the final programme of the necs 2015 conference

Transcription

PRECONFERENCES
Tuesday 16th
Thursday 18th
Wednesday 17th
Friday 19th
Saturday 20th
GRADUATE WORKSHOP
TRANSMEDIALITY WORKSHOP
CONFERENCE REGISTRATION, June 17-20, h 9-17.30
E1-E7
I
pp. 28-29
pp. 36-37
pp. 44-45
B1-B8
F1-F11
pp. 30-31
pp. 38-39
pp. 46-47
C1-C8
G1-G10
K1-K10
pp. 32-33
pp. 40-41
pp. 48-49
D1-D10
GRADUATE
WORKSHOP
p. 20
A1-A6
p. 20
J1-J10
H1-H9
L1-L10
pp. 34-35
pp. 42-43
pp. 50-51
18.00-19.30
Keynote 3
Keynote 4
p. 26
p. 27
pp. 18-19
18.00-19.30
19.00-20.30
Keynote 1
p. 24
Keynote 2
p. 25
18.00-19.30
NECS Conference
7
Partners
NECS Conference
General Partner:
Supported by:
Partners:
Honorary Patronage
Media Patronage
Organising Team
NECS Conference
The NECS Steering Committee
The NECS Conference Committee
Sophie Einwächter
» University of Mannheim
Ruggero Eugeni
» Catholic University of the Sacred Heart
Jaap Kooijman
» University of Amsterdam
James Harvey-Davitt
» Anglia Ruskin University
Trond Lundemo
» Stockholm University
Daniel Kulle
» University of Hamburg
Patricia Pisters
Michał Pabiś-Orzeszyna
» University of Lodz
Petr Szczepanik
» Masaryk University, Brno
Rikke Schubart
» University of Southern Denmark
Alena Strohmaier
» Philipp University of Marburg
Petr Szczepanik
Malin Wahlberg
Conference Key Contacts
Conference Manager
Ewa Ciszewska ciszewska@uni.lodz.pl
Programme and Panel Coordination
Michał Pabiś-Orzeszyna michal.pabis@uni.lodz.pl
Media and Public Relations
Natalia Szeligowska szeligowska.natalia@gmail.com
Agnieszka Walewska a.m.walewska@uni.lodz.pl
Special Events
Mikołaj Góralik mikolaj.goralik@uni.lodz.pl
Publishers Forum
Karol Jóźwiak karoljozwiak@uni.lodz.pl
Logistics
Kamil Jędrasiak kamil.jedrasiak@uni.lodz.pl
Communication Design
Krzysztof Jajko jajkokrzy@o2.pl
Monika Rawska mrawska@uni.lodz.pl
Graduate Workshop
Alex Casper Cline not@territory.cc
Karol Jóźwiak karoljozwiak@uni.lodz.pl
Project Forum and Transmediality Workshop
Łukasz Biskupski lukasz.biskupski@swps.edu.pl
Participants administration
Marta Kasprzak necs2015@uni.lodz.pl
Translations
Olga Łabendowicz olgalabendowicz@uni.lodz.pl
General Inquires
necs2015@uni.lodz.pl
NECS Conference
WELCOME TO ŁÓDŹ!
Łódź, the former textile industry empire, today is a city of unique palaces, villas and nineteenthcentury textile factories. The city of art festivals, openings, exhibitions, and exciting music
events. This post-industrial city is known all over the world for its interests in art of all kinds and
most of all for its huge engagement in the world of cinema.
ENTRY FORMALITIES
CLIMATE
UK nationals with a passport endorsed British Citizen do
not require a visa and must have a passport valid on
arrival. If their passport is endorsed British National
(Overseas), British Overseas Territories Citizen or British
Subject with the right of abode in the UK a visa is not
required for a stay of up to 90 days; passports for these
endorsements must be valid for three months beyond
intended departure, with the exception of British Subjects,
who need a passport valid on arrival. Other passport
holders require a visa and three months validity on their
passports.
Łódź has a humid continental climate with warm
summers and no dry season. Over the course of a year,
the temperature typically varies from -6°C to 25°C and is
rarely below -15°C or above 31°C. The warm season lasts
from May 27 to September 6 with an average daily high
temperature above 20°C. The cold season lasts from
December 2 to March 6 with an average daily high
temperature below 5°C.
Canadian nationals do not require a visa for stays of up to
90 days. Passports must be valid for three months beyond
period of intended stay.
Australians require a passport valid for at least three
months beyond period of intended stay to enter Poland
and may stay for up to 90 days without a visa.
South African passport holders require a visa for travel to
Poland. Passports must be valid for at least three months
after period of intended stay.
New Zealand nationals require a passport valid for at least
three months beyond the period of intended stay. A visa is
not needed for up to 90 days.
Irish nationals require a passport valid on arrival, but no
visa is necessary.
A passport valid for at least three months after period of
intended stay is needed for those who require a visa.
Generally, visa exempt nationals must have a passport
valid for period of intended stay (other than EEA
nationals). The borderless region known as the Schengen
area includes the following countries: Austria, Belgium,
Czech Republic, Denmark, Estonia, Finland, France,
Germany, Greece, Hungary, Iceland, Italy, Latvia,
Lithuania, Luxembourg, Malta, The Netherlands, Norway,
Poland, Portugal, Slovakia, Slovenia, Spain and Sweden.
All these countries issue a standard Schengen visa that
has a multiple entry option that allows the holder to travel
freely within the borders of all with nothing more than a
valid identity card or passport.
TIME ZONE
Poland is in the Central European Time Zone. Central
European Standard Time (CET) is 1 hour ahead of
Greenwich Mean Time (GMT+1). Like most states in
Europe, Summer (Daylight-Saving) Time is observed in
Poland, where the time is shifted forward by 1 hour; 2
hours ahead of Greenwich Mean Time (GMT+2).
CURRENCY
Poland does not use the euro as its currency. The złoty
(sign: zł; code: PLN) is the currency of Poland. The
modern złoty is subdivided into 100 groszy (singular:
grosz). When shopping in Poland you will need to pay in
the local currency. You will need to exchange your
currency for PLN because no other currency will be
accepted. You can change money in banks, where you
will be charged commission for the transaction. You can
also go to a “kantor” (exchange office) which usually
provides services without commission and usually offers
better exchange rates than banks. You can also pay for
your shopping by using your bank card (many types are
accepted). Travelers' cheques are the safest way of
carrying money. However, they are only accepted by
main banks and hotels. They are not accepted by
exchange offices.
TELEPHONE
To call Polish telephone number from outside Poland,
either from a landline or a mobile phone, you will need to
add the international dialing code for Poland, which is
0048 (+48), followed by the telephone number you
require. To call another country from Poland, you will
need to add the international dialing code for the country
you are calling, followed by the telephone number you
require. To make calls within Poland, dial the number you
require without adding the international country dialing
code. Before travelling to Poland you should contact your
telephone service provider to activate the international
roaming service (if it is not already activated
automatically).
COUNTRY CODE: +48
INTERNATIONAL CALL PREFIX: 00
TRUNK PFREFIX: NONE
NECS Conference
INTERNET
TRAVEL
A free access to Wi-Fi network will be provided to
conference participants.
An excellent geographical location is the main advantage
of Łódź. The city is situated in the center of Poland, at the
junction of two motorways: A1 (north - south) and A2
(east - west) and main railway lines. Our city is located
only 130 km (80 miles) from the capital city of Poland Warsaw, the journey takes around 2 hours.
There are numerous Internet points and cafés offering
Internet access. In many hotels (especially highercategory ones) a direct Internet connection is provided in
the rooms.
In addition, in Poland you will find Wi-Fi access available
in many airports, hotels, train stations, and other public
places where travelers pass through or stop off.
WiFi Internet Access at NECS 2015
Conference Venue
A free access to Wi-Fi network will be provided.
No username or password necessary. All network
traffic is archived.
TECHNICAL INFORMATION
The voltage in Poland is 230 V which is the same voltage
used in France, Germany, and the United Kingdom.
The electrical frequency in Poland is 50 Hz. Note that
most household and electrical/electronic equipment
nowadays support multiple frequencies, so generally,
electrical frequency is not an issue compatibility wise.
The plugs used in Poland are C or E. Plugs/sockets are
usually an issue when it comes to traveling, so always
make sure you travel with a universal plug adapter.
Poland uses DVD Region 2. DVD Region 2 is used in
Europe, the Middle East, and Japan. Note that a region 2
DVD cannot play on a DVD player supporting another
region. There are, however, some region free DVD players
available that can be used to overcome this.
Poland uses Blu-ray Region B. Blu-ray Region B is used
across Europe, the Middle East, Africa, Australia and New
Zealand.
Poland uses the following GSM frequencies: GSM 900 /
GSM 1800. When travelling, make sure that your phone
supports the GSM frequency of the country you're
traveling to. Usually the supported GSM frequencies are
printed on the box of your phone as well as its manual.
INSURANCE
The organizers do not accept responsibility for individual
medical, travel or personal insurance. All participants are
strongly advised to take out their own personal insurance
before travelling to the conference.
Air travel enables you to get to the largest Polish cities
quickly and comfortably. Airports are situated in the
vicinity of most of the largest cities in Poland. Many low
budget airlines fly into Poland. There are two international
airports in Warsaw (Warsaw Modlin Airport and Warsaw
Chopin Airport) and one in Łódź (Łódź Reymont Airport).
WARSAW AIRPORTS
Arriving from abroad, you will probably enter Poland at
Warsaw Chopin Airport. From there, you may either take a
direct bus to Łódź or get to the Central Railway Station
(Dworzec Centralny) in Warsaw and take a train to Łódź
from there (it also applies to Modlin Airport). Please be
advised that the express buses have limited passenger
capacity and are often booked up. There is also a railway
connecton with Warsaw Chopin Airport leading through
the center of Warsaw. The line is operated by two railway
carriers. Warsaw Chopin Airport can be reached by Urban
Rapid Rail (SKM) line S2 and it is also operated by
Masovian Railways which are launching KML airport trains.
The best way to get from central Warsaw to the Warsaw
airports is to travel by ModlinBus. Tickets may be
purchased online, at airport sales kiosk or directly on the
bus in cash or with credit/debit card. You can also easily
get from Łódź directly to the Warsaw airports using
ModlinBus.
ŁÓDŹ AIRPORT
There are direct flights from Łódź to Amsterdam, Dublin,
East Midlands, London, Stansted, Munich and Oslo Rygge.
A taxi stand and a municipal transport stop (service 55, 65)
is in the direct neighborhood of Łódź Reymont Airport.
There is also line L which connects airport with train
stations. To get to the univeristy campus you have to take
a bus (55) and then at the bus stop called POLITECHNIKI
change the bus to the tram (15, 15A). You have to get off
the tram at the stop called POMORSKAKONSTYTUCYJNA, final destination is 80 meters away.
POLISH STATE RAILWAYS
The railway network in Poland is well developed. You can
reach most places in the country by train. Intercity trains
(express) run between the larger cities and you can get to
other localities taking the regional or fast trains.
Timetables are available at railway stations and on the
Internet. Intercity TLK (Low Cost Train) trains run between
Warsaw and Łódź They stop at 2 stations: Łódź Widzew
and the final destination – Łódź Kaliska.
BUS
You can travel to Poland by bus using one of the many
international firms, such as PolskiBus, Eurolines, Eurobus,
Orbis Transport, Euro-Trans and many others.
NECS Conference
LOCAL TRANSPORT
Tickets are available at newsstands, they allow
unrestricted travel around the city and are valid for
journeys.
TICKET PRICES:
You can buy tickets for:
TOURIST INFORMATION
Tourist Information Center:
87 Piotrkowska St., 90-423 Łódź
tel.: (+48) 42 638 59 55, (+48) 42 638 59 56
Tourist Information Point at Manufaktura
tel.: (+48) 695 131 113
Tourist Information Point at Old Market:
1 Stary Rynek , 90-001 Łódź
tel.: (+48) 42 661 46 66, (+48) 42 656 82 84
20 minutes – 2,60 zł
You can also buy 24-hours ticket and it costs 12 zł.
Tourist Information Point at PKP Lodz Kaliska:
55 Karolewska St., 94-023 Łódź
tel.: (+48) 42 205 42 00
Tourist Information Point at Władysław Reymont
Łódź Airport: 35 Gen. Maczka St., 94-328 Łódź
tel.: (+ 48) 42 253 14 03
TAXIS
MPT Tele-Taxi 400-400 s.c.
tel.: (+48) 800 400 400
EMERGENCY PHONE
NUMBERS
download mobile app: http://800400400.pl/aplikacje
GENERAL EMERGENCY NUMBER FOR
MOBILE PHONES: 112
Police: 997
CAR RENTING
Fire Brigade: 998
Avis: 35 Gen. S. Maczka St. , 94-328 Łódź,
tel.: (+48) 607 036 308
Ambulance: 999
Express (C.H Manufaktura): 5 Karskiego St.,
92-103 Łódź, tel.: (+48) 42 632 80 44
Municipal Police: 986
Hertz (Centrum): 68 Kościuszki St., 90-432 Łódź,
tel.: (+48) 605 150 420
Police Helpline: (+48) 42 651 50 07
Hertz (Lublinek): 35 Gen. S. Maczka St., Łódź,
tel.: (+48) 42 686 60 01
Traffic
police: (+48) 42 665 25 00
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NECS Conference
RESTAURANTS
Polka
Bawełna
Ogrodowa 91a, 91-065 Lodz
http://lodz.restauracjapolka.pl/
Monday–Saturday 11:00–23:00
Sunday 11:00–22:00
Ogrodowa 91A/46, Lodz
http://www.bawelna-lodz.pl/
Monday–Thursday 11:00–00:00
Friday–Saturday 09:00–23:00
Sunday 09:00–23:00
Soups, salads, main dishes, traditional Polish cuisine
Kamari
Piotrkowska 122, Lodz
http://www.restauracjakamari.pl/pl
Thursday–Sunday 11:00–22:00
Starters, salads, Greek dishes, Greek pastas, beers,
alcohols, wines
Main dishes, soups, pizzas, desserts
Ato Sushi
6 sierpnia 1/3, Lodz
http://www.atosushi.pl/
Sunday 12:00–22:00
Nienażarty
Japanese cuisine
Andrzeja Struga 4, Lodz
http://nienazarty.com.pl/
Sunday–Thursday 12:00–21:00
Hot Spoon
Traditional polish food, beers
Drewnowska 58, Lodz
http://www.hotspoon.pl/
La Strada
Thai cuisine
http://www.la-strada.pl/
Friday 11:00–23:00
Saturday 12:00–23:00
Sunday 12:00–21:00
Otwarte drzwi
Lunch (daily offers), pastas, salads, desserts, pizzas, Italian
cuisine
Affogato
http://www.affogato.pl/
Monday–Thursday 12:00–23:00 (kitchen till 21:30)
Friday 12:00–24:00 (kitchen till 23:00)
Saturday 12:00–24:00 (kitchen till 23:00)
Lunch (Monday–Friday 12:00–17:00),
Main dishes, starters, salads, desserts, tea and coffee,
alcohols, drinks
Manekin
6 sierpnia 1, Lodz
http://manekin.pl/lodz.html
Pancakes, crêpes, soups, salads, desserts, alcohols, wines
Servantka
http://www.servantka.pl/
Monday–Thursday 12.00–22.00
Friday–Saturday 12.00–23.00
Sunday 12.00–22.00
Traditional Russian dishes, Ukrainian cuisine, traditional
Polish meals, Byelorussian dishes
http://otwarte-drzwi.com/
Tuesday–Thursday 12:00–22:00
Sunday 14:00–22:00
Italian cuisine
Już wróciłem
http://www.juzwrocilem.pl/
Daily 12:00–22:00
Tarts, coffee, tea, regional beers, regional cuisine.
Anatewka
http://www.anatewka.pl/
Daily 12:00–22:00
Main dishes, starters, salads, desserts
Mitmi
Piotrkowska 138/140 (OFF Piotrkowska), Lodz
http://offpiotrkowska.com/portfolio-items/mitmirestobar/
Friday 09:00–02:00
Sunday 11:00–23:00
Main dishes, pastas, salads and vegetarian food, soups,
desserts
NECS Conference
RESTAURANTS
COFFEE SHOPS
Drukarnia Skład wina i chleba
Szwalnia smaków
http://www.drukarniaoff.pl/#
Monaday–Wednesday 07:00–22:00
Thursday 07:00–24:00
Friday 07:00–until last guest
Saturday 11:00–until last guest
Sunday 11:00–22:00
Monday–Friday 09:00–21:00
Saturday–Sunday 10:00–22:00
Café Verte
Breakfast, main dishes, pastas, fish, starters, sandwiches,
salads, wines
Piotrkowska 113/115, Lodz
Spółdzielnia
Cakes, beers
http://spoldzielnia-lodz.pl/
Sunday 10:00–22:00
Breakfast, main dishes, starters, pastas, salads, cakes
Montag
Breakfast, sandwiches, salads, starters, soups, main
dishes, lunch, pastas, cocktails
Bakery
MEG MU
Traugutta 9, Lodz
http://www.owoceiwarzywa.com/
Sunday 12:00–00:00
http://offpiotrkowska.com/portfolio-items/meg-muafrican-cook/
Monday–Tuesday 12:00–21:00
Wednesday–Thursday 12:00–22:00
Sunday 13:00–20:00
Main dishes, starters, soups, desserts, African cuisine
VEGETARIAN RESTAURANTS
Owoce i Warzywa
Events, food, cocktails, beers, drinks, tea, coffee
Lodziarnia Cukiernia Wasiakowie
Traugutta 2, Lodz
http://www.cukiernia.eu/
Sunday 12:00–20:00
Korzenie
Tuesday–Saturday 11:00–21:00
Sunday 13:00–20:00
Main dishes, salads, soups, desserts
GreenWay
Monday-Saturday: 9:00 – 21:00
Sunday: 10:00 – 21:0
GreenWay
Drewnowska 58 (Manufaktura), Lodz
Sunday 11:00–22:00
Granda
Rewolucji 1905 r. 48, Lodz
http://klubokawiarnia-granda.pl/
Monaday–Saturday 10:00–until last guest
Sunday 15:00–until last guest
Meals, coffee, tea, regional beers, drinks
Cakes, Ice creams, coffee, chocolates
Mebloteka Yellow
http://meblotekayellow.pl/
Monday–Thursday 13:00–22:30 or 00:00
Friday–Saturday 13:00–02:00 or 03:00
Sunday 13:00–22:30 or 00:00
Food, desserts, drinks, events
Daleko Blisko
http://dalekoblisko.com/
Saturday 1100–until last guest
Sunday 11:00–23:00
Tea, coffee, cakes
Cafe Wiedeńska
Plac Wolności 6, Lodzi
http://www.restauracja-cafe-wiedenska.pl/index2.html
Daily 08:00–22:00
Main dishes, desserts, alcohols, drinks
NECS Conference
DESSERTS
BARS, CLUBS, NIGHT LIFE
Cafe Wiedeńska
Spaleni słońcem
Plac Wolności 6, Lodzi
http://www.restauracja-cafe-wiedenska.pl/index2.html
Daily 08:00–22:00
Daily 14:00–minimum 00:00
Drinks, alcohols, cocktails
Main dishes, desserts, alcohols, drinks
Fabryka babeczek
Narutowicza 45, Lodz
http://www.fabrykababeczek.pl/
Cupcakes, cakes
Niebieskie Migdały
Sienkiewicza 40, Lodz
http://www.niebieskie-migdaly.pl/
Sunday and holidays 13:00–21:00
TEA HOUSE
Ms café
Więckowskiego 36, Lodz
http://www.mscafe.com.pl/index.html
Tea house, coffee, desserts, cocktails, alcohols
Vinda
Zgierska 69, Lodz
http://www.vinda.pl/
Sunday 11:00–20:00
Coffee, lunch, cocktails
Caffe przy ulicy
Łagiewnicka 120, Lodz
http://www.caffeprzyulicy.pl/#
Sunday 12:00–20:00
Meals, sandwiches, coffee, ice creams
DOM
Daily 16:00–until last guest
Events, drinks, alcohols, cocktails
Łódź kaliska
http://www.lodzkaliska.eu/
Friday–Saturday: 16:00–06:00
Sunday 16:00–02:00
Arts, entertainment, cocktails, beers, alcohols
Café Foto 102
http://www.fotocafe102.pl/
Monday–Wednesday 10:00–02:00
Thursday–Friday 10:00–until last guest
Sunday 13:00–01:00
Exhibitions, concerts, events, cocktails, beers, alcohols
Z innej beczki
Moniuszki 6, Lodz
Regional beers, events
Piwoteka Narodowa
http://piwotekanarodowa.pl/
Monday – Thursday: 15:00-00:00
Friday and Saturday: 15:00-02:00
Sunday: 17:00-00:00
Regional beer, events
Café wolność
Plac Wolności 7, Lodz
http://www.cafewolnosc.pl/
Monday – Friday: 10:00 – until last guest
Saturday and Sunday: 11:00 – until last guest
Beer, cocktails, alcohol, coffee
Food Trucks
NECS Conference
On June 18–20, 2015, the student car park of the Faculty of Philology (171/173 Pomorska St.) will be
transformed into a gastronomy zone with delicious food, snacks and beverages served by local
restaurants and food trucks.
Casseroles
Vegan oriental food
Beef burgers
Quesadillas, burgers, ciabattas
Vegan burgers
with homemade sauces
Empanadas, mini pizzas,
hot sandwiches
Coffee, hot chocolate,
round waffles, smoothies
Ice cream, waffles, beverages
Disclaimer: all entities will provide services for individual purchase.
Panel Chairs Duties
Audio Visual Policy
Panel chairs have three primary duties:
»
»
»
introducing the presenters in a session,
keeping time during the session
facilitating the Q & A at the end of the session.
Arrive at your presentation room at least 10 minutes early so that you can meet the other panelists and
make sure you know how to pronounce their names, titles, etc. Introduce each presenter right before
s/he speaks to help audience members joining the session late to easily understand which presentation
is underway at a given time.
Introductions should be short and include presenter name, position, affiliation, and paper title but they
may also include very brief statements regarding the presenter's research/teaching interests, major
publications, etc.
Please keep panel presentations to 20 minutes, respondentsʼ presentations to 8 minutes. Panels with
more than three presenters will need to reduce presentation times to fit the 105-minute sessions.
Please have the panelists check their technology in advance, and check that audio and video facilities
are working before your session begins. The conference staff will be available to help with any technical
issues.
We prefer if presenters stick to the printed order of presentations in a given panel. This allows individuals
moving between panels to have a better idea of when a given presentation will occur in the session.
Chairs should remind panelists when there are five minutes and two minutes remaining, and when the
20-minute mark has been reached and speakers should bring their presentation to a close. Please
convey to presenters how and when you will give them time signals before the panel starts. If you have
indicated to the presenter that her/his time has expired but s/he has not concluded the presentation
within a minute or so of that advice, you should intervene verbally to request s/he finish promptly so that
the other panelists will have time for their presentations.
Chairs who are presenting papers should designate one of the panelists to time their paper when they
are presenting.
The Q & A should occur at the end of the session. Please ask the audience to hold all questions until all
panelists have presented.
Please end your panel or workshop on time to allow participants and audience members sufficient time
to get to the next panel or workshop.
NECS 2015 Audio Visual Policy
Please, bring your presentation stored on a flash drive with a back-up copy sent to your e-mail address.
»
Standard equipment in all conference rooms: PC-Based Computer workstation with CD-R/DVD Drive
(region 2 – standard for Europe), internet and USB Connection, LCD Projector (with sound).
»
Supported file formats: PPT and PPTX (alternatively: PDF)
»
If your file requires an Apple computer, you are responsible for your own equipment and connectors to
the PC available in the room.
»
If you wish to use your own laptops: please make sure your equipment has a standard VGA output, or
bring a well-tested connector (especially for Apple) and a power adapter for continental Europe.
»
We are NOT able to accommodate changes or requests for A/V equipment on-site.
Thank you for your cooperation!
Workshop
Transmediality in modern popular culture
Wednesday 17th, Art_Inkubator, Tymienieckiego 3
In reference to one of the conference's sub-themes “The archive of popular culture” a workshop
on the history of transmediality in modern popular culture will be held. It will focus on the exploration
of cross-media business synergies in the entertainment industry and on the history of media convergence
in the 19th and the first half of the 20th century popular culture (before 1939).
SCOPE
Media convergence is one of the widely debated concepts in contemporary media research. As
conceptualised by Henry Jenkins, convergence manifests itself i.e. in transmedia storytelling (Jenkins,
2006: 334). The investigation of transmediality, however, most often concentrates on contemporary
networked digital media. As concerns the historical research of popular culture, the exploration of
transmediality has been limited (although not entirely unexamined). Yet that kind of cross-textual practices
can be traced as early as the modern culture industry came into existence. For example, according to
Matthew Freeman, at the beginning of the 20th century in the USA we can find examples of "cross-textual
self-promotion and cross-media branding (...), grounded in such cultural factors as turn-of-the-century
immigration, new forms of mass media - such as, most notably, newspapers, comic strips, and magazines and consumerism and other related textual activities" (Freeman, 2014: 2).
Therefore, we would like to explore the transmedial dimension of pop culture in the 19th and the first half
of the 20th century.
» How did motives, characters, narratives circulate between various media platforms and cultural
circuits?
» What was the transmedial dimension of the emerging global culture industry?
» How did mediatization processes impact on local practices (especially in the peripheral media
environments)?
References:
Jenkins, Henry, “Convergence Culture: where old and new media collide”, NYU Press, 2006.
Freeman Matthew, “Branding consumerism: Cross-media characters and story-worlds at the turn of the
20th century”, International Journal of Cultural Studies, Published online before print January 21, 2014,
DOI: 10.1177/1367877913515868.
Workshop organizers:
Łukasz Biskupski, University of Social Sciences and Humanities SWPS
Mirosław Filiciak, University of Social Sciences and Humanities SWPS
Michał Pabiś-Orzeszyna, University of Lodz
The organization of the workshop is supported by the Polish National Center for Science under Grant
DEC-2012/07/E/HS2/03878.
Workshop
Transmediality in modern popular culture
Wednesday 17th, Art_Inkubator, Tymienieckiego 3
Room A_120
Registration and Welcome Coffee
Coffee Break
9:00–9:15
15:30–15:50
Welcome and Opening Remarks
Session 3
9:15–9:20
15:50–18:00
Introductory lecture
Pamela Gionco
» Universidad de Buenos Aires
High and Popular Culture on a 19th Century Satirical
Publication from Argentina
9:20–11:00
Matthew Freeman
» Birmingham City University
The Historical Rise of Transmedia Storytelling
Respondent: Mirosław Filiciak
» University of Social Sciences and Humanities SWPS
Coffee break
11:00–11:15
Session 1
11:15–12:45
Paola Valentini
» University of Florence, Italy
Transmediality in Italy in the Fascist Era: Soundscape
and Transmedia Resonances
Federico Pagello
» Queen's University Belfast
Transmedial Crime Narratives in Early Twentieth-Century
Film and Print Culture
Traveling Sound. Radio, Gramophone and Sound Film
in the Interwar Poland
Lunch Break
12:45–14:00
Session 2
14:00–15:30
Gert Jan Harkema
The New within the Old, the Old within the New:
Transmediality and the Introduction of the Kinematograph
Benjamin Eugster
» University of Zürich
Affirmative Neurasthenia: Aesthetic Excess
and the Dilemma of Expressionist Transmediality
Šárka Gmiterková
Multiple Charms, Multiple Media Presence.
Oldřich Nový 1936-1945
Witold Filar
» Nicolaus Copernicus University
The Influence of the Local Media on Development
of popular culture in Second Polish Republic
Beatriz Bartolome Herrera
» Concordia University
Movie-themed Exhibitions: Interrogating Transmedia
Practices in Spatial Terms
Mirosław Filiciak
» University of Social Sciences and Humanities SWPS
The Other Kind of Media. Problematizing the Media
Concept in the Polish Lands Before World War II
Summaries and discussion
Opening Keynote
» 19:00 at the University of Lodz,
Faculty of Philology
Krzysztof Wodiczko
Graduate Workshop
Art_Inkubator in Fabryka Sztuki, Tymienieckiego 3, Lodz
Tuesday, 16.06
Wednesday, 17.06
Welcome Coffee
Break
» 9:00–09:30
» 16:15–16:45
Introductions
Biomechanics
» 9:30–10:00
» 16:45–18:00
Networked Fictions
Giuseppe Gatti
» Roma Tre University
The Mecha that therefore I am (not): Notes
on the Becoming-animal in the Age of Robot Genesis
Evangelion
» 10:00–11:15
Tim Yaczo
» University of Amsterdam, Amsterdam School
for Cultural Analysis
Thinking, Reading, Tweeting: Neuronarratives and Jennifer
Egan's Black Box
Petrina Vasileiou
» Lund University, Department of Arts and Cultural
Sciences
“An Online Ideal World Which Reality Can No Longer
Meet?”: Technology, Fiction and Identity in The Era
of Social Media
Sophia Satchell-Baeza
» King's College, University of London, Department
of Film Studies
The Boyle Family's Son et Lumière for Insects, Reptiles,
and Water Creatures (1966) and the Biological Aesthetic
of Light Shows
Closing Remarks
» 18:00–18:15
Break
» 11:15–11:45
Embodied Fiction
Opening Keynote
» 11:45–13:00
» 19:00 at the University of Lodz,
Faculty of Philology
Stephanie de Smale
» Utrecht University, Department of Media and Culture
Studies
Body Travel: Zooming into Games in Healthcare
with Microscopic Vision
Krzysztof Wodiczko
Georgia Aitaki
» University of Gothenburg, Department of Journalism,
Media and Communication
"What to do with Fiction?" A Review of Questions
and Answers about the Socio-cultural Significance
of Television Fiction
Lunch
» 13:00–15:00
The Media Artefact
» 15:00–16:15
Marta Wasik
» University of Warwick, Department of Film
and Television Studies
Slouching Towards Obsolescence: Cinematic
Depictions of Home Movies as “Old Media”
Rudi Knoops
» KU Leuven, LUCA School of Arts/Re-Visionary
research group, University of Antwerp, Research
Centre for Visual Poetics
The Imaginary in Cylindrical Anamorphosis
Publishers Forum
Feel free to visit stands of the renowned publishers presenting their studies series, books and journals
on film, media and culture. The Publishers Forum is located on the first floor corridor at the Faculty of
Philology building and is open throughout the entire conference.
LIST OF THE PUBLISHER STANDS
Amsterdam University Press
Bloomsbury Publishing
Edinburgh University Press
Muzeum Sztuki
Routledge, Taylor and Francis
Wallflower Press /
Columbia University Press
National Audiovisual
Institute
Lodz University Press
Publishers Forum coordinator:
Karol Jóźwiak
Enthusiasts
Screening
“Enthusiasts” is a collaborative work by Marysia Lewandowska and Neil Cummings (Great Britain), two
exceptional artists who have been working together since 1995. In their previous projects Lewandowska
and Cummings focused on the various complications and dependencies that arise between art
institutions and the social, economic and political spheres as well as identification of the space within
which art pieces are created.
The project entitled “Enthusiasts” was first hosted by the Centre for Contemporary Art Ujazdowski Castle
in Warsaw in 2004, where the exhibition referred to a similar experiment – it presented not only works of
Polish Amateur Film Clubs (known in Poland as AKFs) but also the whole aparatus related to this
phenomenon: 16mm cameras, fictional amateur club lounge, posters, trophies and paraphenalia from
film festivals.
The popularity of AKFs, which initially were affiliated to employing establishments, existed in between of
the “effective” working time and the “unproductive”, idle, free time. According to the communist
ideology, work and leisure existed as a binary opposition akin to conscious production and a hobby. Film
clubs reversed this correlation – many enthusiasts of cinema were actively involved in following their
passion despite rigorous professional duties. Many amateur filmmakers experienced the sense of
operating outside of the “official” culture. Thanks to the collective cooperation they have created
extremely diverse works that still amaze. Members of film clubs had as their main objective the creation
of films for wider audiences (not only for private use). This is why the productions are characterized by
the eponymous enthusiasm, passion and joy accompanying the production process.
After 1989 in Poland, both film clubs with their members and their artistic accomplishments were
forgotten about– due not only to the former political system, but also to the amateur nature of the
works produced.. The authors of this project rediscover those short films in order to present the
practical aspects of the productions of the then working class, to reflect on the position of an amateur
filmmaker and to emphasize the meaning of art in the process of changing the contemporary reality.
The project “Enthusiasts” divides the amateur works into three thematic categories: “Love”, “Longing”
and “Labour”
Featured films:
Due to the technical constraints of amateur filmmaking, the films do not contain dialogues – in some
instances they do, however, include a voice-over. Their power stems from a universal language of
images with just a hint of a characteristic “whirr” of the film projector in the background. We will find
here documentary etudes as well as experimental animated films. Thanks to a personal approach of the
filmmakers who portrayed their working environment, everyday routine has been raised almost to the
level of craftmanship. The physical effort of the modern Sisyphuses appears as an astonishing ritual –
music enhances the rhythm of the activities, ingenuous framing makes each work exceptional. All the
presented productions have a common denominator: in a same way as in a famous scene from “Amator”
by Krzysztof Kieślowski (1979), the filmmakers/artists focus the camera on themselves and their
surroundings trying to record what they deem the most important.
SERIES #1
SERIES #2 (22 minutes)
SERIES #3
#2 TĘSKNOTA/LONGING
(22 minutes)
Friday, June 19, session G (13:45)
Saturday, June 20, session J (11:00)
Friday, June 19, session H (15:45)
We would like to thank InterDoc (www.interdoc.it) – International Institute for Documentary Film
(Bologna, Italy) for providing the copies of the listed productions.
Marysia Lewandowska and Neil Cummings share the productions of the Amateur Film Clubs under the
Creative Commons license.
22
Productions from The Educational
Film Studio in Lodz
Screening, Saturday, June 20, session L (15:45)
Władysław Strzemiński (11'22'')
A study of the life of the remarkable painter and art theoretician, Władysław Strzemiński – the patron of
the Strzemiński Academy of Fine Arts in Lodz. The artist was a pioneer of the constructivist avant-garde
of the 1920s and 1930s. His works are creative interpretations of geometric forms. Strzemiński was also
the creator of the theory of Unism, which he formed in 1927.
Abakany/The Abakans (13'00'')
A short film about one of the world renowned Polish artists, Magdalena Abakanowicz, and the first of her
significant works: created in the early 1960s textile sculptures named "abakans" after their author.
Kierunki i style: Konstruktywizm w Polsce Cz. II – Awangarda rzeczywista
/Movements and Styles: Polish Constructivism, part II – The Real Avant-Garde (18'45'')
A film from the “Movements and Styles” series is a study of the works of artists from the "a.r." group,
including Strzemiński, Kobro, Stażewski, Przyboś or Brzękowski and their bold, original and mature works
representing Polish constructivism. The production includes plastic models and animation techniques.
Trzy wnętrza/Three Interiors (17'00'')
Three different interiors and three artists – Jan Dobkowski, Ryszard Winiarski and Edward Krasiński. Each
of them is faced with the exact same task: to create a work based on a white cube designed for the
occasion. The object of the experiment was to confront the artistic styles of three contemporary Polish
artists and to analyze the concepts behind the different approaches used to produce their final works.
The featured films are a curatorial selection by Daniel Muzyczuk from Muzeum Sztuki in Lodz.
The films are presented by courtesy of the Educational Film Studio in Lodz.
Thursday, 18th
9:00-10:45
Panels
2.50
2.57
Digital Games Workgroup Meeting
Project Forum
Organizer: Maria B. Garda
Cati Alice
» Catholic University of the Sacred Heart, Milan
Alice Cati, Vicente Sanchez-Biosca (eds.),
Archives in human pain. Circulation, persistence, migration,
“Cinema & Cie. International Film Studies Journal”, no.24,
forthcoming
2.51
Medical Film Workgroup Meeting
Organizer: Bregt Lameris
» Utrecht University, the Netherlands
2.53
Media Archeology Workgroup Meeting
Organizer: Alex Casper Cline
2.54
Sound and Music in Media Workgroup
Meeting
Organizer: Nessa Johnston
» Glasgow School of Art
2.55
Graduates Workgroup Meeting
Organizer: Carlos Roos
» Ghent University
Zofia Rzeznik
» University of Wrocław
Gąszcz/Thicket. The Atlas of Histories of Wrocław's
Art in the 1970s
Marta Brzezińska
» University of Warsaw
Iconography of everyday life in GDR in German film
after 1989
Chris Wahl
» Film University Babelsberg Konrad Wolf
“Film-Erbe”: New German-language book series
on issues of Film Heritage
Carolina Sourdis
» Pompeu Fabra University
Colombian Found Footage: Mapping the archive of silence
Agata Kołacz
» National Audiovisual Institute
NInA - institution for online and offline audience
Notes
28
Thursday, 18th
9:00-10:45
Panels
Notes
Thursday, 18th 11:00-12:45
Panels
2.20
2.21
From Archival Truth to Narrative
Historiography: The Filmic Work of
Thomas Harlan
Sound and Archives
Chair: Chris Wahl
Colin Black
» The International Radio Art (and Creative Audio
for Trans-media) Research Group
Audio Archives as Content and Metaphor
Chair: Leo Murray
» Murdoch University
Leonie Geisinberg
The Fiction of Historiography in Thomas Harlan's Life
Narrative
Jesko Jockenhoevel
The Excess of Archival Footage in “Verrat
an Deutschland” (”The Case of Dr. Sorge”)
Kaspars Steinbergs
» Alberta College
Strategy of Latvian Audiovisual Sector Cluster:
Balanced Scorecard Approach
Eva Flügel
(Re)Enactment – Writing History in the Present
through Reflecting the Past in “The Act of Killing“
and “Gun Wound“
2.33
Digitation and Computation in Film Studies
Michael Wedel
Material Ghosts: Time, Memory, and the Political
in “Myself and No Angel“,“Torre Bella“and “Souvenance“
Respondent: Tobias Ebbrecht-Hartmann
» Hebrew University Jerusalem
2.22
The Uses of Archival Footage from WWII
Chair: Marta Brzezińska
Trond Lundemo
Films as Maps: History as Propagation and Modulation
Annemone Ligensa
Audience Archives: Digital Tools for Studying Historical
Audiences
Murat Akser
» Ulster University
From Analog to Digital Cinema Archive: Some
Challenges and Opportunities for a New Life of
Celluloid
Adriana Martins
» Catholic University of Portugal
João Canijo's Fantasia Lusitana and the Rewriting
of WWII from the Margins
2.50
Practices of Collecting - Case Studies
2.43
Anarchiving Practices Across Media Forms
Chair: Michael Cowan
» University of St. Andrews
Alanna Thain
» English and World Cinemas / McGill University
Contagious Corporealities: The When and Then of
Performance's Long Arc
Toni Pape
Resurrecting Television: Anarchiving Media Pasts in
Contemporary Television
Ilona Hongisto
» University of Turku
The Soviets and Sue Ellen: American Popular
Culture as an Archive for Eastern
European Documentary
Chair: Michał Pabiś-Orzeszyna
Helen Doherty
» National Film School/IADT, Dublin
Projections from the Archive: a Corpus Analysis of Film
Studies
Henrik Gustafsson
» University of Tromsø – The Arctic University
of Norway
“From the Archive of Everyday Observations”:
Daniel Eisenberg's Postwar Films
Bodil Marie Stavning Thomsen
» Aarhus University
Digitally Remastered and Anarchived - Evoking or
Creating Memory by Animating
Photographs from Maoist
Cristina Formenti
» University of Milan
(Re)Animating Archival Sound Recordings:
The "StoryCrops" and "Blank on Blank" Projects
Chair: Eef Masson
Ralf Forster
» Film University Babelsberg Konrad Wolf / Potsdam
Film Museum
Film Collections of German Federal States History,
Common Practises and Concepts for the Future
- the Case of the Filmmuseum Potsdam
Joanna Walewska
» Nicolaus Copernicus University in Toruń
“And What About the Quality?”: Oral History
and Technology in the Historical Research
on Technology in the People's Republic of Poland
Sofia Sampaio
» University Institute of Lisbon / Centre for Research
in Anthropology
The Archive's Ghosts: Looking for the Invisible
in the Visible: a Practices-Based Approach to
the Moving Image Archive
Thursday, 18th 11:00-12:45
Panels
2.53
2.51
Beyond the Subalterns' Archives. How
to share Colonized and Migrant Memories
Chair: Rosanna Maule
Ilaria A. De Pascalis
Archiving the Empire: The Ghost of Nostalgia
in "Remember Me"
Massimiliano Coviello
» University of Siena
The Liquid Traces of Migrations through
the Mediterranean Sea
Alice Cati and Maria Francesca Piredda
» Catholic University of the Sacred Heart in Milan
Trawl (Media)Nets. How to Search for Fragments
of Migrant Memories in Lampedusa
Archives of the Present and Derrida
Chair: Tomasz Majewski
» Jagiellonian University
Aija Laura Zivitere
» Information Systems Management Institute, Riga
Francia 2013: The Archive of the Present
Andrew Burke
» University of Winnipeg
The Time of Zidane
Daniela Agostinho
» Catholic University of Portugal
Spectral Images: Archival Effects in Daniel Blaufuk's
Terezín
Thursday, 18th
13:45-15:30
Panels
2.21
Chair: Michael Wedel
Tobias Ebbrecht-Hartmann
» The Hebrew University in Jerusalem
Trophy, Evidence, Document: A Journey from
Atrocity to Archive
Brad Prager
» University of Missouri
The Unseen Image: Archival Photography and Forensics
in Contemporary Holocaust Documentaries
Chris Wahl
The Triumph of Which Will? Repurposing Leni
Riefenstahl's Images
Institutions for Archives
Sponsor: National Audiovisual Institute NInA
Sponsor: The Marek Edelman Dialogue Center in Łódź
2.20
Reviewing and Reusing the Past:
The Appropriation of Archival Images from
the Holocaust and the Third Reich
Chair: Kaspars Steinbergs
» Alberta College
Grazia Ingravalle
» University of St Andrews
Remixing Silent Cinema: Historical Explorations
at the EYE Film Institute Netherlands
Indrek Ibrus
» Tallinn University / Baltic Film and Media School
The Effects of Power in the Evolution of AV-Heritage
Metadata Standards and Heritage Recycling:
Estonian Perspective
Aidan Power
» University of Bremen
Eurimages and the Archiving of Utopia
2.33
GIF me more. Archives of Affect and Motion
Victoria Grace Walden
» Queen Mary, University of London
An Experience with Holocaust Memory:
Re-appropriating the Archive
Chair: André Wendler
» Bauhaus University, Weimar
2.22
Archiving Labour, Researching Production
André Wendler
Moving Bodies on Screen
Chair: Shane O'Sullivan
» Kingston University, London
Daniela Wentz
The Infinite Gesture
Frédéric Vidal
» Centre for Research in Anthropology, Lisbon
Do You Remember the Struggle of Applied Magnetics
Workers (Portugal, 1974-1975)? An Analysis of Social
Memories Through Cinematography
Aileen Pinkert
GIF me more depth: 3D GIFs
David Archibald
» University of Glasgow
Archiving Loach: Recording Ken Loach's Cinematic
Working Practices
Aaron Hunter
» Queen’s University, Belfast
Getting a Guy to Walk on Water: Archives
and the Question of Authorship in “Being There“ (1979)
2.43
Amateur Materials as Archives
Chair: Piotr Sitarski
Diego Cavallotti
» University of Udine
“Amateur video must not be overlooked”: Analog
Amateur Video as New Archival Object
Paulina Haratyk
Home Movies – Images of Everyday Life? Found
Footage Film Projects from Archives of Archeology
of Photography Foundation
Francesca Scotto Lavina
» La Sapienza University of Rome
The Memory Circuit: Refiguring Collective
and Autobiographical Memories through Amateur
Materials Re-mediated by Digital Archive
Christiane Lewe
» Bauhaus University Weimar
“My face when…” Why Facebook Hates Reaction GIFs
2.50
Gendering Cinema Archives
Chair: Monika Talarczyk-Gubała
» University of Szczecin
Małgorzata Radkiewicz
Re-Writing History of Women Pioneers of Photography
and Cinema in Former Polish Galicia 1896-1939
Robin Steedman
» University of London
Gendering Contemporary Kenyan Film Production:
A Contextual Analysis of “Dangerous Affair“ (2002)
and “Pumzi” (2009)
Adriana Margareta Dancus
» University of Agder
Kristiansand Archives of Vulnerability in Scandinavian
Reality-Based Films of the 2010s
Rosanna Maule
Archiving Women's Films in the Age of Digital Culture
Thursday, 18th
13:45-15:30
Panels
2.51
Politics of Archiving and the Writing
of Transnational Cultural History
Chair: Petr Szczepanik
Rosa Olmos
» Bibliothèque de Documentation Internationale
Contemporaine Library
The Living Memories. Audio-Visual Archives of the
BDIC Library, Research Material on International
Conflicts
Caroline Moine
» University of Versailles Saint-Quentin-en-Yvelines
Transnational History of Solidarity Movements
in Europe during the Cold War: New Sources, New
Archives
2.53
Archives Shaping Canons
Chair: Piotr Kulesza
» Museum of Cinematography in Lodz
Anne Ciecko
» University of Massachusetts-Amherst
Contemporary World Cinema Canons and/as
Discursive Archives
Johann Mahlknecht
» University of Innsbruck
The Influence of Film Archives on Canon Formation
Kim Louise Walden
» University of Hertfordshire
Site Excavations: An Archaeology of Film Transmedia
Award Archives
Viviane Saglier
Diasporic Film Festivals and Trans-Historical Film
Economies
Dunja Jelenkovic
The Politics of Archiving – The Politics and Archiving:
The Case of Yugoslav Documentary and Short Film
Festival (1954-today)
Screening of "Ida"
with an introduction by producer, Ewa Puszczyńska
room 0.38
Thursday, 18th 15:45-17:30
Panels
2.21
Workshop
2.20
The Toxicity of European Archives
Opening/Re-Opening of Archives
Natascha Drubek
» Freie University Berlin
Chair: Anna Nacher
Tomasz Łysak
Dietmar Kammerer
» Philipps-University Marburg
The Second Best Thing? Creating a Weblog
as Open-Access Archive for Film Studies
Gudrun Heidemann
Talitha G. Ferraz
» Capes Foundation (Brazil)/University of Ghent
Under the Cultural Projects of Reopening Cinemas:
Rebirthing of the Ex-Movie Theaters and Its Sociabilities
in the City?
Ewa Ciszewska
Tomasz Majewski
Pamela Gionco
» University of Buenos Aires/National Library
Digitizing Sources for Media Studies in Argentina
2.22
Sounding Out the Archive: Sonic
(Re)Presentations of the Past
2.33
Doing Archival Research on the Socialist Past
Chair: Nessa Johnston
Alice Bardan
» Loughborough University
Workshop
Kate Bolgar Smith
» SOAS, University of London
'Ghosts of Songs': The Haunting Soundtracks
of the BAFC
Leo Murray
» Murdoch University
Clues in the Library: Fiction Techniques in
the Non-Fiction Film Soundtrack Archive
Sabina Mihelj
Cristina Preutu
» Alexandru Ioan Cuza University of Iassy
Andrew Hill
» University of Greenwich
Historic Soundscapes: Authenticity vs. Experience
Sylwia Szostak
Lizzie Thynne
» University of Sussex
Voices in Movement: Dramatizing Oral Histories
Personal Archives, Personal Archiving
2.50
2.43
Archiving and Archives in Online Media
Research
Rainer Hillrichs
» University of Bonn
Workshop
Dana Mustata
» University of Groningen
Murat Akser
» University of Ulster
Sophie G. Einwächter
Benjamin Eugster
» University of Zurich
Kim Louise Walden
» University of Hertfordshire
Chair: Shane O'Sullivan
Tom Cuthbertson
» University of Oxford
Archive Varda: Archival Impulses in Agnès Varda's
“Agnès de ci de là Varda“ (2011)
Agnieszka Dytman-Stasieńko
» University of Lower Silesia
Personal Archive as an Example of Historical
Responsibility
Deniz Bayrakdar
» Kadir Has University
Museum of Innocence: Archiving of/for the Future
by Orhan Pamuk
Catarina Mourao
» University of Edinburgh - ECA
My Grandfather and His Revolver: Dreams
and Fragmented Memories Connected to Personal
Archives
Thursday, 18th 15:45-17:30
Panels
2.53
2.51
Gender in Audiovisual Arts
Pedagogical Futures and Cinematic
Histories: Teaching World Cinema Workshop
Dagmara Rode
Appropriated Images, Appropriated Bodies: On Two
Feminist Video Works
Workshop
Chair: Greg de Cuir, Jr
» University of Arts, Belgrade
Bruce Bennett
» Lancaster University
Nick Hodgin
» Lancaster University
Martina Panelli
» University of Paris 8 Vincennes/Saint-Denis /
University of Udine
Archiving Gender: (Bio)Technologies of the Self in
Found Footage Films and Contemporary Audiovisual
Art
Alex Lykidis
» Montclair State University
Victoria Pastors-Gonzáles
» Regent´s University London
Docudrama as Visual Archive: Tracing the Origin
of Women's Rights Movement in Spain in the Biopics
of Clara Campoamor and Concept
2.54
Áine O'Healy
» Loyola Marymount University
Celluloid, Digital and Wax Archives
Video Games
Chair: Karol Jóźwiak
Chair: Maria B. Garda
Vito Adriaensens
» University of Antwerp / VU University Amsterdam /
School of Arts (KASK) Ghent
Waxing Poetic, from the Museum to the Screen
Surbhi Goel
» Panjab University, Chandigarh
After Amnesia, Carving Archive as a Current Creative
Collaboration: Kamal Swaroop's Phalke Files
Akshaya Kumar
» University of Glasgow
Archiving the Self
Katarzyna Marciniak
» Ohio University
Laurence Raw
» Baskent University
2.55
Biljana Mitrovic
» University of Art, Belgrade
The New Media Recording and Archiving – By/In
the New Media: The Video Game Playing Experience
Paweł Frelik
» Maria Curie-Sklodowska University
“Where Is That Beam, Scotty?”: Towards a Science
Fiction Video Game Archive
Mateusz Felczak
Gather, Manage, Play – The Case of the Steam
Platform and Its Influence on the PC Video Games
"Ida": production and promotion
2.56
Discussion Panel with:
Ewa Puszczyńska (Opus Film), Marzena Bomanowska (Museum of Cinematography)
Interlocutor: Marcin Adamczak (Adam Mickiewicz University in Poznan)
Friday, 19th
9:00-10:45
Panels
2.50
2.57
Screen Industries Workgroup Meeting
Project Forum
Organizer: Petr Szczepanik
Sabina Mihelj
Screening Socialism: Popular Television and Everyday
Life in Socialist Eastern Europe (2013-16)
2.51
Documentary Workgroup Meeting
Organizer: Aida Vallejo
» University of the Basque Country (UPV/EHU)
2.53
Cinema and Contemporary Visual Arts
Workgroup Meeting
Monika Talarczyk-Gubała
» University of Szczecin
Wanda Jakubowska. Staring anew (work in progress)
Organizer: Miriam De Rosa
2.54
New Media Workgroup Meeting
Organizer: Rainer Hillrichs
» University of Bonn
Carolyn Birdsall
Sound Preservation Studies: How to Critically Imagine
a New Research Agenda?
Paweł Polit
» Muzeum Sztuki in Lodz
DADA Impuls. Egidio Marzoni Collection
2.55
Sponsor: NECSUS European Journal of Media Studies
Aida Vallejo
Documentary and Film Festivals
Open Access Workshop
Organizer: Greg De Cuir, Jr.
2.56
Dead Media in Central-Eastern Europe
Workgroup Meeting
Organizer: Michał Pabiś-Orzeszyna
Sylwia Szostak
Archives and the Uncovering of Missing Histories
of Television
Adriano D'Aloia and Ruggero Eugeni
Neurofilmology. Audiovisual Studies and the Challenge
of Neuroscience. Cinéma&Cie. International Film Studies
Journal, Special Issue no. 22–23, edited by Adriano
D'Aloia and Ruggero Eugeni
Notes
Friday, 19th
9:00-10:45
Panels
Notes
Friday, 19th
11:00-12:45
Panels
2.20
2.21
Italian Connections: Politics, History
and Identity
Queer Cinema
Chair: Dagmara Rode
Chair: Diana Dąbrowska
Katharina Lindner
» University of Stirling
Intangible Archives? Queer Embodiment and Affect
in Cinema
Antoine Damiens
The Festivals that Did Not Matter: Queer Film Festivals
and their Scattered Archives
Nanna Heidenreich
» Braunschweig University of Art
“Once upon a Future”. Traversing the Archive
Giancarlo Lombardi
» College of Staten Island and Graduate Center/CUNY
DoubleSpeak as Boomerang Language, Politics,
and Consensus in „Viva la libertà”
Cosetta Gaudenzi
» University of Memphis
Rewriting Italy: Language and Family in Alice
Rohrwacher's “Le meraviglie”
Áine O'Healy
» Loyola Marymount University
Chinese Immigration in the Italian Mediascape
2.33
2.22
Memory Matters
Spotlights on Television Business
Chair: Trond Lundemo
Chair: Philip Drake
» Edge Hill University
Katharina Rein
» Bauhaus University, Weimar / Humboldt University
of Berlin
Archives of Horror. Memory in “Buffy the Vampire Slayer”
Luca Barra and Massimo Scaglioni
History Repeating. Archives as a Connection
between Television and Media History
Kateřina Svatoňová
» Charles University, Prague
The Memory of the Experiment: Multimedia Installations
and Experimental Film Based on the Recyling of Archive
Material
Petr Szczepanik
An Uneasy Transfer of “Quality”: HBO Europe's Original
Content Production
Katharina Włoszczynska
» International Research Institute for Cultural Techniques
and Media Philosophy, Bauhaus University, Weimar
“Archival Remakes” and Re-Making as Archive
Susanne Eichner
» Aarhus University
Television Series as Containers of Imagined
Communities
Kateřina Krtilová
In Praise of Forgetting
2.43
Remediating the “Real”, Refiguring the Past
in (Post-)Communist Central and Eastern
European Cinema
Chair: Katalin Sándor
» Sapientia Hungarian University of Transylvania
Judit Pieldner
Remediating the Unspeakable. The Memory
of the Holocaust in András Jeles's “Parallel Lives”
Laszlo Strausz
» Eötvös Loránd University
Modernism under Construction – Films on Filmmaking
in the Ceausescu Era
Katalin Sándor
(Re)making the Past in Lucian Pintilie's
“Reenactment” (1969) and “Niki and Flo” (2003)
Melinda Blos-Jáni
Unreliable Images. Mediating the "Real" in East European
Compilation Documentaries about the Communist Past
2.50
Film Policy Research and Archives:
Methods, Challenges and Case Studies
Chair: Baschiera Stefano
» Queen's University, Belfast
Gertjan Willems
» Ghent University
Archival Film Policy Research: Methodological
Opportunities
Marco Cucco
» University of Lugano
What is Film (From a Film Policy Perspective)? A Case
Study on “The Great Beauty”
Olof Hedling
» Lund University
Between Art, Economics, Commerce, and Nationalism.
Notes on the Interaction Between Different Perspectives
in Swedish Film Policy
Lorraine Blakemore
» University of Leeds
Cultural Intervention, Institutional Politics and
the Archive: Challenges in Researching the British
Film Institute's Museum of the Moving Image
Friday, 19th
11:00-12:45
Panels
2.53
2.51
Carnal Archives
Media Archives and the (Re-)Production
of Memories
Chair: Magdalena Zdrodowska
Chair: Sophie G. Einwächter
Jan Stasieńko
» University of Lower Silesia
Beautiful Agony: Between Humanism of an Archive
and Non-Human Erotism of a Data Base
Giancarlo Grossi
Charcot and the Canon of the Moving Body –
The Photographic Archive of the Nouvelle
Iconographie de la Salpêtrière (1888-1918)
Mirjam Kappes
» a.r.t.e.s. Graduate School for the Humanities, Cologne
Mediacultural Archives and Nostalgic Remembering
in the Digital Age
Tobias Steiner
Blockbuster Tales of Days Past! Renegotiation of History
in Fictional U.S. TV Drama from the 1940s up to Today
Stefan Udelhofen
» a.r.t.e.s. Graduate School for the Humanities, Cologne
Obsolescence, Persistence and Alternative Archives
in the Media History of Internet Cafés
Hung-Han Chen
» Aalto University
Archaeology of Face Expressions: From Empirical
Studies to Algorithm Design
2.55
2.54
Experiencing the Space
Collective Memories of Mediatized Identities
Chair: Talitha G. Ferraz
» Capes Foundation, Brazil / University of Ghent
Chair: Alena Strohmaier
» Philipps University of Marburg
Giorgio Avezzu
Memories of a Lost Dispositif: Historicizing
the Cave as a Metaphor of a Spectacular Geometry
Agata Pospieszyńska
Cinema Beur as Archive of Colonialism
Andrea Meuzelaar
» University of Utrecht
Compiling Islam: The Politics of Archival Compilation
Maria Luna
» InCom Autonomous University of Barcelona
On Mapping Heterotopias: A Location Based
Archive of Documentary Films
Kamil Lipiński
» Adam Mickiewicz University, Poznan
The Archival Hauntings in the National Documentaries
of Péter Forgács
Irina Schulzki
» University of Munich
Archive and Gesture: Spatial Structures in Kira
Muratova's Films
2.57
Performance and Materiality of the Moving
Image through Tape, Theater and Videoart
Chair: Miriam De Rosa
Greg de Cuir, Jr
The Motovun Meetings: Video – 1976 – Identity
Patricia Nogueira
» UT Austin – Portugal International Program
Participative Interactive Documentary as a Fragmented
and “Deterritorialized” Archive
James Harvey-Davitt
Akomfrah's Art Histories
Oemer Alkin
» Heinrich Heine University, Duesseldorf
Tradierung in Turkish-German Cinema: Turkish
Emigration Cinema Re-Loaded
Catarina Laranjeiro
» University of Coimbra
Confronting Vague Ideas with Clear Images: Ghosts
and Memories in the Liberation War in Guinea-Bissau
Friday, 19th 13:45-15:30
Panels
2.20
Multicultural, Transcultural, Universal:
Politics, Ethics and Aesthetics of Images
Migrations
Chair: Philipp Sack
2.21
Digital Archiving Across Books, Food,
and Adult Films: Possibilities and Challenges
Chair; Murat Akser
» University of Ulster, Londonerry
Jorge Flores Velasco
» The New Sorbonne University
Inti Raymi Uprising: Video, Identity and Multiculturalism
Beste Atvur
» Goethe University, Frankfurt
How to Find Adult Films? Digital Archives as a Potential
Source for Academic Research on Erotic and Porn Film
Industries
Marcela Canavarro
» University of Porto
Audiovisual as a Technopolitical Resource to Mobilize
People and Generate Memory
Seda Aktaş
» Marmara University, Istanbul
Digital Libraries as Digital Archives; The Gutenberg
Project as an Example of Crowdsourcing
Anna Mrozewicz
» Adam Mickiewicz University, Poznan
Affective Remediation and Transnational Shared Space
in Pirjo Honkasalo's Documentary Film “The 3 Rooms
of Melancholia”
Sedef Erdoğan Giovanelli
» Istanbul Bilgi University
Digital Food Archives: Black Sea Cuisine as
an Intangible Cultural Heritage
Asbjorn Gronstad
» University of Bergen
Archival Migrations: The Organic Image in John
Akomfrah's “The Nine Muses”
Fandoms, Margins, Minorities and the Issues
of Technological Emancipations
2.22
Memory Televisualized
Chair: Kamila Żyto
Enrique Fibla Gutierrez
NO-DO: Public Audiovisual Archives and
the Kidnapping of Imagination
Vicente Rodriguez Ortega
» The Charles III University of Madrid
1980s Spanish History through Contemporary
Television: The Case of “Cuéntame cómo pasó”
Cecilia Penati
Unconventional Archives: Popular Media and Personal
Memories as Sources for Early TV History
Georgia Aitaki
» University of Gothenburg
TV Fiction as an Archive of Crises: National
and European Imaginaries in Greek Television Fiction
2.43
The Use of Archival Footage in Contemporary
South American Films
Chair: Caroline Moine
Clara Garavelli
» University of Leicester
Re-Using Found Footage Film in Experimental Argentine
Video Documentaries
Beatriz Tadeo-Fuica
» University of the Republic, Montevideo / University
of St Andrews
Using Archival Footage in Contemporary Uruguayan Film
Elizabeth Ramírez Soto
» University of Valparaíso / University of Warwick
The Afterlife of a Train: Archive Footage from Pinochet's
Dictatorship and its Uses
2.33
Chair: Anders Marklund
» Lund University
Anders Marklund
» Lund University
Emerging Memes, Canonization and Marginalized
Identity Groups: Two Spanish Lesbian-Themed Pop
Songs and their YouTube Fanvids
Veronica Paredes
» The New School, New York
Networked Collaborations and Feminist Pedagogies
with Wikipedia
Peter Rehberg
» The University of Texas at Austin
The Archive of Post-Pornography: Queer Genealogies
and Remediations in the Queer Fanzine Butt
2.50
Between Institution and Grassroots?
Archiving Struggles and Methods
Chair: Marcin Składanek
Kamil Jędrasiak
Wiki Encyclopedias as Archives and Important Tools
in Convergence Culture
Alexandra Kapka
Perpetual Archivists: Grassroots Conservation
in a Digital Age
Anna Nacher
Should We Trust the Corporation to Do the Archivist's
Job? A Datafied Practices, Collective Memory
and Dynamic Communication
Magdalena Zdrodowska
NAD Signed Films: Between Archiving and Temporariness
Friday, 19th 13:45-15:30
Panels
2.53
2.51
Documentary Film and Indexicality
Archives Montage: Film Essays, Newsreels,
Documentaries
Chair: Aida Vallejo
Chair: Patricia Pisters
Aleksandra Milovanović
» Faculty of Dramatic Arts, Belgrade
Historical Documentary Programs and (Mis)Use
of Archive Footage
Terri Ginsberg
» The American University, Cairo
Vanessa Redgrave's “The Palestinian”: Star Vehicle
or Political Praxis?
Belinda Smaill
» Monash University
The Problem of the Archive: Life, Documentary
and Extinction
Juliana Froehlich
» University of Antwerp
“Les statues meurent aussi”: Seen and Being Seen
Through Art and Archive
Alan Wright
» University of Canterbury
Storming the Citadel of Time: The Use of the Archive
in “Blockade” (Loznitsa, 2006) and “Mirror”
(Tarkovsky, 1985)
Umberto Famulari
» Royal Holloway, University of London
The Ability to Communicate Propaganda Messages
in the Newsreels of Instituto Luce: The Case of Republican
Spain
Martin Štoll
» Charles University, Prague
Documentary Film as an Archive Data Source
2.54
Images of History and Representations
of the Future
Chair: Agata Pospieszyńska
Dominic Leppla
The Radicalism of Negative Community in Krzysztof
Kieślowski's 1970s work
Ana Balona de Oliveira
» University of Lisbon / New University of Lisbon /
Courtauld Institute
Archival Past Futures of Revolution and Decolonization
in Contemporary Artistic Practice from and about
'Lusophone' Africa
2.55
Experiments in the Aesthetics of the Archive
Chair: Erika Balsom
» King's College, London
Susanne Sæther
» University of Oslo
Sampling the Digital in Recent Video Art
Malte Hagener
» Philipp University of Marburg
Rembrance of Films Past: Film History in Art
and in Cinema
Miriam De Rosa
Spatializing the Archive: From Tabletop Performance
to Desktop Cinema
Esin Paça Cengiz
» Kadir Has University, Istanbul
Exploring Un-Preserved Pasts in Films
Hyunseon Lee
» SOAS, University of London
South-Korean Blockbuster as Historical Archive
Enthusiasts Screening: SERIES #1 (60 minutes)
1.Anatomia/Anatomy (1974), Tadeusz Wudzki, Pegaz Amateur Film Club, Warsaw, Poland, 5'55”
2.Współczesna Symfonia/Contemporary Symphony (1971), Maciej Korus and Jerzy Ridan, Nowa Huta Amateur Film Club,
Kraków, Poland, 6'20”
3.Homo (1975), Krzysztof Janicki, Grunwald Amateur Film Club, Olsztyn, Poland, 2'45”
4.bez tytułu/untitled, Sawa Amateur Film Club, Warsaw, Poland, 11'0”
5.Syzyfowie/Sisyphuses (1971), Tadeusz Wudzki, Wiedza Amateur Film Club, Warsaw, Poland, 5' 30”
6.Przez lustro/Through the Looking Glass, Franciszek Dzida, Klaps Amateur Film Club, Chybie, Poland, 15'30”
7.Razem/Together (1977), Krzysztof Janicki and Marek Barański, Grunwald Amateur Film Club, Olsztyn, Poland, 3'30”
8.Dotknąć Dźwięku/Touching the Sound (1981), Darek Skubel and Zdzisław Zinczuk, Awa Amateur Film Club, Poznań, Poland, 6'13”
9.Karuzela/Carousel (1984), Krzysztof Szafraniec, Nowa Huta Amateur Film Club, Kraków, Poland, 2'20”
Friday, 19th
15:45-17:30
Panels
2.20
2.21
Editions, Remakes, History Revivals
Presenting Archival Utility Films
Chair: Katharina Włoszczynska
» International Research Institute for Cultural Techniques
and Media Philosophy, Bauhaus University, Weimar
Chair: Bregt Lameris
» Utrecht University
Casper Tybjerg
» University of Copenhagen
The Case for Film Ecdotics
Bregt Lameris
Science on Display: On Presentation Strategies
for Neurological Film Collections
Kathleen Loock
» Free University of Berlin
The Remake as Archive
Eef Masson
Utility Films in the Contemporary Heritage Museum
Agnieszka Rasmus
Hollywood Remakes of British Films as Popular Archives
for the Future
Claudy Op den Kamp
» University of Zurich
The Film Archive as a Birthplace: Found Footage,
Legal Provenance and the “Aesthetics of Access”
Con Verevis
New Millennial Remakes
Anke Mebold
» German Film Institute
Presenting the Films of William Held MD Online
2.22
2.33
Insights into Digital Archives: Youtube,
Video-On-Demand
Body Trouble: Gender, Sexuality, Minorities
and the Politics of the Archive
Chair: Kamil Jędrasiak
Chair: Nanna Heidenreich
» University of Fine Arts, Hamburg
Naomi Rolef
Online Resurrection: Two Biographies of Rare Archival
Material from Israel on YouTube
Darshana Sreedhar Mini
Cabaret in Malayalam Cinema: Obscenity Debates
and Gender Trouble
Philip Drake
Digital Archives and VOD Platforms: Establishing
a New Role for the Digital Archive in the Disrupted
Independent Film Industry
Alejandro Melero
» The Charles III University of Madrid
Researching the Representation of Homosexuality
in the Archives of Franco's Dictatorship
Terez Vincze
» ELTE University
Representation of Historical Memory through Sport
in Hungarian Cinema
Valentina Re
» Link Campus University of Rome
Formal and Informal VOD Platforms as Archives:
Changes and Continuity
Philipp Sack
Of Engines and Photographs. Archiving Contingent
Futures in the Visual Content Industry
2.50
Remembrance and Oblivion in Media
Commemorative Practices
2.43
Transformations of Found Footage
and Interactive Documentaries
Chair: Andrew Burke
Sabrina Tenório Luna da Silva
» Federal University of Pernambuco
The Guests – Found Footage and the Archive
Leo Goldsmith
» New York University
Memories of the Future: Found Footage and the Digital
Archive
Stefano Odorico
» University of Bremen / Leeds Trinity University
The Interactive Documentary Form Between Aesthetics
and Complexity
Mark Paul Meyer
» Eye Film Institute, Amsterdam
Artistic Research at the Edges of the Film Archive
Chair: Magdalena Saryusz-Wolska
Nike Jung
» University of Warwick
Truth, Bones, and Fiction: Chile's Los Archivos
del Cardenal
Lydia Nsiah
» Academy of Fine Arts, Vienna
To Forget: Memory and Oblivion in Contemporary
Archival Practice
Adriano D'Aloia
Forget It! Politics of Disarchiving
Dorota Głowacka
» University of Lodz / Helsinki Foundation for Human
Rights
Forgetting the Dark Side of Newspapers' Online Archives
Friday, 19th
15:45-17:30
Panels
2.53
Sponsor: Documentary Workgroup
2.51
Personal Archives and Documentary
Practice
Rethinking Archive, Memory and History
in Contemporary Portuguese Cinema
Chair: Andrea Pócsik
» Pázmány Péter Catholic University, Budapest
Chair: Sofia Sampaio
» University Institute of Lisbon / Centre for Research
in Anthropology
Efrén Cuevas
» University of Navarra
The Archive Effect in the Appropriation of Home
Movies in Documentary Films. The Case of "Stories
We Tell"
Daniel Ribas
» The Polytechnic Institute of Bragança
Archive as Material for Cultural Discourse: The Case
of “Lusitanian Illusion” by João Canijo
Debra Beattie
» Griffith University
The New Woman and Gender Disruption:
On Researching the Archives of Daphne Mayo
Paulo Cunha
» The Coimbra's University Centre for 20th Century
Interdisciplinary Studies
"Luta ca caba inda": The Work of Filipa César
with the Film Archive of Guinea-Bissau
Andrea Pócsik
» Pázmány Péter Catholic University, Budapest
Installing, "Inscening" Found Footages
Raquel Schefer
» The New Sorbonne University / Rennes 2 University
The Archives of Connection: Rethinking Colonial
Categories in Portuguese Contemporary Cinema
Aida Vallejo
Film Festivals and the Documentary Archive
2.54
Post-Internet-Archives in Digital Aesthetics
Glòria Salvadó and Fran Benavente
Make History, Build the Document: Archive in Fiction
and Fiction as Archive
Chair: James Harvey-Davitt
Kamila Kuc
» Goldsmiths College / University of London
Photomediations: An Open Book: Writing About
and Curating Visual Arts Online
Paula Albuquerque
» UvA – Gerrit Rietveld Academy
Webcams as Realtime Archive: 24/7 Production
/Archival of Cinematic Traces and Deixis
Lisa Åkervall
Auto-Tune the Archive! YouTube's Modulated Sounds
Enthusiasts Screening: SERIES #3 (55 minutes), TĘSKNOTA/LONGING
1.Motyle/Butterflies (1971) Franciszek Dzika, Klaps Amateur Film Club, Chybie, Poland, 12'55”
2.Karuzela/Carousel (1984), Krzysztof Szafraniec, Nowa Huta Amateur Film Club, Kraków, Poland, 2'20”
3.Plakaciarz/A Man Who Puts Up Posters, Henryk Urbańczyk, Bielsko Amateur Film Club, Bielsko-Biała, Poland, 9'0”
4.Humbug (1970), Gerard Piszczek and Michał Kuczminski, IKS Amateur Film Club, Mikołów, Poland, 3'40”
5.A czy my to jacy my/And We, Who Are We, Egelbert Kral, Alchemik Amateur Film Club, Kędzierzyn, Poland, 7'20”
6.Gwiazdą być/To Be a Star, Henryk Urbańczyk, Bolesław Białek, Bielsko Amateur Film Club, Bielsko-Biała, Poland, 7'15”
7.Przed zmierzchem/Before the Twilight, Leszek Boguszewski, Sawa Amateur Film Club, Warsaw, Poland, 6'30”
8.Dotknąć dźwięku/Touching the Sound (1981) Darek Skubel i Zdzisław Zinczuk, Awa Amateur Film Club, Poznań, Poland, 6'13”
Saturday, 20th 9:00-10:45
Auditorium A5
The Future of NECS Workshop
This year, in addition to the formal general meeting, we will also organize a workshop meeting to discuss in
a more general way the future of NECS as a community.
Notes
Saturday, 20th 9:00-10:45
Auditorium A5
Notes
Saturday, 20th 11:00-12:45
Panels
2.20
The Archive and the Testimony
2.21
Archivists of the Present: Dispatches
from the Repository
Chair: Ewa Ciszewska
Tomasz Majewski
Modes of Representation of Lodz Ghetto: Forbidden
vs. Official Photography In Postwar Documentary Film
Maurizio Cinquegrani
» University of Kent
The Łódź Ghetto: On Location and at the Archive
Ben Gook
» The University of Melbourne
Optical Unconscious and the Blind Recording of History:
Thomas Heise and Harun Farocki
2.22
Film Sound Practice: Processing Archives,
Archiving Processes
Chair: Aaron Hunter
Helen Hanson
» University of Exeter
Below the Line, In the Gaps: Tracing Sound Craft
in the Hollywood Archives
Chair: Philip Drake
Phil Wickham
» University of Exeter
Presenting the Audience: The Bill Douglas Cinema
Museum
Karl Magee
» University of Stirling
From Card Catalogue to Crowdsourcing: An Archival
Journey
Wendy Russell
» British Film Institute
The Materiality of the Archive: Some Considerations
in the Wake of Digitisation
Sarah Atkinson
» University of Brighton
Deep Film Access: Laying the Foundations for Digital
Film Archives of the Future
2.33
Flows, Contingencies and Remixes
of the Archive
Chair: Nike Jung
Ilario Meandri
» University of Turin
Italian Foley Sound Archives: A Restoration Project
Patricia Pisters
The Filmmaker as Metallurgist: The Archive and Radical
Contingency
Nessa Johnston
Sound Practice in Brazil: Towards a Transnational
Study of Film Sound Production
2.43
Trawling the Archive: Testing the Limits
of Polish Cinematic Representation
in the 1960s and 1970s
Shane O'Sullivan
Hidden in the Rushes, Lost in the Feed
Chair: Petr Szczepanik
Sanja Garic-Komnenic
» British Columbia Institute of Technology, Vancouver
Creative Appropriation of Television Archived Footage
in Documentary Films Made During the War in Sarajevo
2.50
Mikołaj Kunicki
» University of Oxford
Poland's Wild West and East: Polish Westerns
of the 1960s
Chair: Joanna Walewska
» Nicolaus Copernicus University, Toruń
Piotr Zwierzchowski
» Kazimierz Wielki University, Bydgoszcz
The Sheriff of the County Committee: Cinematic
Representations of Polish Communist Officials
in the 1970s
Ilana Miller
» University of Chicago
Beyond the Brutal Image Hid Metaphors of Racism:
Persecution of Jews in 1960s Polish Films on Nazi
Occupation
Rohan Crickmar
» University of St Andrews
“Ręce do góry” Resurrected: Using the Archive
to Complicate the Production History of Jerzy
Skolimowski's 'Polish' Farewell
Surveillance and Superintending Devices
Jeff Scheible
» State University of New York
Purchase What Does Indexed Archive? On Material
History, Indexicality and New Media
Giuseppe Gatti
Raiders of the Archives: Notes for a Social Media
Archaeology
Synne Tollerud Bull
Volumteric (H)Overview: The Progressive Geography
of Aerial View in Motion
Carina Lesky
» Ludwig Boltzmann Institute for History and Society
Chronicles of the Ordinary – The Filmic Apparatus
Interfering with the Street
Saturday, 20th 11:00-12:45
Panels
2.53
2.51
The Art of Memory: The Atlas and the Archive
Chair: Elena Vogman
Larisa Dryansky
» Paris-Sorbonne University, National Institute for Art
History, Paris
Woody Vasulka's Atlas of War and Memory: An Archive
Between Past and Future
Riccardo Venturi
» National Institute for Art History, Paris
Recovering from History. Photography and Moving
Images in Fabio Mauri
Angela Mengoni
» University IUAV of Venice
From the Media 'Image-Event' to the Atlas: September
by Gerhard Richter
Antonio Somaini
The Temporality of the Raster Image: Siegfried Kracauer,
Sigmar Polke
2.54
The Living Archives of Art
The Dilemmas of Use: Humans and Other
Animals in the Archive
Chair: Paweł Frelik
Richard Martin
» King's College London, Middlesex University
Listening to Andrea Fraser: A Psychoanalytic Archive
in the Gallery
Justyna Włodarczyk
Transcending Animality/Performing Animality in Late
19th Century Animal Training Displays
Zuzanna Ładyga
The Affect of Waning: Uses of the Human Archive
in Contemporary Film
2.57
Project Forum
Adéla Mrázová, Jakub Jiřiště, Terezie Křížkovská
» NaFilM, Faculty of Arts, Charles University, Prague
NaFilM: The National Film Museum project
Tomasz Załuski
Has the Future Come Yet? KwieKulik and the Archive
of Possibilities
Valentina Re
» Link Campus University of Rome / Ca' Foscari
University of Venice
Research project: FRAMING DIGITAL 'PIRACY'.
Piracy and anti-piracy in Italy from 1988 to the present:
discursive strategies, forms of consumption and cultural
policies
Karol Jóźwiak
Inventorying as an Art Practice
Maria B. Garda, Paweł Grabarczyk
“Replay: The Polish Journal of Game Studies”
Zofia Reznik
» University of Wrocław
Archiving and Mapping the Non-Existent in Art
Wright Alan
» University of Canterbury
Film on the Faultline
Anja Ellenberger
Bildwechsel Hamburg as Living Archive
Łukasz Biskupski
» Warsaw University of Social Sciences and Humanities
SWPS
Digital Humanities Project: “The Culture of attractions:
early cinema and popular culture in Russian Poland
before 1918” (www.kultura-atrakcji.swps.edu.pl)
Chair: Ryszard W. Kluszczyński
Enthusiasts Screening: SERIES #2 (22 minutes)
1.Anatomia/Anatomy (1974) Tadeusz Wudzki, Pegaz Amateur Film Club, Warsaw, Poland, 5'55”
2.Funkcja/Function (1981), Zdzisław Zinczuk, Awa Amateur Film Club, Poznań, Poland,1'7”
3.Przez lustro/Through the Looking Glass, Franciszek Dzida, Klaps Amateur Film Club, Chybie, Poland, 15'30”
th
Saturday, 20
13:45-15:30
Panels
Sponsor: “Panoptikum”
2.20
2.21
Rhetorics and Technologies of the Testimony
Cinephiliac Online Film Archives
Chair: Tomasz Majewski
Chair: Malte Hagener
» University of Marburg
Maria Zalewska
» USC School of Cinematic Arts
Holography, Historical Indexicality, and the Holocaust
Guido Kirsten
Everything for Everyone, and for Free? The Utopian
Moment of Cinephiliac Online Archives
Grażyna Świętochowska
» University of Gdansk
“Warsaw Uprising” (2014) as lieux de mémoire. Digital
and Affective Dimension of Contemporary Uses
of Archives
Alexander Karpisek
Thoughts on Spectatorship
2.33
Reworking and Remixing Found Footage
Tomasz Łysak
Genealogies of Holocaust Testimony in Polish
Documentary Film
Chair: Andrew Burke
2.22
Audio History of/and/from Film
Chair: Michael Wedel
Winfried Pauleit
» The University of Bremen
Acoustic Space as Communal Space: Filmic Interventions
in the Visual and Narrative Constructions of History
Rasmus Greiner
» The University of Bremen
Sonic Histospheres: The Auditory Shaping of Time
and Space in Historical Films
Mattias Frey
» University of Kent, The University of Bremen
The Acoustic Conventions of Historical Films: Dialect
in "Requiem", "Robin Hood" and Beyond
Carolyn Birdsall
Sounds that Work: Production Films, Sound Archiving
and Audio History
2.43
Popular Cinemas in Central Europe:
Film Cultures and Histories
Chair: Zsuzsanna Varga
» Glasgow University
Dorota Ostrowska
» Birkbeck, University of London
Foreign Popular Cinema in Socialist Poland
Andrea Virginas
» Sapientia University, Cluj
A Kind of 'Hollywood' in Post-1989 Popular Hungarian
Film Production: Translating Mainstream into Small
Cinema
Francesco Pitassio
Serial Nostalgia: Alternative Modes of Popular Cinema
in Contemporary Czech Production
Jan Hanzlík
» University of Economics, Prague
"A Good Cinema Manager Can Save Kids from Drugs":
Media Discourse, Film Distribution and Programming
of Cinemas in the Czech Republic before and after
Digitalization
Monise Nicodemos
Paolo Gioli – In the Shadow of Anonymous
Katarzyna Ruchel-Stockmans
» Free University of Brussels
Between Fact and Fiction: Revisiting Histories
of the Cold War Through Television and Cinema Archives
Adam Freeman
» University of Kent
Space Place and the Archive in the Films of Jem Cohen
and Chris Petit
2.50
The Archives of the Self
Chair: Alex Casper Cline
Tamara Skalska
New Media and Archives of Self as a Tool for Future
Memories Design
Carolin Anda
» HBK Braunschweig DFG Graduate College
"The Photographic Dispositif"
Hybrid Datachives of the Self: Memory and Network
Dynamics on Facebook
Philippe Bédard
Be a Hero: The Aesthetic of Self-Representation
in GoPro Videos
th
Saturday, 20
13:45-15:30
Panels
2.53
2.51
Re-Collection: Museums and Means
of Memory-Making
Divergent Narratives of the Archive
Chair: Olof Hedling
» Lund University
Chair: Christiane Lewe
Simona Arillotta
From Autarky to Métissage: Archives of Contamination
in the Photographic Representation of Italian Childhood
in Second Postwar
Sarah Czerney
» Herder Institute, Marburg
National Museums as Archives of Forgetting
Jana Mangold
» University of Erfurt
Archives for the Future of the Past
Belén Vidal
» King's College, London
Radical Politics, Consensual Cinema: Remembering
the Long 60s in Contemporary European Films
Ulrike Hanstein
Obsolete and Contemporary: Film as objet retrouvé
Marta Brzezińska
Film Representations of the German Democratic
Republic After 1989 – A Counter-Archive?
Nicole Kandioler
Marcela, René, Katka, Hitler, Stalin and I: Archival
Versions of Ourselves
Spaces, Bodies, and Things: On Archives
of Emotions
Magdalena Saryusz-Wolska
“I hereby complain about the scandalous film…”
Opinions on 'Inappropriate' Films in 1950s West-Berlin
2.55
Chair: Skadi Loist
» University of Rostock
Living Archives of Sergei Eisenstein:
Correspondence, Library, Diary
2.54
Tomasz Basiuk
Body's Archive: Karol Radziszewski's Homage
to Andy Warhol
Saige Walton
» University of South Australia
Coppola's Versailles: Archives of Luxury in “Marie
Antoinette” (2006) and “The Bling Ring” (2013)
Ger Zielinski
» Trent University
On Queer Film Festivals as Archives of Feelings
Chair: Antonio Somaini
Natalie Ryabchikova
» University of Pittsburgh
Eisenstein's Archive: Tracing the Journey/Traces
of the Journey
Ada Ackerman
» The French National Centre for Scientific Research
On Sergey Eisenstein's Books and Readings: What Kind
of Archival Legacy?
Marie Rebecchi
1929-1932: Eisenstein and Painlevé. A Correspondence
for the Future
Elena Vogman
» University of Potsdam / Free University of Berlin
Beyond the Personal Archive: Eisenstein's Diary
Working with the Past
2.56
A conversation with representatives of Muzeum Sztuki in Lodz.
Interlocutor: Karol Jóźwiak (University of Lodz)
Saturday, 20th
15:45-17:30
Panels
2.20
Archives of Genocide
2.21
Perspectives on the Contextualization
of Audiovisual Online Archives: Access
and Publication Formats
Chair: Natascha Drubek
» Free University, Berlin
Chair: Berber Hagedoorn
Michael Cowan
» McGill University
Nazi Ghost in the Machine: Contemporary Cinema
Envisions the Origins of Computing
Eleonora Maria Mazzoli, Berber Hagedoorn, Willemien
Sanders, Eggo Müller
The Online Audiovisual Essay: Using and Contextualizing
Audiovisual Sources in Digital Media Studies
Vesna Lukic
» University of Bristol
Performativity of the Archive in the Contemporary
Holocaust Representations
Mariana Salgado
» Aalto University
Creative Reuse of Audiovisual Archives: Formats
for Supporting Amateur Practices
Suncem Kocer
» Kadir Has University
The Meta-Culture of Fatih Akın's „The Cut” (2014):
Discourses of Armenian Genocide
2.22
Cinematic Memory Embodied. Young
Audiences and (Digital) Cinema Experience
Dana Mustata
» University of Groningen
Enriching Access to Socialist Television Archives Online
2.33
Critical Film Festival Studies
Chair: Konrad Klejsa
Alexandra Schneider
» Johannes Gutenberg University, Mainz
“The Film is Thinking” – Some Preliminary Thoughts
on the Research of Children's Movie-Going Experiences
Mariagrazia Fanchi, Giovanna Mascheroni
At the Sunrise of the Digital Revolution: Young Cinema
Audiences in Italy Between Resilience and Changes
Wanda Strauven
Mediated Childhood Memories
Chair: Liz Czach
» University of Alberta
Skadi Loist
» University of Rostock
Mapping the Circuit: Methodological Considerations
of New Empiricism and the Spatial Turn
Kirsten Stevens
Clutching at Ephemera: Archives, Big Data
and Methodological Challenges in Multi-Event Film
Festival Research
Liz Czach
» University of Alberta
Affective Labour and the Work of Film Festival
Programming
Ian Christie
» Birkbeck College
Cinema Is What and How We Make It
2.43
Popular Cinemas in Central Europe:
Film Cultures and Histories II
Chair: Francesco Pitassio
Tess Van Hemert
» Queensland University of Technology
Farewelling the Regent: Considering 'Festival Memory'
in the Face of Change and Innovation
2.50
YouTube as an Archive
Zsuzsanna Varga
» Glasgow University
Starlets and Heartthrobs: Popular Cinema in Hungary
in the 1930s
Chair: Tamara Skalska
Balazs Varga
Budapest, Crime Film and Socialism: A Mission
Impossible?
Jihoon Kim
» Chung-ang University
Archiving Networked Subjectivity: Documentaries
Remixing YouTube
Clara Orban
» DePaul University, Chicago
When Walls Fall: Families in Hungarian Films
of the New Europe
Sheenagh Pietrobruno
» St. Paul University / University of Ottawa
YouTube, Intangible Heritage and the Politics of Archiving
Elżbieta Ostrowska
» University of Alberta, Edmonton
Power of Love: Polish Postcommunist Popular Cinema
Lande Pratt
Future Archive: Visualising the Flow of IP Use in UGC
Platforms
Saturday, 20th
15:45-17:30
Panels
2.53
2.51
Archives of Spaces, Images of Transition
An Archeology of Nostalgic Futures
Chair: Tomasz Załuski
Chair: Mirosław Filiciak
» University of Social Sciences and Humanities
Zsolt Győri
» University of Debrecen
Archives of Utopian Modernity: Housing Films
in Socialist Hungarian Cinema
Marta Wasik
Horrific Home Movies: Analog Nostalgia, Monstrosity
and the Family Film
Débora Gauziski
» Rio de Janeiro State University
Fausto Amaro
» Rio de Janeiro State University
Images of a City Under Construction: Cesar Barreto's
Photographs of the Olympic City
Tapes of Nostalgia: Contemporary VHS Screenings
and Prosthetic Memory
Sara Rundgren Yazdani
Neue Welt: Inkjet, Life and Machines
Beja Margithazi
Digitally Monochrome: Reflective Nostalgia and TimeShift in Contemporary Silent Cinema
Piotr Sitarski
Between Future and Eternity: SF Clubs and the Catholic
Church as Video Distribution and Exhibition Networks
in Poland in the 1980s
Defne Tuzun
» Kadir Has University, Istanbul
Archival Fantasies: The Question of Fiction
as a Necessity for Archival Preservation
2.54
2.55
Visual Archives Beyond the Discourse
Experimental Archives
Chair: Irina Schulzki
» University of Munich
Chair: Antonio Somaini
Ivan Pintor
Archive and Film Gestures
Erika Balsom
» King's College
A Cinematic Bayreuth: Gregory Markopoulos
and the Temenos
Roberta Agnese
» University Paris Est Créteil
Altering the Archive, Registering Amnesia: The Atlas
Group and the Fiction of What Escaped History
Senaldi Marco
L'empreinte en mémoire / The Memory Imprint –
Duchamp's Cinema as Self-Recycling Archive
Enrico Camporesi
» The New Sorbonne University, University of Bologna
Une Histoire du cinéma: An Archival Research
Lydie Delahaye
» University Paris VIII
The Inherent Artistic Potential of the Archive
Jonathan Pouthier
» Centre Pompidou
Screening Room: Acknowledging Independent Film
Through Mass Media
SCHOOL OF MEDIA AND AUDIOVISUAL CULTURE
The School of Media and Audiovisual Culture is a part of the Institute of Contemporary Culture,
established in 1945. The school, founded in 1997, emerged from the Department of Film Studies which was
originally created in 1959 by Professor Bolesław W. Lewicki as the first Polish academic centre devoted to
the research in moving pictures.
The faculty of the School is currently engaged in a wide range of research projects and topic areas which
have at its core the creation of a nurturing environment where the students will be provided with an
opportunity to gain expertise in one of three departments:
Department of History and Theory of Film
addresses the topics of historical poetics of European and American
cinema, issues of film narration, aesthetics of non-fiction film,
transformations of contemporary cinema, production studies,
screenplay theory and audience research
Department of Electronic Media
focuses mainly on theory and history of media and new media,
communication practices and media institutions connected with
them, new media art and design, theory, history and critique of
computer games, issues of interactive narration
Culture Theory Department
explores the topics of history and theory of modern culture with the
critical intent to the phenomenon of mass and popular culture, Polish
avant-garde, modern French philosophy and the philosophy of
culture, issues of identity and memory, urban studies
The School of Media and Audiovisual Culture regularly organizes international conferences which attract
attention of renowned scholars – the most recent were devoted to History of Central-European Cinema and
History of New Media. All three departments offer international student exchange programs in cooperation
with many universities abroad, e.g. in Germany, Scotland, Italy, Turkey or Sweden.
Situated in the heart of the city of Lodz, the School is located close to other institutions connected with film
industry, such as the Polish National Film, Television and Theatre School in Lodz, the Film Museum in Lodz
or Opus Film production company, what creates an inspiring ambiance for studying film, new media and
contemporary culture.
Visit us:
Address: Pomorska 171/173 Street, Faculty of Philology, 90-236 Łódź, Poland
Website: www.filmoznawstwo.uni.lodz.pl, www.media.uni.lodz.pl

the final programme of the necs 2015 conference

Transcription

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