and Managing Transnational Research Projects
Room: 17
Chair: Iain Smith (University of Roehampton)
Workshop Participants:
  • Rosalind Galt (King's College, London)
  • Rayna Denison (University of East Anglia)
  • Laurence Raw (Baskent University)
  • Stefano Baschiera (Queen's University, Belfast)

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I18: Media Industries Meets Identity Politics
Room: 18
Chair: Alison Trope (University of Southern California)
Workshop Participants:
  • Mary Beltran (University of Texas, Austin)
  • Denise Bielby (University of California, Santa Barbara)
  • Mary Kearney (University of Notre Dame)
  • Elana Levine (University of Wisconsin, Milwaukee)
  • Karen Petruska (University of California, Santa Barbara)

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I19: Makes Me Feel Some Kinda Way: Television and Black Women's Affect
Room: 19
Chair: Nsenga Burton (Goucher College)
  • Kristen Warner (University of Alabama), "If Loving Olitz is Wrong I Don't Wanna Be Right: ABC's Scandal and the Affect of Black Female Desire"
  • Racquel Gates (College of Staten Island, CUNY), "The Ratchet Public Sphere: Love and Hip Hop Atlanta and Black Women’s Culture"
  • Samantha Sheppard (University of California Los Angeles), "The Sociality of Emotions in Iyanla, Fix My Life"
  • Brandeise Monk-Payton (Brown University), "Soapy Revelations and Black Women’s Televisual Transgression"

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I20: American AV: Cold War and Visual Education
Room: 20
Chair: Jennifer Horne (University of California, Santa Cruz)
  • Doron Galili (Stockholm University, Sweden), "The Art of Seeing: Rudolf Arnheim between Classical Theory and Educational Practice"
  • Lynn Spigel (Northwestern University), "Eames TV"
  • Fred Turner (Stanford University), "Making the Creative Child at the Museum of Modern Art"
  • Charles Acland (Concordia University), "New Media for the School of Tomorrow: The AV Instructional Films of Robert W. Wagner"

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I22: New Directions in Slow Cinema Studies
Room: 22
Chair: Ted Hovet (Western Kentucky University)
Respondent: Tina Kendall (Anglia Ruskin University)
  • Glyn Davis (University of Edinburgh), "Arrested Movement: Slow Film between Cinema and Gallery"
  • Dawn Hall (Middle Tennessee State University), "Feminist Negotiations of Slow Cinema in the Filmmaking of Kelly Reichardt"
  • Tiago de Luca (University of Liverpool), "Screening Nature: Slow Cinema, Animality, and Ethics"

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I25: Toy Stories: Toys, Consumer Culture, and Media Industiries
Room: 25
Chair: Tom Kemper (Crossroads School)
Respondent: Derek Johnson (University of Wisconsin, Madison)
  • Tom Kemper (Crossroads School), "Mutations and Imagination: Child's Play in TOY STORY"
  • Ellen Seiter (University of Southern California), "Toys and Trademarks: Bratz, Power Rangers, and My Little Pony"
  • Reem HIlu (Northwestern University), "The Doll Who Plays With You’: Chatty Cathy and Postwar Girlhood"

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I26: “Making-of” Documentaries and “Making-of” Production Narratives
Room: 26
Chair: Daniel Steinhart (Chapman University)
  • Daniel Steinhart (Chapman University), "Hollywood’s “Making-of” Promotional Featurettes: Selling and Visualizing Production Work in the 1960s"
  • Aynne Kokas (Rice University), "The Press and the Process: Sino-U.S. Media Industries and the “Making-of” Event"
  • Ritesh Mehta (University of Southern California), "The “Making-of” of Film School Students and Films: Agendas and Standards, Appropriation and Authorship"
  • John Caldwell (University of California, Los Angeles), ""Un-Making-of" Documentaries"

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Friday, March 21, 2014 09:00AM-10:45AM (Session J)

J1: What is 'The Symbolist Temptation'?: The Aesthetics of Symbolism in Transnational Cinema
Room: 1
Chair: Robert Bird (University of Chicago)
  • Tami Williams (Tami Williams), "A Music of Silence: Abstraction and Sensation in Belle Époque Symbolist Theater and 1920s French Art Cinema"
  • Sarah Keller (Colby College), "A Symbolist Lineage, at a Slant"
  • Christophe Wall-Romana (University of Minnesota), "Symbolism and Virtual Intermittency from Pre-Cinema Literary Precursors to Le Silence de la mer (1947)"
  • Robert Bird (University of Chicago), "Symbolism as a Materialist Aesthetic: Soviet Lyrical Cinema and Beyond"

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J2: Cultural Brokers and Critics
Room: 2
Chair: Kevin Hall (University of California, Los Angeles)
  • Jinhee Park (University of Southern California), "The Subjectivity of Filmmakers in the International Film Festival Industry: Case Study of Talent Campus Tokyo"
  • Lia Wolock (University of Michigan, Ann Arbor), "New Media, New Communities: Digital Cultural Brokers in the South Asian Diaspora"
  • Jason Kelly Roberts (Northwestern University), "'A Naturally Expectable Thing': Bosley Crowther and the Convergence of Film and Television"
  • Kevin Hall (University of California, Los Angeles), "Everyone's a Critic: Intertextuality and Parody in "The Critic""

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J3: Brazilian Cinema Revisited: Technologies, Exhibition, Reception
Room: 3
Chair: Joao Luiz Vieira (Universidade Federal Fluminense)
Respondent: Rielle Navitski (University of Georgia)
  • Rafael Freire (Universidade Federal Fluminense), "The Conversion to Sound in Brazil"
  • Joao Luiz Vieira (Universidade Federal Fluminense), "Igluscope and the Arrival of Widescreen in Brazil"
  • Luciana Araujo (Universidade Federal de Sao Carlos), "Movie Prologues and the Incorporation of North American Film Exhibition Practices in Cinelândia, Rio de Janeiro (1926-1927)"

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J4: Thinking with a Camera during Revolutionary Times: Generative Visualities in the Middle East
Room: 4
Chair: Mark Westmoreland (American University in Cairo)
Co-Chair: Terri Ginsberg (International Council for Middle East Studies)
  • Terri Ginsberg (International Council for Middle East Studies), "Race, Class, and Zionism: Revolutionary Anti-aesthetics in Simon Louvish's "To Live in Freedom" (1974/5)"
  • Peter Limbrick (University of California, Santa Cruz), ""14.3 Seconds": Politics, Art, and the Archival Imagination"
  • Mark Westmoreland (American University in Cairo), "In and Out of the Streets: Activist Documentary in Cairo"
  • Anjali Nath (University of Southern California), "Tweets from Below: Drones Strikes and Media Spectacles"

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J5: Asian Video Cultures: In the Penumbral of the Global
Room: 5
Chair: Rahul Mukherjee (University of California, Santa Barbara)
  • Bhaskar Sarkar (University of California, Santa Barbara), "Video Piracy, Intellectual Property, and 'Southern' Cultures of Creativity"
  • Rahul Mukherjee (University of California, Santa Barbara), "MicroSD-ing 'Mewati Videos': Publicity Cultures in Informal Circulation Economies"
  • Joshua Neves (Brown University), "The Other Side of Video Production: Affective Labor, Intimate Technologies, and Global Supply Chains"
  • Michelle Cho (McGill University), "Intelligibility, Affect, and Kpop’s Video Culture"

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J6: Wet, Wired, and Weird 1: Pacific Northwest Film and Media Industries
Room: 6
Chair: Stephen Rust (University of Oregon)
  • Patricia Gruben ( Simon Fraser University), "Allan King's "Skid Row" and the Origins of the 'West Coast School'"
  • Helen Morgan Parmett (Western Washington University), "Peripheral Media Spaces in the Pacific Northwest: The Struggle for an Independent Media Culture in Bellingham, WA"
  • Phil Oppenheim (Georgia State University), "Creating AuthentiCity: Wieden+Kennedy and the Branding of the People's Republic of Portland"
  • Elizabeth Peterson (University of Oregon), "Access to Media Archives in the Northwest"

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J7: At the Limits of the Image: Spectacle, Figuration, Significaiton
Room: 7
Chair: Phil Wagner (University of California Los Angeles)
  • Oksana Chefranova (New York University), "Revisiting the “Kingdom of Shadows”: On the Figural in Russian Silent Cinema"
  • Elena Trencheva (Aalto University Finland), "Motivated Costume: Reading the Cinematic Costume in Four Different Versions of Joan of Arc's Story"
  • Eric Zobel (Indiana University - Bloomington), "These Foolish Things...The Farce of Power in Pier Paolo Pasolini’s Salo"
  • Phil Wagner (University of California Los Angeles), "What Invisible Power? Cecil B. DeMille’s Samson and Delilah and the Paradoxes of Spiritual Vision"

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J8: The Cultural and Industrial Politics of Contemporary Sport Media
Room: 8
Chair: Travis Vogan (University of Iowa)
  • Aaron Baker (Arizona State University), "Transmedia Storytelling and Violence in Friday Night Lights"
  • Travis Vogan (University of Iowa), "ESPN Original Entertainment, Docudrama, and the Production of Branded Authority in Contemporary Sport Media"
  • Victoria Johnson (University of California, Irvine), "More Than a Game: LeBron James and the Affective Economy of Place"
  • Markus Stauff (University of Amsterdam), "Smart Phone Referees: Social Media and Sports’ Politics of Visibility"

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J9: Really Behaving Badly: Performative Excess in American Reality Television
Room: 9
Chair: Misha Kavka (University of Auckland)
Respondent: Brenda Weber (Indiana University)
  • Misha Kavka (University of Auckland), "Sex and the Shore: Revisiting the Ethics of Jersey Shore"
  • Alice Leppert (Ursinus College), "Rivals, Exes, and Rookies: MTV’s The Challenge and the System of Unruly Reality Celebrity"
  • Chelsea Bullock (University of Oregon), "Southern Discomfort: The Politics of Emotion on The Real Housewives of Atlanta"

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J10: Radio and Other Sounds
Room: 10
Chair: Ming-Yuen Ma (Pitzer College)
  • Carleton Gholz (Northeastern University), "Detroit Breakdown: Radio as Contemporary Listening Space"
  • Hannah Spaulding (Northwestern University), "Eavesdropping as Entertainment: “The Enormous Radio” and “Shut Up Little Man!”"
  • Jack Curtis Dubowsky (Academy of Art University), "The Music of Brokeback Mountain"
  • Ming-Yuen Ma (Pitzer College), "Noises of Protest: Sound, Race, and Violence in Christian Marclay's Guitar Drag and Paul D. Miller's Rebirth of a Nation"

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J11: Film Stardom and Political Leadership: Interwar Convergences
Room: 11
Chair: Giorgio Bertellini (University of Michigan)
  • Burton Peretti (Northern Virginia Community College), "Origins and Tendencies of Hollywood Liberal Activism in the New Deal Era"
  • Kathryn Brownell (Purdue University), "Happy Birthday Mr. President! Franklin Roosevelt, Birthday Balls, and the Remaking of the Celebrity Public Image during the New Deal"
  • Giuliana Muscio (University of Padua), "Mussolini’s Extraordinary Appearance in "The Eternal City" (1923)"
  • Giorgio Bertellini (University of Michigan), "The Romance of Undemocratic Leadership: Valentino and Mussolini as Outsourced Authoritarian Models"

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J12: Media, Activism, and the Cultural Industries: Theorizing the Horizons of Resistance
Room: 12
Chair: Stuart Davis (University of Texas, Austin)
Co-Chair: Julie Wilson (Allegheny College)
Workshop Participants:
  • Jack Bratich (Rutgers University)
  • Steve Macek (North Central College)
  • Carol Stabile (University of Oregon)
  • Sarah Banet-Weiser (University of Southern California)
  • Roopali Mukherjee (New York City University/Queens College)

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J13: The Politics and Poetics of Cringe: Comedy and Negative Affect
Room: 13
Chair: Steven Shaviro (Wayne State University)
  • John Bruns (College of Charleston), "The Non-Com: Rick Alverson's "The Comedy""
  • Carrie Andersen (University of Texas at Austin), ""The Unwritten Rules of Society": Discomfort and Politics in Larry David's "Curb Your Enthusiasm""
  • Kyle Stevens (Brandeis University), "At Wit’s End: Exasperation in Anglophone Film and Television Comedy"
  • Philip Scepanski (Concordia University Chicago), ""I Remember 9/11!": Television Comedy as Affective Revision"

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J14: Teaching and Researching F. Scott Fitzgerald and Film
Room: 14
Chair: Cynthia Lucia (Rider University)
Workshop Participants:
  • Roy Grundmann (Boston University)
  • Philip McGowan (Queens University, Belfast)
  • Cynthia Lucia (Rider University)
  • Barton Palmer (Clemson University)
  • J. E. Smyth (University of Warwick)

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J15: Small Games
Room: 15
Chair: Aubrey Anable (University of Toronto)
  • Benjamin Aslinger (Bentley University), "Alternative Geographies of Game Development"
  • John Vanderhoef (University of California, Santa Barbara), "Retro Revolt: Challenging Planned Obsolescence"
  • Carolyn Cunningham (Gonzaga University), "Time to Play: Girls and Small Games"
  • Jordan Wood (Syracuse University), "Queer Time, Queer Body, Queer Game: A Reading of "The Binding of Isaac""

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J16: Women at Work: Gender, Genre, and Institutional Networks
Room: 16
Chair: Sangita Gopal (University of Oregon)
Co-Chair: Heidi Schlipphacke (University of Illinois at Chicago)
  • Patricia White (Swarthmore College), "It’s Not Independent Film, It’s HBO: Women Directors and Premium Cable"
  • Lingzhen Wang (Brown University), "Embedded Feminist Agency: Wang Ping and Early Chinese Socialist Cinema"
  • Heidi Schlipphacke (University of Illinois at Chicago), "Susanne Bier and Barbara Albert: Gender and Form in Minor European Cinemas"
  • Sangita Gopal (University of Oregon), "Between State and Capital: Women Make Movies"

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J17: The State of Black Independent Film
Room: 17
Chair: Christine Acham (University of California, Davis)
  • Mark Cunningham (LBJ High School/Austin Independent School District), "California Dreamin’, California Stuntin': The Metamorphosis of Black Independent Film in the Debut Features of John Singleton and Ryan Coogler"
  • Christine Acham (University of California, Davis), "The New Chitlin’ Circuit: Independent Black Filmmaking and Black Film Festivals"
  • Zeinabu Davis (UCLA), "Old School Meets New School: Developing & Maintaining Audiences for Black Independent Film from Killer of Sheep to Free Angela & All Political Prisoners"
  • Eric Pierson (University of San Diego), "My Film is Great Because Sundance Says So!"

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J18: Images of the World and the World as Image: Expanded Cinema at World Expositions
Room: 18
Chair: Malte Hagener (Philipps-Universitat, Marburg)
  • Malte Hagener (Philipps-Universitat, Marburg), "Towards an Expanded Cinema History: The Intersection of Nation State, Avant-Garde, and Industry at World Expositions"
  • Sarah Nilsen (University of Vermont), "The House of Science: A Kuhnian Revolution at the Century 21 Exposition"
  • Janine Marchessault (York University), "Citérama as Total Cinema Experiment at Expo 67"
  • Hart Cohen (University of Western Sydney), "At the Nexus of Nation/Culture/Technology: A Comparative Perspective of Immersive Cinema/Media at the Shanghai Expo 2010"

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J19: Race, Gender, and the Body in Found Footage Film
Room: 19
Chair: Leo Goldsmith (New York University)
  • Catherine Russell (Concordia University), "Awakening from Hollywood: Rose Hobart as Star of the Archive"
  • Johanna Gosse (Bryn Mawr College), "Marilyn, Wonder Woman, and the Feminist Motion Study"
  • Jaimie Baron (University of Alberta), "Unintentional Singers and Racial Ventriloquism in Contemporary Found Footage Videos"
  • Leo Goldsmith (New York University), "The Strength of Metal in Motion: Scratch Video's Third Body"

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J20: Hitchcock, Women, and Queer Sexuality
Room: 20
Chair: David Greven (University of South Carolina)
  • Tania Modleski (University of Southern California), "Hitchcock’s (Queer) Daughter(s)"
  • Lee Edelman (Tufts University), "Something Strange About "Strangers": “L’histoire du croquemort.”"
  • Susan White (University of Arizona), "The Rope and the Yarn: Textures of Sexuality and Identity in the Films of Alfred Hitchcock"
  • David Greven (University of South Carolina), "“You’re a Strange Girl, Charlie”: Femininity, the Dandy, and The Social Implications of “Shadow of a Doubt”"

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J22: Citizens and Its Mediations
Room: 22
Chair: Chelsey Crawford (Oklahoma State University)
  • Wendy Sung (University of Michigan), "White Sympathy, Racial Intimacies: Mad Men, Civil Rights Television, and Racial Violence"
  • Mary Feld (Georgia State University), "Lee Daniels's Precious and the Body of the American Citizen"
  • Mia Fischer (University of Minnesota, Twin Cities), "Homeland Security USA – Securitainment and the War on Terror"
  • Chelsey Crawford (Oklahoma State University), "On the Ethics of Borrowing"

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J23: Convergence in Question: US and European Perspectives on Contemporary Digital Media Culture
Room: 23
Chair: Philippe Meers (University of Antwerp)
Respondent: Melis Behlil (Kadir Has University)
  • Janet Wasko (University of Oregon), "To Converge or Not to Converge: That’s Still a Question."
  • Philip Drake (University of Stirling), "Insiders/Outsiders: Deconstructing the “Creative Industries” in the UK Nations and Regions"
  • Philippe Meers (University of Antwerp), "Digital Media Culture to the Test: Young Film Audiences' Experiences with Converging Media Culture in Europe"

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J24: NICLed and Dimed: The Global Trajectories and Local Logics of Screen Media Labor
Room: 24
Chair: Michael Curtin (University of California, Santa Barbara)
Respondent: Miranda Banks (Emerson College)
  • Kevin Sanson (University of California, Santa Barbara), "Production Service Firms and the Spatial Dynamics of Global Media Production"
  • Shanti Kumar (University of Texas,Austin), "Cinema, Immaterial Labor and the Production of Mass Creativity in Urban India"
  • Herman Gray (University of California Santa Cruz), "Creative Industries, Marketing Diversity, and Managing Difference"

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Friday, March 21, 2014 12:15PM-02:00PM (Session K)

K1: Is the Moving Image an Object?
Room: 1
Chair: Alessandra Raengo (Georgia State University)
  • Brian Price (University of Toronto), "The Displacement Project"
  • Scott Durham (Northwestern University), "Film Socialisme: Godard’s World of Objects, Between Two Democracies"
  • Luka Arsenjuk (University of Maryland), "From Objects to the Problem of Form: Object-Oriented Philosophy and Film Theory"
  • Alessandra Raengo (Georgia State University), "Black Matters"

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K2: Neoliberalism and Recent South Korean Cinema
Room: 2
Chair: Nam Lee (Chapman Universty)
Co-Chair: Inyoung Nam (Dongseo University)
  • Nam Lee (Chapman Universty), "Genre and Local Politics in Bong Joon-ho’s "The Host""
  • HyeYoung Cho (Chung-Ang University), "Documentary as Forensic Noir: A Case Study of "Two Doors""
  • Soowan Jung (Dongguk University), "From Victims to Heroines: Women’s Private Revenge in Recent Korean Thrillers"
  • Inyoung Nam (Dongseo University), "Reconstructing Social Deaths in Mystery Thrillers "Helpless" and "Pluto""

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K3: Surveying Film History: New Approaches to the Problems of Teaching the Introductory Film History Course
Room: 3
Chair: Paul Monticone (University of Texas at Austin)
Co-Chair: Colleen Montgomery (University of Texas, Austin)
Workshop Participants:
  • Charlie Keil (University of Toronto)
  • Constance Balides (Tulane University)
  • Jennifer Horne (University of California, Santa Cruz)
  • Eric Hoyt (University of Wisconsin, Madison)
  • Chris Cagle (Temple University)

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K4: Female Suffering and Spectatorship Ethics
Room: 4
Chair: Stefanie Van de Peer (University of St Andrews)
Co-Chair: Kathleen Scott (St Andrews University)
  • Sonia Misra (University of Southern California), "Spectatorship, Nomadic Ethics, and Queer Temporality in Su Friedrich’s Sink or Swim"
  • Steve Choe (University of Iowa), "Amoral Melodrama: Female Suffering in Kim Ki-Duk’s Cinema"
  • Kathleen Scott (St Andrews University), "Spectatorship Ethics and the Suffering “Pregnant Parisian” in French New Extremist Cinema"
  • Stefanie Van de Peer (University of St Andrews), "The Ethics of Seeing and Looking: Rape in the Post-Colony"

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K5: Psychopathology of Media Aesthetics
Room: 5
Chair: Carla Marcantonio (George Mason University)
  • Timothy Robinson (University of Florida), "Melancholic Global Cinema: Interrogating the 'End of Cinema' in Lars Von Trier's Apocalyptic Melancholia (2011)"
  • Adam Szymanski (Concordia University), "Melancholy Aesthetics and Contemporary Global Art Cinema"
  • Nico Baumbach (Columbia University), "The Aesthetics and Politics of Narcissism in Media Today: Notes Toward an Investigation"
  • Carla Marcantonio (George Mason University), "'Melancholia' and 'Beasts of the Southern Wild': The End of the World, the Digital Turn, and the Restoration of Myth"

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K6: Wet, Wired, and Weird 2: Pacific Northwest Film and Media Culture
Room: 6
Chair: Carter Soles (The College at Brockport (State University of New York))
  • Carter Soles (The College at Brockport (State University of New York)), "The Origins of Seattle Slacker Culture in Cameron Crowe's Say Anything . . . and Singles"
  • Rachel Joseph (Trinity University), "'I'll See You in the Trees': Screening the Northwest Stage through David Lynch’s White and Black Lodges"
  • Anne Richardson (Independent Scholar), "Harry Smith: Cross Culturality And Regional Identity In A Salmon Nation Beatnik"
  • Matthew Holtmeier (University of St Andrews), "Cascadia on Film and the Politics of (Bio)Regional Subjectivity"

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K7: Birth of a Nation
Room: 7
Chair: Jason Loviglio (University of Maryland)
  • Jennifer Lynde Barker (Bellarmine University), "From Script to Screen: Animating Race in "A Haunting We Will Go" (1939)"
  • Charlene Regester (University of North Carolina, Chapel Hill), "'I Will Carry Your Guilty Secret to My Grave:' Scarlett O'Hara and Rhett Butler as Embodiments of Blackness in GWTW"
  • Jason Loviglio (University of Maryland), "The White Clown: Alan Reed, Fred Flinstone, and White Ethnic Masculinity in the 20th Century."
  • Alice Royer (University of California, Los Angeles), "Lincoln as Democracy Porn"

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K8: Cycles of Titillations and Intermedial Twists: New Perspectives on Silent Film
Room: 8
Chair: Yair Solan (City University of New York Graduate Center)
  • Amanda Klein (East Carolina University), "The Kissing Cycle (1896-1906), Mashers, and Women in the City"
  • Amy Borden (Portland State University), "Puppy Sausage and Food Anxiety in Kine-Attractography and Transitional Era Film Cycles"
  • F Booth Wilson (University of Wisconsin, Madison), "The Crooked Mirror in Early Russian Cinema: Theatrical Conventions in Evgenii Bauer's Symbolist Films"
  • Yair Solan (City University of New York Graduate Center), "From Lantern Show to Moving Picture Show: Turn-of-the-Century Fiction and the Transformations of Screen Media"

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K9: Medium and Method in "Early Television" History
Room: 9
Chair: Luke Stadel (Northwestern University)
Co-Chair: Anne-Katrin Weber (University of Lausanne)
  • Andreas Fickers (Maastricht University), "How to Make Objects of Early Television Speak? A Plea for Experimental Media Archaeology"
  • Kate Newbold (Northwestern University), "Television Ontology and Media Methodology: Exploring Televisual Fragmentation in Phonograph, Broadcast, and Print Industries, 1926-1940"
  • Luke Stadel (Northwestern University), "Radio/Television/Sound, 1922-1941"
  • Anne-Katrin Weber (University of Lausanne), "Looking At and Seeing Through: Experimental Television as Screen Practice"

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K10: Issues in Television Studies
Room: 10
Chair: Jane Feuer (University of Pittsburgh)
  • Camilla Sears (Thompson Rivers University), "Regulating the 'Obscene': An Examination of Television Governance in Canada"
  • Jane Feuer (University of Pittsburgh), "Historical Shifts in "Quality" Television Drama: The Medical Show Wars of 1994"
  • Elana Levine (University of Wisconsin, Milwaukee), "Daytime Disruptions: Narrating Gender in 1950s American Soap Opera"

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K11: North American Borderlands and Identities
Room: 11
Chair: Philippa Gates (Wilfrid Laurier University)
Co-Chair: Dominique Bregent-Heald (Memorial University of Newfoundland)
  • Dominique Bregent-Heald (Memorial University of Newfoundland), "Borderline Criminals: Ambiguous Criminality in Progressive-Era Cinema"
  • Philippa Gates (Wilfrid Laurier University), "Crossing the Borders of National Identity and Genre: Chinese/Americans in American Westerns"
  • Jon Montes (National Film Board of Canada), "'Biutiful' Feelings: Transnationalization, Border Films, and Affected Publics"
  • Zoë Heyn-Jones (Ryerson University), "Border Text: Althea Thauberger’s 'Msaskok' and the Spaces of Cinema"

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K12: Documentary in an Expanding Field: Technology and the Mass Subject as Witness
Room: 12
Chair: Tess Takahashi (York University)
Co-Chair: Paige Sarlin (University at Buffalo, SUNY)
Respondent: Leshu Torchin (University of St Andrews)
  • Jihoon Kim (Chung-Ang University), "The Performative Archive: Formations of Social Memory in Interactive and Collaborative Documentary"
  • Paige Sarlin (University at Buffalo, SUNY), "Now: Solidarity, Liveness, and Real Time Documentary Images of Struggle"
  • Tess Takahashi (York University), "Magnitude: Navigating Documentary Reference in the Gallery and Online"

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K13: New Horror Stories
Room: 13
Chair: Marc Olivier (Brigham Young University)
  • Anthony Cooke (Emory University), "Walk Among Us: Deinstitutionalization of the Mentally Ill and the Slasher Trope in "Halloween""
  • Tamas Nagypal (York University), "Magical Narrative, or, the Antinomic Images of Historical Trauma in Lucio Fulci’s Zombi 2"
  • Alice Haylett Bryan (King's College, London), "Surgery, Blood, and Patriarchal Sex: Heteronormativity, Sexuality, and Control in “Excision” and “American Mary”"
  • Marc Olivier (Brigham Young University), "Glitch Gothic: Media Slashing in Recent Found Footage Horror"

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K14: Marshall McLuhan’s "Understanding Media: The Extensions of Man" @ 50
Room: 14
Chair: Charles Acland (Concordia University)
Co-Chair: Raiford Guins (Stony Brook University)
Workshop Participants:
  • Richard Cavell (University of British Columbia)
  • Wendy Chun (Brown University)
  • Erkki Huhtamo (University of California, Los Angeles)
  • Elena Lamberti (University of Bologna)
  • Henry Lowood (Stanford University)

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K15: Some Accounting for Taste: Cultural Distinction and Industrial Practice in Direct-to-Video Distribution
Room: 15
Chair: David Church (Indiana University)
  • Ernest Mathijs (University of British Columbia), "The Taste Basement Tapes: Non-Theatricality and the Long-Term Receptions of Direct-to-Video Exploitation Cinema"
  • Joan Hawkins (Indiana University), "Howling at Those in the Know: ‘Bad Boy Bubby’’s Shelf Life"
  • David Church (Indiana University), "From ‘Grindhouse’ to Your House: “DVD Premieres,” Subcultural Capital, and the Market Mobility of the Retro-Styled Genre Pastiche"
  • Daniel Herbert (University of Michigan), "Nostalgia Merchants: VHS Distributors in the Era of Intangible Media"

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K16: Illuminating the System: Archival Documents and 1930s Hollywood
Room: 16
Chair: Thomas Doherty (Brandeis University)
  • David Lugowski (Manhattanville College), "Crossing ‘One More River’: From Marital Rape to Queer Authorship"
  • Catherine Jurca (California Institute of Technology), "Metropolitan Moviegoing in the mid-1930s: The Stanley-Warner Exhibition Records"
  • Chuck Maland (University of Tennessee), "Creating the City in CITY LIGHTS (1931): A Reconstruction via Chaplin Studio Records"
  • Steven Ross (University of Southern California), "Nazism, Fascism, and 1930s Hollywood: Mining the Archives"

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K17: Mediations of Place-based Youth Identities
Room: 17
Chair: Margaret Zeddies (Western Michigan University)
Co-Chair: Candice Haddad (University of Michigan, Ann Arbor)
  • Sara Bernstein (University of California Davis), "Werewolf Bar Mitzvah: Coming of Age on the Fringes of America"
  • Bonnie Tilland (University of Washington), "“The Film Festival in Translation: Youth as Interpreters of Layers of Meaning at the Jeonju International Film Festival (JIFF)”"
  • Margaret Zeddies (Western Michigan University), "A More United Planet? Global Community and Representations of Youth on a Voluntourism Website"
  • Candice Haddad (University of Michigan, Ann Arbor), "“Sh*t Arabs in Dearborn Do”: The Frictions of Arab American Youths’ Self-Representational Strategies"

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K18: Revisiting Kurosawa
Room: 18
Chair: Olga Solovieva (University of Chicago)
Respondent: Victor Fan (King's College London)
  • Olga Solovieva (University of Chicago), "War Photography and Avant-garde Performance in Kurosawa Akira's "The Lower Depths" (1957)"
  • Dolores Martinez (University of Oxford), "Revisiting Kurosawa's Women"
  • Michael Bourdaghs (University of Chicago), "Hearing the Cold War: Kurosawa Akira’s Soundtracks and Soviet Film Theory"

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K19:
Room: 19
Chair: Nick Salvato (Cornell University)
  • Nick Salvato (Cornell University), "Kelly Reichardt's Slowness"
  • Phillip Maciak (Louisiana State University), "Variations on Variations: Helen DeWitt, Seven Samurai, and Fragmentary Viewing"
  • Lindsay Reckson (Haverford College), "Going Through the Motions: Yvonne Rainer and Bruce Nauman"

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K20: Feminist and Queer Platform Studies
Room: 20
Chair: Caetlin Benson-Allott (Georgetown University)
Workshop Participants:
  • Lisa Parks (Univesity of California, Santa Barbara)
  • Alexandra Juhasz (Pitzer College)
  • Tara McPherson (University of Southern California)
  • Laine Nooney (Stony Brook University)

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K22: Cinema and the Military: Case Studies in Production
Room: 22
Chair: Alice Lovejoy (University of Minnesota)
Respondent: Caren Kaplan (University of California, Davis)
  • Sueyoung Park-Primiano (New York University), "Occupation, Diplomacy, and the Moving Image: The U.S. Army's Role and Influence in the Development of the South Korean Motion Picture Industry"
  • Alice Lovejoy (University of Minnesota), "Military Instructional Filmmaking and Czechoslovak “Civilian” Cinema"
  • James Paasche (Indiana University Bloomington), "Be Good, Write Complete Captions, and Keep Us Informed: Military Media Making During the Vietnam War"

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K23: Mapping Interdisciplinary in European Film Studies’ History
Room: 23
Chair: Philippe Gauthier (Harvard University)
Respondent: Dudley Andrew (Yale University)
  • Philippe Gauthier (Harvard University), "Interdisciplinarity and Film History: Points of Rupture in French Film Historiography between 1930 and 1960"
  • Thomas Elsaesser (University of Amsterdam), "Friendly or Hostile Takeover Bids? – Film Studies Courted by Philosophy and Art History"
  • Wanda Strauven (University of Amsterdam), "Blue Pill or Red Pill: Contemporary European Film Studies at the Crossroads"

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K24: The Cultural Politics of Digital Markets
Room: 24
Chair: Patrick Vonderau (Stockholm University)
Co-Chair: Ramon Lobato (Swinburne University of Technology)
  • Patrick Vonderau (Stockholm University), "The Politics of Content Aggregation"
  • Jennifer Holt (University of California, Santa Barbara), "The Cloud, Mobile Media, and New Economies of Competition"
  • Ramon Lobato (Swinburne University of Technology), "The Informal Entrepreneurs of Video Streaming"
  • Amelia Arsenault (Georgia State University), "Big Data and the Media Industries"

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Friday, March 21, 2014 02:15PM-04:00PM (Session L)

L1: “Realism” and “Authenticity” in Contemporary Moving Image Production
Room: 1
Chair: Mattias Frey (University of Kent)
  • Lucia Nagib (University of Reading), "Revisiting Cinematic Realism in Time and Space"
  • Mattias Frey (University of Kent), "“Real” Sex by “Real” People: Realist Aesthetics and Celebrity Couples in the Marketing of Extreme Cinema"
  • Aidan Power (University College Cork), "Charting the End Times: "Authenticity" in 21st-Century European Science Fiction Cinema"
  • Stefano Odorico (University College Cork, Ireland), "How Do Trans-media Platforms Deal with Reality? The Interactive Documentary as Case Study"

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L2: The Evolution of Hong Sang-soo
Room: 2
Chair: Marc Raymond (Kwangwoon University)
  • Adam Hartzell (Independent Scholar), "Watching the Male Gaze of Hong Sang-soo's Characters"
  • Marc Raymond (Kwangwoon University), "Static Shots, Changing Perspectives: The Group Table Shot in Two Films by Hong Sang-soo"
  • Calum Marsh (Independent/Freelance), "Oki's Movie and Hong Sang-soo as Feminist Filmmaker"
  • Marshall Deutelbaum (Purdue University), "The Non-analogous Hong Sangsoo: Seeing His Films on Their Own Terms"

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L3: Industry Studies and/as Audience Studies
Room: 3
Chair: Alicia Kozma (University of Illinois, Urbana-Champaign)
  • Mel Stanfill (University of Illinois, Urbana-Champaign), "“The Fan” as/in Industry Discourse"
  • Derek Johnson (University of Wisconsin, Madison), "The Audience Turn? Toward a More Integrated Production Studies"
  • Suzanne Scott (Arizona State University), "Talking the Walk: Enunciative Fandom and Fan Studies’ Industrial Turn"
  • Michael Kackman (University of Notre Dame), "Reaching the Historical Audience: From Industry to Agency"

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L4: Community and Catastrophe in Contemporary European Cinema and Beyond
Room: 4
Chair: Patrick Reagan (Yale University)
  • Nikolaj Lubecker (St John's College), "Nihilism on Screen? Watching Meaning Disappear in Recent European Art Films"
  • Patrick Reagan (Yale University), "Dystopia and Impossible Community in Contemporary European Auteur Cinema"
  • Laura McMahon (University of Cambridge), "Ecology, Catastrophe and Inequivalence: Lisandro Alonso and Jean-Luc Nancy"
  • Seung-hoon Jeong (NYU Abu Dhabi), "Ethical Community in Global Cinema"

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L5: Useful Media and the Global Public Sphere
Room: 5
Chair: Katie Day Good (Northwestern University)
  • Katie Day Good (Northwestern University), "Projects for Peace: Children, Maker Culture, and the Mediation of Internationalism in American schools, 1907-1950"
  • Suzanne Langlois (Glendon College, York University), "Neglected Sources: The Postwar Films of the United Nations"
  • Lisa Rabin (George Mason University), "A Better Tomorrow (1945): City Kids as New Global Citizens in Post-World War II Film"
  • Jennifer Blaylock (University of California, Berkeley), "A River Creates an Industry (1955): Colonial Networks and Global Media Flow"

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L6: Fossil, Renewable, Futuristic: Energy in the Movies
Room: 6
Chair: Ila Tyagi (Yale University)
  • Helen Hughes (University of Surrey), "Rational Disasters: Reasoning in New Documentaries on Living with Nuclear Power"
  • Mona Damluji (University of California, Berkeley), "'Oil on the Screen': British Petroleum's Public Relations Machine in Iraq"
  • Eric Herhuth (University of Wisconsin, Milwaukee), "Alien Energy: Cultural Reproduction and Environmental Change in Pixar's "Monsters, Inc.""
  • Heath Iverson (University of St. Andrews), "Energetic Media?: Conservation, Entropy, and Ecology in Recent Works by Tacita Dean and Jane and Louise Wilson"

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L7: Between Film and Photography
Room: 7
Chair: Roger Hallas (Syracuse University)
  • Stephan Boman (University of California, Santa Barbara), "The World Without Us: Art, Automatism, and Time-Lapse Photography"
  • Joel Burges (University of Rochester), "Picturing Obsolescence: Film and Photography in the Long Downturn"
  • Sarah Barkin (Syracuse University), "Bearing Witness to Geographies of Traumatic Remembrance through the Cinematic Use of Photography"
  • Roger Hallas (Syracuse University), "Portraits, Perpetrators, and Survivors: Reframing the Identification Photograph in the Historical Documentary"

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L8: Commodifying Gender and Sexuality on New Media Technologies and Platforms
Room: 8
Chair: Bryce Renninger (Rutgers University)
  • Julia Himberg (Arizona State University), "NBC and the Quest for Industrial DiverseCity"
  • F. Hollis Griffin (Denison University), "Zero Feet Away: Enabling and Regulating Desire on Mobile Media Applications"
  • Elizabeth Nathanson (Muhlenberg College), "Styling the Self: Fashion Blogging and Fixing the Feminine Image"
  • Bryce Renninger (Rutgers University), "Do Video Genre Memes Have Politics?: On Getting Better, Shit Girls Say, and Flash Mob Wedding Proposals"

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L9: Green Media Studies: Integrating Environmental and Media Studies in the Classroom and Beyond
Room: 9
Chair: Hunter Vaughan (Oakland University)
Workshop Participants:
  • Janet Walker (University of California, Santa Barbara)
  • Stephen Rust (University of Oregon)
  • Salma Monani (Gettysburg College)
  • Xinmin Liu (Washington State University)

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L10: Sound Waves: Technology and Practice in Film Sound
Room: 10
Chair: Benjamin Wright (University of Southern California)
  • Charles O'Brien (Carleton University), "Multi-Track Sound and the Battle of Paris: American and German Films for French Distribution"
  • Eric Dienstfrey (University of Wisconsin Madison), "Splits, Quad, and the Psychedelic: Dolby’s Rear Channels Examined"
  • Katherine Quanz (Wilfrid Laurier University), "The Industrial Impact of Toronto’s Transition to Digidesign Technology in the Mid-2000s"
  • Benjamin Wright (University of Southern California), "Atmos Now: How Dolby is Transforming the Art and Craft of Sound Mixing"

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L11: Art Direction in American Film: History, Style, Production Technique
Room: 11
Chair: Merrill Schleier (University of the Pacific)
  • Lucy Fischer (University of Pittsburgh), "Art Direction and Art Nouveau: Hollywood in the 1920s"
  • Merrill Schleier (University of the Pacific), "Boris Leven and "Giant" (1956): Location and Production Design in Post War Hollywood"
  • Jon Yoder (Kent State University), "Adam and Evil: Circular Seduction and Panoptic Domination in the Designs of Ken Adam"
  • J. D. Connor (Yale University), ""I Settled for Reality”: Design Intensity in the Pre-CGI Era"

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L12: Exploring Transnational Television Histories
Room: 12
Chair: Sharon Shahaf (Georgia State University)
Workshop Participants:
  • Aniko Imre (University of Southern California)
  • Michael Curtin (University of California, Santa Barbara)
  • Nitin Govil (University of Southern California)
  • Yeidy Rivero (University of Michigan)
  • Shanti Kumar (University of Texas,Austin)

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L13: Film and Television Comedy: International Perspectives
Room: 13
Chair: Andrew Horton (University of Oklahoma)
  • Diana Martinez (University of Oregon), "The Recovery of Romance: Televisual Romantic Comedy in the Postfeminist Era"
  • Suzanne Gauch (Temple University), "Happily Ever After: Reclaiming the Romantic Comedy in Lyes Salem's Mascarades"
  • Peter Falanga (Pacific Northwest College of Art), "A Return to Sincerity: The Courage of Woody Allen"
  • Chris Lippard (University of Utah), "Malfunction and Humor in the Iranian Art Cinema"

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L14: In Conversation with Alan and Joyce Rudolph
Room: 14
Chair: Caryl Flinn (University of Michigan)
Workshop Participants:
  • Richard Ness (Western Illinois University)
  • Krin Gabbard (Stony Brook University)
  • Alan Rudolph (Independent Filmmaker)
  • Joyce Rudolph (Independent Filmmaker)

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L15: Performing Love, Loving Performance
Room: 15
Chair: Steven Rybin (Georgia Gwinnett College)
  • Steven Rybin (Georgia Gwinnett College), "The Actor’s Heartbeat: Performing Love in Classical Hollywood Cinema"
  • Murray Pomerance (Ryerson University), "The Enchanted Gaze"
  • Victor Perkins (University of Warwick), "Loving ‘Bad Acting’: Jean Seberg in "Bonjour Tristesse""
  • Linda Ruth Williams (University of Southhampton), "The Aging of Romance: Streep, Dench, and Smith Perform Late-Life Love"

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L16: A Queered China: Making Sense of Gender and Sexuality in Chinese Popular Culture
Room: 16
Chair: Jing (Jamie) Zhao (Chinese University of Hong Kong)
Respondent: Xiqing Zheng (University of Washington)
  • Charlie Zhang (South Dakota State University), "Queering the National Body of Neoliberal China"
  • Erika Junhui Yi (University of Kansas), "An Insider's Reflection on Chinese Boys' Love Fan Girls: Friendship, Romance, and Public Image"
  • Shuzhen Huang (Arizona State University), "Fanning the Queer: Transnational Slash Flows and Gender Politics in Contemporary China"
  • Jing (Jamie) Zhao (Chinese University of Hong Kong), "Something Unfathomable to Others: Fantasies of BDSM, Rape, and Incest in Online Chinese Femslash Literature"

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L17: Cinematic Global South Geographies: Mobile, Liminal, Planetary
Room: 17
Chair: Andrew Douglas (Bryn Mawr Film Institute/Cabrini College)
  • Lakshmi Padmanabhan (Brown University), "The Tamil Question: Towards A Cinema of the Global South in Mani Ratnam’s "Kannathil Muthamittal”"
  • Sabine Haenni (Cornell University), "Mobile Homes: The Cultural Work of Private Space in Arab French Cinema"
  • Andrew Douglas (Bryn Mawr Film Institute/Cabrini College), "Art House Libertarians: "Beasts of the Southern Wild" and "Mud""
  • Leigh Duck (University of Mississippi), "Southern Globe: Neill Blomkamp's Corporate Citizenries"

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L18: Masculinities
Room: 18
Chair: Scott Balcerzak (Northern Illinois University)
  • Tiffany Christian (Washington State University, Pullman), "Recuperating Wounded White Masculinity in "The Book of Eli""
  • Heike Steinhoff (Ruhr University, Bochum), "“I Drive” – Urban Space and White Masculinity in "Drive""
  • Jimmy Draper (Old Dominion University), "Reconsidering the Concept of Hegemonic Masculinity in Critical Media Studies"
  • Scott Balcerzak (Northern Illinois University), "Performing ‘Marty’ on Television and Film: Rod Steiger, Ernest Borgnine, and Midcentury Queerness"

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L19: Indigenous Media in the Digital Sphere: History, Memory, and Activism
Room: 19
Chair: Joanna Hearne (University of Missouri)
Co-Chair: Angelica Lawson (University of Minnesota, Twin Cities)
  • Angelica Lawson (University of Minnesota, Twin Cities), "Transnational New Media Activism: Case Studies from Sapmi and Native America"
  • Karrmen Crey (University of California Los Angeles), "Beyond Cultural Nationalism: Shifting Discourses of Aboriginal Nonfiction Production in Canada"
  • Kristin Dowell (University of Oklahoma), "Aboriginal Resistance and Reconciliation: Mediating the Residential School Experience in the Films of Lisa Jackson"
  • Joanna Hearne (University of Missouri), "Skateboarding and Sovereignty: Dustinn Craig’s "4wheelwarpony""

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L20: Surveillance, Pornography, and Porn Studies
Room: 20
Chair: Evangelos Tziallas (Concordia University)
  • Linda L. Williams (University of California, Berkeley), "The Panopticon and Pornography"
  • Evangelos Tziallas (Concordia University), "Doubled Visions, Doubled Bodies: Surveillance Technologies, AIDS, and the Return of the Repressed"
  • Ev Boyle (University of Southern California), "The Case of Is Anyone Up?: Revenge Porn, Privacy, and the Politics of Gift Economies"
  • Katrien Jacobs (Chinese University of Hong Kong), "Sexuality, Pornography, and Surveillance Culture on the Chinese Internet."

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L22: Displaying Knowledge: Intermedial Education
Room: 22
Chair: Oliver Gaycken (University of Maryland)
  • Caitlin McGrath (University of Maryland College Park), "An Unlikely Classroom: The Wanamaker “Store School”"
  • Artemis Willis (University of Chicago), "Between Screen Practice and Peep Practice: The Keystone “600 Set”"
  • Victoria Cain (Northeastern University), "Seeing on a Global Scale: Educational Media in Interwar American Geography Class"
  • Brooke Belisle (University of California, Berkeley), "Center of the Universe: Inside the Image of “Big Data”"

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L23: "Breaking Bad": Looking Back and Moving Forward
Room: 23
Chair: Myles McNutt (University of Wisconsin, Madison)
  • Radha O'Meara (Massey University), "Cooking with Gas: Phases of Style in "Breaking Bad""
  • Myles McNutt (University of Wisconsin, Madison), "Best Supporting City in a Drama Series?: Mapping the Meanings of Albuquerque in "Breaking Bad""
  • Jason Mittell (Middlebury College), "Skyler's Story: "Breaking Bad," Serial Melodrama, and Character Chemistry"
  • Sean O'Sullivan (Ohio State University), "The Inevitable and the Surprise"

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L24: Issues in Film Studies
Room: 24
Chair: Jan-Christopher Horak (University of California, Los Angeles)
  • Carol Siegel (Washington State University, Vancouver), "Recent Changes in the Representation of Sex and Politics in American Cinema or "The Crazies""
  • Lies Van de Vijver (Ghent University), "Watching Disney. Childhood Memories & Exhibition Strategies."
  • Veronica Johnson (National University of Ireland), "Alfred Hitchcock, David O. Selznick, and the Popularisation of Psychoanalysis in America"
  • Jan-Christopher Horak (University of California, Los Angeles), "Saul Bass: Creating a Brand"

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Saturday, March 22, 2014 09:00AM-10:45AM (Session M)

M1: Spectrum Mediations: Film, Television, and Neurodiversity
Room: 1
Chair: Tasha Oren (University of Wisconsin, Milwaukee)
Respondent: Erin Manning (Concordia University)
  • Alice Maurice (University of Toronto), "Fringe Communities: Television, Autism, and the Internet Audience"
  • Anne Ciecko (University of Massachusetts, Amherst), "Bollywood Star Power and Neurodiversity"
  • Tasha Oren (University of Wisconsin, Milwaukee), "Autism in Translation: Media, Empathy, and the Autistic Aesthetic"

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M2: Auteurs Beyond Borders
Room: 2
Chair: Peter Dickinson (Simon Fraser University)
  • Sian Mitchell (SAE Qantm), "'Amour fou' Revisited: The Surrealist Poetics of Michel Gondry's "Eternal Sunshine of the Spotless Mind""
  • Bjorn Nordfjord (University of Iceland), "Criminal Undertakings: Nicolas Winding Refn and Contemporary Scandinavian Cinema"
  • Munib Rezaie (Georgia State University), "Global Playground: Reevaluating the Multicultural Filmmaker in Terms of World Citizenship as a Global Ethic"
  • Peter Dickinson (Simon Fraser University), "Harold Pinter: Screenwriter"

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M3: Situating Gender I: Intersectional Domesticities
Room: 3
Chair: Pamela Wojcik (University of Notre Dame)
  • Anna Sloan (University of Sussex), "Virgins in Italy: Tourism, Imperialism, and the American Woman in 1950s Hollywood Melodrama"
  • Theresa L. Geller (Grinnell College), "Luca Guadagnino’s Allegory of the Cave: Italian Feminism and Queer Entrustment in I Am Love (Io sono l'amore)"
  • Krista Lynes (Concordia University), "The Persistence of Space: A Cinema of Gendered Social Life in Transition"
  • Nick Davis (Northwestern University), "Leap Year: Sex Work, Wage Labor, and the Spaces of Sadomasochism"

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M4: What is Socialist Realism? Reexamining Soviet Post-montage Cinema
Room: 4
Chair: Maria Belodubrovskaya (University of Wisconsin-Madison)
  • Vincent Bohlinger (Rhode Island College), "Soundtrack Design in Soviet Early Sound Film"
  • Elizabeth Papazian (University of Maryland), "Accessing the Real in Soviet Socialist Realism"
  • Maria Belodubrovskaya (University of Wisconsin-Madison), "What’s Wrong with Comedy? Escapism, Propaganda, and Soviet Film Genres"
  • Joan Neuberger (University of Texas at Austin), "Making "Ivan the Terrible""

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M5: Cinematic Wardrobe in Japanese Modernity: From Kimono to Westernized Clothing
Room: 5
Chair: Miyoko Shimura (Waseda University)
  • Hana Washitani (Waseda University), "Trafficking Women and Textiles in 1930s Japanese Cinema: Focusing on Mizoguchi Kenji's Sisters of the Gion"
  • Miyuki Yonemura (Senshu University), "How Are “Transfer Children” Represented? : Focusing on Clothes in Animation Films of Studio Ghibli."
  • Yoshie Osawa (Independent Scholar), "The Mid-1950s 'Female Underwear Boom' in Japanese Cinema: "Underwear Makes the Woman" (1958) by Yoko Kamoi, and Other Relevant Films"
  • Miyoko Shimura (Waseda University), "Hanae Mori: A Pioneer in the Field of Costume Design in the Postwar Japanese Cinema"

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M6: Extended Vision: Three Studies of Cinema and Seeing
Room: 6
Chair: Gordon Sullivan (University of Pittsburgh)
Respondent: Brian Price (University of Toronto)
  • Gordon Sullivan (University of Pittsburgh), "We Demand to See: Technics and Photogenie"
  • Kalling Heck (University of Wisconsin Milwaukee), "Authority Without Vision: "Sátántangó" and the Politics of the Long Take"
  • Adam Cottrel (Georgia State University), "Repetition and Reprise in Jim Jarmusch’s "The Limits of Control”"

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M7: Playing with Avatars
Room: 7
Chair: Sandra Danilovic (University of Toronto)
  • Kalani Michell (University of Minnesota), "Toeing the Line in an Artist’s Game: A Case Study of "The Artist Is Present: Marina Abramović (with Pippin Barr)""
  • Lyn Goeringer (Oberlin Conservatory of Music), "No Avatar Required: Audio-reactive Games and Physical Connectivity"
  • Sandra Danilovic (University of Toronto), "Crip, Queer, and Furry Gameventions: Avatar Jamming, Alterity, and Artivism in Digital Games"

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M8: All Hands on New Media
Room: 8
Chair: Dale Hudson (New York University Abu Dhabi)
  • Jentery Sayers (University of Victoria), "Kits for Cultural History: Applied Approaches to Old Media and Mechanisms"
  • Stephen Monteiro (American University of Paris), "The Fabric of the Networked Image: Contemporary Screen Interface and Textile Culture"
  • Catherine E. Peiper (University of Southern California), "'We Are Legion': Place, Identity and the Virally Mediated Flash Mob"
  • Dale Hudson (New York University Abu Dhabi), "Handmade Digital Experiments in Piracy"

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M9: Conflict and Collaboration: Analyzing the Form and Function of the Television Industry in the 1950s
Room: 9
Chair: Jennifer Porst (University of California, Los Angeles)
  • Deborah Jaramillo (Boston University), "The Rise and Fall of the Television Broadcasters’ Association: TV Content and Trade Associations from 1943-1951"
  • Jennifer Porst (University of California, Los Angeles), "The Television Industry’s Struggle over the Licensing and Sale of Hollywood’s Feature Films to Television Before 1955"
  • Jonathan J. Cavallero (Bates College), "Meeting Marty at the Archives: Hollywood, Television, and the Production Code Administration"
  • Quinn Miller (University of Oregon), "Personnel History: The Skill Sets of Screen Gems Executives"

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M10: Global Approaches to Film Sound
Room: 10
Chair: James Lastra (University of Chicago)
Respondent: Charles O'Brien (Carleton University)
  • Pavitra Sundar (Kettering University), "Thinking Sound, Rethinking History in Hindi Cinema"
  • James Lastra (University of Chicago), "From Mickey Mouse to Peter Kubelka"
  • Esra-Gokce Sahin (Harvard University), "Soundscape and Humor in Acharaka Comedy in Prewar Japan"

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M11: Re-inventions of Stardom
Room: 11
Chair: Lori Lopez (University of Wisconsin, Madison)
  • Noah Tsika (Queens College, City University of New York), "Honoring Nollywood: African Icons on the Global Awards-Show Circuit"
  • Graeme Turner (University of Queensland), "The Re-invention of the Media"
  • Jungmin Kwon (University of Illinois, Urbana-Champaign), "Queering Stars: Fan Play and Media Industry"
  • Lori Lopez (University of Wisconsin, Madison), "Developing Cultural Citizenship through Asian American YouTube Celebrities"

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M12: Cinema (s) in the Postcolon (ies): A Look Inward and Outward
Room: 12
Chair: Olivier Tchouaffe (Southwestern University)
  • Anne Major (University of Texas Austin), "Kinshasa is Calling: The Transnational Circulation of "Viva Riva!""
  • Caitlin McClune (University of Texas, Austin), "Ruptured Discourses of Nationhood: Tsitsi Dangarembga’s Films within the Zimbabwean Political Landscape"
  • Carmela Garritano (University of St. Thomas), "Living Precariously in the African Postcolony: Mahamet-Saleh Haroun’s Daratt and "Un Homme qui Crie""
  • Olivier Tchouaffe (Southwestern University), ""Viva Riva!" Notes on African Cinema and the Struggle for Forward Momentum"

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M13: Studies in Horror: Temporality, Genre, Narrative
Room: 13
Chair: John McGowan-Hartmann (University of New Orleans)
  • Eliot Bessette (University of California, Berkeley), "Fear, Time, and Knowledge"
  • Robert Spadoni (Case Western Reserve University), "Horror Film Atmosphere as Anti-Narrative (and Vice Versa)"
  • Josh Wucher (Baylor University), "Once Upon a Time in the Undead West: "Night of the Living Dead" and "The Walking Dead" as Modern Westerns"
  • John McGowan-Hartmann (University of New Orleans), "Roll On, Sisyphus: Re-visiting the Cinema of the Absurd in Dupieux’s "Rubber""

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M14: The Return to Classical Film Theory
Room: 14
Chair: Malcolm Turvey (Sarah Lawrence College)
Workshop Participants:
  • Dudley Andrew (Yale University)
  • Sarah Keller (Colby College)
  • Johannes von Moltke (University of Michigan)
  • Masha Salazkina (Concordia University)

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M15: Generating Professional Identities: Defining Creative Work within Hollywood Production Cultures
Room: 15
Chair: John Caldwell (University of California, Los Angeles)
  • Alisa Perren (University of Texas, Austin), "Drawing Lines: Creative Agency in the Contemporary Comics Industry"
  • Miranda Banks (Emerson College), "Of Hyphenates and Showrunners: Mapping the Uneasy History of the Writer-Producer"
  • Avi Santo (Old Dominion University), "License to License: Cultivating Professional Identity in the Contemporary Character Licensing Industry"
  • Christopher Lucas (Trinity University), "Wizards New and Old: Negotiating Creative Claims in Craft Occupations"

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M16: Hispanic Musicals: Nationalisms and Transnational Stars
Room: 16
Chair: Enrique Garcia (Middlebury College)
  • Valeria Camporesi (Autonomous University of Madrid), "Latin Stars, Spanish Women. Lola Flores in the 1950s."
  • Ana Lopez (Tulane University), "La Vecindad: A Musical Space for the Mexican Cinema"
  • Dolores Tierney (Sussex University), "Re-mapping Mexican Cinema of the 1970s: Music and Female Sexuality in "Zona Roja.""
  • Enrique Garcia (Middlebury College), "From Brechtian to Hollywood Approach: The Hispanic Community and Salsa Music in the Documentary "Our Latin Thing/Nuestra Cosa" and the Biopic/Musical "El Cantante.""

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M17: Forms of Non-Fiction: Voices, Realisms, Disciplines, Shadows
Room: 17
Chair: Claudia Springer (Framingham State University)
  • Saul Kutnicki (Indiana University, Bloomington), "Categorizing Reality: Genre and Verisimilitude in 1930’s Non-fiction Film"
  • James V. Catano (Louisiana State University), "Voiceover and the Essay Film"
  • Francesca Soans (University of Northern Iowa), "Disciplining Documentary: Direct Cinema and the New Mainstream"
  • Claudia Springer (Framingham State University), "Shadow Films: Documentary, Fictional Traces, and "Crude""

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M18: Media and Sustainability
Room: 18
Chair: Nicole Starosielski (New York University)
Co-Chair: Janet Walker (University of California, Santa Barbara)
  • Alenda Chang (University of Connecticut), "Think Microscopically, Act Galactically? Scaling Sustainability’s Many Faces with Video Games"
  • Bishnupriya Ghosh (University of California, Santa Barbara), "Toward Symbiosis: The Role of Scientific Animation in Greening the Virus"
  • Amy Rust (University of South Florida), "Extraction and Exchange: The Zoom and Environmental Intension"
  • Shane Brennan (New York University), "Data at Risk: Backup Systems and the Media of Contingency"

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M19: Unfamiliar Feminisms: Alternative Narratives of Women's Experimental Cinema
Room: 19
Chair: Roxanne Samer (University of Southern California)
Respondent: Robin Blaetz (Mount Holyoke College)
  • Julia Lesage (Jump Cut), "Feminist Experimental Animators: Suzan Pitt and Joanna Priestley"
  • Shira Segal (University of Colorado, Boulder), "Collaborative Experimental Film Practices: Feminism, Friendship, and Formalism"
  • Roxanne Samer (University of Southern California), "Lesbian-Feminist Cinema and Moonforce Media’s National Women’s Film Circuit"

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M20: Indie Aesthetics and Mobile Authorship
Room: 20
Chair: Claire Molloy (Edge Hill University)
  • Janet Staiger (University of Texas, Austin), "Proto-Indie: 1960s 'Half-Way' Cinema"
  • Paul McDonald (University of Nottingham), "Sindependence: On the Dependent Independence of the Star-fronted Production Company"
  • Claire Molloy (Edge Hill University), "Neoliberal Aesthetics and Indie Cinema"
  • J.J. Murphy (University of Wisconsin, Madison), "Looking through a Rearview Mirror: The Mumblecore Movement as Past Tense"

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M22: Models and Media Archeology: Time, Scale, Schema
Room: 22
Chair: Meredith Bak (Franklin & Marshall College)
  • Patrick Ellis (University of California, Berkeley), "“A 17th-Century Google Earth”? Modeling the City from Panstereorama to Early Film"
  • Erkki Huhtamo (University of California, Los Angeles), "Mechanical Theaters, Marionettes and Media Culture in the Making"
  • Meredith Bak (Franklin & Marshall College), "The Pervasive Zoetrope: From Model to Medium and Back Again."
  • Justin Vaccaro (University of California, Berkeley), "World on a Wire: Digital Modeling, Cinema, and the Phenomenology of Time in the Films of Duncan Jones"

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M23: Rethinking Networked Culture, Media Audiences, and Media Content Through Spreadable Media
Room: 23
Chair: Paul Booth (DePaul University)
Workshop Participants:
  • Abigail De Kosnik (University of California, Berkeley)
  • Sam Ford (Peppercomm)
  • Xiaochang Li (New York University)
  • Sharon Ross (Columbia College)
  • Ted Hovet (Western Kentucky University)

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M24: The Order of Desire: Sexuality, Sequential Art, and Comic Book Culture in the Late 20th Century
Room: 24
Chair: Matthew Tinkcom (Georgetown University)
  • Siobhan Somerville (U of Illinois), "Graphic Details: Stuck Rubber Baby’s History of Sexuality and Race"
  • Ramzi Fawaz (University of Wisconsin, Madison), "Stripped to the Bone: Sequencing Queerness in the Comic Strip Works of Joe Brainard and David Wojnarowicz"
  • Shante Smalls (University of New Mexico), "The Bodies and the Blood: Bloodstorm"

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Saturday, March 22, 2014 11:00AM-12:45PM (Session N)

N1: Framing the Void: Theories of Negation in Film and Television
Room: 1
Chair: Greg Burris (University of California, Santa Barbara)
  • Todd McGowan (University of Vermont), "Determinate Negations: Hegel at the Multiplex"
  • Sheila Kunkle (Metropolitan State University), "Framing the Void in the Apocalypse Film"
  • Tom Eyers (Duquesne University), "Straub-Huillet, de Man, Lacan: Cinematic Materialism, 'Speculative Formalism,' and the Real"
  • Greg Burris (University of California, Santa Barbara), "Anthony Bourdain as War Correspondent: Food-and-Travel Television, Middle Eastern Violence, and the Limits of Multicultural Tolerance"

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N2: The Precarious Aesthetic in Contemporary Moving Images
Room: 2
Chair: Arild Fetveit (University of Copenhagen)
Co-Chair: Jennifer M. Barker (Georgia State University)
Respondent: Akira Lippit (University of Southern California)
  • Arild Fetveit (University of Copenhagen), "Death, Love, and Cinematic Nostalgia: The Precarious Aesthetic of Lana Del Ray"
  • Genevieve Yue (Eugene Lang College, The New School), "Blurred Faces"
  • Jennifer M. Barker (Georgia State University), "The Wandering Camera"

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N3: Situating Gender II: New(d) Ecologies and Ludic Landscapes
Room: 3
Chair: Krista Lynes (Concordia University)
  • Jennifer Lynn Peterson (University of Colorado, Boulder), "Nudist Films and the Space of Wilderness"
  • Chi-Yun Shin (Sheffield Hallam University), "Up on the Roof: Gender, Genre, and Liminality in South Korean High School Films"
  • Lokeilani Kaimana (University of Texas, Austin), "Shu Lea Cheang’s Speculative Ecology"
  • Cary Elza (Northwestern University), "The Weltzerfall of Man: Gender, Space, and the Role of Play in Post-Apocalyptic Films"

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N4: Memories Unleashed: The Emergence of New Cinemas in Turkey
Room: 4
Chair: Ozgur Cicek (SUNY Binghamton)
Respondent: Defne Tuzun (Sabanci University)
  • Melis Behlil (Kadir Has University), "Cinematic Memories: Television and YouTube as Informal Archives"
  • Ozgur Cicek (SUNY Binghamton), "A Cinema of Resistance: Kurdish Filmmaking in Turkey"
  • Esin Paca Cengiz (Royal Holloway, University of London), "Portrayal of Historical Time in Contemporary Historical Films in Turkey"

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N5: Mediating Neoliberalism and Asia: Temporalities, Migration, and Gender in Film and TV
Room: 5
Chair: Jia Tan (Hong Kong Baptist University)
Respondent: Kara Keeling (University of Southern California)
  • Jecheol Park (The National University of Singapore), "Beyond the Neoliberal Governance of Time: Syndromes and a Century at a Standstill"
  • Feng-Mei Heberer (University of Southern California), "Worthy or Unworthy Life? Me llamo Peng and the Chinese Working Body"
  • Jia Tan (Hong Kong Baptist University), "Neoliberalized Romantic Encounter: If You are the One and the Gender Politics of Chinese Reality TV"

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N6: Locating Radio: The Symbolic, Cultural, and Political Dimensions of 'Place' in North American Radio Broadcasting
Room: 6
Chair: Jennifer Wang (Independent Scholar)
  • Brian Fauteux (University of Wisconsin-Madison), "Localities and Independent Music in Satellite Radio Programming"
  • Catherine Martin (Boston University), "'I’ve Got My Eyes Open and I Can’t be Crooked': Female Virtue and National Identity in "Terry and the Pirates""
  • Eleanor Patterson (University of Wisconsin Madison), "This American Franchise: Negotiating the Production of Local Public Radio for a Global Audience"
  • Jennifer Wang (Independent Scholar), "Some ‘Homemakers’ are More Than Housekeepers: Negotiating Modern Living, Gendered Spheres, and the Rural Lifestyle in Wisconsin Radio"

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N7: Represent: Race, Gender, and Respectability Politics in the Media
Room: 7
Chair: Ralina Joseph (University of Washington, Seattle)
Co-Chair: Khadijah White (University of Pennsylvania)
Respondent: Ralina Joseph (University of Washington, Seattle)
  • Jane Rhodes (Macalester College), "New Negro, New Woman: African Americans and Early Discourses of Respectability"
  • Robin Means Coleman (University of Michigan), "Image Wars: The NAACP, Media, and the Quest of Black Respectability"
  • Cherise Smith (University of Texas, Austin), "Authentically Black? The Politics of Respectability in “Key and Peele”"
  • Khadijah White (University of Pennsylvania), "Missing White Women, Missing America"

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N8: The Mind in Midcentury Media: Mentalities on the Cusp of the Digital Age
Room: 8
Chair: Dan Leopard (Saint Mary's College of California)
  • Stephen Charbonneau (Florida Atlantic University), "The Eyeful Power: Cognition, Active Looks, and the Visualization of Youth"
  • Rebecca Sheehan (California State University, Fullerton), "Visual Noise and the Anamorphic Fragment: Information Theory and the Films of Ray and Charles Eames"
  • Henning Engelke (Kunstgeschichtliches Institut), "Film as Model: Cybernetics and Cinematic Thinking in Postwar California"
  • Dan Leopard (Saint Mary's College of California), "The Encounter and the Frame: Psychoanalysis, Cybernetics, and Humanistic Psychology as Models of Reciprocation in 1960’s Media Culture"

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N9: Funny Chicks and Droll Dicks: Repression, Abjection, Subjection in Television Comedy
Room: 9
Chair: Linda Mizejewski (Ohio State University)
  • Linda Mizejewski (Ohio State University), "A Poop Song at the Beauty Pageant: Abjection and Femininity on “The Sarah Silverman Program”"
  • Rebecca Wanzo (Washington University), "A Tale of Two “Girls:” Lena Dunham, Issa Rae, and Selling the Abject Millennial Woman"
  • Martha Nochimson (Professor Emerita), ""Doc Martin": A Fractured Phallic Rom-Com"
  • Victoria Sturtevant (University of Oklahoma), "White People Problems: Abjection, Privilege, and Louis C.K."

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N10: Crisis on the Homefront: Domestic Insecurity in an Age of Endless War
Room: 10
Chair: James Castonguay (Sacred Heart University)
Respondent: Andrew Martin (University of Wisconsin Milwaukee)
  • Tony Grajeda (University of Central Florida), "Stand Your Ground: the Militarization of the Homefront and Home Invasion Movies"
  • Anna Froula (East Carolina University), "States of Insecurity: The Walking Dead on the Postapocalyptic Frontier"
  • Patrice Petro (University of Wisconsin, Milwaukee), "Austerity Media:Mildred Pierce and Hoarding"

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N11: The Little Flashlight of the Usher: Objects in Exhibition Between Spectator and Screen
Room: 11
Chair: Jocelyn Szczepaniak-Gillece (Northwestern University)
Co-Chair: Stephen Groening (George Mason University)
Respondent: Haidee Wasson (Concordia University)
  • Margaret Hennefeld (Brown University), "Those Awful Hats: Social Uplift and the Comic Emergence of Film Spectatorship"
  • Jocelyn Szczepaniak-Gillece (Northwestern University), "Seated in the Gloom: The Theater Chair and the Spectator"
  • Stephen Groening (George Mason University), "‘If You Don’t Want to Look at It, No One Can Force You’: Spectatorship, Agency, and Headphones"

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N12: Melodrama Through a Transnational Lens: Questions of Methodology
Room: 12
Chair: Christine Gledhill (University of Sunderland)
Workshop Participants:
  • Jason McGrath (University of Minnesota)
  • Koel Banerjee (University of Minnesota)
  • Rachel Schaff (University of Minnesota)
  • Julia Sirmons (Columbia University)

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N13: The Big Sleepless in Seattle: Media Representations of Pacific Northwest Serial Killers
Room: 13
Chair: James Deutsch (Smithsonian Institution)
Respondent: Nancy Bartley (The Seattle Times)
  • Thomas Doherty (Brandeis University), "Ted Bundy and the Rise of the Cinematic Sociopath"
  • James Deutsch (Smithsonian Institution), "Suburban Normalcy in Puget Sound: The Case of “The Stepfather”"
  • Adrienne Domasin (Independent Scholar), "Seattle’s Own: Hunting the Green River Killer in His Backyard"

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N14: Film Scholarship and the Online Journal
Room: 14
Chair: Girish Shambu (Canisius College)
Workshop Participants:
  • Victor Perkins (University of Warwick)
  • Tracy Cox-Stanton (Savannah College of Art and Design)
  • Steven Shaviro (Wayne State University)
  • John Gibbs (University of Reading)

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N15: Production Space and Manufactured Place in the Hollywood Studio System
Room: 15
Chair: Joshua Gleich (University of Texas, Austin)
  • Julie Turnock (University of Illinois, Urbana-Champaign), "“Uninhibited, Thorough, and Wild Thinking”: Reconsidering the Studio Era through Special Effects"
  • Joshua Gleich (University of Texas, Austin), "Fiscal Realism: Economies and Technologies of Location Shooting vs. Sound Stage Production in Postwar Hollywood"
  • Clifford Galiher (University of Southern California), "Bringing Baby to the Screen: A Case Study of Visual Effects in a Screwball Comedy"
  • Christina Petersen (Eckerd College), "“And for a While I Could Not Enter, For the Way Was Barred to Me”: Gothic Space, Subjectivity, and Spectatorship in the Studio-Era Classical Hollywood Narrative"

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N16: Teaching Post Production Sound From a Sound Studies Perspective
Room: 16
Chair: Vanessa Ament (Georgia State University)
Workshop Participants:
  • Mark Berger (University of California, Berkeley)
  • Jay Beck (Carleton College)
  • George Larkin (University of California, Berkeley)

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N17: Expanded Materials of Cinema
Room: 17
Chair: Kenneth Rogers (York University)
  • Meghan Chandler (University of California, Irvine), "Filming the Foundations: Kodak, Celluloid Acetate, and Educational Science Films"
  • Lan Le (University of California, Santa Barbara), "Material Histories of Visualization: Particle Accelerators and the Epistemologies of Discovery"
  • Jonathan Crylen (University of Iowa), "From Salvage Ship to Screen: Cinema’s Non-representational Technologies and the Undersea Films of John Ernest Williamson"
  • Kenneth Rogers (York University), "Oil Industry/Media Industry: Petromediation and Sustainable Media Practice in the Era of Extreme Oil"

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N18: Immediations: Uses and Subversions of Documentary Immediacy in Recent Autoethnographic Visual Media
Room: 18
Chair: Pooja Rangan (The New School)
Co-Chair: Fatimah Tobing Rony (University of California Irvine)
  • Tina Takemoto (California College of the Arts), "Queer Camp Cinema: Anxious Omissions in Japanese American History and Memory"
  • Fatimah Tobing Rony (University of California Irvine), "Globalization, Sexuality, and Biopolitics in Recent Films by Indonesian Women"
  • Daniel Mosquera (Union College), "Favelado/Fabulado: Participatory Indexicality and Trash Aesthetics in Contemporary Brazil"
  • Pooja Rangan (The New School), "Documentary Opacities: Visualizing Autism in “In My Language” and Other Recent Films"

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N19: Extreme Weather and Global Media
Room: 19
Chair: Julia Leyda (Sophia University)
  • Jon Kraszewski (Seton Hall University), "Televising Hurricane Sandy: Global Warming, Classed Citizenship, and the Apocalypse"
  • Annika Olsson (Stockholm University), "Post-Political Crisis Management: Extreme Weather Narratives in Scandinavia"
  • Diane Negra (University College Dublin), "Slow Television, Seasonal Predictability, and "Springwatch""
  • Julia Leyda (Sophia University), "Weathering Disaster Movies: "Beasts of the Southern Wild" and "SharkNado!""

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N20: Perversion, Transgression, and the Cinema
Room: 20
Chair: Bill Nichols (San Franciso State University)
  • Bill Nichols (San Franciso State University), "The Transgressive Power of Sexual Perversity"
  • Dana Plays (The University of Tampa), "Beyond Pornography: Catherine Breillat, Auteur/Provocateur"
  • Dan Humphrey (Texas A&M University), "Allegory or Allegorized? or: “‘Do You Two Want to Come Over? I Just Saw “The Human Centipede”’"
  • Marc Newman (University of California, Santa Cruz), "A Hand on the Knee: Gay Male Ephebophilia in Independent Cinema"

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N22: The Experimental City: Urban Media and Social Movements in the Long 1960s
Room: 22
Chair: Susan Lord (Queen's University)
Respondent: Tamara Falicov (University of Kansas)
  • Joshua Malitsky (Indiana University), "Sara Gomez’s Encyclopedia Films and the Cuban Nonfiction Cinema Network, 1961-1963"
  • Susan Lord (Queen's University), "Transits of Experimental Ethnographies: Havana in the 1960s"
  • Jennifer Boles (Indiana University - Bloomington), "Sergio García, the Grupo Liberación, and Super-8 film in Mexico City, 1968-1972"

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N23: Framing Temporality and Terrain in the Cinema of Hou Hsiao-hsien and Jia Zhangke
Room: 23
Chair: Maureen Turim (University of Florida)
  • Maureen Turim (University of Florida), "A Time of Historical Weight and Feminist Consequence in the Films of Jia and Hou"
  • Christopher Lupke (Washington State University), "Imbricated Metaphors of Social Dissolution: Representing Filiality and Its Discontents in the Films of Hou Hsiao-hsien and Jia Zhangke"
  • Scott Nygren (University of Florida), "Landscape as Determining Figure: Hou’s and Jia’s Conceptual and Visual Framing"
  • Li Zeng (Illinois State University), "The Ambiguity of “Truth” in the Documentaries of Jia Zhangke"

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N24: After-68: Reassessing Revolt
Room: 24
Chair: Andrew Lantz (Texas A&M University)
Respondent: David Gerstner (College of Staten Island, CUNY)
  • Sarah Hamblin (University of Massachusetts Boston), "1968 under a Global Sign of Crisis"
  • Michela Russo (Texas A&M University), "The Massacre of Tlatelolco between Fiction and Documentary"
  • Harry Benshoff (University of North Texas), "Visualizing Lacanian Structure in Bernardo Bertolucci’s "The Dreamers" (2003)"

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Saturday, March 22, 2014 01:00PM-02:45PM (Session O)

O1: Transnational Film Remakes
Room: 1
Chair: R Barton Palmer (Clemson University)
Respondent: Constantine Verevis (Monash University)
  • Catherine Grant (University of Sussex), "Single Take Horror Film Mutations: Remaking "La casa muda" (2010) in "Silent House" (2011)"
  • Iain Smith (University of Roehampton), "Remakesploitation: Transnational Borrowings between Turkish and Italian Exploitation Cinema"
  • Michael Lawrence (University of Sussex), ""Khoon Bhari Maang" (1988) and the Transnational Makeover"

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O2: Avant-garde Aesthetics and Context
Room: 2
Chair: Lisa Zaher (School of the Art Institute of Chicago)
  • Hannah Frank (University of Chicago), ""The Strangest Possible Variety of Juxtaposed Documents": Jay Leyda, Sergei Eisenstein, and Documentary Montage"
  • Marc Siegel (Goethe University), "Jack Smith in Germany"
  • Kenneth White (Stanford University), "Meat System in Cologne: Carolee Schneemann and the 'Electronic Activation Room'"
  • Lisa Zaher (University of Chicago), "Utopian Technopolitics and Modernist Regressivity: Towards Hollis Frampton’s “R”"

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O3: Situating Gender III: History and Nation in Women's Cinema
Room: 3
Chair: Patricia White (Swarthmore College)
  • Jen Caruso (Minneapolis College of Art and Design), "Bodies, Genders, and Architecture in Jane Campion's "Top of the Lake""
  • Lida Oukaderova (Rice University), "Persistent Matter: Space, Screen, and Gender in Kira Muratova’s Films"
  • Kathryn M. Silva (Andrews University), "Daughters and Sons of the Dust: Gendered History and the Cinematic Imaginary of Slavery and Emancipation"
  • Daniel Grinberg (Indiana University, Bloomington), "Women in the Aftermath: Transnational Postwar Spaces in "Daughter From Danang""

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O4: Expanding the Meanings of Film: Cinema and the Nation in East Germany
Room: 4
Chair: Benita Blessing (University of Vienna)
  • Sebastian Heiduschke (Oregon State University), "How DEFA Claimed Germany’s Cinematic Legacy: Locating Foundational Narratives in the Films of Gerhard Lamprecht"
  • Mariana Ivanova (Miami University), "Entertainment Socialist Style: East German Cinema’s Re-appropriation of UFA’s Genres in the Mid-1950s"
  • Sabine Hake (University of Texas, Austin), "The Popularity of High Culture: On the DEFA Opera Film"
  • Benita Blessing (University of Vienna), "Princes and Princesses with (Socialist) Strings: Ideology and Puppet Fairy Tale Films"

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O5: Animals and Adolescence: Cinema's Human(e) Education
Room: 5
Chair: Maria Pramaggiore (North Carolina State University)
Respondent: Inga Pollmann (University of North Carolina, Chapel Hill)
  • Gwenda Young (University College Cork, Ireland), "Unruly Beasts: Children and Animals in Clarence Brown’s "National Velvet" (1944) and "The Yearling" (1946)"
  • Lauren Pilcher (University of Florida), "Man: A Course of Study"
  • Maria Pramaggiore (North Carolina State University), "Humanizing Irish Horses: "Crushproof" (Tickell 1998) and "Garage" (Abrahamson 2007)"

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O6: Cinematic Photography
Room: 6
Chair: Louise Hornby (University of California, Los Angeles)
  • Louise Hornby (University of California, Los Angeles), "Film In the Fold of Photography: Tacita Dean’s Tree Photographs"
  • Ryan Conrath (University of Rochester), "Andy Warhol's Stitches"
  • Temenuga Trifonova (York University), "Staging Time: On Gregory Crewdson’s Cinematic Photography"
  • Marcelina Piotrowski (University of British Columbia), "Media, Consumption, and the Politics of Trash"

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O7: Latin American Film Culture as Cosmopolitan Project, 1916-1960
Room: 7
Chair: Nicolas Poppe (Ball State University)
  • Rielle Navitski (University of Georgia), "Cine-Mundial in the Silent Era: Spanish-Language Film Journalism as Cosmopolitan Pedagogy"
  • Nicolas Poppe (Ball State University), "Early Mexican Sound Film as Alternative Vernacular Modernism"
  • Sarah Wells (University of Notre Dame), "Alternative Modernities?: the Reception of Soviet Cinema in South America, 1927-1945"
  • Ignacio Sanchez Prado (Washington University in St. Louis), "Wrestling Modernity: El Santo and the Popular Negotiation of Mid-Century Mexican Capitalism"

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O8: Sinophone Cinemas
Room: 8
Chair: Helen Leung (Simon Fraser University)
  • Alison Groppe (University of Oregon), "Multilingualism in Singaporean Film Dialogue: Authenticity or Argument?"
  • Mirana Szeto (University of Hong Kong), "Sinophone Libidinal Economy in the Age of Neoliberalisation and Mainlandisation: Masculinities in Hong Kong SAR New Wave Cinema"
  • Audrey Yue (The University of Melbourne), "Contemporary Sinophone Cinema in Australia"

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O9: Undermining 'the System:' The Limits and Possibilities for Subversion in 1950s American TV
Room: 9
Chair: Phoebe Bronstein (Georgia Tech)
Co-Chair: Annie Berke (Yale University)
  • Annie Berke (Yale University), "“You Just Type:” The Woman Comedy Writer in 1950s Television"
  • Phoebe Bronstein (Georgia Tech), "Southern Circuits: Nat King Cole, the South, and TV in the 1950s"
  • Andrew Young (University of California, Los Angeles), "From Ginsberg to Television Noir: "Peter Gunn," Network TV, and the Rise of Prime Time Counterculture"
  • Molly Schneider (Northwestern University), "“A Tired Nonconformist:” Disavowal, Liminality, and The Twilight Zone"

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O10: Mobile Media: Data, Habits, Screens
Room: 10
Chair: Kirsten Ostherr (Rice University)
Respondent: Nanna Verhoeff (Utrecht University)
  • Heidi Rae Cooley (University of South Carolina), "Transformations Handheld: Habit-change in the Mobile Present"
  • Brittany Fiore-Silfvast (University of Washington, Seattle), "What We Talk about When We Talk about Data: Valences and the Social Performance of Digital Health Metrics"
  • Kirsten Ostherr (Rice University), "Untethered Technology: Aesthetics and Affordances of Mobile Health Media"

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O11: In a Queer Space at a Queer Time
Room: 11
Chair: Sergio Rigoletto (University of Oregon)
  • Brandon Arroyo (Concordia University), "Active Pornographic Space and Sexual Affect in the Networked Gay Village"
  • Curran Nault (University of Texas, Austin), ""Shut Up White Boy": Queer Punk Fantasies of Asian Dyke Revenge"
  • Nishant Shahani (Washington State University, Pullman), "The Queer Politics of Hypothetical Time"
  • Sergio Rigoletto (University of Oregon), "Making Oneself Visible: Performing Queer Authenticity in the Contemporary Italian Documentary"

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O12: A Netflix World Order?
Room: 12
Chair: Kevin McDonald (California State University, Northridge)
Workshop Participants:
  • Gerald Sim (Florida Atlantic University)
  • Peter Feng (University of Delaware)
  • Sudeep Sharma (University of California, Los Angeles)
  • Evan Elkins (University of Wisconsin, Madison)

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O13: From Kinetoscopes to Cyberculture: People, Machines, and Media
Room: 13
Chair: Tiel Lundy (University of Colorado, Boulder)
Co-Chair: David Thomas (University of Colorado, Denver)
  • Drew Ayers (Northeastern University), "David Cronenberg's Techno-Organic Cinema"
  • Lorrie Palmer (Indiana University), "Fashion Police: The Wearable Technology of ‘Continuum’"
  • Graeme Stout (Minneapolis College of Art and Design), "Fascist Cyborgs? Science Fiction Cinema, Male Bodies, and the “Empowerment Clip”"
  • Tiel Lundy (University of Colorado, Boulder), "Me and My Mecha: Human-Controlled Robots from Aliens to Pacific Rim"

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O14: Breath and the Body of the Voice in Cinema
Room: 14
Chair: Liz Greene (Queen's University Belfast)
  • Ian Garwood (University of Glasgow), "Lost in Non-Translation: Analysing Film Voices from a Position of Linguistic Incompetence"
  • Liz Greene (Queen's University Belfast), "The Gasping Breath: Controlling the Female Voice in Hollywood Cinema"
  • Nessa Johnston (Glasgow School of Art), "The Embodied Aural Encounters of Drama-Documentary"
  • Philippa Lovatt (University of Stirling), "Breathing Bodies: Sound and Subjectivity in the War Film"

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O15: Seeking a 'Useful' Film Industry: Managing the Possibilities of Advertising and Promotional Film, 1910-50.
Room: 15
Chair: Paul Moore (Ryerson University)
Co-Chair: Matthew Ogonoski (Concordia University)
  • Martin Johnson (The Catholic University of America), "The Best Advertisement Will Never Be Written: Industrial Film & Cinema’s Second Birth"
  • Paul Monticone (University of Texas at Austin), "Parallax Tracks? Useful Cinema and Electric Railways in the 1920s"
  • Kit Hughes (University of Wisconsin, Madison), "Back to the Old Film: Industrial Media Heritage at International Harvester"
  • Matthew Ogonoski (Concordia University), "On the Frontlines of Television: Wartime Television-promotion Films and Industrial Management."

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O16: Debugging Game History: Forgotten Histories
Room: 16
Chair: Henry Lowood (Stanford University)
  • Melanie Swalwell (Flinders University), "Homebrew Game Development"
  • Emily Flynn-Jones (York University), "Best Worst Game: Kusoge"
  • Matthew Payne (University of Alabama), "Playing to Score: The Erotic Economy of Atari 2600 Porn Games"
  • Raiford Guins (Stony Brook University), "History on the Side: Desperately Seeking the Artists Lost in the Veneer of Arcade Time"

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O17: Troubling The Waters: New Conceptualizations of Blackness in Cinema and Television
Room: 17
Chair: Michael Gillespie (Ohio University)
  • Allyson Field (University of California, Los Angeles), "Third Cinema in the First World: The Aesthetics of Confrontation"
  • Lisa Guerrero (Washington State University), "Criminal Acts: The [Post]Racial Economy of Crime on Film in the 21st Century"
  • Erica Edwards (University of California, Riverside), "The Visual Life of Black Freedom-to-Secure and the Future of The Female"
  • Michael Gillespie (Ohio University), "Tomorrow People: “The Twilight Zone,” “Futurestates,” and Speculative Visions of Race"

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O18: On Location: Historical Perspectives at the Intersection of Place and Style
Room: 18
Chair: Dimitrios Latsis (University of Iowa)
  • Iris Cahn (Purchase College, State University of New York), "Valuing Nature"
  • Katherine Manthorne (City University of New York Graduate Center), "Made in New Mexico: Modern Art & the Movies"
  • Charles Musser (Yale University), "Weegee's Coney Island, 1940-1948"
  • Dimitrios Latsis (University of Iowa), "Canaletto, Promio, Greenaway: an Eternal Landscape Braid"

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O19: Experimental Film in 8mm: Aesthetics, Economics, Access
Room: 19
Chair: Federico Windhausen (California College of the Arts)
Respondent: John Powers (University of Wisconsin, Madison)
  • Erika Balsom (King's College, London), "Possessable Cinema: The 8mm Reduction Print and the American Avant-Garde"
  • Federico Windhausen (California College of the Arts), "The Goethe Group: Experimental Filmmaking in Buenos Aires in the 1970s"
  • Stephen Anker (California Institute of the Arts), "Curating Big As Life: A Retrospective View"

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O20: Activist Media and Precarious Careers: Lessons from Jump Cut
Room: 20
Chair: Chuck Kleinhans (JUMP CUT: a review of contemporary media)
Workshop Participants:
  • Jane Gaines (Columbia University)
  • Julia Lesage (Jump Cut)
  • Peter Steven (Sheridan Institute of Technology)
  • Thomas Waugh (Concordia University)

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O22: Global Cinema Sites
Room: 22
Chair: Jacqueline Maingard (University of Bristol)
  • Annie Fee (University of Washington, Seattle), "“Gaumont Offers 'La Russie Rouge' and All Paris Takes Sides”: Working-Class Activism in Paris Cinemas 1921-1922"
  • Virginia Luzon (University Autonoma de Barcelona), "Early Cinema Venues in Barcelona, Spain (1897-1930)"
  • Jasmine Trice (National University of Singapore), "Post-War Modernities and Manila Movie Theaters"
  • Jacqueline Maingard (University of Bristol), "Cinema Citizens: Cinema-Going in District Six, Cape Town, 1920s to 1960s"

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Saturday, March 22, 2014 03:00PM-04:45PM (Session P)

P1: Film Theory and Criticism Beyond the Euro-American Canon I
Room: 1
Chair: Felipe Pruneda Senties (Univeristy of Pittsburgh)
  • Masha Salazkina (Concordia University), "Transnational Approaches to History and Institutional Practices of Film Theory in the Anglo-American Academy"
  • Aparna Frank (NYU), "Does Indian Film Need Indian Film Theory? – A Critique"
  • Weihong Bao (University of California, Berkeley), "The Question of Huanjing (Environment) in Chinese Film and Drama Theory"
  • Felipe Pruneda Senties (Univeristy of Pittsburgh), "Eating Eisenstein to Survive: Monstrous Montage and Cinema-Conscience in the Film Theory of José Revueltas"

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P2: Archives and Algorithms
Room: 2
Chair: Andrew Myers (University of Southern California)
  • Eric Hoyt (University of Wisconsin, Madison), "How to Train Your Computer to Read 1,000 Screenplays and 25 Years of Variety"
  • Virginia Kuhn (University of Southern California), "Images on the Move: Research On Demand"
  • Anthony Tran (UW-Madison), "Media Texts, Audiences, and Computers: Applying Software to Michelle Phan and her Anti-Phans"
  • Michael Casey (Dartmouth College), "Investigating Film Authorship with the ACTION Toolbox"

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P3: Sensorial Cartographies: New Realisms in Contemporary Latin American Cinemas
Room: 3
Chair: Leslie Marsh (Georgia State University)
Respondent: Ivone Margulies (Hunter College, City University of New York)
  • Gustavo Furtado (Duke University), "Experimental Ethnographic Film and the Aesthetic Apprehension of the Social"
  • Salome Skvirsky (University of Illinois, Chicago), "The Labor of Slow Cinema in Recent Mexican Documentary"
  • Leslie Marsh (Georgia State University), "Reordering (Social) Sensibilities: Balancing Realisms in "O Som Ao Redor""

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P4: African "Global South” Cinema
Room: 4
Chair: Kenneth Harrow (Michigan State University)
  • Moradewun Adejunmobi (University of California Davis), "The Addressivity Spectrum: African Film and Media In The 21st Century"
  • Melita Zajc (University in Maribor), "Dangerous Twins: Nollywood Films and a Discourse on Global South"
  • Mary Ellen Higgins (Pennsylvania State University), "African Cinema, Beyond Recognition"
  • Kenneth Harrow (Michigan State University), "African “Global South” Cinema"

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P5: Mediations: Popular Visual Culture and Political Filmmaking in Japan
Room: 5
Chair: Diane Lewis (Washington University in St. Louis)
  • Diane Lewis (Washington University in St. Louis), ""What Made Her Do It?": Film Adaptation and the Japanese Proletarian Film Movement"
  • Chika Kinoshita (Tokyo Metropolitan University), "The Public Fetus and Private Fantasy: Imaging Technology and Representations of Women’s Reproductive Functions in the 1960s Japanese Cinema"
  • Ayako Saito (Meiji Gakuin University), "Oshima and Korea: Between Fiction and Non-Fiction"
  • Yuka Kanno (Otaru University of Commere), "Racialized Desire and Violence: The Cinematic Imagination of Okinawa"

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P6: Animating Abstraction: Audio-visual Abstraction as a Transgression of the Limits of the Image
Room: 6
Chair: Robin Curtis (Heinrich-Heine-Universität Düsseldorf, Institut für Medien- und Kulturwissenschaft)
Co-Chair: Bettina Papenburg (Heinrich-Heine-Universität Düsseldorf)
Respondent: Suzanne Buchan (Middlesex University)
  • Robin Curtis (Heinrich-Heine-Universität Düsseldorf, Institut für Medien- und Kulturwissenschaft), "An Ethics of Abstraction – Immersive Experience and the Investigation of the World"
  • Bettina Papenburg (Heinrich-Heine-Universität Düsseldorf), "Animating Science: Challenging the Abstract-Figural Divide in Visualization Practices"
  • Stefanie Stallschus (Berlin Institute of Technology), "Animated Landscapes: The Experience of Abstraction in Film and Video Art"

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P7: "Women Contained": Figuring Feminism in the Films of Todd Haynes
Room: 7
Chair: Noah Tsika (Queens College, City University of New York)
Respondent: Maria San Filippo (Indiana University, Bloomington)
  • Matthew Von Vogt (Indiana University - Bloomington), "Structural Anorexia in "Superstar""
  • Jess Issacharoff (University of Iowa), "“Poison’s” Oath in Another Language: Todd Haynes’ Feminist Promise"
  • Michael Hetra (University of Iowa), "Music and the Vicissitudes of Desire in Todd Haynes’s "Mildred Pierce""

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P8: Documentary, Data, and Contagious Archives
Room: 8
Chair: Daniel Marcus (Goucher College)
  • Selmin Kara (OCAD University), "Hooligan Media: Istanbul Gezi Protests and Contagious Archives"
  • Scott Krzych (Colorado College), "Stock Politics: Paradigmatic Images in Citizens United Documentaries"
  • Anna Fisher (Cornell University), "A System of Users: Parasitism in a Networked Age"
  • Patrick Keilty (University of Toronto), "Indexing Pornographic Databases: Spectatorship, Navigation, and Narrative in an Electronic Age"

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P9: The Bad Boys of Cable: Violent Men and "Quality” Television
Room: 9
Chair: Ina Hark (University of South Carolina)
  • Michael Faucette (Caldwell Community College), "“I Just Never Thought of Myself as an Angry Man”: "Justified" and the Representation of Southern Masculinity in the Age of Platinum Television"
  • Ina Hark (University of South Carolina), "Walt White Man: "Breaking Bad"’s Ethnic Cleansing Narrative"
  • Thomas Witholt (Syracuse University), "Heartless Melodrama: The Misogynistic Displacement of Pathos in Quality TV"
  • Anna Siomopoulos (Bentley University), "Defending Dark Passengers: Narrative Strategies and Graphic Violence in “Quality” Television Series"

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P10: Queer Girls on Film
Room: 10
Chair: Barbara Brickman (University of Alabama at Tuscaloosa)
  • Kristen Hatch (University of California, Irvine), "Things No Child Should Be Taught: Girls’ Performances of Desire"
  • Andrew Scahill (Georgetown University), "Stars and Other Celestial Bodies: Heavenly Creatures and Queer Spectatorship"
  • Lindsey Payne (San Francisco State University), "Matilda’s Reversal of Innocence: A Queer Fairy Tale"
  • Barbara Brickman (University of Alabama at Tuscaloosa), "Girls in Chains: Beating Fantasies and Queer Girlhoods in 1950s Film"

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P11: Film History, Politics, and Aesthetics after Kracauer
Room: 11
Chair: Gertrud Koch (Freie Universitaet, Berlin)
  • Johannes von Moltke (University of Michigan), "*History* as Classical Film Theory"
  • Nicholas Baer (University of California, Berkeley), "Historical Turns"
  • Gertrud Koch (Freie Universitaet, Berlin), "Historicity, History, and the Necessity for Fiction: On Kracauer's Assumptions about the Aesthetics of Film and History"
  • Philip Rosen (Brown University), "Medium Specificity and the Exceptional in Kracauer's Theory of History"

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P12: The Mirror Has Three Faces: New Approaches to Cinema and the Historical Avant-Garde
Room: 12
Chair: Jennifer Wild (University of Chicago)
Co-Chair: Jennifer Lynn Peterson (University of Colorado, Boulder)
Respondent: Christophe Wall-Romana (University of Minnesota)
  • Mal Ahern (Yale University), ""Electric Affinities: Close Up and Queer Modernism""
  • Gordon Hughes (Rice University), "“Fernand Léger’s Cinematic Tableau”"
  • David Mather (MIT), "“Psychosocial Disruption in Early Italian Film and Futurism”"
  • Yvonne Zimmermann (Philipps-University, Marburg), ""Reconsidering the European Avant-Garde in the 1930s in the Context of Non-Theatrical Film Culture""

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P13: New Perspectives on Film Noir
Room: 13
Chair: Robert Silberman (University of Minnesota)
  • Cristelle Maury (University of Toulouse II, Le Mirail), ""He's Dead Now, Except He's Breathing," or, The Bright Side of Film Noir"
  • Will Scheibel (Indiana University), "Dark Illuminations: The Image-making of American Film Noir"
  • Yuki Nakayama (University of Michigan, Ann Arbor), "Crossing the Line: Japanese Film Noir and Ishii Teruo"
  • Richard Ness (Western Illinois University), "Dreaming of a Black Christmas: The Yuletide Motif in Film Noir"

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P14: The Pedagogy of Pornography: The Current and Future Status of Porn Studies in Academia
Room: 14
Chair: John Stadler (Duke University)
Workshop Participants:
  • Constance Penley (University of California, Santa Barbara)
  • Diana Pozo (University of California, Santa Barbara)
  • Feona Attwood (Middlesex University, UK)
  • Clarissa Smith (University of Sunderland, UK)
  • John Stadler (Duke University)

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P15: Niche Models of Online Media Distribution
Room: 15
Chair: Jennifer Hessler (University of California, Santa Barbara)
  • Chelsea McCracken (University of Wisconsin, Madison), "Expanding the Margins: Independent LGBTQ Cinema in the Digital Age"
  • Kathryn Frank (University of Michigan), "Going Legit: Crunchyroll and Managing the Transition from Illegal to Licensed Online Streaming Content"
  • Abigail De Kosnik (University of California, Berkeley), "Exploitation Film Fandom and Piracy: A Case Study of a Private Torrent Tracker"
  • Jennifer Hessler (University of California, Santa Barbara), "Mubi and the Online Distribution of ‘Quality’ Cinema"

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P16: Pioneering Visions: New Perspectives on the Silent Era
Room: 16
Chair: Joanna Rapf (University of Oklahoma)
  • Joshua Moss (Independent Scholar), "Arrested Developments: Early Narrative and The Figural Episodic in Georges Méliès’s "L’affaire Dreyfus" (1899)"
  • Hilde D'haeyere (University College Ghent), "High Kicks: Ernest Belcher Screen Ballets in Mack Sennett Slapstick Comedies"
  • Ned Thanhouser (Thanhouser Company Film Preservation, Inc.), "Lloyd F. Lonergan: Studio Co-Founder and Prolific Scenario Writer (1910 to 1917)"
  • Joanna Rapf (University of Oklahoma), "The Fifth Warner Brother: Harry Rapf Between 1916-1924"

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P17: Killing Trayvon Martin, Again: On the Media, the Verdict, and the Vox Populi
Room: 17
Chair: Anna Everett (University of California Santa Barbara)
Co-Chair: Kristen Warner (University of Alabama)
Workshop Participants:
  • Nsenga Burton (Goucher College)
  • Mia Mask (Vassar College)
  • Brandeise Monk-Payton (Brown University)
  • Amy Ongiri (University of Florida)
  • Eric Pierson (University of San Diego)

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P18: Beyond Bond: Alternative Perspectives on the James Bond Franchise
Room: 18
Chair: Seung-hoon Jeong (NYU Abu Dhabi)
  • Richard Allen (New York University), "Hitchcock and Bond"
  • Jaap Verheul (New York University), "This Never Happened to the Other Fellow: George Lazenby as the Non-Bond"
  • James Chapman (Univesity of Leicester), "The Forgotten Bond: The CBS Adaptation of Casino Royale (1954)"
  • Meenasarani Murugan (Northwestern University), "‘Unlike Men, the Diamonds Linger’: Bassey and Bond beyond the Theme Song"

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P19: Video Games and Comedy: Between Laughter and Performance
Room: 19
Chair: Manuel Garin (Universitat Pompeu Fabra)
  • Ian Jones (University of Chicago), "The Obstinate Avatar: On (the Lack of) Bodily Intelligence in Recent Slapstick Videogames"
  • Jaroslav Švelch (Charles University), "Making Mischief in Video Games: The Player and the Engine as Co-creators of Physical Humor in Simulated Video Game Spaces"
  • Manuel Garin (Universitat Pompeu Fabra), "Koopa in The Face: Sight Gags and Comedic Performance in Nintendo’s "Super Smash Bros""
  • Costantino Oliva (University of Malta), "Comedic Affordances in Digital Game Soundscapes"

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P20: Acting Indie: Aesthetics, Industry, and Performance in American Independent Cinema
Room: 20
Chair: Cynthia Baron (Bowling Green State University)
  • Cynthia Baron (Bowling Green State University), "A Continuum of 'Alternative' Performance Styles in American Independent Cinema"
  • Yannis Tzioumakis (University of Liverpool), "'Independent,' 'Indie,' and 'Indiewood' Film Performance"
  • Gary Needham (Nottingham Trent University), "Towards a Preliminary Typology of Bad Acting in Underground Cinema"
  • Christine Holmlund (University of Tennessee), "Navigating Genre, Tweaking Type: John Cusack, Indiewood Actor"

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P22: Musics and Medias
Room: 22
Chair: Norma Coates (University of Western Ontario)
  • Shawn VanCour (New York University), "In Search of Spectacular Sound: Aesthetic Innovation in Classical Music Programming on Early U.S. Television"
  • Lindsay Affleck (University of California, Los Angeles), "The Young Man with a Horn: Harry James and the Intersection of the Big Band Era and Classical Hollywood"
  • Christopher Cwynar (University of Wisconsin, Madison), "Unbuttoning National Public Radio: Assessing the Place of Popular Music in NPR’s Current Affairs Programming"
  • Norma Coates (University of Western Ontario), "5% of It is Good:” Leonard Bernstein, CBS Reports, and the Cultural Accreditation of Rock Music"

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Saturday, March 22, 2014 05:00PM-06:45PM (Session Q)

Q1: Film Theory and Criticism Beyond the Euro-American Canon II
Room: 1
Chair: Patrick Noonan (University of California, Berkeley)
Respondent: Naoki Yamamoto (University of California, Santa Barbara)
  • Patrick Noonan (University of California, Berkeley), "The Struggle in Theory: Re-Thinking and Translating 1960s Japanese Film Theory"
  • Katarina Mihailovic (Concordia University), "The ‘Desert of Individualism’: The Yugoslav Appropriation of French Auteurist Discourse"
  • Jason McGrath (University of Minnesota), "Digital Aesthetics and Chinese “Suppositionality”"

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Q2: Affective Ecologies, Embodiment, and Science in Contemporary Screendance
Room: 2
Chair: Livia Monnet (University of Montreal)
  • Laura Balladur (Bates College), "Dance and Discipline in "Tango Libre""
  • Nadine Boljkovac (Brown University), "Flashes of Life: Love and Chance through Wenders’ "Pina""
  • Livia Monnet (University of Montreal), "« The Memory of Where the Dance Has Been » Quantum Physics, Affective Ecologies, and the Architectural Body in Daniel A. Belton’s Dance Films"
  • Alanna Thain (McGill University), "Refiguring Excorporations: New Ecologies of Screendance"

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Q3: Queer Contexts
Room: 3
Chair: Lucas Hilderbrand (University of California, Irvine)
  • Rosalind Galt (King's College, London), "Thai Genre Films on the World Stage: The Popular as a Mode of Queer Globality"
  • Bryan Wuest (University of California, Los Angeles), "Distributing Queer: An Industrial Analysis of LGBT Niche Media"
  • Candace Moore (University of Michigan), "Producing Black Lesbian Media"
  • Jih-Fei Cheng (University of Southern California), ""How to Survive a Plague" in the (Queer) Context of Historical Time"

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Q4: Staging Spain: Performance and Acting in Spanish Cinema
Room: 4
Chair: Dean Allbritton (Colby College)
  • Eva Woods (Vassar College), "“Acting for the Camera: Spanish Film of the 1920s”"
  • Tom Whittaker (University of Liverpool), "“Sounding Authentic: Direct Sound and Spanish Vocal Performance in the 1970s""
  • Alejandro Melero (Uc3m), "“Performing Sex”"
  • Dean Allbritton (Colby College), "“Playing Sick: Representing Illness on the Spanish Screen”"

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Q5: Indian Cinema in the 1930s: Scripts, Parsi Theater, and Melodrama in the Early Sound Film
Room: 5
Chair: Neepa Majumdar (University of Pittsburgh)
  • Debashree Mukherjee (New York University - Cinema Studies), "Paper Empire: A Transnational Tale of the Continuity Script and How it Contributed to the 1930s Bombay Film Industry"
  • Sonal Acharya (University of California Berkeley), "From "Raja Harishchandra" to "Ayodhya Ka Raja" (1932): Continuities between Stage and Screen in the Early Sound Film"
  • Anupama Kapse (CUNY, Queens College), "At Home in One’s Voice: Melodrama and Aural Performance in the Early Sound Film"

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Q6: Film and the Serial World: Theory, Audience, Diegesis
Room: 6
Chair: Scott Higgins (Wesleyan University)
  • Julika Griem (Goethe University Frankfurt), "Mundophoria? Accounting for the Profusion of Vast Serial Worlds"
  • Ilka Brasch (University of Hannover), "“Structuring Serial Worlds: New and Fictional Media in Film Serials of the 1910s”"
  • Rafael Vela (Eastside Memorial HS), "Creating the Ideal Youth Gang"
  • Scott Higgins (Wesleyan University), "A World of Play: Narrative Architecture in the Sound Serial"

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Q7: Post-Traumatic Cinema: War, Affect, and Representation
Room: 7
Chair: John Urang (Marylhurst University)
  • John Urang (Marylhurst University), "I Was Nineteen: Konrad Wolf’s Post-Traumatic Picaresque"
  • Nora M. Alter (Temple University), "Trauma Replay"
  • David Denny (Marylhurst University), "From the Reality of War to the Real of War in Restrepo"
  • Hilary Neroni (University of Vermont), "Authenticity and Other Lies: The Reign of the Biodetective in Zero Dark Thirty"

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Q8: New Media History
Room: 8
Chair: Michael Z. Newman (University of Wisconsin, Milwaukee)
  • Michael Z. Newman (University of Wisconsin, Milwaukee), "When Television Marries Computer: Early Video Games and the History of Convergence"
  • Andrew Bottomley (University of Wisconsin, Madison), "What is Internet Radio? A Historical Genealogy of the Discourses of Radio in the Digital Era"
  • Megan Ankerson (University of Michigan), "Web History as Imagined Futures: The Discipline of Web Design and the Dot-com Speculative Bubble"
  • William Boddy (Baruch College, CUNY), "‘Another TV Apocalypse’: Aereo and the Future of Broadcast Television"

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Q9: Postwar TV Moments
Room: 9
Chair: Dana Polan (New York University)
  • Minette Hillyer (Victoria University, Wellington), "Adventure at Home: Museums, Images, and Domesticated Culture in Postwar American Television"
  • Michelle Kelley (New York University), "Grassroots TV: Local Public Service Broadcasting of the Civil Rights Era, 1954-1965"
  • Todd Kushigemachi (University of California, Los Angeles), "Personality Problem: How Johnny Staccato Both Reinforces and Complicates the Legend of John Cassavetes"
  • Dana Polan (New York University), "The Cooking Show as Cultural Mediation: The Case of Joyce Chen and Asian Cuisine"

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Q10: Kids, Tweens, and Teens: How TV Networks Capture the Youth Demo
Room: 10
Chair: Maria Boyd (Georgia State University)
  • Cynthia Maurer (Rutgers University), "Rebranding Nickelodeon: How Did The First Network For Kids Make It Work?"
  • Christina Hodel (New York University), "The Best of Both Worlds: Disney’s Ingenious Tween Marketing Ploys"
  • Maria Boyd (Georgia State University), "The Third Wave of MTV: Entertainment Anywhere"
  • Anna Potter (University of the Sunshine Coast), "Beating Them at Their Own Game: Public Service Broadcasters Take on Transnational Media Corporations"

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Q11: Indie DIY 2.0: Revising Creative and Economic Relationships
Room: 11
Chair: Sarah Sinwell (Northeastern University)
Respondent: Janet Staiger (University of Texas, Austin)
  • Chuck Tryon (Fayetteville State University), "Crowdfunding, Independence, Authorship"
  • Mark Gallagher (University of Nottingham), "Smaller-Screen Soderbergh"
  • Sarah Sinwell (Northeastern University), "Kickstarting Indie: Crowdsourcing, Independent Financing, and Art House Exhibition"

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Q12: Crisis, What Crisis? Archives in the Digital Age
Room: 12
Chair: Theresa Scandiffio (TIFF Bell Lightbox)
Workshop Participants:
  • Janine Marchessault (York University)
  • Theresa Scandiffio (TIFF Bell Lightbox)
  • Michael Zryd (York University)
  • Jeffery Lambert (National Film Preservation Foundation)
  • Susan Oxtoby (University of California, Berkeley)

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Q13: The Western and its Afterlives: New Approaches to the Oldest Genre
Room: 13
Chair: Matt Hauske (University of Chicago)
  • Matt Hauske (University of Chicago), "Contingency, Digital Cinema, and the Western"
  • Chelsea Wessels (University of St Andrews), "Beyond the West(ern): The Story of the Kelly Gang and Genre Fragmentation"
  • Richard Grusin (Center for 21st Century Studies), "Landscape, Distance, and Diegesis in the Westerns of John Ford"
  • Jennifer Myers (University of Washington, Tacoma), ""I've Grown Old": The Growth of the Contemporary Western, True Grit, and Meek's Cutoff"

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Q14: Branding Citizenship: Sport, Media, and National Identity
Room: 14
Chair: Neil Ewen (University of Portsmouth)
  • Neil Ewen (University of Portsmouth), "Pomp, Circumstance, and “Multicultural Crap”: A Critical Analysis of the London 2012 Olympic Opening Ceremony and Other Recent British Events"
  • Joe Tompkins (Allegheny College), "“There Will Never Be A ‘Gay Jackie Robinson’”: Melodrama, Sport and the Politics of Identity"
  • Kate Ranachan (University of Minnesota, Twin Cities), ""More Than a Club": FC Barcelona and the Selling of Catalunya"
  • David Zeglen (Grand Rapids Community College), "Mr. Rodman Goes to Pyongyang: Basketball Diplomacy as North Korean Propaganda"

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Q15: Roadshows to Revisionism: Mapping Shifts in Distribution and Exhibition from the 1950s to the Present
Room: 15
Chair: Colleen Glenn (College of Charleston)
Co-Chair: Dennis Bingham (Indiana University/Purdue University Indianapolis)
  • Dennis Bingham (Indiana University/Purdue University Indianapolis), "“Hey, Big Spender”: How Bob Fosse Ran Afoul of Roadshows and Discovered the Revisionist Musical"
  • Colleen Glenn (College of Charleston), "In and Out at the Kentucky Theater: Adult Movie Houses of the 1970s & Changes in Exhibition and Spectatorship"
  • Daniel Smith-Rowsey (Folsom Lake College), "Imaginative Indices and Deceptive Domains: Examining Netflix’s Categories and Genres"
  • Cameron Lindsey (New York University - Cinema Studies), "It's the End of TV as we Know It: The Shift to Internet Programming and Distribution"

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Q16: New Silent Cinema: Digital Anachronisms and Celluloid Specters
Room: 16
Chair: Paul Flaig (University of Aberdeen)
  • Constance Balides (Tulane University), "Hugo/Méliès, Digital/Nitrate, 3-D/Stereoscope, Narrative/Attractions, Database/Cinema: Intertext As Archive in “New Silent Film”"
  • Jonah Corne (University of Manitoba), "After Life, Early Cinema: Remaking the Past with Hirokazu Koreeda"
  • Katherine Groo (University of Aberdeen), "Archives for a Future History"
  • James Cahill (University of Toronto), "A YouTube Bestiary: Some Theses on the Post-Cinema of Animal Attractions"

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Q17: Media Systems in East Asia
Room: 17
Chair: Alexander Zahlten (Harvard University)
Workshop Participants:
  • Joshua Neves (Brown University)
  • Yuriko Furuhata (McGill University)
  • Sangjoon Lee (U of Michigan)
  • Xiao Liu (Brown University)

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Q18: Sound, Vision, and Experience in Lucien Castaing-Taylor and Véréna Paravel's "Leviathan (2012)"
Room: 18
Chair: Ohad Landesman (Tel Aviv University)
Respondent: Catherine Russell (Concordia University)
  • Christopher Pavsek (Simon Fraser University), "Where’s the Sense in Sensory Ethnography?"
  • Ohad Landesman (Tel Aviv University), "Faraway, So Close: “Leviathan” and the Digital Future of Observational Ethnography"
  • Eirik Frisvold Hanssen (Norwegian University of Science & Technology), "'His Eyes Are Like the Rays of Dawn': Color Vision and Embodiment in “Leviathan”"

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Q19: Gender and Transmediated Celebrity: Genres of the Real and the Making of Contemporary Celebrity
Room: 19
Chair: Sarah Banet-Weiser (University of Southern California)
  • Brenda Weber (Indiana University), "From Kim K to Farrah A: The Gendered Realities of Reality Celebrity"
  • Julie Wilson (Allegheny College), "The Monkees of Momastery: Maternal Celebrity and Collective Affect in Digital Media Culture"
  • Hannah Hamad (King's College London), "Reach for the Tsars: Reality Celebrity and UK Government Policy in Coalition Britain"
  • Laurie Ouellette (University of Minnesota), "Rachel Zoe and the Cultural Economy of the Celebrity Stylist"

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Q20: Teaching Women/Gender and Film
Room: 20
Chair: Antje Ascheid (University of Georgia)
Co-Chair: Paula J. Massood (Brooklyn College, CUNY)
Workshop Participants:
  • Pamela Wojcik (University of Notre Dame)
  • E. Ann Kaplan (Stony Brook University)
  • Patrice Petro (University of Wisconsin, Milwaukee)
  • Dona Kercher (Assumption College)

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Q22: Cinematic Spaces in the Urban Global South
Room: 22
Chair: Leigh Duck (University of Mississippi)
Respondent: Sabine Haenni (Cornell University)
  • Paulina Suarez-Hesketh (New York University), "Dancing Pictures, Mobile Publics (Mexico City, 1930s -1950s)"
  • Irene Rozsa (Concordia University), "Havana’s 1950s Film Culture: Redrawing Topographies, Updating Chronologies"
  • Mary Woods (Cornell University), "Rights to the City in the Reel Streets of Contemporary Urban India"

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Sunday, March 23, 2014 09:00AM-10:45AM (Session R)

R1: Protest and Participation in Contemporary Media
Room: 1
Chair: Darlene Hampton (University of Notre Dame)
  • Hannah Ellison (University of East Anglia), "AfterEllen’s #Gaydybunch and #BooRadleyVanCullen: Twitter Second Screeners and Third Party Curated Viewing"
  • Laura Portwood-Stacer (New York University), "#BoycottInstagram: Consumer Resistance or Labor Strike?"
  • Sarah Murray (University of Wisconsin, Madison), "How To Watch a TED Talk: Assessing the Audience Playbook for Online Public Knowledge Sites"
  • Darlene Hampton (University of Notre Dame), "Doctor “Who Cares?” Fannish Recoding of Science Fiction Narratives on Tumblr"

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R2: War/Film
Room: 2
Chair: Todd Decker (Washington University St Louis)
  • Christopher Minz (New York University), "A War at the Heart of Nature: Calm, Chaos, and the Incoherent Text of Terrance Malick's The Thin Red Line."
  • Jeff Hinkelman (Carnegie Mellon University), "Comedies, Cartoons, and Carnage: World War I in American Comic Short Films"
  • Clayton Dillard (Oklahoma State University), "The Aesthetics of Critique and ‘Unmapping’ in Joshua Oppenheimer’s The Act of Killing (2012)"
  • Todd Decker (Washington University St Louis), "Helicopter Music"

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R3: Historicity, Memory, and New Aesthetics of Transgression: A Reinterpretation of Cinematic Objects in Latin American Cinema
Room: 3
Chair: Carolina Rueda (University of Oklahoma)
Respondent: Gustavo Furtado (Duke University)
  • Veronica Garibotto (University of Kansas), "Indexicality and Historicity: Rethinking Argentine Testimonial Cinema"
  • Lizardo Herrera (Whittier College), ""Madeinusa" and the Radical Heterogeneity of Neo-Baroque Aesthetics"
  • Carolina Rueda (University of Oklahoma), "Testimony, Memory, and Phantasmagoria in Claudia Llosa’s "La teta asustada" ("The Milk of Sorrow")"

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R4: (E)quality TV
Room: 4
Chair: Patricia Nelson (University of Southern California)
  • Brittany Farr (University of Southern California), "Netflix’s “Trojan Horse”: The Intersection of the Entertainment and Prison Industries on “Orange is the New Black”"
  • Katherine Morrissey (University of Wisconsin, Milwaukee), "Rise of Bridezilla: Reveling in Love's Discontents"
  • Sean Springer (Stony Brook University), "The Filthy Comedian as a Gendered Archetype: The Case of “Inside Amy Schumer”"
  • Patricia Nelson (University of Southern California), "Character Crossings: Sexuality and Intersectional Comedy in Lily Tomlin’s Early Variety Specials"

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R5: Photojournalism and Film in India: Three Historical Perspectives
Room: 5
Chair: Sudhir Mahadevan (University of Washington)
Respondent: Bhaskar Sarkar (University of California, Santa Barbara)
  • Sudhir Mahadevan (University of Washington), "Cinema in the Snares of the Snapshot: Politics across Media in Calcutta, 1905 to the 1920s."
  • Manishita Dass (Royal Holloway, University of London), "Spectacles of Suffering: Photography, Famine, and Film in 1940s Bengal"
  • Ranu Roychoudhuri (University of Chicago), "Shaheed Minar: Photography, Film and Social Commitment in Portraying Calcutta 1977-91"

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R6: Technologies and Techniques I
Room: 6
Chair: Katharina Loew (University of Oregon)
  • Luci Marzola (University of Southern California), "A Cameraman in the Research Laboratory: The 1928 Contact Tour of Joseph Dubray, A.S.C."
  • Sanja Obradovic (York University), "The Space Woven of Light and Sound: Norman McLaren’s Stereoscopic 3D Animations"
  • Daisuke Miyao (University of Oregon), "What Is the Director of Photography?: The Transpacific Work of Kurita Toyomichi, 1970s-2010s"
  • Katharina Loew (University of Oregon), "'One Must Play the Camera Like An Instrument': The Special Effects Pioneer Guido Seeber"

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R7: Labor Practice and Labors Lost
Room: 7
Chair: Kirsten Pullen (Texas A&M University)
  • Josh Heuman (Texas A&M University), "All of This Sometimes Tends to Look Like a Closed-Shop Operation: Organizing and Professionalizing Labor Markets and Relations in Early Broadcast Writing"
  • Michael Slowik (San Diego State University), "Losing the Human Element: The Shift from Live to Recorded Music in Hollywood’s Early Sound Era"
  • Jennifer Clark (Fordham University), "NBC & You: Race and Affective Labor Practices in the Televisual Workplace, 1944-1955"
  • Kirsten Pullen (Texas A&M University), "Defining Performance and Dividing Labor: The Female Drama Coach in Classical Hollywood"

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R8: Between the Network Society and Postsocialist Aesthetics
Room: 8
Chair: Neda Atanasoski (University of California, Santa Cruz)
Respondent: Kalindi Vora (University of California San Diego)
  • Xiao Liu (Brown University), "Endless Screening Time: Information, Affectivity, and Postsocialist Cinema"
  • Neda Atanasoski (University of California, Santa Cruz), "Networks of Terror and Securitization: From the Boston Bombings to the Snowden Affair"
  • Jonathan Beller (Pratt Institute), "Digital Specters of Communism"

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R9: Film, Civic Activism and Education
Room: 9
Chair: Zeynep Yasar (Indiana University, Bloomington)
  • Hongwei Chen (University of Minnesota), "Mapping the Educational Dominant: Cinema’s Use-Values between Shanghai and Nanjing in the 1930s"
  • Susanne Unger (Kenyon College), "Between Entertainment and Education: Film Literacy Debates in Germany, ca. 1908-2008"
  • David Scott Diffrient (Colorado State University), "From Johannesburg to Nürnberg: Global Cities, “Inhuman” Pasts, and Human-Rights Film Festivals"
  • Zeynep Yasar (Indiana University, Bloomington), "Gezi Park as Open-Air Theater: Film Exhibition, Spectatorship, and Civic Activism in Istanbul"

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R10: Sound Effects and Sound Affects
Room: 10
Chair: Kelly Kirshtner (University of Wisconsin, Milwaukee)
  • Karly-Lynne Scott (Northwestern University), "'The Voice of Shouts and Moans': Haptic Aurality, Resonance, and Affect in Pornography"
  • Ian Kennedy (Wayne State University), "Damion Romero's I Know! I Know! and the Sonic Translation of Nonhuman Affect"
  • Dong Liang (University of Chicago), "Is There a Sound Effect in this Score?: SFX in Transition"
  • Kelly Kirshtner (University of Wisconsin, Milwaukee), "Bodies of Proof: Sound and the Aesthetics of Discovery in Televisual Space"

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R11: Actor Performances
Room: 11
Chair: Funing Tang (University of Miami)
  • James Harvey-Davitt (Anglia Ruskin University), "The Filmmaker as 'Non-Actor': Political Aesthetics and Redistributing Agency in Nuri Blige Ceylan’s "Climates" (2006)"
  • Mark Hain (Indiana University), "Rewriting Failure: Theda Bara’s Comeback and the Authorship of Memory"
  • Tina Kendall (Anglia Ruskin University), "Virtuosic Boredom: Affect, Immaterial Labour, and Robert Pattinson’s Bored Performance in David Cronenberg’s Cosmopolis"
  • Funing Tang (University of Miami), "Ingrid Bergman’s Performance in Stromboli: 'I Am Worse, for I Am Better'"

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R12: Swarm, Hive, Flock: Considering Media Archeological Approaches to Events and Objects
Room: 12
Chair: Gloria Kim (Hobart and William Smith Colleges)
Respondent: Phillip Thurtle (University of Washington)
  • James Tweedie (University of Washington), "An Archeology of Cinematic Objects"
  • Nicholas Sammond (University of Toronto), "Swarm and Counter-Swarm: Insect Media and the Stuebenville Rape Case"
  • Gloria Kim (Hobart and William Smith Colleges), "Network Virality and the Flock: Animal Sentinel Media and a New Biopolitics of Global Health"

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R13: Zombies
Room: 13
Chair: David Bering-Porter (Michigan State University)
  • Henrike Lehnguth (Humboldt University, Berlin), "Race and Revision in HBO’s True Blood and AMC’s The Walking Dead"
  • Kester Dyer (Concordia University), "Kim Nguyen, Accented Cinema, and the Supernatural in Québec Film."
  • David Bering-Porter (Michigan State University), "Taking it With You: The Draugr in Object-Oriented Zombie Movies"

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R14: Making Digital Scholarship Count
Room: 14
Chair: Suzanne Scott (Arizona State University)
Workshop Participants:
  • Kathleen Fitzpatrick (Modern Language Association)
  • Jason Mittell (Middlebury College)
  • Melanie Kohnen (New York University)
  • Jamie Henthorn (Old Dominion University)
  • Derek Long (University of Wisconsin, Madison)

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R15: You Gotta Have a Gimmick: Contemporary Marketing and Media Packaging
Room: 15
Chair: Bradley Schauer (University of Arizona)
  • Alexander Swanson (Indiana University, Bloomington), "Marketable Screams: A Study of 'Audience Reaction' Movie Trailers in the Horror Genre"
  • Casey McCormick (McGill University), "Race to the Finale: Binge-Viewing Netflix's "House of Cards""
  • Paul Booth (DePaul University), "Crowdfunding Fandom: A Spimatic Analysis of Kickstarter"
  • Bradley Schauer (University of Arizona), "Man of Steel, God of War: Christian Audiences and the Secular Action Film"

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R16: Women Make Movies
Room: 16
Chair: Corinn Columpar (University of Toronto)
  • Jennifer Moorman (University of California, Los Angeles), ""Ripe Mango, Take Two": Female Filmmakers in the US Adult Video Industry"
  • Denise McKenna (University of Southern California), "Industrial Rivalry: Beatriz Michelena and Alternative Western Mythologies"
  • Corinn Columpar (University of Toronto), "The Feminist Potential of Collaboration in Lena Dunham’s “Tiny Furniture”"
  • Maya Smukler (University of California, Los Angeles), "Directing Hollywood: The American Film Institute's Dircting Workshop for Women"

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R17: Narrating National Identity
Room: 17
Chair: Rebecca Bauman (State University of New York)
  • Matthew Selway (University of East Anglia), "Mental Illness, American Exceptionalism, and National Narrative in "A Beautiful Mind" (2001) and "The Aviator" (2004)."
  • Kelsey Cameron (University of Pittsburgh), "Reconsidering Rossellini: Land, Nation, and Identity in "Man of the Cross""
  • Eileen Jones (UC Berkeley), "The Lone Ranger as Revisionist Western"
  • Rebecca Bauman (State University of New York), "The Fascist-Themed Film in Italy and Germany: Towards a Comparative Approach to Cinema Studies"

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R18: New Approaches in Comics Studies: Past, Present, and Future
Room: 18
Chair: Blair Davis (DePaul University)
  • Michelle Bumatay (Willamette University), "Contemporary Comics Studies: A Constantly Changing Field"
  • Blair Davis (DePaul University), "Reframing ‘Comics and Film’ Scholarship"
  • Aaron Kashtan (Georgia Institute of Technology), "Comics Present: Digital and Print Synergy"
  • Drew Morton (Texas A&M University, Texarkana), "The Form and Function of the Perpetual Motion (Comic) Machine"

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R19: The Work of Luther Price
Room: 19
Chair: James Hansen (Ohio State University)
Respondent: Peggy Ahwesh (Bard College)
  • John Powers (University of Wisconsin, Madison), "Porcelain Ribbon: Process and Materiality in the Work of Luther Price"
  • James Hansen (Ohio State University), "The Ephemeral Familiar: Luther Price’s Moving Image-Objects"
  • Ed Halter (Bard College), "Luther Price's Materialist Aesthetic"

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R20: Beyond Sight and Sound: Film and the Multisensory Experience
Room: 20
Chair: Joseph Kickasola (Baylor University)
Respondent: Carl Plantinga (Calvin College)
  • Joseph Kickasola (Baylor University), "The Senses Know: Wong Kar‐Wai’s Multisensory Aesthetic"
  • William Brown (Roehampton University), "A Touch of Nostalgia, or Time and Cinematic Synaesthesia"
  • Luis Antunes (University of Kent & Norwegian University of Science and Technology), "Multimodal Segmentation in Terrence Malick’s "The Thin Red Line": Insight into the Time Window of Multisensory Integration"

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R21: Strategies for the Academic Job Market
Room: 21
Chair: Ashley Elaine York (University of Alberta)
Workshop Participants:
  • Theodore Nannicelli (University of Waikato)
  • Jennifer Lynde Barker (Bellarmine University)
  • Aaron Baker (Arizona State University)

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R23: New Approaches to the Question of Popular Form
Room: 23
Chair: Meghan Sutherland (University of Toronto)
Respondent: Bishnupriya Ghosh (University of California, Santa Barbara)
  • Agustin Zarzosa (Purchase College-State University of New York), "Damages: Melodrama and the Somatization of Value"
  • Meghan Sutherland (University of Toronto), "Automatically the People: Neoliberalism and the Rhetoric of Popular Form"
  • Niels Niessen (University of Minnesota), "“It’s Human and You Can’t Stay Away from It”: Lynch’s Sincerity"

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R24: About Time
Room: 24
Chair: Jeff Heinzl (University of Pittsburgh)
  • Hannah Goodwin (University of California, Santa Barbara), "'The Spark that Leaps across Time': An Astronomical Trip through Benjamin’s Constellations of Light and Temporality"
  • Matthew Noble-Olson (Brown University), "Reviving the Elephant, or, The Deaths of Cinema"
  • Masaki Kondo (York University), "The Incipience of the In-between Image"
  • Jeff Heinzl (University of Pittsburgh), "MTV Meets Slow Cinema: Feedback Loops and the Long Take in G.O.O.D. Music’s “Mercy” (2012)"

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Sunday, March 23, 2014 11:00AM-12:45PM (Session S)

S1: Problem Bodies and Body Problems
Room: 1
Chair: Chelsea Birks (University of British Columbia)
  • Majida Kargbo (Brown University), "'I’m So Fucking Beautiful': Performance, Self-Narrativization, and the Digital Fat Subject"
  • Hannah Allen (Michigan State University), "Reanimating "Howl": Animation, Indexicality, and the Obscene"
  • Kristin Hole (Stony Brook University/SUNY), "Troubling the Body: Claire Denis’ “Trouble Every Day” and Foreign Bodies"
  • Chelsea Birks (University of British Columbia), "Body Problems: New Extremism, Descartes, and Jean-Luc Nancy"

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S2: Commercial Auteurs
Room: 2
Chair: David Richler (Carleton University)
Co-Chair: Thomas Dorey (York University)
Respondent: Timothy Corrigan (University of Pennsylvania)
  • Olympia Kiriakou (King's College London), "The “Dancing Bear” Act: Orson Welles as a Commercially Uncommercial Auteur"
  • Thomas Dorey (York University), "Selling (and) the Smart Film Auteur: the Commercials of Wes Anderson"
  • David Richler (Carleton University), "Branding Wong Kar-Wai: Promotional Culture and the Cosmetics of Cosmopolitanism"

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S3: Nontheatrical Film Communities
Room: 3
Chair: Isabel Arredondo (State University of New York, Plattsburgh)
  • Emma Sandon (Birkbeck University of London), "Missionary Film"
  • Pamela Krayenbuhl (Northwestern University), "Raising the Barre in Screendance Scholarship: An Archival Analysis of the Dance Company Film"
  • Isabel Arredondo (State University of New York, Plattsburgh), "The Power of Super 8 Unites Youth Internationally"

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S4: Latin American Minor Cinemas in Europe: Transnational Trajectories and Ambivalent Belongings
Room: 4
Chair: Miguel Fernandez Labayen (Charles III University of Madrid)
Co-Chair: John Sundholm (Karlstad University)
  • Lars Andersson (Lund University), "Latin American Minor Cinema in 1970s and 1980s Sweden"
  • Josetxo Cerdan (Universitat Rovira i Virgili), "Latin American Minor Cinemas in Spain: From Third Cinema to Globalization"
  • Miguel Fernandez Labayen (Charles III University of Madrid), "Shadows in Motion: Minor Cinema Practices of Latin American Filmmakers in Spain in the 2000s"
  • Juana Suarez (New York University), "Thinking the Accented Colombian Cinematic Experience in Europe"

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S5: Imagining Korea: National and Visualization in Postwar American
Room: 5
Chair: Jiwon Ahn (Keene State College)
  • Youngjeen Choe (Chung-Ang University), "Rethinking Auteurism in the Korean Cinema of 1970s: A Case of Ha Kil-jong"
  • Robert Cagle (University of Illinois at Urbana-Champaign), "Alone In Love: Observations on the Transnational Appeal of South Korean Television Drama"
  • Michael Potterton (University of California, Los Angeles), "An Occupied Cinema: Depictions of Korean Space and Landscape in the Films of Ahn Cheol-yeong"
  • Jiwon Ahn (Keene State College), "Between Fusion and Fantasy: Transnational Period Dramas in Japanese and S. Korean Cinemas"

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S6: Warner Bros.: Industrial Contexts and Cultures
Room: 6
Chair: Kyle Edwards (Oakland University)
  • Bryan Sebok (Lewis and Clark College), "Tech Ops: Warner Bros. and Corporate Techno-culture"
  • Jerome Christensen (University of California Irvine), "The Auteur Effect as Christopher Nolan’s Sinister Projection"
  • Kaelie Thompson (Oakland University), "Dead-Ending Delinquency: Reforming Adolescence through Warner Bros.’ Dead End Kids Series"
  • Kyle Edwards (Oakland University), "'The Judgment and Intelligence of our System': Industrial Efficiency at Warner Bros. in the 1930s and 1940s"

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S7: Technologies and Techniques II
Room: 7
Chair: Brian Murphy (Ohio State University)
  • Zachary Campbell (Northwestern University), "Switching and Cutting: The Protocols of Early Videotape Editing"
  • George Larkin (University of California, Berkeley), "The Transformation of Digital Post-Production"
  • Kyle Stine (University of Iowa), "Auto-Animation: The Regression of the Hand and the Folding of Machine Vision and CGI"
  • Brian Murphy (Ohio State University), "A Silicon Monument: Preservation and Remediation in Trevor Paglen's "Last Pictures""

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S8: New Hollywood and the Archive
Room: 8
Chair: Eithne Quinn (University of Manchester)
  • Jessica Fowler (University of California, Los Angeles), "We’re the Young Generation and We’ve Got Something to Say: The Monkees and the Birth of New Hollywood"
  • Stephen Babish (Northwestern University), "Out of the Near Future, Out of the Far Future: Colossus: The Forbin Project, the Lawrence Hall of Science, and the Spaces of Cold War Militarism"
  • Daniel Langford (University of California, Los Angeles), "Open Marriage, Closed Mind: Ideological Confusion in the "Bob & Carol & Ted & Alice" Sitcom"
  • Eithne Quinn (University of Manchester), ""In the Heat of the Night" (Norman Jewison, 1967) and Racial Politics in Post-Civil Rights Act Hollywood"

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S9: A Global Pre-History of Reality TV
Room: 9
Chair: Ethan Thompson (Texas A&M University - Corpus Christi)
  • Aniko Imre (University of Southern California), "Socialist Idols: Reality Music Competition Programs in the Soviet Bloc"
  • Sharon Shahaf (Georgia State University), "The Flexibility of the Unaffiliated: Homegrown Reality in Israel and the Global Spread of Reality TV"
  • Ethan Thompson (Texas A&M University - Corpus Christi), "America’s First “Real” TV Family? NBC and the Limits of Postwar Documentary Production and Programming"

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S10: Audible Cinema: Explorations in Sound
Room: 10
Chair: Neil Lerner (Davidson College)
  • Kartik Nair (New York University), "'The Body in the Voice': Labor, Sound, and the Cinematic Scream"
  • Chunfeng Lin (University of Illinois Urbana-Champaign), "The Sound Identity of the Early Chinese Sound Films: Symbolism as Skin, Realism as Body, and Politics as Soul"
  • James Osborne (University of Arizona), "Weaving a Sonic Dream: Voice, Sound, Music, and Meaning in Paul Thomas Anderson's "Magnolia""
  • Neil Lerner (Davidson College), "Investigating the Origins of Video Game Music Style, 1977-1983: The Early Cinema Hypothesis"

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S11: Historicising Stars
Room: 11
Chair: Sara Ross (Sacred Heart University)
  • Julie Nakama (University of Pittsburgh), "An Artifact Exhumed: Doris Day and the Shifting Practices of Hollywood Costume Departments during the Late 1960s"
  • Kyle Barnett (Bellarmine University), "Stars on the Stereo: Variations on Phonographic Celebrity"
  • Amanda McQueen (University of Wisconsin, Madison), ""All They’re Good for Is to Make Money": The Industrial Significance of Elvis Presley Musicals in 1960s Hollywood"
  • Sara Ross (Sacred Heart University), "'She Took Whatever She Wanted!': Kay Francis, ‘Lady Boss’"

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S12: Digital Humanities and Media Studies: Exploring the Intersections
Room: 12
Chair: Jason Rhody (National Endowment for the Humanities)
Workshop Participants:
  • Anne Balsamo (The New School)
  • Dene Grigar (Washington State University Vancouver)
  • Noah Wardrip-Fruin (University of California, Santa Cruz)
  • Lauren Klein (Georgia Institute of Technology)

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S13: Re-Framed: Cartoons, Comics, and Videogames
Room: 13
Chair: Daniel Bashara (Northwestern University)
  • Eric Gomez (University of North Dakota), "Translation of the Post 9/11Comic Book"
  • Forrest Greenwood (Indiana University Bloomington), "Playing with Time: Temporality, (P)re-mediation, and the Transmedia Flow of Participatory Narrative in Japanese Visual-Novel Games"
  • Lisa Schmidt (Champlain College), "Full-bodied Assault: Experiencing Horror in the Video Game Environment of Dead Space"
  • Daniel Bashara (Northwestern University), "Dream-Work and Cartoon-Work: Condensation and Visualization in Postwar American Animation"

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S14: Agency in Media Pedagogy: Critical Approaches to Empowerment
Room: 14
Chair: Brian Goldfarb (University of California, San Diego)
Co-Chair: Elisabeth Soep (Youth Radio)
Workshop Participants:
  • Ron Krabill (University of Washington, Bothell)
  • Elisabeth Soep (Youth Radio)
  • Robin Held (Reel Grrls)
  • Lauren Berliner (University of California-San Diego)

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S15: Playing with the Interface
Room: 15
Chair: Kiri Miller (Brown University)
  • Christopher Russell (Northwestern University), "Gamification and Digital Heterotopia"
  • Steve Drum (Savannah College of Art and Design), "Selfie-Actualization: The Death of the Cinema Star in the Films of Sofia Coppola"
  • Lauren Cramer (Georgia State University), "Race at the Interface: Rendering Blackness on WorldStarHipHop.com"
  • Kiri Miller (Brown University), "Gaming Gender in "Dance Central""

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S16: Questions of Realism
Room: 16
Chair: William Paul (Washington University in Saint Louis)
  • Petur Valsson (University of Washington), "Cinemathematics: The Counter-Realism of Lars von Trier’s Automavision"
  • Antonio Iannotta (University of Salerno), "A Sound Laboratory for the Modern: Sound in Italian Cinema from Neorealism to the 60s"
  • Joel Anderson (University of Rochester), "Playing Radical: Revolutionary Aspiration in the Loose Realisms of Epic Docudrama"
  • William Paul (Washington University in Saint Louis), "Torn Characters in a Sundered World: The Tension between Realism and Expressionism in King Vidor’s The Crowd (1928)"

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S17: Queer Visions (Very Divergent Foci)
Room: 17
Chair: Josh Morrison (University of Michigan, Ann Arbor)
  • Beenash Jafri (York University), "Jackie Chan, the Racialized Cowboy, and Colonial Violence"
  • Tallie Ben Daniel (University of California Davis), "Safe Spaces: Queer Migration and the Neoliberalization of Zionism in Yariv Mozer’s "The Invisible Men""
  • Yongwoo Lee (Independent Scholar), "Invisibly Visible, Unlocatably Everywhere: Queer Appropriation of 70’s Hostess Movie Genre and Melodramatized Queerscape in Lee Songheeil’s “No regret” and Other Films"
  • Josh Morrison (University of Michigan, Ann Arbor), "A Hurricane of Murmurs: Epstein's Queer Cinema of (Dis)Orientation"

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S18: The Dramatization of a Life: Biographical Practices in the Cinema
Room: 18
Chair: Jacquelyn Cain (York University)
Co-Chair: Scott Birdwise (York University)
Respondent: Lucy Fischer (University of Pittsburgh)
  • Michael Meneghetti (Brock University), "The Act of Willing: Performance and Defeat in Hollywood’s Recent Biopics"
  • Jacquelyn Cain (York University), "Jonas MEKAS by jonas mekas: Autobiographical Practices in the Film Criticism of Jonas Mekas"
  • Scott Birdwise (York University), "The Resistances of a Life in Records: Archive and (Auto)Biography in Allio’s "Moi, Pierre Rivière, ayant égorgé ma mère, ma soeur et mon frère..." (1976) and Philibert’s "Retour en Normandie" (2007)"

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S19: Revisting Colonial Pasts
Room: 19
Chair: Priya Jaikumar (University of Southern California)
  • Luca Caminati (Concordia University), "Abebe Bikila According to LUCE: The Geopolitics of Italian Colonial Space"
  • Matthew Croombs (Carleton University), "Loin du Vietnam: Solidarity, Representation, and the Proximity of the French Colonial Past"
  • Daniel Norford (University of Florida), "On Postcolonial Spectralization: Différance and the National Body in Ousmane Sembène’s Mandabi"
  • Priya Jaikumar (University of Southern California), "Real and Sublime India in Jean Renoir’s “The River” (1951)"

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S20: Taking a Longer Look: The Visual Cultures of the Feminist 1970s
Room: 20
Chair: Kimberly Lamm (Duke University)
Workshop Participants:
  • Victoria Hesford (Stony Brook University/SUNY)
  • Cybelle H. McFadden (University of North Carolina, Greensboro)
  • Laura Harris (University of California, Riverside)
  • Shilyh Warren (The University of Texas, Dallas)
  • Kimberly Lamm (Duke University)

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S21: Producing Paratexts for Contemporary Film, Television, and Media
Room: 21
Chair: Paul Grainge (University of Nottingham)
  • Jennifer Gillan (Bentley University), "Multitasking Paratexts: The Emergence of New Industry Sectors and Hybrid Forms"
  • Paul Grainge (University of Nottingham), "Animating the Olympics: Promotion, Paratexts, and Live Media Events"
  • Taylor Nygaard (University of Southern California), "Performing Paratexts: Social Media Marketing and the New Indie Playbook"
  • Jonathan Gray (University of Wisconsin, Madison), "Kickstarting the Paratext"

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S23: Debating "Zero Dark Thirty"
Room: 23
Chair: Robert Burgoyne (University of St Andrews)
  • Linda Mokdad (University of Iowa), "Embedded and Embodied: Knowledge in the Post-9/11 Hollywood Combat Film"
  • Matthew Smith (Georgia State University), "Tortured Narrative: Controversy and Kathryn Bigelow's Zero Dark Thirty"
  • Laura Swanbeck (University of California, Los Angeles), "Political Rorschach: Gauging “Zero Dark Thirty’s” Polarizing Reception in Terms of Ideological Warfare and Aesthetic Indictment"
  • Robert Burgoyne (University of St Andrews), "The Violated Body: Affective Experience and Somatic Intensity in "Zero Dark Thirty""

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S24: 24 fps, 24/7?: Striving for Work/Life Balance
Room: 24
Chair: Lindsay Giggey (University of California Los Angeles)
Workshop Participants:
  • Benjamin Aslinger (Bentley University)
  • Erin Copple Smith (Austin College)
  • Allyson Field (University of California, Los Angeles)
  • Kelly Kessler (DePaul University)
  • Daniel Smith-Rowsey (Folsom Lake College)

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Sunday, March 23, 2014 01:00PM-02:45PM (Session T)

T1: Film and Philosophy: Renewing the Humanities
Room: 1
Chair: Sam B. Girgus (Vanderbilt University)
Co-Chair: Kristin Hole (Stony Brook University/SUNY)
  • Hunter Vaughan (Oakland University), "Towards a Natural Film-Philosophy"
  • J. E. Smyth (University of Warwick), "A Philosophy of Film Historiography: Practical Revolts from Carl Becker to Fred Zinnemann"
  • Sam B. Girgus (Vanderbilt University), "Kristeva and Eastwood: The Cinema of Revolt"
  • Anne Kern (Purchase College, SUNY), "Through the Kaleidoscope: Play, Ethics, and the Moving Image"

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T2: Nation, Identity, Trauma
Room: 2
Chair: Thong Win (University of California, Santa Barbara)
  • Ken Provencher (Loyola Marymount University), "B-29 or B-29s?: The Paradox of Traumatic Memory in “Black Rain” (1989)"
  • Ungsan Kim (University of Washington, Seattle), "Perverse Intimacy: Queer Representation of North Korean Defectors in "Stateless Things" (2011)"
  • Danielle Bouchard (University of North Carolina, Greensboro), "The “Faceless” Woman: Gender, Race, Identification, and the Visual Logics of Human Rights"
  • Thong Win (University of California, Santa Barbara), "Risky Returns: Accessing Vietnam from the Diaspora"

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T3: East Asian Cinemas: Production, Exhibition, Reception
Room: 3
Chair: HyeRyoung Ok (University of Oregon)
  • Gyeong-hae Wee (Chonnam National University), "South Korea's Film Exhibition and Cinema-going Experience during the Post-Korean War Era"
  • Xiqing Zheng (University of Washington), "Amateur vs. Professional: Fansub, Cross-Cultural Acceptance, and Cultural Authority"
  • Lien Fan Shen (University of Utah), "Otaku Characters in Anime: Representation of Anime Fans’ Desire, Fantasy, and Self-Commodification"
  • HyeRyoung Ok (University of Oregon), "Visual Effects and Post/Techno-Nationalism in Korean Blockbusters"

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T4: European Cinema, Precarious Emotions
Room: 4
Chair: Anu Koivunen (Stockholm University)
  • Julian Daniel Gutierrez-Albilla (University Southern California), "The Skin of Horror or Horror on the Skin: Power, Violence, and Trauma on the (Post)Human Body in Almodovar's The Skin I Live In"
  • Marguerite Waller (University of California, Riverside), "Transmedial Denunciations: Sabina Guzzanti's Extensible Documentaries"
  • Jennie Carlsten (Queen's University, Belfast), "Not Thinking Clearly: History and Emotion in the Recent Irish Cinema"
  • Anu Koivunen (Stockholm University), "When There Was a Future: Negotiating Post-Communist Melancholia"

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T5: Translation-Adaptation-Nation
Room: 5
Chair: Bruce Williams (William Paterson University)
  • Tim Bell (Queen Mary University of London), "Our Town: Working-Class Authorship and the British New Wave"
  • Gerald Sim (Florida Atlantic University), "Cacophonies of Affection: Postcolonial Soundscapes"
  • Hector Amaya (University of Virginia), "Narcocorridos, Transnationalism, and the Branding of Authenticity"
  • Bruce Williams (William Paterson University), "Home from Transnational: Code-Switching and Cinematic Pragmatics in the New Korean Cinema"

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T6: New Narratologies
Room: 6
Chair: Ruth Johnston (Pace University)
  • William Bligh (University of Technology, Sydney), "Rethinking Narrative Discourse for a Substance-Dependent Approach"
  • Tijana Mamula (John Cabot University), "The Exilic Uncanny: Intertextual Dialogues About Language, Film and Vision in Roman Polanski and Raoul Ruiz"
  • Ryan Lizardi (SUNY Institute of Technology), "Bioshock: Complex Narratives and Full Game Playthrough Methodology"
  • Ruth Johnston (Pace University), "Media Archaeology via Narratography"

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T7: Histories of Technologies
Room: 7
Chair: Andy Uhrich (Indiana University)
  • Dawn Fratini (University of California, Los Angeles), "Cues and Anti-Cues Dealing with the Technical Dimension of 3-D Filming 1952-1966"
  • Dimitrios Pavlounis (University of Michigan), "Audio Surveillance Goes to the Movies : William J. Burns, the Detective Dictograph, and the Idea of Sound Recording, 1910-1920"
  • Alexandra Bush (University of California, Berkeley), "The Living, Flying, Spying Machine: Pigeon Photography and the History of Surveillance"
  • Andy Uhrich (Indiana University), "Is the Object of Study the Medium or Media Practices? The Coinciding Release of Sony Half-Inch Home Video and Kodak’s Super 8 in 1965"

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T8: Agencies of the Digital
Room: 8
Chair: Daniel Faltesek (Oregon State University)
  • Beatrice Choi (Northwestern University), "Gradients of the Digital Citizen: Hurricane Sandy, the Instant Gramming of Media Vigilantism, and Evolving Technologies of Witnessing"
  • Emma Withers (University of Sussex), "Rethinking the 'Digital' Image in Tron and Brainstorm"
  • Karen Petruska (University of California, Santa Barbara), "Disrupting the New & Old Media Binary: The Economics of the Digital Distribution Ecosystem"
  • Daniel Faltesek (Oregon State University), "Family Funded, Crowd Approved"

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T9: Non-Human: Material, Animal, Machine
Room: 9
Chair: Casey Riffel (University of Southern California)
  • Laurel Ahnert (Georgia State University), "Machinic Vision and Ethical Understanding in Christian Frei’s ‘War Photographer’ (2001)"
  • Brent Smith-Casanueva (Stony Brook University), "Media Studies Beyond New Materialism: Toward a Media Ontoepistemology"
  • Javier O'Neil-Ortiz (University of Pittsburgh), "The Fur of the Film: Animal Affects and Nonhuman ‘Film Bodies’"
  • Casey Riffel (University of Southern California), "Encountering the Ocean: David Gatten's "What The Water Said" and the Phenomenology of Things"

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T10: Gender, Sex, and Identification in TV Fandom
Room: 10
Chair: Bridget Kies (University of Wisconsin-Milwaukee)
  • Katerina Symes (Concordia University), "Extending ‘Eccentric Identifications’ beyond the Immediate Viewing Process: Case Study Shane McCutcheon"
  • Mary E. Durden (Independent Scholar), "Queer Baiting Fandoms: The Participation and Strategic Promotion of Alternative Readings between Women’s Mise-En-Sensuality"
  • Nicole Cox (Valdosta State University), "The Degradation, Defiling, and Decay of Our Gender: Reading Bravo's "The Real Housewives" Online"
  • Bridget Kies (University of Wisconsin, Milwaukee), "Homo-Genized Popular Television and 'The New Normal' for Producer-Fan Interactions"

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T11: Blockbusters, Technologies, Apocalypses
Room: 11
Chair: Zoran Samardzija (Columbia College Chicago)
  • Jeremiah Favara (University of Oregon), "Gods and Freaks, Soldiers and Men: Gender and Technology in The Avengers"
  • Mike Dillon (University of Southern California), "Catastrophic Cosmopolitanism: Screening the End of the World"
  • Matt Applegate (Binghamton University/SUNY), "Imagining the End of Late Capitalism: Exploitation and Escape in Shane Carruth’s Primer and Upstream Color"
  • Zoran Samardzija (Columbia College Chicago), "The East-European Apocalypse in the Late Works of Jan Svankmajer and Bela Tarr"

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T12: From Libraries to Labs: Spaces of Media Access, Making, and Learning
Room: 12
Chair: Shannon Mattern (The New School)
Workshop Participants:
  • Anne Balsamo (The New School)
  • Paulina Mickiewicz (McGill University)
  • Jentery Sayers (University of Victoria)
  • Patrik Svensson (Umea University)

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T13: Ontology and its Discontents
Room: 13
Chair: Braxton Soderman (Miami University)
  • Mario Slugan (University of Chicago), "The Myth of Ontologically Privileged Cinema: Indexicality, Transparency, and Bazin"
  • Tim Ridlen (University of California, San Diego), "Mimesis and Disciplinarity: Maya Deren’s 'Divine Horsemen' as Art and Thought"
  • Kristin Seifert (University of Washington), "The Theatrical Avant-Garde Screened: Production Mediums and Epic Theory"
  • Braxton Soderman (Miami University), "Surrenderism, or, the Medium Specificity of Games"

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T14: Japanese Cinema: From the Classical to the Cult
Room: 14
Chair: Aaron Kerner (San Francisco State University)
  • William Carroll (University of Chicago), "The Simple Camera Movements of Shimizu Hiroshi Flourish with Complextity: Examining the Formal Styles of Children in the Wind and Four Seasons of Children"
  • Nora Stone (UW-Madison), "Art-Cinema Narration, Classical Style: An Investigation of Mikio Naruse’s Late Films"
  • Se Young Kim (University of Iowa), "Human/Cyborg/Alien/Friend: Postwar Ressentiment in Japanese Science Fiction and Posthuman Ethics in "Kamen Rider Fourze""
  • Aaron Kerner (San Francisco State University), "From Ishii to Tsukamoto: The Spectacle of Butoh"

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T15: Alternative Modes of Online Publishing
Room: 15
Chair: Charlotte Howell (University of Texas at Austin)
Workshop Participants:
  • Michael Kackman (University of Notre Dame)
  • Lauren Cramer (Georgia State University)
  • Alyxandra Vesey (University of Wisconsin, Madison)
  • John Vanderhoef (University of California, Santa Barbara)

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T16: Gender, Sexualities, and National Cinemas
Room: 16
Chair: Raz Yosef (Tel Aviv University)
  • Sadaf Ahmad (Lahore University), "‘Gendered’ Slaps in Commercial Pakistani Films: A Nexus of Ideology and Sensationalism"
  • Alexandra Sastre (University of Pennsylania), "Al Principio Era Una Mujer y esa Mujer Hablaba: Reading Gender in the Work of the Barcelona School"
  • Darshana Sreedhar (Jawaharlal Nehru University), "Sex-Sirens and Bad Girls: Cabaret, Controversy and Morality in Malayalam Cinema"
  • Raz Yosef (Tel Aviv University), "Diasporic Grief and Lost Queer Attachments in Contemporary Israeli Cinema"

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T17: Revisoning Black Time and Space through the Afrofuturist Moving Image
Room: 17
Chair: Elizabeth Reich (Wayne State University)
  • Valorie Thomas (Pamona College), "'Neon Slaves, Electric Savages' or How Does a Wired Thing Understand? Mapping Black Wwomen's Agency via Afrofuturist Aesthetics"
  • Kevin Ball (Wayne State University), "The Incendiary Intergalactic: Sun Ra in Space Is the Place"
  • Elizabeth Reich (Wayne State University), "Strange Days in the Same Place: Revisiting Afrofuturism through the Rodney King Riots"
  • Ingrid LaFleur (Maison LaFleur), "Afrofuturism Redefined through the Radical Imagination of Kahlil Joseph"

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T18: New Views on Documentary
Room: 18
Chair: Malin Wahlberg (Stockholm University)
  • Michael Baker (University of British Columbia), "The Digital Opportunity: The Interactive Documentary in Canada, Future and Past"
  • Paul Fileri (New York University), "Documentary Unsettling Cinéma Vérité: “October in Paris” (1962) and the Collective Reenactment of Colonial State Violence"
  • Shota Ogawa (University of Rochester), "The Unmodern Remediation: Edo-era Screens and Scrolls as Visible Evidences of Flourishing Korea-Japan Relations"
  • Malin Wahlberg (Stockholm University), "Solidarity Films on Prime Time: Vietnam War Testimonies and the Alternative Archive of the Swedish Radio Control Board"

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T19: Spatial Reconfigurations
Room: 19
Chair: Michael Siegel (Clark University)
  • Jedd Hakimi (University of Pittsburgh), "Playing Los Angeles Itself: Experiencing the Virtual Metropolis of the City Symphony Film and the Open-World Video Game"
  • Patrick Brown (University of Iowa), "Building Dwelling Gaming: Video Games and Natural Space"
  • Anirban Baishya (University of Southern California), "'Eye See You': The 'Surveillance Aesthetic' and Indian Public Culture in DibakarBannerjee’s 'LSD'"
  • Michael Siegel (Clark University), "Ride into the Danger Zone: Tony Scott and the Reconfiguration of the Screen"

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T20: Revising Conventional Industrial Histories
Room: 20
Chair: Mary Desjardins (Dartmouth College)
  • Derek Long (University of Wisconsin, Madison), "Feature Standardization at 4500 Sunset Boulevard: Notes from the Reliance-Majestic and Triangle-Fine Arts Cost Ledgers, 1914-17"
  • Benjamin Strassfeld (University of Michigan), "Rethinking Run-Zone-Clearance: Race, Class, and Film Distribution in the City of Detroit"
  • Maureen Rogers (University of Wisconsin, Madison), "States' Rights Distribution and the Feature Film, 1911-1914"
  • Mary Desjardins (Dartmouth College), ""Gross 'Inaccuracies, Misrepresentations, and Exaggerations': The Motion Picture Industry's 'Clean-up' of Movie Fan Magazines in 1934""

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T21: Breaking Television
Room: 21
Chair: Shelleen Greene (University of Wisconsin, Milwaukee)
  • Felipe Gutterriez (University of California, Berkeley), "“You’ll Never Leave Harlan Alive: The Chronotope of Moral Perfectionism in Justified"
  • Kristen Loutensock (Universit of California, Berkeley), "The Burden of Empathy: Autism and Narrative in Serial Detective Dramas."
  • Michael Kmet (University of California, Los Angeles), "The Game's in the Show, and the Show's in the Game: Product Placement, Quality TV, and Breaking Bad"
  • Shelleen Greene (University of Wisconsin, Milwaukee), "Vampirism, Racial Hybridity, and the "New South" in "True Blood": (Post)racial Narratives on TV"

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T23: Dangerous and Difficult Pleasures
Room: 23
Chair: Vincent Hausmann (Furman University)
  • Veronica Fitzpatrick (University of Pittsburgh), "Rape Aesthetics: Camera Movement and the Ethics of Consent"
  • Tanya Twombly (Oklahoma State University), "Serial Television and the A Priori Woman"
  • Emanuelle Wessels (Missouri State University), "The Living Camcorder: Affective Epistemologies and Gendered Technologies in The Conjuring, Insidious, and Paranormal Activity"
  • Vincent Hausmann (Furman University), "Title: About Face: Women, War, and Disability in George Cukor’s A Woman’s Face (1941)"

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T24: Border Crossings
Room: 24
Chair: Brendan Kredell (University of Calgary)
  • Francisco Monar (Brown University), "A Community of Influence: The Politics of Participation and Its Representation in Borderland Visual Practices"
  • Sean Metzger (University of California, Los Angeles), "Chinee Girl and Other Images: Theorizing Chinese Caribbean Documentary"
  • Hye Seung Chung (Colorado State University), "Trapped, Terrorized, Traumatized: The Transnational Meanings of Oldboy’s Detention Narrative"
  • Brendan Kredell (University of Calgary), "Marketing Difference: US Latino Audiences in Contemporary Hollywood"

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Index Back to Top


A |  B |  C |  D |  E |  F |  G |  H |  I |  J |  K |  L |  M |  N |  O |  P |  Q |  R |  S |  T |  U |  V |  W |  X |  Y |  Z

A
Acham, Christine J17
Acharya, Sonal Q5
Acland, Charles I20
Acland, Charles K14
Adamson, Morgan D1
Addison, Heather H8
Adejunmobi, Moradewun P4
Adekoya, Mary A3
Affleck, Lindsay P22
Affuso, Elizabeth H6
Afra, Kia A18
Ahern, Mal P12
Ahmad, Sadaf T16
Ahn, Jiwon S5
Ahnert, Laurel T9
Ahwesh, Peggy R19
Akudinobi, Jude G4
Alberti, John C5
Aldouby, Hava E19
Aldred, Jessica E15
Alekseyeva, Julia I12
Alilunas, Peter G25
Alkassim, Samirah F20
Allbritton, Dean Q4
Allen, Hannah S1
Allen, Richard P18
Allen, Richard E20
Allison, Tanine H11
Alsop, Elizabeth B12
Alter, Nora M. Q7
Alvarado Saggese, Megan A10
Alvaray, Luisela C3
Amaya, Hector T5
Ament, Vanessa N16
Ames, Morgan D8
Amit, Rea C9
Anable, Aubrey J15
Andersen, Carrie J13
Anderson, Joel S16
Anderson, Mark Lynn I7
Anderson, Steve D19
Anderson, Steve G17
Anderson, Tim D15
Andersson, Lars S4
Andrew, Dudley M14
Andrew, Dudley K23
Anker, Stephen O19
Ankerson, Megan Q8
Annett, Sandra I5
Anselmo-Sequeira, Diana H8
Antunes, Luis R20
Applegate, Matt T11
Araujo, Luciana J3
Ardizzoni, Michela G10
Arnold, Michael B8
Arnold, Sarah E1
Arredondo, Isabel S3
Arroyo, Brandon O11
Arsenault, Amelia K24
Arsenjuk, Luka K1
Ascheid, Antje Q20
Ashmore, Robert A11
Aslinger, Benjamin J15
Aslinger, Benjamin S24
Atakav, Eylem H18
Atanasoski, Neda R8
Atkinson, Sarah D12
Attwood, Feona P14
Avila-Saavedra, Guillermo G16
Ayers, Drew O13

B
Babish, Stephen S8
Badley, Linda G26
Baer, Nicholas P11
Baishya, Anirban T19
Bak, Meredith M22
Baker, Aaron J8
Baker, Aaron R21
Baker, Michael T18
Balcerzak, Scott L18
Balides, Constance Q16
Balides, Constance K3
Ball, Kevin T17
Balladur, Laura Q2
Balsamo, Anne T12
Balsamo, Anne S12
Balsom, Erika O19
Banerjee, Koel N12
Banet-Weiser, Sarah J12
Banet-Weiser, Sarah Q19
Banks, Anna D5
Banks, Miranda M15
Banks, Miranda J24
Bao, Weihong P1
Baran, Sebnem A15
Barker, Cory F4
Barker, Jennifer Lynde K7
Barker, Jennifer Lynde R21
Barker, Jennifer M. N2
Barkin, Sarah L7
Barnett, Kyle S11
Baron, Cynthia P20
Baron, Jaimie J19
Bartley, Nancy N13
Bartolome Herrera, Beatriz I4
Basa, Elaine C3
Baschiera, Stefano G13
Baschiera, Stefano I17
Bashara, Daniel S13
Baskett, Michael G5
Bauman, Rebecca R17
Baumbach, Nico K5
Beck, Jay N16
Becker, Christine E14
Beeler, Karin G1
Begin, Richard H26
Behlil, Melis N4
Behlil, Melis J23
Belisle, Brooke L22
Bell, Matt H17
Bell, Tim T5
Beller, Jonathan R8
Belodubrovskaya, Maria M4
Beltran, Mary C20
Beltran, Mary I18
Ben Daniel, Tallie S17
Benini, Stefania B4
Benshoff, Harry N24
Benshoff, Harry I13
Benson, Nicholas B15
Benson-Allott, Caetlin F13
Benson-Allott, Caetlin K20
Berger, Mark N16
Bergfelder, Tim A12
Bergh, Justin B9
Bergstrom, Anders B1
Bergstrom, Kian B19
Bering-Porter, David R13
Berke, Annie O9
Berliner, Lauren S14
Bernard, Mark I13
Bernardi, Daniel I16
Bernstein, Sara K17
Bertellini, Giorgio J11
Bessette, Eliot M13
Biancorosso, Giorgio C10
Bielby, Denise I18
Bingham, Dennis Q15
Bird, Katie B13
Bird, Robert J1
Birdwise, Scott S18
Birks, Chelsea S1
Blackledge, Olga D13
Blaetz, Robin M19
Blake, Nathan B2
Blasini, Gilberto C3
Blaylock, Jennifer L5
Blaylock, Sara C4
Bleach, Anthony G16
Blessing, Benita O4
Bligh, William T6
Bloom, Emily H9
Boddy, William Q8
Bohlinger, Vincent M4
Boles, Jennifer N22
Boljkovac, Nadine Q2
Bolton, Lucy I14
Boman, Stephan L7
Booth, Paul R15
Booth, Paul M23
Borden, Amy K8
Borden, Amy C14
Bose, Nandana B11
Bottomley, Andrew Q8
Bouchard, Danielle T2
Bouchard, Karine I4
Bound, Keith A1
Bourdaghs, Michael K18
Bowdre, Karen B3
Boyd, Katrina G. F10
Boyd, Maria Q10
Boyle, Ev L20
Boyle, Kirk C15
Braester, Yomi C2
Brasch, Ilka Q6
Brassard, Jeffrey A15
Bratich, Jack J12
Bratslavsky, Lauren H15
Braziel, Jana C15
Bregent-Heald, Dominique K11
Breger, Claudia B1
Brennan, Nate G15
Brennan, Shane M18
Brickman, Barbara P10
Brinkema, Eugenie F13
Brock, Andre F17
Bronfman, Alejandra E10
Bronstein, Phoebe O9
Brooks, Andrea E13
Brown, Patrick T19
Brown, Stephanie D10
Brown, William R20
Brownell, Kathryn J11
Bruns, John J13
Buchan, Suzanne P6
Bull, Sofia H16
Bullock, Chelsea J9
Bullock, Chelsea G16
Bumatay, Michelle R18
Burd, Samuel B12
Burges, Joel L7
Burgess, Diane I8
Burgoyne, Robert S23
Burnett, Colin H4
Burris, Greg N1
Burton, Nsenga P17
Burton, Nsenga I19
Bush, Alexandra T7

C
Cagle, Chris K3
Cagle, Robert S5
Cahill, James Q16
Cahn, Iris O18
Cain, Jacquelyn S18
Cain, Victoria L22
Caldwell, John I26
Caldwell, John M15
Callahan, Vicki D12
Cameron, Allan A7
Cameron, Kelsey R17
Caminati, Luca S19
Campbell, Zachary S7
Camporesi, Valeria M16
Cannon, Jonathan B11
Capino, Jose G12
Capper, Beth G19
Cariani, Karen A14
Carlsten, Jennie T4
Carman, Emily E6
Carr, Steven A2
Carr, Steven F11
Carroll, William T14
Carruthers, Lee H1
Caruso, Jen O3
Caruthers, Jakeya D17
Casey, Michael P2
Castonguay, James N10
Catano, James V. M17
Cavallero, Jonathan J. M9
Cavanagh, Robert E16
Cavell, Richard K14
Cavness, Anna F20
Cerdan, Josetxo S4
Chadha, Ashish F18
Chakravorty, Swagato F7
Champlin, Alexander A8
Chan, Shu Ching D3
Chandler, Katherine I9
Chandler, Meghan N17
Chang, Alenda M18
Chang, Jing Jing E5
Chang, Ti-Kai H5
Chapman, James P18
Charbonneau, Stephen N8
Chatman, Dayna D16
Chefranova, Oksana J7
Chen, Hongwei R9
Cheney-Lippold, John G14
Cheng, Jih-Fei Q3
Cho, HyeYoung K2
Cho, Michelle J5
Choe, Steve K4
Choe, Youngjeen S5
Choi, Beatrice T8
Choi, Jinhee E20
Christensen, Jerome S6
Christian, Tiffany L18
Christiansen, Steen D6
Chu, Kiu-wai D5
Chun, Wendy K14
Chun, Wendy D8
Chung, Hye Seung T24
Church, David K15
Ciammaroni, Stefano C13
Cicek, Ozgur N4
Ciecko, Anne M1
Civille, Mike A17
Clark, Jennifer R7
Clark, Meredith F17
Clayton, Alex D9
Close, Samantha D2
Coates, Norma P22
Cobb, Shelley C6
Cohan, Steven H17
Cohen, Debra Rae H9
Cohen, Hart J18
Cohen, Harvey F2
Cohen, Kris G19
Cohn, Jonathan E15
Collette-VanDeraa, Heather I12
Collins, Sue C16
Columpar, Corinn R16
Connolly, Matthew B17
Connor, J. D. L11
Conor, Bridget F15
Conrath, Ryan O6
Conway, Kelley H4
Cook, Ryan C9
Cooke, Anthony K13
Cooley, Heidi Rae O10
Cooper, Mark A14
Copple Smith, Erin S24
Corkin, Stanley C15
Cormany, Diane B9
Corne, Jonah Q16
Cornfeld, Li G22
Corrigan, Maria I2
Corrigan, Timothy S2
Cote, Paul C6
Cottrel, Adam M6
Coulthard, Lisa H16
Couret, Nilo F3
Cowan, Michael H19
Cox, Nicole T10
Cox-Stanton, Tracy A4
Cox-Stanton, Tracy N14
Crafton, Donald H20
Cramer, Lauren S15
Cramer, Lauren T15
Crawford, Chelsey J22
Crey, Karrmen L19
Cronin, Theresa A19
Croombs, Matthew S19
Crylen, Jonathan N17
Culp, Andrew A8
Cunningham, Carolyn J15
Cunningham, Mark J17
Curry, Ramona F12
Curtin, Michael L12
Curtin, Michael J24
Curtis, Robin P6
Cwynar, Christopher P22

D
Dalle-Vacche, Angela E18
Damluji, Mona L6
Damluji, Mona A20
Danilovic, Sandra M7
Dass, Manishita R5
Davis, Andrew D7
Davis, Blair R18
Davis, Glyn I22
Davis, Nick M3
Davis, Nick H14
Davis, Stuart A3
Davis, Stuart J12
Davis, Zeinabu J17
De Kosnik, Abigail P15
De Kosnik, Abigail M23
De Michiel, Helen D12
Decker, Todd R2
Deery, June D11
Dejmanee, Tisha B9
Deleyto, Celestino C15
Dell'Aria, Annie B8
Denison, Rayna B5
Denison, Rayna I17
Denny, David Q7
Desilets, Sean B1
Desjardins, Mary T20
Deutelbaum, Marshall L2
Deutsch, James N13
D'haeyere, Hilde P16
Dickinson, Peter M2
Dienst, Richard C1
Dienstfrey, Eric L10
Diffrient, David Scott R9
Dill, Diana C8
Dillard, Clayton R2
Dillon, Mike T11
Dixon, Wheeler Winston G6
D'Lugo, Marvin E4
Doane, Mary Ann F9
Doherty, Thomas N13
Doherty, Thomas K16
Domasin, Adrienne N13
Domenig, Roland F5
Donnelly, Kevin A10
Dorey, Thomas S2
Douglas, Andrew L17
Dove-Viebahn, Aviva G8
Dowell, Kristin L19
Drake, Philip J23
Draper, Jimmy L18
Drum, Steve S15
Du, Daisy Yan I5
Dubowsky, Jack Curtis J10
Duck, Leigh L17
Duck, Leigh Q22
Duncan, Stephen B3
Durden, Mary E. T10
Durham, Scott K1
Dyer, Kester R13

E
Echchaibi, Nabil G14
Edelman, Lee J20
Edwards, Erica O17
Edwards, Kyle S6
Egan, Kate I13
Eisenstein, Ken H13
El Hibri, Hatim C2
Elias, Liora C5
Eliaz, Ofer H2
Elkins, Evan B10
Elkins, Evan O12
Ellcessor, Elizabeth B16
Elliott, Mandy D11
Ellis, Patrick M22
Ellison, Hannah R1
Elsaesser, Thomas K23
Elza, Cary N3
Eng, Michael E13
Engelke, Henning N8
Everett, Anna P17
Ewen, Neil Q14
Eyers, Tom N1
Ezcurra, Carlos H22

F
Fabian, Rachel B13
Falanga, Peter L13
Falconer, Peter E7
Falicov, Tamara C12
Falicov, Tamara N22
Fallica, Kristen A2
Fallon, Kristopher F9
Faltesek, Daniel T8
Fan, Victor E5
Fan, Victor K18
Farr, Brittany R4
Faucette, Michael P9
Fauteux, Brian N6
Favara, Jeremiah T11
Fawaz, Ramzi M24
Fedorova, Anastasia I2
Fee, Annie O22
Feil, Ken H12
Feld, Mary J22
Felleman, Susan E18
Feng, Peter O12
Fernandez Labayen, Miguel S4
Ferrari, Matthew C5
Fetveit, Arild N2
Feuer, Jane K10
Feuer, Jane D20
Fickers, Andreas K9
Field, Allyson O17
Field, Allyson S24
Fileri, Paul T18
Fiore-Silfvast, Brittany O10
Fischer, Lucy L11
Fischer, Lucy S18
Fischer, Mia J22
Fisher, Anna P8
Fisher, Austin G13
Fisher, Austin A12
Fitzpatrick, Kathleen R14
Fitzpatrick, Veronica T23
Fiumara, James I15
Flaig, Paul I7
Flaig, Paul Q16
Flaxman, Gregory I1
Fleeger, Jennifer I10
Fleeger, Jennifer F18
Fletcher, Brady I6
Flinn, Caryl H25
Flinn, Caryl L14
Floquet, Pierre D18
Florini, Sarah F17
Flynn-Jones, Emily O16
Fogel, Jennifer C17
Ford, Sam M23
Forget, Thomas G2
Forrest, Jennifer D14
Fouz-Hernandez, Santiago E4
Fowler, Jessica S8
Frank, Aparna P1
Frank, Hannah O2
Frank, Kathryn P15
Franklin, Ieuan E9
Fratini, Dawn T7
Freedman, Eric A8
Freire, Rafael J3
Fresko, David A3
Frey, Mattias L1
Froula, Anna N10
Frykholm, Joel C18
Fuller-Seeley, Kathryn H15
Furtado, Gustavo P3
Furtado, Gustavo R3
Furuhata, Yuriko Q17

G
Gabbard, Krin D11
Gabbard, Krin L14
Gaboury, Jacob D6
Gadassik, Alla F7
Gaines, Jane O20
Galiher, Clifford N15
Galili, Doron I20
Gallagher, Mark Q11
Galt, Rosalind Q3
Galt, Rosalind I17
Ganti, Tejaswini E3
Garcia, Desiree H25
Garcia, Enrique M16
Gardonyi, Laszlo G8
Garibotto, Veronica R3
Garin, Manuel P19
Garner, Ross G1
Garritano, Carmela M12
Garwood, Ian O14
Gates, Philippa K11
Gates, Racquel I19
Gauch, Suzanne L13
Gaudreault, Andre H26
Gauthier, Philippe K23
Gaycken, Oliver L22
Gehlawat, Ajay A5
Geller, Theresa L. M3
Geller, Theresa L. H14
Gerst, Robert C14
Gerstner, David H14
Gerstner, David N24
Gharavi, Maryam Monalisa F20
Gholz, Carleton J10
Ghosh, Bishnupriya M18
Ghosh, Bishnupriya R23
Gibbs, John N14
Giggey, Lindsay S24
Gillan, Jennifer S21
Gillespie, Michael O17
Ginsberg, Terri J4
Giotta, Gina E22
Giotta, Gina B16
Girgus, Sam B. T1
Gish, Harrison E15
Gledhill, Christine N12
Gleesing, Elizabeth B18
Gleich, Joshua N15
Glenn, Colleen Q15
Glick, Josh F18
Goeringer, Lyn B6
Goeringer, Lyn M7
Goldfarb, Brian S14
Goldmark, Daniel I10
Goldsmith, Leo J19
Gombash, William B15
Gomez, Eric S13
Good, Katie Day L5
Goodwin, Hannah R24
Gopal, Sangita J16
Gopalan, Lalitha E3
Gorbman, Claudia G18
Gorfinkel, Elena I6
Gorfinkel, Elena F19
Gosse, Johanna J19
Gottlieb, Akiva B11
Govil, Nitin L12
Grabiner, Ellen F10
Graham, Zoe D19
Grainge, Paul S21
Grajeda, Tony N10
Grant, Catherine O1
Grant, Catherine E14
Gray, Beach A8
Gray, Herman J24
Gray, Jonathan S21
Gray, Jonathan H20
Gray, Kishonna F17
Great, Artel A17
Green, Anna C13
Green, Frederik E5
Greene, Liz O14
Greene, Shelleen T21
Greenhough, Alexander A4
Greenwood, Forrest S13
Gregg, Ronald I7
Greven, David J20
Griem, Julika Q6
Griffin, F. Hollis L8
Griffin, Sean H25
Griffis, Noelle F18
Griffiths, Alison E2
Grigar, Dene S12
Grinberg, Daniel O3
Groening, Stephen N11
Groo, Katherine Q16
Groppe, Alison O8
Gruben, Patricia J6
Grundmann, Roy J14
Gruner, Oliver E7
Grusin, Richard Q13
Guerrero, Lisa O17
Guins, Raiford O16
Guins, Raiford K14
Gutierrez-Albilla, Julian Daniel T4
Gutterriez, Felipe T21
Gyenge, Andrea B12

H
Haak, Chris B10
Haddad, Candice K17
Haenni, Sabine L17
Haenni, Sabine Q22
Hagener, Malte J18
Haggins, Bambi H20
Hain, Mark R11
Hake, Sabine O4
Hakimi, Jedd T19
Hall, Dawn I22
Hall, Kevin J2
Hallas, Roger L7
Halter, Ed R19
Hamad, Hannah Q19
Hamad, Hannah I14
Hamblin, Sarah N24
Hampton, Darlene R1
Hanna, Erin C12
Hansen, James R19
Hanson, Christopher F14
Hanssen, Eirik Frisvold Q18
Haralovich, Mary Beth G20
Hargraves, Hunter E17
Hariharan, Veena A5
Hark, Ina P9
Harper, Kate D16
Harper, Kristin C16
Harrington, Catherine E2
Harris, Ben B15
Harris, Laura S20
Harris, Sarah H22
Harris, Stephanie B7
Harrison, Rebecca A2
Harrow, Kenneth P4
Hartman, Ian E1
Hartzell, Adam L2
Hartzell, Adam G19
Harvey-Davitt, James R11
Hashmi, Mobina B14
Hassan, Syed Feroz C7
Hastie, Amelie A14
Hatch, Kevin I3
Hatch, Kristen P10
Hauske, Matt Q13
Hausmann, Vincent T23
Havens, Tim C12
Hawkins, Joan K15
Haylett Bryan, Alice K13
Hearne, Joanna L19
Heberer, Feng-Mei N5
Heck, Kalling M6
Hediger, Vinzenz A1
Heffernan, Kevin G25
Heiduschke, Sebastian O4
Heinzl, Jeff R24
Held, Robin S14
Henderson, Lisa G22
Hendricks, Dorothy H6
Hennefeld, Margaret N11
Henry, Claire E19
Henthorn, Jamie R14
Herbert, Daniel K15
Herbert, Daniel F6
Herhuth, Eric L6
Herrera, Lizardo R3
Herzog, Amy F19
Hesford, Victoria S20
Hessler, Jennifer P15
Hetra, Michael P7
Heuman, Josh R7
Heyn-Jones, Zoë K11
Higgins, Mary Ellen P4
Higgins, Scott Q6
Hilderbrand, Lucas Q3
Hills, Matt C11
Hillyer, Minette Q9
HIlu, Reem I25
Himberg, Julia L8
Hinkelman, Jeff R2
Hinsman, Abigail E8
Hirasawa, Go F5
Hodel, Christina Q10
Hodge, James F8
Hole, Kristin S1
Hole, Kristin T1
Holm, Nick A9
Holmlund, Christine P20
Holmlund, Christine G26
Holt, Jennifer K24
Holtmeier, Matthew K6
Hongisto, Ilona I8
Hook, Jamie G1
Horak, Jan-Christopher L24
Horak, Laura I7
Horeck, Tanya H16
Horn, Katrin C17
Hornby, Louise O6
Horne, Jennifer K3
Horne, Jennifer I20
Horton, Andrew L13
Horton, Justin E13
Horwatt, Eli C19
Hou, Jeffrey A20
Hovet, Ted M23
Hovet, Ted I22
Howard, Christopher B5
Howell, Charlotte T15
Hoyt, Eric P2
Hoyt, Eric K3
Hu, Tung-Hui E8
Hu, Tung-Hui G17
Huang, Nicole C10
Huang, Shuzhen L16
Hubbell, Matthew H12
Hudson, Dale M8
Hughes, Gordon P12
Hughes, Helen L6
Hughes, Kit O15
Huhtamo, Erkki M22
Huhtamo, Erkki K14
Humphrey, Dan N20
Humphrey, Dan H12
Hunt, Kara D17
Hussein, Linnea D10
Hwang, Yun Mi B5

I
Iannotta, Antonio S16
Imre, Aniko S9
Imre, Aniko L12
Ishida, Minori E11
Ishii-Gonzales, Sam G6
Issacharoff, Jess P7
Ivakhiv, Adrian D5
Ivanova, Mariana O4
Iverson, Heath L6
Iyer, Usha A5

J
Jacks, Wesley D3
Jackson, Josh D15
Jacobs, Jason D9
Jacobs, Katrien L20
Jacobs, Steven E18
Jacobson, Brian F7
Jafri, Beenash S17
Jagoda, Patrick F8
Jaikumar, Priya S19
Jain, Anuja A5
Jameson, Peter A11
Jankovic, Colleen F22
Jaramillo, Deborah M9
Jasen, Paul D6
Jasen, Sylvie E12
Jeffers McDonald, Tamar H8
Jeffries, Dru I3
Jeong, Areum G11
Jeong, Seung-hoon L4
Jeong, Seung-hoon P18
Jermyn, Deborah I14
Jimenez, Carlos H3
Johnson, Catherine I16
Johnson, David H7
Johnson, Derek L3
Johnson, Derek I25
Johnson, Martin O15
Johnson, Veronica L24
Johnson, Victoria J8
Johnston, Andrew H11
Johnston, Nessa O14
Johnston, Ruth T6
Jones, Eileen R17
Jones, Ian P19
Jones, Jennifer Lynn C20
Jones, Timothy H11
Joseph, Rachel K6
Joseph, Ralina N7
Joyrich, Lynne D20
Juhasz, Alexandra K20
Jung, Soowan K2
Jurca, Catherine K16

K
Kackman, Michael L3
Kackman, Michael T15
Kaganovsky, Lilya I2
Kaimana, Lokeilani N3
Kaimana, Lokeilani H14
Kallas, Christina G20
Kanno, Yuka P5
Kapelke-Dale, Rachel A18
Kaplan, Andrew B1
Kaplan, Caren K22
Kaplan, E. Ann Q20
Kapse, Anupama Q5
Kapse, Anupama E3
Kara, Selmin P8
Karaduman, Arzu D22
Kargbo, Majida S1
Kashtan, Aaron R18
Kavka, Misha J9
Kay, Darol D17
Keane, Damien H9
Kearney, Mary I18
Keathley, Christian H7
Keathley, Christian E14
Keating, Nicole D10
Keating, Patrick F2
Keeler, Amanda F4
Keeling, Kara N5
Keene, Rachael E9
Keidl, Philipp Dominik I4
Keil, Charlie K3
Keilen, Brian I3
Keilty, Patrick P8
Keller, Sarah J1
Keller, Sarah M14
Kelleter, Frank D14
Kelley, Andrea G15
Kelley, Michelle Q9
Kemper, Tom I25
Kendall, Tina R11
Kendall, Tina I22
Kennedy, Ian R10
Kercher, Dona Q20
Kern, Anne T1
Kerner, Aaron T14
Kerns, Susan G3
Kessler, Kelly H25
Kessler, Kelly S24
Khan, Sabiha G10
Kickasola, Joseph R20
Kidman, Shawna B10
Kies, Bridget T10
Kim, Dong Hoon F22
Kim, Gloria R12
Kim, Han Sang G5
Kim, Jihoon K12
Kim, Se Young T14
Kim, Ungsan T2
Kimball, Danny B6
Kimber, Shaun G13
King, Homay F9
King, Rob I10
Kinoshita, Chika P5
Kiriakou, Olympia S2
Kirshtner, Kelly R10
Klein, Amanda K8
Klein, Amanda G16
Klein, Lauren S12
Kleinhans, Chuck O20
Klinker, Mary Jo H10
Kmet, Michael T21
Knight, Arthur G9
Knuttila, Lee D6
Koch, Gertrud P11
Kocurek, Carly F14
Kohnen, Melanie R14
Koivunen, Anu T4
Kokas, Aynne I26
Kompare, Derek D15
Kondo, Masaki R24
Koob, Nathan G2
Kozma, Alicia B8
Kozma, Alicia L3
Krabill, Ron S14
Kraszewski, Jon N19
Krayenbuhl, Pamela S3
Kredell, Brendan T24
Kruger-Robbins, Benjamin G1
Krzych, Scott P8
Kuhn, Virginia P2
Kumar, Shanti J24
Kumar, Shanti L12
Kunigami, André A7
Kunkle, Sheila N1
Kupfer, Alex C18
Kushigemachi, Todd Q9
Kutnicki, Saul M17
Kwon, Jungmin M11
Kyrola, Katariina A19

L
LaBar, Claire D19
Labuza, Peter G8
LaFleur, Ingrid T17
Lagerwey, Jorie C20
Lam, Mariam G12
Lam, Stephanie I6
Lamarre, Thomas I5
Lambert, Jeffery Q12
Lamberti, Elena K14
Lamm, Kimberly S20
Landesman, Ohad Q18
Langford, Daniel S8
Langlois, Suzanne L5
Lantz, Andrew H12
Lantz, Andrew N24
LaPlaca, Laura C8
Larke-Walsh, George E12
Larke-Walsh, George C14
Larkin, George S7
Larkin, George N16
Larrieux, Stephanie B3
Lastra, James M10
Latsis, Dimitrios O18
Lauro, Sarah Juliet D6
Laviosa, Flavia A12
Lawrence, Michael O1
Lawson, Angelica L19
Le, Lan N17
Leal-Riesco, Beatriz G4
Lebot, Ariane A10
Lee, Nam K2
Lee, Sangjoon G5
Lee, Sangjoon Q17
Lee, Yongwoo S17
Leeder, Murray E12
Lefebvre, Martin H26
Lehnguth, Henrike R13
Lenos, Melissa G16
Leonard, Suzanne H10
Leopard, Dan N8
Leppert, Alice J9
Lerner, David E16
Lerner, Giovanna B4
Lerner, Neil S10
Lesage, Julia M19
Lesage, Julia O20
Lessard, John C4
Leung, Helen I11
Leung, Helen O8
Levine, Elana K10
Levine, Elana I18
Lewis, Diane P5
Lewis, Jon G7
Leyda, Julia N19
Li, Xiaochang M23
Liang, Dong R10
Limbrick, Peter J4
Lin, Chunfeng S10
Lin, Lana F1
Lindsey, Cameron Q15
Lippard, Chris L13
Lippit, Akira E11
Lippit, Akira N2
Litwack, Michael E2
Liu, Linda G7
Liu, Xiao R8
Liu, Xiao Q17
Liu, Xinmin L9
Lizardi, Ryan T6
Llamas Rodriguez, Juan F6
Lobato, Ramon K24
Lodhie, Lindsey C19
Loew, Katharina R6
Long, Derek T20
Long, Derek R14
Loock, Kathleen D14
Lopez, Ana M16
Lopez, Ana F3
Lopez, Lori M11
Lord, Susan N22
Lothian, Alexis E17
Loutensock, Kristen T21
Lovatt, Philippa O14
Lovejoy, Alice K22
Loviglio, Jason K7
Lowenstein, Adam C13
Lowood, Henry K14
Lowood, Henry O16
Lu, Yi H5
Lubecker, Nikolaj L4
Lucas, Christopher M15
Lucia, Cynthia J14
Luciano, Dana H17
Lugowski, David K16
Lund, Joshua A6
Lundy, Tiel O13
Lupke, Christopher N23
Lupo, Jonathan E22
Lurie, Peter F10
Luzon, Virginia O22
Lynes, Krista M3
Lynes, Krista N3
Lyons, James D18

M
Ma, Ming-Yuen J10
Macdonald, Ian F15
Macdonald, Sean I5
MacDowell, James E7
Macek, Steve J12
Macek, Steve B14
Maciak, Phillip K19
Magnan-Park, Aaron B5
Mahadevan, Sudhir R5
Maingard, Jacqueline O22
Maitra, Ani B7
Major, Anne M12
Majumdar, Neepa E3
Majumdar, Neepa Q5
Maland, Chuck K16
Malitsky, Joshua N22
Malkowski, Jennifer F14
Mamula, Tijana T6
Mancus, Shannon Davies A13
Mann, Denise I16
Manning, Erin M1
Manthorne, Katherine O18
Marcantonio, Carla K5
Marchessault, Janine J18
Marchessault, Janine Q12
Marciano, Avi G14
Marcus, Daniel B14
Marcus, Daniel P8
Marghitu, Stefania F4
Margulies, Ivone P3
Marks, Laura F20
Marsh, Calum L2
Marsh, Leslie P3
Martin, Andrew N10
Martin, Catherine N6
Martin, Jr., Alfred D20
Martinez Exposito, Alfredo E4
Martinez, Diana L13
Martinez, Dolores K18
Martins, Pablo B12
Marzola, Luci R6
Mask, Mia P17
Massood, Paula J. Q20
Mather, David P12
Mathijs, Ernest K15
Mattern, Shannon T12
Maule, Rosanna H26
Maurer, Cynthia Q10
Maurice, Alice M1
Maury, Cristelle P13
Mayne, Laura E9
McCarroll, Meredith D6
McClearen, Jennifer D11
McClune, Caitlin M12
McCormick, Casey R15
McCracken, Chelsea P15
McDonald, Kevin H2
McDonald, Kevin O12
McDonald, Paul M20
McDonald, Paul E9
McDonough, Tom D1
McFadden, Cybelle H. S20
McGowan, Philip J14
McGowan, Todd N1
McGowan-Hartmann, John M13
McGrath, Caitlin L22
McGrath, Jason Q1
McGrath, Jason N12
McHugh, Kathleen C5
McIntosh, Heather B15
McIntyre, Anthony P H6
McKee, Alison A13
McKenna, Denise R16
Mckeown, Conor D5
McLeod, Dayna E17
McMahon, Laura L4
McNutt, Myles L23
McPherson, Tara K20
McPherson, Tara G17
McQueen, Amanda S11
Means Coleman, Robin N7
Meers, Philippe J23
Meeuf, Russell E12
Mehta, Rijuta B7
Mehta, Ritesh I26
Melero, Alejandro Q4
Melnick, Ross E6
Melzer, Zach B8
Meneghetti, Michael S18
Mersereau, Peters C16
Metzger, Sean T24
Mey, Adeena I4
Meyers, Cynthia H15
Michael, Charlie H4
Michell, Kalani M7
Mickiewicz, Paulina T12
Middleton, Jason F13
Mihailova, Mihaela H11
Mihailovic, Katarina Q1
Miller, April E12
Miller, Kiri S15
Miller, Nicholas D13
Miller, Quinn M9
Miller, Taylor Cole D20
Milliken, Christie G10
Mills, Brett D9
Minett, Mark C6
Minz, Christopher R2
Misra, Sonia K4
Mitchell, Sian M2
Mittell, Jason L23
Mittell, Jason R14
Miyao, Daisuke R6
Mizejewski, Linda N9
Mjolsness, Lora D13
Modleski, Tania J20
Mokdad, Linda S23
Molloy, Claire M20
Monani, Salma L9
Monar, Francisco T24
Monk-Payton, Brandeise I19
Monk-Payton, Brandeise P17
Monnet, Livia Q2
Monteiro, Stephen M8
Montes, Jon K11
Montgomery, Colleen A2
Montgomery, Colleen K3
Monticone, Paul O15
Monticone, Paul K3
Moon, Krystyn F12
Moore, Candace Q3
Moore, Paul O15
Moorman, Jennifer R16
Moorti, Sujata H10
Morel, Eric B13
Morgan Parmett, Helen J6
Morreale, Joanne G20
Morris, Jeremy D15
Morris, Justin E10
Morris, Mitchell G18
Morrison, Josh S17
Morrissey, Katherine R4
Morrow, Katherine G8
Morton, Drew R18
Morton, Drew E14
Mosquera, Daniel N18
Moss, Joshua P16
Mottahedeh, Negar D4
Mroz, Matilda H22
Mukherjee, Debashree Q5
Mukherjee, Rahul J5
Mukherjee, Roopali J12
Mulvogue, Jessica H13
Murphy, Brian S7
Murphy, Caryn G20
Murphy, J.J. M20
Murphy, Sheila A19
Murray, Kathleen A13
Murray, Sarah R1
Murugan, Meenasarani P18
Muscio, Giuliana J11
Musegades, Paula E10
Mushinski, Matthias F6
Musih, Norma B7
Musser, Charles O18
Mustata, Dana C18
Myers, Andrew F16
Myers, Andrew P2
Myers, Jennifer Q13

N
Nagib, Lucia L1
Nagib, Lucia A12
Nagypal, Tamas K13
Nair, Kartik S10
Nakama, Julie S11
Nakamura, Lisa F8
Nakayama, Yuki P13
Nam, Inyoung K2
Nannicelli, Theodore R21
Nath, Anjali J4
Nathanson, Elizabeth L8
Nault, Curran O11
Navarro, Vinicius H18
Navitski, Rielle O7
Navitski, Rielle J3
Ndounou, Monica B3
Needham, Gary P20
Negra, Diane N19
Negra, Diane I14
Nelson, Patricia R4
Nelson, Solveig G19
Neroni, Hilary Q7
Ness, Richard P13
Ness, Richard L14
Neuberger, Joan M4
Neuman, Nichole I15
Neupert, Richard A4
Neves, Joshua J5
Neves, Joshua Q17
Newbold, Kate K9
Newland, Paul A6
Newman, Kathleen F3
Newman, Marc N20
Newman, Michael Z. Q8
Nguyen, Hoang G12
Nichols, Bill N20
Niessen, Niels R23
Nilsen, Sarah J18
Noble-Olson, Matthew R24
Nocek, Adam I1
Nochimson, Martha N9
Nochimson, Martha I11
Noonan, Patrick Q1
Nooney, Laine K20
Nordfjord, Bjorn M2
Norford, Daniel S19
Norton, Diana H22
Nygaard, Taylor S21
Nygren, Scott N23

O
Obradovic, Sanja R6
O'Brien, Charles L10
O'Brien, Charles M10
OBrien, Michael F6
Ochonicky, Adam G11
Odorico, Stefano L1
Oeler, Karla F13
Oeler, Karla I2
Ogawa, Shota T18
Ogonoski, Matthew O15
O'Grady, David E15
Ogrodnik, Ben B19
Ok, HyeRyoung T3
Olesen, Christian Gosvig D22
Oliva, Costantino P19
Olivier, Marc K13
Olsson, Annika N19
O'Meara, Radha L23
O'Neil-Ortiz, Javier T9
Ongiri, Amy P17
Ono, Kent A. F12
Ono, Kent A. G12
Opitz, Andrew C2
Oppenheim, Phil J6
Oren, Tasha M1
Osawa, Yoshie M5
Osborne, James S10
Osterweil, Ara F19
Ostherr, Kirsten O10
O'Sullivan, Sean L23
O'Sullivan, Sean D14
Ouellette, Laurie Q19
Oukaderova, Lida O3
Overpeck, Deron D3
Owczarski, Kimberly A15
Owens, Andrew B17
Oxtoby, Susan Q12
Oyallon-Koloski, Jenny H4

P
Paasche, James K22
Paca Cengiz, Esin N4
Padmanabhan, Lakshmi L17
Palmer, Barton J14
Palmer, Lindsay E8
Palmer, Lorrie O13
Palmer, R Barton O1
Palumbo, Allison P. D16
Papazian, Elizabeth M4
Papenburg, Bettina P6
Park, Jecheol N5
Park, Jinhee J2
Park-Primiano, Sueyoung K22
Parks, Lisa K20
Past, Elena B4
Pastel, Renee B2
Paszkiewicz, Katarzyna B20
Patterson, Eleanor N6
Paul, William S16
Paulsen, Kris I9
Pavlounis, Dimitrios T7
Pavsek, Christopher Q18
Payne, Lindsey P10
Payne, Matthew O16
Payne, Matthew F14
Peacock, Steven D9
Peake, Bryce B16
Peiper, Catherine E. M8
Penley, Constance P14
Peretti, Burton J11
Perez, Jorge A3
Perkins, Claire G26
Perkins, Victor L15
Perkins, Victor N14
Perren, Alisa M15
Pesch, Katrin A6
Peters, Ian C8
Petersen, Christina N15
Petersen, Christina B16
Petersen, Jennifer B6
Petersen, Jennifer G22
Peterson, Elizabeth J6
Peterson, Jennifer Lynn N3
Peterson, Jennifer Lynn P12
Petro, Patrice N10
Petro, Patrice Q20
Petruska, Karen T8
Petruska, Karen I18
Peucker, Brigitte E18
Phillips, Alastair A4
Picard, Yves A9
Pierson, Eric J17
Pierson, Eric P17
Pilcher, Lauren O5
Pimenta, Joana C19
Piotrowski, Marcelina O6
Pisters, Patricia I1
Plantinga, Carl E20
Plantinga, Carl R20
Plays, Dana N20
Pluschke, Anton C1
Podalsky, Laura A20
Podalsky, Laura C3
Polan, Dana Q9
Pollmann, Inga H1
Pollmann, Inga O5
Polonyi, Eszter H1
Pomerance, Murray L15
Poppe, Nicolas O7
Porst, Jennifer M9
Porter, Pete D2
Portwood-Stacer, Laura R1
Portwood-Stacer, Laura G14
Potter, Anna Q10
Potter, Susan C17
Potterton, Michael S5
Powell, Ryan B17
Power, Aidan L1
Powers, John R19
Powers, John O19
Pozo, Diana P14
Pramaggiore, Maria O5
Pratten, Robert D12
Price, Brian K1
Price, Brian M6
Prigge, Matthew B17
Prime, Rebecca E6
Pringle, Thomas I6
Provencher, Ken T2
Pruneda Senties, Felipe P1
Pullen, Kirsten R7
Pummer, Claudia H2
Punathambekar, Aswin C12

Q
Quanz, Katherine L10
Quigley, Mark A14
Quinn, Eithne S8

R
Rabin, Lisa L5
Raengo, Alessandra K1
Raine, Michael F5
Ralko, Katy D2
Ramaeker, Paul A13
Ranachan, Kate Q14
Rand, Erica H14
Randell, Karen F16
Randell, Karen I14
Rangan, Pooja N18
Rankin, Cortland C2
Rapf, Joanna P16
Raw, Laurence I17
Rawitsch, Elizabeth E7
Raymond, Marc L2
Reagan, Patrick L4
Reckson, Lindsay K19
Redmon, Allen B20
Redvall, Eva F15
Regester, Charlene K7
Rehak, Bob C11
Reich, Elizabeth T17
Reinsch, Paul E16
Renninger, Bryce L8
Renov, Michael H18
Rentschler, Carrie G22
Restivo, Angelo I11
Rezaie, Munib M2
Rhodes, Jane N7
Rhody, Jason S12
Rhym, John A1
Ribak, Rivka G14
Richardson, Anne K6
Richardson, John G18
Richler, David S2
Richmond, Scott F8
Ridlen, Tim T13
Riffel, Casey T9
Rigoletto, Sergio O11
Ritter, Courtney F22
Rivero, Yeidy L12
Rizo-Lenshyn, Victoria C4
Rizzo, Teresa A16
Robe, Chris B14
Roberts, Jason Kelly J2
Roberts, Mark E11
Roberts, Martin B11
Robinson, Ian F7
Robinson, Timothy K5
Rochester, Katherine D13
Rodman, Gilbert A17
Rogers, Kenneth N17
Rogers, Maureen T20
Rogerson, Ben D7
Roggen, Sam H7
Rony, Fatimah Tobing N18
Rosen, Philip P11
Rosen, Philip C9
Rosenow, James B13
Rosenzweig, Laura F11
Ross, Sara S11
Ross, Sharon M23
Ross, Steven K16
Ross, Steven F11
Rossaak, Eivind B19
Rossie, Amanda D16
Roychoudhuri, Ranu R5
Royer, Alice K7
Rozsa, Irene Q22
Rudolph, Alan L14
Rudolph, Joyce L14
Rueda, Carolina R3
Ruehlicke, Andrea B9
Russell, Catherine J19
Russell, Catherine Q18
Russell, Christopher S15
Russo, Alexander A16
Russo, Julie E17
Russo, Julie C11
Russo, Michela N24
Russworm, TreaAndrea F14
Rust, Amy M18
Rust, Stephen L9
Rust, Stephen J6
Rutkoff, Rebekah H13
Ryabchikova, Natalie I2
Rybin, Steven L15

S
Safariants, Rita F18
Sagehorn, Dave D22
Saha, Poulomi A7
Sahin, Esra-Gokce M10
Saito, Ayako P5
Salamanca, Claudia I9
Salazkina, Masha P1
Salazkina, Masha M14
Saliot, Anne-Gaelle C7
Saljoughi, Sara F20
Salvato, Nick K19
Samardzija, Zoran T11
Samer, Roxanne M19
Sammond, Nicholas R12
Sampson, Benjamin E14
Samuelson, Mary F2
San Filippo, Maria F10
San Filippo, Maria P7
Sanabria, Carolina E4
Sanchez Prado, Ignacio O7
Sandell, Jillian G9
Sandler, Kevin I16
Sandler, Kevin C12
Sandon, Emma S3
Sanogo, Aboubakar G4
Sanson, Kevin J24
Santo, Avi M15
Santo, Avi C12
Sarkar, Bhaskar J5
Sarkar, Bhaskar R5
Sarlin, Paige K12
Sastre, Alexandra T16
Saunders, Keeley B20
Sayad, Cecilia C13
Sayers, Jentery M8
Sayers, Jentery T12
Scahill, Andrew P10
Scandiffio, Theresa Q12
Scepanski, Philip J13
Scepanski, Philip H20
Schaber, Bennet B1
Schaefer, Eric G25
Schaff, Rachel N12
Schauer, Bradley R15
Scheibel, Will P13
Scheible, Jeff D8
Schilt, Thibaut B4
Schleier, Merrill L11
Schlipphacke, Heidi J16
Schlotterbeck, Jesse A11
Schmidt, Andrea G11
Schmidt, Lisa S13
Schneider, Molly O9
Schonig, Jordan G6
Schreiber, Michele G26
Schulz, Suzanne I15
Schur, Thomas G3
Schwoch, James A18
Sconce, Jeffrey G17
Scott, Kaia B2
Scott, Karly-Lynne R10
Scott, Kathleen K4
Scott, Suzanne L3
Scott, Suzanne R14
Sears, Camilla K10
Sebok, Bryan S6
Segal, Shira M19
Seiber, Tim D10
Seifert, Kristin T13
Seiter, Ellen I25
Selberg, Scott A19
Selway, Matthew R17
Sen, Meheli E3
Sengul, Ali F22
Service, Brett C18
Shafer, Leah B16
Shahaf, Sharon S9
Shahaf, Sharon L12
Shahani, Nishant O11
Shahyar, Josh D4
Shambu, Girish H7
Shambu, Girish N14
Sharma, Sudeep E16
Sharma, Sudeep O12
Sharp, Sharon D22
Shaviro, Steven N14
Shaviro, Steven J13
Shaw, Deborah A12
Sheaffer, Russell G25
Sheehan, Rebecca N8
Shen, Lien Fan T3
Sheppard, Samantha I19
Sherman, Kevin H18
Shiel, Mark A20
Shiel, Mark C15
Shimizu, Celine Parrenas G12
Shimura, Miyoko M5
Shin, Chi-Yun N3
Shurkus, Marie F1
Siegel, Carol L24
Siegel, Marc O2
Siegel, Michael T19
Sienkiewicz, Matt D4
Sienkiewicz, Matt H20
Silberman, Robert P13
Silva, Kathryn M. O3
Sim, Gerald T5
Sim, Gerald O12
Singleton, Daniel C6
Sinwell, Sarah Q11
Siomopoulos, Anna P9
Sirmons, Julia N12
Skvirsky, Salome P3
Sloan, Anna M3
Slowik, Michael R7
Slugan, Mario T13
Smaill, Belinda B18
Smalls, Shante M24
Smith, Cherise N7
Smith, Clarissa P14
Smith, Iain O1
Smith, Iain I17
Smith, Jason D1
Smith, Justin E9
Smith, Matthew S23
Smith, Nova A17
Smith-Casanueva, Brent T9
Smith-Rowsey, Daniel Q15
Smith-Rowsey, Daniel S24
Smoodin, Eric E6
Smukler, Maya R16
Smyth, J. E. T1
Smyth, J. E. J14
Soans, Francesca M17
Soderman, Braxton T13
Soep, Elisabeth S14
Solan, Yair K8
Soles, Carter K6
Solovieva, Olga K18
Somerville, Siobhan M24
Song, Hojin A9
Spadoni, Robert M13
Spaulding, Hannah J10
Spigel, Lynn I20
Sprengler, Christine A10
Spring, Katherine I10
Springer, Claudia M17
Springer, Sean R4
Sreedhar, Darshana T16
Stabile, Carol J12
Stadel, Luke K9
Stadler, John P14
Stahl, Lynne I12
Staiger, Janet M20
Staiger, Janet Q11
Stallschus, Stefanie P6
Stamm, Laura F1
Stanfill, Mel L3
Stanfill, Mel G16
Starosielski, Nicole D8
Starosielski, Nicole M18
Stasia, Cristina B20
Stauff, Markus J8
Stebbins, Amy H13
Stein, Erica G7
Stein, Erica A20
Steinbach, Katherine H18
Steingrover, Reinhild C4
Steinhart, Daniel I26
Steinhoff, Heike L18
Steven, Peter O20
Stevens, Kyle J13
Stilwell, Robynn G18
Stine, Kyle S7
Stites Mor, Jessica F3
Stob, Jennifer G2
Stockton, Kathryn Bond H14
Stone, Nora T14
Stork, Matthias I3
Stork, Matthias E14
Stout, Graeme O13
Strassfeld, Benjamin T20
Strauven, Wanda K23
Street, Sarah H19
Studlar, Gaylyn H8
Sturtevant, Victoria N9
Suarez, Juan F19
Suarez, Juana S4
Suarez-Hesketh, Paulina Q22
Subramanian, Janani C20
Subramanian, Shreerekha E2
Sugawara, Yoshino H5
Sullivan, Annie G9
Sullivan, Gordon M6
Sundar, Pavitra M10
Sundholm, John S4
Sung, Wendy J22
Sutherland, Meghan R23
Suwart, Przemyslaw I8
Svensson, Patrik T12
Swalwell, Melanie O16
Swanbeck, Laura S23
Swanson, Alexander R15
Symes, Katerina T10
Szczepaniak-Gillece, Jocelyn N11
Szeto, Mirana O8
Szymanski, Adam K5

T
Takacs, Stacy F16
Takahashi, Tess K12
Takemoto, Tina N18
Takinami, Yuki E10
Talvio, Raija F15
Tan, Jia N5
Tang, Funing R11
Tchouaffe, Olivier M12
Tedjasukmana, Chris H1
Teo, Stephen I11
Terrefe, Selamawit D17
Thain, Alanna Q2
Thain, Alanna I1
Thanhouser, Ned P16
Thimons, Alexander G15
Thoma, Pamela H10
Thomas, David O13
Thomas, Sarah I13
Thomas, Valorie T17
Thompson, Ethan S9
Thompson, Kaelie S6
Thompson, Kathryn H6
Thompson, Kirsten Moana G11
Thornton, Niamh Rosario A11
Thorsby, Mark G2
Thurtle, Phillip R12
Tierney, Dolores M16
Tilland, Bonnie K17
Tinic, Serra A15
Tinkcom, Matthew M24
Tomasulo, Frank P. I11
Tompkins, Joe Q14
Torchin, Leshu K12
Torlasco, Domietta G6
Torner, Evan C4
Trafton, John C16
Tran, Anthony P2
Trencheva, Elena J7
Trice, Jasmine O22
Trifonova, Temenuga O6
Trono, Mario G7
Trope, Alison I18
Tropiano, Stephen D20
Troy, Edward E13
Tryon, Chuck Q11
Tsika, Noah M11
Tsika, Noah P7
Tsunoda, Takuya F5
Turim, Maureen N23
Turner, Fred I20
Turner, Graeme M11
Turnock, Julie N15
Turvey, Malcolm E20
Turvey, Malcolm M14
Tuzun, Defne G3
Tuzun, Defne N4
Tweedie, James R12
Twombly, Tanya T23
Tyagi, Ila L6
Tziallas, Evangelos L20
Tzioumakis, Yannis P20
Tzioumakis, Yannis G26

U
Udden, James D4
Uhlin, Graig A6
Uhrich, Andy T7
Ukadike, N. Frank G4
Unger, Susanne R9
Urang, John Q7

V
Vaccaro, Justin M22
Vagt, Christina C1
Valsson, Petur S16
Van de Peer, Stefanie K4
Van de Vijver, Lies L24
VanCour, Shawn P22
Vanderhoef, John J15
Vanderhoef, John T15
Vannucci, Enrico I8
Vaughan, Hunter T1
Vaughan, Hunter L9
Vela, Rafael Q6
Verchery, Lina D5
Verevis, Constantine D14
Verevis, Constantine O1
Verheul, Jaap P18
Verhoeff, Nanna O10
Vesey, Alyxandra T15
Viano, Maurizio C14
Vickery, Jacqueline E1
Vieira, Joao Luiz J3
Villarejo, Amy A9
Villarejo, Amy H17
Vogan, Travis J8
Von Vogt, Matthew P7
Vonderau, Patrick K24
Vonderheide, Leah A16
Vora, Kalindi R8

W
Wada-Marciano, Mitsuyo E11
Wagner, Phil J7
Wahlberg, Malin T18
Walker, Janet L9
Walker, Janet M18
Walker, Johnny G13
Waller, Gregory I15
Waller, Marguerite T4
Walley, Jonathan C19
Wall-Romana, Christophe J1
Wall-Romana, Christophe P12
Wang, Jennifer N6
Wang, Lingzhen J16
Wang, Yiman F12
Wanzo, Rebecca N9
Ward, Meredith C8
Wardrip-Fruin, Noah S12
Wark, McKenzie G17
Warner, Kristen I19
Warner, Kristen P17
Warner, Rick A1
Warren, Shilyh S20
Warren-Crow, Heather G3
Washitani, Hana M5
Wasko, Janet J23
Wasow, Althea I9
Wasson, Haidee G15
Wasson, Haidee N11
Watkins, Elizabeth A16
Waugh, Thomas O20
Webb, Lawrence D7
Webb, Lawrence A20
Weber, Anne-Katrin K9
Weber, Brenda Q19
Weber, Brenda J9
Wee, Gyeong-hae T3
Weiberg, Birk B6
Weissmann, Elke H16
Welbon, Yvonne D12
Wells, Sarah O7
Wessels, Chelsea Q13
Wessels, Emanuelle T23
West, Thomas D2
Westmoreland, Mark J4
White, Kenneth O2
White, Khadijah N7
White, Mimi G10
White, Patricia J16
White, Patricia O3
White, Susan J20
White-Stanley, Debra F16
Whitney, Allison B2
Whitney, Allison E12
Whittaker, Tom Q4
Whittington, Ian H9
Wielgus, Alison E19
Wild, Jennifer P12
Wilkman, Jon F11
Williams, Bruce T5
Williams, Linda L. L20
Williams, Linda Ruth L15
Williams, Mark A14
Williams, Tami J1
Williamson, Colin A7
Willis, Artemis L22
Willis, Holly D19
Wilson, F Booth K8
Wilson, Julie Q19
Wilson, Julie J12
Wilson, Samantha C7
Win, Thong T2
Windhausen, Federico O19
Withers, Emma T8
Witholt, Thomas P9
Witte, Michael D7
Wlodarz, Joseph H17
Wojcik, Pamela Q20
Wojcik, Pamela M3
Wolf, Mark J.P. E22
Wolfson, Elizabeth B7
Wolock, Lia J2
Wood, Jordan J15
Woods, Eva Q4
Woods, Faye D18
Woods, Mary Q22
Wright, Benjamin L10
Wucher, Josh M13
Wuensch, Michaela C1
Wuest, Bryan Q3

X
Xiao, Zhiwei H5
Xu, Hangping D18

Y
Yale, Andrew C7
Yamamoto, Naoki C9
Yamamoto, Naoki Q1
Yang, Wei E5
Yaqub, Nadia B18
Yasar, Kerim C10
Yasar, Zeynep R9
Yeung, Stephanie C17
Yi, Erika Junhui L16
Yip, Man Fung G5
Yockey, Matt C11
Yoder, Jon L11
Yonemura, Miyuki M5
Yoon, Soyoung D1
York, Ashley Elaine R21
Yosef, Raz T16
Youmans, Greg F9
Young, Andrew O9
Young, Damon F9
Young, Gwenda O5
Yue, Audrey O8
Yue, Genevieve N2
Yue, Genevieve G17
Yumibe, Joshua H19

Z
Zaher, Lisa O2
Zahlten, Alexander Q17
Zajc, Melita P4
Zakos, Katharine E22
Zarza, Zaira H3
Zarzosa, Agustin R23
Zavala, Veronica H3
Zeavin, Hannah F1
Zeddies, Margaret K17
Zeglen, David Q14
Zeilinger, Martin G9
Zemel, Dustin B19
Zeng, Li N23
Zhang, Charlie L16
Zhang, Ling C10
Zhao, Jing (Jamie) L16
Zheng, Xiqing T3
Zheng, Xiqing L16
Zhu, Xiaoxi D3
Zhu, Yanhong E5
Zhu, Ying H5
Zimmer, Catherine E8
Zimmerman, Heidi B10
Zimmermann, Yvonne P12
Zinman, Gregory H19
Zobel, Eric J7
Zolides, Andrew F4
Zryd, Michael E19
Zryd, Michael Q12
Zuo, Mila I12
Zweig, Noah A18