CELEBRATING SIXTY YEARS
SCMS 1959-2019
SCMSCONFERENCE 2019PROGRAM
Sheraton Grand Seattle
MARCH 13–17
Letter from the President
Dear 2019 Conference Attendees, This year marks the 60th anniversary of the Society for Cinema and Media Studies. Formed in 1959, the first national meeting of what was then called the Society of Cinematologists was held at the New York University Faculty Club in April 1960. The two-day national meeting consisted of a business meeting where they discussed their hope to have a journal; a panel on sources, with a discussion of “off-beat films” and the problem of renters returning mutilated copies of Battleship Potemkin; and a luncheon, including Erwin Panofsky, Parker Tyler, Dwight MacDonald and Siegfried Kracauer among the 29 people present. What a start! The Society has grown tremendously since that first meeting. We changed our name to the Society for Cinema Studies in 1969, and then added Media to become SCMS in 2002. From 29 people at the first meeting, we now have approximately 3000 members in 38 nations. The conference has 423 panels, roundtables and workshops and 23 seminars across five-days. In 1960, total expenses for the society were listed as $71.32. Now, they are over $800,000 annually. And our journal, first established in 1961, then renamed Cinema Journal in 1966, was renamed again in October 2018 to become JCMS: The Journal of Cinema and Media Studies. This conference shows the range and breadth of what is now considered “cinematology,” with panels and awards on diverse topics that encompass game studies, podcasts, animation, reality TV, sports media, contemporary film, and early cinema; and approaches that include affect studies, eco-criticism, archival research, critical race studies, and queer theory, among others. No matter its expansion, the current society still shows what the initial mission statement defined as a “devotion to the medium as craft and art” and “a fellowship in spirit, in mind, and in performance.” One way we celebrate the history of our field and our society is through our Distinguished Career Achievement Award. This year, we give it to Donald Crafton whose work on early cinema, animation, performance, and sound embodies the society’s devotion to various media as craft and art. I hope you will join us at the Awards Ceremony on Friday at 5:00 pm and at the reception following to celebrate Professor Crafton and our other award winners, and to share in the fellowship of this venerable society. Have a great conference, Pamela Robertson Wojcik President
3 Letter from Program Chair
Welcome to the 60th annual conference of the Society for Cinema and Media Studies. I am honored to be this year’s Program Chair for what I hope will be an intellectually rewarding and socially satisfying experience in the beautiful city of Seattle. This fall we received 1200 proposals for pre-constituted panels, seminars, roundtables, workshops, and open call papers from a wide variety of independent scholars, graduate students, and faculty of all ranks. I am indebted to this year’s Program Committee, who carefully read every proposal and, in some cases, formed many of the open call panels that grace this program. Thank you to Peter Alilunas, Miranda Banks, Andrew Bottomley, Steven Cohan, Robin Curtis, Lindsey Decker, Cary Elza, Elizabeth Evans, Mark Gallagher, Rebecca Gordon, F. Hollis Griffin, Claire Henry, Daniel Herbert, Laura Horak, Sarah Keller, Bill Kirkpatrick, Melanie Kohnen, Derek Kompare, Dimitrios Latsis, Juan Llamas Rodriguez, Neepa Majumdar, Jeffrey Middents, Lori Morimoto, Miriam Petty, Isabel Pinedo, Kevin Sanson, Mel Stanfill, Neil Verma, and Pamela Robertson Wojcik. Each generously gave much of their time and expertise to ensure that the program reflects the diversity, currency, and depth of scholarship in which our membership is engaged. I also relied on the wisdom of previous Program Chairs, and would like to thank Steven Cohan, Pamela Robertson Wojcik, and Nick Davis for their input and help along the way. This was our second year using the submissions and review software designed by Open Water, and I’m grateful to their support team for their ongoing flexibility in designing and redesigning a portal to fit our needs. This year’s conference offers something for every specialty or interest and we’ve tried to organize the schedule, where possible, according to related research streams; for example, panels on animation are scheduled to follow each other in the same room on Thursday. Likewise, panels featuring Queer Theory and/or History are scheduled to follow each other Friday and Saturday. Other topics may have “mini” streams of similar design (following each other in the same room). We hope this enables attendees to take advantage of research interests without having to spend too much time mapping conference movements. Likewise, and building on last year’s success, we have continued scheduling seminars for Sunday mornings. We received a deep and diverse selection of seminar proposals this year, and we are pleased with the wide array of research and pedagogical interests represented. Please note one addition to the seminars: This year, conveners had the option of opening their seminars to the all conference attendees. If you have not already signed up for a seminar, you still have the opportunity to take advantage of this enriching chance to collaborate with peers in a more informal setting than offered elsewhere in the conference (open seminars are identified in the program). And, as per last year, seminars are followed by a coffee break leading into the last panels of the day. Beyond the panels, roundtables, workshops, and seminars, the conference also features a number of exciting special events organized by the Host Committee and other groups. The Seattle Host Committee has organized a fabulous event, “Evergreen Media: Film, Television, and New Media in Seattle,” for Thursday evening at 7:00 pm at the SIFF Egyptian Theatre. The evening will feature a panel of scholars, video clips, and short films highlighting the robust media culture located in Seattle. Thank you to our Host Committee— Kirsten Moana Thompson (Co-Chair), James Tweedie (Co-Chair), Lauren Berliner, Lyall Bush, David Coon, Dani Kissinger, Kathy Morrow, Leilani Nishime, Zaya Rustamova, and John Trafton—for organizing this event, and for putting together the Seattle guide found in your conference app. Other events of interest include “Reframing Ethnographic Media: Edward Curtis, Franz Boas, and the Kwakiutli First Nation,” “An Evening with Something Weird Video,” and a memorial to Frank Ukadike on Wednesday evening, and “The Secret Lives of Filmmakers: An Insider’s View of the Industry with Alan and Joyce Rudolph,” on Saturday evening, all in the conference hotel. This year we’ve also added a “pop-up” booth on Friday morning and Saturday afternoon in the hotel where members can “Ask a Librarian” or “Ask an Archivist” research questions. For those looking to go farther afield, SCMS is offering a hosted tour of the Paramount Theatre 4 on Thursday morning. Note as well that the Emerald City Comic Con coincides with our conference so there may be events of interest for SCMS members. Finally, if you’d like to honor and celebrate this year’s award recipients—and see old friends and colleagues—please join us at the Awards Ceremony and Reception starting with the awards at 5pm on Friday evening. One of the most enriching parts of being Program Chair is being exposed to both the depth and the breath of research interests pursued by our membership. From classical Hollywood to video games, spectatorship to cos-play studies, Film and Media Studies SCMS scholars bring a wealth of subjects to the conference. As this suggests, our membership has grown since we were first known as the Society for Cinematologists sixty years ago. Likewise, our membership has grown from under forty to more than 3,000 at this time. While this makes for a much larger conference than in the past, one of the virtues of such growth is that our meeting now includes scholars from all over the globe, including: Australia, Austria, Belgium, Britain, Canada, Czech Republic, Costa Rica, Chile, China, Egypt, Finland, France, Germany, India, Ireland, Israel, Italy, Japan, Lebanon, Mexico, the Netherlands, New Zealand, Norway, Paris, Poland, Qatar, Scotland, Singapore, South Korea, Spain, Sweden, Switzerland, Taiwan, and the United States. If you’re new to SCMS, welcome and we hope you find the annual conference to be a gratifying experience. To returning members, thank you for your continued support of the Society. I’d also like to extend a special welcome to independents scholars and those attendees affiliated with the various archives, film festivals, and other organizations. Your presence enriches all of our work. Finally, none of this—not the conference, not the awards, not the newsletters, not the social media and conference app—could be done without the herculean efforts of the SCMS staff housed either in the home office in Oklahoma or offsite. Communications Coordinator Margot Tievant keeps us apprised of all SCMS news throughout the year, and especially during conference time, while Erfana Enam, who recently joined the staff as our Financial Analyst, manages to keep our books in the black. While long-term conference scheduler Bruce Brasell left SCMS this year, we were fortunate that he left behind a strong legacy so that our new scheduler, Thomas J. West, could step in and help to create a program that combines diversity across panel sessions while also looking for places of contact and overlap. Website Content Manager Aviva Dove-Viebahn, who will be leaving this position later this year, has helped us all with our personal conference scheduling by managing our conference app, Crowd Compass, a much needed addition to the event. And Executive Director Jill Simpson keeps the whole show running while acting as the Society’s liaison with other scholarly and arts groups. My final thanks are reserved for the two individuals who labor year round to make the SCMS annual conference an invigorating and enjoyable intellectual and social event. As Director of Conferences and Events, Leslie LeMond identifies conference sites, negotiates contracts, coordinates rooms for panels and special events, and oversees the exhibition hall, among numerous other responsibilities. She is the core of our annual event, and I am indebted to her experience at conference planning and her deep knowledge and understanding of our, sometimes quirky, needs. I really couldn’t have done it without her. Likewise, Program Coordinator Molly Youngblood has become a crucial component in her relatively short tenure at SCMS. Always facing demanding tasks with good humor, a razor sharp mind, and an unmatched organizational sense, she has been integral to the success of the conference. And while she recently left SCMS, her influence is on every page of this program. I wish Molly the best as she moves on to another exciting stage in her career. While my list of thanks could go on, and apologies if I’ve left anyone out, I encourage all attendees to make the most of the conference—attend a session focusing on something outside your specialty, stop by a SIG or Caucus meeting, explore the exhibit hall, meet someone new, or simply enjoy your time in Seattle. Paula J. Massood Program Chair & President-Elect 5 Letter from the Executive Director
Dear SCMS Colleagues, Thank you for joining us for SCMS’s 60th annual conference! We are so pleased to be marking this milestone year in the culturally rich and vibrant city of Seattle. Seattle is home to respected film and media studies programs at Seattle University, the University of Washington, and Cornish University, all represented on the 2019 Host Committee. Upon your arrival, it won’t take long to recognize that Seattle has a thriving cinema and media culture. That culture is rooted in the early 20th century when scores of movie houses popped up in the downtown area, some established in the 1920’s by Hollywood’s major movie studios as regional distribution hubs. Many of these theatres were of lavish design. While very few of the original venues remain today, the opulent Paramount Theatre, only a 5-minute walk from the Sheraton Grand Seattle, serves as an exception. Fortunately, it was saved from the wrecking ball by former Microsoft executive Ida Cole in 1993 when she purchased it and raised the funds to restore it to its original glory. The Paramount reopened in 1995. Today it serves as a cinema, live performance venue, and art gallery, and is known as “The People’s Theatre.” Please don’t miss the special tour of this historic jewel that the Host Committee arranged for you on Thursday, March 14 at 11:00 am. Another local site that might be of interest to all you cinephiles with some free time on your hands is the nearby town of North Bend in the Snoqualmie Valley. An approximately 30-minute drive from Seattle, North Bend is the setting for the originalTwin Peaks TV series. If you visit, don’t miss Twede’s Café, also known as the Double R Diner in the series. At Twede’s, you can order up a piece of cherry pie and “a damn fine cup of coffee,” just like Special Agent Dale Cooper. In addition to its historic sites and venues, Seattle is home to a strong film and media community. There is an abundance of non-profit organizations who work collaboratively to make Seattle, if not the world, a better place in which to live. While there are too many to mention here, I will draw your attention to two that are playing a role in the 2019 Seattle Conference. The Seattle International Film Festival (SIFF), now in its 45th year, is geared towards the audience experience drawing thousands from around the world each spring. Between festivals, the organization provides year-round programming and educational components for Seattle area residents. SIFF is an in-kind sponsor for this year’s Host Committee event,Evergreen Media: Film, Television, and New Media in Seattle. Northwest Film Forum, the site of some of our SIG events, is also a pivotal member of the community. The non-profit organization supports filmmakers, offers classes, and provides an important hub for film and media makers, activists, and audiences. We are very proud to be working with both organizations. Please carve out some time to join the SCMS Board for the annual Members’ Business Meeting on Thursday, March 14 from 8:00–9:00 am in the Cirrus room on the 35th Floor. Meeting attendance is a great way to be updated on the Society’s performance over the last year and to hear about exciting new endeavors such as the launch of our new website, and our partnership with Notre Dame University and Kings College London (KCL) to present a three-day summer symposium, “London, Cinema and Media Gateway,” in July. Just as we introduced last year, the meeting will be formatted as a listening session allowing you time to provide your feedback to the Board. Please join me in thanking the 2018 Host Committee members for their hard work. I would especially like to thank Co-Chairs Kirsten Moana Thompson and James Tweedie for adeptly keeping all the many pieces moving in the same direction over the last several months. I hope you will take advantage of the wonderful suggestions they’ve curated for you on all things Seattle in this year’s Host Committee Guide section of the conference program. 6 In closing, thank you to the Board of Directors including our President, Pam Wojcik, and our Program Chair, Paula Massood for your countless contributions to SCMS. In closing, I owe a huge debt of thanks to staff members Molly Youngblood, Margot Tievant, Erfana Enam, Leslie LeMond, Aviva Dove-Viebahn, and Del LeMond. I appreciate each one of you and all that you brought to the table this year in making SCMS and our annual conference what it is. As we bid a fond farewell to Molly as she begins a new chapter in her life, we thank her for her amazing work over the past two-and-a-half years as SCMS’s Program Coordinator. Have a wonderful time in Seattle! Jill Simpson Executive Director
7 Presidents of the Society for Cinema & Media Studies
From the Society of Cinematologists . . .
1959 – 1961 Robert Gessner 1989 – 1991 Peter Lehman
1961 – 1963 Gerald Noxon 1991 – 1993 Janet Staiger
1963 – 1964 Richard Griffith 1993 – 1995 Virginia Wright Wexman
1964 – 1965 Erik Barnouw 1995 – 1996 Dana Polan
1965 – 1966 Robert Steele 1996 – 1999 Janice Welsch
1966 – 1968 John B. Kuiper 1999 – 2001 Robert Kolker
1968 – 1970 George Amberg 2001 – 2003 Lucy Fischer
1970 – 1972 Jack C. Ellis 2003 – 2005 E. Ann Kaplan
1972 – 1974 Raymond Fielding 2005 – 2007 Stephen Prince
1974 – 1975 Donald E. Staples 2007 – 2011 Patrice Petro
1975 – 1977 Howard Suber 2009 – 2011 Anne Friedberg
1977 – 1979 Timothy J. Lyons 2011 – 2013 Chris Holmlund
1979 – 1981 Robert Sklar 2013 – 2015 Barbara Klinger
1981 – 1983 John L. Fell 2015 – 2017 Steven Cohan
1983 – 1985 William Nichols 2017 – 2019 Pamela Robertson Wojcik
1985 – 1987 Vivian Sobchack 2019 – 2021 Paula J. Massood, President-Elect 1987 – 1989 Richard Abel . . . to the Society for Cinema & Media Studies
8 Society for Cinema and Media Studies
Founded in 1959, SCMS is a professional organization of college and university educators, filmmakers, historians, critics, scholars, and others devoted to the study of the moving image. Activities of the Society include an annual conference, JCMS: Journal of Cinema and Media Studies, the SCMS website, awards for excellence in film and media studies, and various other initiatives related to media research, education, and policy. SCMS Executive Council
OFFICERS Pamela Robertson Wojcik ◆ University of Tim Havens ◆ University of Iowa ◆ Secretary Notre Dame ◆ President Bambi Haggins ◆ University of California, Irvine ◆ Paula J. Massood ◆ Brooklyn College, CUNY ◆ Treasurer President-Elect
BOARD OF DIRECTORS Miranda Banks ◆ Emerson College Amber Hodge ◆ University of Mississippi ◆ Michael Curtin ◆ University of California, Graduate Student Representative Santa Barbara Derek Kompare ◆ Southern Methodist University F. Hollis Griffin ◆ Denison University Miriam J. Petty ◆ Northwestern University Elizabeth Evans ◆ University of Nottingham
NON-VOTING MEMBERS Steven Cohan ◆ Syracuse University ◆ Leslie LeMond ◆ SCMS ◆ Director of Past President Conferences and Events Caetlin Benson-Allott ◆ Georgetown University ◆ Joshua Nelson ◆ University of Oklahoma ◆ Editor, JCMS: Journal of Cinema and Media Home Office Representative Studies Jill Simpson ◆ SCMS ◆ Executive Director Aviva Dove-Viebahn ◆ Arizona State University ◆ Website Content Manager 2019 Conference Program Committee CHAIR Paula J. Massood ◆ Brooklyn College, CUNY Bill Kirkpatrick ◆ Denison University Peter Alilunas ◆ University of Oregon Melanie Kohnen ◆ Lewis and Clark College Miranda Banks ◆ Emerson College Derek Kompare ◆ Southern Methodist University Andrew Bottomley ◆ SUNY Oneonta Dimitrios Latsis ◆ Ryerson University Steven Cohan ◆ Syracuse University Juan Llamas Rodriguez ◆ University of Texas at Robin Curtis ◆ Albert-Ludwigs-Universität Dallas Freiburg Neepa Majumdar ◆ University of Pittsburgh Lindsey Decker ◆ Boston University Jeffrey Middents ◆ American University Cary Elza ◆ University of Wisconsin-Stevens Lori Morimoto ◆ Independent Scholar Elizabeth Evans ◆ University of Nottingham Miriam Petty ◆ Northwestern University Mark Gallagher ◆ University of Nottingham Isabel Pinedo ◆ Hunter College Rebecca Gordon ◆ Northern Arizona University Kevin Sanson ◆ Queensland University of F. Hollis Griffin ◆ Denison University Technology Claire Henry ◆ Massey University Mel Stanfill ◆ University of Central Florida Daniel Herbert ◆ University of Michigan Pamela Robertson Wojcik ◆ University of Laura Horak ◆ Carleton University Notre Dame Sarah Keller ◆ University of Massachusetts Boston Neil Verma ◆ Northwestern University 9 2019 Host Committee
CO CHAIR Kirsten Moana Thompson ◆ Seattle David Coon ◆ University of Washington Tacoma University Dani Kissinger ◆ Northwestern University CO CHAIR James Tweedie ◆ University of Washington Zaya Rustamova ◆ Kennesaw State John Trafton ◆ Seattle University Leilani Nishime ◆ University of Washington Lyall Bush ◆ Cornish College of the Arts Lauren Berliner ◆ University of Washington Kathy Morrow ◆ University of Washington Bothell
Conference Staff
PROGRAM COORDINATOR: Molly Youngblood ASSISTANT CONFERENCE MANAGER: Ginger Leigh SESSION SCHEDULER: Thomas J. West III PROGRAM DESIGNER, TYPESETTER & GRAPHICS DESIGNER: Del LeMond COMMUNICATIONS COORDINATOR: Margot Tievant GRAPHICS ASSIST: Sherrie Reyna SCMS FINANCIAL ANALYST: Erfana Enam CONFERENCE ASSISTANTS: Bob Derryberry & WEBSITE MANAGEMENT/COORDINATION: Aviva Dove-Viebahn Robert Derryberry DIRECTOR OF CONFERENCES & EVENTS: Leslie LeMond CONFERENCE PHOTOGRAPHER: Michael Kackman
Special Thanks
A special thanks to the following for their support and assistance with the 2019 conference:
Joel Neville Anderson Haidee Wasson TRIUMPH EXPO + EVENTS INC. Christine Becker Pamela Robertson Wojcik Dave Bendt Steven Cohan Molly Youngblood Hannah Martin Nick Davis SACRED HEART UNIVERSITY, SCHOOL OF Aviva Dove-Viebahn PSAV COMMUNICATION, MEDIA & THE ARTS Erfana Enam Sean Begley Maile Hetherington James Castonguay SHERATON Michael Kackman Andrew Miller Meaghan Fox Charlie Keil COLOR HOUSE Cheryl Macaraeg Bill Kirkpatrick Heather Beach Paula Massood Phil Knight TAGBOARD Patrice Petro Gary Nyenhuis Bryce Dickerson Margot Tievant Britni Rickson
Please Note
Replacement conference programs are available at Registration for $20 (subject to availability). Prices are in USD and can only be paid by credit card. Unless otherwise noted, all meetings, panels, workshops, and events will take place at the conference hotel—Sheraton Grand Seattle, 1400 6th Avenue, Seattle, Washington 98101 USA.
10 Registration Hours
ROOM METROPOLITAN BALLROOM–PRE-FUNCTION AREA ● 3rd Floor Tuesday, March 12 Friday, March 15 4:00 pm – 6:00 pm 8:00 am – 5:00 pm Tuesday hours for name badge and conference program Saturday, March 16 pick-up only (pre-registered attendees) 8:00 am – 5:45 pm Wednesday, March 13 Sunday, March 17 9:00 am – 6:00 pm 8:30 am – 1:30 pm Thursday, March 14 8:00 am – 5:15 pm Reminder: Please keep your name badge with you at all times. Replacement name badges will only be printed during registration hours above.
Conference FAQs
How Are Panels Structured? Panels typically feature 3–4 speakers giving a 20-minute paper. The chair may or may not be one of the speakers. Presenters may need to limit presentations to less than 20 minutes, especially if the panel also includes a formal respondent, or to accommodate more time for Q&A with the audience. How Do Workshops Differ From Panels? Workshops are interactive discussions led by one or two facilitators, who may speak for 5–10 minutes at the start. They are intended to be dialogical, interactive, and productive workspaces. Topics typically focus on pedagogy, research strategies, and methodologies but may also explore major intellectual issues or trends in the discipline. Workshops may include additional speakers but should emphasize participation by all session attendees, involved together in sharing best practices, working on a text together, role-playing an interview, demonstrating a technique, or any other productive interaction. How Do Roundtables Differ From Panels? Roundtables have 4–6 programmed participants, including the chair. Participants do not read papers but make very brief opening remarks, of no more than five minutes each. Following these statements, roundtables open up discussion among the panelists, followed by open discussion with the audience. What Are Seminars? Seminars are sessions in which nobody presents. Participants will have submitted short papers in advance, so everyone can read each other’s papers before the conference. The seminars will therefore function as a colloquium. In the seminar, leaders should ensure that all eight participants speak but should not go around the room and solicit summaries of each essay.
11 Schedule of Events at a Glance
TUESDAY WEDNESDAY THURSDAY March 12 March 13 March 14
8 am 8 am – 5:15 pm 8–9 am Registration Members Business open Meeting
9 am 9 am – 6 pm Registration open 9:15 – 11 am Session E 10 am
10:30 am – 5:30 pm Exhibits 11 am open 11 am 11:15 – 1 pm Paramount Session F Theatre Tour 12 pm 12 – 1:45 pm Session A
1 pm 1:15 – 3 pm Session G 2 pm 2 – 3:45 pm Session B
3 pm 3:15 – 5 pm Session H 4 pm 4 – 6 pm 4 – 5:45 pm Pre-registered aendees Session C can pick up name badges & conference programs 5 pm 5:15 – 7 pm Session I 6 pm 6 – 7:45 pm Session D
7 pm 7 – 9 pm Host Commiee Event Evergreen Media: Filmmaking in 7:30 – 10 pm Seale and the Grrrrls Night Out 8 pm 8:00 pm Special Event Pacific Northwest (Palomino) (SIFF Egyptian Reframing Ethnographic 8:30 pm Theater) Media: Edward Curtis, Franz Boas, and the Special Event Kwakiutl First Nation Tribute to 9 pm Frank Ukadike
9:30 pm Special Event An Evening with 10 pm Something Weird Video 12 FRIDAY SATURDAY SUNDAY March 15 March 16 March 17
8 am 8 am – 5:00 pm 8 am – 5:45 pm Registration open Registration open 8:30–9:30 am 8:30–9:30 am Institutional Graduate Mentor 8:30 am – 1:30 pm Registration open Members Chairs’ Workshop 9 am 9 – 10:45 am Breakfast 9–10:45 am 9 am – 12:45 pm Session J 9 am – 12:00 pm Session S — Seminars Ask a Ask a Digital Librarian/ 9:45 – 11:30 am Humanities 10 am Ask an Session N Scholar/ Archivist Videographic Pop-Up Critic 10:45 – 11:30 am 11 am 11 am – 12:45 pm Pop-Up Coffee Break Session K 11:30 am – 1:15 pm 11:45 am – 1:30 pm Session T 12 pm Session O 9 am – 4 pm Exhibits open 9 am – 5 pm 1 pm 1 – 2:45 pm Exhibits open Session L 1:30 – 5 pm 1 – 5 pm 1:30 – 3:15 pm 1:45 – 3:30 pm Ask a Session U 2 pm Ask a Digital Humanities Session P Librarian/ Scholar/ Ask an Videographic Archivist Pop-Up 3 pm 3 – 4:45 pm Critic Pop-Up Session M 3:45 – 5:30 pm 4 pm Session Q
5 pm 5–6:15 pm AWARDS CEREMONY 5:45 – 7:30 pm 6 pm Session R 6:15–7:15 pm Reception 7 pm
7 :30 pm – 9 pm Graduate Student Members' Meeting 8 pm and Reception
8:30– 10:00 pm Special Event 9 pm The Secret Lives of Filmmakers: An Insider’s View of the Industry with Alan and Joyce Rudolph
10 pm 13 2019 Conference Sponsors
SCMS would like to extend special thanks for the generous support from our sponsors.
Gold Sponsorship
University of Toronto Libraries, St. George campus (including Media Commons) LIBRARIES
University of Toronto, St. George campus, Cinema Studies Cinema Studies Institute Institute
University of Toronto, St. George campus, Faculty of Arts & Sciences
University of Toronto, Scarborough campus, English Department of English
University of Toronto, Mississauga campus, Department of Visual Studies
University of Toronto, St. George campus, Book and Media Program at St. Michael’s College
University of Toronto, St. George campus, McLuhan Center FACULTY OF INFORMATION McLuhan Centre for Culture & Technology University of Toronto, Mississauga campus, Institute of Institute of Communication, Culture, Information & Technology Communication, Culture, Information & Technology
Ryerson University Office of the Vice President for Research
Ryerson University Faculty of Communication and Design
Ryerson University School of Image Arts
York University School of Arts, Media, Performance, & Design (AMPD)
York University Department of Cinema & Media Arts
York University Graduate Program in Film
York University Graduate Program in Communication & Culture
Toronto International Film Festival (TIFF)
14 Specialized Sponsorship
Seattle University, Film Studies Program
Event Sponsorship
Auburn University, School of Communication & Journalism
Seattle University, Film Studies Program
The University of Iowa, Department of Communication Studies
Texas Tech University, The Literature, Social Justice, and
Environmental (LSJE) Program, Department of English Literature, Social Justice, and Environment (LSJE)
In Kind Sponsor
Seattle International Film Festival
SCMS Social Media & Mobile App
Follow us on Twitter (@SCMStudies) and Instagram (@scmstudies). Use #SCMS19 to post about your experiences during the conference. Find us on Facebook: facebook.com/SCMStudies and keep up to date on conference events via our mobile app. Access information about the conference from your mobile device including the conference schedule, directory of speakers and exhibiting vendors, sponsors and more! Registered conference goers, please refer to previously sent instructions on downloading the app. Keep an eye out for our new and improved website, coming this spring!
Live Tweeting
To facilitate virtual conversations arising from the annual meeting, SCMS encourages attendees to tweet using #SCMS19. Any speakers presenting material that they do not wish to be live-tweeted should make a request to the audience at the beginning of their presentations. 15 SCMS Caucus & Scholarly Interest Group Meeting Schedule All SCMS members are welcome to attend. Meetings are held in the Sheraton Grand Seattle unless otherwise noted. Chelan is located on the 1st Floor. Ballard is located on the 3rd Floor. WEDNESDAY, MARCH 13 12:00 pm – 1:45 pm Transnational Cinemas Scholarly Interest Group Ballard 2:00 pm – 3:45 pm Adult Film History Scholarly Interest Group Chelan Discuss updates, elections, SIG business, announcements, and distribute info relevant to our members. 4:00 pm – 5:45 pm Fan and Audience Studies Scholarly Interest Group Ballard 4:00 pm – 5:45 pm Transmedia Studies Scholarly Interest Group Chelan Short intro presentation, overview of key publications over the past year, discussion of new directions in the field, and exploration of what audience members have been researching in this area of study. 6:00 pm – 7:45 pm Urbanism/Geography/Architecture Scholarly Interest Group Ballard 6:00 pm – 7:45 pm Sound and Music Studies Scholarly Interest Group Chelan Update our membership on our activities, such as our student writing award, our 2018 SIG member publication list, and plans for future events with other SIGs. THURSDAY, MARCH 14 9:15 am – 11:00 am Children’s and Youth Media and Culture Scholarly Interest Group Ballard 9:15 am – 11:00 am Libraries and Archives Scholarly Interest Group Chelan 11:15 am – 1:00 pm Horror Studies Scholarly Interest Group Ballard 11:15 am – 1:00 pm War and Media Studies Scholarly Interest Group Chelan Business and networking meeting for all interested in War and Media studies. Membership not required. 1:15 pm – 3:00 pm Queer Caucus Ballard 1:15 pm – 3:00 pm French/Francophone Scholarly Interest Group Chelan Elections will be held this year.
3:15 pm – 5:00 pm Experimental Film and Media Scholarly Interest Group Ballard 3:15 pm – 5:00 pm Film Philosophy Scholarly Interest Group Chelan 5:00 pm – 7:00 pm Critical Media Pedagogies Scholarly Interest Group Explore nonprofit film and arts center Northwest Film Forum; enjoy drinks and food; and, talk pedagogy. Also: announcement of awards; recent publications by SIG members; and, plans for future actions. Meeting co-sponsored by the Simpson Center for the Humanities at University of Washington. Meeting held at Northwest Film Forum, 1515 12th Ave. 5:15 pm – 7:00 pm Latino/a Caucus Ballard (1) Mentorship Program; (2) Writing Challenge; (3) Precarious Labor additions to the Board; (4) 2020 SCMS preparation; (5) Graduate Student Essay Award; (6) Book List/Publications; (7) Founders Plus 5:15 pm – 7:00 pm Media, Science, and Technology Scholarly Interest Group Chelan Presenting grad student writing award, a dissertation workshop, and other SIG business. FRIDAY, MARCH 15 9:00 am – 10:45 am Documentary Studies Scholarly Interest Group Ballard Annual meeting for all members to discuss important initiatives like our new grad student mentorship program, among other issues. 16 9:00 am – 10:45 am Film and Media Festivals Scholarly Interest Group Chelan 11:00 am – 12:45 pm Women in Screen History Scholarly Interest Group Ballard 11:00 am – 12:45 pm Caucus Coordinating Committee Chelan 11:00 am – 12:45 pm Digital Humanities and Videographic Criticism Richmond Scholarly Interest Group 11:00 am – 12:45 pm Animated Media Scholarly Interest Group Meeting offsite: McMenamins Six Arms, 300 E Pike St.
1:00 pm – 2:45 pm Middle East Caucus Ballard 1:00 pm – 2:45 pm SIG Coordinating Committee Chelan 3:00 pm – 4:45 pm Caucus on Class Ballard Officer elections, update on developments since last year, and raising issues and agenda for upcoming year. 3:00 pm – 4:45 pm Asian/Pacific American Caucus Chelan 7:15 pm – 9:00 pm Scandinavian Scholarly Interest Group Jefferson A & B Reception for SIG members, those affiliated with the Department of Scandinavian Studies, and friends. 7:15 pm – 9:00 pm Television Studies Scholarly Interest Group Ballard 9:15 pm – 11:00 pm Black Caucus Issaquah A&B SATURDAY, MARCH 16 9:45 am – 11:30 am Radio Studies Scholarly Interest Group Ballard 9:45 am – 11:30 am Central/East/South European Cinemas Scholarly Interest Group Chelan We will announce our annual essay award winner, discuss election-related process, and announce our new co-chairs. 11:45 am – 1:30 pm CinemArts Scholarly Interest Group Ballard 11:45 am – 1:30 pm Oscar Micheaux Society Chelan 1:45 pm – 3:30 pm Women’s Caucus Ballard Our meeting features a panel on Women’s Activism in the Academy and Beyond, with discussion to follow. We will also award the annual Women’s Caucus graduate student writing prize. 1:45 pm – 3:30 pm Silent Cinema Cultures Scholarly Interest Group Chelan 3:45 pm – 5:30 pm Nontheatrical Film and Media Scholarly Interest Group Ballard Discuss teaching dossier, SIG elections, etc.
3:45 pm – 5:30 pm Comedy and Humor Studies Scholarly Interest Group Chelan 5:45 pm – 7:30 pm Video Game Studies Scholarly Interest Group Ballard 5:45 pm – 7:30 pm Comics Studies Scholarly Interest Group Chelan This meeting will feature a dialogue between the SIG members and two professionals from the comic book industry about their craft, practice, and labor. SUNDAY, MARCH 17 11:30 am – 1:15 pm Media Industries Scholarly Interest Group Ballard 11:30 am – 1:15 pm Media and the Environment Scholarly Interest Group Chelan We invite all current and interested members to join us. We will present the new coordinators and news about new journals, and discuss upcoming elections and sponsored sessions for 2020. 1:30 pm – 3:15 pm Classical Hollywood Scholarly Interest Group Ballard Meeting topics: A discussion of upcoming events and plans. 17 Policy on Virtual Participation in Conferences
The SCMS annual conference requires physical attendance by all presenters. Although the Society is encouraged by recent innovations in teleconferencing technology and appreciates the many contingencies that may prevent attendance, this policy is based on the following concerns: 1) the annual conference places a premium on face-to-face interaction and conference-wide participation; 2) at most conference hotels technology costs are prohibitive and performance is unpredictable; 3) virtual linkages and technology mishaps tend to undermine the overall flow of conversation and interaction; 4) a stable connection often consumes excessive bandwidth and therefore comes at the expense of other conference events; and 5) the Society offers other options for virtual participation and exchange through its website and social media venues.
2019 Audio Visual Policy
The following equipment will be standard in all panel/roundtable/workshop rooms at the conference: • LCD projector (and audio) • VGA Cable (Please make sure you bring an adapter—mini display port to VGA, thunderbolt to VGA, etc) • Mini Audio Jack • Power strip • Wireless internet access (you will obtain the password at conference registration) Because the cost of equipping rooms with computers is prohibitively expensive, we must ask you to bring your own laptop if you plan to use projection. In addition to your own laptop, please be sure to bring your power cord and any proprietary cords required for your computer. Mac users, please bring your own VGA Adapter. Wireless internet access will be provided in the panel/workshop rooms and conference space. We will not be offering computers, DVD players, overhead projectors, slide projectors, CD players and/or additional audio components. If you have questions about AV or the Society’s audiovisual policy, please contact our Director of Conferences and Events. Best Practices Panels and workshops with multiple presentations using projection are encouraged to coordinate before their session time to have all presentations on a single computer or flash drive. Designate one person’s laptop for use during the session; load all presentations onto the laptop before the session; and test the presentation to make sure they will work with the software on the designated laptop. We cannot accommodate changes or requests for AV equipment onsite. SCMS is not responsible for the safety and security of attendee computers. Thank you for your cooperation.
Assistance with AV during the Conference
If your room’s equipment is malfunctioning or you are having difficulty, please contact one of the technicians from PSAV. The direct number for the on duty floor technician is 206.549.7444. State you would like a PSAV technician to come to the room and tell them the issue you are experiencing. You may also call if you need a PSAV technician to come speak with you if you have extensive questions to ask before your presentation. Thank you.
18 Conference Hotel Amenities
Thanks for staying at the Sheraton Grand Seattle—If you booked a room at the Sheraton Grand Seattle under the SCMS room block (online or by phone), your guest room rate includes complimentary Internet access. Wireless Internet access—Standard in all meeting space at SCMS 2019. This includes the Exhibit Area (Metropolitan Ballroom, 3rd Floor) and the SCMS Lounge/Recharge Area (Capitol Hill, 3rd Floor). You will need to obtain a password at Conference Registration (Metropolitan Ballroom–Pre-Function Area, 3rd Floor). The hotel front desk will provide details of how to log onto the Internet in your guest room so that it is taken care of on your final bill.
Green Partnership 2018 Green Seal-Silver Hotel Award—The Sheraton was awarded the Silver Green Seal Standard Hotel Award and participates in a local recycling and composting program. For more information on the Sheraton Grand Seattle and SCMS’ sustainability policies, please visit
Wellness
Nursing area—You are welcome to nurse where ever you feel comfortable feeding your child. If you are looking for a more private space, you can use the SCMS nursing area (Dashpoint, 4th Floor, Pike Street Tower). Hours for the nursing area: Wednesday 12:00 pm – 7:45 pm, Thursday 8:00 am – 7:00 pm, Friday 9:00 am – 5:00 pm, Saturday 8:30 am – 7:30 pm, and Sunday 9:00 am – 3:15 pm. Quiet room—During the conference, persons who desire a quiet place to prepare for a presentation may visit the SCMS quiet room (Alki Boardroom, 4th Floor, Pike Street Tower). Hours for the quiet room: Wednesday 12:00 pm – 7:45 pm, Thursday 8:00 am – 7:00 pm, Friday 9:00 am – 5:00 pm, Saturday 8:30 am – 7:30 pm, and Sunday 9:00 am – 3:15 pm. 19 Fitness Center—Located on the 35th Floor (Pike Street Tower) with sweeping views of Seattle, the multi- level Sheraton fitness center features complimentary 24/7 guest access. The bi-level exercise room is equipped with state-of-the-art Life Fitness Signature Series equipment. This integrated equipment offers an interactive heart rate system along with a 15-inch touch-screen console to select entertainment options. Equipment also includes: Treadmills, Elliptical Cross-Trainers, Exercise Bikes, Single Station Resistance Equipment, and Free Weights. Northwest Art Collection—The hotel features a multi-million dollar art collection managed by the hotel’s very own Art Curator, Margery Aronson. It is open to the public and features original works of art by famous northwest artists, including glass master Dale Chihuly. Indoor Heated Pool—Overnight guests enjoy complimentary access to the heated lap pool in our fitness center. This 35th Floor facility allows spectacular natural sunlight and dazzling views of Puget Sound, Lake Union, and the Olympic and Cascade Mountain ranges.
Inclusion
Pronoun Stickers—As a show of SCMS’s commitment to diversity and inclusion, we will provide pronoun stickers for your name badge. Stickers will be available for pickup at registration and can easily be worn as a show of solidarity and a means of making our annual conference a friendly and safe environment for all. All-Gender Restrooms—SCMS is committed to making the conference accessible and welcoming to all of our community. Gender-neutral restrooms are an important part of making the annual conference more inclusive. All-person, all-access restrooms are available at the Sheraton Grand Seattle on the Third Floor (close to the Ravenna rooms). The hotel also has two, single stall All-Gender restrooms on the 4th Floor of the Pike Street Tower. All-Gender Restrooms will be clearly marked with signs outside of the restroom entrances and are also designated on the map on page 27. To find other safe restrooms in Seattle, visit Refuge
Recording Policies
SCMS and the press occasionally record sessions for use in broadcast and electronic media, and may also film or photograph public areas at the meeting. Any individual’s registration, attendance, or participation at the meeting constitutes that attendee’s agreement to the use of their image in photographs, video, audio, and electronic communications. Presenters who do not wish for their session to be recorded may opt out by contacting [email protected]. In order to encourage open debate and allow members to speak as freely as possible, SCMS does not permit audio or video recording of its business meeting. Anyone who wishes to conduct audio or video recording must obtain permission from participants in advance. SCMS is not responsible for unauthorized recording but does reserve the right to revoke registration of anyone who records or broadcasts sessions without appropriate permissions.
20 SCMS Anti-Harassment Statement
As an association, the Society for Cinema and Media Studies is strongly committed to building and supporting a robust scholarly and educational community built on the tenets of diversity, equity, and the free and civil exchange of ideas with fundamental respect for the rights, dignity, and value of all persons (See SCMS Position Statement November 21, 2016). The values of respect, equity, and nondiscrimination should inform conduct whether in speech or act; whether in formal, informal or social settings; whether in-person or remotely. At our national conference and throughout the year, SCMS is committed to providing an environment where all members, participants, and volunteers are treated with equal consideration in a harassment-free space. Certain behavior is specifically prohibited and will not be tolerated in person, in writing, or remotely, including: harassment or intimidation based on race, religion, language, gender, sexual orientation, gender identity, gender expression, disability, appearance, or other protected group status; sexual harassment or intimidation, including verbal harassment, unwelcome sexual attention, stalking (physical or virtual), sexual coercion, or unsolicited physical contact; the use of power or professional status to threaten, coerce, or harass someone, whether verbally or physically; or threatening behavior, whether verbal or physical. During the annual conference as well as any SCMS sponsored events, participants (whether members, presenters, staff, students, attendees, guests, vendors, contractors, exhibitors, volunteers, or media representatives) are expected to observe these rules and behaviors in all conference venues, meetings, special events, tours, receptions, hotel spaces, as well as online venues and social events on or off site involving members. Within the context of SCMS policy and the professional practices of scholarship, critical examination of beliefs and viewpoints does not, by itself, constitute hostile conduct or harassment. Similarly, the use of imagery or language in the context of a professional discussion might not constitute hostile conduct or harassment. If you have experienced any unwelcome behavior or harassment, please contact the Executive Director or any member of the Board of Directors, a member of Hotel Security, and/or a local police officer. Please report any physical assault or threats to the local police department. Reporting an incident of harassment does not obligate the complainant to pursue any further action. Everyone will be treated fairly and with dignity and respect throughout the investigation process due to the enormous consequences an allegation of harassment can have for all parties involved. To the extent possible, the investigation will be handled confidentially and sensitively. All allegations will be documented by a designated member of the Board of Directors or SCMS Home Office and may, if warranted, be referred to local law enforcement. SCMS will handle matters that fall under a violation of these policies individually, in a manner deemed fit by the Board of Directors.
21 Accessibility
The Society for Cinema & Media Studies is committed to providing access and reasonable accommodation in its services, programs, activities, education, and employment for individuals with disabilities. The Sheraton Grand Seattle is also committed to making their facilities, amenities, and services accessible to guests with disabilities. That commitment entails removing barriers and making reasonable modifications to their policies, practices, or procedures so as to give people with disabilities the same opportunities as other guests in the way they access and benefit from the property’s products and services. All areas of the facility are wheelchair-accessible. Electronic doors are located at the main lobby entrance. The main lobby has a marble floor. Elevators connect all levels of each property. Each elevator has Braille numerals beside each control button. Restrooms in lobbies and on meeting room floors are ADA accessible, wheelchair accessible and have tactile signage. There are no restrictive steps to enter the hotel or within the hotel. Valet parking and on site accessible self-parking is available at the hotel. The hotel has an accessible fitness center, swimming pool and business center. Guest Rooms—Mobility-accessible doors feature at least 32 inches of clear door width. There are 12 accessible rooms with king beds. Five have roll-in bathrooms. Accessible rooms also offer the following: adjustable height hand-held shower wand, bathroom vanity at an appropriate height, grab bars in the bathroom, a lowered deadbolt, lowered electrical outlets, lowered night guards and peepholes on guest room doors, and no transfer showers are available. Hearing-accessible features include a visual fire alarm, portable communications kits containing visual alarms and notification devices, and TTY. TVs have closed captioning. Meeting Rooms—All rooms and floors of the hotel are accessible. Restaurants—There are restaurants on the lobby level and they are accessible. Conference Events—All conference events at the Sheraton Grand Seattle are fully accessible by elevator. If you are an attendee who has access needs, please let us know so we can ensure you will not face any barrier to participation. Please speak with a Guest Services Representative in the Lobby (either at hotel registration or the concierge desk) or call/email Cheryl Macaraeg, Senior Event Manager,
SCMS Lounge/Recharge Area with Computer/Printer Access ROOM CAPITOL HILL ● 3rd Floor Feel free to hang out in this area, network, hold informal meetings, charge your devices, work on your computer/tablet. All registered attendees of SCMS 2019 may use this area free of charge. Terms and conditions: you agree to use these computers at your own risk. They are public terminals and SCMS cannot be held responsible for results of usage.
22 Exhibit Hours*
ROOM METROPOLITAN BALLROOM ● 3rd Floor Thursday, March 14 Friday, March 15 Saturday, March 16 10:30am – 5:30pm 9:00am – 5:00pm 9:00am – 4:00pm *hours subject to change
Thanks to Advertisers & Exhibitors
We gratefully acknowledge the following advertisers and exhibitors for their support of this year’s conference. Advertisers Berghahn Books Syracuse University Press Columbia University Press Temple University Press Columbia University, School of the Arts Toronto International Film Festival De Gruyter University of California Press Duke University Press University of California Press, Journals Edinburgh University Press University of Illinois Press Georgia Institute of Technology University of Michigan, Department of Film, Icarus Films Television and Media Indiana University Press University of Michigan Press Indiana University, The Media School University of Minnesota Press Muhlenberg College University of Oklahoma, Film & Media Studies NYU Press University of Wisconsin-Milwaukee Oxford University Press University Press of Mississippi Rutgers University Press Wayne State University Press Exhibitors Berghahn Books Routledge, Taylor and Francis Group Bloomsbury Academic Rowman & Littlefield Canadian Filmmakers Distribution Centre Rutgers University Press Columbia University Press Sires Crown Eyewear Cornell University Press Springer Nature The Criterion Collection SUNY Press Deja Bags Syracuse University Press Duke University Press University of California Press Edinburgh University Press University of Chicago Press Indiana University Press University of Illinois Press Ingram Academic Services University of Iowa Press Intellect University of Michigan Press International Communication Association University of Minnesota Press McGill-Queen’s University Press University of Texas Press MIT Press University of Toronto Press Modern Language Association University of Washington Press Moving Images Distribution University Press of Mississippi Northwestern University Press Wayne State University Press NYU Press W.W. Norton & Co. Inc. Oxford University Press 23 Thanks to Our 2018–2019 Institutional Members
Academy of Motion Picture Arts and Sciences, University of California, Los Angeles, Film, Margaret Herrick Library Television and Digital Media The American University in Cairo, Film Program, University of California, Irvine, Program in Visual Department of the Arts Studies British Film Institute University of California, Santa Barbara, Film & Brooklyn College, Barry R. Feirstein Graduate Media Studies School of Cinema University of Chicago, Cinema and Media Studies Brown University, Department of Modern Culture University of Colorado Boulder, Department of and Media Critical Media Practices Columbia University, Department of Anthropology University of Iowa, Department of Cinematic Arts Concordia University, Mel Hoppenheim School of University of Michigan, Ann Arbor, Department of Cinema Screen, Arts and Culture Denison University, Department of Media University of Minnesota, Department of Cultural Florida Atlantic University, School of Studies & Comparative Literature Communication & Multimedia Studies University of North Texas, Department of Radio, Georgia State University, School of Film, Media & Television & Film Theatre University of Notre Dame, Department of Film, TV Indiana University-Bloomington, The Media and Theatre School University of Oklahoma, Film and Media Studies John Hopkins University, Film and Media Studies University of Oregon, Cinema Studies Program University of Pittsburgh, Film and Media Studies Liverpool John Moores University, Liverpool University of Southern California, School of Screen School Cinematic Arts Muhlenberg College, Film Studies Program The University of Texas at Austin, Department of New York University, Cinema Studies Department Radio-Television-Film Northwestern University, RTVF Screen Cultures University of Washington, Comparative Literature, Old Dominion University, Communication and Cinema & Media (CLCM) Theatre Arts University of Wisconsin-Milwaukee, Film Studies Ryerson University, School of Image Arts Program Seattle University, Department of English Villa Maria College, Digital Filmmaking Southern Methodist University, Film and Media Washington University in St. Louis, Film and Media Arts Studies Swedish Film Institute York University, Department of Cinema and Media Syracuse University, English Department Arts Toronto International Film Festival
24 Become an Institutional Member
Institutional membership represents a significant engagement with current scholarship, theory, criticism, education, and practice in the study of cinema and media. Allow us to help you increase exposure and heighten awareness of your organization with our audience of highly motivated cinema and media faculty, undergraduate and graduate students, precollege teachers, postdocs, and professionals in media and film studies. Why SCMS? Our society comprises over 3,000 members, representing more than 500 institutions and 38 nations. We serve as a resource for scholars, teachers, administrators, and the public at large. Benefits • Four issues of JCMS: Journal of Cinema and Media Studies • Access to members’ area of the SCMS website, monthly News Briefs, announcements, and profile page • Unlimited access to SCMS’ online career center, enabling departments and programs to post and view job applications and to identify cinema/media scholars looking for full and/or part-time employment. • Free job postings • Free website ad accessible via the institutional membership list on cmstudies.org • Featured in the Programs/Schools area of the SCMS website • Logos and homepage link inclusion on the SCMS website to showcase programs and activities • Listing in conference program • Free ad within the conference app • 50% discount on an ad in the conference program —OR— 10% discount on up to ten (10) student memberships • Networking opportunities via the annual conference and the SCMS website • JSTOR access to the journal • Online resources for department chairs, including data about the discipline • Guidelines for Program Review and other assessment resources • Discounted rates on books
Sign Up Today Sign up your department, program, or office for SCMS institutional membership and ensure that you and your colleagues have timely access to valuable resources. http://www.cmstudies.org/?page=institut_membership
25 Thanks to Our 2018–2019 Donors
Award Funds Chelsea Birks Pamela Krayenbuhl Livia Monnet James Cahill Martin Marks Michael Renov General Funds Scott Balcerzak Mary Harrod Miriam Petty Miranda Banks Priya Jaikumar Catherine Russell Steven Cohan Victoria Johnson Jill Simpson Susan Courtney Nicole Keating M. George Stevenson Michael Curtin Bill Kirkpatrick Karen Williams Nick Davis Derek Kompare Pamela Robertson Wojcik Mary Desjardins Leslie LeMond Heshen Xie Bambi Haggins Anne Marit Myrstad Shuyi Xiong Itay Harlap Joshua Nelson SCMS-U Funds Rebecca Bell-Metereau Mary Celeste Kearney Chris Holmlund Pete Kunze Travel Funds Cynthia Baron Bambi Haggins Frann Michel Chris Becker Rebecca Harrison Linda Mizejewski Matthew Bernstein Kristen Hatch Meenasarani Murugan Sarah Borrow Joan Hawkins Elena Razlogova Lauren Bratslavsky Reem Hilu Justin Rawlins Robert Burgoyne Matthew Holtmeier Karen Ritzenhoff James Cahill Brian Jacobson Mark Sandberg Matthew Connolly Jonathan Kahana Eric Schaefer Heidi Cooley Mary Celeste Kearney Shawn Shimpach Scott Curtis Sarah Keller Stacy Takacs Nick Davis Robert Kilker Oyvind Vagnes Lindsey Decker Barbara Klinger Haidee Wasson Michael Dwyer Derek Kompare Chelsea Wessels Robert Eberwein Pete Kunze Charles Wolfe Kris Fallon Stephanie LeMenager Patricia Zimmermann Kenneth Feil Kathleen A McHugh Olga Zolotareva Kate Fortmueller Tara McPherson
Nominations for Distinguished Pedagogy & Distinguished Career Achievement Awards
All SCMS members—graduate students, part‑ and full‑time faculty, and independent scholars—are warmly encouraged to nominate scholars they consider deserving of the Distinguished Career Achievement and Distinguished Pedagogy awards. A short nominating statement, submitted via an online form, is required by August 1 in each case. For further information, including additional criteria required for each award, please visit the Awards section of the SCMS website: cmstudies.org. 26 Meeting Space at a Glance
THIRD FLOOR Ravenna C Ravenna B Ravenna A All-Gender Medina Restrooms Leschi Kirkland Metropolitan Ballroom Registration Issaquah A Evere Exhibit Area Issaquah B Greenwood
Capitol Ballard Fremont Hill Meetings SCMS Lounge/ Recharge Area
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Redwood B Grand Ballroom A B C D Institutional Redwood A Awards Members Ceremony Chairs’ Breakfast Aspen Spruce Cedar B Willow A Cedar A Willow B Juniper
Madrona
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Chelan Meetings Eagle Boardroom
27 Meeting Space at a Glance
PIKE STREET TOWER, 35TH FLOOR
Cirrus Members' Business Meeting
UNION STREET TOWER, FOURTH FLOOR
Virginia
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28 Seattle Vicinity Map
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Members’ Business Meeting Awards Ceremony Thursday, March 14 Friday, March 15 8:00 am – 9:00 am 5:00 pm – 6:15 pm ROOM CIRRUS ● 35th Floor, Pike Street Tower ROOM GRAND BALLROOM C & D ● 2nd Floor All SCMS members are encouraged to attend the Please join us in acknowledging and annual Members’ Business Meeting to learn more honoring this year’s award recipients. about SCMS and current strategic processes. We are excited to introduce some of the key Reception features of SCMS’s new website. Members will also meet and can address questions to members Friday, March 15 of the Board, and the leadership of the SCMS 6:15 pm – 7:15 pm Caucuses and Scholarly Interest Groups. ROOM GRAND BALLROOM A & B and PRE-FUNCTION AREA ● 2nd Floor Paramount Theatre & Historic Theatres Library: Celebrate this year’s award recipients, outgoing A Hosted Tour SCMS Board members, and others who have served the Society this past year while catching up with Thursday, March 14 old friends and meeting new acquaintances. 11:00 am – 12:00 pm LOCATION PARAMOUNT THEATRE ● 911 Pine Street Coffee Break Seattle Theatre Group (stgpresents.org), the Sunday, March 17 largest arts organization in the Pacific Northwest, programs and operates three historic theatres in 10:45 am – 11:30 am Seattle. Their flagship theatre is The Paramount ROOM METROPOLITAN BALLROOM which opened in 1928 as a movie house and is a PRE-FUNCTION AREA ● 3rd Floor designated historic landmark. You will be able to tour parts of the theatre and learn about historic and current film and performing arts presentations. The last 15 minutes of the tour will include a visit to the Historic Theatres Library adjacent to the theatre.
Ask a Librarian/ Ask a Digital Humanities Scholar/ Ask an Archivist Videographic Critic Friday, March 15 Saturday, March 16 Friday, March 15 Saturday, March 16 9:00 am – 12:45 pm 1:00 pm – 5:00 pm 1:30 pm – 5:00 pm 9:00 am – 12:00 pm ROOM METROPOLITAN BALLROOM ROOM METROPOLITAN BALLROOM PRE-FUNCTION AREA ● 3rd Floor PRE-FUNCTION AREA ● 3rd Floor You’ve got questions? We’ve got answers! Members of the Digital Humanities and Videographic Librarians, archivists, and seasoned researchers Criticism Scholarly Interest Group will staff a booth from the Libraries & Archives Scholarly Interest Group on the 3rd Floor of the Sheraton Grand Seattle on will be fielding questions on the Friday and Saturday to answer questions about DH and 3rd Floor of the Sheraton Grand Seattle. Videographic Practice and provide technical tutorials. 30 INSTRUCTIONS FOR PANEL AND WORKSHOP CHAIRS
1. Presentations should not exceed 90 minutes total, to ensure discussion time.
• When one panelist goes over time, other panelists or workshop participants are deprived of a fair opportunity to present their research/comments.
• Audience members are rightfully upset when there is no time to ask questions.
2. SCMS asks all panel chairs to please read this statement aloud at the beginning of each session: To begin, we respectfully acknowledge that our event today is taking place on the ancestral territory of the Duwamish, Muckleshoot, Snohomish, Snoqualmie, Suquamish, and Tulalip peoples. We pay respect to their Elders past and present and extend that respect to their descendants and to all Indigenous people. To acknowledge this land is to recognize its longer history and our place in that history; it is to recognize these lands and waters and their significance for the peoples who lived and continue to live in this region, whose practices and spiritualities were and are tied to the land and the water, and whose lives continue to enrich and develop in relationship to the land, waters and other inhabitants today.
3. Technology problems cut into panel times. Please have panelists check their technology (DVDs, laptops, flash drives) in advance.
4. Please check that all visuals and audio are functional before your session begins.
5. All papers must be presented in person by the author. Skype or other teleconference presentations are not allowed at SCMS conferences.
6. Chairs should give their panelists signals for 5 minutes left, 2 minutes left, and “please wrap up” at the 20-minute mark.
7. Chairs who are presenting papers should designate one of the panelists to time their paper when they are presenting.
8. Please end your session promptly to allow time for travel between panels and set-up for the next session.
31 session Wednesday, March 13 A 12:00 pm – 1:45 pm A1 Queer Archival Registers A2 Disruptive Cinema Exhibition The Precarious Promise of From Alternative Content Consumption New Media Archives to Expanded Spectatorship Practices
CHAIR Marika Cifor ◆ Indiana University CHAIR Sarah Atkinson ◆ King’s College London Bloomington Su‑Anne Yeo ◆ Emily Carr University of Art + Cait McKinney ◆ California State University, Design ◆ “Cinema Kabuki and the Production Northridge ◆ “Alfred Kinsey’s Period Tracking of Liveness” App: Intimate ‘Archives’ and Mediated Carter Moulton ◆ Northwestern University ◆ Histories of Data Science” “‘They Are Acting Like The Dursleys’: Alexander Cho ◆ University of California, Irvine ◆ Constructing and Controlling The Blockbuster “Acceleration, Extraction, Evasion: Social Experience” Media Sentiment Analysis and Queer of Color Helen Kennedy ◆ University of Brighton ◆ Resistance” “Secret Cinema: From Event‑Led to Experience Markia Cifor ◆ Indiana University Bloomington ◆ Led Film Distribution Models” “#WhatIsRememberedLives: Surviving AIDS in Sarah Atkinson ◆ King’s College London ◆ “‘One the Instagram Archive” Night—One Camera—One Take’: Immediacy, China Medel ◆ University of North Carolina at Liveness, Authenticity in Lost in London LIVE” ◆ Chapel Hill “Brown Time: veteranas_and_ SPONSOR Fan and Audience Studies rucas and Latinx Image Archiving in the Face Scholarly Interest Group of Gentrification” SPONSOR Libraries and Archives Scholarly Interest Group
32 A3 Television Audiences and A5 Global Ethics and Aesthetics session Fans in the Streaming Era
CHAIR James Prakash Younger ◆ Trinity College CHAIR Kelly Kessler ◆ DePaul University Laurence Kent ◆ King’s College London ◆ “The ◆ Metaphysical Screen: Cavell, Deleuze, and The A Zachary A. Zahos University of Wisconsin- Madison ◆ “Memed Hams: YouTube Outside” Appropriations of The Simpsons and the Lia Turtas ◆ Cornell University ◆ “Heretical Vernacular Avant‑Garde” Animism: The Spiritual Automaton of Pier Michael Rennett ◆ The University of Texas at Paolo Pasolini’s Cinema” Austin ◆ “Recreating Reality TV: The Fandom James Prakash Younger ◆ Trinity College ◆ and Labor of YouTube’s Survivor: Maryland” “Radical Anachronism: Rasa Aesthetics in Kelly Kessler ◆ DePaul University ◆ “Tweets, Bengali Art Cinema” Gleeks, and racheldoesstuff: Hybridizing Dylan Suher ◆ Harvard University ◆ “May Broadway and TV Fandom in Online Promotion Fourth’s Forgotten Territory: The Story of of 21st Century Musical Series” Chinese Film Literature” Dan Hassoun ◆ Indiana University ◆ “‘Watching, But Not Too Much’: Managing the Attention and Distraction Boundary in Binge‑Watching Practices” A6 Feminist Intermediality and Innovation
A4 Spiritualism and Cinema CHAIR Erin Harrington ◆ University of Canterbury, New Zealand
Rosanna Maule ◆ Concordia University ◆ ◆ CHAIR Murray Leeder University of Calgary “Intermediality and Women’s Agency in Media RESPONDENT Matthew Solomon ◆ University of Culture” Michigan Heather Osborne‑Thompson ◆ California State Murray Leeder ◆ University of Calgary ◆ University Fullerton ◆ “Stylistic and Generic “Spiritualist Reception of Anti‑Spiritualist Films Heterogeneity in Big Little Lies” in Britain, 1913–1926” Erin Harrington ◆ University of Canterbury, Kevin Chabot ◆ University of Toronto ◆ “Pure New Zealand ◆ “XX marks the spot? Medium(ship): Photography, Film, Automatic Gender, aesthetics and representation and Writing” contemporary horror anthology films” Conn Holohan ◆ NUI Galway ◆ “Living in Style: Gender, Class and Camera Movement in Late–1930s Melodrama”
WEDNESDAY MARCH 13 12:00 pm 1:45 pm
33 session A7 Time Keeps on Slipping A9 Have Soundtrack, Will Travel Temporal Dimensions of Genre and Authorship Sound and Intermedia After Lives
CHAIR Jiwon Ahn ◆ Keene State College CHAIR Joy Hayes ◆ University of Iowa A Zak Roman ◆ University of Oregon ◆ “The Martin Roberts ◆ Dartmouth College ◆ Regressive Teleology of the Revivalist Parody “Celluloid Heroes: Merry Christmas, Mr. Film” Lawrence and Cosmopolitan Cinema” Jiwon Ahn ◆ Keene State College ◆ Amy Monaghan ◆ Clemson University ◆ “Empowered Through Time: The Time Slip “Seeing Sound: The Poor Image and the Rich Narrative in Recent East Asian Films” Soundtrack of Until the End of the World” Christopher Ernst ◆ Stevenson University ◆ Joy Hayes ◆ University of Iowa ◆ “Documenting “The Owls Are Not What They Seem—Screen Authority: Radio and the Rise of Documentary Memories and Depictions of the Supernatural in the Interwar Period” in Twin Peaks: The Return” Seth A. Friedman ◆ DePauw University ◆ “Split Authorial Personality: M. Night Shyamalan’s Reputation and the Misdirection Film Sequel” A10 Stars and Characters
CHAIR Kyle Meikle ◆ University of Baltimore A8 Uncanny Media and Jennifer Smith ◆ University of Wisconsin- Madison ◆ “Fictional Heroism and Digital Questions of Subjectivity Embodiment: The Social Media Politics of Mark Hamill and Chris Evans” ◆ ◆ CHAIR Andrea Braithwaite ◆ University of Tim Bell Indiana University “The Modular Ontario Institute of Technology Man: Copyright, Continuity and Character” Marc Olivier ◆ Brigham Young University ◆ Kyle Meikle ◆ University of Baltimore ◆ “Postdigital Gothic: Ghosting the Ghost from “Produced by Reese Witherspoon” Social Media in Unfriended: Dark Web (2018)” Kuhu Tanvir ◆ University of Pittsburgh ◆ Andrea Braithwaite ◆ University of Ontario “‘Complete 45 levels to get into Shah Rukh Institute of Technology ◆ “Spectres of Khan’s House’: Mobile Fandoms and Fan: The Surveillance: Uncannimedia in Contemporary Game” Teen TV” Jordan Schroeder ◆ University of North Carolina at Chapel Hill ◆ “The Disembodied Viewer: Subjectivity and the Essay Film” Kevin John Bozelka ◆ Bronx Community College, CUNY ◆ “Crisis Historiography and Genre ‘Death’: Towards a Non‑Narrative History of the Hollywood Musical” WEDNESDAY MARCH 13 12:00 pm 1:45 pm
34 A11 Japanese Cinema and A13 Comics Across Borders session the Long Postwar ◆ CHAIR Mark Minett University of South Carolina ◆ CHAIR Hiroshi Kitamura ◆ College of William and Will Schmenner University of Pennsylvania/ Mary Temple University ◆ “The Anthropocene in A Irene González‑López ◆ Kingston University ◆ Slumberland and Coconino County: Spliting “Adaptations and Remakes: Imagining and Bridging the Sciences and the Humanities Occupied Japan” with Comics” ◆ ◆ Takuya Tsunoda ◆ Columbia University ◆ Jayson Quearry Georgia State University “Witness, Narrative, and Diegetisation: “When Logan Looked: Destabilizing Intermedia Postwar Industrial Cinema in Japan” Borders with Comic Book Objects” ◆ ◆ Hiroshi Kitamura ◆ College of William and Mark Minett University of South Carolina Mary ◆ “Meanings of Nostalgia and “Adventures in Rhythm: Superhero Storytelling Hometown in Nobuhiko Obayashi’s ‘Onomichi and Rhythmic Strategies in American Comic Trilogy’” Books of the Thirties and Forties” ◆ ◆ Jennifer Coates ◆ University of East Anglia ◆ Niels Niessen University of Amsterdam “Nostalgia and Reception: A New Audience “Black Panther across Media (Marvel, Kendrick Studies For Japan’s Unending Postwar” Lamar, Ta‑Nehisi Coates)” SPONSOR Comics Studies Scholarly Interest Group
A12 The Rural/Urban Cinema Imaginary A14 Salt, Stars, Strings, and Sounds New Media Archaeologies
CHAIR Dane Reighard ◆ University of California, CHAIR ◆ Los Angeles Christophe Wall-Romana University of ◆ Minnesota Dane Reighard University of California, ◆ ◆ Los Angeles ◆ “The Unknowable Village of Liam Young Carleton University “Salt: Andrei Konchalovsky” Fragments from the History of a Medium” ◆ ◆ ◆ Christophe Wall‑Romana University of Yushi Hou University of Southampton ◆ “Spatiality in Transportation: Dark City Space in Minnesota “Astronomy and the Origins Contemporary Chinese Neo‑Noir” of ‘Cinema’: Edison, Flammarion and the ◆ ◆ Tele[ ]scope (1867–1888)” Loretta Goff University College Cork ◆ ◆ “Horror and the Nation: Representing Ireland, Henry Adam Svec University of Waterloo the American ‘Other’ and Cultural Fear” “Tangled Archives: Harry E. Smith, String Figure Collection, and Imaginary Media SPONSOR Urbanism/Geography/Architecture Design” Scholarly Interest Group Lillian Holman ◆ University of Wisconsin- Madison ◆ “‘It Will Be Completely Changed, Honey’: Rediscovering the Dictabelt’s WEDNESDAY Significant Role in the Moving Image Archive” MARCH 13 12:00 pm 1:45 pm
35 session A15 Sounds of Space, Stilling Time A17 The Franchise Era Transmedia Practices in Managing Media in the Digital Economy
Contemporary Chinese Cinemas CHAIR Bryan H. Hartzheim ◆ Waseda University A CHAIR Ellen Chang ◆ University of Washington James B. Fleury ◆ University of California, CO-CHAIR Beth Tsai ◆ SUNY Oneonta Los Angeles ◆ “The (Im)Perfect Organism: Ellen Chang ◆ University of Washington ◆ “‘Try Dissecting the Alien Media Franchise” to Walk to the Sound of My Footsteps so that Jennifer L. Gillan ◆ Bentley University ◆ We Can Stay Together’: Embodied Experience “Wakanda (Content) Forever! Television and the Sinophonic Symphony” and Franchising at Disney‑ABC, Christina Yuen Zi Chung ◆ University of Comcast‑NBCUniversal, and Netflix” Washington ◆ “Sinophone Temporalities and Rayna Denison ◆ University of East Anglia ◆ the Art of Arrest” “How to Animate Your Franchise: How to Train Katherine Grube ◆ New York University ◆ “Form Your Dragon, Franchising Practices and the Cannot be Fixed: Movement, Images, and the Industrial History of DreamWorks” Work of Geng Jianyi” Bryan H. Hartzheim ◆ Waseda University ◆ Beth Tsai ◆ SUNY Oneonta ◆ “Transnational “Transmedia to Go: Licensed Mobile Gaming in Spectator, Transmedia Exhibition: Introducing Japan” Sleep‑in Cinema where Films become Dreams”
A18 Color and Materiality in A16 Tactics and Politics of Social Media Electronic Media
◆ CHAIR Sarah Laiola Coastal Carolina University CHAIR Lida Zeitlin Wu ◆ University of California, Nicolette Little ◆ University of Calgary ◆ Berkeley “Rape‑Related Mourning on a Social Network Carolyn Kane ◆ Ryerson University ◆ Site: Leah Parsons’ ‘Facebooked’ grief and the “Electrographic Screens: From Neon to Angel Rehtaeh Parsons Page” Large‑Scale LED” Zizi Li ◆ University of California, Los Angeles ◆ Lida Zeitlin Wu ◆ University of California, “‘I’m Not a Human, But am I Still a Person?’: Berkeley ◆ “The Pastel Palette: Artifice, A Post‑Human Discussion on AI, Race, and Digitization, and Ambivalent Aesthetics” Gender Through the Case of Miquela” Stephen Groening ◆ University of Washington ◆ Mikki Kressbach ◆ Michigan State University ◆ “Colorcalm” “Period Hacks: Menstruating in the Big Data SPONSOR CinemArts Scholarly Interest Group Paradigm” Sarah Laiola ◆ Coastal Carolina University ◆ “‘wE hAvE cHaNgEd OuR tErMs Of SeRvIcE’: Internet Memes as Systemic Critique to Online Governance and Policy” WEDNESDAY MARCH 13 12:00 pm 1:45 pm
36 A19 Negotiating Risk A20 Leaving the Movie Theater session Women in Media New International and Intermedial
Approaches to Film Exhibition CHAIR Maya Sidhu Dahlia Schweitzer ◆ Art Center College of CHAIR Christina Petersen ◆ Eckerd College A Design ◆ “From Marlowe to Mars: Tracing the Patrick Brame ◆ University of Wisconsin- Evolution of the Private Eye” Milwaukee ◆ “(Home)Theater Away From Maya Sidhu ◆ University of California, Berkeley ◆ Theater: The Blurring Boundaries of Home “Women and the Con in Two Films by Director Exhibition in World War II America” Marguerite Viel” Hamidreza Nassiri ◆ University of Wisconsin- Eric Forthun ◆ The University of Texas at Austin ◆ Madison ◆ “By the Public, For the Public: “Women on Late‑Night: Representation, Exhibition in the Digital Age with a Focus on the Experimentation, and Industrial Risk” Ammar Movement in Iran” Lucia Soriano ◆ Washington State University ◆ Laura Fish ◆ The University of Texas at Austin ◆ “Negotiating Popular Feminism in Freeform’s “Rebirth of Cinematic Heritage: Iranian The Bold Type” Cinema on New Viewing Platforms” Christina Petersen ◆ Eckerd College ◆ “‘Get Closer to Your Favorite Movies’: Virtual Reality and Cinephilia in Post‑Cinematic Exhibition Environments” SPONSOR Middle East Caucus
MEETING Wednesday, March 13 12:00 pm – 1:45 pm ROOM BALLARD ● 3rd Floor Transnational Cinemas Scholarly Interest Group
WEDNESDAY MARCH 13 12:00 pm 1:45 pm
37 session Wednesday, March 13 B 2:00 pm – 3:45 pm B1 Queer Auteur, Queer Genre B2 Fan-Made Merchandise
Mediating Franchise and Community in the Gig Economy CHAIR Yi Li ◆ Northern Illinois University Yi Li ◆ Northern Illinois University ◆ “Poetic Realism on a Blank Canvas: Homonormativity CHAIR Avi Santo ◆ Old Dominion University and Urban Identity in Andrew Haigh’s Weekend Elizabeth Affuso ◆ Claremont Colleges ◆ (2011)” “Handmade Fandom: Female Fans, Fashion, Nathan Workman ◆ Old Dominion University ◆ and the Gig Economy” “Gay Superbowl: RuPaul’s Drag Race As Matt Hills ◆ University of Huddersfield ◆ Contact Sport” “RedBubble and the Symbolic Capital of Jamie Hook ◆ Indiana University Bloomington ◆ Professionalized Fandom in Doctor Who “Multiple Melodramas: Melodramatic Design Work” Influences and Their Uses in the Cinema of Avi Santo ◆ Old Dominion University ◆ “‘Here John Waters” Comes the General!’: Black Panther Okoye Amanda Doxtater ◆ University of Washington ◆ and Shuri Fan‑made merchandise and the “The Queer Failure of Ingmar Bergman’s All commodity value of Black fandom” These Women (1964)” Lauren Boumaroun ◆ University of California, Los Angeles ◆ “Fashionistas of Fandom: Culture and Community in the Geek Fashion Industry” SPONSOR Fan and Audience Studies Scholarly Interest Group
38 B3 Netflix B5 Imagining Otherwise session The New Transnational Television Frontier Futurisms in Global Indigenous Media
CHAIR Swapnil Rai ◆ Wesleyan University CHAIR Kristin Dowell ◆ Florida State University CO-CHAIR Sharon Shahaf ◆ The University of Texas at Channette Romero ◆ The University of Georgia ◆ B Austin “Post? Apocalypse, Indigeneity, and Science Swapnil Rai ◆ Wesleyan University ◆ “Localizing Fiction Cinema” Netflix, Globalizing Bollywood: Creating Netflix Karrmen Crey ◆ Simon Fraser University ◆ ‘Originals’ for the Indian Market” “Immersed in Language: Lisa Jackson’s Sebnem Baran ◆ Smith College ◆ “Streaming, Biidaaban: The First Light (2018)” Genre Hybridization and the Glocalization of William Lempert ◆ Bowdoin College ◆ Quality” “Dreaming Down the Track: Futuremaking Joseph Straubhaar ◆ The University of Texas at as Placemaking in Aboriginal Australian Film Austin ◆ “A Multicultural Approach to Quality Production” TV in Times of Netflix. Exploring Brazil and Kristin Dowell ◆ Florida State University ◆ Spain” “Native Slip‑Stream and Ancestral Worlds: Sharon Shahaf ◆ The University of Texas at Indigenous Futurism In the Stop‑Motion Films Austin ◆ “Netflix’s Fauda: The new Israeli of Amanda Spotted Fawn Strong” Global Flow” SPONSOR Women’s Caucus SPONSOR Transnational Cinemas Scholarly Interest Group
B6 Women Mediating Narratives in U.S. Film and Television B4 Surface/Depth, Onscreen/ Offscreen CHAIR Sara Bakerman ◆ University of Southern California CHAIR Dustin Zemel ◆ St. Martin’s University Ilka Brasch ◆ Leibniz University of Hannover ◆ JeongHyun Lee ◆ North Carolina State “Dichotomies of Seeing and Being Seen in the University ◆ “Animating Flatlands, Animating Later Pearl White Serials” The Past: A Case Study of Digital Homecoming, Sara Bakerman ◆ University of Southern Korean Arts” California ◆ “‘He Was Like an Oak Tree’: Jelena Rakin ◆ University of Zurich ◆ “Layering Reframing Star Legacies in the Retrospective the Film Surface: The Aesthetics, Ontology Television Documentary” and Ideology of the Colored Image in Silent Donna Campbell ◆ Washington State University ◆ Cinema” “When ‘Back to the Land’ meets ‘Escape to Dustin Zemel ◆ St. Martin’s University ◆ the City’: Barbara Stanwyck, Bette Davis, and “Documentary Split‑Screen and the Paradoxes Pre‑Code Rural Nostalgia” of Direct Cinema” Jennifer Clark ◆ Fordham University ◆ “The Jacob Watson ◆ University of North Carolina CBS Women’s Group: Feminist Activism in the WEDNESDAY at Chapel Hill ◆ “Information Screens: Network Workplace” MARCH 13 the Visualization of Graphic Space in Early SPONSOR Women in Screen History 2:00 pm Electronic Media” Scholarly Interest Group 3:45 pm
39 session B7 Thinking Rhythm in Film and Media B9 Music and the Public Interest in the Streaming Era ◆ CHAIR Jennifer Barker Georgia State University CHAIR Brian Fauteux ◆ University of Alberta CO-CHAIR ◆ B Elena del Rio University of Alberta ◆ ◆ Brian Fauteux University of Alberta “What ◆ ◆ Jennifer Barker Georgia State University Does ‘Music in the Public Interest’ Sound Like?” “Colorful Rhythms: Mise‑en‑scène and the Elena Razlogova ◆ Concordia University, Rhythms of Childhood in The Florida Project” Montreal ◆ “Provincializing Spotify: The ◆ Gregory Flaxman University of North Carolina Free Music Archive, Echo Nest, and the ◆ at Chapel Hill “Between Cinema and Public Access Origins of a Recommendation Mathematics: Continuity, Arrhythmia, and the Algorithm” Irrational Cut” Christopher Cwynar ◆ Defiance College ◆ ◆ ◆ Domietta Torlasco Northwestern University “Remixing the Scene to Build the Brand: “What is the Rhythm of Water? On Jean Vigo’s Local Public Radio and Popular Music in the L’Atalante” Streaming Era” ◆ ◆ Elena del Rio University of Alberta “Bill Andrew deWaard ◆ University of California, Viola’s The Path: Ecology as Rhythm(ology)” Los Angeles ◆ “Streaming Media in the SPONSOR Film Philosophy Scholarly Interest Group Second Gilded Age: Initial Public Offerings, Private Equity, and the Public Interest” SPONSOR Radio Studies Scholarly Interest Group
B8 Shifting Horror Boundaries
B10 CHAIR Margaret Woodward ◆ University of Techniques of Measurement Southern California Margaret Woodward ◆ University of Southern CHAIR Lindsey Lodhie ◆ Harvard University ◆ California “‘I Didn’t Think I Would See You Yeon Kyoung Lim ◆ City University of Hong Again’: The Rape‑Revenge Film, Reincarnated” Kong ◆ “Archive and Tertiary Memory: How Maxime Bey‑Rozet ◆ University of Pittsburgh ◆ We Reorient Our Time with Technical Things” “A Certain Tendency in French Horror Cinema: Michelle Smiley ◆ Bryn Mawr College ◆ The Cases of Raw and Revenge” “Eadweard Muybridge and the Digital Gesture” ◆ ◆ Geneveive Newman University of Pittsburgh Lindsey Lodhie ◆ Harvard University ◆ “We Feel Time: Temporality and Embodiment in “Artificial Tears: Affective Science and the 2014’s It Follows” Mise‑en‑Scene of the Laboratory” ◆ ◆ Christine Snyder The Graduate Center, CUNY Shuyi Xiong ◆ Columbia University ◆ “‘This Here Is Daisy Domergue’: Gender, “Suspension and Repetition of Temporality: In Horror, and History in Quentin Tarantino’s The the Mood for Love as a Mind‑Game Film” Hateful Eight”
WEDNESDAY MARCH 13 2:00 pm 3:45 pm
40 B11 Film and Spectatorship B13 Video Games and Screencasts session in Intermedial Japan Command, Control and Commodification
CHAIR ◆ CHAIR William Carroll ◆ University of Chicago Christopher Bingham University of RESPONDENT ◆ Oklahoma B Junko Yamazaki University of California, Los Angeles Christopher Bingham ◆ University of ◆ Yuta Kaminishi ◆ University of Washington ◆ Oklahoma “Voyeuristic Survival: “Youth in the Capitalist Mediascape: A Surveillance as Game Mechanic” Recontextualization of the Shōchiku Nouvelle Ian Peters ◆ Brenau University ◆ “Nuka Cola, Vague” Tourist’s Delight, and You!—Apocalyptic William Carroll ◆ University of Chicago ◆ “The Tourism and Critical Dystopias in Post–9/11 Virus of Viewing: J‑Horror as Interactive Open World Video Games” Media Theory” E. Brooke Phipps ◆ Colorado State University ◆ Chie Niita ◆ Waseda University ◆ “Screening “Victory Royale: Twitch’s Commodification of ‘Other Digital Stuff’: Live Broadcast of Theatre Multiculturalist Misogyny through Fortnite’s in Cinema Exhibition in Japan” Playbour” Hyo Jung Kim ◆ Stony Brook University ◆ “Gridhood: On Pirated Streaming by Transnational K‑Pop Fans and the Computational Grids Reframing the Virtual Networks” B12 Nodes of the Neighbourhood
CHAIR Elisa Jochum ◆ Humboldt-Universität zu Berlin Elisa Jochum ◆ Humboldt‑Universität zu B14 Insides Out Berlin ◆ “In the Hallways of the Cinematic Visualizing Interiority
Neighbourhood (1929–1964)” Timothy Jones ◆ Robert Morris University ◆ “A CHAIR Zachary Price ◆ Cornell University Case of Pub Cinema: Changing Neighborhoods, ◆ Craft Beer, and Creative Consumption” Bishnupriya Ghosh University of California, Santa Barbara ◆ “Accidental Beauty: The Glen Wood ◆ York University ◆ “East Baltimore’s Microscopic Imagination in Post World War II Expanding Scene: Surveillance and Visibility” Epidemiological Documentaries” Jesús Costantino ◆ University of New Mexico ◆ Zachary Price ◆ Cornell University ◆ “Molecular “Neighborhoods across Deep Time” Interiority: Visual Effects and the Micropolitics SPONSOR Media, Science, and Technology of Gender” Scholarly Interest Group and Tanine Allison ◆ Emory University ◆ “Digital Urbanism/Geography/Architecture Transference: Race, Gender, and the Scholarly Interest Group Transformational Promise of Motion Capture” Drew Ayers ◆ Eastern Washington University ◆ “Intimate Aesthetics: Camera Technology, Animal Interiority, and Planet Earth II” WEDNESDAY MARCH 13 2:00 pm 3:45 pm
41 session B15 Women in Contemporary B17 Feeling Alive South Korean Cinema Studying Sparks of Affect in Contemporary Trans Media Objects
CHAIR Nam Lee ◆ Chapman University CHAIR ◆ B ◆ ◆ Eliza Steinbock Leiden University Hyangjin Lee Rikkyo University “The Portrayals of Women in South Korean Eliza Steinbock ◆ Leiden University ◆ “Drop in to Historical Films, Dongju: A Portrait of a Poet Shimmering: On Scanning Affective Signs and and Anarchist from Colony” Sounds in Dandy Dust and I.K.U.” Hyekyon Sim ◆ Chung‑Ang University ◆ “Old Harper Shalloe ◆ Brown University ◆ “Bad Film: Women/Actresses as Herstorical Agents of On Let Me Die a Woman and Cinematic Lure” Tainted History: The Cases of I Can Speak and Hilary Malatino ◆ Penn State University ◆ The Bacchus Lady” “Sparkle and Fade: Tracing Flat Affect in Trans Hyun Seon Park ◆ Sogang University ◆ “The Documentary” Discursive Formation of Korean Femme Jian Chen ◆ The Ohio State University ◆ “Racial Fatales: From the Cold War era to the Trans Voice and the Borders of the U.S. Post‑feminist Explosion” National Body” Inyoung Nam ◆ Dongseo University ◆ “Vanishing Daughters: Pathology of Patriarchy in Women‑directed Mystery Thrillers Missing and The Truth Beneath” SPONSOR Asian/Pacific American Caucus B18 Histories of Film Stock Material and Transformation
CHAIR Alice Lovejoy ◆ University of Minnesota B16 Instagram as a Production Pansy Duncan ◆ Massey University ◆ “Toward a Natural History of Film Form: Celluloid, Site for Visual Culture Plasticity, and the Vue а̀ Transformations” Platform Fandom, Social Justice, M.M. Chandler ◆ Santa Monica College ◆ “‘A Aspirational Labor Great Future in Plastics’: How Acetate Film and
Plastic Museum Displays Sought to Make the World a Better Place” CHAIR ◆ Tamara Kneese University of San ◆ ◆ Francisco Alice Lovejoy University of Minnesota “Raw Material: Film Stock and the Atomic Bomb” Stefania Marghitu ◆ University of Southern California ◆ “Below the Line Visibility and Social Justice through Instagram: The Case of The Handmaid’s Tale’s Costume Designer” Jaap Verheul ◆ King’s College London ◆ “Instagram’s Indexicality: Social Media Activism and The New Objectivity of Digital Photography” WEDNESDAY Tamara Kneese ◆ University of San Francisco ◆ MARCH 13 “Re‑fashioning the Shop Girl: Instagram and 2:00 pm Vintage Labor Aesthetics” Gry Rustad ◆ University of Oslo ◆ “Watching 3:45 pm Instagram: Reception and Textual Engagement on Instagram”
42 B19 The Matter of Media in the B20 Emerging Trends in Exhibition session Avant-Garde University and Distribution
CHAIR Jeff Menne ◆ Oklahoma State University CHAIR Ryan Lizardi ◆ SUNY Polytechnic Institute RESPONDENT ◆ ◆ ◆ B Justus Nieland Michigan State Ryan Lizardi SUNY Polytechnic Institute University “The Political Economy of MoviePass: The Tim Ridlen ◆ University of California, San Diego ◆ Limits of Entertainment Big Data” “Process and Production in the Enrichment Samantha Herndon ◆ The University of Texas Economy: Robert Morris’s Finch College at Austin ◆ “Celluloid and tech giants: On Project” gentrification and Seattle’s changing cinema John Powers ◆ Washington University in landscape” St. Louis ◆ “The Sensing Personality: Barbara Iuliia Glushneva ◆ Concordia University Hammer’s Theory of Touch, the University, and Montreal ◆ “Analog Bazaars: The Gorbushka the Postwar Avant‑Garde” Market and Media Consumption in Jeff Menne ◆ Oklahoma State University ◆ Postsocialist Russia of the 1990s” “Thomas Stockham, Computer Graphics, and Katherine Morrow ◆ University of Washington ◆ the Future of the University in Utah” “Internet Movies in Mainland China: New SPONSOR Experimental Film and Media Media Distribution and the Shanzhai Feature” Scholarly Interest Group
MEETING Wednesday, March 13 2:00 pm – 3:45 pm ROOM CHELAN ● 1st Floor Adult Film History Scholarly Interest Group Discuss updates, elections, SIG business, announcements, and distribute info relevant to our members.
WEDNESDAY MARCH 13 2:00 pm 3:45 pm
43 session Wednesday, March 13 C 4:00 pm – 5:45 pm C1 Queer Pop In and Beyond C2 Negotiating Prestige and Spectacle Post–2010 China Historical Studies on Film Exhibition, Mediating “Chineseness” in the Venues, and Spatiality Music and TV industries ◆ CHAIR Elizabeth C. Lunden Stockholm University CHAIR Jing Jamie Zhao ◆ University of Warwick CO-CHAIR Kim Khavar Fahlstedt ◆ Uppsala Yuan Gao ◆ Washington University in St. Louis ◆ University “‘Amit, Wake Up’: Indigeneity, Feminism and RESPONDENT ◆ Taiwanese Popstar Chang Hui‑mei’s Music Kathy Fuller-Seeley The University of Production” Texas at Austin ◆ ◆ Yizhou Guo ◆ University of California, Annie Fee University of Oslo “Art Cinema as Santa Cruz ◆ “‘Please Watch the Show With Elite Cinema: Ciné‑Clubs, Repertory Cinemas the Post–90s’: Postsocialist Youth and Queer and the Interwar Emergence of a Social Divide” Deviation in a Chinese Online Talk Show” Kim Khavar Fahlstedt ◆ Uppsala University ◆ Eve Ng ◆ Ohio University ◆ “People Like Us: “Prologue to Hollywood: Tracing Sid Grauman’s Rearticulating Queer (and) Singaporean in a Exhibition Practices” Web Series” Elizabeth C. Lunden ◆ Stockholm University ◆ Jing Jamie Zhao ◆ University of Warwick ◆ “The “Hollywood In and Out: A Look into the Rap of China: Local Queer, Global TV, Authentic Academy Awards Ceremony’s Transition from Chinese, and Western Decadence” Private Banquet to Public Spectacle” SPONSOR Libraries and Archives Scholarly Interest Group
44 C3 In and Out of Contemporary C5 Indigenous Perspectives session Television Across Media
CHAIR Nick Marx ◆ Colorado State University CHAIR Josslyn Luckett ◆ New York University ◆ ◆ ◆ ◆ C Emily Saidel University of Michigan Joshua Miner University of Kansas “Low “Rehearsing Atypical Succession: Negotiating Poly, Low Rez: Digital Animation and Cultural Democratic Anxieties Through Primetime ‘Resolution’ in Indigenous Game‑Based Media” Presidencies” Josslyn Luckett ◆ New York University ◆ Christina Wilkins ◆ University of Winchester ◆ “Creating a New Native Cinema Straight Outta “‘Serialising the Psyche: Adaptations of Seattle: Sandra Sunrising Osawa’s Upstream Psychopaths on TV’” Rebellion” Nick Marx ◆ Colorado State University ◆ Katariina Kyrola ◆ Åbo Akademi University ◆ “Brand X: MTV’s The State and Generation X in “Queer Feminist Indigenous World‑Making in Television’s Multi‑Channel Transition” the Sámi TV Comedy Njuoska bittut (2012)”
C6 Scenes of Feminist Solidarity 1 C4 20th Century Cinematic Community, Location, Medium Aesthetics as a Political Practice CHAIR ◆ Amelie Hastie Amherst College CO-CHAIR ◆ George Mason CHAIR Aruna Ekanayake ◆ University of Aimee Dixon Anthony California, Los Angeles University ◆ ◆ Aimee Dixon Anthony George Mason Aruna Ekanayake University of California, ◆ Los Angeles ◆ “Above So Below: Déjà Vu, University “The Black Elite Community of Alter‑diegetic Temporality, and a ‘Radical African American Women Filmmakers of Early Elsewhere’” Cinema” ◆ ◆ Taryn Ely ◆ University of Rochester ◆ “Spectral Rachel Fabian Purchase College, SUNY Impairment: Tony Conrad, Disability, and “The Politics of Video Intimacies: The 1970s Non‑representational Strategies of Video Feminisms of Julie Gustafson and Global Representation” Village Video” ◆ ◆ Sarah Hamblin ◆ University of Massachusetts Amelie Hastie Amherst College “On Boston ◆ “Red Kittens: Eisenstein’s Animal Location, In Solidarity: Debra Granik’s Feminist Revolution” Film Practice” Brook Henkel ◆ St. Lawrence University ◆ “To SPONSOR Women in Screen History the Planetarium: Alexander Kluge, Astronomy, Scholarly Interest Group and Expanded Cinema” SPONSOR CinemArts Scholarly Interest Group
WEDNESDAY MARCH 13 4:00 pm 5:45 pm
45 session C7 Aesthetic Practices in C9 Transmedia Sonic Experiences Transnational Cinemas ◆ CHAIR Carlo Cenciarelli Cardiff University ◆ ◆ CHAIR Alex Lykidis ◆ Montclair State University Morgan Harper University of Toronto C ◆ ◆ “Sound as Affective Barrier: White Noise and Alex Lykidis Montclair State University “Aesthetics of Crisis: Art Cinema and the Promise of Terminating Tension” Neoliberalism” Landon Morrison ◆ McGill University ◆ “On Slaveya M. Minkova ◆ University of California, Re‑Assembling Transmedial Artifacts for the Los Angeles ◆ “Urban Space and Study of Computer‑based Music” Cross‑Cultural Collective Memory: Carlo Cenciarelli ◆ Cardiff University ◆ “‘Dear Transnationalism in Post‑Socialist film from David Bowie’: iPod listening as Inner Speech” China and Eastern Europe” SPONSOR Sound and Music Studies Hugo Ljungbäck ◆ University of Wisconsin- Scholarly Interest Group Milwaukee ◆ “‘Her Silent Seaming’: Foregrounding Labor in Nazlı Dinçel’s Handcrafted Cinema” Dan Bashara ◆ DePaul University ◆ “Light Over Matter: The New Bauhaus’s Cinematic Language of Dematerialization” C10 Activating and Reactivating SPONSOR Central/East/South European Cinemas the Archives Scholarly Interest Group and Transnational
Cinemas Scholarly Interest Group CHAIR Zachariah Anderson ◆ University of Wisconsin-Milwaukee Joni Hayward ◆ University of Wisconsin- Milwaukee ◆ “Whose Archive? Rogue Archival Practices and the Intersections of C8 Female Horror Filmmakers Propaganda, Industry Film, and Eco‑Cinema” Aesthetics, Gender Politics, and Genre Yael Mazor ◆ Tel Aviv University ◆ “Re‑examining the Archive as Gesture in Sergei Loznitsa’s Austerlitz” ◆ CHAIR Sonia Lupher University of Pittsburgh Brandon McCasland ◆ University of Iowa ◆ “She Nina Martin ◆ Connecticut College ◆ “Love Will Shreds: Counter‑archive for a Counterpublic” Kill You: Women Directors Fracturing Fairytale Zachariah Anderson ◆ University of Wisconsin- Horror” Milwaukee ◆ “Unstable Historical Evidence: Sonia Lupher ◆ University of Pittsburgh ◆ The Battle of the Somme (1916) and the “Laughter and a Scream: Female‑Directed Contested Meanings of Archival War Images” Horror‑Comedy Shorts” SPONSOR Libraries and Archives Joan Hawkins ◆ Indiana University ◆ “Violent Scholarly Interest Group Femmes” Andrea Wood ◆ Winona State University ◆ “Motherhood as Nightmare: Creepy Children WEDNESDAY and the Queer Art of Maternal Failure” MARCH 13 SPONSOR Horror Studies Scholarly Interest Group 4:00 pm 5:45 pm
46 C11 Cinema and Ecology in Japan C13 Recalibrating the Threshold session of Women’s Visibility CHAIR & RESPONDENT Philip Kaffen ◆ University of Embodied History in Contemporary North Carolina, Charlotte Feminist Performance ◆ ◆ Joel Neville Anderson University of Rochester C “Floating Invaders: Autonomous Vehicles in CHAIR Amy Skjerseth ◆ University of Chicago the Unceded Territories of Nuclear Warfare’s CO-CHAIR Sarah Lerner ◆ University of California, Pre‑History” Santa Barbara Mark Roberts ◆ University of Tokyo Center for Jaime Gray ◆ University of California, Philosophy ◆ “‘Post‑Nature’ and Post‑Disaster Santa Barbara ◆ “‘Women’s Work’ from Cinema in Japan” Textiles to Computer Technology: Beryl Korot’s Text and Commentary as Durational Performance” Steven Maye ◆ University of Chicago ◆ “What Muteness Enables in Wim Wender’s Pina” C12 Media In/And Spaces Amy Skjerseth ◆ University of Chicago ◆ “Consent and the Electric Lady: Verbal/ Nonverbal Hybridity in Janelle Monáe’s Dirty CHAIR Tim Anderson ◆ Old Dominion University Computer” Kaitlin Forcier ◆ University of California, Sarah Lerner ◆ University of California, Berkeley ◆ “Endless Images: Looped Media, Santa Barbara ◆ “Sounds of Divine Digital Temporality, and the Gallery” Suspiration: Female Sexuality and the Tim Anderson ◆ Old Dominion University ◆ Breathing Body in The Holy Girl” “Encountering Counter Publics at the Record SPONSOR Sound and Music Studies Counter: A History of US Self‑Service Record Scholarly Interest Group Retail and Mediated Publics” Daniel D’Amore ◆ Harvard University ◆ “Mapping, or an Ecological Approach to Listening to New Music America 1986” Heather Birdsall ◆ University of California, Los Angeles ◆ “Looking Into the Eyes of Mara: Kinetic Narratives in Disneyland’s Indiana Jones Adventure” SPONSOR Urbanism/Geography/Architecture Scholarly Interest Group Made You Look Follow SCMS on Instagram @scmstudies Be sure to tag your Instagram photos with #SCMS19. WEDNESDAY MARCH 13 4:00 pm 5:45 pm
47 session C14 Alternative Archives C16 SESQUI to Netflix Politics and Pedagogy How Digital Engagement Constructs and
Disrupts National Screen Culture CHAIR Matthew Holtmeier ◆ East Tennessee C State University CHAIR Diane Burgess ◆ University of British Andrew Robbins ◆ University of Oregon ◆ Columbia “The Politics and Limitations of Archiving CO-CHAIR Kirsten Stevens ◆ University of Melbourne Queerness: Valencia and The San Francisco Tess Van Hemert ◆ Queensland University of Transgender Film Festival” Technology ◆ “Mapping Local and Regional Kate Cronin ◆ The University of Texas at Austin ◆ Film Festivals: Digital Engagement, Audiences “‘If They Won’t Let Us Dream, We Won’t Let and Sustainability in Queensland, Australia” Them Sleep’: Audiovisual Human Rights Claudia Sicondolfo ◆ York University ◆ Archives in Chile” “Touring SESQUI: 360‑Degrees of Canadian Tom Slootweg ◆ Utrecht University ◆ “Tools Nationhood” for Reflection: Working with Digital Television Kirsten Stevens ◆ University of Melbourne Archives in the Classroom” and Diane Burgess ◆ University of British Matthew Holtmeier ◆ East Tennessee State Columbia ◆ “Reframing National Screen University ◆ “Images, Maps, Movies: Culture in the Age of Netflix: A Comparative Bioregional Imaginaries of Cascadia from the Analysis of Canada and Australia” Archives” SPONSOR Film and Media Festivals SPONSOR Libraries and Archives Scholarly Interest Group Scholarly Interest Group and Critical Media Pedagogies Scholarly Interest Group
C17 Propped Up C15 Cinema and Issues of Fan Cultures and Fabricated Objects Representation in South-East Asia CHAIR ◆ Caitlin McCann University of California, Los Angeles CHAIR Siao Yuong Fong ◆ National University of ◆ ◆ Singapore Josh Stenger Wheaton College “Rapt in Plastic: Cosplay, 3D Printing, Fabrication, and Chul Heo ◆ Nanyang Technological University ◆ the (re)Making of Fandom” “Production Culture in Southeast Asian ◆ Cinema: The Way Filmmakers Tells Aesthetics Elizabeth Nielsen University of Massachusetts ◆ and Practices in Production” Amherst “Touching Greatness: Hannibal Props as Fan Relics” Siao Yuong Fong ◆ National University of ◆ Singapore ◆ “Performing fear in a society of Caitlin McCann University of California, ◆ control – Television production practices in Los Angeles “The Fan‑Made Moment: Singapore” Defining Prop Culture Within DIY” ◆ ◆ Ka Lok Sobel Chan ◆ Academy of Film, Hong Sean Duncan University of Virginia WEDNESDAY Kong Baptist University ◆ “Politics of “Personal Workshop: Playable Fan‑Made MARCH 13 Cinematic Representation: Hong Kong Films Objects in a Customizable Card Game” and Documentaries after Post‑Umbrella SPONSOR Fan and Audience Studies 4:00 pm Movement” Scholarly Interest Group 5:45 pm Nathaniel Heneghan ◆ Oberlin College ◆ “Nothing to Confess—Politics of Passing and the System of Confession in Zainichi Korean Cinema” 48 C18 Starts and Stops in C20 Streaming Across Media session Media Technology CHAIR ◆ Peter C. Kunze Eckerd College ◆ ◆ CHAIR Chris Robinson ◆ University of Arkansas, Caleb Allison Indiana University “Collecting Little Rock the Uncollectible: Residual Hardware, C Streaming Aesthetics and the Criterion William Boddy ◆ Baruch College, CUNY ◆ Collection” “Exploring Hollywood’s Missing Link: The Rise ◆ and Fall of Postwar Theatre Television” Lindsay Giggey California State University, Dominguez Hills ◆ “Over‑the‑Air to Over‑the Chris Robinson ◆ University of Arkansas, Little Top: The Good Fight, CBS All Access, and Rock ◆ “The Forgotten Return Of Technicolor: Redefining Broadcast for a Subscription Behind The Little‑Known Revival of The Model” Dye‑Transfer Process” Peter C. Kunze ◆ Eckerd College ◆ “Mediating Jeff Heinzl ◆ University of Pittsburgh ◆ “The the Unmediated: BroadwayHD and the Black Ghosts of Music Television Past: Cathode Ray Market for Broadway” Tubes in Contemporary Music Video” Gaelle Bouaziz ◆ Boston University ◆ “HBO and MJ Clarke ◆ California State University, Netflix Sans Frontières: Streaming and the Los Angeles ◆ “Laserdiscs and the Discourse Transnationalization of Original Programming” of Interactivity”
MEETING Wednesday, March 13 C19 Non-Theatrical Cinemas 4:00 pm – 5:45 pm Making Markets ROOM BALLARD ● 3rd Floor
Fan and Audience Studies Scholarly Interest Group CHAIR Alex Kupfer ◆ Vassar College Joshua Mitchell ◆ University of Southern California ◆ “Mary Pickford’s Mugshot: Promoting Early Film in Prison” ◆ ◆ MEETING Kit Hughes Colorado State University Wednesday, March 13 “Thomas Hope as Portrait Artist and Pitchman: Market Research and the Nontheatrical Media 4:00 pm – 5:45 pm ROOM Industry, 1959–1996” CHELAN ● 1st Floor Alex Kupfer ◆ Vassar College ◆ “‘She Goes to Transmedia Studies Vassar’: Women’s Colleges, Amateur Cinema, Scholarly Interest Group and Off‑Campus Distribution in the 1930s” Short intro presentation, overview of key publications over the past year, discussion of new directions in SPONSOR Nontheatrical Film and Media the field, and exploration of what audience members Scholarly Interest Group have been researching in this area of study.
WEDNESDAY MARCH 13 4:00 pm 5:45 pm
49 session Wednesday, March 13 6:00 pm – 7:45 pm
D1 DQueer Politics and Aesthetics D2 Data, Machines and Across Media Algorithms in Online Media
CHAIR Boaz Hagin ◆ Tel Aviv University CHAIR Denise Mann ◆ University of California, Raz Yosef ◆ Tel Aviv University and Los Angeles Boaz Hagin ◆ Tel Aviv University ◆ “Beyond Brandon Green ◆ University of California, Homonationalism: Queer Temporality and Los Angeles ◆ “How to Win Fans and Influence Ethnicity in Contemporary Israeli Gay and Pupils: Branding and Self‑Help on MasterClass. Lesbian Cinema” com” Jonathan Cicoski ◆ Cornell University ◆ “The Denise Mann ◆ University of California, Bittersweet Queer Romance: Affect, Genre, Los Angeles ◆ “AI Deep Learning: Traversing Temporality” the Uncanny Valley to Profits” Alice Pember ◆ Queen Mary, University of Brittany Murphy ◆ University of California, London ◆ “This Party is Political: the Moving Los Angeles ◆ “That’s Inappropriate: Politics of the Queer Dancefloor in 120 BPM Sustaining Labor and the Social Influencer” (2016)” Gary Kafer ◆ University of Chicago ◆ “Looking Jonathan Devine ◆ University of Pittsburgh ◆ Like YouTube: Algorithmic Aesthetics and “Animating the Queer and Documenting the Content ID” Trans*: Bennett Wallace Becomes a Real Boy”
50 D3 Bodies and Genders on Television D5 Indigeneity, Film and Oceania session
CHAIR Ashlynn d’Harcourt ◆ The University of CHAIR Ian Conrich ◆ British University in Egypt Texas at Austin Yifen Beus ◆ Brigham Young University, Hawai‘i ◆ Ashlynn d’Harcourt ◆ The University of Texas “Reimagining Paradise: Dialectic Time‑Space D at Austin ◆ “The New New Normal: How Relationships through Tanna (2015) and Moana the Comedians of ‘Take My Wife’ Normalize (2016)” Otherness” Ian Conrich ◆ British University in Egypt ◆ Marisela Chavez ◆ Northwestern University ◆ “Depicting Diaspora within New Zealand “Time to Care About Gymnastics Again: Cinema: Pacific Islanders and the Return Gender, Televisual Discontinuity, and the Home” Olympic Athlete” Amber P. Hodge ◆ University of Mississippi ◆ Daphne Gershon ◆ University of Wisconsin- “‘She’s Half Polynesian‑and the Wrong Half’: Madison ◆ “Maybe it is a Big Deal? Portrayals Indigeneity in Princess Kaiulani (2009) and of Erectile Dysfunction in Television Comedy” The Descendants (2011)” Eva Rueschmann ◆ Hampshire College ◆ “Visions of Indigeneity: Gender and Genre in Ivan Sen’s Outback Noirs Mystery Road (2013) and Goldstone (2016)” D4 Subversive Media Embodiments
CHAIR Anthea Kraut ◆ University of California, Riverside D6 Scenes of Feminist Solidarity 2 Curran Nault ◆ The University of Texas at The Production and Promise ◆ Austin “The Spectre of Filipinx Femmepire: of Feminist Politics Call Her Ganda and the Activist Afterlife of Jennifer Laude” Ben Ogrodnik ◆ University of Pittsburgh ◆ CHAIR Shilyh Warren ◆ The University of Texas at “Radical Ordinary: Gesture, History, and Dallas Portraiture in the Work of Kevin Jerome Erin Nunoda ◆ University of Toronto ◆ “Queer Everson” Loneliness: Sadie’s Bedroom and the Politics of Ani Maitra ◆ Colgate University ◆ “Rethinking Celibate Relationality” Queer Cinematic ‘Worlding’ and Aesthetic Negar Mottahedeh ◆ Duke University ◆ Dissidence: Notes on the KASHISH Festival and “Freedom is neither Eastern nor Western it is Karishma Dube’s Devi” planetary” Anthea Kraut ◆ University of California, Sara Saljoughi ◆ University of Toronto ◆ Riverside ◆ “Nancy Kwan, Racialized “Collectivity, Iran, Cinema” Corporeality, and the Indexicality of the Filmic Shilyh Warren ◆ The University of Texas at Dancing Body” Dallas ◆ “Racial Politics and Imagined Solidarity in Feminist Docs of the 1970s”
SPONSOR Women’s Caucus WEDNESDAY MARCH 13 6:00 pm 7:45 pm
51 session D7 The Long Durée D9 Representations of Refugees Time, Space, and the Real in the Age of Networks
CHAIR ◆ Chelsea Birks University of British CHAIR Magda Yuksel ◆ University of Toronto D Columbia ◆ Chris Campanioni The Graduate Center, ◆ Stephan Boman University of California, CUNY ◆ “Based on a True Story: The ◆ Santa Barbara “Warning the Future: Fashioning & Effacement of the Refugee” Deep Time, Environmental Media, and the Christian David Zeitz ◆ University of Toronto ◆ Representation of Nuclear Waste” “Politics of Westcentric and Refugee Affect in ◆ ◆ Chelsea Birks University of British Columbia Degrassi: The Next Class” “Uninterrupted (2017) as Interactive Magda Yuksel ◆ University of Toronto ◆ Documentary: Optimism, Technology, and “The Network of Hate: Islamophobic Environmental Ethics” Representations of War Refugees in European ◆ ◆ Thomas Lawson University of Pittsburgh Union” “Chirping the Cosmic Banal: Non‑Sonic SPONSOR Listening at LIGO” War and Media Studies Scholarly Interest Group Julio Bezerra ◆ Universidade Federal do Rio de Janeiro ◆ “Antiphilosophy: Jean Epstein and Speculative Realism”
D10 WORKSHOP On The Nose Dialogues, Welcome! D8 Horror Grows Up Teaching Screenwriting to Non-Neurotypical (NNT) Students
CHAIR Jason Middleton ◆ University of Rochester CO-CHAIR Aviva Briefel ◆ Bowdoin College CHAIR Daniel García ◆ The University of Texas at Adam Lowenstein ◆ University of Pittsburgh ◆ Arlington “Remapping Horror and Trauma: The Case of SPONSOR Critical Media Pedagogies George A. Romero’s Martin (1978)” Scholarly Interest Group Aviva Briefel ◆ Bowdoin College ◆ “The Terror of Very Small Worlds: Hereditary and the Miniature Scales of Horror” Jason Middleton ◆ University of Rochester ◆ “In Your Eyes: Intimacy and Precarity in Arkangel”
WEDNESDAY MARCH 13 6:00 pm 7:45 pm
52 D11 Emergent Genres, Politics, and D13 Critiquing the Pathologized Body session Identities in Contemporary North and South Korean Cinema CHAIR Marina Levina ◆ The University of Memphis
Marina Levina ◆ The University of Memphis ◆ D ◆ CHAIR Hye Seung Chung Colorado State “Don’t Breathe (2016), disability, vulnerability, University and the affective politics of cruelty” ◆ ◆ Dong Hoon Kim University of Oregon Stephanie Mastrostefano ◆ University of “Comrade Kim Goes Global: North Korean Oregon ◆ “‘King of the Lab’: Representations Cinema in the Age of Globalization” of Disabled Masculinity on Bones” ◆ ◆ Jinsoo An University of California, Berkeley Michael Metzger ◆ Block Museum, Northwestern “Stupendous Villainy: The Figure of the University ◆ “Standish Lawder’s Shock Pro‑Japanese Collaborators in Recent South Corridor: Flicker, Neuropsychiatry and the Korean Films” Mediated Female Body” ◆ ◆ Mark Plaice University of Central Lancashire Tamas Nagypal ◆ Oregon State University ◆ “Neoliberal Noir in a Post‑Conspiracy Era: “Myroslav Slaboshpytskyi’s The Tribe and The Public prosecutors and the politics of South Post‑Socialist Cinema of Cruel Pessimism” Korean crime film since 2016” Hye Seung Chung ◆ Colorado State University ◆ “Indie Filmmaking and Queer Advocacy: Converging Identities in Leesong Hee‑il’s Films and Writings” D14 Digital Technologies Personal Computers to AI
CHAIR Andrew Lison ◆ University at Buffalo, D12 Neoliberal Motherhood SUNY in Popular Culture Michael Black ◆ University of Massachusetts Lowell ◆ “Usability and Crisis: Tracing the Origins of Today’s Invisible Personal CHAIR Caroline Bayne ◆ University of Minnesota Computers” CO-CHAIR Bree Trisler ◆ University of Minnesota Caitlin McClune ◆ The University of Texas at Elizabeth Hornsby ◆ Southeastern Louisiana Austin ◆ “The Sanctity of Sharded Beings: University ◆ “#OilyMomBoss: Neoliberalism Cyborg Rights, Labor, and Machine Learning in and Motherhood” Cultural Texts” Bree Trisler ◆ University of Minnesota ◆ “One Jesse Anderson‑Lehman ◆ University of Nation, Under Mom: Neoliberal Discourses of Pittsburgh ◆ “From Cel to Audiovisual Object: Motherhood in Gun Politics” Animation and MPEG‑4” Caroline Bayne ◆ University of Minnesota ◆ Andrew Lison ◆ University at Buffalo, SUNY ◆ “Mommy Always Wanted to be in A Ladder “The Speed of Thought: Artificial Intelligence Match: Professional Wrestling, Neoliberal and Computing Power” Motherhood, and Reality Television” SPONSOR Media, Science, and Technology Darcey Morris ◆ Goucher College ◆ “TTC Scholarly Interest Group WEDNESDAY Online: Monetizing Instagram’s Infertility MARCH 13 Community” 6:00 pm 7:45 pm
53 session D15 East Asian Cultural D17 Fans and Audiences Across Media Politics and Pushback ◆ CHAIR Braxton Soderman University of California, Irvine CHAIR Se Young Kim ◆ Vanderbilt University ◆ ◆ D ◆ ◆ Brett Siegel The University of Texas at Austin Seungyeon Gabrielle Jung Brown University “Borders and Fields: Images of the ‘88 Seoul “Fantasy Sports Paratexts and the Structured Olympics Game” Silence Surrounding Domestic Violence” ◆ ◆ Se Young Kim ◆ Vanderbilt University ◆ “Cruelty, Lin Sun The University of Iowa “Reinforcing Dignity, Play: K‑Pop and Korean Cable Reality Conformity on Chinese Social Media: Trolling Television” the Celebrities’ Extra‑Marital Affairs” ◆ ◆ Braxton Soderman University of California, Ken Provencher Loyola Marymount ◆ University ◆ “Ghostly Appropriations: The Irvine “Media, Spectatorship, and the Cooling of Japanese Audiovisuality” Ideology of Play” ◆ ◆ Lauren Parker ◆ Colby College ◆ “Retaking Jennifer Zale Independent Scholar Tiger Mountain: Revolutionary Model Opera in “Combating Female Ageism While Shrinking Contemporary Chinese Cinema” the Generation Gap on Netflix’s Grace and Frankie” SPONSOR Fan and Audience Studies Scholarly Interest Group
D16 Social Networking and Cultural Politics D18 Underground Media CHAIR ◆ Danny Kimball Goucher College ◆ ◆ Annemarie Iddins Fairfield University “The CHAIR Daryl Meador ◆ New York University Digital Carceral: Media Infrastructures, Digital Erin Espelie ◆ University of Colorado Boulder ◆ Cultures and State Surveillance in Post‑Arab “Subterranean Cinema: Seeking Out Respite Spring Morocco” and Hermitages in the Anthropocene” Rae Moors ◆ University of Michigan ◆ “The Daryl Meador ◆ New York University ◆ “The Sound of Progressive Talk: Pod Save America Cinema of Extractions in a Texas Fracking and the Cultural Formation of Podcasting” Exhibit” Danny Kimball ◆ Goucher College ◆ “A Almudena Escobar López ◆ University of Discursive History of Net Neutrality in the Rochester ◆ “The Middle of Nowhere: United States, 2003–2018” Cohabitation and Ethnopoetics in the Work of Sky Hopinka” Leo Goldsmith ◆ New York University ◆ “The Subterranean Avant‑Garde: Found Footage and the American Underground” SPONSOR Experimental Film and Media WEDNESDAY Scholarly Interest Group MARCH 13 6:00 pm 7:45 pm
54 D19 An Interior Vision D20 Eco-Media session
African Film in the Decades After Independence CHAIR Christopher Walker ◆ Colby College Christopher Walker ◆ Colby College ◆ CHAIR Rachel Gabara ◆ University of Georgia “Networks of Decay: Trees, Mushrooms, and D Vincent Bouchard ◆ Indiana University ◆ Green Burial Media” “French Cultural Centers as West African Matt Thompson ◆ University of Toronto ◆ Cinematic Institutions, 1961–1981” “Cetacean Cinema: Orca and the Difficulty of Rachel Gabara ◆ University of Georgia ◆ Capturing Whales on Film” “Filming Independence” Isaac Rooks ◆ University of Southern California ◆ Jude Akudinobi ◆ University of California, “‘All This Machine Does’: Imagining and Santa Barbara ◆ “Post‑Independence African Visualizing the Cinematic Animal Body in the Cinema: Indices and Inquiries” ‘Jaws’ Franchise” ◆ ◆ SPONSOR Black Caucus and French/Francophone Ennuri Jo University of Southern California Scholarly Interest Group “What the Water Said: Cinema’s Materiality and the Anthropocene” SPONSOR Media and the Environment Scholarly Interest Group
MEETING MEETING Wednesday, March 13 Wednesday, March 13 6:00 pm – 7:45 pm 6:00 pm – 7:45 pm ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 2st Floor Urbanism/Geography/Architecture Sound and Music Studies Scholarly Interest Group Scholarly Interest Group Update our membership on our activities, such as our student writing award, our 2018 SIG member publication list, and plans for future events with other SIGs.
WEDNESDAY Trending . . . MARCH 13 Like SCMS on Facebook 6:00 pm facebook.com/SCMStudies 7:45 pm
55 SPECIAL EVENT Wednesday, March 13 8:00 pm – 9:30 pm ROOM WILLOW A & B ● 2nd Floor Reframing Ethnographic Media Edward Curtis, Franz Boas, and the Kwakiutl First Nation ROUNDTABLE DISCUSSION AND SCREENING Join us for a critical look at the history and legacy of ethnographic media in the Pacific North West. This special event features a rare public presentation of Franz Boas’ Visual Fieldnotes recorded with the Kwakiutl First Nation in 1930 and a screening of Marie Clements’ new documentary film,Looking at Edward Curtis (23 min), which foregrounds indigenous voices in its examination of Curtis’ photography and filmmaking with the Kwakwaka’wakw. The Boas material—which consists of 16mm film and wax cylinder audio recordings made on Boas’ last trip to Fort Rupert (Tsaxis)—will be presented by Kathryn Bunn-Marcuse, director of the Bill Holm Center of Northwest Art at the Burke Museum in Seattle, with Kaleb Child and Coreen Child of the Kwakiutl Nation. They will discuss the production and archival history of these materials and explore how their return to the Kwakiutl Nation can contribute to efforts to assert hereditary privileges and foster ongoing cultural education. The presentations will be followed by a roundtable discussion of the colonial histories of anthropological film, the work of Edward Curtis and Franz Boas as it affects the Kwakiutl people, and the relevance of these films in the continuing cultural practice of the current generation of Kwakwaka’wakw.
PARTICIPANTS Kathryn Bunn-Marcuse ◆ Director of the Kaleb Child, Musgamdzi ◆ Kwakiutl Bill Holm Center for Northwest Art at Nation the Burke Museum Coreen Child, Yakawilas ◆ Kwakiutl Nation SPONSORS Nontheatrical Film and Media Scholarly Interest Group, Silent Cinema Scholarly Interest Group, Documentary Studies Scholarly Interest Group, Texas Tech University Literature, Social Justice, and Environment (LSJE) program, Seattle University Film Studies Program
Literature, Social Justice, and Environment (LSJE)
WEDNESDAY MARCH 13
56 SPECIAL EVENT Wednesday, March 13 8:30 pm ROOM BALLARD ● 3rd Floor Frank Ukadike Memorial Event TRIBUTE AND RECEPTION Tribute event for Professor Frank Ukadike, one of the founding figures of African film studies with his very influential Black African Cinema which has been in use in classrooms across North American universities over the past two decades. The event will reflect on Professor Ukadike’s contribution to the discipline of film studies and to the SCMS community. The event will include a short photo montage along with brief video testimonies on the resonance of his presence and work from the perspective of academics, filmmakers, and others who knew him.
MODERATORS Jude Akudinobi ◆ University of California, Aboubakar Sanogo ◆ Carleton University Santa Barbara SPONSORS SCMS and the Black Caucus
SPECIAL EVENT Wednesday, March 13 9:30 pm – 11:00 pm ROOM BOREN ● 4th Floor An Evening with Something Weird Video DISCUSSION AND SCREENING Founded by Mike Vraney in 1992, Seattle-based film preservation and distribution company Something Weird Video has become an indispensable resource for scholars working on a wide range of low-budget independent cinema that often lacks formal archival homes. SWV’s catalog includes thousands of short and feature films, including exploitation films, softcore and hardcore adult films, horror films, industrial/ educational/hygiene films, African American race films, Poverty Row B-movies, Soundies, striptease loops, and much more. For this event, Lisa Petrucci Vraney will join us for a discussion and Q&A about how the label launched by her late husband became the “scrappy Criterion Collection” for obscure cinema; the challenges of finding and saving little-known films; and the company’s digital restoration collaborations with other archival entities amid latter-day changes in the home video market. The event will feature a short screening of film excerpts demonstrating SWV’s wide range of holdings, testifying to it as an important repository of changing attitudes about gender and sexuality; non-normative identities and practices; censorship; and a panoply of generic appeals, from the sex melodrama and the pseudo-documentary to the horror film.
MODERATORS WEDNESDAY David Church ◆ Northern Arizona Elena Gorfinkel ◆ King’s College London MARCH 13 University
PARTICIPANTS Lisa Petrucci Vraney ◆ Owner, Something Weird Video SPONSORS Adult Film History Scholarly Interest Group, Queer Caucus, Horror Studies Scholarly Interest Group, SCMS 57 SPECIAL EVENT Thursday, March 14 8:00 am – 9:00 am ROOM CIRRUS ● 35th Floor, Pike Street Tower Members’ Business Meeting All SCMS members are encouraged to attend the annual Members’ Business Meeting to learn more about SCMS and current strategic processes. We are excited to introduce some of the key features of SCMS’s new website. Members will also meet and can address questions to members of the Board, and the leadership of the SCMS Caucuses and Scholarly Interest Groups. Refreshments will be provided.
Name Badge If you need a replacement badge, they are available at Registration for $5 USD. Replacement badges will only be printed during registration hours (see page 11).
THURSDAY MARCH 14
58 session Thursday, March 14 9:15 am – 11:00 am E E1 Animation, Technology, E2 Self and Society in Video Games and Identity ◆ CHAIR KT Wong University of California, Irvine ◆ ◆ CHAIR Christopher Holliday ◆ King’s College Amy Dawson‑Andoh University of Michigan London “Tracing the Roots of Global Media Flows: Cristina Formenti ◆ University of Milan ◆ Translator Agency and Creativity in Digital “Shaping Cartoon Identities: The Twitter Games” Mock‑autobiographies of Contemporary KT Wong ◆ University of California, Irvine ◆ Televisual Animated Characters” “Same yet Different: The Colonialist Positioning Christopher Holliday ◆ King’s College London ◆ of Southeast Asians as Mobile Gamers in “Retroframing the Future: Digital De‑Aging Industry Reports” Technologies in Contemporary Hollywood Shannon Lawlor ◆ University College Dublin ◆ Cinema” “The Game Plays You: Defining Self‑Reflexivity Mihaela Mihailova ◆ University of Michigan ◆ in Video Games” “Twitchy Glitchy Girls: Visual Effects and/ Bryan Sebok ◆ Lewis & Clark College ◆ “Gaming as Feminist Error in Contemporary Sci‑Fi Cascadia: Preparing for the ‘Big One’ via Narratives” Educational Video Games” Alexander Sergeant ◆ Bournemouth University ◆ “Coming Back to the Water: HydroFeminist Animation in Disney’s Moana (2016)” SPONSOR Animated Media Scholarly Interest Group
59 E3 Early Contributions E5 Hollywood in Transition in Sound and Vision The Historiography of Industrial Change
CHAIR ◆ CHAIR Meredith Bak ◆ Rutgers University Eric Smoodin University of California, Davis Meredith Bak ◆ Rutgers University ◆ “Animating ◆ ◆ Play: Early Cinema, Toy History, and Eric Smoodin University of California, Davis session Schoenhut’s Humpty Dumpty Circus” “‘Speak to us in French!’ The Transition to Sound, International Markets, and Fox Folies at Beth Corzo‑Duchardt ◆ Lafayette College ◆ “A the Moulin‑Rouge” Dialectic of Mobility and Stasis: The Poster ◆ ◆ Image in Early Cinema” Catherine Jurca Caltech “Live Entertainment and the Movies in Philadelphia, Allain Daigle ◆ University of Wisconsin- E ◆ 1935–1936” Milwaukee “Spectacular Visions: E. Krauss ◆ ◆ and the Emergence of Cinematic Lenses in Jon Lewis Oregon State University Paris” “Antonioni’s America: the American Counterculture and Hollywood in Transition” Harry Burson ◆ University of California, Berkeley ◆ ◆ “Stereo in the 19th Century: Space, Audition, Anna Everett University of California, ◆ and the Théatrophone” Santa Barbara “Race and the Science Fiction/Superhero Genre Reboot: Hollywood’s SPONSOR Silent Cinema Scholarly Interest Group Afrofuturist Imaginary” SPONSOR Classical Hollywood Scholarly Interest Group
E4 New Perspectives on Documentary
CHAIR Jinying Li ◆ University of Pittsburgh E6 Revolution Aesthetics and Activism ◆ ◆ Dave Burnham III University of Chicago “Between Form and Fact: Kevin Jerome CHAIR Catherine Benamou ◆ University of Everson’s ‘Documentary’ Burden” California, Irvine Jinying Li ◆ University of Pittsburgh ◆ “The Qui Nguyen Ha ◆ University of Southern Virtual Walls: Metaphor, Mediation, and Making California ◆ “Avant‑garde Qualities of the Experimental Virtual‑Reality Film 47 KM” Vietnamese Revolutionary Cinema in the 1960s ◆ ◆ Yuki Nakayama University of Michigan and Early 1970s” “‘It’s All Kinichi Hagimoto’s Fault’: Japanese Oscar E. Quiros ◆ University of Costa Rica ◆ “El Variety Programs, Documentary Impulse, and Salvador 2.0: The Alternative Video Aesthetics” Television Aesthetics” Catherine Benamou ◆ University of California, Laurel Ahnert ◆ Georgia State University ◆ Irvine ◆ “Media Acts in the Age of Migration: “The Object as Witness: Abandoned Objects, Spanish‑Language Television Responds to the Desert Borderlands and Documentary U.S. Immigration Crisis” Representations of the Refugee Crisis” Phoebe Marshall ◆ University of Pittsburgh ◆ SPONSOR Documentary Studies “Assuming Equality Now: Immediacy THURSDAY Scholarly Interest Group and Moving‑Image Activism in Paris and MARCH 14 Pittsburgh” 9:15 am 11:00 am
60 E7 Experiments in New Television(s) E9 Screen Objects History, Form, Community Screen Media and Object Relations Theory
CHAIR Lauren Herold ◆ Northwestern University CHAIR Scott Richmond ◆ University of Toronto CO-CHAIR Jason Nebergall ◆ Northwestern Elizabeth Reich ◆ University of Pittsburgh ◆ University “The Afrofuturism of Object Relating: Time in Elizabeth Alsop ◆ CUNY School of Professional Robots of Brixton” session Studies ◆ “Beyond Twin Peaks: Televisual James Hodge ◆ Northwestern University ◆ Excess in the Post‑Network Era” “Data/Dada: Lacan, Object Relations, and Spike Alison Wielgus ◆ University of Wisconsin- Jonze’s Her” Superior ◆ “A Heap of Broken Images: Scott Richmond ◆ University of Toronto ◆ “Of Revisiting Medium Specificity at 1970s” Mice and Turtles: Screen Surrogates and E Jason Nebergall ◆ Northwestern University ◆ Transitional Objects” “Expanded Minds, Expanded Television: Psychedelic Broadcasts of the 1970s Counterculture” Lauren Herold ◆ Northwestern University ◆ “Dyke TV: Cable Access and the Production of Willful Lesbian Feminist Television” E10 Cinematography in Early SPONSOR Experimental Film and Media Soviet Cinema Scholarly Interest Group
CHAIR Lilya Kaganovsky ◆ University of Illinois, Urbana-Champaign Lilya Kaganovsky ◆ University of Illinois, Urbana‑Champaign ◆ “The Visible and the E8 “The Internet is for Porn” Invisible: Tamara Lobova, the Soviet Film Media Archaeology and the Industry, and the Female Gaze” Cyberporn of the 1990s Maria Belodubrovskaya ◆ University of Wisconsin, Madison ◆ “Light Is Power: Soviet Film Cinematography in the 1940s” CHAIR Peter Alilunas ◆ University of Oregon Joan Neuberger ◆ The University of Texas at CO-CHAIR John Stadler ◆ Duke University Austin ◆ “Eisenstein/Tisse/Moskvin: Mobile Peter Alilunas ◆ University of Oregon ◆ Framing in Alexander Nevsky and Ivan the “From BBS to TGP: The Origins of Online Terrible” Pornography” Vincent M. Bohlinger ◆ Rhode Island College ◆ John Stadler ◆ Duke University ◆ “Manshots “Editing Rates and Framing Aesthetics in Soviet and the (P)remediation of Gay Cyberporn” Cinema of the Late 1920s to Early 1930s” Lynn Comella ◆ University of Nevada, Las Vegas ◆ SPONSOR Central/East/South European Cinemas “Not Just a ‘Guy Thing’: Lesbian and Queer Scholarly Interest Group Porn Production in the Early Digital Era” Rebecca Holt ◆ Concordia University, Montreal ◆ “Future Sex: The ‘Unrealized Dream Machines’ THURSDAY of Cyberporn” MARCH 14 SPONSOR Adult Film History Scholarly Interest Group 9:15 am 11:00 am
61 E11 Disability History, Media History E13 Approaching Television In the Internet Era CHAIR Bill Kirkpatrick ◆ Denison University Audiences, Production, CO-CHAIR Ilana Emmett ◆ Northwestern University Interfaces and Algorithms Mack Hagood ◆ Miami University ◆ “Dismedia Theory and Histories of Media Technology” CHAIR Catherine Johnson ◆ University of session Bill Kirkpatrick ◆ Denison University ◆ “The Nottingham Fourth Body: Embodiment and Biopolitics in Bärbel Göbel‑Stolz ◆ Coventry University ◆ Radio Health Programing” “Transcultural Audiences: Global TV and the Ilana Emmett ◆ Northwestern University ◆ Reinvention of Scale” “Vision On: A History of BBC Television Catherine Johnson ◆ University of Nottingham ◆ E Programming for Deaf Audiences” “Online TV Interfaces: Constructing the Experience of Television in the Internet Era” Ayesha Taylor‑Camara ◆ University of Nottingham ◆ “Collect, Inform, Educate, Entertain: Public Service Broadcasting in the Age of Big Data” E12 Diplomatic Activism Serra Tinic ◆ University of Alberta ◆ “The Local Reanimating the Global USIA Motion Picture Confronts the Global: New Dimensions in Corpus and Its Archival Remnants Transnational TV in the OTT Age” SPONSORS Media Industries Scholarly Interest Group CHAIR Julide Etem ◆ Indiana University ◆ and Television Studies Bloomington Scholarly Interest Group Bret Vukoder ◆ Carnegie Mellon University ◆ “Negotiating Goals of Access and Decentralization in the (Re)Construction of the USIA Motion Picture Archive” E14 American Pedagogies, Hadi Gharabaghi ◆ New York University ◆ “The Bureaucratic Order in Documentary Diplomacy Pathologies, and Politics
from the United States to Iran during the WWII to the Cold War” CHAIR Paul McEwan ◆ Muhlenberg College Julide Etem ◆ Indiana University, Bloomington ◆ Benjamin Kruger‑Robbins ◆ University of “Film Diplomacy in the U.S.‑Turkey ◆ Communication Network” California, Irvine “Healing through Quality TV: AIDS Public Pedagogy, Awards Discourse, Brian Real ◆ Southern Connecticut State ◆ and NBC’s 1980s Rebranding” University “Networks of Screen Diplomacy: ◆ The USIA as a Patron of Nontheatrical Art” Erica Moulton University of Wisconsin- Madison ◆ “‘Good Divines’: Orson Welles SPONSORS Libraries and Archives and Roger Hill’s Everybody’s Shakespeare Scholarly Interest Group, Middle East as Pedagogical Paratexts in the American Caucus and Nontheatrical Film and Media Classroom” Scholarly Interest Group Brendan McGillicuddy ◆ University of THURSDAY Minnesota ◆ “Trumpism and the Rhetoric of MARCH 14 Media Pathology” 9:15 am Paul McEwan ◆ Muhlenberg College ◆ “Re‑Writing Griffith in Nate Parker’s The Birth 11:00 am of a Nation and Spike Lee’s BlacKKKlansman” SPONSOR Critical Media Pedagogies Scholarly Interest Group 62 E15 Spirits of Resistance E17 Demystifying Acting in The Politics of Monstrosity in South and Film and Television Southeast Asian Horror Film Craft Discourse, Production Records, and the Power of Screen Performances ◆ CHAIR Rosalind Galt King’s College London ◆ ◆ Rosalind Galt King’s College London CHAIR Cynthia Baron ◆ Bowling Green State “Alluring Monsters: Gender Dissidence in the University session Malaysian Pontianak Film” Aaron Taylor ◆ University of Lethbridge ◆ “Being Sangita Gopal ◆ University of Oregon ◆ “The in the Moment: Analyzing Actors’ Testimonials Ecology of the Monster: Environmental Futures on Performance and Embodied Cognition” and Hindi Horror Cinema” Cynthia Baron ◆ Bowling Green State Adam Knee ◆ Lasalle College of the Arts ◆ ◆ E University “Viola Davis: An Acting Approach “Ghosts and Other Female Aggressors in the Representative of American Film and Television Modern Vietnamese Horror Film” Performance” Bliss Lim ◆ University of California, Irvine ◆ R. Colin Tait ◆ Texas Christian University ◆ “Queering the Zombie Movie: Remington and “‘Queen of Peak TV’: Elisabeth Moss as the Curse of the Zombadings” Actor‑Producer in The Handmaid’s Tale” SPONSORS Asian/Pacific American Caucus and Elliott Logan ◆ University of Queensland ◆ Horror Studies Scholarly Interest Group “Revelation and Mystery in Screen Performance”
E16 The Transnational Auteur, Then and Now E18 Location Shooting and Placemaking New Directions in the Global Politics A Cross-Disciplinary Approach and Cultures of Authorship to Cinematic Geographies
CHAIR ◆ CHAIR Parichay Patra ◆ BITS Pilani ◆ Goa Amy Corbin Muhlenberg College ◆ ◆ CO-CHAIR Colin Burnett ◆ Washington University in Chris Lukinbeal University of Arizona St. Louis “Old Tucson Studios and the Landscapes of Colin Burnett ◆ Washington University in St. Sonoran Westerns” Louis ◆ “Colonial Transnationalism: The Amy Corbin ◆ Muhlenberg College ◆ “Filming Auteur Meets the Resistance in the Making of Oakland: From Narrative Journeys to Racial L’Orient qui vient (Leenhardt, 1937)” and Economic Geographies” Cael Keegan ◆ Grand Valley State University ◆ Sylvia Chong ◆ University of Virginia ◆ “Wanting the Trans/Auteur: Transgender “‘We Were In China’: Location Research, Phenomenology and the Paradox of Los Angeles Chinatown and Scenic Yellowface Authorship” in The Good Earth (1937)” Ignacio Sanchez Prado ◆ Washington University SPONSOR Urbanism/Geography/Architecture in St. Louis ◆ “The Mexican Auteur in the Age Scholarly Interest Group THURSDAY of Cinematic Crisis” MARCH 14 Parichay Patra ◆ BITS Pilani, Goa ◆ 9:15 am “Undecidable/Undesirable: Cine‑Tectonic Shifts beyond the Nation” 11:00 am SPONSOR Transnational Cinemas Scholarly Interest Group 63 E19 Renewing the American Narrative E20 Cinema and Planetary Consciousness ◆ CHAIR Sam Girgus Vanderbilt University CO-CHAIR ◆ Colleen Glenn College of Charleston CHAIR Tiago de Luca ◆ University of Warwick RESPONDENT ◆ Cynthia Lucia Rider University Janine Marchessault ◆ York University ◆ “Real Lara Casey ◆ Vanderbilt University ◆ “The Code, Time Atmospherics as Planetary Aesthetics in session Silence, and Its Modern Echo: Ida Lupino’s Contemporary Media Art” Outrage (1950)” Chris Russill ◆ Carleton University ◆ John Macready ◆ Collin College ◆ “Traversing “Anthropocene Now!: Visualizing the Planetary the American Desert: Political Barrenness in in Contemporary Photography and Film” Hannah Arendt and Children of Men” Tiago de Luca ◆ University of Warwick ◆ “The E Colleen Glenn ◆ College of Charleston ◆ “Jimmy Unseen World Across the World: Wildlife Film Stewart: Renewal and Reinvention After the and the Visibility of the Earth” War” Zoe Druick ◆ Simon Fraser University ◆ Sam Girgus ◆ Vanderbilt University ◆ “From “‘A Wide‑Angle View of Fragile Earth’: Generation to Generation (L’Dor V’Dor): Wyler, Capitalist Aesthetics in the Work of Yann Lumet, and Spielberg and the Struggle for Arthus‑Bertrand” America’s Soul”
MEETING MEETING Thursday, March 14 Thursday, March 14 9:15 am – 11:00 am 9:15 am – 11:00 am ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor Children’s and Youth Media and Culture Libraries and Archives Scholarly Interest Group Scholarly Interest Group
SPECIAL EVENT Thursday, March 14 11:00 am – 12:00 pm LOCATION PARAMOUNT THEATRE ● 911 Pine Street Paramount Theatre & Historic Theatres Library A Hosted Tour Seattle Theatre Group (stgpresents.org), the largest arts organization in the Pacific Northwest, programs and operates three historic theatres in Seattle. Their flagship theatre is The Paramount which opened in 1928 as a movie house and is a designated historic landmark. You will be able to tour parts of the theatre and learn about historic and current film and performing arts presentations. The last 15 minutes of the tour will include THURSDAY a visit to the Historic Theatres Library adjacent to the theatre. MARCH 14 Meet at the front doors of the theatre at 911 Pine St. and wear conference badge (for security reasons). 9:15 am TOURS HOSTS 11:00 am Vicky Lee ◆ Curator of Silent Movie Marion Thrasher ◆ Volunteer Director of Mondays & Director of Education Tours and Historic Theatres Library
64 session Thursday, March 14 11:15 am – 1:00 pm F F1 Animation that Works F2 Gaming On and Beyond Screens
Sponsored Animation in Taiwan, Japan, and the United States CHAIR Paul J. Booth ◆ DePaul University Ahmed Asi ◆ University of California, CHAIR Kirsten Moana Thompson ◆ Seattle Santa Barbara ◆ “Haunted Stages and University Re‑Performed Fantasies: Theatrical Practices Kirsten Moana Thompson ◆ Seattle University ◆ in Final Fantasy XIV” “Disney for Hire? Sponsored Disney Animation, Thomas Welch ◆ University of Wisconsin- from Bucky Beaver to Ludwig Von Drake” Madison ◆ “Platforms of Identification: Jason Douglass ◆ Yale University ◆ “Beyond Understanding the Construction of the Gaming Anime? Reconceiving Japanese Animation Audience Through Discursive Interface History Through Early Animated Television Analysis” Commercials” Nick Bestor ◆ The University of Texas at Austin ◆ Ai‑Ting Chung ◆ University of Oregon ◆ “Post‑Licensing: The Digital and Analog “Taiwanbar Studio: Promoting Taiwan with After‑Life of Warhammer 40,000: Conquest” Animated Products of Taiwan” Paul J. Booth ◆ DePaul University ◆ “Escape Susan Ohmer ◆ University of Notre Dame ◆ “The from a Conference Presentation” Mickey Mouse in Macy’s Parade: Character and SPONSOR Video Game Studies Corporeality in 1930s U.S. Animation” Scholarly Interest Group SPONSORS Animated Media Scholarly Interest Group and Nontheatrical Film and Media Scholarly Interest Group
65 F3 The Music of Sound F5 Eyes on the Prize Listening to the Movies Awards Study Within the Media Industries
CHAIR Daniel Varndell ◆ University of Winchester CHAIR Monica Sandler ◆ University of California, Daniel Varndell ◆ University of Winchester ◆ Los Angeles “Killer Soundtracks: Music and Torture” CO-CHAIR Paul McDonald ◆ King’s College London session Murray Pomerance ◆ Independent Scholar ◆ Paul McDonald ◆ King’s College London ◆ “Shoot the Piano Player” “Producing Prestige: Media Industries and the Rebecca Bell‑Metereau ◆ Texas State Awards System” University ◆ “Siren Songs of Sex and Death: Monica Sandler ◆ University of California, Want that Climax Loud, Fast or Violent?” Los Angeles ◆ “The Birth of a Prize Economy: F Building the First ‘Awards Season’ in Global Post‑WWII” Marijke Valck ◆ Utrecht University ◆ “Awards, Audiences, and Critics: Transformations in Taste and Cultural Evaluation” F4 Women’s Documentaries Michael Reinhard ◆ University of California, in the Middle East Los Angeles ◆ “Industrializing Identity: Censorship, Performance, and ‘Rocking the Vote’ at the 1990 VMAs” ◆ CHAIR Hatim El-Hibri George Mason University SPONSOR Media Industries Scholarly Interest Group Nadia Yaqub ◆ University of North Carolina at Chapel Hill ◆ “Arab Women’s Documentaries of the Long 1970s” Rania Gaafar ◆ Universität Siegen ◆ “Here and Now: Affect, Female Agency and the New Materiality of Crisis in the Middle East and F6 The Laboring Body North Africa” Race and Gender in Radical Cinema ◆ ◆ Anat Dan University of Pennsylvania “Unsettling: Ethnography as a Practice of ◆ Disturbance” CHAIR Jamie Rogers Clemson University RESPONDENT ◆ Najmeh Moradiyan‑Rizi ◆ University of Kansas ◆ Terri Francis Indiana University, “Mediating Transnational Alliances through Bloomington Documentary: The Case of Sonita” Edward Troy ◆ Clemson University ◆ “Exclusions in Post‑colonialist Critique: Black SPONSOR Middle East Caucus Female Subjectivity in La Noire de . . .” Jamie Rogers ◆ Clemson University ◆ “The Labor of Rebellion: Black Feminist Aesthetics of the L.A. Rebellion School of Film” SPONSOR Caucus on Class
THURSDAY MARCH 14 11:15 am 1:00 pm
66 F7 The Politics of Television F9 Film Reboots
Contemporary Discourses and Practices CHAIR Heather Hendershot ◆ Massachusetts Institute of Technology CHAIR Constantine Verevis ◆ Monash University, Heather Hendershot ◆ Massachusetts Institute Melbourne of Technology ◆ “Revisiting the Roots of Daniel Herbert ◆ University of Michigan ◆ ‘Liberal Media Bias’: Network News Coverage “Rethinking the ‘Supersystem’: Film Reboots session of the 1968 Chicago Democratic National and the Teenage Mutant Ninja Turtles” Convention” Kathleen Loock ◆ Freie Universität Berlin ◆ Jelena Jelusic ◆ Northwestern University ◆ “Reboot, Requel, Legacyquel: Jurassic World “Liveness and History in Cold War TV Events and the Nostalgia Franchise” ‑‑ Non‑Alignment in the State Funeral of Josip Jennifer Forrest ◆ Texas State University ◆ F Broz Tito” “From Ocean to Ocean: Serial Fluidity and Martin Marinos ◆ Columbia University ◆ “The Ocean’s 8” Revolution Will Be Televised: 1989 and the New Constantine Verevis ◆ Monash University, Media Regime” Melbourne ◆ “Future Perfect: Blade Runner Andrew McLaughlin ◆ University of Oregon ◆ and its sequels” “One Step Short of a Snuff Film: The Business of Sourcing Depoliticized and Violent Vignettes of Police Work, 1998–2018”
F10 Aesthetics and Affect
F8 Sounds of Racial Resistance CO-CHAIR Kelli Fuery ◆ Chapman University ◆ ◆ Kelli Fuery Chapman University “The Emotional Work of Television: Memory as ◆ CHAIR Silpa Mukherjee University of Pittsburgh Bizarre Sharp Object” ◆ ◆ Evelyn Kreutzer Northwestern University Sean Desilets ◆ Boston University ◆ “Dislocated “Busting Beethoven: Nam June Paik’s ‘Guerilla Landscapes: Reygadas’s Post Tenebras Lux” TV’ at WGBH” Grant Bollmer ◆ North Carolina State ◆ ◆ Dixon Li University of Pennsylvania “Smooth University ◆ “William James’ Planchette: Skins, Careful Tasks” Automatism, Spiritualism, and Media in the Silpa Mukherjee ◆ University of Pittsburgh ◆ History of the Psychology of Affect” “Starry Nights: 1980s Bombay and Disco as Jordan Schonig ◆ University of Chicago ◆ Contraband” “Durational Metamorphoses: Reconsidering SPONSOR Sound and Music Studies Stillness from Avant‑Garde to Arthouse” Scholarly Interest Group SPONSOR Film Philosophy Scholarly Interest Group
THURSDAY MARCH 14 11:15 am 1:00 pm
67 F11 Revisiting the Work of F13 More than “Molasses” Claude Lanzmann Fan Magazines as Sites of Debate Testimonial Acts of Remembrance and Denial ◆ CHAIR Tamar Jeffers McDonald University of Kent CHAIR Ohad Landesman ◆ Tel Aviv University ◆ ◆ CO-CHAIR Katie Model ◆ OCAD University Michael Slowik Wesleyan University “‘That’s a Very Pretty Speech’: The Equation of Sound session Ohad Landesman ◆ Tel Aviv University ◆ Films with Truth in the Late 1920s” “Exploring the Etiology of a Jewish Homeland: ◆ ◆ When Claude Lanzmann Visited Israel” Tamar Jeffers McDonald University of Kent “‘Do you know your color harmony in make‑up Jennifer Cazenave ◆ Boston University ◆ “A as all Hollywood stars do?’ Movie magazines, Work of Mourning Always Incomplete: Claude F stardom and Technicolor” Lanzmann’s Archive of the Catastrophe” Heather Addison ◆ University of Nevada, Katie Model ◆ OCAD University ◆ “Pentimento Las Vegas ◆ “‘Newest Ideas about Brain of Denial: Claude Lanzmann’s A Visitor From Power’: Hair Color and Jean Harlow, the Living” Hollywood’s Platinum Blonde” Michael Renov ◆ University of Southern Mark Lynn Anderson ◆ University of Pittsburgh ◆ California ◆ “The Staging of Testimony in “Respect the Matron: The Sadomasochism of Claude Lanzmann’s The Last of the Unjust” Mrs. Wallace Reid, 1923–1935” SPONSOR Middle East Caucus SPONSORS Classical Hollywood Scholarly Interest Group and Silent Cinema Scholarly Interest Group
F12 Invisible Images
CHAIR Justin Remes ◆ Iowa State University F14 Global Constellations of Feminist Richard Misek ◆ University of Kent ◆ “The Experimental Film and Video Unseen Film” Dislocating Western Perspectives ◆ ◆ Thomas Day University of Edinburgh “The Temporality of Moving‑Image Décollage” CHAIR ◆ ◆ ◆ Dijana Jelaca Brooklyn College, CUNY Justin Remes Iowa State University “Naomi ◆ ◆ Uman’s Strip Tease” Kristin Lené Hole Portland State University ◆ ◆ “Hearing and Seeing the Distance: Mediating Tom Gunning University of Chicago “The Images in the Work of Mounira al Solh, Basma Effect of Disappearing” Alsharif, and Samira Alkassim” SPONSORS CinemArts Scholarly Interest Group Tanya Shilina‑Conte ◆ University at Buffalo, and Experimental Film and Media SUNY ◆ “Folded Feminisms: Iranian Scholarly Interest Group Experimental Women Filmmakers” Masha Shpolberg ◆ Yale University ◆ “Feminist Filmmaking Under Socialism: The case of Ewa THURSDAY Partum and Natalia LL” MARCH 14 Dijana Jelaca ◆ Brooklyn College, CUNY ◆ am “Reclaiming the Ghost Histories of Feminist 11:15 Experimental Work in Yugoslavia” 1:00 pm SPONSORS Central/East/South European Cinemas Scholarly Interest Group and Women’s Caucus 68 F15 Platform Transnationalism F17 Acting and Mise-en-Scène and Bodily Performance in Korean Wave Fan Cultures CHAIR Katherine Kinney ◆ University of California, Riverside
Patrick Keating ◆ Trinity University ◆ “Acting CHAIR & RESPONDENT ◆ Regina Lee University of Without Moving: On Lighting and Performance” Washington Sharon Marie Carnicke ◆ University of Southern ◆ ◆ session İpek Celik Rappas Koç University California ◆ “The Actor’s Geography of “Hyper‑Masculinity, Militarism, and K‑Pop Thought: How the Technique of Inner Fandom in Turkey” Monologue, Then and Now, Uses and Creates Tony Tran ◆ Boston College ◆ “‘I Tried Kpop Mise‑en‑Scène” Idol IU’s diet *GONE WRONG LOL*’: Gender, Katherine Kinney ◆ University of California F Dieting, and Negotiating Beauty in K‑Pop Global Riverside ◆ “‘I’m walkin’ here!’: Acting in the Fandoms” Street” ◆ ◆ Wan‑Jun Lu University of Wisconsin‑Madison Behre Ozalp ◆ University of California, “Governing Transnational Fandom by Los Angeles ◆ “The Making of a Male in Ağır Platforms” Roman / Cholera Street (1997)” Michelle Cho ◆ McGill/University of Toronto ◆ “Vicarious Media: Liveness, Serial Affect, and Platform Mediation in K‑pop Fandoms” SPONSOR Fan and Audience Studies Scholarly Interest Group F18 Space and/as Media
CHAIR Rory Solomon ◆ New York University Mona Damluji ◆ University of California, F16 Investigating Crime Films from Santa Barbara ◆ “Oil, Film and Infrastructure: Transnational Perspectives A Historical View from Iraq” Elizabeth Gleesing ◆ Syracuse University ◆ “The Future in the Present Tense: Integrating CHAIR Sarah Delahousse ◆ York College, CUNY Drones into the Everyday in Amazon’s Prime Sarah Delahousse ◆ York College, CUNY ◆ Air” “The French‑American Origins and Appeal of Germaine Halegoua ◆ University of Kansas ◆ Jasset’s Protéa (1913), France’s First Female “#FollowMeTo Everywhere: Analyzing Selfies Spy Film” as Spatial Habitus and Placemaking Practices” Aleksander Sędzielarz ◆ University of Alia Haddad ◆ University of Southern California ◆ Minnesota‑Twin Cities ◆ “A Finger on the “Making the Desert Bloom: Landmines of Trigger: Tango, Anarcho‑Syndicalism and the Subversion in Ave Maria and Ismail” Cinematic Imaginary of Urban Crime in 1930s Buenos Aires” William Covey ◆ Slippery Rock University ◆ “Rebellious Mothers in Korean Neo‑Noir” ◆ THURSDAY Jonathan Risner Indiana MARCH 14 University‑Bloomington ◆ “Gated Crimes: Neoliberal Spaces and the Pleasures of 11:15 am Paranoia in Las viudas de los jueves (2009) and pm Betibú (2014)” 1:00 SPONSOR Transnational Cinemas Scholarly Interest Group 69 F19 Mediated Identities F20 Political Climates
Media Genealogies of Uncertainty in Atmospheric Prediction CHAIR Brendan Kredell ◆ Oakland University Brendan Kredell ◆ Oakland University ◆ “Mapping Cultural Difference and Media CHAIR Mary Ann Doane ◆ University of California, Consumption in the Home Video Market: A Berkeley session Spatial Approach to Audience Studies” Yuriko Furuhata ◆ McGill University ◆ Andre Cavalcante ◆ University of Virginia ◆ “Air‑conditioned Futures: A Transpacific Media “Transdigital Sex Work: Managing Economic Genealogy of Weather Forecasting” Insecurity Via the Digital and Analog” Thomas Patrick Pringle ◆ Brown University ◆ Kerli Kirch ◆ University of Miami ◆ “‘We become resilient as a nation’: F “Construction and Reception of Setos as Documentary Ascertainment and Climatic Civil Exoticized Museum Artifacts in the Estonian Defense” film, Taarka” Derek Woods ◆ Dartmouth University ◆ Joseph Coppola ◆ University of Pennsylvania ◆ “Platforms of Extinction: A Critique of “Can You Copyright a Dream? A ‘Media Existential Risk” Archeology’ Approach to Martin Luther King SPONSORS Media and the Environment Jr.” Scholarly Interest Group and Media, Science, and Technology Scholarly Interest Group
MEETING MEETING Thursday, March 14 Thursday, March 14 11:15 am – 1:00 pm 11:15 am – 1:00 pm ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor Horror Studies War and Media Studies Scholarly Interest Group Scholarly Interest Group Business and networking meeting for all interested in War and Media studies. Membership not required.
Explore . . . the SCMS Exhibit Area THURSDAY Metropolitan Ballroom, MARCH 14 3rd Floor 11:15 am see page 23 for Exhibit Hours 1:00 pm
70 session Thursday, March 14 1:15 pm – 3:00 pm G G1 The Uses of Metaphor G2 Contemporary Video Representing the Body through Animation Game Cultures and Textual Identity Formation CHAIR ◆ Nicholas Miller Loyola University Maryland CHAIR Jacob Mertens ◆ University of Wisconsin- Eric Herhuth ◆ Tulane University ◆ “‘Animated Madison by Others’: Paradoxical Figures in Judith CO-CHAIR ◆ Butler’s Theory of Subject Formation” Camilo Diaz Pino West Chester University of Pennsylvania Erwin Feyersinger ◆ University of Tübingen ◆ Jacob Mertens ◆ University of Wisconsin- “Audiovisual Metaphors of the Human Body in ◆ Animated TV Shows for Children” Madison “‘I Wanna Be Like Mike’: NBA 2K18’s ◆ Microtransactions and the Commodification of Carmen Hannibal Royal College of Art, Black Culture” London ◆ “Situating Animated Metaphors Camilo Diaz Pino ◆ West Chester University in Theories of ‘Mental Imagery’: From Visual ◆ Perception to Imagination” of Pennsylvania “A Prehistoric ◆ ◆ Post‑Apocalypse: Interrogating the evocation Nicholas Miller Loyola University Maryland of Jōmon culture in The Legend of Zelda: “The Photograph of Dorian Gray: Visual Breath of the Wild” Rhetoric, Series Photography, and the ◆ ◆ Transforming Body” Casey Long University of Wisconsin‑Madison “Hyper‑Emphasized Dialects and Vocal SPONSOR Animated Media Scholarly Interest Group Performance in Video Games: Cindy’s Southern Accent in Final Fantasy XV” John Murray ◆ University of Central Florida ◆ “Designed to Obey: Problematizing the ‘Neutral’ Developer through Detroit: Become Human” 71 G3 Sounds Bad G5 ROUNDTABLE Investigating Crime Soundwork Physical Media and Pedagogy from the Golden Age of Radio to the Golden Age of Podcasting in Archival Practice and Course Development
CHAIR Catherine Martin ◆ Boston University CHAIR ◆ Neil Verma ◆ Northwestern University ◆ Saul D. Kutnicki Indiana University session ◆ “Nobody Knows Anything: Epistemology as CO-CHAIR Andy Uhrich Indiana University Style in True Crime Podcasting” Brian Meacham ◆ Yale University Film Study ◆ Catherine Martin ◆ Boston University ◆ Center “Acquiring Film from Ebay to Teach “Eliminating ‘Blood and Thunder’ from Archiving” G Containment Culture: Postwar Radio Crime Jimi Lee Jones ◆ University of Illinois at Dramas as Unwelcome Noise” Urbana‑Champaign ◆ “Co‑teaching for Amanda Keeler ◆ Marquette University and Hands‑on Digital Preservation” Andrew Bottomley ◆ SUNY Oneonta ◆ “In Lauren Bratslavsky ◆ Illinois State University ◆ the Dark and True Crime Reinvestigation “Teaching broadcast history with physical Podcasts as Public Service” media” Josie Barth ◆ McGill University ◆ “‘Delightful, Nedda Ahmed ◆ Georgia State University ◆ Distinguished,’ and Deadly: Gender, Intimate “Paper Collections and Aiding the Address, and Advertising in Midcentury Crime/ Artist‑Researcher” Horror Radio” SPONSORS Libraries and Archives SPONSOR Radio Studies Scholarly Interest Group Scholarly Interest Group, Silent Cinema Scholarly Interest Group and Critical Media Pedagogies Scholarly Interest Group
G4 Embodying the Humanitarian in Immersive Documentary and Virtual Reality G6 Passive Viewers and Non-Participatory Fans CHAIR Eszter Zimanyi ◆ University of Southern Digital Television and Everyday Life California
CO-CHAIR Emma Ben Ayoun ◆ University of Southern ◆ California CHAIR Rhiannon Bury Athabasca University CO-CHAIR ◆ RESPONDENT Pooja Rangan ◆ Amherst College Elizabeth Evans University of Nottingham Juan Llamas Rodriguez ◆ The University of Texas ◆ ◆ at Dallas ◆ “In Spite of Empathy” Rhiannon Bury Athabasca University “Television 2.0 and Everyday Life” Marit Corneil ◆ University of Trondheim, ◆ ◆ Norway (NTNU) ◆ “Expanding Documentary: Lothar Mikos Filmuniversität Babelsberg Experiments in Total Cinema” “Binge Watching and the Organization of Everyday Life” Eszter Zimanyi ◆ University of Southern California ◆ ◆ THURSDAY and Emma Ben Ayoun ◆ University of Southern Patricia Ferrante FLACSO, Argentina MARCH 14 California ◆ “Sensing the Absent Body: Haptic “Digital TV On the Go : Watching While pm Virtuality and Humanitarianism” Commuting in Buenos Aires” 1:15 ◆ ◆ SPONSORS Elizabeth Evans University of Nottingham pm Documentary Studies 3:00 Scholarly Interest Group, Film Philosophy “Calculating the Cost: The Mundane Work of Scholarly Interest Group and War and Media ‘Engagement’ in Transmedia Culture” Studies Scholarly Interest Group SPONSOR Television Studies Scholarly Interest Group 72 G7 The Intersection Will be Televised G9 The Politics and Perils of Professionalization CHAIR Annie Laurie Sullivan ◆ Northwestern Analyzing Creative Labor Across University and DePaul University Media Institutions ◆ Annie Laurie Sullivan Northwestern University and DePaul University ◆ “Imagining Black CHAIR Aniko Imre ◆ University of Southern Futures through Television: Dr. Gilbert Maddox, California session TV Technology, and Urban Change in the 1960s ◆ ◆ City” Carolyn Birdsall University of Amsterdam “Creative Agency in the Margins: Gendered Nathan Rossi ◆ The University of Texas at ◆ Sound Work and Radio Aesthetics in European Austin “Rethinking Mixed Race Families: Comparison, 1930–1950” Transracial Adoption in NBC’s This is Us and ◆ G Shawn VanCour University of California, HBO’s Here and Now” ◆ ◆ ◆ Los Angeles “Back in the Picture: Women Thomas J. West III Independent Scholar Media Workers and the Rise of ABC’s West “Chivalry is Dead: The Pleasures of Queer Coast Television Division, 1949–1960” Failure in Contemporary Historical Television” ◆ ◆ Caroline Frick The University of Texas at Jennifer Myers Baran University of Washington ◆ ◆ Austin “Have the Lunatics Taken over the Tacoma “Truth and Justice for All?: An Asylum? The Rise of the Media Preservation Intersectional Investigation of Disability in True Professional” Crime’s Wrong Man Narrative” Catherine Russell ◆ Concordia University, Montreal ◆ “Archiveology and the National Film Board of Canada: Recycling Indigenous Images” SPONSORS Caucus on Class and Media Industries G8 Audiovisual Appropriation, Scholarly Interest Group Cultural Appropriation, Ethics
CHAIR Jaimie Baron ◆ University of Alberta Courtney R. Baker ◆ Occidental College ◆ “White Out Conditions: Artists Bringing White G10 In and Out of Sight Supremacy into View” Special Effects Materialities in a Transnational Lens Eleni Palis ◆ University of Pennsylvania ◆ “Fabricating Fats Waller: Be Kind Rewind and Faked Appropriation” CHAIR Kartik Nair ◆ Temple University ◆ ◆ Lauren M. Cramer Pace University “The CO-CHAIR Anu Thapa ◆ University of Iowa Genius of Appropriation” RESPONDENT Julie Turnock ◆ University of Illinois at Jaimie Baron ◆ University of Alberta ◆ “The Urbana-Champaign Ethics of Empathy in of the north and Open Anu Thapa ◆ University of Iowa ◆ “Divine Optics: Casket” The Aesthetics of Miracles on 1980s’ Indian Television” Kartik Nair ◆ Temple University ◆ “Blood, the THURSDAY Stain of the Film Set: The Sticky Materiality of MARCH 14 Profilmic Special Effects” 1:15 pm Hye Jean Chung ◆ Kyung Hee University ◆ “Composite Cities: Heterotopic Cityscapes in 3:00 pm Contemporary Science Fiction Cinema”
73 G11 Dissent and Disorder in G13 Hispanic, Indigenous, Spanish Cinema of the ‘80s Oriental, White
The Transnational Star Discourses of Dolores del Río and Lupe Vélez CHAIR Dean Allbritton ◆ Colby College Sarah Thomas ◆ Brown University ◆ “Vice as Virtue: Reframing the Convent in Entre CHAIR Diana Norton ◆ The University of Texas at session tinieblas (Almodóvar, 1983)” Austin Dean Allbritton ◆ Colby College ◆ “Perverts and RESPONDENT Nicolas Poppe ◆ Middlebury College Sickos: Selling Sex and Illness in the Spanish Mary Kate Donovan ◆ Skidmore College ◆ ‘80s” “Chinese Spitfire: Lupe Vélez in East is West Tom Whittaker ◆ University of Warwick ◆ and Oriente es occidente” G ◆ ◆ “Sound, Sensation and Syringes in El pico (Eloy Monica Garcia Blizzard Emory College de la Iglesia, 1983)” “Lupe Vélez’s ‘Whiteness’ in Mexico: La Vanessa Ceia ◆ McGill University ◆ “Penetrated Zandunga (1937)” Corpus: Sonic Transgressions in Jess Franco’s Diana Norton ◆ The University of Texas at Sinfonía erotica (1980) and Iván Zulueta’s Austin ◆ “Marian Imagery as Hispanicizing Arrebato (1980)” Project in the Transnational Star Discourse of Dolores del Río” SPONSOR Latino/a Caucus
G12 Data Mediations
CHAIR Jennifer Hessler ◆ University of California, G14 Blackness Across Media Santa Barbara RESPONDENT ◆ Jennifer Holt University of California, CHAIR Christopher Sieving ◆ University of Santa Barbara Georgia ◆ Jennifer Hessler University of California, Nicholas Forster ◆ Yale University ◆ “‘These ◆ Santa Barbara “Cheating the Ratings: Walls Keep in More than They Keep Out’ The Viewer Diaries as a Technology/Text of Transmedial Tendrils of Bill Gunn’s Black Mediated Audience Labor” Picture Show” ◆ ◆ Patrick Vonderau Stockholm University Aurore Spiers ◆ University of Chicago ◆ “Fakes, Likes, and Fiction” “Blackface Performance(s) in Edgar Lisa Parks ◆ Massachusetts Institute of Arceneaux’s Until, Until, Until . . . (2015)” ◆ Technology “Dirty Data: The Cleaners, Media Leslie Marsh ◆ Georgia State University ◆ Infrastructures, and Film/Media Studies” “Mapping the (re)emergence of Black Cinema Mark Andrejevic ◆ Pomona College and Monash in Brazil: Bróder (2010) and Branco sai, preto University ◆ “Post‑Verification Media: fica (2014)” Operationalism and Representation” Christopher Sieving ◆ University of Georgia ◆ SPONSOR Media, Science, and Technology “Ready, Set, Stop: Bill Gunn’s Disappeared THURSDAY Scholarly Interest Group Debut and the Limits of the New Hollywood” MARCH 14 1:15 pm 3:00 pm
74 G15 Examining Ethics in G16 ROUNDTABLE East Asian Cinema Reassessing the Legacy of Trinh T.
Minh-ha on the 30th Anniversary CHAIR Melissa Chan ◆ University of Southern of Surname Viet Given Name Nam
California CO-CHAIR Jinhee Park ◆ University of Southern CHAIR ◆ California Melissa Phruksachart University of session ◆ Michigan Melissa Chan University of Southern ◆ ◆ California ◆ “Sinophone Bodies: Analyzing Peter Feng University of Delaware Networked Ethics and Disability in The One- “Postcolonial Critique and Social Media ‘Mini Armed Swordsman” Docs’” ◆ ◆ ◆ ◆ Lan Duong University of Southern California G Jinhee Park University of Southern California “From Spectacle of the Other to Spectator of “On Not Forgetting Vietnam and the Making of the Other: Transposing North Korean Spies in Memory” Spy Genre Cinema” Sunny Xiang ◆ Yale University ◆ “Intimacy as Sue Heun K. Asokan ◆ University of California, Method” Irvine ◆ “Selfish Sacrifice/Sovereign Domitilla Olivieri ◆ Universiteit Utrecht ◆ Guilt – Deconstructing the Ethical Hero in “Speaking Nearby: A Route through Trinh’s Postmodern Korean Film” Films” Soo Hyun Lee Jackelen ◆ University of SPONSORS Asian/Pacific American Caucus Minnesota ◆ “Women on the Border of and Documentary Studies Transgression: Gender and Body Politics Scholarly Interest Group in 1960s South Korean Comedy Films/ Presentation”
G17 Noir (In)Visibilities in Postwar Hollywood Acting, Stardom, and Fan Culture
CHAIR Will Scheibel ◆ Syracuse University CO-CHAIR Julie Grossman ◆ Le Moyne College Julie Grossman ◆ Le Moyne College ◆ “Lauren Tweet . . . Bacall and ‘The Lean’: Performance Style and 1940s Film Noir” your experiences Charlene Regester ◆ The University of during the conference North Carolina at Chapel Hill ◆ “Dark Desires, White Obsessions, and Black Signifiers: An Use #SCMS19 Examination of Race in Double Indemnity” Will Scheibel ◆ Syracuse University ◆ “A Blue Shade of Noir: Star Suffering and Postwar THURSDAY Female Trauma in Whirlpool” MARCH 14 ◆ Shelley Stamp University of California, 1:15 pm Santa Cruz ◆ “Noir’s Tough Guys and their Female Fans” 3:00 pm SPONSOR Classical Hollywood Scholarly Interest Group 75 G18 Serial Formations G20 Water Worlds Species, Race, Structure, Screens Filming, Sensing, and Performing
Rivers and Oceans CHAIR Theodore Geier ◆ University of California, Davis CHAIR Lisa Han ◆ University of California, Sarah O’Brien ◆ University of Virginia ◆ “Animal Santa Barbara session Flows in Post‑Network Television” RESPONDENT Cleo Woelfle-Erskine ◆ University of Sarah Juliet Lauro ◆ University of Tampa ◆ Washington “[____] Lives Matter: The Use of Animal Lisa Han ◆ University of California, Imagery in Contemporary Black Cinema” Santa Barbara ◆ “Deep Dark Media: Theodore Geier ◆ University of California, Davis ◆ Transparency and Mediation at the Seabed” G “Serial Singularities: Loving the Impossible Adam Diller ◆ Temple University ◆ “An Creature of the Contemporary Film Franchise” Archiveology of the Chthulucene: The film Akira Lippit ◆ University of Southern California ◆ and photo archives of the Bonneville Power “Anagrammaticat People” Administration” ◆ ◆ SPONSOR Media and the Environment Jon Crylen Independent Scholar Scholarly Interest Group “Representing Slow Violence in Recent Undersea Film” Sarolta Cump ◆ San Francisco State University ◆ “Performing The River: A Queer Ecology” SPONSOR Media and the Environment Scholarly Interest Group G19 Who’s It Made For Audiences and Authorship
MEETING CHAIR ◆ Shekhar Deshpande Arcadia University Thursday, March 14 ◆ ◆ Jane Greene Denison University 1:15 pm – 3:00 pm “Government Girls and Sailors’ Wives: World ROOM BALLARD ● 3rd Floor War II Romantic Comedy” Queer Caucus Sarah Panuska ◆ Michigan State University ◆ “Camping at the Margins: Camp, Curation, and Archival Practices in Cheryl Dunye’s The Watermelon Woman” Maxfield Fulton ◆ Yale University ◆ “Atomic MEETING Masculinities: The Comedic Function of Ken Thursday, March 14 Adam’s Production Design in Dr. Strangelove” 1:15 pm – 3:00 pm ROOM Carl Burgchardt ◆ Colorado State University ◆ CHELAN ● 1st Floor “‘Emotional Allegory’ in The Yearling (1946)” French/Francophone SPONSORS Children’s and Youth Media and Culture Scholarly Interest Group Scholarly Interest Group and Comedy and Elections will be held this year. Humor Studies Scholarly Interest Group THURSDAY MARCH 14 1:15 pm 3:00 pm
76 session Thursday, March 14 3:15 pm – 5:00 pm H
H1 Sonic, Iconic, and Anime-tronic H2 Women in Video Games Voice and Identity in Animation Some Histories
CHAIR Heather Warren-Crow ◆ Texas Tech CHAIR Carly Kocurek ◆ Illinois Institute of University Technology CO-CHAIR Kara Andersen ◆ Brooklyn College, CUNY Jennifer DeWinter ◆ Worcester Polytechnic Heather Warren‑Crow ◆ Texas Tech University ◆ Institute ◆ “Yoko Kanno’s Operatic Techno “Madoka Magica, Affective Labor, and the Girly Jazz, or the Challenges of Uncovering Women Voice” in Japanese Game Histories” Kara Andersen ◆ Brooklyn College, CUNY ◆ Christopher Hanson ◆ Syracuse University ◆ “‘You’re Not that Kind of Predator’: Racialized “Monochrome to Multimedia: Roberta Voice Acting and Transracial Voice Casting in Williams’s Games and The Transformation of Animation” Personal Computers” Colleen Montgomery ◆ Rowan University ◆ Carly Kocurek ◆ Illinois Institute of Technology ◆ “Double Dubbing: Voicing Disney Animation’s “Factory Floors, PTA Meetings, and Chambers French Language Versions” of Commerce: How Women Shaped Early Regina Arnold ◆ University of San Francisco ◆ Video Games” “Rage Against the Machine from Inside Anastasia Salter ◆ University of Central Florida ◆ the Machine: The Sound of Female Rage in “Plundered Hearts: The Mostly Forgotten Aggretsuko: Tomorrow Is Another Day” History of Romance Games” SPONSOR Animated Media Scholarly Interest Group SPONSOR Video Game Studies Scholarly Interest Group 77 H3 Disquieting Labor H5 ROUNDTABLE The Battles of New Hollywood Audio Workers Recalibrating Teaching, Research, and Advising in CHAIR Katherine Quanz ◆ Harry Ransom Center the #MeToo Moment CO-CHAIR Eric Dienstfrey ◆ The University of Texas at Austin ◆ session Julie Hubbert ◆ University of South Carolina ◆ CHAIR Lucas Hilderbrand University of “Auteur Music and Labor” California, Irvine CO-CHAIR ◆ Katherine Quanz ◆ Harry Ransom Center ◆ Miranda Banks Emerson College “Runaway Traditions: The Controversy of Suzanne Leonard ◆ Simmons College ◆ Mixing Fiddler on the Roof in London” “Reassessing Roseanne as a Feminist Text” H Liz Greene ◆ Liverpool John Moores University ◆ Priscilla Ovalle ◆ University of Oregon ◆ “(Re)placing Sound: Postproduction Tensions “Teaching the Multifaceted Structures of During the Making of The Elephant Man Power” (1980)” Kristen Warner ◆ University of Alabama ◆ Eric Dienstfrey ◆ The University of Texas at “Layers of Discourse from Public to Back Austin ◆ “Invisible by Design: Star Wars, the Channel” ISO, and the Adoption of Wide‑Range Volume” SPONSOR Critical Media Pedagogies SPONSOR Sound and Music Studies Scholarly Interest Group Scholarly Interest Group
H6 Women Filmmakers after H4 Documenting Trauma the Second Wave
◆ CHAIR Megan Alvarado-Saggese University of CHAIR Abigail Cheever ◆ University of Richmond California, Berkeley Nicholas Godfrey ◆ University of Flinders ◆ Man Fung Yip ◆ University of Oklahoma ◆ “All of “From Funny Girl to The Main Event: Barbra Us Are Part of the Monster: Toxic Sublimity and Streisand as star auteur in the New Hollywood” Ethical Reflexivity in Zhao Liang’s Behemoth” Abigail Cheever ◆ University of Richmond ◆ Graeme Stout ◆ University of Minnesota‑Twin “‘She’s a Professional Now’: Claudia Weill and Cities ◆ “Stasis and Temporality in Philip Girlfriends” Scheffner’s Havarie” Hayley O’Malley ◆ University of Michigan ◆ Hannah Soebbing ◆ University of Southern “Filming Everyday Freedom: The Black Feminist California ◆ “Landscapes of Historical Praxis of Kathleen Collins’ 1980s Filmography” Trauma: Space and the Ethics of the Subjective SPONSOR Women in Screen History Gaze in Kirsten Johnson’s Cameraperson” Scholarly Interest Group
THURSDAY MARCH 14 3:15 pm 5:00 pm
78 H7 Hidden TV Histories H9 WORKSHOP
Practical Activism in the Academy
CHAIR Charlotte Howell ◆ Boston University Alex Bevan ◆ University of Queensland ◆ “The CHAIR Amanda Ann Klein ◆ East Carolina Transferal of Labor Across Creative Industries University in Early Australian Television Drama” CO-CHAIR Jacinta Yanders ◆ The Ohio State Jeffrey Brassard ◆ St. Joseph’s College University University session of Alberta ◆ “Misunderstanding Raymond: Cultural Technology Transfers in Transnational PARTICIPANTS Scripted Format Production” Aviva Dove-Viebahn ◆ Arizona State Frank Mondelli ◆ Stanford University ◆ University “Technolinguistic Poiesis: Algorithmic Sign SPONSOR Critical Media Pedagogies H Language and Broadcast Media in Japan” Scholarly Interest Group Selena Dickey ◆ The University of Texas at Austin ◆ “Complicating Television Distribution History: VHF Booster Stations and the Local Fight for National Television” H10 Transnational Ethnicities in Television
H8 Cultural Diversity and the CHAIR Sarah Matheson ◆ Brock University Global Media Flow Thais Miller ◆ University of California, The Local Dimension in Contemporary Santa Cruz ◆ “Representations of Refuseniks Television Production and Soviet Jewish Emigration in GLOW: Gorgeous Ladies of Wrestling”
Andree Lafontaine ◆ University of Tsukuba ◆ CHAIR Larissa Christoforo ◆ Université de “The Refracted Gazes of NHK’s Home Sweet Montréal Tokyo” ◆ CO-CHAIR Giulia Taurino University of Bologna Richard Mwakasege‑Minaya ◆ University of Larissa Christoforo ◆ Université de Montréal ◆ Michigan ◆ “The Cuban Exile Counterpoint: “Theorizing TV Across Borders: the local Media Activism, Conservative Latinidad, and dimensions of televisual fiction and the Cold War Politics (1960–1980)” production of knowledge” Sarah Matheson ◆ Brock University ◆ Giulia Taurino ◆ University of Bologna ◆ “Transnational Media Studies and ‘Invisible TV’: “Translocality in European Television: the case Canadian Programming in the U.S.” of Arte” SPONSOR Television Studies Scholarly Interest Group Marc‑Antoine Lévesque ◆ Université de Montréal ◆ “Sharp Objects: when a fictional Missouri locality meets a Québécois production” THURSDAY MARCH 14 3:15 pm 5:00 pm
79 H11 Contestation and Containment H13 Transforming Media and Women’s Agency in the Media Industry Culture in the 60s and 70s
CHAIR ◆ Amanda Cote University of Oregon CHAIR Philip Drake ◆ Queen Margaret University, Graham Eng‑Wilmot ◆ Goucher College ◆ “‘We Edinburgh Don’t Need Another Hero?’: Film Fantasies of Corinna Kirsch ◆ Stony Brook University and San session Black Female Stars in the Mid–1980s” Francisco Art Institute ◆ “The Life and Death Vanessa Cambier ◆ University Of Minnesota ◆ of ‘Iris,’ a Cybernetic Sculpture” “Feminism and Animation: The Underexamined Jack Hamilton ◆ University of Virginia ◆ “We Relationship Between Women’s Animation and Can Conquer the World: Stevie Wonder and Feminist Aesthetics” the Keyboard Synthesizer in the 1970s” H Helle Kannik Haastrup ◆ University of ◆ ◆ Lawrence Webb University of Sussex “The ◆ Copenhagen “‘Why I Wear Black’: Celebrity Big Apple Turns Sour: Location Shooting and Activism and Cultural Critique at The Golden Media Activism in Koch Era New York” Globe Awards Show” Adrien Sebro ◆ University of California, ◆ Megan Boyd University of Wisconsin- Los Angeles ◆ “‘Remember, I’ve Been Black ◆ Madison “‘A Ripple of Mirth, Feminine in the Longest’: Black Actresses’ Response to Sound’: Female Audiences and Lost Histories of Racial and Gender Politics in 1970s Sitcoms” Silent Comedy” SPONSOR Women in Screen History Scholarly Interest Group
H14 Transnational Marginalities
H12 ROUNDTABLE CHAIR Nishant Shahani ◆ Washington State Digital Processes and Racial University Matt Sienkiewicz ◆ Boston College ◆ Formations, Redux “Representing Refuge: Contemporary Afghan
Filmmakers in European Exile” ◆ University of California, Irvine ◆ CHAIR Tara McPherson ◆ University of Southern Mary Schmitt California “Black Liberation or Neoliberal Fantasy? ◆ ◆ An Analysis of Pan‑Africanism and Black Kara Keeling University of Chicago “Privacy, Radicalism in Marvel’s Black Panther” Propriety and Black Women’s Embodiment” ◆ ◆ ◆ ◆ Nishant Shahani Washington State University Lisa Nakamura University of Michigan “New Queer Representations in Indian Film: “Automating Racial Empathy: VR and the The Politics of Liberal Longing” Undercommons” ◆ ◆ ◆ ◆ Nick Davis Northwestern University Wendy Chun Simon Fraser University “Faces Places: Locating and Representing “Community’s Dark Side: Segregation + Transgender in A Fantastic Woman (2017) and Algorithms” They (2017)” Tara McPherson ◆ University of Southern THURSDAY California ◆ “Platforming White Supremacy” MARCH 14 3:15 pm 5:00 pm
80 H15 Found Histories H17 United Artists 1979–2019 Re-animating Fragments of South Asian The Evolution of a Hollywood Major Film and Media Cultures Studio into a Specialty Film Division
CHAIR Manishita Dass ◆ Royal Holloway ◆ CHAIR Yannis Tzioumakis ◆ University of University of London, UK Liverpool Anuja Jain ◆ University of St. Andrews ◆ Justin Wyatt ◆ University of Rhode Island ◆ session “Re‑membering Archives and Memory: En “United Artists, Fourth Quarter 1980: Route and Amateur Film in Postcolonial India” Catastrophe, Corporate Image and the Rise of Manishita Dass Royal Holloway ◆ University of Infotainment” London ◆ “Fugitive Images: Reframing 1950s Gary Needham ◆ University of Liverpool ◆ Bombay Cinema through Visual Ephemera” “United Artists, Cruising (1980), and the H Samhita Sunya ◆ University of Virginia ◆ Controversy of Blind‑bidding” “Between Bangles and Blue Films: The Illicit Yannis Tzioumakis ◆ University of Liverpool ◆ Economies of Celluloid Waste, 1960s–1970s” “De‑conglomeratising Hollywood: When United Padma Chirumamilla ◆ University of Michigan ◆ Artists Became Orion Pictures” “The Cinematic Roots of the South Indian Cable Lisa Dombrowski ◆ Wesleyan University ◆ Industry” “Once More, with Ray: United Artists Re‑enters SPONSOR Nontheatrical Film and Media the Specialty Market” Scholarly Interest Group SPONSOR Media Industries Scholarly Interest Group
H16 Moving Latin America H18 Sights and Sites New Directions in Affect Theory Cities, Place and Representation in Film and TV
and Latin American Cinema CHAIR Lucia Salas ◆ California Institute of the CHAIR Olivia Cosentino ◆ The Ohio State Arts University Megan Hoetger ◆ University of California, CO-CHAIR Nilo Couret ◆ University of Michigan Berkeley ◆ “‘The Kunstmarkt Affair’: Victoria Ruetalo ◆ University of Alberta ◆ XSCREEN’s Underground Explosion and the “Affectively Charged Bodies in ‘Bad’ and Postwar Cinema of Attraction” Popular Cinemas” Robert Joseph ◆ University of Dayton ◆ “Blood Olivia Cosentino ◆ The Ohio State University ◆ and Flood on the Streets of New Orleans: “Disjunctures: Affect, Violence and the Katrina Exploitation” Everyday in Contemporary Mexican Harry Karahalios ◆ Duke University ◆ “Filming Documentary” the City in Flames: Representations of Athens Santiago Rozo Sánchez ◆ Washington University Before and During the Economic Crisis” in St. Louis ◆ “Affective Witnesses: Towards Sezen Kayhan ◆ Koç University ◆ ‘New’ Ways of Feeling Violence in Colombian “Self‑Orientalism as a Marketing Strategy: THURSDAY Contemporary Cinema” Turkish Period Drama Series in the Netflix U.S.” MARCH 14 Nilo Couret ◆ University of Michigan ◆ “Feeling SPONSOR Central/East/South European Cinemas pm Worthless: The Deadpan Comedy in Latin Scholarly Interest Group 3:15 America” 5:00 pm
81 H19 The Stakes of Watching and/or MEETING Appearing in Film and Television Thursday, March 14 3:15 pm – 5:00 pm ROOM ● CHAIR Pete Porter ◆ Eastern Washington BALLARD 3rd Floor University Experimental Film and Media Kelly M. Coyne ◆ Northwestern University ◆ Scholarly Interest Group session “The Deuce’s ‘Frenzy of the Visible’” Kristen Anderson Wagner ◆ Solano College ◆ “‘My body hasn’t aged as well as I have. Blow us.’ Carrie Fisher and the Unruly Aging MEETING Actress” Thursday, March 14 H ◆ Gabriel Carter Western Washington 3:15 pm – 5:00 pm ◆ University “Talking to Myself: Narcissistic ROOM CHELAN ● 1st Floor Video Pornography in Boogie Nights” Film Philosophy ◆ ◆ Luke Robinson University of New South Wales Scholarly Interest Group “Spectres of death: the double disappearance of the face in Strangers on a Train (1951)”
MEETING Thursday, March 14 5:00 pm – 7:00 pm H20 Cinema, Climate, and Colonialism LOCATION NORTHWEST FILM FORUM ● 1515 12th Ave.
Critical Media Pedagogies Scholarly Interest Group CHAIR Debashree Mukherjee ◆ Columbia Explore nonprofit film and arts center Northwest Film Forum; University enjoy drinks and food; and, talk pedagogy. Also: announcement Brian Jacobson ◆ University of Toronto ◆ of awards; recent publications by SIG members; and, plans “Clouzot’s Climate of Fear” for future actions. Meeting co-sponsored by the Simpson Center for the Humanities at University of Washington. Nadine Chan ◆ University of Chicago ◆ “Tropical Malaise of a Technological Medium: Color, Climate, and the Anti‑Archivability of Film” Nadi Tofighian ◆ Stockholm University ◆ “Disrupted Exhibitions: Wild Weather and Early Cinema in Southeast Asia” Debashree Mukherjee ◆ Columbia University ◆ “Untimely Cinema: Monsoon as Media in Colonial Bombay” SPONSOR Media and the Environment Scholarly Interest Group
THURSDAY MARCH 14 3:15 pm 5:00 pm
82 session Thursday, March 14 5:15 pm – 7:00 pm I
I1 Life and Its Animation I2 Monstrous Representations
The Politics of Monsters in Video Games CHAIR Katerina Korola ◆ University of Chicago CO-CHAIR Cassandra X. Guan ◆ Brown University CHAIR Jaroslav Svelch ◆ University of Bergen Katerina Korola ◆ University of Chicago ◆ CO-CHAIR Sarah Stang ◆ York University “Flowers Born of War: On the Grotesque Sarah Stang ◆ York University ◆ “Witches, Hags, Morphology of Avant‑Garde Media Practice” and Crones: Old Age and Female Monstrosity in Cassandra Guan ◆ Brown University ◆ “The Video Games” Subject of Animation: Emotional Animals, Jaroslav Svelch ◆ University of Bergen ◆ “On Immaterial Labor, and the Invention of Becoming a Monster: BioShock’s ‘Splicers’ as Caricature” Computational Others” Joseph P. Henry ◆ The Graduate Center, CUNY ◆ Darshana Jayemanne ◆ Abertay University ◆ “Empathy, Solidarity, and Other Things in Kuhle “Monstrous Internationalism and Racial Wampe” Fetishism: Monstrosity and Race in Shin Pao‑Chen Tang ◆ University of Chicago ◆ “The megami tensei and World of Warcraft” Autistic Assassin: Performing Trans‑Species Stephanie Jennings ◆ Rensselaer Polytechnic Communication in The Assassin” Institute ◆ “The Monstrous American South, SPONSORS Animated Media Scholarly Interest Group According to White Liberals and Resident Evil 7’ and CinemArts Scholarly Interest Group SPONSOR Video Game Studies Scholarly Interest Group
83 I3 The Productive Tensions I5 Educational Media Networks of Industry Practice History, Theory, and Practice Contested Commodities Across Media ◆ CHAIR Eric Hoyt University of Wisconsin- Madison CHAIR Rachel Kunert-Graf ◆ University of Washington Josh Shepperd ◆ Catholic University of America/ ◆ session Rebecca Burditt ◆ Hobart and William Smith Penn State University “Media Studies Public: Colleges ◆ “Radiant Objects: the Branded The Rise of Public Media Industries during the Commodity in Classical Hollywood Cinema” Television Freeze, 1948–1953” ◆ ◆ ◆ Eric Hoyt University of Wisconsin‑Madison and Phillip Duncan University of Oregon ◆ “Paper Tigers: The Big Cat Commodity in the Stephanie Sapienza University of I Maryland ◆ “Digitizing and Reviving the Narratives of National Geographic Television Programming” Archives of the National Association of Educational Broadcasters” Ian Faith ◆ University of Iowa ◆ “What Does Allison Perlman ◆ University of California, Gold Farming Have To Do With Online Toxicity ◆ and Loot Boxes?” Irvine “Developing NET: The Role of ◆ Underwriting in Building an Educational Khadijah White Rutgers University‑ Television Network” New Brunswick ◆ “Rebranding Right‑Wing Politics Through Race, Gender, and Class— SPONSORS Digital Humanities and Videographic Consumerism, the Tea Party and the News” Criticism Scholarly Interest Group, Radio Studies Scholarly Interest Group and Nontheatrical Film and Media Scholarly Interest Group
I4 Cinema-Truth and Its Discontents Documentary Critiques in Global Film I6 ROUNDTABLE CHAIR Julia Alekseyeva ◆ Harvard University Hidden Histories Hongwei Chen ◆ Brown University ◆ “Chinese Researching Feminized and Educational Film and the Documentary Delegitimated Media Concept: Wartime Elaborations”
Julia Alekseyeva ◆ Harvard University ◆ “Critiques of Cine‑Truth in Matsumoto Toshio’s CHAIR Erin Meyers ◆ Oakland University Neo‑Documentary” Elana Levine ◆ University of Wisconsin- Scott Birdwise ◆ York University ◆ “Digipoetics Milwaukee ◆ “The Archival Richness of the and Biopoetics: Poetry and Image in Humphrey Daytime TV Soap Opera” Jennings and John Akomfrah ‘After’ Brexit” Allison McCracken ◆ DePaul University ◆ Alexandra Juhasz ◆ Brooklyn College, CUNY ◆ “Precarious Archives: Preserving Pop Music “I’ve Left Documentary Entirely: #FakeNews in Fandom” the Social Media Age” Abigail De Kosnik ◆ University of California, ◆ THURSDAY SPONSOR Documentary Studies Berkeley “The Lost and Vulnerable Archives MARCH 14 Scholarly Interest Group of Female Fans” Diana W. Anselmo ◆ Georgia State University ◆ 5:15 pm “Early Film Queer Audiences and Personal 7:00 pm Archives” Erin Meyers ◆ Oakland University ◆ “Only in Us!: Celebrity Gossip as Ephemeral Media” 84 I7 Racial Engagements in 2010s I9 Early Hollywood Small-Screen Fictions Promotional Discourse, Visual Culture, and Industrial Identity
CHAIR Celeste Reeb ◆ University of Oregon CHAIR ◆ Kiah Bennett ◆ Colorado State University ◆ Doron Galili Stockholm University ◆ “Emb(Rae)cing Awkward: Comedy, CO-CHAIR Denise McKenna Palomar College Ambivalence, and Representation on YouTube” Shawn Shimpach ◆ University of Massachusetts session ◆ Jacqueline Johnson ◆ The University of Texas Amherst “‘The one greatest national at Austin ◆ “‘Cool Cool Cool’: The Multiracial publicity medium’– Magazines and Remediation Family and White Racism in Brooklyn Nine- in the Pre‑Hollywood Motion Picture Industry” Nine” Hilary Hallett ◆ Columbia University ◆ “Telling ◆ ◆ the ‘Truth about Hollywood’: Origin Stories, I Celeste Reeb University of Oregon “[Baltimore] or [Bawlmer]?‑ Rhetorical choices Flappers, and Elinor Glyn” in Captioning Language and Race” Denise McKenna ◆ Palomar College and ◆ ◆ Megan Reilly ◆ University of Southern Charlie Keil University of Toronto California ◆ “The Horror of Racialized Space “Hollywood on Parade: Charity as Public in Atlanta: Robbin’ Season” Engagement and Civic Spectacle” ◆ Stockholm University ◆ “Early SPONSOR Black Caucus Doron Galili Hollywood, Cultural Legitimacy, and Photoplay Magazine’s Resident Psychoanalytic Theorist” SPONSOR Silent Cinema Scholarly Interest Group
I8 ROUNDTABLE I10 Records and Cassettes, Videographic Scholarship Colonialism and Migration Accented Voices as Creative Infrastructures and Material Networks and Critical Practice of South-South Media Flows
CHAIR Maria Pramaggiore ◆ Maynooth CHAIR Claire Cooley ◆ The University of Texas at University Austin ◆ Western University ◆ “Vocal Lisa Henderson CO-CHAIR Ramna Walia ◆ The University of Texas at Youth, Vocal Aging” Austin ◆ ◆ Neepa Majumdar University of Pittsburgh Claire Cooley ◆ The University of Texas at “Voicing/Unvoicing: Some Video Essay Austin ◆ “His Master’s Voices: Colonial and Quandaries” Commercial Sound Media Infrastructures Maria Hofmann ◆ Middlebury College ◆ Between Egypt and India” “Coming to Terms with Artistic Voice as a Blake Atwood ◆ The American University of Scholar” Beirut ◆ “Infrastructures of Exchange: Media Hoang Tan Nguyen ◆ University of California, San Between Iran and Lebanon” ◆ Diego “‘Are You OK?’: Gay Asian Sex Sounds” Ramna Walia ◆ The University of Texas at Susan Harewood ◆ University of Washington Austin ◆ “Imaginary Travels: Dubai and the ◆ THURSDAY Bothell “Coloniality, Voices, and ‘Sensory Infrastructures’ of Local Malegaon MARCH 14 Videographic Practice” Video Productions” 5:15 pm SPONSOR Digital Humanities and Videographic SPONSOR Middle East Caucus Criticism Scholarly Interest Group 7:00 pm
85 I11 Imagining “Other” National I13 Mediating the Politics of Gender Identities in Contemporary Media ◆ CHAIR Andrea Kelley Auburn University ◆ ◆ CHAIR & RESPONDENT L.S. Kim ◆ University of California, Gina F. Marchetti University of Hong Kong Santa Cruz “The Look, the Leer, the Glance and the CO-CHAIR Gilberto Blasini ◆ University of Wisconsin- Gaze: #MeToo in Hong Kong and the People’s Milwaukee Republic of China” session ◆ ◆ Tasha Oren ◆ Tufts University ◆ “Everything’s a Linda Liu University of Massachusetts Boston Dumpling: The Extensions of Food Media” “The Pleasures and Perils of Victimhood: Feminism, Power, and Vulnerability in Scream 4” Beretta Smith‑Shomade ◆ Emory University ◆ ◆ ◆ “I Shall Wear a Crown: Oprah the Savificient” Tess McClernon Concordia University I ◆ “Scandalous Stardom: Jean Seberg and the Gilberto Blasini University of Wisconsin- Black Panther Party” Milwaukee ◆ “Los domirriqueños or the ◆ Comedic Cinematic Configuration of the Sungjae Lee School of the Art Institute of ◆ Contemporary Puerto Rican Nation” Chicago “Dreaming about the Futurity of Fanfiction: Homoerotic interpretation found in reality TV show Produce 101 Season 2”
I12 Women Film Workers in Australian, Irish, and I14 Temporality and Aesthetics Across Swedish Cinema Art Cinema and the Avant-Garde Institutional Settings and Policy Endeavors
CHAIR Michael Walsh ◆ University of Hartford CHAIR ◆ Louise Wallenberg Stockholm University Michael Zryd ◆ York University ◆ “Trajectories ◆ CO-CHAIR Ingrid Stigsdotter Stockholm University of Modernism and Abstraction in Hollis Louise Wallenberg ◆ Stockholm University ◆ Frampton’s Hapax Legomena (1971–72)” “Experiencing Male Dominance in Swedish Trevor Mowchun ◆ University of Florida ◆ “The Film Production: Experiences of Women Film Value of Timelessness in Abbas Kiarostami’s 24 Workers, 1950s to 2010s” Frames” ◆ ◆ Lisa French RMIT University, Melbourne Maureen Turim ◆ University of Florida ◆ “Jia’s “Gender Still Matters: Achieving Sustainable Still Life : Timing and Composition” Gender Progress in Australian Audio‑visual Michael Walsh ◆ University of Hartford ◆ Industries” “James Benning and the Durational Turn” Anne O’Brien ◆ Maynooth University ◆ “Gendered Cultures of Production in the Irish Film Industry” SPONSORS Caucus on Class, Scandinavian Scholarly Interest Group and Women in Screen History Scholarly Interest Group THURSDAY MARCH 14 5:15 pm 7:00 pm
86 I15 Queering the 1980s I17 Inside Hollywood 1 Historiography, Sexuality and Masculinity Labor and the Making of Film
CHAIR Myrna Moretti ◆ Northwestern University CHAIR Ben Strassfeld ◆ University of Michigan CO-CHAIR Samuel J. Reimer ◆ University of Toronto Katie Bird ◆ University of Pittsburgh ◆ “The DIY Dani Kissinger ◆ Northwestern University ◆ History of Behind the Lens: An Association of “‘There’s Something Inside Me’: Suburban Professional Camerawomen, 1984–1996” session Horror and Queerness on Elm Street” Shawna Kidman ◆ University of California, San Samuel Reimer ◆ University of Toronto ◆ Diego ◆ “Can Hollywood’s Infrastructure “Gunning For Iceman: Historicizing Top Gun’s Support the Aspirations of #MeToo?” Homoerotic Discourse” Lea Jacobs ◆ University of Wisconsin‑Madison ◆ Myrna Moretti ◆ Northwestern University ◆ “Making They Were Expendable at MGM during I “The AIDS Movie of the Week: Representing World War II” the Epidemic in 1980s Primetime” SPONSOR Caucus on Class Joseph DeLeon ◆ University of Michigan ◆ “From 9th Avenue to YouTube: Nelson Sullivan’s Queer Home Videos”
I18 Gender in Screen Industries and Celebrity Cultures I16 A Very Special Episode How Revolutions Get Televised CHAIR Nicole Keating ◆ Woodbury University ◆ Soumik Pal Southern Illinois University, Carbondale ◆ “The Muslim Star and The CHAIR Jonathan Cohn ◆ University of Alberta Female Star in Fascist Hindutva: Construction CO-CHAIR ◆ Philip Scepanski Marist College of Authenticity in Bollywood Stardom” ◆ ◆ Jonathan Cohn University of Alberta Kriszta Pozsonyi ◆ Cornell University ◆ “Where “Blackface on a White Christmas: Bewitched on Television Are You, Mrs. Maisel?” combats ‘Sneaky Racism’” ◆ ◆ ◆ ◆ Nicole Keating Woodbury University “Script Philip Scepanski Marist College “‘What You Girl: A Cultural Analysis of the Marginalization Talkin’ ’Bout Mrs. Reagan?’: VSEs, the War of Script Supervisors and the Emerging Reel on Drugs, and TV’s Moral Commitment to Equity Movement” Deregulating in the 1980s” SPONSOR Women in Screen History Jennifer Porst ◆ University of North Texas ◆ Scholarly Interest Group “‘Thanksgiving Orphans’: A Very Special Thanksgiving Episode of Cheers, the TV Industry, and Sitcoms in the 1980s” Christine Becker ◆ University of Notre Dame ◆ “Knife Crime and Passion: A Very Special Episode of the BBC Soap Opera EastEnders” SPONSOR Television Studies Scholarly Interest Group THURSDAY MARCH 14 5:15 pm 7:00 pm
87 I19 Activist Fields I20 Netflix’s Glow
Post-Kantian Inquiry into Film and Media Form CHAIR Michael Faucette ◆ Caldwell Community CHAIR Thomas Lamarre ◆ McGill University College Deborah Levitt ◆ The New School ◆ “The VR Kendall Phillips ◆ Syracuse University ◆ Event: Perceptual Infrastructure, Homuncular “Exploitating GLOW: Critical Media Practices” session Flexibility, and Worldly Sensibility” Anna Varadi ◆ University of Reading ◆ “‘I’m a Phillip Thurtle ◆ University of Washington ◆ fucking bovine mutant’: GLOW, the 1980s, and “Envisioning Development through Animation” the (Un)Tamed Performance of the Female Thomas Lamarre ◆ McGill University ◆ “On Body” Having No Screen: VR and the Re‑Discovery of Jessica Krenek ◆ University of Maryland ◆ “‘I I Gut Thought” know . . . why don’t I have a stalker?’: GLOW Victor Fan ◆ King’s College London ◆ and the Consumption of Fandom” “Rethinking Humanity: Political Activism as Michael Faucette ◆ Caldwell Community a Media Environment Understood through College ◆ “‘So let’s just set the weirdos Buddhism” free and see what happens’: GLOW and the Freedom of the Meta‑narrative” SPONSOR Television Studies Scholarly Interest Group
MEETING MEETING Thursday, March 14 Thursday, March 14 5:15 pm – 7:00 pm 5:15 pm – 7:00 pm ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor Latino/a Caucus Media, Science, and Technology Meeting topics: (1) Mentorship Program; (2) Writing Scholarly Interest Group Challenge; (3) Precarious Labor additions to the Board; Meeting topics: Presenting grad student writing award, (4) 2020 SCMS preparation; (5) Graduate Student Essay a dissertation workshop, and other SIG business. Award; (6) Book List/Publications; (7) Founders Plus
HOST COMMITTEE EVENT Thursday, March 14 7:00 pm – 9:00 pm LOCATION SIFF EGYPTIAN THEATRE ● 805 Pine Street Evergreen Media Film, Television, and New Media in Seattle DIRECTIONS: From front door or Sheraton, go right on 6th Ave past Pike Street to Pine Street, and make a right onto Pine Street. Follow 10 minutes to SIFF Egyptian (located at Pine and Harvard). Though overshadowed by media capitals like Los Angeles, New York, Vancouver and other cities, Seattle THURSDAY boasts a vibrantly progressive film and media community. With issues of the environment, homelessness, MARCH 14 gender equality, and queer identity often at the forefront, media production in Seattle and the larger Pacific 5:15 pm Northwest region provides a unique site for cinema and media scholars to engage with relevant and emerging cultural trends. This event will feature a panel of Seattle and Pacific Northwest professionals in the 7:00 pm world of film, television, and new media. The panel will feature video clips and short films highlighting their work, accompanied by a conversation and Q and A session that explores their contributions to the broader U.S. and global film and media culture. 88 MODERATORS John Trafton ◆ Seattle University Myles McNutt ◆ Old Dominion University
PARTICIPANTS Lacey Leavitt ◆ Film Producer Sam Berliner ◆ Programing and Amy Lillard ◆ Executive Director, Operations Manager, Translations: Washington Filmworks Seattle Transgender Film Festival Beth Barrett ◆ Artistic Director, David Drummond ◆ Seattle-based Film Seattle International Film Festival and Television Location Manager Rachel Price ◆ Director, Moving Image Tony Fulgham ◆ Director, All is Well Preservation of Puget Sound (Seattle based commercial production Gretchen Burger ◆ Co-founder, company) Fearless 360 (Seattle based virtual reality company)
EVENT COORDINATORS John Trafton ◆ Seattle University Alfred Martin, Jr. ◆ University of Iowa Eleanor Patterson ◆ Auburn University
HOST COMMITTEE MEMBERS CO-CHAIR Kirsten Moana Thompson ◆ David Coon ◆ University of Washington Seattle University Tacoma CO-CHAIR James Tweedie ◆ University of Dani Kissinger ◆ Northwestern Washington University John Trafton ◆ Seattle University Zaya Rustamova ◆ Kennesaw State Lyall Bush ◆ Cornish College of the Arts University Kathy Morrow ◆ University of Leilani Nishime ◆ University of Washington Washington Lauren Berliner ◆ University of Washington Bothell SPONSORS Women’s Caucus, Television Industries Scholarly Interest Group, Women in Screen History Scholarly Interest Group, Urban/Geography/Architecture Scholarly Interest Group, Auburn University School of Communication & Journalism, The University of Iowa Department of Communication Studies, Seattle University Film Studies Program, Seattle International Film Festival, SCMS
THURSDAY MARCH 14
89 SPECIAL EVENT Thursday, March 14 7:30 pm – 10:00 pm LOCATION: PALOMINO ● 1420 5th Avenue Grrrls Night Out 8:00 PM Dinner Doors Open at 7:30 PM Sign up and purchase tickets here: https://bit.ly/2TeyS0C Grrrls Night Out (GNO) is an open, friendly networking/social extravaganza aimed at encouraging conversation and connection among all women: trans, cis, and gender queer. You don’t have to be an SCMS member to attend, and we welcome friends and children of our grrrls too. Please forward this invitation to any other conference-goers you think might be interested. We especially want to reach out to international scholars and graduate students. Palomino is located in close proximity to the conference hotel and can be accessed by foot. There is the option of vegetarian, vegan or gluten free meals. There is an open cash bar (has to be paid in cash); Wine, beer, and other beverages available but not included in the price of the ticket. Please contact the event organizers for Grrrls Night Out if you want to reserve a vegan/vegetarian option. The restaurant is wheelchair accessible, but we would need to know a week in advance. Feel free to send an email with questions to Karen A. Ritzenhoff ([email protected]) or Sarah Sinwell ([email protected]). Tickets must be purchased in advance! $30.00/graduate students and adjunct/under-employed faculty, $40.00 for faculty (we ask faculty to pay more to help finance the meals for those who can afford less).
RECEPTION Thursday, March 14 8:00 pm – 10:00 pm ROOM ASPEN ● 2nd Floor University of Wisconsin-Madison, Department of Communication Arts Reception Reception for faculty, students, alumni, and friends of the Department.
THURSDAY MARCH 14
90 session Friday, March 15 9:00 am – 10:45 am J
J1 Liberating Film J2 Documentary Listening LGBTQ Cinema After Stonewall at Europe’s Borders Nonfictional Film and Its Voices ◆ CHAIR Roxanne Samer Clark University CO-CHAIR ◆ Chelsea McCracken Beloit College CHAIR Christopher Pavsek ◆ Simon Fraser Roxanne Samer ◆ Clark University ◆ “Lesbian University Potentiality and Women’s Experimental Cinema RESPONDENT Michael D. Richardson ◆ Ithaca College of the 1970s” Olivia Landry ◆ Lehigh University ◆ “At the Allison Ross ◆ University of Southern California ◆ Borders of (In)Visibility: Philip Scheffner’s “Queering Identity in Early Outfest Revision and the Audibility of Migrant Deaths” Documentaries” Brad Prager ◆ University of Missouri ◆ “The Chelsea McCracken ◆ Beloit College ◆ Perspective from the Fence: Those Who Jump “‘Does a secret gay mafia run Hollywood?’: at the Edges of Fortress Europe” Re‑examining Hollywood’s Gay Mini‑Cycle” Christopher Pavsek ◆ Simon Fraser University ◆ Matthew Connolly ◆ Minnesota State University, “Conversations at the Border: Nikolaus Mankato ◆ “Filming Sleaze in Charm City: Geyrhalter’s The Border Fence” John Waters as Queer Regional Filmmaker” SPONSOR Central/East/South European Cinemas SPONSOR Queer Caucus Scholarly Interest Group
91 J3 Mediating Militarism J5 Neoliberalism and Film Aesthetics
Media and the Reproduction of the Relations of Military Production CHAIR Anna R. Cooper ◆ University of Arizona Timotheus Vermeulen ◆ University of Oslo ◆ “A CHAIR Stacy Takacs ◆ Oklahoma State University Class of Their Own: Welfare, Class, Labor, and Yizhou Xu ◆ University of Wisconsin‑Madison ◆ Neoliberalism in ‘Quirky’ Cinema” “Sonic Arenas: Competitive Radiosports and Erica H. Stein ◆ Vassar College ◆ “Off the Grid: Civil‑Military Interactions during Mao‑Era Authenticity, Neoliberalism, and The Urban in China” Independent Cinema” James Paasche ◆ DePauw University ◆ “On the Louis Bayman ◆ University of Southampton ◆ Road in Vietnam: Bob Hope, the U.S.O., and the “Flog It: Performance Anxiety and Neoliberal Vietnam War” Disenchantment in Hollywood” Stacy Takacs ◆ Oklahoma State University ◆ Anna R. Cooper ◆ University of Arizona ◆ session “Fortress Americana, or TV on the Frontiers of “Transforming Whiteness: Neoliberalism and the GWOT” Race in Transformers and Harry Potter” Kevin Howley ◆ DePauw University ◆ “‘It’s What We Do Every Day’: Recruiting Tomorrow’s (Robotic) Warriors” J SPONSOR War and Media Studies Scholarly Interest Group J6 When the Woman Directs . . . a Genre Film
CHAIR Julia Erhart ◆ Flinders University J4 Landscapes of Memory and State Mary Harrod ◆ University of Warwick ◆ Power in Latin American Film “‘Genrefying’ the Real: Kathryn Bigelow’s Detroit as a cine‑ fille’s film” Katarzyna Paszkiewicz ◆ University of the CHAIR Monica Lopez Lerma ◆ Reed College Balearic Islands ◆ “‘Welcome to the Golden Elaine Basa ◆ University of Wisconsin- Age of Women‑Directed Horror’—J. Vuckovic, Milwaukee ◆ “Fonts of Remembrance: A. Clark, R. Benjamin and K. Kusama’s XX Cinema, Digital Streaming and Social Media (2017)” Platforms as (Re)sources for Chilean Collective Julia Erhart ◆ Flinders University ◆ “‘Feminist Memory” hindsight’, a ‘chic black hat’, and one Jennifer Alpert ◆ University of California, ‘spectacular racoon coat’: Gillian Armstrong’s Berkeley ◆ “Believe at Your Own Risk: The Period Film Errors” Apocryphal as a Way of Understanding Dawn Hall ◆ Western Kentucky University ◆ Argentina’s Brutal Past in La Era del Ñandú” “Questions of Genre and Adaptation in Kelly Oscar A. Perez ◆ Skidmore College ◆ “Local Reichardt’s Certain Women” Landscapes, Global Conversations: Two SPONSOR Horror Studies Scholarly Interest Group Environmental Documentary Films from Latin FRIDAY America” MARCH 15 Lauren Peña ◆ The University of Texas at Austin ◆ “Framing Surveillance, Outsiders, and Urban 9:00 am Landscape in the Cuban Film Últimos días en 10:45 am La Habana (2016)” SPONSOR Latino/a Caucus
92 J7 Color Transmissions J9 Hierarchies of Connectivity Aesthetics, Identity, and Mid- in Video Games Century Television
CHAIR Matt Knutson ◆ University of California, CHAIR Susan Murray ◆ New York University Irvine ◆ CO-CHAIR Kirsty S. Dootson Cambridge University Edwin Lohmeyer ◆ University of Central Florida ◆ RESPONDENT Lynn Spigel ◆ Northwestern University “To Wound the Hand that Plays: PainStation Susan Murray ◆ New York University ◆ “Seeing and the Work of Causal Aesthetics” Through Color TV: Packaging Attention in the Justin Keever ◆ University of California, Irvine ◆ Post‑War Era” “Hipster Kratos: The Politics and Privilege of Kirsty S. Dootson ◆ Cambridge University ◆ the Single Take in God of War” “Television White, Television Black: The BBC’s Oscar Moralde ◆ University of California, ‘Colour Problem’” Los Angeles ◆ “Beyond the Palette Swap: Phoebe Bronstein ◆ University of California, San Remediating Video Game Aesthetics as an session Diego ◆ “Mayberry’s Colorline: Color TV and Adaptation Practice” the Integration of Andy Griffith” Morgan O’Brien ◆ The University of Texas at Austin ◆ “Exploring Space(s) in Tacoma: How Acousmatic Sound and Vision in Digital Games Create Altergeographies” J
J8 Sex Onscreen and in the Imagination J10 The French New Wave Turns 60 CHAIR Ben Mendelsohn ◆ University of New Critical Perspectives Pennsylvania
Donna Peberdy ◆ Solent University ◆ “‘You can’t ◆ help what you feel, but you can help how you CHAIR Richard Neupert University of Georgia behave’: Sex, Performance and the Haptic in Richard Neupert ◆ University of Georgia ◆ The Handmaid’s Tale” “Cannes 1959: Black Orpheus, and the Nouvelle Morgan Jennings ◆ University of California, Vague’s Critical Divide” Berkeley ◆ “Who could imagine such a thing?: Mackenzie Leadston ◆ The Ohio State Masochism and the Power of Fantasy in Paul University ◆ “An American Films in Paris: The Verhoeven’s Elle” New Wave Comedy of William Klein” Gilad Padva ◆ University of Haifa ◆ “Queer Elizabeth Miller ◆ King’s College London ◆ Exhibitionism, Passionate Camera and “Abandoning Mothers of the French New Panoptical Erections in George Michael’s Music Wave” Video Outside” Kelley Conway ◆ University of Wisconsin‑Madison ◆ Robert Spadoni ◆ Case Western Reserve “New Wave Era Documentary: Domestic University ◆ “The Machine in the Ghost: Ethnography and the French Riviera” Writing Women in Supernatural” SPONSOR French/Francophone Scholarly Interest Group FRIDAY MARCH 15 9:00 am 10:45 am
93 J11 Framing Dance Media J13 Films at the Fair Inscriptions and Representations Cultural Histories of Moving of Bodies in Motion Images and World Expositions
CHAIR Peter Bloom ◆ University of California, CHAIR Dimitrios S. Latsis ◆ Ryerson University Santa Barbara RESPONDENT Gregory Waller ◆ Indiana University CO-CHAIR Sylvie Vitaglione ◆ New York University Dominique Bregent‑Heald ◆ Memorial University Adrienne L. McLean ◆ The University of Texas of Newfoundland ◆ “‘A Fine Tourist Lure’: at Dallas ◆ “Better than Everybody: Eleanor Canadian Cinema at the New York World’s Fair, Powell and the Quandaries of Female 1939–1940” Authorship in the Hollywood Musical” Sarah Nilsen ◆ University of Vermont ◆ “Virtual Peter Bloom ◆ University of California, Voyages: IMAX Travelogues at the World’s Fair” Santa Barbara ◆ “Apache as Site of Dimitrios S. Latsis ◆ Ryerson University ◆ session Appropriation in a Global Genealogy of Dance “Exposing Cinema: Early Film Historiography Media” and Motion Pictures at the 1915 Panama Pacific Sylvie Vitaglione ◆ New York University ◆ International Exposition” “Between Pain and Pleasure: Ballet SPONSOR Nontheatrical Film and Media Documentaries and the Exhausted Body” Scholarly Interest Group J Pamela Krayenbuhl ◆ Northwestern University in Qatar ◆ “Dancing with Light: Interactive Art, Improvisational Movement, and the Kinect” SPONSOR CinemArts Scholarly Interest Group J14 The Director is a Disc Jockey Compilation Score, History, and Meaning
J12 Spectres of Cinema CHAIR James Buhler ◆ The University of Texas at Austin James Buhler ◆ The University of Texas at CHAIR Angelo Restivo ◆ Georgia State University Austin ◆ “Pro and Contra the Compilation James Tweedie ◆ University of Washington ◆ Score: Changing Attitudes to the Practice” “The Painted Backing and Its Afterlives” Brooke McCorkle ◆ University of Vermont ◆ Angelo Restivo ◆ Georgia State University ◆ “Where Music is Always in the Air: Twin Peaks: “The ‘Energies of the Outmoded’: Breaking Bad The Return, Nostalgia, and the Compilation and the Chemistry Set” Soundtrack” Amy Villarejo ◆ Cornell University ◆ K.E. Goldschmitt ◆ Wellesley College ◆ “From “Channeling the Middle Passage: Kahlil Joseph Miami to Hong Kong: Musical and Sonic Links and the Haunted Image” to Transnational Queer Cinema in Moonlight” Carolyn Reese ◆ University of Toronto ◆ “Ana David Roche ◆ Université Toulouse‑Jean Mendieta: Iterable Forms” Jaurès ◆ “‘Lookin’ back on the track, gonna do it my way’: The Use of Pre‑existing Music in the SPONSOR Film Philosophy Scholarly Interest Group FRIDAY Films of Quentin Tarantino” MARCH 15 SPONSOR Sound and Music Studies Scholarly Interest Group 9:00 am 10:45 am
94 J15 Women Telling Stories J17 Production Cultures of the Past Feminist, Postfeminist, or Something Else Worker Identity and Professionalization
at the Periphery of Film History CHAIR E. Ann Kaplan ◆ Stony Brook University Ingrid Ryberg ◆ University of Gothenburg ◆ CHAIR Erin Hill ◆ Occidental College “Telling State Feminist Stories About Gender Aaron Rich ◆ University of Southern California ◆ Equality in Swedish Film” “Public Libraries and Studio Research: A Megan Yahnke ◆ University of Minnesota ◆ Reciprocal Relationship of Visual Knowledge” “(Post)feminist (Im)possibilities: Reproductive Luci Marzola ◆ Chaffey College ◆ “The Rights and Cosmopolitan” Illustrated Cameraman: Labor, Industry, and Karen Williams ◆ Fordham University ◆ “Gone Technological Change in the Cartoons of Glenn Girls: The Unreliable Narrators of Postfeminist Kershner, A.S.C.” Cinema” Dawn Fratini ◆ Chapman University ◆ “Running Chandler B. Taylor ◆ Louisiana State University ◆ in Place: 3D, Sodium Ray, 16mm, and Research session “The Bra and the Law: Women Censoring Engineering at Universal at the End of the Women in the Silent Era” Classical Hollywood Era” Erin Hill ◆ Occidental College ◆ “The ‘D‑Girl’ in New Hollywood: The Female Development Executive and Downstream Effects of J Feminized Origins” SPONSORS Caucus on Class, Classical Hollywood J16 Listening Out Scholarly Interest Group and Media Species, Soundscapes, and the Ethics Industries Scholarly Interest Group and Temporalities of Mediated Sound
CHAIR Alenda Chang ◆ University of California, Santa Barbara Alexandra Hui ◆ Mississippi State University ◆ J18 Asian American Media from “Calling the Wild: The Psychoacoustics and Ethics of Mimicry in Modern Duck Hunting” the Production Code to K-Pop Alenda Chang ◆ University of California, ◆ Santa Barbara “‘Eavesdropping on CHAIR Marian Sciachitano ◆ Washington State Ecosystems’: Soundscape Ecology and Nature University as Data” Philippa Gates ◆ Wilfrid Laurier University ◆ N. Adriana Knouf ◆ Wellesley College ◆ “Censoring Race and Racism: The Production “Vortical Temporalities of Ecological Radio Code Administration and Hollywood’s Chinese Transmissions” Americans” Owen Marshall ◆ University of California, “Davis, Megan Hermida Lu ◆ Boston University ◆ “The Jitter: Digital Clocking as Audible Media” American Butterfly: Reflections of the Other SPONSOR Media, Science, and Technology and Self in Film Adaptations of ‘Madame Scholarly Interest Group Butterfly’” Nabeeha Chaudhary ◆ The University of Texas at FRIDAY Austin ◆ “Women, Agency and Migration: The MARCH 15 Pakistan Portrayed in ‘Jackson Heights’” am Miyoko Conley ◆ University of California, 9:00 Berkeley ◆ “Designing a K‑pop Audience: 10:45 am Asian American Performance in KPOP the Musical” 95 J19 How Do You Solve a J20 WORKSHOP Problem Like Society Playing with Game Studies Gender, Race, and Social Amelioration Media A Pedagogy Workshop
CHAIR Miriam Petty ◆ Northwestern University CHAIR Matthew Payne ◆ University of Notre Leigh Goldstein ◆ Northwestern University ◆ Dame “First Person White and Female: Realism, CO-CHAIR Jennifer Malkowski ◆ Smith College Association and the Generic in Early Network Television Drama” PARTICIPANTS ◆ Reem Hilu ◆ Washington University in St. Louis ◆ Kelly Bergstrom University of Hawai‘i at “Gaming Families: Therapeutic Board Games Mānoa and Family Communication” Edmond Chang ◆ Ohio University ◆ SPONSOR Women’s Caucus Soraya Murray University of California, session Santa Cruz TreaAndrea Russworm ◆ University of Massachusetts at Amherst SPONSOR Critical Media Pedagogies J Scholarly Interest Group
MEETING MEETING Friday, March 15 Friday, March 15 9:00 am – 10:45 am 9:00 am – 10:45 am ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor Documentary Studies Film and Media Festivals Scholarly Interest Group Scholarly Interest Group Annual meeting for all Documentary Studies SIG members to discuss important initiatives like our new grad student mentorship program, among other issues.
FRIDAY MARCH 15 9:00 am 10:45 am
96 MEETING Friday, March 15 9:30 am – 10:45 am ROOM EAGLE BOARDROOM ● 1st Floor JCMS Masthead Meeting
SPECIAL EVENT Friday, March 15 9:00 am – 12:45 pm ROOM METROPOLITAN BALLROOM PRE-FUNCTION AREA ● 3rd Floor Ask a Librarian/Ask an Archivist POP-UP BOOTH You’ve got questions? We’ve got answers! Librarians, archivists, and seasoned researchers from the Libraries & Archives Scholarly Interest Group will be fielding questions on the 3rd Floor of the Sheraton Grand Seattle. SPONSOR Libraries & Archives Scholarly Interest Group
AWARDS Join Us Friday at 5:00 pm for the Awards Ceremony Grand Ballroom C & D 2nd Floor
FRIDAY MARCH 15
97 session Friday, March 15 K 11:00 am – 12:45 pm
K1 Resituating Barbara K2 Documentary Media Hammer’s Queer Legacy Community, Space, and Identity Formation
CHAIR ◆ CHAIR Laura Stamm ◆ University of Pittsburgh Li Yang Lafayette College ◆ ◆ Greg Youmans ◆ Western Washington Jacob Floyd Independent Scholar “‘They University ◆ “‘At the still point of the turning Want to Help Us Sing’: Native Ghosts, world’: Houses and Domesticity in the Films of Experimental Ethnography, and The Native Barbara Hammer” American Paranormal Project” ◆ ◆ Sarah Keller ◆ University of Massachusetts Rodrigo Ferreira New York University Boston ◆ “Barbara Hammer’s Evidentiary “Visualizing the Void: The Role of Digital Media Bodies” in the Ayotzinapa Case” ◆ ◆ ◆ Ryan Bowles Eagle California State University, Ronald Gregg Columbia University “Barbara ◆ Hammer and Documenting Lesbian Lives in Dominguez Hills “Since Spellbound: the Margins: Imagining/Imaging an Ecstatic, Examining Childhood Competition Sensuous Queer Past” Documentaries” Laura Stamm ◆ University of Pittsburgh ◆ “Feminist Transpositions: Barbara Hammer’s Layering of Lives and Selves” SPONSOR Experimental Film and Media Scholarly Interest Group
98 K3 Historical and Contemporary K5 Coming to Stillness and Silence Approaches to Mediating War ◆ CHAIR Elisabeth Hodges Miami University ◆ ◆ CHAIR Giuliana Muscio ◆ University of Padova Hannah Paveck King’s College London Liina‑Ly Roos ◆ University of Washington ◆ “Taciturn Masculinities: Radical Quiet and “Future Memories of Trauma in Ingmar Sounding Linguistic Difference in Valeska Bergman’s Shame” Grisebach’s Western (2017)” ◆ ◆ Nichole Strobel ◆ University of California, Elisabeth Hodges Miami University Santa Barbara ◆ “‘Chilling Absurdity and “Kiarostami’s Stillness” Hideous Strength’: Branded Violence in Vice Jennifer Pranolo ◆ Amherst College ◆ Media’s ‘The Islamic State’” “Photography’s Disappearing Frames” Liz Clarke ◆ Brock University ◆ “Preparedness, Tyler Theus ◆ Brown University ◆ “Lacunary Propaganda, and World War I in American Realism: Slow Cinema and the Aesthetics of Film” the Hors‑champ” session Bradley Schauer ◆ University of Arizona ◆ “No SPONSOR Film Philosophy Scholarly Interest Group Grand Thesis: Strategic Ambiguity and Peter Berg’s ‘Docbuster’ Trilogy” SPONSOR War and Media Studies K Scholarly Interest Group K6 Genre Trouble Hybrid Forms and Boundary Crossings
◆ K4 Space and Sound in Spanish CHAIR Steven Cohan Syracuse University Desiree J. Garcia ◆ Dartmouth College ◆ and Latin American Media “Mother Wore Tights: Melodrama Meets
Musical in the Dressing Room” ◆ ◆ CHAIR Daniel Smith-Rowsey ◆ St. Mary’s College Paula J. Massood Brooklyn College, CUNY “Blurring Boundaries, Exploring Intersections: David Gray ◆ Northern Arizona University ◆ Form, Genre, and Space in Shirley Clarke’s The “Ignacio Agüero’s House: Home, Space, and Connection” Memory in El otro día and ¿Qué historia es ésta ◆ ◆ y cuál es su final?” Sean P. Griffin Southern Methodist University “What Is This Thing Called?: Dealing with the Vivienne Tailor ◆ Claremont Graduate Musical‑ish” University ◆ “Wigs, Women, and Waiting: ◆ ◆ Subversive Aural and Spatial Juxtapositions in Orquidea Morales Dartmouth College Lucrecia Martel’s Zama (2018)” “Horror and Death: Coco (2017) on the U.S.‑Mexico Border” Christopher Joseph Westgate ◆ Johnson & Wales University ◆ “Back on Top: ‘Despacito’ (Slowly)”
FRIDAY MARCH 15 11:00 am 12:45 pm
99 K7 The Obvious and the Obscure K9 Gaming Bodies Immaterial Infrastructures of Television Corporealities of Streaming,
Disability, and Play CHAIR Mimi White ◆ Northwestern University Mimi White ◆ Northwestern University ◆ CHAIR Andrew Campana ◆ Cornell University “Adapting Culture on the Hallmark Channel: Cindi Textor ◆ University of Utah ◆ “The Taste Hallmark Movie Books” of Empathy: Virtual Intimacy and Exclusion in Anna McCarthy ◆ New York University ◆ “The Korean Broadcast Eating” Angelus: Contemplative Television and the Keung Yoon Bae ◆ Harvard University ◆ “The Modern Irish State” Physicality of Gaming: Bodies, Biology, and Helen Wheatley ◆ University of Warwick ◆ Boundaries in Esports and Gaming” “Domesticating Death: The Ubiquity and Kathryn Hemmann ◆ George Mason University ◆ Obscurity of Television History” “Link Is Not Silent: Disability Positivity in Fan session Laliv Melamed ◆ Goethe University, Frankfurt ◆ Readings of Breath of the Wild” “‘Half an Hour for Druz, Half for Religion, Forty Andrew Campana ◆ Cornell University ◆ “Real Minutes for Kibbutz Members’ TV Listings and Sound: Japanese Audio Games and Blind and the Shaping of Social Time” Low Vision Players” K SPONSOR Video Game Studies Scholarly Interest Group
K8 The Itinerant Sex Film The Transnational Relationships of Sex on Screen K10 Vocal Embodiment in French and Francophone CHAIR Saniya Lee Ghanoui ◆ University of Illinois Cinema and Literature at Urbana-Champaign
Saniya Lee Ghanoui ◆ University of Illinois at Urbana‑Champaign ◆ “Translating American CHAIR Renee Altergott ◆ Princeton University Sex: Swedish Imports of Sex Education Films, CO-CHAIR Christopher Clarke ◆ The Graduate 1916–1939” Center, CUNY Mariah Larsson ◆ Linnaeus University ◆ “Ports Renee Altergott ◆ Princeton University ◆ of Call: The Hidden Travels of Pornography, “Michel Chion and the French Literary Origins 1968 – 1970” of Acousmatic Playback as a Narrative Device” Oliver Carter ◆ Birmingham City University ◆ Gaëlle Planchenault ◆ Simon Fraser University ◆ “Satisfaction Guaranteed: Distributing “To Hear or Not to Hear Ethnic Voices in French Hardcore Pornography from the Netherlands Films: A Matter of Audible Diversity and Racial to Britain” Discrimination” Kevin Heffernan ◆ Southern Methodist Christopher Clarke ◆ The Graduate Center, University ◆ “Lost and Found in Translation: CUNY ◆ “Raymond Queneau in Dialog with the The American Release of Language of Love” Cinema: On the Social and Semantic Effects of FRIDAY Translating Orality for the Screen” MARCH 15 SPONSOR Adult Film History Scholarly Interest Group and Scandinavian Scholarly Interest Group SPONSOR French/Francophone 11:00 am Scholarly Interest Group 12:45 pm
100 K11 Bodies, Subordination K13 Film Histories of Expedition, and Punishment Travel, Hunting, and Nature
CHAIR Poe Johnson ◆ DePaul University CHAIR Maria Vinogradova ◆ New York University/ Dewitt King ◆ University of Wisconsin‑Madison ◆ Pratt Institute “Boxed in but not Boxed out: Media Alison Griffiths ◆ Baruch College, CUNY ◆ Representations of Black Boxers in the 1930s “Filming Everest: Expeditionary Cinema and 1940s” Sponsored by the Royal Geographical Society Poe Johnson ◆ DePaul University ◆ “Fan in the 1920s” Violence and the Lynching of the Black Athletic Jessica DePrest ◆ University of California, Body” Los Angeles ◆ “Splicing Together A Paradise: Eli J. Boonin‑Vail ◆ University of Iowa ◆ The Production and Exhibition of Aloha “Legacies of Renoir’s La Grande Illusion for the Wanderwell Baker’s My Hawaii (1948)” Mid‑Century Carceral Imaginary in Bresson, Jennifer Peterson ◆ Woodbury University ◆ session Melville, and Genet” “Cinema’s Wilderness Past: National Park Jennifer Jodell ◆ University of Minnesota‑Twin Service Films in the 1930s” Cities ◆ “Revolution or Resilience?: The Maria Vinogradova ◆ New York University/Pratt Ambivalent Empaths of Television’s The OA and Institute ◆ “Film‑Hunting as a Bloodless Sport: Sense8” Varieties of Soviet Camera Enthusiasm in the K 1950s and 60s” SPONSOR Nontheatrical Film and Media Scholarly Interest Group
K12 How Media Confronts Politics
◆ CHAIR Rijuta Mehta University of Toronto K14 Making Music Across Genres Konstantinos Tzouflas ◆ University of Zurich ◆ “Film Festivals and New Waves from Countries in Crisis: the New Argentine Cinema and the CHAIR Joy Schaefer ◆ Grand Valley State Greek New Wave” University Murat Akser ◆ Ulster University ◆ “Societal Hannah Lewis ◆ The University of Texas at Conflict, Violence and Cohabitation in Kurdish Austin ◆ “Cinematic Expectations and the Live Film Practice” Television Musical” Adam Cottrel ◆ Georgia Gwinnett College ◆ Anthony Kinik ◆ Brock University ◆ “Minimum “From Economic Inclusion to Spatial Expulsion: and Maximum Rock ’n’ Roll: Nick Cave & the On Pedro Costa’s Porous City” Bad Seeds and Rockumentary Form” Rijuta Mehta ◆ University of Toronto ◆ Curtis Russell ◆ The Graduate Center, CUNY ◆ “Immolation, Photography, and the Problem of “Cool Heads Prevail: Pop Music in the Films and Expenditure” TV of Edgar Wright” Krin Gabbard ◆ Columbia University ◆ “‘God Comes Here for the Jazz, Not for the Girls’: FRIDAY Jazz as Religious Signifier in Preacher” MARCH 15 11:00 am 12:45 pm
101 K15 History Forgets Itself K17 The Structures of the Women’s Film Production Film Experience Outside the Studio System Historicizing and Expanding Jean-Pierre Meunier’s Film-Phenomenology ◆ CHAIR Liz Czach University of Alberta CO-CHAIR ◆ Marsha Gordon North Carolina State CHAIR Julian Hanich ◆ University of Groningen University Daniel Fairfax ◆ Goethe Universität Frankfurt ◆ ◆ Marsha Gordon North Carolina State “A Missing Link in Film Theory? Jean‑Pierre ◆ University “‘The Only Woman Producer Meunier Between Phenomenology and of Films in America’: Angela Murray Gibson’s Psychoanalysis” Movie Studio in 1920s North Dakota” Vivian Sobchack ◆ University of California, ◆ ◆ Jennifer Jenkins University of Arizona Los Angeles ◆ “‘Me, Myself, and I’: On the “Straight Out of Compton: Avalon Daggett’s Uncanny in Home Movies” Postwar Educational Film Career” session Marie‑Aude Baronian ◆ University of ◆ ◆ Joanna Hearne University of Missouri Amsterdam ◆ “Remembering the Film- “Leslie Marmon Silko’s Arrowboy and the souvenir” Witches: Indigenous Storytelling and Visual Julian Hanich ◆ University of Groningen ◆ Translation” “When Viewers Drift Off: A Brief K Liz Czach ◆ University of Alberta ◆ “Recovering Phenomenology of Cinematic Daydreaming” the Lost History of the Trailblazing Women of SPONSOR Travel‑Lecture Filmmaking” Film Philosophy Scholarly Interest Group SPONSORS Nontheatrical Film and Media Scholarly Interest Group and Women in Screen History Scholarly Interest Group
K18 Small Gauge Revolutions New Perspectives on Documentary Politics
K16 Indian Culture Across Media CHAIR Noelle Griffis ◆ Marymount Manhattan
College CO-CHAIR David Fresko ◆ Rutgers University CHAIR Anupama Prabhala Kapse ◆ Loyola ◆ ◆ Marymount University Shira Segal University at Albany, SUNY “Radical Vision, Radical Birth: Homebirth Films Vikrant Dadawala ◆ University of Pennsylvania ◆ of the Avant‑Garde” “Between Coffee‑House, Cinema‑Hall and ◆ ◆ Printing Press: The New Indian Cinema in the Noelle Griffis Marymount Manhattan College 1980s” “Extreme Homemaking: Newsreel’s Break and Enter aka Squatters” Pallavi Rao ◆ Indiana University, Bloomington ◆ ◆ ◆ “Mapping ‘Indian Culture’: Caste as Pleasurable David Fresko Rutgers University “The Consumption in Indian Lifestyle Journalism” Mirror, the Screen, and the Archive: Underground with Emile de Antonio and the Ritika Kaushik ◆ University of Chicago ◆ Weathermen” “Apprehending the Archive of Files and FRIDAY ◆ ◆ Films: Intermediality in the Bureaucratic Film Russell Sheaffer Independent Scholar MARCH 15 Practice at Films Division of India” “From Festival Films to YouTube Activism: Radical Documentary Form, Hybridity, and the 11:00 am Sreya Mitra ◆ American University of Sharjah ◆ Work of John Greyson” 12:45 pm “‘Stop Trying to be a Desperate American’: Priyanka Chopra and the Travails of a Transnational Bollywood Female Star” SPONSOR Asian/Pacific American Caucus 102 K19 Forgotten African American K20 Visions of Another Europe Film Histories CHAIR ◆ Zoran Samardzija Columbia College Chicago CHAIR Michael DeAngelis ◆ DePaul University Zoran Samardzija ◆ Columbia College Chicago ◆ Barbara Klinger ◆ Indiana University ◆ “Black “A New Collective Dream: The Refugee Crisis Casablanca: WWII, African‑American Film Imagined in Theo Angelopoulos’s Border Culture, and Hollywood Stardom in the 1940s” Trilogy” Martin Johnson ◆ University of North Carolina Bruce Williams ◆ The William Paterson University at Chapel Hill ◆ “Minority Report: Social of New Jersey ◆ “More Famous in China Change, Participatory Documentary, and the than Robert De Niro: Male Film Celebrities of North Carolina Film Board, 1963–1965” Communist Albania” Philana Payton ◆ University of Southern Zaya Rustamova ◆ Kennesaw State University ◆ California ◆ “Celestial Bodies: Black Women, “Imperfect symbiosis: memory and family Hollywood, and the Fallacy of Stardom” affairs in Sunday’s Illness” session Samuel Smucker ◆ Southern Illinois University SPONSOR Carbondale ◆ “Le Baadasssss: Melvin Van Central/East/South European Cinemas Peebles and the French New Wave” Scholarly Interest Group SPONSORS Black Caucus and Oscar Micheaux Society K
MEETING MEETING Friday, March 15 Friday, March 15 11:00 am – 12:45 pm 11:00 am – 12:45 pm ROOM BALLARD ● 3rd Floor ROOM RICHMOND ● 3rd Floor Women in Screen History Digital Humanities Scholarly Interest Group and Videographic Criticism Scholarly Interest Group
MEETING Friday, March 15 MEETING 11:00 am – 12:45 pm Friday, March 15 ROOM CHELAN ● 1st Floor 11:00 am – 12:45 pm Caucus Coordinating Committee LOCATION McMENAMINS SIX ARMS ● 300 E Pike St. Animated Media Scholarly Interest Group FRIDAY MARCH 15 11:00 am 12:45 pm
103 session Friday, March 15 L 1:00 pm – 2:45 pm
L1 The End of Queerness L2 Essayistic Sounds Confronting Queer Loss, Erasure, Witnessing, Polyvocality, Eavesdropping, Disavowal, and Death in Video Games and Confessing in Documentary Media
CHAIR Bonnie Ruberg ◆ University of California, CHAIR Stephen Charbonneau ◆ Florida Atlantic Irvine University Josef Nguyen ◆ University of Texas at Dallas ◆ “I Gaurav Pai ◆ University of Washington ◆ “Estoy Have No Queers, and I Must Speculate” herida! (I’m wounded!): The Erotics of Voice in Teddy Pozo ◆ Brown University ◆ “Queer El grito (The Cry), México 68 (1968–70)” Erasure, Transformation, and the Disappearing S. Topiary Landberg ◆ University of California, Archive in Video Game Studies” Santa Cruz ◆ “Are You Together? Queer Amanda Phillips ◆ Georgetown University ◆ Relationships between Pictures and Sound in “Gaming’s Little Deaths: Disposable Lives and Landscape Essay Films” the Perils of Progress” Stephen Charbonneau ◆ Florida Atlantic Bonnie Ruberg ◆ University of California, Irvine ◆ University ◆ “Sonic Ethnography and “Performances of Homophobia in Player Essayistic Portraiture in Ear Hustle” Videos of Robert Yang’s ‘Gay Sex Games’” SPONSOR Documentary Studies SPONSORS Queer Caucus and Video Game Studies Scholarly Interest Group Scholarly Interest Group
104 L3 ROUNDTABLE L5 Death, Lawyers, and Taxes Depressing Data and New Approaches to U.S. Film History Sexist Statistics Using Research to Improve Diversity CHAIR Leah Steuer ◆ University of Wisconsin- in the Media Industries Madison ◆ ◆ Julie Lavelle Indiana University “Legal Jurisdiction and the Movies: Partnerships, CHAIR ◆ Rebecca Harrison University of Glasgow Parties, and Havana’s Teatro Campoamor” ◆ ◆ Melanie Hoyes British Film Institute Paul Monticone ◆ The University of Texas at “Weaponising Film Data: BFI, Statistics, Austin ◆ “‘Like A Dog in the Manger’: The Diversity” MPPDA, David O. Selznick, and Intellectual Lori Lopez ◆ University of Wisconsin‑Madison ◆ Property Self‑Regulation” “Advocating for Diversity in U.S. Network Peter Labuza ◆ University of Southern Television” California ◆ “Martin Gang V. Hollywood: ◆ ◆ session Rebecca Harrison University of Glasgow Litigating The Studio System in the 1940s” “Star Wars: Diversity Data and Fan Backlash” SPONSOR Classical Hollywood Scholarly Interest Group L
L4 Building and Contesting the Nation Latin American Cinemas and the Cold War L6 What’s a Genre For? Action, Animation, and Education CHAIR Bianka Ballina ◆ University of California, in New Hollywood and Beyond
Santa Barbara CO-CHAIR Laura Jaramillo ◆ Duke University CHAIR Christina Parker-Flynn ◆ Florida State ◆ ◆ Laura Jaramillo Duke University “Spectacle, University the Body, and the Neo‑Colonial State in Lennart Soberon ◆ Ghent University ◆ “The Alejandro Jodorowsky’s The Holy Mountain” Ultimate Ride: A Comparative Stylistic Analysis ◆ Bianka Ballina University of California, of Action Sequences in 1980s and Recent ◆ Santa Barbara “The Ochoa Affair and the Hollywood Action Cinema” End of the Cold War: Corruption Scandals, David Park ◆ Brooklyn College, CUNY ◆ “Tape Ideological Rectification, and Media Trials in and the Animated Loop: Narrative and Cuba” Aesthetic Recursion in Japanese Video” Jacqueline Loss ◆ University of Connecticut ◆ Ben Rogerson ◆ Texas Tech University ◆ “‘It’s a “Posthumous Reconciliation: 21st century Whole Different Business Now’: Allegories of Cuban‑Soviet‑North American Filmic Professional Obsolescence in New Hollywood” Collaboration” Zachary Ingle ◆ Roanoke College ◆ “We’re Both Ezekiel Trautenberg ◆ University of California, Professors: Intertextuality, Pedagogy and the Los Angeles ◆ “Entrepreneurial Violence Reappraisal of Spike Lee in the Kevin Willmott in Pinochet’s Chile: Neoliberal Economics, Collaborations” Cinephilia, and Repression in Tony Manero” FRIDAY SPONSORS Latino/a Caucus and Transnational Cinemas MARCH 15 Scholarly Interest Group 1:00 pm 2:45 pm
105 L7 Screening Sports L9 Video Games as Speculative Systems ◆ CHAIR Aaron Baker Arizona State University ◆ ◆ Samantha Sheppard Cornell University CHAIR Katherine Buse ◆ University of California, “Gendered Play and Black (Fe)male (In)visibility Davis in Sports Films” CO-CHAIR Cameron Kunzelman ◆ Georgia State Travis Vogan ◆ University of Iowa ◆ “HBO’s University Sporting Roots: Boxing, Documentary, and RESPONDENT Carlin Wing ◆ Scripps College Quality TV” Katherine Buse ◆ University of California, Davis ◆ Victoria E. Johnson ◆ University of California, “Speculative Worlds and Allegorithmic Climate Irvine ◆ “Being Serena, Voice, and the Athlete/ Science in Educational Video Games” Auteur” Laine Nooney ◆ New York University ◆ “Closed Aaron Baker ◆ Arizona State University ◆ “The Roads, White Flight, and Blinking Lights: session Catcher Was a Guy: Jewish Masculinity and the A Speculative History of Sierra On‑Line’s Baseball Biopic” ImagiNation Network” Cameron Kunzelman ◆ Georgia State University ◆ “The Playing Of The Disaster: L SimCity And Speculative Death” L8 Sex Good, Bad and Otherwise
L10 CHAIR Sarah Projansky ◆ University of Utah Political Explorations in French Ryan Powell ◆ Indiana University ◆ “Stimulating and Francophone Media Heterosexuality?: Sex Media, Aversion Therapy and The Farrall Instrument Company Circa CHAIR Robert Ribera ◆ Portland State University 1973” Jennifer Wild ◆ University of Chicago ◆ “A Naomi Rolef ◆ Ben Gurion University ◆ “What is Manner of Thinking: Les Coeurs Verts (1966) a National Sex Scene? An Israeli Test Case” and Modernist Realism Against the Banlieue ◆ ◆ Sandra Becker University of Groningen Film” “‘And [then there was] the rape . . .’ (Rescue Kalling Heck ◆ University of Redlands ◆ “Éric Me, S04E04): The Portrayal of Rape in Quality Rohmer 1968: The Politics of Indecision in The TV Series of the Early 2000s” Green Ray” Sarah Projansky ◆ University of Utah ◆ “What Matthew Hubbell ◆ University of Chicago ◆ We Publish Matters: Sexual Violence in Film “Godard’s Gags: The Comedy of Political and Media (Journals)” Modernism” SPONSOR Adult Film History Scholarly Interest Group SPONSOR French/Francophone Scholarly Interest Group
FRIDAY MARCH 15 1:00 pm 2:45 pm
106 L11 Screening Intersectional Spaces L13 The Conventions of Conventions
A Cross-Media Exploration of Media Industry Conventions, Festivals, and Intermediaries CHAIR Elizabeth A. Patton ◆ University of Maryland, Baltimore County Pamela Robertson Wojcik ◆ University of CHAIR Aleah Kiley ◆ University of California, Notre Dame ◆ “Perpetual Motion: Mobility, Santa Barbara Precarity, and Slow Death Cinema” CO-CHAIR Benjamin Woo ◆ Carleton University Merrill Schleier ◆ University of the Pacific ◆ Erin Hanna ◆ University of Oregon ◆ “Origin “Intersectionality, Spatiality, and Queerness in Stories: The San Diego Comic‑Con and the the Mid‑Century American Suburb Film” Future of All Media” Jacqueline B. Sheehan ◆ University of Southern Benjamin Woo ◆ Carleton University ◆ “Six California ◆ “Peripheral Derivé through Eloy Degrees of Jason Momoa: The Field of Con de la Iglesia’s La Semana del Asesino (1973)” Events as Social Network” Elizabeth A. Patton ◆ University of Maryland, Aleah Kiley ◆ University of California, session Baltimore County ◆ “At the Intersection of Santa Barbara ◆ “Diverting Diversity: The Race and Class: Showcasing Gentrification in of Politics of Cultural Difference at Game Portlandia” Festivals” SPONSOR Urbanism/Geography/Architecture Felan Parker ◆ University of Toronto ◆ “We Built Scholarly Interest Group a Site: Symposium as Method for Studying L Cultural Intermediaries” SPONSORS Film and Media Festivals Scholarly Interest Group and Media Industries Scholarly Interest Group L12 Up To and Including Its Limits Rethinking the Moving Image in Postwar Art
◆ CHAIR Swagato Chakravorty Yale University L14 WORKSHOP CO-CHAIR J. Carlos Kase ◆ University of North Carolina at Wilmington Film Festival Pedagogy J. Carlos Kase ◆ University of North Carolina at Focus on Latin American Film Festivals/Film Wilmington ◆ “Lamenting the Dead: Elegy and Circulation in the Global Film Festival Circuit
the Mediation of Affect in Experimental Film and Video” CHAIR Tamara Falicov ◆ University of Kansas ◆ Georgia Institute of Gregory Zinman CO-CHAIR Maria Paz Peirano ◆ University of Chile Technology ◆ “Video Walls, Cocaine, and the Mafia: How 1980s NYC Nightclubs Provided an PARTICIPANTS Alternative to the Gallery” Tamara Falicov ◆ University of Kansas ◆ ◆ Diana Ruiz University of California, Berkeley Maria Paz Peirano ◆ University of Chile “Light Graffiti: Expanded Cinema and ◆ Neoliberal Dissent on the U.S.‑Mexico Border” Hebe Tabachnik Seattle International Film Festival Swagato Chakravorty ◆ Yale University ◆ “The SPONSORS Film and Media Festivals FRIDAY Ends of (Expanded) Cinema: The Migratory MARCH 15 Ontology of the Moving Image” Scholarly Interest Group and Latino/a Caucus pm SPONSOR CinemArts Scholarly Interest Group 1:00 2:45 pm
107 L15 Affect, Feminism, History L17 Anthropocene Visions
Problems of Time and Scale CHAIR Jennifer Bean ◆ University of Washington RESPONDENT Tami Williams ◆ University of CHAIR Peter Lesnik ◆ University of Pennsylvania Wisconsin-Milwaukee Graig Uhlin ◆ Oklahoma State University ◆ Maggie Hennefeld ◆ University of Minnesota ◆ “The Infra‑Structural Cinema of Peter Bo “Archiving Fake News: From Fatal Laughers to Rappmund: Scale and Sequential Form” Feminist Killjoys” Peter Lesnik ◆ University of Pennsylvania ◆ Jennifer Bean ◆ University of Washington ◆ “Deborah Stratman’s The Illinois Parables: “Curiosity, Seriality and the Poetics of Wonder” Local and Global Histories” Patrice Petro ◆ University of California, Orchid Tierney ◆ University of Pennsylvania ◆ Santa Barbara ◆ “Feminism and Boredom “The Aesthetics of Waste Management in Revisited” Cartoneros and Waste Land” session SPONSORS Silent Cinema Scholarly Interest Group and Christopher Schmidt ◆ The Graduate Center, Women’s Caucus CUNY ◆ “Against Progress: Roberto Burle Marx’s Landscape Design as a Medium of National Identity and Resistance” SPONSOR Media and the Environment L Scholarly Interest Group L16 Social Media Makes Us; We Make Social Media
CHAIR Misha Kavka ◆ University of Auckland L18 Global Latin American Katherine Sender ◆ University of Michigan ◆ Film and Media “LGBTQ‑Tube: Queer Immaterial Labor in New Intersections of Aesthetics, Production Beauty Videos by LGBTQ‑Identified YouTubers” and Distribution in the 21st Century Laura Schumacher ◆ University of Wisconsin- Madison ◆ “Find Me on Instagram: Female Television Stars’ Cultivation of Celebrity Image CHAIR Kerry Hegarty ◆ Miami University in the Social Media Age” Kerry Hegarty ◆ Miami University ◆ “Cinematic Josh Jackson ◆ University of California, Aesthetics in the Advertising Work of Berkeley ◆ “#Elsagate: YouTube Kids and the Emmanuel Lubezki” Limits of User‑Generated Content in Children’s Luisela Alvaray ◆ DePaul University ◆ Media” “Transnational, Transsexual and Transgeneric: Margaret Rossman ◆ Butler University ◆ “Hold A Fantastic Woman (Sebastián Lelio, 2017)” Onto the Memories, They Will Hold Onto You: Celestino Deleyto ◆ University of Zaragoza ◆ Microcelebrity and Metafandom in Tween Fan “Transnational Filmmaking and the Culture” Construction of Global Space: Iñárritu’s Birdman” Jeffrey Middents ◆ American University ◆ FRIDAY “Netflix and Xochitl: Transnational Streaming MARCH 15 Distribution and Non‑English ‘Prestige 1:00 pm Content’” 2:45 pm
108 L19 Television in a “Colorblind” Climate L20 Thinking, Feeling, Dissembling Race, Ethnicity and the Politics of Televisualizing History and Cultural Politics
Representation of Creators of Color CHAIR Michael Kackman ◆ University of Notre CHAIR Dayna Chatman ◆ University of Oregon Dame Isabel Molina ◆ University of Illinois ◆ “East Jessica Hoover ◆ University of North Texas ◆ Los High and the Politics of Ethnic Authenticity “Through the Screen: The Carol Burnett for Writers of Color” Show as Cultural Antecedent to Feminist Film Ralina Joseph ◆ University of Washington ◆ “‘Do Criticism” Not Run Away from Your Blackness’: Black Lisa Jacobson ◆ University of California, Women Television Writers and the Flouting of Berkeley ◆ “The Cold War, Rebooted” Strategic Ambiguity” Michael Kackman ◆ University of Notre Dame ◆ Dayna Chatman ◆ University of Oregon ◆ “From “Feeling the Past: Television, Historical Different Vantage Points: The Politics of Melodrama, and the Limits of Empathy” session Representation of Mara Brock Akil, Issa Rae, Grace Jung ◆ University of California, and Shonda Rhimes” Los Angeles ◆ “Queer Politics of Korean Variety TV: State, Industry and Genre” L
MEETING MEETING Friday, March 15 Friday, March 15 1:00 pm – 2:45 pm 1:00 pm – 2:45 pm ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor Middle East Caucus SIG Coordinating Committee
SPECIAL EVENT Friday, March 15 1:30 pm – 5:00 pm ROOM METROPOLITAN BALLROOM PRE-FUNCTION AREA ● 3rd Floor Ask a Digital Humanities Scholar/Videographic Critic POP-UP BOOTH Members of the Digital Humanities and Videographic Criticism Scholarly Interest Group will staff a booth on the 3rd Floor of the Sheraton Grand Seattle to answer questions about DH and Videographic Practice and provide technical tutorials. Specifically, the schedule is as follows: 1:30 pm – 3:00 pm: Allison Cooper (Kinolab, Digital Clip Archive) 3:00 pm – 4:00 pm: Chelsea McCraken (Adobe Premiere, Handbrake) FRIDAY 4:00 pm – 5:00 pm: Chris Becker (Podcasting) MARCH 15 1:00 pm 2:45 pm
109 session Friday, March 15 M 3:00 pm – 4:45 pm M1 Queering Archives M2 Emerging Practices in Film and Television Non-Fiction Media
CHAIR ◆ Georges-Claude Guilbert Université Le CHAIR Vinicius Navarro ◆ Emerson College Havre Normandie Wentao Ma ◆ Columbia University ◆ ◆ ◆ Anthony Silvestri Indiana University “Deconstructing ‘Sage Media’: The Moving “Archive D’Artifice: Kenneth Anger and the Image of Contemporary China in Interactive Kinsey Institute” Documentary” ◆ ◆ Áine O’Healy Loyola Marymount University Vinicius Navarro ◆ Emerson College ◆ “Gendering the Sworn Virgin” “Collaboration and Profilmic Reality in Traci Abbott ◆ Bentley University ◆ “Trans Twenty‑First Century Documentary” Characters in Conspiracy Television Thrillers Jessica Mulvogue ◆ York University ◆ The OA and Sense8” “Catastrophic Oil Worlds: Slow Violence and Jacob Carter ◆ University of Wisconsin- Activist Melancholy in Offshore and Fort Milwaukee ◆ “I’m Queer . . . and Had a Lot McMoney” of Feelings Here: Affective Histories and Dennis Lo ◆ James Madison University ◆ “The Community Archival Practices in Queering the Soft Powers of Place: Nation Branding Through Map” Rural Location Shooting in Chinese and SPONSOR Libraries and Archives Taiwanese Lifestyle Media” Scholarly Interest Group SPONSORS Digital Humanities and Videographic Criticism Scholarly Interest Group and Documentary Studies Scholarly Interest Group
110 M3 ROUNDTABLE M5 Scale and the Undone Mind Women Speak Up Mediating the Unthinkable, Immeasurable, Oral Histories and the Feminist Impossible, Imperceptible Intervention of Film History
CHAIR Gloria Kim ◆ University of California, CHAIR Maya Montanez Smukler ◆ UCLA Film & Riverside Television Archive Gloria Kim ◆ University of California, Riverside ◆ CO-CHAIR Mae Woods ◆ Academy of Motion Picture “Data Visualization and Microbial Scale” Arts and Sciences Aubrey Anable ◆ Carleton University ◆ “Didactic Tuni Chatterji ◆ Academy of Motion Picture Arts Video Art in the Age of Informatic Opacity” and Sciences ◆ “Producing and Archiving Soyoung Yoon ◆ The New School ◆ Long‑Form Interviews” “Documentary for Conspiracy: Animation, Slow Barbara Hall ◆ Independent Scholar ◆ Violence, and Lessons of War” “Personal Narratives as Primary Source session Material” Mae Woods ◆ Academy of Motion Picture Arts and Sciences ◆ “Preparing and Conducting Oral Histories” M6 Transing Genre M Transgender, Transloca , and Two- Spirit Cinema in the United States, Colombia, Norway, and Canada M4 Tapping Into and Creating a New CHAIR Laura Horak ◆ Carleton University Politics of Televisual Latinidad Dan Vena ◆ Queen’s University ◆ “The Doctor’s Strategies, Aesthetics, and Activism Little Knife: Transing the Conventions of U.S. and Canadian Medical Horror Cinema” ◆ ◆ CHAIR Yeidy Rivero ◆ University of Michigan Gunnar Iversen Carleton University “Hybrid Ann Arbor Documentary and Trans Representation: Manuel Avilés‑Santiago ◆ Arizona State Negotiating the Personal and the Spectacular University ◆ “This is it! Is it? One Day at Time in the Norwegian 100% Human” and the Logics of Nostalgia on Netflix” Javier Garcia Leon ◆ University of Ottawa ◆ Mary Beltrán ◆ The University of Texas at “Transloca Representation in Colombia: Austin ◆ “Tanya Saracho’s Vida and Queer Precarity and (In)Visibility in This Town Needs Latinidad as Marker of Quality” a Dead Body” ◆ ◆ Yeidy Rivero ◆ University of Michigan Laura Horak Carleton University “Dark Ann Arbor ◆ “Another Day, Another Time: Humor, Decolonial Erotics, and Accountability Cuban‑Americanness and the Remake of One in 21st Century Two‑Spirit Filmmaking” Day at a Time” SPONSORS Scandinavian Scholarly Interest Group and Arcelia Gutiérrez ◆ University of Michigan Women’s Caucus Ann Arbor ◆ “#OscarsSoBlind: Latino Digital Media Activism, Visibility, and Belonging” FRIDAY SPONSOR Latino/a Caucus MARCH 15 3:00 pm 4:45 pm
111 M7 Morning in America (on TV) M9 Old, Ugly, and Broken Transformations in U.S. Television Small Game Aesthetics, Culture in the 1980s Politics, and Production
CHAIR Taylor Miller ◆ University of Georgia CHAIR John Vanderhoef ◆ California State Taylor Miller ◆ University of Georgia ◆ “Syndie’s University, Dominguez Hills Consequent Mutants of the 1980s” Maria Garda ◆ University of Turku ◆ Ethan Thompson ◆ Texas A&M University‑Corpus “Desynchronized Histories? A Comparative Christi ◆ “Mad Magazine’s Parodic Satire of Study of Late 8‑Bit and Retro 8‑Bit Game ‘Quality TV’ in the 1980s” Aesthetics” Bridget Kies ◆ College of Wooster ◆ “Subverting Whitney Pow ◆ Northwestern University ◆ Television’s Jiggle Era: 1980s Action Series and “A Queer Historiography of Glitches and Male Body Exploitation” Errors: Locating Queer, Trans, and Nonbinary session Kayti Lausch ◆ University of Michigan ◆ Computer History in the Video Game _transfer” “Television You Can Trust: The Foreboding Brendan Keogh ◆ Queensland University Failure of the American Christian Television of Technology ◆ “Resisting Aggressive System” Formalisation: Contextualising the Re‑emergence of Trash Games” SPONSOR Television Studies Scholarly Interest Group M John Vanderhoef ◆ California State University, Dominguez Hills ◆ “Throwing Shit at the Wall: Maligned Aesthetics and the Politics of Value in Informal Game Development” SPONSOR Video Game Studies M8 Social Listening Scholarly Interest Group Archive, Protest, and Movement
CHAIR Byrd McDaniel ◆ Brown University RESPONDENT Lauren S. Berliner ◆ University of Washington, Bothell M10 WORKSHOP Benjamin L. Silverman ◆ Massachusetts The Undergraduate Media Studies Institute of Technology ◆ “Fan Labor in the Participatory Archive: A Study of a Private Curriculum in the 21st Century BitTorrent Tracker” ◆ ◆ Amelia K. Golcheski Emory University “From CHAIR Derek Kompare ◆ Southern Methodist the ‘People’s Microphone’ to the ‘People’s App’: University Spotify and the West Virginia Teachers’ Strike” Byrd McDaniel ◆ Brown University ◆ PARTICIPANTS “Sympathetic Resonance: Popular Music Karen Petruska ◆ Gonzaga University Reaction Videos, Disability, and the Jonathan Nichols-Pethick ◆ DePauw Performance of Media Consumption” University Julia Himberg ◆ Arizona State University FRIDAY Alisa Perren ◆ The University of Texas at MARCH 15 Austin 3:00 pm Nicole Hentrich ◆ University of Michigan 4:45 pm SPONSOR Critical Media Pedagogies Scholarly Interest Group
112 M11 Acoustic Space and Cinematic M13 Curating Film Cultures Ecologies, 1950–1980 Film Festivals and the History of Film/Media Studies
CHAIR Henning Engelke ◆ Philipps-Universität Marburg CHAIR Aida Vallejo ◆ University of the Basque Henning Engelke ◆ Philipps‑Universität Country ◆ Marburg ◆ “‘Let’s hear what we can see’: CO-CHAIR Antoine Damiens Independent Scholar Arctic Sounds and Media Anthropology in Antoine Damiens ◆ Independent Scholar ◆ Edmund Carpenter’s films” “Curating Gay and Lesbian Film Studies: Sophia Graefe ◆ Philipps‑Universität Marburg ◆ 1970s Committed Scholars/Critics as Festival “Listening to Foxes on Film: Sonic Images in Organizers” East German Bioacoustics” Clarissa Jacob ◆ Royal Holloway, University of ◆ Andrew Vielkind ◆ Yale University ◆ “Lyrical London “‘Subjectivity in Pursuit of Greater Ecologies: The Post‑War Avant‑Garde’s Toxic Objectivity’: Barbara Martineau’s Writing on session Soundscapes” Feminist Film Festivals of the 1970s” ◆ ◆ Ken Eisenstein ◆ Bucknell University ◆ “‘Like Aida Vallejo University of the Basque Country an animal, infallible’: The Ec(h)osystem of “Rethinking the History of Documentary at Film Structural Film” Festivals” ◆ ◆ SPONSOR Tilottama Karlekar Colorado College M Experimental Film and Media Scholarly Interest Group “Tracing Archives of ‘Resistance’: Alternative Film Festival Histories in Postcolonial India” SPONSOR Film and Media Festivals Scholarly Interest Group
M12 Vietnam Memory, History and Television M14 Indigenous Sound Studies CHAIR Bjorn Sorenssen ◆ The Norwegian
University of Science and Technology CHAIR ◆ Bjorn Sorenssen ◆ The Norwegian University of Jacqueline Land University of Science and Technology ◆ “The ‘High Concept Wisconsin-Madison Documentary’ and War Memories: Comments Dustin Tahmahkera ◆ University of Illinois at on Ken Burns’ and Lynn Novick’s The Vietnam Urbana‑Champaign ◆ “Ancestral Acoustics: War (2017)” Unsettling Soundscapes in La Comanchería” Seth Feldman ◆ York University ◆ “Memory and Liz Przybylski ◆ University of California, Spectatorship in Ken Burns’ and Lynn Novick’s Riverside ◆ “Radio Silence: Changing The Vietnam War” Mediascapes, Hip Hop, and the Future of Mal Wahlberg ◆ Stockholm University ◆ Indigenous Sonic Sovereignty” “Saigon‑Stockholm: Radical Content and Marcella Ernest ◆ University of New Mexico ◆ the Documentary Call for Action in Swedish “Native Feminist Remix: Practice and Scholarship of Sound Art” Broadcasting Culture (1967–1972)” FRIDAY ◆ Jacqueline Land University of Wisconsin- MARCH 15 Madison ◆ “Streaming ‘Indigenerdity’: Indigenous Women’s Fan‑Podcasting” 3:00 pm SPONSOR Radio Studies Scholarly Interest Group 4:45 pm
113 M15 Women Working in and M17 Itty-bitty Installations, Shrinking Across Media Women, and Tiny Toys
Gender and the Politics of the Cinematic Miniature CHAIR Mila Zuo ◆ Oregon State University Rhyse Curtis ◆ Syracuse University ◆ “Women’s Work: Legacies of Trauma and Female CHAIR Barbara Mennel ◆ University of Florida Testimony in Guillermo del Toro’s Pan’s RESPONDENT Angelica Fenner ◆ University of Toronto Labyrinth and Crimson Peak” Barbara Mennel ◆ University of Florida ◆ “The Kiki Loveday ◆ University of California, Female Miniaturist” ◆ Santa Cruz “Be Natural: Alice Guy Blaché, Leah Shafer ◆ Hobart and William Smith Queer Reproduction, and the Birth of Cinema” Colleges ◆ “‘Oh I Wish I Was a Little Bar of Kyoung‑Lae Kang ◆ Seoul National University Soap’: On Scale, Commodity and Satire in The of Science and Technology ◆ “Dissident Incredible Shrinking Woman” session Memories of ‘Comfort Women’: How Tamao Nakahara ◆ Independent Scholar ◆ Art Confronts Politics in Sehong Ahn’s “Precious Little: Gendered Toys in Film and Photographs and Documentary Films” Television” Virginia Crisp ◆ King’s College London ◆ “Opportunities for Everyone?: Women in the M Danish Games Industry”
M18 Thinking with Cinema New Directions in Videographic Criticism, Theory, and Practice M16 Net Culture vs. IRL
CHAIR Drew Morton ◆ Texas A&M University- ◆ CHAIR Mary Beth Ray Plymouth State University Texarkana ◆ ◆ Mary Beth Ray Plymouth State University Melissa Dollman ◆ University of North Carolina “Popular Music Journalism’s Gendered at Chapel Hill ◆ “Changing Lanes: A Public Preconceptions and Digital Discourse: Gender, Relations Network and Shell Oil’s Carol Lane” Representation, and Social Media” Nicholas Poppe ◆ Middlebury College ◆ “For an ◆ ◆ Jacqueline Ristola Concordia University Imperfect Videographic Criticism” “Going Gonzo: Crunchyroll, Anime Streaming, Benjamin Sampson ◆ Moorpark College ◆ and Unpaid Digital Labour” “Faking Footage and Mixing Modes: F for Fake ◆ ◆ Rachel Winter University of Central Florida as Blueprint for Videographic Criticism” “White Masculinity and Digital Political Drew Morton ◆ Texas A&M Discourse: Memes and Bernie Bros in the 2016 University‑Texarkana ◆ “La Cinema‑Stylo: U.S. Presidential Election” The Relationship Between Essay Films and ◆ ◆ Ben Pettis Colorado State University “Pepe Videographic Criticism” the Frog and Drake Approves: Variances in the SPONSOR Exploitability of Meme Genres” Digital Humanities and Videographic Criticism Scholarly Interest Group FRIDAY SPONSOR Queer Caucus MARCH 15 3:00 pm 4:45 pm
114 M19 Phenomenal Blackness M20 Women and Cinemagoing in Electrifying Sports Activists, Transnational Context Electric Superheroes, Black Mirror’s Holographic Electrocution CHAIR David Morton ◆ University of Central Florida CHAIR Jazmine Hudson ◆ Georgia State Sarah Culhane ◆ Maynooth University ◆ University “Exploring the reception of female stardom in Dafna Kaufman ◆ Georgia State University ◆ 1950s Italy and Ireland through memories of “From Carlos to Kaepernick: The Evolution of audience identification” African‑American Embodied Sports Activism” David Morton ◆ University of Central Florida ◆ Chamara Moore ◆ University of Notre “‘Heroes in Half Shades’: Explorations into the Dame ◆ “Black Folks Throw Lightning: lived experiences of West Bengali Cinema” Black Embodiment in American Comics & Agata Frymus ◆ Ghent University ◆ “Black Adaptations” women and cinemagoing in Harlem during the session Jazmine Hudson ◆ Georgia State University ◆ 1920s” “Phantom Blackness: Black Mirror’s Sam Manning ◆ Queen’s University Belfast ◆ Holographic Representation of Critical Race “Female Cinemagoing Habits and the Life Cycle Theory and Neurophenomenology” in the United Kingdom, 1945–65” SPONSOR Black Caucus M
MEETING MEETING Friday, March 15 Friday, March 15 3:00 pm – 4:45 pm 3:00 pm – 4:45 pm ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor Caucus on Class Asian/Pacific American Caucus Officer elections, update on developments since last year, and raising issues and agenda for upcoming year.
FRIDAY MARCH 15 3:00 pm 4:45 pm
115 SPECIAL EVENT Friday, March 15 5:00 pm – 6:15 pm ROOM GRAND BALLROOM C & D ● 2nd Floor Awards Ceremony Please join us in acknowledging and honoring this year’s award recipients. PRESENTER Pamela Robertson Wojcik ◆ University of Notre Dame—SCMS President
STUDENT WRITING AWARD BEST EDITED COLLECTION First Place Joshua Neves ◆ Concordia University and Maureen Mauk ◆ University of Wisconsin- Bhaskar Sarkar ◆ University of California, Madison ◆ “Politics is Everybody’s Santa Barbara ◆ Asian Video Cultures: Business: Resurrecting Faye Emerson, In the Penumbra of the Global (Duke America’s Forgotten First Lady of Television” University Press, 2017). Second Place BEST ESSAY IN AN EDITED COLLECTION Allain Daigle ◆ University of Wisconsin- ◆ ◆ Milwaukee ◆ “Modern Glass: Zeiss and the Nilo Couret University of Michigan Industrialization of Vision” “Enduring Art Cinema” in The Routledge Third Place Companion to Latin American Cinema, ◆ ◆ eds. Marvin D’Lugo, Ana M. López, Laura Cassandra Guan Brown University Podalsky (Routledge, 2017). “Critique of Flowers: Ecology and Affect in the Era of Technical Reproduction” THE ANNE FRIEDBERG INNOVATIVE SCHOLARSHIP AWARD DISSERTATION AWARD ◆ ◆ ◆ ◆ Shannon Mattern The New School Code Jordan Schonig University of Chicago and Clay, Data and Dirt: Five Thousand “Cinema’s Motion Forms: Film Theory, Years of Urban Media (University of the Digital Turn, and the Possibilities of Minnesota Press, 2017). Cinematic Movement” SERVICE AWARD BEST FIRST BOOK AWARD Aviva Dove-Viebahn ◆ Arizona State University Aubrey Anable ◆ Carleton University ◆ Playing with Feelings: Video Games and DISTINGUISHED PEDAGOGY AWARD Affect (University of Minnesota Press, Charlie Keil ◆ University of Toronto 2018). DISTINGUISHED CAREER ACHIEVEMENT AWARD THE KATHERINE SINGER KOVÁCS BOOK AWARD Donald Crafton ◆ University of Notre Dame Susan Murray ◆ New York University ◆ Bright Signals: A History of Color Television (Duke University Press, 2018).
THE KATHERINE SINGER KOVÁCS ESSAY AWARD FRIDAY Aswin Punathambekar ◆ University of MARCH 15 Michigan ◆ and Sriram Mohan ◆ University of Michigan ◆ “A Sound Bridge: Listening for the Political in a Digital Age,” International Journal of Communication, Vol. 11 (2017): 4610–4629.
116 SPECIAL EVENT Friday, March 15 6:15 pm – 7:15 pm ROOM GRAND BALLROOM A & B and PRE-FUNCTION AREA ● 2nd Floor Reception Celebrate this year’s award recipients, outgoing SCMS Board members, and others who have served the Society this past year while catching up with old friends and meeting new acquaintances.
MEETING & RECEPTION RECEPTION Friday, March 15 Friday, March 15 7:15 pm – 9:00 pm 7:15 pm – 9:00 pm ROOM JEFFERSON A & B ● 4th Floor , Union Street Tower ROOM WILLOW A & B ● 2nd Floor Scandinavian New York University, Scholarly Interest Group and Department of Cinema Studies University of Washington, Department Reception of Scandinavian Studies Reception for faculty, students, alumni, and friends of the Department. Reception for SIG members, those affiliated with the Department of Scandinavian Studies, and friends.
RECEPTION MEETING Friday, March 15 Friday, March 15 7:15 pm – 9:00 pm 7:15 pm – 9:00 pm ROOM CEDAR ● 2nd Floor ROOM BALLARD ● 3rd Floor University of California, Santa Cruz Television Studies Department of Film and Digital Media Scholarly Interest Group Reception Reception for faculty, students, friends, and those interested in our programs.
MEETING Friday, March 15 9:15 pm – 11:00 pm ROOM ISSAQUAH A & B ● 3rd Floor Black Caucus
FRIDAY MARCH 15
117 SPECIAL EVENT Saturday, March 16 8:30 am – 9:30 am ROOM ASPEN ● 2nd Floor Institutional Members Chairs’ Breakfast Chairs of our institutional members are invited to this breakfast. Meet your colleagues to discuss issues relating to program administration and the role of film and media studies in your university and beyond.
SPECIAL EVENT Saturday, March 16 8:30 am – 9:30 am ROOM CIRRUS ● 35th Floor, Pike Street Tower Graduate Mentor Workshop This workshop is open to graduate students who signed-up prior to the conference. For those who registered, remember to bring the materials you sent for feedback and something to take notes to your meeting with a volunteer faculty mentor. Check your e-mail for your designated meeting time, and contact the GSO representative with any questions at
SPECIAL EVENT Saturday, March 16 9:00 am – 12:00 pm ROOM METROPOLITAN BALLROOM PRE-FUNCTION AREA ● 3rd Floor Ask a Digital Humanities Scholar/Videographic Critic POP-UP BOOTH Members of the Digital Humanities and Videographic Criticism Scholarly Interest Group will staff a booth on the 3rd Floor of the Sheraton Grand Seattle to answer questions about DH and Videographic Practice and provide technical tutorials. Specifically, the schedule is as follows: 9:00 am – 10:00 am: Patrick Keating (Adobe Premiere, Audition, After Effects) 11:00 am – 12:00 pm: Drew Morton (Videographic Criticism and Podcasting)
SATURDAY MARCH 16
118 session Saturday, March 16 9:45 am – 11:30 am N N1 Trans* Queer Crip N2 ROUNDTABLE Explorations of Cinematic Transformations When Crazy Rich Asians Meets Global Hollywood CHAIR Slava Greenberg ◆ Tel Aviv University Debating the Diversity Discourse in An Chris Straayer ◆ New York University ◆ “The Asian American Romantic Comedy
Erotically Charged, Horrible Hands of Orlac: Wandering Signs and Gender Dysphoria” CHAIR ◆ ◆ ◆ Yiman Wang University of California, Erica Rand Bates College “Your Hips Must Santa Cruz Be Killing You: Prince, Queer Gender, White ◆ ◆ Supremacy, and Death” Valerie Soe San Francisco State University “Complicating the Cultural Mix: The Goh Phoebe Hart ◆ Queensland University of ◆ Family” Technology “Cripping Intersex in ◆ ◆ Autobiographical Documentary Filmmaking” Catherine Fung Lick‑Wilmerding High School “On Cultural Appropriation and Soft Power” Slava Greenberg ◆ Tel Aviv University ◆ Brian Bernards ◆ University of Southern “Breaking Time: Trans Temporalities in Web ◆ Docu‑series Spectrums” California “Footnoting S.E.Asia in the Anglophone Transpacific” SPONSOR Queer Caucus See Kam Tan ◆ University of Macau ◆ “Can ‘Asians’ have it All?” SPONSORS Asian/Pacific American Caucus and Comedy and Humor Studies Scholarly Interest Group
119 N3 Representation Across Media N5 Living Abstraction in Cinema and Spectatorship CHAIR ◆ Tien-Tien Jong The University of Chicago ◆ ◆ Begoña González‑Cuesta IE University CHAIR Jenny Gunn ◆ Georgia State University “Creative Representations of Pain: Off‑screen Daniel Reynolds ◆ Emory University ◆ “The Strategies in Carla Simón’s ‘Summer 1993’” Tetris Effect Effect: Interactive Aesthetics as ◆ Ulrike Hanstein Friedrich‑Schiller‑Universität Conceptual Reclamation” Jena ◆ “Feminist Videoletters: Affection and Todd Jurgess ◆ University of South Florida ◆ Address in Epistolary Exchanges” “2001 x 50: Aftereffects of the Abstract ◆ ◆ Caitlyn Doyle Northwestern University Sublime” “Truth Unreconciled: Jeff Barnaby’s Rhymes Maria Poulaki ◆ University of Surrey ◆ “A Case for Young Ghouls” for Absorption in Cinematic Spectatorship” Greg Burris ◆ American University of Beirut ◆ Nathan D. Roberts ◆ Harvard University ◆ “The “How Samson Became White: Race, World, Everything, Gone Someplace Else: Jewishness, and Biblical Myth from Cecil B. ‘Anxious Paranoia’ and the Too Many Horizons DeMille to Avi Mograbi” of Inherent Vice”
session N4 Embodied Vulnerability N6 Cinematic Westernisms in Mexican Cinema
CHAIR Sarah Kessler ◆ University of Southern N CHAIR Carolyn Fornoff ◆ University of Illinois at California Urbana-Champaign RESPONDENT Karen Tongson ◆ University of Southern Carolyn Fornoff ◆ University of Illinois at California Urbana‑Champaign ◆ “The Strength of Black Homay King ◆ Bryn Mawr College ◆ “‘Go West’: Vulnerability in 1970s Mexican Cinema” From Horace Greeley to Jia Zhangke” Ana Almeyda‑Cohen ◆ University of Patricia White ◆ Swarthmore College ◆ “Under Pennsylvania ◆ “The Fight Against Western Eyes: Women Directors, Native Vulnerability: La narca in Mexican Cinema” Locations” Ivan Aguirre ◆ University of California, Sarah Kessler ◆ University of Southern Riverside ◆ “Becoming Vulnerable in California ◆ “Songs from the Final Frontier: Neoliberal Mexico: HIV and Social Alienation in Listening to Whales in Star Trek IV: The Voyage Claudia Saint‑Luce’s Los Insólitos Peces Gato” Home” Lilia A. Perez Limon ◆ University of Oklahoma ◆ “Interpreting Disability and Queer Kinship in José Villalobos Romero’s Documentary El Charro de Toluquilla” SPONSOR Latino/a Caucus SATURDAY MARCH 16 9:45 am 11:30 am
120 N7 Camp TV of the 1960s N9 Sonorous Objects
CHAIR Wyatt Phillips ◆ Texas Tech University CHAIR Trace Reddell ◆ University of Denver CO-CHAIR Isabel Pinedo ◆ Hunter College, CUNY Trace Reddell ◆ University of Denver ◆ “Musique RESPONDENT Aniko Bodroghkozy ◆ University of Plastique: Vaporwave and the Post‑Cinematic Virginia Sonorous Object” Andrea Comiskey ◆ Franklin & Marshall College Sharon Mee ◆ University of New South Wales ◆ and Jonah Horwitz ◆ Millersville University “Aural Aesthetics: Sensing Decomposition in of Pennsylvania ◆ “Fractured Flickers, Camp the Horror Film” Borrowing, and Hollywood’s Ab/usable Past” Joo Yun Lee ◆ Pratt Institute ◆ “Audiovisual Walter Metz ◆ Southern Illinois University ◆ “My Installation of Sonic Media Temporalities and Mother the Car; or, My Television, Sub‑Par?: its Embodied Experience” Taking Seriously the 1960s Fantasy Television Leah Weinberg ◆ University of Denver ◆ Sitcom” “Sounds of Cognitive Estrangement in Ex Ken Feil ◆ Emerson College ◆ “From Love Machina and Annihilation” Machine to Laugh-In: Camp TV, Jacqueline SPONSORS Horror Studies Scholarly Interest Group Susann and the Sexual Revolution” and Sound and Music Studies SPONSORS Comedy and Humor Studies Scholarly Interest Group Scholarly Interest Group and Television Studies Scholarly Interest Group session
N10 Colonialism’s Media Ripples N8 WORKSHOP N ◆ Fire Insurance Maps, Newspapers. CHAIR Laure Astourian Bentley University Esra Çimencioğlu ◆ Northwestern University ◆ com and Assisted Living Homes “Arap Bacı as a Mammy Figure in Turkish Teaching Students to Research/ Media” Document Local Film History Gust Burns ◆ University of Washington ◆
“No‑Space‑Whatsoevers in Sambizanga: Deleuze’s White Time‑Image and (Im)Possible CHAIR ◆ Michael Aronson University of Oregon Images of Fanonian Blackness” CO-CHAIR Elizabeth Peterson ◆ University of Oregon Matthew Brown ◆ University of Wisconsin- ◆ PARTICIPANTS Madison “What’s Wrong with 419? : Fraud, Free Indirect Subjectivity, the Mirror Stage in Michael Aronson ◆ University of Oregon Nollywood” Elizabeth Peterson ◆ University of Oregon Laure Astourian ◆ Bentley University ◆ ◆ Mark G. Cooper University of South Carolina “Ethnography and National Identity in 1960s Allison Whitney ◆ Texas Tech University French Cinema” Chelsea R. Wessels ◆ East Tennessee State University SATURDAY MARCH 16 9:45 am 11:30 am
121 N11 Midcentury Media Engages N13 International Film Festivals and with the World the Production of World Cinema
CHAIR Christine Sprengler ◆ Western University CHAIR Eren Odabasi ◆ Western Washington Anna Nekola ◆ Canadian Mennonite University ◆ University “Cultural Diplomacy via World Music and Eren Odabasi ◆ Western Washington Dance on Omnibus” University ◆ “Festival Selections and Deron Overpeck ◆ Eastern Michigan University ◆ Commercial Performance of Films from the “De‑Allied: The Decline of Allied States, the Global South” Organization that Killed the Studio System, Humberto Saldanha ◆ University College 1948–1960” Cork ◆ “Producing the Other in Film Festivals: Andrew Salvati ◆ Rutgers University ◆ Cosmopolitanism, Funding and the Making of “Eisenhower’s Crusade in Europe: From War Authenticity in Brazilian Cinema” Memoir to TV Epic” Jasper Vanhaelemeesch ◆ University of Christine Sprengler ◆ Western University ◆ Antwerp ◆ “Focalising Film Festivals: “Cinematic Periodization and Time’s Contemporary film” Percolations: Grease, The Fifties, and Now” SPONSOR Film and Media Festivals Scholarly Interest Group session N12 Streaming Video Beyond Netflix Broadcasting and Narrowcasting N14 Obscure Media N in the Streaming Era Understudied Histories of Transmission, Representation and Storage CHAIR Cara Dickason ◆ Northwestern University Cara Dickason ◆ Northwestern University ◆ CHAIR Neta Alexander ◆ New York University “Network(ed) Spectatorship: Surveillance, RESPONDENT Scott Curtis ◆ Northwestern University Citizenship, and Broadcast Streaming on CBS Christina Corfield ◆ University of California, All‑Access” Santa Cruz ◆ “Instant Messenger: The Pony Chuck Tryon ◆ Fayetteville State University ◆ “A Express, Media, and Modern Virtuality” Whole New Streaming World: Disney Goes Benjamin Schultz‑Figueroa ◆ Seattle Over the Top” University ◆ “‘Interesting and Curious’: Bryan Wuest ◆ University of California, Representing the Dissected Body on Film” Los Angeles ◆ “‘Stream. Out. Loud.’: Neta Alexander ◆ New York University ◆ “The Ownership, Authorship, and Diversity in LGBT Invisible Screen: The Hidden History of the Digital Media Platforms” Teleprompter” SPONSOR Media, Science, and Technology Scholarly Interest Group
SATURDAY MARCH 16 9:45 am 11:30 am
122 N15 Geopolitics of Perception N17 Making Space in the Neighborhood “Transnational” Frictions in Early Property Development, Place-Branding, 20th Century Visual Cultures and Hyper-Local Media Production
CHAIR Hannah Goodwin ◆ Mount Holyoke College CHAIR Michael Dwyer ◆ Arcadia University CO-CHAIR Andre Kunigami ◆ University of Martha Shearer ◆ King’s College London ◆ North Carolina at Chapel Hill “Xanadu’s Dead Real Estate” Hannah Goodwin ◆ Mount Holyoke College ◆ Michael Dwyer ◆ Arcadia University ◆ “It’s the “Local Lenses on the Universe: Astronomical Neighborhoods: Pittsburgh, Media Production, Photography and the Networks of Imperialism” and the Postindustrial City” Andre Kunigami ◆ University of North Carolina at Anna Sborgi ◆ King’s College London ◆ Chapel Hill ◆ “Geopolitics of Perception: Time “Locating Haggerston: Media Construction of and Body in Early Film Theory from Brazil” the Neighborhood” Maria Corrigan ◆ Emerson College ◆ “Global Diego Zavala ◆ Tecnológico de Monterrey, Chaplin: Tramp, Icon, Transnational Port” Guadalajara Campus ◆ “Neighborhoods, SPONSORS Silent Cinema Scholarly Interest Group Towns and Outskirts: Participatory and Transnational Cinemas Documentary in Guadalajara, Mexico” Scholarly Interest Group SPONSOR Urbanism/Geography/Architecture Scholarly Interest Group session
N16 Intoxicated Spectatorship
N18 Hannah Arendt and Film Philosophy A Plurality of Encounters N CHAIR Jocelyn Szczepaniak-Gillece ◆ University of Wisconsin-Milwaukee Jocelyn Szczepaniak‑Gillece ◆ University of CHAIR James McFarland ◆ Vanderbilt University Wisconsin-Milwaukee ◆ “Celluloid Mirrors and Nicholas Baer ◆ University of Chicago ◆ “The Dope Amendments: Hollywood, Intoxicated World Spectator” Spectators, and the War on Drugs” Jennifer Fay ◆ Vanderbilt University ◆ “What Janet Staiger ◆ The University of Texas at Film Calls Thinking: Arendt and Cavell on Trial” ◆ Austin “2001 as the Ultimate Trip: Exposing James McFarland ◆ Vanderbilt University ◆ Altered Spectatorship” “The Life of the Image: On the Relevance of David Church ◆ Northern Arizona University ◆ Film Philosophy to Hannah Arendt’s Thought” “Altered States, Altered Temporalities: Brian Price ◆ University of Toronto ◆ “A Distorted Durations between Cinema and the Provisional Sort of Eternity: Love or Politics?” Home” SPONSOR Film Philosophy Scholarly Interest Group Caetlin Benson‑Allott ◆ Georgetown University ◆ “Last Call? Alcohol, Inebriated Reception, and the Future of Cinema” SATURDAY MARCH 16 9:45 am 11:30 am
123 N19 ROUNDTABLE N20 Fetish, Fossil, Arche, Indigene Teaching the CRAFT and Business Primitivity and Prehistoricity In/ of Black Theatre to Black Film After Modern Media Theory Building on The 2018 International Black Theatre Summit CHAIR Tyler Morgenstern ◆ University of
California, Santa Barbara Jennifer Blaylock ◆ University of California, CHAIR Monica White Ndounou ◆ Dartmouth Berkeley ◆ “Making ‘Primitive’ Noise with College Failed Media Inventions: The Colonial Origins of ◆ ◆ Monica White Ndounou Dartmouth College Media Studies” “The CRAFT of Pedagogy and Industry Shifts” Tyler Morgenstern ◆ University of California, ◆ ◆ Nsenga Burton Emory University “Media in Santa Barbara ◆ “‘After the Custom of the the Business of Black Theatre, Black film” Indian:’ Cybernetic Time and/as Settler Eve Graves ◆ Clark Atlanta University ◆ Governance” “Pedagogies: Culture, Production, Global K. Thompson ◆ College of William & Mary/ Enterprise” Northern Arizona University ◆ “Primitive Brett Dismuke ◆ So Chi Entertainment ◆ Prophecies: Arche‑fossils, Stone Bones, and “Practice of Producing, Casting, Distribution” Lakota Futures” SPONSOR Black Caucus Delinda Collier ◆ School of the Art Institute of Chicago ◆ “Media Primitivism and the session Concept of the Fetish” N MEETING MEETING Saturday, March 16 Saturday, March 16 9:45 am – 11:30 am 9:45 am – 11:30 am ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor Radio Studies Central/East/South European Cinemas Scholarly Interest Group Scholarly Interest Group We will announce our annual essay award winner, discuss election-related process, and announce our new co-chairs.
SATURDAY Browse . . . MARCH 16 the SCMS Exhibit Area 9:45 am closes at 4:00 pm. 11:30 am Be sure and stop by for some great deals! 124 session Saturday, March 16 11:45 am – 1:30 pm O O1 Parody, Pastiche, and Play O2 New Perspectives on Slow Cinema Performing Queerness in The Aesthetics, Politics, and Phenomenology Digital Media Cultures ;of Cinematic Contemplation
CHAIR Raffi Sarkissian ◆ Christopher Newport CHAIR Rick Warner ◆ University of University North Carolina at Chapel Hill RESPONDENT David Coon ◆ University of Washington Miguel Penabella ◆ University of California, Tacoma Santa Barbara ◆ “Ghostly Temporalities: Raffi Sarkissian ◆ Christopher Newport Spectral Contemplation and Historical University ◆ “Zapping Storms: Camp and Revisionism in the Slow Films of Lav Diaz” Queer Satire in Digital Video Activism” Oksana Chefranova ◆ Yale University ◆ Steven Greenwood ◆ McGill University ◆ “‘She “Contemplating the (In)visible: Atmospheric Really is a Basic Queen, this Belle:’ The Queer Attunement and Translucent Vision in Art Disney Aesthetic of Todrick Hall” Cinema” Samantha Close ◆ DePaul University ◆ “Can You Kristi McKim ◆ Hendrix College ◆ Fight Homophobia with Capitalism?” “Contemplative Perception and Child Interiority in Hirokazu Kore‑eda’s I Wish (2011), SPONSORS Comedy and Humor Studies Scholarly Interest Group and Queer Caucus or Koichi Chooses the World” Rick Warner ◆ University of North Carolina at Chapel Hill ◆ “Slow Cinema Reconfigured: First Reformed and the Legacy of the Bressonian Thriller”
125 O3 Intermediality O5 Black Visual Historiographies Chinese Cinemas and the Politics of Identity The Art of Multitudes
CHAIR Laura Jo-Han Wen ◆ Randolph-Macon CHAIR Michael Boyce Gillespie ◆ The City College College of New York, CUNY CO-CHAIR Ying-Fen Chen ◆ University of California, Allyson Nadia Field ◆ University of Chicago ◆ Berkeley “From Minstrelsy to Cinema: Early Cake Walk Laura Jo‑Han Wen ◆ Randolph‑Macon College ◆ Films and Approaches to Black Performance “Photographer Deng Nanguang’s Silent Taipei Historiography” Films” Racquel Gates ◆ The College of Staten Island, Jasmine Yu‑Hsing Chen ◆ Utah State University ◆ CUNY ◆ “The Archive vs. the Bootleg” “Alternative Chineseness in (Film)making: The Glenda Carpio ◆ Harvard University ◆ “Packing: Reception of Huangmei Opera Films in Taiwan” Aesthetic Form in Atlanta” I‑Hsiao Chen ◆ The University of Texas at Michael Boyce Gillespie ◆ The City College of Austin ◆ “From Cabaret to the Silver Screen: New York, CUNY ◆ “Let Me Rub You Down: Di Go Liang’s Comedy and the Making of a Blackness, Adaptation, and Noir et Blanc” Taiwanese Linguistic Identity” SPONSORS Black Caucus and Oscar Micheaux Society Ying‑Fen Chen ◆ University of California, Berkeley ◆ “Nostalgic Imagination and Historical Preservation: A Cinematic Intervention of the Heritage Reuse Project in session Hong Kong” O6 ROUNDTABLE “Reasons to Believe in this World” O Film Programming after David Pendleton
O4 Middle East Cinemas CHAIR Marc Siegel ◆ Johannes Gutenberg Distribution, Exhibition, and Reception University, Mainz Marc Siegel ◆ Johannes Gutenberg University, ◆ CHAIR Zeynep Yasar ◆ Independent Scholar Mainz “Keimena: The Art World Programs Babak Tabarraee ◆ The University of Texas at Films on Greek TV” Austin ◆ “Cult for Context: The Fifteen‑Year Roy Grundmann ◆ Boston University ◆ “Floating Reception of Marmulak (The Lizard / Kamal Signifiers: Programming Ocean Liner Films” Tabrizi, 2003)” Laura Marks ◆ Simon Fraser University ◆ Lincoln Shlensky ◆ University of Victoria ◆ “Disarming anxious audiences” “Israel’s Cinema of Social Anomie: Daniel Humphrey ◆ Texas A&M University ◆ Neoliberalism and Zionist Education in Recent “Programming from the syllabus to the Israeli Films” cinémathèque” Zeynep Yasar ◆ Independent Scholar ◆ “Tracing Peter Limbrick ◆ University of California, the Identity of a Film Festival: Cultural Policy Santa Cruz ◆ “Seeing Otherwise: Worldly and National Cinema in Contemporary Turkey” Programming” SATURDAY Melis Umut ◆ Stony Brook University ◆ “The SPONSOR Experimental Film and Media MARCH 16 Advent of Local Pornography in Turkey: Scholarly Interest Group 11:45 am Late–1970s Turkish Pornographic Films and the ‘Age of Insertions’” 1:30 pm SPONSOR Middle East Caucus
126 O7 Horror and Motherhood O9 Gaming
Inside and Outside CHAIR Daniel Sacco ◆ Ryerson University Victoria Sturtevant ◆ University of Oklahoma ◆ CHAIR Arzu Karaduman ◆ Ithaca College “Delivery Men: Male Pregnancy in American Shanchao Fu ◆ Peking University ◆ “On the Film and Television Comedy” Rhythm of Video Games: A Semiotic‑Formalist Katherine Guerra ◆ University of California, Approach” Berkeley ◆ “‘I Never Wanted to be your Sandra Danilovic ◆ University of Toronto ◆ Mother’: The Resistant Mother in ‘Millennial’ “Fabulopoiesis in Autopathographical horror films The Babadook and Hereditary” Game Authorship: The Illness and Disability Russell Meeuf ◆ University of Idaho ◆ “The ‘Final Metaphor Reinvented” Mom’: White, Maternal Suffering in the ‘Creepy Bernard Perron ◆ University of Montreal ◆ Kiddo’ Film” “More Than Facts and Statements: The Forms Daniel Sacco ◆ Ryerson University ◆ “mother! of Video Game Criticism” May I?: The Perils of A‑list Horror” Hong‑An Wu ◆ University of Texas at Dallas ◆ SPONSOR Horror Studies Scholarly Interest Group “Technology Never Works”
session O8 Redressing the Global in Film Music O10 Theory and the Auteur, Perspectives on Music, Cinema, But Not Auteur Theory and the Transnational
CHAIR Agnieszka Piotrowska ◆ University of O CHAIR Joan Titus ◆ University of North Carolina Bedfordshire at Greensboro Vito Zagarrio ◆ University of Roma Tre ◆ “The Jacqueline Avila ◆ University of Tennessee ◆ One‑Shot Sequence and the Rhetoric of the “Memorias de oro: Music, Nostalgia, and Gaze in Contemporary Cinema” Mexicanidad in Pixar’s Coco (2017)” Alessandra Mirra ◆ Rowan University ◆ Nina Cartier ◆ Harold Washington College ◆ “Anachronism as an Epistemological Device: A “Transnational Reverberations Between Africa Special Day (Scola, 1977)” and Black America: Afrosonic Iconicity in 1970s Bradley Harmon ◆ University of Washington ◆ Black Film Music” “Cinema After Auschwitz, or Roy Andersson’s Joan Titus ◆ University of North Carolina at ‘Living’ Trilogy” Greensboro ◆ “Music, Gender, and the (Trans) John Winn ◆ Duke University ◆ “An Accidental National in Meeting on the Elbe (1949)” Cinema: Robert Aldrich’s Whatever Happened Ling Zhang ◆ Purchase College, SUNY ◆ to Baby Jane?” “‘Enlightenment,’ Cinematic Soundscape, and (Trans)National Imagination in 1980s Chinese Cinema” SPONSOR Sound and Music Studies SATURDAY Scholarly Interest Group MARCH 16 11:45 am 1:30 pm
127 O11 Marginalized Audiences O13 Cinema and National Identity and Fandom ◆ CHAIR Herbert Eagle University of Michigan ◆ ◆ CHAIR Jonathan Cannon ◆ Oklahoma State Palita Chunsaengchan University of Oregon University “Cinematic Experiences in Traditional Forms: Katie Beisel Hollenbach ◆ University of Early Thai Filmgoers/Poets’ Thoughts on Washington ◆ “Frank Sinatra and Cinema in Thai Poetry” Constructions of Female Fantasy and Power in Asiya Bulatova ◆ University of Warsaw ◆ RKO’s Higher and Higher (1943)” “Buying Charlie Chaplin: National Identity and Shelley A. Galpin ◆ University of York ◆ “‘The Class in Early‑Soviet Film Theory” People No‑One Imagines Anything Of’: Teenage Simran Bhalla ◆ Northwestern University ◆ Responses to British Period Drama” “Civil Modernism: Abbas Kiarostami’s Morgan Bimm ◆ York University ◆ “Girl Fan Sponsored Films and Discourses of Ascendant: Hockey Counterpublics and Development in Monarchic Iran” Girl‑Led Alternative Sports Media” Booth Wilson ◆ Chinese University of Hong ◆ A. Luxx Mishou ◆ Old Dominion University ◆ Kong, Shenzhen “His Call (1925) and the “Retcon: Revisiting the Foundations of Cosplay Transnational Dimensions of the Cult of Studies” Personality in Soviet Cinema” SPONSOR Silent Cinema Scholarly Interest Group session
O12 Media’s Odd Jobs and Invisible Labor O14 Taxonomies of the Pornographic O Bisexual Media
CHAIR Mary Desjardins ◆ Dartmouth College CHAIR Laura Helen Marks ◆ Tulane University Mary Desjardins ◆ Dartmouth College ◆ CO-CHAIR Desirae Embree ◆ Texas A&M University “Publicity Matters: Communicative Capitalism ◆ ◆ and Studio‑era Hollywood’s Publicity Finley Freibert University of California, Irvine Machines” “Alternating Contexts/Direct Content: The Queer Circulation of Bisexuality in Adult Media Jonathan L. Knapp ◆ Harvard University ◆ at the Gay Liberation Moment” “Compass, Sextant, Theodolite, Camera: Land ◆ ◆ Surveying and Location Scouting as Cultural Joe Rubin Vinegar Syndrome “Trends Techniques” of Sexual Fluidity in Hardcore Theatrical Features” Kate Fortmueller ◆ University of Georgia ◆ ◆ ◆ “Voice actors and video games in the age of Laura Helen Marks Tulane University “‘I Bet convergence” You Like Looking at That Asshole, Dontcha?’: Jeff Stryker’s Enigmatic Sexuality” Rachel Thibault ◆ University of Massachusetts ◆ ◆ Amherst ◆ “Confronting Misogyny and Desirae Embree Texas A&M University the Violence of Silencing: Resistance and “Lesbian Porn for Men: On the Im/possibility of SATURDAY Roadblocks to the Feminist Labor of Film Female Bisexuality in Adult Film” MARCH 16 Criticism” SPONSORS Adult Film History Scholarly Interest Group and Queer Caucus 11:45 am SPONSOR Caucus on Class 1:30 pm
128 O15 Backwards into the Future O17 Contemporary U.S. Television in/ Christopher Nolan’s Dunkirk (2017) and the Banal Anthropocene
CHAIR ◆ Jonna Eagle University of Hawai‘i at CHAIR Julia Leyda ◆ Norwegian University of Mānoa Science and Technology ◆ ◆ John Trafton Seattle University “Dunkirk CO-CHAIR Diane Negra ◆ University College Dublin and The Revenant: Panoramic Vision and Tisha Dejmanee ◆ Central Michigan University ◆ History as a VR Experience” “Re‑imagining the Local as National Jonna Eagle ◆ University of Hawai‘i at Mānoa ◆ Community: Food and Nostalgic Nationalism “All in Good Time: Melodrama and Dunkirk” on Diners, Drive-Ins, and Dives” Zachary Powell ◆ University of Rochester ◆ Stephanie LeMenager ◆ University of Oregon ◆ “War Anxiety Today: Dunkirk Omits Colonial “Television Landscapes of Deregulation and Soldiers for White Vulnerable Bodies” Soft Apocalypse” Robert Burgoyne ◆ University of St. Andrews ◆ Julia Leyda ◆ Norwegian University of Science “Dunkirk and the Battlefield Gothic” and Technology ◆ “Post‑Air‑Conditioning SPONSOR War and Media Studies Futures and the Climate Unconscious” Scholarly Interest Group Diane Negra ◆ University College Dublin ◆ “Climate and Culture in The Pioneer Woman”
session O16 Reframing Todd Haynes Intersections and Interventions O18 Radical Documentary Revisited O CHAIR Lynne R. Joyrich ◆ Brown University CHAIR Enrique Fibla-Gutierrez ◆ Concordia David Maynard ◆ Independent Scholar ◆ “The University Montreal Auteur and the Intimate Collaborator: Tracing Jane Gaines ◆ Columbia University ◆ “Radical Christine Vachon’s Filmic Signature in Todd Film Collectives of the 1930s: The World Haynes’s Killer Films” Connection” Theresa L. Geller ◆ University of California, Charles Musser ◆ Yale University ◆ “Jay Leyda Berkeley ◆ “She’s Not There: Chantal Akerman and the Documentary Mode” and the Influence of Anxiety” Enrique Fibla‑Gutierrez ◆ Concordia University Theodora Danylevich ◆ Georgetown University ◆ Montreal ◆ “The Wind from the East: Radical “When Pathology Becomes Pathos: Disability as Film Culture in Spain” Melodrama in Wonderstruck” Sonia García‑López ◆ Universidad Carlos III ◆ Danielle Bouchard ◆ University of North Carolina “‘Human Blood Flowing towards Exhausted at Greensboro ◆ “All That Whiteness Allows: Veins’: Civilian Casualties in Popular Front The Work of Race and US Empire in Todd Documentaries of the Spanish War” Haynes’ Queer Feminisms” SPONSOR Central/East/South European Cinemas SPONSOR Women’s Caucus Scholarly Interest Group SATURDAY MARCH 16 11:45 am 1:30 pm
129 O19 The Celebrity, Microcelebrity and O20 Nordic Stardom and Anti-celebrity of Contemporary Screen Performance Public Intellectuals in the New Attention Economy CHAIR Chris Holmlund ◆ University of Tennessee ◆ ◆ Andrew Nestingen University of Washington “Genre, Performance, and Nordic Noir’s CHAIR ◆ Neil Ewen University of Winchester Disavowal of Star Systems” CO-CHAIR Shelley Cobb ◆ University of Southampton Chris Holmlund ◆ University of Tennessee ◆ ◆ ◆ David Zeglen George Mason University “M.I.A.: Acting, Stardom and Swedish “Pseudo‑Intellectual Astrology: The Occult Superspy Carl Hamilton” Microcelebrity of Jordan Peterson” Ann‑Kristin Wallengren ◆ Lund University ◆ ◆ ◆ Shelley Cobb University of Southampton “Anita Ekberg: A Swedish Sex Goddess’ Shifting “Mary Beard’s Twitter Tears: The (White) Performances in Hollywood and Italy” Woman Public Intellectual and the Perils of Mark Gallagher ◆ University of Nottingham ◆ Practicing Microcelebrity” “A Great Dane: Mads Mikkelsen, Stardom and ◆ ◆ Anthea Taylor University of Sydney Transnational Performance” “Screening the Celebrity Feminist Intellectual: SPONSORS Germaine Greer, Current Affairs Television, Scandinavian Scholarly Interest Group and Attention Capital” and Transnational Cinemas Scholarly Interest Group Neil Ewen ◆ University of Winchester ◆ session “Jonathan Meades: The Anti‑Celebrity as Public O Intellectual” MEETING MEETING Saturday, March 16 Saturday, March 16 11:45 am – 1:30 pm 11:45 am – 1:30 pm ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor CinemArts Oscar Micheaux Society Scholarly Interest Group
SPECIAL EVENT Saturday, March 16 1:00 pm – 5:00 pm ROOM METROPOLITAN BALLROOM PRE-FUNCTION AREA ● 3rd Floor Ask a Librarian/Ask an Archivist SATURDAY POP-UP BOOTH MARCH 16 You’ve got questions? We’ve got answers! Librarians, archivists, and seasoned 11:45 am researchers from the Libraries & Archives Scholarly Interest Group will be fielding questions on the 3rd Floor of the Sheraton Grand Seattle. 1:30 pm SPONSOR Libraries & Archives Scholarly Interest Group
130 session Saturday, March 16 1:45 pm – 3:30 pm P
P1 Queer Dis/Embodiments P2 Virtual Reality and Politics of Time, Space, and Memory ◆ CHAIR Beck Banks University of Oregon ◆ Chia‑chi Wu National Taiwan Normal CHAIR Maria Zalewska ◆ University of Southern University ◆ “Ang Lee, a Queer author but California Straight Legend” CO-CHAIR Sonia Misra ◆ University of Southern Muge Yuce ◆ Georgia State University ◆ “IT IS California NOT FUNNY!: Cultural Politics of Humor and RESPONDENT Sasha Crawford-Holland ◆ University Its Dehumanizing Effects on Nonconforming of Chicago Bodies” Maria Zalewska ◆ University of Southern Caitlin Turner ◆ The University of Mississippi ◆ California ◆ “Virtualizing the Holocaust: “Against Iconicity: Imagining Alternative The Last Goodbye (2017) and the Evolution of Geographies in The Watermelon Woman” Witness Testimony in the Digital Age” Alanna Thain ◆ McGill University ◆ “Signaletic Katherine Guinness ◆ University of Colorado, Flesh: Queer, Feminist and Trans Ecologies of Colorado Springs ◆ “Virtual Reality and the Reproductive Horror” Nuclear Sublime” Sonia Misra ◆ University of Southern California ◆ “Queer Futures and VR Aesthetics in Jacolby Satterwhite’s Domestika” SPONSOR Film Philosophy Scholarly Interest Group
131 P3 Do You See What I’m Hearing? P5 Blackness in Popular Film
Material Histories of Audiovisual Media Convergences in Modern China CHAIR Kyle Stevens ◆ Appalachian State University CHAIR Julia Keblinska ◆ University of California, Steve Swetich ◆ Kalamazoo Valley Community Berkeley College ◆ “Searching for Formation: The RESPONDENT Yomi Braester ◆ University of Future of Racial Identity in Dope (2015)” Washington Nova Smith ◆ University of Chicago ◆ “‘Quiet As Marie Hartono ◆ University of California, It’s Kept’: Black Quietude as White Desaturation Berkeley ◆ “‘A Paperless Newspaper’: Reading in Lee Daniels’ The Woodsman” Chinese Radio in the 1950s” Daelena Tinnin ◆ The University of Texas at Julia Keblinska ◆ University of California, Austin ◆ “Whither the Gender of Get Out: A Berkeley ◆ “Holograms of a New Era: Critique of the Cinematic (Im) Possibilities of Screening Star Wars on Paper Liánhuánhuà Black Female Subjectivity” Comics in 1980s China” Yiwen Wang ◆ University of California, San Diego ◆ “Noises in the Age of Digital Reproduction: Media Poetics of bilibili” P6 Theorizing Space in session South Asian Cinemas
P4 Cine-media Cultures in the Arab CHAIR Usha Iyer ◆ Stanford University World and the Middle East Usha Iyer ◆ Stanford University ◆ P “Choreographing Architectures of Public Intimacy in the Hindi Film Cabaret” CHAIR Anne Ciecko ◆ University of Salma Siddique ◆ Ludwigs Maximilians Massachusetts-Amherst University ◆ “Archiving a Film Contagion” Pardis Dabashi ◆ Boston University ◆ “The Lotte Hoek ◆ University of Edinburgh ◆ “Films Art of the High‑Born: Stillness and Denial in in Fields: The Spatializing Practices of the Film Bahman Farmanara’s Prince Ehtejab” Society Movement in 1980s rural Bangladesh” Josh Carney ◆ American University of Beirut ◆ Priya Jaikumar ◆ University of Southern “The Harem, Hürrem, and the Truth: California ◆ “Defining a Spatial Film Restorative Nostalgia and the Veiling of a Historiography” Magnificent Heroine” SPONSORS Asian/Pacific American Caucus and Anne Ciecko ◆ University of Massachusetts Urbanism/Geography/Architecture Amherst ◆ “‘First Film’ Debates and Taste in Scholarly Interest Group Transnational Mediations of Saudi Arabia’s Transitional Public Film Culture” Brian Plungis ◆ New York University ◆ “Carnivalizing Oil Consumption: Unconscious SATURDAY Allegorical Materiality in the New Wave Cinema MARCH 16 of Iran” SPONSOR Middle East Caucus 1:45 pm 3:30 pm
132 P7 Gender and Visual Language P9 Neural Media in Horror Cinema On Neural Networks and New Data Practices
CHAIR ◆ CHAIR Mandy Gutmann-Gonzalez ◆ Temple Morgan Ames University of California, University Berkeley ◆ CO-CHAIR Hannah Bonner ◆ University of Iowa Ranjodh Dhaliwal University of California, ◆ Mandy Gutmann‑Gonzalez ◆ Temple University ◆ Davis “Artificial Intelligence or Ocular “Gender and Ambient Sexual Threat in the Intelligence? or how a neural imaginary Ambient Horror Film” shaped our visio‑cognitive computational ◆ ◆ media” Hannah Bonner University of Iowa ◆ ◆ “Cinematographic and Female Ecstasy in Theo Lepage‑Richer Brown University Andrzej Żuławski’s Possession (1981)” “Adversariality in Cybernetic Systems: On ◆ ◆ Neural Networks and Norbert Wiener’s Two Anna Howlett Carleton University “The Evils” Velvet Vampire (1971): Complicating the Johannes Bruder ◆ FHNW Academy of Art and ‘Woman as Image/Man as Bearer of the Look’ ◆ Binary” Design “Donkey Kong is not a circuit! A ◆ ◆ psychogram of contemporary neural media” David Mai San Francisco State University ◆ ◆ “The Scarlet Letters: Affect, Aesthetic, and the Katherine Groo Lafayette College “Humans Avant‑Garde” in the Machine: Indexicality and Affectivity in the Art of Neural Networks” SPONSOR Horror Studies Scholarly Interest Group session
P10 ROUNDTABLE P P8 Interrogating #MeToo in Asia Media Activism and Social Backlash Understanding ‘Exploitation’ Films in South Korea and China Exploring Popular, Scholarly, and Industrial Usage of the Term
CHAIR Sara Liao ◆ Chinese University of Hong ◆ Kong CHAIR Erin E. Wiegand Northumbria University ◆ ◆ CO-CHAIR Jinsook Kim ◆ The University of Texas at Johnny Walker Northumbria University Austin “Looking Beyond ‘Cult Movie’ Discourse” Ji‑Hyun Ahn ◆ University of Washington Maureen Rogers ◆ University of Wisconsin- Tacoma ◆ “Thinking MeToo Movement and Madison ◆ “Investigating Topicality in Journalism Ethics in South Korea” Exploitation Cinema” Jinsook Kim ◆ The University of Texas at Austin ◆ Dolores Tierney ◆ University of Sussex ◆ “Doubtful Anonymity? Questions of Visibility, “Naming and Shaming of Latin American Authenticity, and Accountability Regarding Exploitation” #MeToo in South Korea” SPONSOR Adult Film History Scholarly Interest Group Sara Liao ◆ Chinese University of Hong Kong ◆ “#MeToo Movement Lashing Back: Sexual SATURDAY Violence and Digital Anti‑/Activism in China” MARCH 16 Mengmeng Liu ◆ The University of Texas at 1:45 pm Austin ◆ “#MeToo in China: A Struggle with Censorship” 3:30 pm
133 P11 Power and Politics in Fandom P13 Platforms and Products
On the Production and Circulation of Exclusive Content in the Digital Age CHAIR Habiba Boumlik ◆ LaGuardia Community College, CUNY Maghan Jackson ◆ The Ohio State University ◆ CHAIR Christopher Meir ◆ Universidad de Carlos “Writing Queer Utopia: Excessive Reading and III de Madrid Queer Futurity in MCU Fanfiction” Christopher Meir ◆ Universidad de Carlos III Chantaelle Moffett ◆ The University of Texas de Madrid ◆ “Cinema in an Age of Content: at Austin ◆ “I Am Not Your Hero: Ecological Towards a Critical Agenda for Understanding Conflict, Cultural Literacy, and Redefined Netflix Original Films” Marginality in Black Panther Fandom” Petr Szczepanik ◆ Charles University Prague ◆ Lesley Willard ◆ The University of Texas at “HBO Europe’s Original Content Production as Austin ◆ “Watchers on the Wall: Surveillance, a Competitive Strategy in the Netflix Era” Spoiler Culture, and the Fanopticon” Michelle Farrell ◆ Fairfield University ◆ “Cuba’s Anne Mecklenburg ◆ University of Michigan ◆ Somewhat Illegal Distribution Platform: On “For Your Eyes Only: The Serial Fan Narratives Piracy, Access, and Production” of ‘Harry Styles—Live on Tour’” Michael Wayne ◆ Erasmus University SPONSORS Comics Studies Scholarly Interest Group Rotterdam ◆ “‘Stagnation is the New Up’: and Fan and Audience Studies Netflix Original Series and Multi‑Channel Scholarly Interest Group Providers in Israel” session
P P12 Visualizing Digitized Moving P14 Youth Resistance on Screen Image Collections for Exploration, Young Women and the Fight for Social Justice Analysis and Creative Reuse CHAIR Jacqueline Vickery ◆ University of
North Texas CHAIR ◆ Eef Masson University of Amsterdam Kyra Hunting ◆ University of Kentucky ◆ ◆ RESPONDENT Kevin Ferguson Queens College, “Aurality, Affect and Activism: Stylistic CUNY Disruption and Activist Messages in Switched Eef Masson ◆ University of Amsterdam and at Birth” ◆ Christian Gosvig Olesen University of Jacqueline Vickery ◆ University of North Texas ◆ ◆ Amsterdam “From Search to Explore: Visual “Fostering Teen Resistance: Negotiating Analysis as an Aid to Accessing Large‑Scale Activist Identities in The Fosters” Digitized Moving Image Collections” Shaylynn Lesinski ◆ University of Colorado, ◆ ◆ Barbara Flueckiger University of Zurich Boulder ◆ “Igniting the Revolution: Resistant “Advanced Methods for the Aesthetic Analysis Youth in Dystopian Film” and Visualization of Film Colors” Jessalynn Keller ◆ University of Calgary ◆ “Teen ◆ ◆ John Bell Dartmouth College “Human and Vogue, Emma González, and ‘Snappy’ Girlhood” SATURDAY Machine Collaboration: Qualitative Decisions SPONSORS MARCH 16 about Quantitative Data” Children’s and Youth Media and Culture Scholarly Interest Group and Women’s 1:45 pm SPONSORS Digital Humanities and Caucus Videographic Criticism 3:30 pm Scholarly Interest Group and Libraries and Archives Scholarly Interest Group
134 P15 Encountering Technological P17 Saving Whiteness Mediations in Screened History Reactionary Masculinities, Spectacular Violence, and the Politics of White Supremacist Patriarchy CHAIR Caroline Guthrie ◆ George Mason University ◆ CO-CHAIR Megan Fariello ◆ George Mason University CHAIR Jacqueline Pinkowitz The University of Rachel Schaff ◆ Ithaca College ◆ “Night Will Texas at Austin ◆ Fall (Andre Singer, 2014): Melodrama and CO-CHAIR Lucia Palmer Heidelberg University Postmemory Work” David Gurney ◆ Texas A&M University‑Corpus ◆ Megan Fariello ◆ George Mason University ◆ Christi “Proud Boys, Fragile Egos: “Cosmic Disturbances: (Sound) Technology Transmediating the Rise of the Alt‑Light” and the Televisual Historical Drama” Lucia Palmer ◆ Heidelberg University ◆ “Nativist Andrea Schmidt ◆ Portland State University ◆ Media, Vigilantes, and Spectacles of Sexual “‘The Original Era of My Being’: Technology in Violence in the U.S.‑Mexico Borderlands” The Frankenstein Chronicles” Jacqueline Pinkowitz ◆ The University of Texas ◆ Caroline Guthrie ◆ George Mason University ◆ at Austin “Rape, Reactionary Violence, and “‘A Lot of My History Sucks’: American National the Defense of Whiteness (Supremacy) in Civil Trauma in Time‑Travel Television Series” Rights Exploitation Films” Emma Downey ◆ Bucknell University ◆ “Rape, Violence and Racism: The Woman’s Body as both ‘the Space for’ and ‘the Place of’ session Corruption in Jud Süß (1940)” P16 John Hughes An Essential Reassessment P
CHAIR Timothy Shary ◆ Eastern Florida State P18 Conspiracies and Fake News College How’d We Get to the Current Moment? ◆ ◆ Alice Leppert Ursinus College “Fatherhood and the Failures of Paternal Authority in the ◆ Films of John Hughes” CHAIR Zenia Kish The University of Tulsa ◆ ◆ Barbara Brickman ◆ University of Alabama ◆ Eric Hahn University of California, Irvine “‘When Cameron Was in Egypt’s Land’: The “Coin‑op Conspiracies: Nostalgia and Moral Queer Child of Neglect in John Hughes’s Films” Panic in the Video Arcade” ◆ Frances Smith ◆ University of Sussex ◆ “The Valerio Coladonato The American University ◆ Unbearable Whiteness of Being in a John of Paris “Populism as Melodrama: Making Hughes Movie” Political Pathos Visible in Contemporary Cinema” Timothy Shary ◆ Eastern Florida State College ◆ ◆ ◆ “John Hughes, Auteur of Adolescence” Jordan Parrish University of Pittsburgh “F for Fake News: Orson Welles, Donald Trump, SPONSORS Children’s and Youth Media and Culture and the Powers of the False” Scholarly Interest Group and Comedy and ◆ ◆ Humor Studies Scholarly Interest Group Zenia Kish The University of Tulsa “Silicon SATURDAY Wall Street: Gray Media and the Brokering of a MARCH 16 New Financial Culture” 1:45 pm 3:30 pm
135 P19 The Podcast “Chitlin’ Circuit” P20 ROUNDTABLE Black Podcasters and Cultural Specificity Local Cycles in a Global Market Exploring the International Influence CHAIR Sarah Florini ◆ Arizona State University of Nordic Screen Culture Briana Barner ◆ The University of Texas at ◆ Austin “What Is This ‘Black’ in Black CHAIR Hunter Vaughan ◆ Oakland University Podcasting: Blackness, Identity, and Linda Badley ◆ Middle Tennessee State Marginalization Within Podcasts” University ◆ “Nordic Noir Adaptation and Bambi Haggins ◆ University of California, Appropriation” ◆ Irvine “Black, Independent, and Funny AF: Tommy Gustafsson ◆ Linnaeus University ◆ The Black Guy Who Tips, Comic Discourse and “The Nordic Sense of Exploitation” Pedagogical Lessons” ◆ ◆ Melissa Molloy Victoria University of Katharine Cacace The University of Texas ◆ ◆ Wellington “Danish Cinema’s Lean Approach at Austin “Black True Crime Podcasts: to Genre” Investigating the Racialized Norms of a Genre” ◆ ◆ ◆ ◆ Meryl Shriver‑Rice University of Miami Sarah Florini Arizona State University “Nordic Championing of Feminist Explicit “Support Ya Own: Independent Black Media” Podcasting and Interstitial Modes of Production” SPONSORS Scandinavian Scholarly Interest Group and Transnational Cinemas SPONSOR Black Caucus and Radio Studies Scholarly Interest Group session Scholarly Interest Group P
MEETING MEETING Saturday, March 16 Saturday, March 16 1:45 pm – 3:30 pm 1:45 pm – 3:30 pm ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor Women’s Caucus Silent Cinema Cultures Our meeting features a panel on Women’s Activism Scholarly Interest Group in the Academy and Beyond, with discussion to follow. We will also award the annual Women’s Caucus graduate student writing prize.
EXHIBITOR RECEPTION Saturday, March 16 1:45 pm SATURDAY ROOM METROPOLITAN BALLROOM ● 3rd Floor MARCH 16 at their table in the exhibit area 1:45 pm New York University Press pm Exhibitor Reception 3:30 Bonnie Ruberg and Matthew Payne author reception
136 session Saturday, March 16 3:45 pm – 5:30 pm Q
Q1 Queer Intersections in Q2 Immersive Media and the Film and TV Worldwide Production of Reality
CHAIR Dana Heller ◆ Eastern Michigan University CHAIR Jacob Bohrod ◆ University of Southern Susan Potter ◆ The University of Sydney ◆ California “Queer Talking Heads: Documentary, TV and CO-CHAIR Michael LaRocco ◆ Bellarmine University Queer Publicity in Witches, Faggots, Dykes and Michael LaRocco ◆ Bellarmine University ◆ “The Poofters (Australia, 1980)” All‑Seeing Kino‑Eye: Theorizing the Spherical Jessica Pruett ◆ University of California, Irvine ◆ VR Camera” “Selling Sisterhood: Lesbian Chic and the Liron Efrat ◆ University of Toronto ◆ “Virtual Lesbian Feminist Subject on The L Word and REALationalities: A Typology of Spatial Transparent” Production in Augmented Reality Mobile Apps” Clara Bradbury‑Rance ◆ King’s College London ◆ Jacob Bohrod ◆ University of Southern “Appropriate Feminisms: Ambivalence and California ◆ “Matterport’s Irrational Models: Citational Practice in Appropriate Behaviour Speculation and the Virtual Real Estate” (Desiree Akhavan, 2014)” Drew Paul ◆ University of Tennessee, Knoxville ◆ “Impossible Figures: Re‑Orienting Depictions of Gay Palestinians”
137 Q3 Do What Xi Says? Q5 ROUNDTABLE Responses of Chinese Film and Gaming Rethinking Studies of Race, Industries to Xi Jinping Era Media Regulation Media and Culture
CHAIR Aynne Kokas ◆ University of Virginia CHAIR Alfred Martin ◆ University of Iowa Aynne Kokas ◆ University of Virginia ◆ “One Alfred Martin ◆ University of Iowa ◆ “Casting Year Later: Understanding the 2018 Media and Queer of Color Representation” Regulation Constitutional Reforms in China” Madhavi Mallapragada ◆ The University of Texas Brian Hu ◆ San Diego State University ◆ at Austin ◆ “Model Minorities, Capitalism and “Forgetting the Finish Line: Political pessimism U.S. Media Industries” and the Hong Kong sports movie” Tim Havens ◆ University of Iowa ◆ “The Peichi Chung ◆ Chinese University of Hong Production of Racialized Audiences” Kong ◆ “Art and Independent Mobile Games ◆ ◆ in China” Kathryn Frank Young Harris College “Industry Structures, Lore, and Race in Gejun Huang ◆ The University of Texas at Austin ◆ Comics” “A Small Fish in a Big Pond: Understanding ◆ Entrepreneurship in Chinese Game Industry” Aymar Jean Christian Northwestern University ◆ “Organic Representation” SPONSORS Asian/Pacific American Caucus and Video Game Studies Scholarly Interest Group SPONSORS Black Caucus and Oscar Micheaux Society session
Q4 Political Aesthetics of State and Q6 Off the Page Q An Archival Approach to Production Design Revolution in Arab Cinema
CHAIR Natalie Snoyman ◆ Academy of Motion CHAIR ◆ Terri Ginsberg The American University Picture Arts and Sciences in Cairo ◆ ◆ ◆ Taylor Morales Academy of Motion Picture Isabelle Freda Hofstra University Arts and Sciences ◆ “Out of the Background: “Terrorism and Kebab: Kafka’s Administrative Production Design Sketches of the Hollywood Grotesque and the Egyptian Chaplin” Studio Era” ◆ ◆ Chris Lippard University of Utah Natalie Snoyman ◆ Academy of Motion Picture “Mobilization and Visualization: Strategies Arts and Sciences ◆ “‘The Color Director for a Sahrawi Cinema in Exile and Under Situation’: Vyvyan Donner’s Fashion Forecast Occupation” and the Color Control Department” ◆ Terri Ginsberg The American University in ◆ ◆ ◆ Rasmus Thjellesen Norwegian Film School Cairo “The Films of Arab Loutfi: Trauma “Max Rée—Examining the Work of a Danish Critiques the Cinematic Confessional” Pioneer in Hollywood” SPONSORS Middle East Caucus and War and Media SPONSOR Classical Hollywood Studies Scholarly Interest Group Scholarly Interest Group SATURDAY MARCH 16 3:45 pm 5:30 pm
138 Q7 Frankenstein Across Time, Q9 Emerging Trends in Production Cultures and Genres A Bicentennial Reconsideration CHAIR Charles Gentry ◆ The University of Texas at San Antonio ◆ CHAIR David Lugowski ◆ Manhattanville College Jack Curtis Dubowsky Academy of Television Arts and Sciences ◆ “The Terror and The Harry Benshoff ◆ University of North Texas ◆ Alienist: using contemporary sound to tell “Heterosexual Dynamics and Gendered period stories” Expectations Between Creator and Creature in ◆ ◆ Postwar Frankenstein Films” Ian Robinson Queen’s University “Live from the Cineplex: The Concert Film as Event Andrew Scahill ◆ University of Colorado Cinema since the 2000s” Denver ◆ “Bizarre Love Triangle: ◆ ◆ Frankensteinian Masculinities in Weird JJ Bersch University of Wisconsin‑Madison Science” “You, Too, 3D: The Aesthetics of Immersion and the Rise of the 3D Concert Film” Subha Das Mollick ◆ iLEAD ◆ “Frankensteins in ◆ the Bamboo Groves: A Close Encounter with Andrew Johnston North Carolina State ◆ Bengali Science Fiction” University “Object engines and pathfinding in digital animation” Sabiha Khan ◆ University of Texas at El Paso ◆ “The Agri‑Horror of Frankenfoods: Learning SPONSOR Sound and Music Studies to Love GMOS, CRISPR and Corn in the Food Scholarly Interest Group Documentary” SPONSOR Horror Studies Scholarly Interest Group session
Q10 Ethics, Representational Q Strategies and Power Dynamics Q8 Another Day, Another Dolor New Readings of Film Cultures from Four Histories in the Shadow of Catastrophe Latin America and the U.S.
CHAIR James Cahill ◆ University of Toronto CHAIR Deborah Shaw ◆ University of Portsmouth CO-CHAIR Nicholas Sammond ◆ University of Sophia McClennen ◆ Penn State University ◆ Toronto “Ethics and Globalization in Latin American Alexandra Bush ◆ University of California, Cinema” Berkeley ◆ “A Future Without History: Carolina Rueda ◆ University of Oklahoma ◆ The Glacier as Archive, Weathervane, and “Filmmaking, Film Ethics, and Academia: Catastrophic Oracle” Questioning the North‑South Divides” James Cahill ◆ University of Toronto ◆ “Media Deborah Shaw ◆ University of Portsmouth ◆ Catastrophe Artaud” “Happy Endings, Unhappy endings, Open Nicholas Sammond ◆ University of Toronto ◆ Endings and Epilogues in Mexican U.S. “Stan VanDerBeek in a MAD, MAD World, or Migration Films” Navigating the Everyday Catastrophe” SPONSOR Latino/a Caucus Lisa Cartwright ◆ University of California, San SATURDAY Diego ◆ “Convergence and Catastrophe in MARCH 16 The Wind (1928)” 3:45 pm 5:30 pm
139 Q11 So, You Want to Talk About Q13 The Politics of Nonfiction Race, Sex, and Gender? Camerawork Decolonizing Fan Studies Revisiting Film Theory through
Reflections on History and Practice CHAIR Rukmini Pande ◆ O.P Jindal Global University CHAIR David Rice ◆ Miami University Kadian Pow ◆ Birmingham City University ◆ David Rice ◆ Miami University ◆ “Distant “Scandalous Black Feminine Gaze(s): The Empathy?: Drone Camerawork, ‘Digital Critical Raciality of Fan Praxis on Tumblr” Multitudes,’ and the Politics Of Visualizing Angie Fazekas ◆ University of Toronto ◆ “Mary Refugees in Nonfiction Media” Sue Who? Black Panther’s Shuri and the Chi Wang ◆ University of Lincoln ◆ “From Potential in the Idealized Character” Socialist Realism to Jishi ‑ism: How the Politics JSA Lowe ◆ University of Houston ◆ “‘Rosa Diaz, and Aesthetics of Chinese Documentary A Bicon’: TV’s Bisexual Coming‑Out Narratives Changed before 2000” and the Brooklyn Nine-Nine Fandom” Minda Martin ◆ University of Washington Rukmini Pande ◆ O.P Jindal Global University ◆ Bothell ◆ “Camerawork for Voice: A Personal “The Curious Case of the Missing Fandom: Reflection on Sound, Image, and Digital Interrogating discourses of queerness and Compositing in Ramps to Nowhere (2018)” representation in media fandom” Zeinabu irene Davis ◆ University of California, ◆ SPONSOR Fan and Audience Studies San Diego “Rethinking a Woman’s Touch: session Scholarly Interest Group Women Cinematographers Portray People of Color and Their Images” SPONSOR Documentary Studies Q Scholarly Interest Group Q12 Making the Girl Mediated Constructions of Girlhood Q14 Politics, Sponsorship, CHAIR Megan Connor ◆ Indiana University CHAIR Jessica Johnston ◆ University of and Advertising in the Wisconsin-Milwaukee 1950s TV Industry ◆ Jessica Johnston University of Wisconsin- Milwaukee ◆ “Mother Knows Best: Managing CHAIR Cynthia Meyers ◆ College of Mount Saint the Girl in the Reality TV Family” Vincent Maureen Mauk ◆ University of Wisconsin- Carol Stabile ◆ University of Maryland, College Madison ◆ “Marketing the Tween Girl Park ◆ “Bringing the Television Industry to Coder: Coding Initiatives, Parenting, and Heel: The Anti‑Communist ‘Offensive Against Preadolescent Girls” Subversive Elements’” Mary Celeste Kearney ◆ University of Notre Cynthia Meyers ◆ College of Mount Saint Dame ◆ “A Room of Her Own (?): Bedroom Vincent ◆ “Sponsorship and Blacklisting: Design in Mid‑Twentieth‑Century Teen‑Girl SATURDAY Cases from the J. Walter Thompson Files” MARCH 16 Media” Peter Kovacs ◆ Independent Scholar ◆ “I Love Megan Connor ◆ Indiana University University ◆ 3:45 pm Lucy as Marcom Hub for Philip Morris: A New “Stylish Stars and Typical Teens: Celebrity Take on Single‑Sponsorship” 5:30 pm Cover Girls of the 2000s” Molly Schneider ◆ Columbia College Chicago ◆ SPONSOR Children’s and Youth Media and Culture “In the Presence of Mine Enemies: Playhouse Scholarly Interest Group 90 and the American Gas Association” 140 Q15 Violent Conflict, Precarious Q17 “Let’s Get Physical” Labor, and Risky Media A Kinetic Panel on Celebrity, Labor, and Fitness Media
CHAIR Daniel Grinberg ◆ University of Pennsylvania CHAIR Amy Herzog ◆ Queens College, CUNY & Lindsay Palmer ◆ University of Wisconsin- The Graduate Center, CUNY ◆ Madison ◆ “The Precarious Role of the ‘Fixer’ RESPONDENT Julie Wyman University of California, in Transnational Media Production” Davis ◆ ◆ Isra Ali ◆ New York University ◆ “Maternity, Michael Lawrence University of Sussex “‘I Motherhood, Militarism, and Women War Zone Sweat!’: Aerobic Spectacle and Star Labour in Correspondents in the War on Terror” Perfect (James Bridges, 1985)” ◆ Daniel Grinberg ◆ University of Pennsylvania ◆ Amy Herzog Queens College, CUNY & The ◆ “Risk Assessments: Independent Documentary Graduate Center, CUNY “‘Everybody Get Production Amid Drone Warfare” Low’: The Precarious Labor of YouTube Cardio‑Dance Culture” SPONSOR War and Media Studies ◆ Scholarly Interest Group Tara Mateik The College of Staten Island, CUNY ◆ “‘Get in Shape, Girl’: A Critical Choreography”
session Q16 The Wizard of Oz at 80 Form, Genre, Audience Q18 Hollywood Before the Watershed New Histories of the American Film CHAIR Ryan Bunch ◆ Rutgers University-Camden Industry in the Early 1960s Q ◆ ◆ Cary Elza University of Wisconsin‑Stevens Point “Behind the Curtain: L Frank Baum’s ‘Fairy CHAIR Joshua Gleich ◆ University of Arizona Cinema,’ Special Effects, and the Aesthetic of RESPONDENT ◆ Assemblage” Matthew Bernstein Emory University ◆ ◆ Ryan Bunch ◆ Rutgers University‑Camden ◆ Joshua Gleich University of Arizona “‘Sick “Kids, Adults, and Others on the Yellow Brick Tales of A Healthy Land’: Hollywood’s Downbeat Road” Wave of the Early 1960s” ◆ ◆ Michael Bass ◆ Georgia State University ◆ Emily Carman Chapman University “‘The “‘There, there. Lie quiet now. You just had a bad Ultimate Motion Picture’ of Late Hollywood: dream’: Nightmare Cinema and The Wizard of The Misfits as a Transitional Moment in Oz” mid‑Century American Cinema” ◆ ◆ ◆ Ross Melnick University of California, Stephanie Oliver University of North Texas ◆ “A Timeless American Allegory: A Reception Santa Barbara “A Continental Shift: 20th Study of Dorothy Gale and The Wizard of Oz in Century‑Fox, the MPEA, and African Film Contemporary Culture” Exhibition in the 1960s” SPONSOR Classical Hollywood SPONSOR Children’s and Youth Media and Culture Scholarly Interest Group Scholarly Interest Group SATURDAY MARCH 16 3:45 pm 5:30 pm
141 Q19 Now Understanding Instantaneous Time, MEETING Saturday, March 16 Boredom, and Delay in Digital Media 3:45 pm – 5:30 pm ROOM BALLARD ● 3rd Floor CHAIR Jason Farman ◆ University of Maryland, Nontheatrical Film and Media College Park Scholarly Interest Group RESPONDENT ◆ Richard Grusin University of Discuss teaching dossier, SIG elections, etc. Wisconsin, Milwaukee Rebecca Coleman ◆ Goldsmiths, University of London ◆ “Making and Managing ‘the Now’: Digital Media and a Present Temporality” MEETING Tero Karppi ◆ University of Toronto ◆ Saturday, March 16 “Facebook’s Boredom Detector or Towards 3:45 pm – 5:30 pm Micro‑Social Media” ROOM CHELAN ● 1st Floor Jason Farman ◆ University of Maryland, College Park ◆ “Buffering and Waiting in the Age of Comedy and Humor Studies Instantaneous Media” Scholarly Interest Group
MEETING session Saturday, March 16 Q20 FESPACO@50 3:45 pm – 5:30 pm Celebrating the 50th Anniversary ROOM CEDAR ● 2nd Floor of Africa’s Most Important Film JCMS Editorial Board Meeting Q Festival and Cultural Event
CHAIR Aboubakar Sanogo ◆ Carleton University Olivier Tchouaffe ◆ Southwestern University ◆ “On African Cinema, Representation, Social Movement and State Power” Joseph Pomp ◆ Harvard University ◆ “Discourses of Auteurism and the Place of the Actor at Africa’s Most Prestigious Film Festival” Jean‑Marie Teno ◆ Independent Scholar ◆ “The Long and Winding Road towards the ‘Real’ in Africa” Aboubakar Sanogo ◆ Carleton University ◆ “The Film Festival as Governmentality: FESPACO and the Government of African Cinema” SPONSORS Film and Media Festivals SATURDAY Scholarly Interest Group and French/ MARCH 16 Francophone Scholarly Interest Group 3:45 pm 5:30 pm
142 session Saturday, March 16 5:45 pm – 7:30 pm R
R1 Is That All There Is? R2 Race, Mediated Performance, and Rethinking Coming Out Across the Problem of Mental Illness Millennial Media
CHAIR Hunter Hargraves ◆ California State CHAIR Andrew Owens ◆ University of Iowa University, Fullerton Sarah Sinwell ◆ University of Utah ◆ “Reading Brandy Monk‑Payton ◆ Fordham University ◆ Jill Soloway: Popularizing Feminist and Queer “Blackness and Celebrity Mania” Theory in Independent Film and Television” Jorie Lagerwey ◆ University College Dublin and Brandon Arroyo ◆ Concordia University ◆ Taylor Nygaard ◆ Arizona State University ◆ “Becoming Out, Becoming Pornographic” “Women, Mental Distress, and Precarious Benjamin Aslinger ◆ Bentley University ◆ Whiteness” “Imagining Reciprocity” Hunter Hargraves ◆ California State University, Andrew Owens ◆ University of Iowa ◆ Fullerton ◆ “Bipolar TV” “Everyone Deserves a Love Story?: The Limits of Coming Out in Contemporary Film and Television”
143 R3 Art and/or of Television R5 Reframing Documentary Media in the Digital Age ◆ CHAIR Martha P. Nochimson David Lynch Graduate School of Cinematic Arts CHAIR Chris Cagle ◆ Temple University RESPONDENT ◆ Goucher College Martin Shuster CO-CHAIR Joshua Glick ◆ Hendrix College ◆ Douglas L. Howard Suffolk County Community ◆ ◆ ◆ Patricia Zimmermann Ithaca College College “Embracing the Monster: From “Digital Habitats: Documentary, New Media, Hannibal to Mindhunter” and the Environment” ◆ ◆ Jason J. Jacobs University of Queensland Chris Cagle ◆ Temple University ◆ “Cinema/ “Television, Art, and Acquaintance” TV/On Demand: Defining the Festival Martha P. Nochimson ◆ David Lynch Graduate Documentary” ◆ School of Cinematic Arts “Formulaic Crime Joshua Glick ◆ Hendrix College ◆ “Documentary Stories and Oxford Aesthetics in Inspector Inc: Netflix, the Media Industries, and the Value Lewis” of Reality” SPONSOR Television Studies Scholarly Interest Group Brian Winston ◆ University of Lincoln and Gail Vanstone ◆ York University ◆ “‘What Happens When the Lights Go Up’: Documentary Effect in the Digital Context” SPONSOR Documentary Studies Scholarly Interest Group session R4 Mediated Postfeminisms Gender in Contemporary Film and Television
CHAIR Brooke Bennett ◆ Independent Scholar R CO-CHAIR Natasha Patterson ◆ University of Lethbridge R6 Latin American Cinema Ongoing Theoretical and Political Debates Brooke Bennett ◆ Independent Scholar ◆ “‘Posts’ in the Zombie Post‑Apocalypse: Postfeminism and Postracial Discourses in The CHAIR Kathleen Newman ◆ University of Iowa Walking Dead and Z Nation” Sarah Barrow ◆ University of East Anglia ◆ ◆ ◆ Natasha Patterson University of Lethbridge “Time and Space in Peruvian Cinema: “‘Welcome to Our World’: Mediating Migration in Wiñaypacha” Indigenous Femininities on APTN’s Mohawk Kathleen Newman ◆ University of Iowa ◆ “New Girls” Subjectivities and Contemporary Argentine ◆ ◆ Amanda Konkle Georgia Southern University Cinema” “We Are Not Post‑Feminism After All: What Jay Beck ◆ Carleton College ◆ “Post‑novísimo Contemporary Television Reveals about Fourth Cinema: Redefining the Chilean Cinematic Wave Activism” Landscape” Stefanie Dullisch ◆ University of Duesseldorf ◆ Cristina Venegas ◆ University of California, “Female Community and (Postfeminist) Santa Barbara ◆ “Fifty Years on From Motherhood in Bad Moms” Imperfect Cinema: Julio García Espinosa’s SATURDAY Meditations on the Future of Media” MARCH 16 SPONSOR Latino/a Caucus 5:45 pm 7:30 pm
144 R7 Boomer Horror R9 Trash and Outsiders
Fiction and Nonfiction Independent Cinema CHAIR Ashley R. Smith ◆ Northwestern University Melissa Lenos ◆ Donnelly College ◆ “‘Everything CHAIR John Bruns ◆ College of Charleston isn’t a sin’: Monstrous Transitions in Carrie Nessa Johnston ◆ Edge Hill University ◆ (1976/2013)” “The Labour of ‘Trash’: Roger Corman’s Travers Scott ◆ Clemson University ◆ “Pigs, Below‑The‑Line Personnel and the Aesthetics Puppies, and Really Big Swords: The Daddy of Disruptive Low‑Budget Practices” Issues of Boomer Masculinity in Evilspeak” Nora Stone ◆ University of Arkansas at Little Ashley R. Smith ◆ Northwestern University ◆ Rock ◆ “Unofficial Documentary Adaptations” “American Psycho(s): Reaganism, Kyle Miner ◆ University of Wisconsin‑Milwaukee ◆ Individualism, and the Monstrous Potentialities “Amateur as a Discursive Formation in U.S. of Privilege” Independent Cinema” Lindsey Decker ◆ Boston University ◆ “The Grandparents Aren’t All Right: Baby Boomer Representation in Contemporary American Horror” SPONSOR Horror Studies Scholarly Interest Group R10 New Explorations in Colonial and Postcolonial Cinemas
session CHAIR Nicole B. Wallenbrock ◆ Syracuse R8 Fashion and Film University Costuming, Design, Photography and Pre- Dalina Perdomo Álvarez ◆ Video Data Bank ◆ Production in Stanley Kubrick’s work “Romance Colonial: Recovering, Restoring, and R Rescreening Puerto Rico’s First Sound Film”
Anila Gill ◆ New York University ◆ “Cartographies CHAIR Karen Ritzenhoff ◆ Central Connecticut of Conquest: Civic Photography and the State University Colonizing Image in Partition‑era India CO-CHAIR Pamela Church Gibson ◆ London College (1932–1937)” of Fashion Nicole B. Wallenbrock ◆ Syracuse University ◆ Matthew Melia ◆ Kingston University ◆ “Stanley “A French Prism of Ambivalence and Kubrick’s Costume and Design Research: A Censorship: the Algerian Revolution in Clockwork Orange” Chronique d’un été and Algérie Année Zéro” Pamela Church Gibson ◆ London College of Paul Fileri ◆ American University ◆ “‘Africa Is Fashion ◆ “Stanley Kubrick and Mid‑Century No Longer in Africa’: Ganda, Sokhona, and Modernism: Art Direction, Costume Design Listening to Traumatic Speech in Postcolonial and Fashion in Dr. Strangelove and 2001” Documentary” ◆ Karen Ritzenhoff Central Connecticut State SPONSOR French/Francophone University ◆ “Voyeur of Teenage Lust: Bert Scholarly Interest Group Stern and His Unpublished Work for ‘Lolita’” SATURDAY MARCH 16 5:45 pm 7:30 pm
145 R11 Women and Media R13 Ecological Approaches to Media
New Perspectives CHAIR Cole Stratton ◆ Indiana University CHAIR Isa Murdock-Hinrichs ◆ Tulane University RESPONDENT Heidi Rae Cooley ◆ The University of Veronica Pravadelli ◆ Roma Tre University ◆ Texas at Dallas “The Modern Woman as Transnational Icon: Cole Stratton ◆ Indiana University ◆ the American Girl in Italian Silent Cinema” “The Smartphone as World‑Ecology: Kristen Hatch ◆ University of California, Irvine ◆ Conceptualizing and Mapping the Planetary “Katharine Hepburn at RKO: Reinventing Processes in your Pocket” Female Stardom in the Early Sound Era” Melanie Ashe ◆ Concordia University ◆ Michele Leigh ◆ Southern Illinois University “Spinning Material Ecologies: Origins and Carbondale and Lora Mjolsness ◆ University Afterlives of Spider-Man 2’s Promotional of California, Irvine ◆ “Children’s Animation in Twitter Campaign” post‑Soviet Russia: Female Animators and the Stephanie DeBoer ◆ Indiana University ◆ Birthing of a Woman’s Cinema” “Screen Ecology Project: Campus Space, Media SPONSOR Women in Screen History Art, and the Inhabited Digital Archive” Scholarly Interest Group Marcelina Piotrowski ◆ University of British Columbia ◆ “Topologies of Life and Death: Eco‑Film Festivals in Dark Times” SPONSOR Media and the Environment session Scholarly Interest Group R12 Representations of Gender and Sexuality in Korean Popular Media R Towards a Queer Critique R14 Science and Technology in Media CHAIR ◆ Jungmin Kwon Portland State University CO-CHAIR Thomas Baudinette ◆ Macquarie CHAIR ◆ University Olivia Banner The University of Texas at ◆ ◆ Dallas Jungmin Kwon Portland State University ◆ ◆ “‘Hey ‘Brother,’ You Can Just Follow My Fucking Bernadette Salem Lancaster University Lead’: Queering Male‑Male Relationships in “Black Astronaut, White Space: Depicting Korean Bromance Films” African‑American Astronauts in Science ◆ ◆ Fiction Cinema” So‑Rim Lee Columbia University “Queer ◆ ◆ Performativity and the Economy of Shame: Rose Rowson Brown University “Frightening Representations of Cosmetic Surgery in Let Failure, Supernatural Success: BBC Me In” ‘Ghostwatch’ at the Technological Threshold of ◆ Fact and Fiction” Stephanie Choi University of California, ◆ ◆ Santa Barbara ◆ “Commodifying Joseph Roskos Indiana University “Only Homosexuality in the Heteronormative K‑pop An Illusion: The Racial Politics of Advertising Listenership” Augmented and Mixed Reality” Anna Swan ◆ University of Washington ◆ “‘I’m SATURDAY Thomas Baudinette ◆ Macquarie University ◆ Poppy’: Cyberfeminism, Commodification, and MARCH 16 “Exploring the Postcolonial Problematics of Nostalgia via Japanese Gay Fans’ Fetishisation the Transnational Cyborg Celebrity” 5:45 pm of Male K‑pop idols” 7:30 pm SPONSOR Queer Caucus
146 R15 Media Strategies of R17 Streaming Beyond War and Activism Netflix and YouTube
Production, Distribution, and Consumption in the On-Demand Era CHAIR Alan Nadel ◆ University of Kentucky Susan Martin‑Marquez ◆ Rutgers University ◆ “The Camera‑Gun beyond Metaphor: Political CHAIR Kevin Sanson ◆ Queensland University of Violence and Militant Filmmaking” Technology Kathleen McClancy ◆ Texas State University ◆ CO-CHAIR Gregory Steirer ◆ Dickinson College “Don’t Mean Nothin’: Vietnam as Afghanistan in Kevin Sanson ◆ Queensland University of Netflix’s The Punisher” Technology ◆ “Acquisition, Curation, Alan Nadel ◆ University of Kentucky ◆ Catalogue: ‘Content’ Culture, Public Service “Occupation and Escape: Cultural Narratives Media, and Value in an Era of On‑Demand Informing 21st ‑Century American War Films” Delivery” Ayesha Omer ◆ New York University ◆ “Media Anne Major ◆ The University of Texas at Austin ◆ Scarcity on the New Silk Road: A Study of the “Curation and Rotation: Recirculating Library Pak‑China Fiber Optic Cable” Films in the Streaming Marketplace” ◆ ◆ SPONSOR War and Media Studies Gregory Steirer Dickinson College “The Scholarly Interest Group Logics of Video Portal Interfaces: Business Strategy, Aesthetics, and Behavioral Regulation” Graeme Turner ◆ University of Queensland ◆ session “Streaming, Disruption, and the Evolving Cultures of Use” R16 Re/membering Asia R CHAIR We Jung Yi ◆ Vanderbilt University We Jung Yi ◆ Vanderbilt University ◆ “Remediating the Cold War: Surplus, Memory, R18 Realism, Neorealism and Beyond and Connectivity in Neoliberal South Korea” Indian Cinema and the Yuqian Yan ◆ University of Chicago ◆ “A Representation of Reality Two‑way Mirror into Reality: Studio sets in
Wartime Shanghai Cinema” CHAIR ◆ Priyadarshini Shanker ◆ New York University ◆ Alessandro Brunazzo Yale University ◆ “The Alchemy of Shah Rukh Khan’s Star Body: CO-CHAIR Ashish Chadha University of Rhode ‘Modes’ and ‘Mobilities’” Island ◆ ◆ Candice Wilson ◆ University of North Georgia ◆ Ashish Chadha University of Rhode Island “Eroticizing Domestic Space: Anti‑Heroines in “Mani Kaul and the Pathology of Realism” Japanese Postwar Cinema” Meheli Sen ◆ Rutgers University ◆ “Relocating the Region: Realism and New Bollywood Cinema” Alessandro Brunazzo ◆ Yale University ◆ “Below the crust of reality: Ritwik Ghatak’s SATURDAY pathetic realism” MARCH 16 5:45 pm 7:30 pm
147 R19 The Aristocrat of the Erotic R20 ROUNDTABLE A Tribute to Radley Metzger (1929–2017) Transforming the “Male Glance” in Academic Publishing CHAIR ◆ Rob King Columbia University Elena Gorfinkel ◆ King’s College London ◆ CHAIR Michele Meek ◆ Bridgewater State “Connoisseur, Curator, Cinephile: Radley University Metzger and the Aesthetic Seriousness of Sex ◆ ◆ Cinema” Michele Meek Bridgewater State University ◆ ◆ “The ‘Male Glance’ of Academic Publishing” Rob King Columbia University “The ◆ ◆ Invention of Henry Paris: Pseudonymity and Michele Prettyman Mercer University the Porn Auteur” “Strategies for Seeing (and creating) the ◆ Unseen” Linda Williams University of California, ◆ ◆ Berkeley ◆ “Radley Metzger, High Modernist Maria San Filippo Goucher College Auteur” “Romcom as women’s genre: perils and ◆ ◆ possibilities” Whitney Strub Rutgers University‑Newark ◆ “Radley Metzger’s Archival Bodies” Cynthia L. Felando University of California, Santa Barbara ◆ “The Rise and Fall of SPONSOR Adult Film History Scholarly Interest Group Women’s Film Festivals” session
MEETING MEETING Saturday, March 16 Saturday, March 16 R pm pm pm pm 5:45 – 7:30 5:45 – 7:30 ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor Video Game Studies Comics Studies Scholarly Interest Group Scholarly Interest Group This meeting will feature a dialogue between the SIG members and two professionals from the comic book industry about their craft, practice, and labor.
SPECIAL EVENT Saturday, March 16 7:30 pm – 9:00 pm ROOM CIRRUS ● 35th Floor, Pike Street Tower Graduate Student Members’ Meeting and Reception SATURDAY All graduate student members are invited to bring questions, comments, or concerns. Help the GSO best serve MARCH 16 its membership, and stay to meet, mingle, and network! The Graduate Student Happy Hour will immediately pm follow this 30-minute members’ meeting. Take a break from an otherwise very busy conference and get to 5:45 know the next generation of media scholars. 7:30 pm Refreshments will be provided.
148 SPECIAL EVENT Saturday, March 16 8:30 pm – 10:00 pm ROOM BALLARD ● 3rd Floor The Secret Lives of Filmmakers An Insider’s View of the Industry with Alan and Joyce Rudolph As an assistant director for Robert Altman and director of such groundbreaking films as Choose Me and The Moderns, Seattle resident Alan Rudolph is a major figure in the American independent film movement. His work is characterized by fluid camera movement, multi-character (and multi-cultural) plotlines, and an innovative use of music. Joyce Rudolph’s work as a still photographer has ranged from small independent films to high profile productions such asThe Terminator, and A Nightmare on Elm Street, and her images stand alone as beautiful examples of portrait photography aside from their promotional functions. In this presentation the Rudolphs will offer an insider’s view of the film industry based on their experiences over five decades, show examples of their work, and engage in a question and answer session with the audience. Joyce will provide insight into the seldom recognized but vitally important role of the production still photographer and the challenges of working as a woman in the industry, while Alan will discuss working with Altman, the challenges of producing independent films, and his experiences directing some of the cinema’s leading actresses.
MODERATOR Richard Ness ◆ Western Illinois University
PARTICIPANTS Alan Rudolph ◆ Film Director Joyce Rudolph ◆ Photographer SPONSORS CinemaArts: Film and Art History Scholarly Interest Group, Sound and Music Studies Scholarly Interest Group, Urbanism/Geography/Architecture Scholarly Interest Group, Women in Screen History Scholarly Interest Group, SCMS
RECEPTION Saturday, March 16 8:30 pm ROOM ASPEN ● 2nd Floor University of California, Los Angeles Reception Reception for UCLA faculty, students, and alumni hosted by UCLA’s Department of Film, Television and Digital Media.
SATURDAY MARCH 16
149 session SEMINARS Sunday, March 17 S 9:00 am – 10:45 am
S1 Film and Media Theory Beyond the Ends of the Earth New Concepts and Narratives for the Anthropocene
SEMINAR LEADER Jennifer Cazenave ◆ Boston University Open Session—Audience may only observe
PARTICIPANTS Ouma Amadou ◆ University of Rochester Claudia Pummer ◆ University of Hawai‘i at Debjani Dutta ◆ University of Southern Mānoa California Amy Rust ◆ University of South Florida Christina Gerhardt ◆ University of Hawai‘i at Shuyi Xiong ◆ Columbia University Mānoa Christopher Walker ◆ Colby College Brian Jacobson ◆ University of Toronto
AUDITORS Jennifer Blaylock ◆ University of California, Matthew Holtmeier ◆ East Tennessee State Berkeley University Jon Crylen ◆ Independent Scholar Neepa Majumdar ◆ University of Pittsburgh Sarah Hamblin ◆ University of Massachusetts Matthew I. Thompson ◆ University of Toronto Boston
150 S2 Lesbian Cinema in the Twenty-First Century
SEMINAR LEADERS Clara Bradbury-Rance ◆ King’s College London and Patricia White ◆ Swarthmore College Open Session—Audience may only observe
PARTICIPANTS Jordan Bernsmeier ◆ University of Pittsburgh Ervin Malakaj ◆ University of British Columbia Shi-Yan Chao ◆ Hong Kong Baptist University April Miller ◆ Arizona State University Ungsan Kim ◆ University of Washington Missy Molloy ◆ Victoria University of Kiki Loveday ◆ University of California, Wellington Santa Cruz Isa Murdock-Hinrichs ◆ Tulane University
AUDITORS Diana W. Anselmo ◆ Georgia State University Desirae Embree ◆ Texas A&M University Stacey Copeland ◆ Simon Fraser University
S3 Why Study Classical Hollywood Films Today
SEMINAR LEADER Steven Cohan ◆ Syracuse University Closed Session session PARTICIPANTS Jonathan Branfman ◆ The Ohio State Rob Ribera ◆ Portland State University University Catherine Russell ◆ Concordia University Tien-Tien Jong ◆ The University of Chicago Daniel Singleton ◆ University of Rochester ◆ ◆ S Christina Parker-Flynn Florida State Thomas West Independent Scholar University Muxin Zhang ◆ Columbia University
AUDITORS Mark Lynn Anderson ◆ University of Anthea Kraut ◆ University of California, Pittsburgh Riverside Emily Carman ◆ Chapman University Luke Robinson ◆ University of New Philippa Gates ◆ Wilfrid Laurier University South Wales Kristen Hatch ◆ University of California, Irvine Martha Shearer ◆ King’s College London ◆ Vernon Shetley ◆ Wellesley College Arzu Karaduman Ithaca College SUNDAY ◆ Pamela Robertson Wojcik University of MARCH 17 Notre Dame 9:00 am 10:45 am
151 S4 Between Art History and Media Studies
SEMINAR LEADERS Grant Bollmer ◆ North Carolina State University and Katherine Guinness ◆ University of Colorado, Colorado Springs Closed Session
PARTICIPANTS Kyle Bickoff ◆ University of Maryland, Erica Levin ◆ Ohio State University College Park Laura McGough ◆ Alfred University Swagato Chakravorty ◆ Yale University Benjamin Ogrodnik ◆ University of Pittsburgh Byron Fong ◆ University of Rochester Michelle Smiley ◆ Bryn Mawr College Johanna Gosse ◆ University of Idaho
AUDITORS Aubrey Anable ◆ Carleton University Dimitrios Latsis ◆ Ryerson University Nicholaus Gutierrez ◆ University of California, Laura Jo-Han Wen ◆ Randolph Macon Berkeley College
S5 Movies and Memos
session SEMINAR LEADERS Tanya Goldman ◆ New York University and Peter Labuza ◆ University of Southern California Open Session—Audience may join the discussion
PARTICIPANTS Adam Burnstine ◆ University of California, Ritika Kaushik ◆ University of Chicago S Los Angeles Jennifer Peterson ◆ Woodbury University Hongwei Chen ◆ Brown University Samhita Sunya ◆ University of Virginia James Fleury ◆ University of California, Los Angeles
AUDITORS Derek Kompare ◆ Southern Methodist Susan Ohmer ◆ University of Notre Dame University Claudia Sicondolfo ◆ York University Eren Odabasi ◆ Western Washington University SUNDAY MARCH 17 9:00 am 10:45 am
152 S6 Have We Entered an Era of Post-Globalization A Media Studies Perspective
SEMINAR LEADER Sharon Shahaf ◆ The University of Texas at Austin Open Session—Audience may join the discussion
PARTICIPANTS Michelle Chen ◆ The University of Texas at Mads Larsen ◆ University of California, Austin Los Angeles Christopher Cwynar ◆ Defiance College Ben Mendelsohn ◆ University of Pennsylvania Matthew Ellis ◆ Brown University Renee Pastel ◆ University of California, Rusty Hatchell ◆ The University of Texas at Berkeley Austin Taylore Woodhouse ◆ University of Wisconsin-Madison
AUDITORS Aniko Imre ◆ University of Southern California Larissa Christoforo ◆ Université de Montréal
S7 Revisiting Cinema, Ideology, and Criticism
SEMINAR LEADERS Elif Sendur ◆ Binghamton University and Daniel Fairfax ◆ Goethe Universität-Frankfurt Open Session—Audience may join the discussion session PARTICIPANTS Jeroen Gerrits ◆ Binghamton University Paige Sarlin ◆ University at Buffalo, SUNY Seung-hoon Jeong ◆ New York University Abu Joy Schaefer ◆ Grand Valley State University ◆ S Dhabi Samuel Smucker Southern Illinois Scott Krzych ◆ Colorado College University Carbondale Nathan Roberts ◆ Harvard University Grant Wiedenfeld ◆ Sam Houston State University SPONSOR French/Francophone Scholarly Interest Group
SUNDAY MARCH 17 9:00 am 10:45 am
153 S8 Below-the-Line Labor, Craft, and Infrastructure in Hollywood
SEMINAR LEADERS Kate Fortmueller ◆ University of Georgia and Luci A. Marzola ◆ Chaffey College Open Session—Audience may only observe
PARTICIPANTS Katie Bird ◆ University of Pittsburgh Peter Kunze ◆ Eckerd College Patrick Brodie ◆ Concordia University Justin Rawlins ◆ The University of Tulsa Montreal Anthony Twarog ◆ University of Wisconsin- Britta Hanson ◆ The University of Texas at Madison Austin Lesley Willard ◆ The University of Texas at Jonathan Knapp ◆ Harvard University Austin
AUDITORS Courtney Brannon Donoghue ◆ Oakland Erin Hill ◆ University of California, Los Angeles University Katharina Loew ◆ University of Mary Desjardins ◆ Dartmouth College Massachusetts Boston Dawn Fratini ◆ Chapman University Alisa Perren ◆ The University of Texas at Joshua Gleich ◆ University of Arizona Austin Daniel Steinhart ◆ University of Oregon
S9 Hot Take Horror session SEMINAR LEADERS Lindsey Decker ◆ Boston University and Kendall Phillips ◆ Syracuse University Open Session—Audience may join the discussion
PARTICIPANTS S ◆ ◆ Jack Dubowsky Academy of Television Arts Bailey Moorhead University of Mississippi and Sciences Josias Troyer ◆ University of California, Erin Harrington ◆ University of Canterbury Los Angeles Brian Hauser ◆ Clarkson University Maureen Turim ◆ University of Florida
AUDITORS Orquidea Morales ◆ Dartmouth College Aaron Taylor ◆ University of Lethbridge
SUNDAY MARCH 17 9:00 am 10:45 am
154 S10 EDITing Media Studies Equity, Diversity, and Inclusive teaching in Media Studies
SEMINAR LEADERS Miranda J. Banks ◆ Emerson College and Jennifer Proctor ◆ University of Michigan Dearborn Open Session—Audience may only observe
PARTICIPANTS Benjamin Aslinger ◆ Bentley University Hamidreza Nassiri ◆ University of Wisconsin- David Coon ◆ University of Washington Madison Tacoma Leah Vonderheide ◆ Oberlin College and Laura Felschow ◆ SUNY Oneonta Conservatory Arcelia Gutierrez ◆ University of Michigan Jacinta Yanders ◆ The Ohio State University
AUDITORS Cynthia Baron ◆ Bowling Green State Bambi Haggins ◆ University of California, University Irvine Jasmine Yu-Hsing Chen ◆ Utah State Nicole Hentrich ◆ University of Michigan Ann University Arbor Zeinabu irene Davis ◆ University of California, Anne Pasek ◆ New York University San Diego Chelsea Wessels ◆ East Tennessee State University
S11 Multi-Modal Scholarship and the Scholar-Practitioner Today session
SEMINAR LEADERS Charles Musser ◆ Yale University and Hanna Rose Shell ◆ University of Colorado Boulder Open Session—Audience may join the discussion S PARTICIPANTS Ellen Chang ◆ University of Washington Karen Ritzenhoff ◆ Central Connecticut State Heidi Cooley ◆ University of Texas at Dallas University Allain Daigle ◆ University of Wisconsin- Nathan Scoll ◆ The University of Utah Milwaukee Meshell Sturgis ◆ The University of Katrin Pesch ◆ Wofford College Washington Elizabeth Wijaya ◆ University of Minnesota- Twin Cities
AUDITORS SUNDAY Ashish Chadha ◆ University of Rhode Island Sarah O’Brien ◆ University of Virginia MARCH 17 Samantha Close ◆ DePaul University Joseph Pomp ◆ Harvard University 9:00 am ◆ Feng Bao Northeast Normal University and am Yale University 10:45
155 S12 Making Up Beauty Culture Studies and Its Relationship to Cinema and Media Studies
SEMINAR LEADER Michele White ◆ Tulane University Closed Session
PARTICIPANTS Marissa Spada ◆ University of Michigan Ann Meredith Ward ◆ John Hopkins University Arbor Mila Zuo ◆ Oregon State University Ariel Stevenson ◆ University of California, Los Angeles
S13 Animation as a Mode of Critical Inquiry
SEMINAR LEADERS Alla Gadassik ◆ Emily Carr University of Art + Design and Ryan Pierson ◆ University of Calgary Open Session—Audience may only observe SPONSOR Animated Media Scholarly Interest Group PARTICIPANTS Jonathan Devine ◆ University of Pittsburgh Patrick Sullivan ◆ University of Rochester Joanna Hearne ◆ University of Missouri Lia Turtas ◆ Cornell University session Eric Herhuth ◆ Tulane University Linda Zhang ◆ University of California, Sharon Mee ◆ University of New South Wales Berkeley
AUDITORS S Tanine Allison ◆ Emory University Nicholas Miller ◆ Loyola University, Maryland Stephanie Mastrostefano ◆ University of Oregon
SUNDAY MARCH 17 9:00 am 10:45 am
156 S14 Assembling Women Media Figurations of Femininity
SEMINAR LEADERS Eileen Rositzka ◆ Free University Berlin Closed Session
PARTICIPANTS Sonja Boos ◆ University of Oregon Agnieszka Piotrowska ◆ University of Kelsey Cummings ◆ University of Pittsburgh Bedfordshire Emma Downey ◆ Bucknell University Vivienne Tailor ◆ Claremont Graduate Rebecca Peters ◆ Florida State University University
S15 Cinema, Media, and Self-Images
SEMINAR LEADERS Sarah Keller ◆ University of Massachusetts Boston and Kate Rennebohm ◆ Harvard University Closed Session
PARTICIPANTS Joel Neville Anderson ◆ University of Jenny Gunn ◆ Georgia State University Rochester Martin Johnson ◆ The University of Anirban Baishya ◆ University of Southern North Carolina at Chapel Hill California Nicole Morse ◆ Florida Atlantic University session Joseph DeLeon ◆ University of Michigan Ann Ben Pettis ◆ Colorado State University Arbor Kyle Stevens ◆ Appalachian State University AUDITORS S Morgan Harper ◆ University of Toronto Todd Jurgess ◆ University of South Florida Elisabeth Hodges ◆ Miami University
SUNDAY MARCH 17 9:00 am 10:45 am
157 S16 Stuart Hall, Culture, and Media in the Present Conjuncture
SEMINAR LEADER Brandy Monk-Payton ◆ Fordham University Closed Session
PARTICIPANTS Nicholas Forster ◆ Yale University Richard Mwakasege-Minaya ◆ University of Victoria E. Johnson ◆ University of California, Michigan Ann Arbor Irvine Melissa Phruksachart ◆ University of Edward Mendez ◆ University of Nevada, Reno Michigan Ann Arbor Mary Schmitt ◆ University of California, Irvine
AUDITORS Michael Dwyer ◆ Arcadia University Carole Gerster ◆ University of California, Santa Cruz
S17 Other Ways of Watching Deformative Approaches to Media Studies
, SEMINAR LEADER Kevin L. Ferguson ◆ Queens College, CUNY Open Session—Audience may only observe session PARTICIPANTS Daniel Grinberg ◆ University of Pennsylvania Juan Llamas Rodriguez ◆ University of Texas Belinda He ◆ University of Washington, Seattle at Dallas Joseph Henry ◆ The Graduate Center, CUNY Shawn Shimpach ◆ University of Kyoung-Lae Kang ◆ Seoul National University Massachusetts Amherst S Leah Steuer ◆ University of Wisconsin- of Science and Technology Linda Levitt ◆ Stephen F. Austin State Madison University
AUDITORS Elena Gorfinkel ◆ King’s College London John Stadler ◆ Duke University Tanya Shilina-Conte ◆ University at Buffalo, John Winn ◆ Duke University SUNY SPONSOR Digital Humanities and Videographic Criticism Scholarly Interest Group
SUNDAY MARCH 17 9:00 am 10:45 am
158 S18 Wigging out with the Americans Cold War Melodrama in the Quality TV Era
SEMINAR LEADERS Linda M. Mizejewski ◆ The Ohio State University and Allison M. McCracken ◆ DePaul University Open Session—Audience may join the discussion
PARTICIPANTS Ina Hark ◆ University of South Carolina Thais Miller ◆ University of California, Lillian Holman ◆ University of Wisconsin- Santa Cruz Madison Daisy Pignetti ◆ University of Wisconsin-Stout Lisa Jacobson ◆ University of California, Anna Varadi ◆ University of Reading Berkeley Joseph Wlodarz ◆ University of Western Ontario
AUDITORS Laure Astourian ◆ Bentley University Diane Waldman ◆ University of Denver Barbara Klinger ◆ Indiana University
S19 Toys and Tabletop Games Mediating the Material and Materializing Media
SEMINAR LEADERS Jonathan Lee ◆ Cascadia College and Meredith Bak ◆ Rutgers University-Camden session Closed Session
PARTICIPANTS Ahmed Asi ◆ University of California, Zach Horton ◆ University of Pittsburgh Santa Barbara ◆ S John Murray University of Central Florida Nick Bestor ◆ The University of Texas at Anastasia Salter ◆ University of Central Austin Florida Sean Duncan ◆ University of Virginia Evan Torner ◆ University of Cincinnati Reem Hilu ◆ Washington University in St. Louis
AUDITORS Benjamin Woo ◆ Carleton University
SUNDAY MARCH 17 9:00 am 10:45 am
159 S20 Expanding and Reconsidering the City Symphony
SEMINAR LEADERS Erica Stein ◆ Vassar College and S. Topiary Landberg ◆ University of California, Santa Cruz Closed Session
PARTICIPANTS Chris Cagle ◆ Temple University Zizi Li ◆ University of California, Los Angeles Sabine Haenni ◆ Cornell University Yoon Jeong Oh ◆ New York University Dona Kercher ◆ Assumption College Anna Sborgi ◆ King’s College London Cecelia Lawless ◆ Cornell University Daniel Schwartz ◆ McGill University
AUDITORS Yifen Beus ◆ Brigham Young University, Nathan Holmes ◆ Purchase College, SUNY Hawaii Anthony Kinik ◆ Brock University Herbert Eagle ◆ University of Michigan Ann Arbor
S21 Cinema and Media Studies and the Study of Moving Image Journalism
SEMINAR LEADERS Ross Melnick ◆ University of California, Santa Barbara and Mark Williams ◆ Dartmouth College Open Session—Audience may join the discussion session PARTICIPANTS Kate Cronin ◆ The University of Texas at Tory Jeffay ◆ University of California, Berkeley Austin Derrick Jones ◆ Georgia State University Philip Drake ◆ Queen Margaret University, Benjamin Strassfeld ◆ Queens College, CUNY S Edinburgh Melissa Zimdars ◆ Merrimack College Finley Freibert ◆ University of California, Irvine
AUDITORS Richard Ness ◆ Western Illinois University Rebecca Gordon ◆ Northern Arizona University
SUNDAY MARCH 17 9:00 am 10:45 am
160 S22 21st Century Women Targeted Media
SEMINAR LEADER Kristen Warner ◆ University of Alabama Open Session—Audience may join the discussion
PARTICIPANTS Morgan Bimm ◆ York University Leigh Goldstein ◆ Northwestern University Kristina Bruening ◆ University of Michigan Eva Hageman ◆ University of Maryland, Ann Arbor College Park Megan Connor ◆ Indiana University- Hayley O’Malley ◆ University of Michigan Bloomington Olivia Riley ◆ University of Wisconsin-Madison Anna Froula ◆ East Carolina University
AUDITORS Elizabeth Alsop ◆ CUNY School of Elizabeth Patton ◆ University of Maryland Professional Studies Baltimore County
S23 The Content Era
SEMINAR LEADER Jesús Costantino ◆ University of New Mexico Open Session—Audience may join the discussion PARTICIPANTS session Joceline Andersen ◆ University of British Oscar Moralde ◆ University of California, Columbia Los Angeles Cory Barker ◆ Bradley University Austin Morris ◆ University of Wisconsin- Nicholas Bollinger ◆ The Ohio State University Madison ◆ David Pierson ◆ University of Southern Maine S Thomas Johnson University of Florida Pallavi Rao ◆ Indiana University-Bloomington
AUDITORS Kyle Meikle ◆ University of Baltimore Chamara Moore ◆ University of Notre Dame
SPECIAL EVENT SUNDAY Sunday, March 17 MARCH 17 10:45 am – 11:30 am 9:00 am ROOM METROPOLITAN BALLROOM am PRE-FUNCTION AREA ● 3rd Floor 10:45 Coffee Break 161 session Sunday, March 17 T 11:30 am – 1:15 pm
T1 Data Epistemologies T2 Visualizing Networks
Implications for Media Culture CHAIR Mark Hayward ◆ York University CHAIR Annemarie Navar-Gill ◆ University of Jungmin Lee ◆ Harvard University ◆ “Nicolas Michigan Schöffer’s Cybernetic Sculptural Variations: CO-CHAIR Gerald Sim ◆ Florida Atlantic University Networked Technical Objects circa 1960” Annemarie Navar‑Gill ◆ University of Michigan ◆ John Roberts ◆ Georgia State University ◆ “Data Dreams Deferred: Failures of Big Data “Auerbach to the Future: Figural Interpretation, Audience Measurement in the American Cognitive Mapping, and the Aesthetics of Television Industry” Conspiracy” Nick Seaver ◆ Tufts University ◆ “Lean forward, Mark Hayward ◆ York University ◆ “La lean back: Avidity and Difference in Algorithmic Grande Machine: Technical Documentary as Recommendation” Speculative Method” Gerald Sim ◆ Florida Atlantic University ◆ “‘How Seung‑hoon Jeong ◆ New York University Abu Can You Not Be Romantic About Baseball?’ Or Dhabi ◆ “Network Theory and Narrative: How We Are Platonic About Data” Global Community as Totalized Network” Shannon Mattern ◆ The New School ◆ “Algorithmic Fantasies and Operational Facts: Infrastructural Epistemologies” SPONSOR Media, Science, and Technology Scholarly Interest Group
162 T3 Unstable Entities T5 Worldly Designs, Hyperbolic Forms
CHAIR Randall Hale ◆ University of Pittsburgh CHAIR Iggy Cortez ◆ Swarthmore College Matthew Hipps ◆ University of Iowa ◆ “Unstable CO-CHAIR Meta Mazaj ◆ University of Pennsylvania Optics: Perceptual Exhibitions of Materiality in Meta Mazaj ◆ University of Pennsylvania ◆ Alain Resnais’ Early Works” “Border Aesthetics and Catachresis in Ali Eli Horwatt ◆ Colgate University ◆ “Towards an Abbasi’s Gräns/Border (2018)” Aesthetic Lexicon for Film Piracy Studies” Iggy Cortez ◆ Swarthmore College ◆ “Hong Randall Halle ◆ University of Pittsburgh ◆ Kong, Miami: Connective Networks and “Cine‑cognition/Cine‑consciousness: Montage, the Cinematic Epidermis in Barry Jenkins’ Collage, the Kippbild” Moonlight (2016)” Nora Alter ◆ Temple University ◆ “Filming Capital”
T4 Sports TV On Air and On Line
T6 Transnational Media and CHAIR Branden Buehler ◆ Seton Hall University the Public Sphere Counterpublics, Enacted Stories, Branden Buehler ◆ Seton Hall University ◆ “Ultimate Ideals: Sports Television in the Tragedy, and Surveillance Networked Era” ◆ Alexander Champlin University of California, CHAIR Grant Wiedenfeld ◆ Sam Houston State Santa Barbara ◆ “Loss‑Leisure: Esports, University Post‑Network Production, and the Potential of Eszter Polonyi ◆ Pratt Institute ◆ “An Atlas Play” of counter‑publics: Michael Mandiberg’s session Timothy Piper ◆ The University of Texas at Postmodern Times (2017)” ◆ Austin “Seattle’s SuperChannel: Regional Florian Fuchs ◆ Princeton University ◆ “‘Enacted Subscription Services and the Value of Linear Stories’: Arendt’s Media of Appearance” Sports Content” Kirk Wetters ◆ Yale University ◆ “Affect and Steven Secular ◆ University of California, T ◆ Political Resistance in the Tragic View of Santa Barbara “Online Sports Statistics, History: Walter Benjamin, Stefan Zweig, and the Dot‑com Boom, and the Multiplatform Popular Narrative” Economy of Numbers” Martin Blumenthal‑Barby ◆ Rice University ◆ “The Asymmetric Gaze: Cinema and Surveillance” SPONSOR Central/East/South European Cinemas Scholarly Interest Group
SUNDAY MARCH 17 11:30 am 1:15 pm
163 T7 Franchises T9 The Political Economy of Public Broadcasting, CHAIR Ryan Greene ◆ Colorado State University Neoliberalism, Digitization ◆ Nicholas Benson University of Wisconsin- Madison ◆ “The Consolidation of the Apes: CHAIR ◆ Paratextual Creative Labor in the Management Eleanor Patterson Auburn University of Franchise Universes” Jason Loviglio ◆ University of Maryland Baltimore ◆ Rusty Hatchell ◆ The University of Texas at County “Planet Money, Public Broadcasting, Austin ◆ “Marvel’s Runaways: Localizing and the Financialization of Everything” Authenticity in Superhero Television” Steve Macek ◆ North Central College ◆ “A Nicholas Bollinger ◆ The Ohio State University ◆ Tale of Two Stations: WTTW, ;WYCC and the “What Happens When Freddy Dies? Franchise (Endless) Betrayal of Public Television in Authorship in Wes Craven’s New Nightmare” Chicago” ◆ ◆ Ryan Greene ◆ Colorado State University ◆ Eleanor Patterson Auburn University “PRX, “Stunts, Death and Digital Ghosts in Logan PRI and the Cultural Work of Public Radio (2017)” Distributors as Cultural Intermediaries” Alexander Russo ◆ The Catholic University of SPONSOR Comics Studies Scholarly Interest Group America ◆ “Possibility and Peril: Production Cultures of Public and Private Podcasters and Broadcasters” SPONSOR Radio Studies Scholarly Interest Group
T8 Redefining Music Video
CHAIR Laurel Westrup ◆ University of California, Los Angeles T10 Too Many (Inter)Faces session Paul Reinsch ◆ Texas Tech University ◆ “Reading Aesthetics and Politics of Digital Faces Music: The Case of the ‘Textual’ Music Video” Matthew Tchepikova‑Treon ◆ University of CHAIR Jihoon Kim ◆ Chung-ang University Minnesota ◆ “Sonic Excess and Music Video ◆ Aesthetics: Remediating Blaxploitation’s Kriss Ravetto‑Biagoli University of California, ◆ T Musical Moments” Davis “Becoming the Face: The Politics of Inhabiting Faces” Carol Vernallis ◆ Stanford University ◆ ◆ ◆ “Transmedia Director Joseph Kahn’s Moments Jihoon Kim Chung‑ang University of Audiovisual Bliss” “Post‑Postproduction and Too Many Faces: Liquid Identities and the Post‑internet Art of Laurel Westrup ◆ University of California, the Moving Image” Los Angeles ◆ “Music Video’s Audiovisual ◆ Resources” Kristopher Fallon University of California, Davis ◆ “Deep Fakes and Shallow Truths: Face Swapping as Radical Critique” Allan Cameron ◆ University of Auckland ◆ “Dimensions of the Digital Face: Flatness, SUNDAY Contour and the Grid” MARCH 17 11:30 am 1:15 pm
164 T11 Comic Temporalities in T13 Serial Feminisms East Asian Media Resilience, Race, and Biopolitics in The Handmaid’s Tale
CHAIR David Humphrey ◆ Michigan State University CHAIR Pamela Thoma ◆ Washington State Xinyu Dong ◆ McGill University ◆ “A Cacophony University of the Great Depression: Sound Gags in Pamela Thoma ◆ Washington State University ◆ Metropolitan Scenes (1935)” “Regenerative Labor, Reproductive Evelyn Shih ◆ University of Colorado Boulder ◆ Respectability, and Protected Life in the “Funny Noises: Cold War (A)synchronies in Bioeconomy of The Handmaid’s Tale” Taiwanese and South Korean Film” Sujata Moorti ◆ Middlebury College ◆ “The Hannah Airriess ◆ University of California, Racial Gaze: Visualizing Difference in The Berkeley ◆ “Laughter Over Tears: White‑Collar Handmaid’s Tale” Labor and Japan’s Postwar Comedy Boom” Kristyn Gorton ◆ University of York ◆ “‘Nolite David Humphrey ◆ Michigan State University ◆ Te Bastardes Carborundorum;’ Resilience, “Suspended Futures and Closed Out Possibles: Women and the case of Hulu’s The Handmaid’s Documenting Laughter at History’s End” Tale” SPONSOR Comedy and Humor Studies Scholarly Interest Group
T14 Cinematic Scale and Multi-Dimensionality
T12 Art/Cinema Technologies, Techniques, and Tactics CHAIR Belinda Qian He ◆ University of Washington, Seattle session ◆ ◆ CHAIR Laura Frahm ◆ Harvard University Ruth Johnston Pace University “Aerial vision Noriko Morisue ◆ Yale University ◆ “Returning and the Cinematic Construction of Modern to ‘One Print’: Machine Art, Small‑Gauge Subjectivities” Technology, and the Film Avant‑Garde in 1920s Zach Horton ◆ University of Pittsburgh ◆ “The Recursive Zoom: Trans‑Scalar Identity T and 1930s Japan” Josephine Vandekerckhove ◆ Ghent and Surveillance Media” University ◆ “Ensor in film: Paul Haesaerts’s Nicholas Fernandes ◆ University of Toronto ◆ ‘Cinéma Critique’ in Masques et Visages de “The Pearl and Peril of Vertical Dimensionality James Ensor (1952) and Moi, Ensor (1973)” in Skyscraper 3D” Kalani Michell ◆ Goethe University, Frankfurt ◆ “Taking Down Pictures: ‘Joseph Beuys – Unpublished Photographs by Manfred Tischer’” Laura Frahm ◆ Harvard University ◆ “Woman With a Camera: Female Filmmakers from the SUNDAY Bauhaus” MARCH 17 SPONSOR CinemArts Scholarly Interest Group 11:30 am 1:15 pm
165 T15 TV and New Media T17 Affective Labor, Sexual Stories, Digital Authenticity, CHAIR Mike Van Esler ◆ University of Wisconsin- and Queer Media Oshkosh
Hannah Spaulding ◆ Concordia University ◆ CHAIR ◆ “Cable TV and Networked Surveillance: Data Nicholas de Villiers University of Collection and Domestic Monitoring in the North Florida ◆ 1970s–1980s” CO-CHAIR Daniel Laurin University of Toronto ◆ ◆ Margaret Steinhauer ◆ The University of Texas Nicholas de Villiers University of North Florida at Austin ◆ “Social TV as Flow: Audiences and “Hustlers’ Affective Labor in Male Sex Work the ‘(Super)Text’ in the Post‑Network Era” Documentaries” ◆ ◆ Mike Van Esler ◆ University of Wisconsin- Daniel Laurin University of Toronto Oshkosh ◆ “Reproducing Television Canons: “Emotional Access, Subscription Intimacy: Streaming Services and the Legacy of Linear Queer Affective Labor and Authenticity in TV” Online Gay Pornography” ◆ Deborah Jaramillo ◆ Boston University ◆ Austin Morris University of Wisconsin- ◆ “Twitter Watchers: The Care and Feeding of Madison “‘Top or Bottom?’: Performing Gay MSNBC in the Trump Era” Sexuality for YouTube Audiences” Nicole Morse ◆ Florida Atlantic University ◆ “‘I Never Cared Until I Met You’: Affective Labor, Transition, and Selfhood on YouTube” SPONSOR Adult Film History Scholarly Interest Group T16 Historicizing Digitization Practices, Interfaces, and Peripherals
CHAIR David Murphy ◆ Ryerson University T18 ROUNDTABLE session Melanie Swalwell ◆ Swinburne University of Technology ◆ “The Digital Handmade: Intersection, Matrix, Algorithm Forgotten Digital‑Analogue Hybrids from Racialized Gendered Violence in Digital Media 1980s Creative Microcomputing” ◆ T Jacob Gaboury University of California, CHAIR micha cardenas ◆ University of California, Berkeley ◆ “Screens Shot: Mediating the Santa Cruz Interactive Interface” Safiya Noble ◆ University of Southern California ◆ David Murphy ◆ Ryerson University ◆ “Algorithms and Intersectionality” “Firmware and the Forensic Imagination: Sasha Costanza‑Chock ◆ Massachusetts Inside the PlayStation Portable Homebrew Institute of Technology ◆ “Algorithms, Design Software Production Scene” Justice and Transgender Studies” ◆ Stephanie Boluk University of California, Davis ◆ ◆ ◆ Jessica Johnson Johns Hopkins University and Patrick LeMieux University of California, “Black Code, Algorithms and Race” Davis ◆ “Hands Free: A History of Alternative Videogame Interfaces” SPONSOR Queer Caucus SUNDAY SPONSOR Video Game Studies MARCH 17 Scholarly Interest Group 11:30 am 1:15 pm
166 T19 What is Stereoscopic 3D? T20 Pros and Cons
Fandom and Industry Promotion at San Diego Comic-Con CHAIR Kristen Whissel ◆ University of California, Berkeley Daniel Morgan ◆ University of Chicago ◆ CHAIR Melanie Kohnen ◆ Lewis & Clark College “Montage between the Eyes: Godard on 3D” Anne Gilbert ◆ University of Georgia ◆ Kristen Whissel ◆ University of California, “Building Brand Con: San Diego Comic‑Con as Berkeley ◆ “The Uncanny Spaces of Postwar Promotional Intermediary and Geek Brand 3D Cinema” Manager” Brooke Belisle ◆ Stony Brook University ◆ Melanie Kohnen ◆ Lewis & Clark College ◆ “The “Digitizing Depth and Invisible Images” Experience Economy of TV Promotion at San Leon Gurevitch ◆ Victoria University of Diego Comic‑Con” Wellington ◆ “Complexities and Emergent Suzanne Scott ◆ The University of Texas at Visual Grammars of 3D Space across Media” Austin ◆ “Not All Fanboys: Comic‑Con 2018’s #MeToo Moment and the Structuring Absence of Chris Hardwick” Aaron Trammell ◆ University of California, Irvine ◆ “Self‑Care and Self‑Surveillance at Comic‑Con” SPONSOR Comics Studies Scholarly Interest Group
MEETING MEETING Sunday, March 17 Sunday, March 17 11:30 am – 1:15 pm 11:30 am – 1:15 pm ROOM BALLARD ● 3rd Floor ROOM CHELAN ● 1st Floor session Media Industries Media and the Environment Scholarly Interest Group Scholarly Interest Group We invite all current and interested members to join us. We will present the new coordinators and news about new journals, and discuss upcoming elections and sponsored sessions for 2020. T
Soap Drive Contribute to the 2019 SUNDAY SCMS Soap Drive MARCH 17 11:30 am As an organization, we are collecting used & unused/opened & unopened hotel soaps, shampoos, conditioners, and other toiletry 1:15 pm items that people in need might find useful. Please take your donations to the Registration area and look for the soap drive bin. 167 session Sunday, March 17 U 1:30 pm – 3:15 pm
U1 Bridging the ‘Who’ and the U2 Listening for New Voices ‘Where’ of Big Data Podcasting’s Promises and What Remains Inaudible
CHAIR Anne Pasek ◆ New York University CHAIR ◆ CO-CHAIR Patrick Brodie ◆ Concordia University Jeremy Morris University of Wisconsin- Madison Patrick Brodie ◆ Concordia University ◆ “Stuck ◆ in the Mud in the Fields of Athenry: Apple, Jeremy Morris University of Wisconsin- ◆ Territory, and Civil Society” Madison “The Spotification of Podcasting” ◆ Alix Johnson ◆ Queens University ◆ “The Wild Jennifer Wang University of Wisconsin- ◆ Green Yonder: Imagining Iceland as Digital Madison “The Sounds of Motherhood: Data’s ‘Natural’ Home” Mediating Maternity in Podcasting’s Golden Age” Anne Pasek ◆ New York University ◆ “Placing ◆ ◆ Carbon in a Carbon Neutral Cloud: Space, Lia Wolock University of Wisconsin-Milwaukee Accounting, and Microsoft’s Carbon Fee” “Sound Geographies: Podcasting Profession, Identity, and Place During the Mumbai Mél Hogan ◆ University of Calgary ◆ “Genomic Terrorist Attacks” Gold in the Cloud” Anjuli Brekke ◆ University of Washington ◆ SPONSORS Media and the Environment “Resisting Podcasting’s Sonic Whiteness: The Scholarly Interest Group, Media Sound of ‘Yellow Rain’” Industries Scholarly Interest Group SPONSOR and Media, Science, and Technology Radio Studies Scholarly Interest Group Scholarly Interest Group
168 U3 Media Industries U5 Remakes and Remediations, Text and Paratext Experimental and Impossible, in Theory and Praxis CHAIR ◆ Alyxandra Vesey University of Alabama Viviane Saglier ◆ Concordia University ◆ “Gaza CHAIR Susan Felleman ◆ University of South and the Humanitarian Space of Cinema” Carolina James Steenland ◆ University of California, Jessica Ruffin ◆ University of California Santa Barbara ◆ “City and Cynicism: Detroit’s Berkeley ◆ “Folding Back History: Myth, Paratext and Detroit’s Past (and Future)” Replication, and The Sneeze” Dora Valkanova ◆ University of Illinois at Urbana– Grahame Weinbren ◆ School of Visual Arts ◆ Champaign ◆ “Branding the Authentic “Méliès Multiplied: Remaking One Man Art House: U.S. Indie Programming at Orchestra and Other Works” Member‑Driven, Community‑Based Cinemas” Rachel Stevens ◆ Hunter College, CUNY ◆ Alyxandra Vesey ◆ University of Alabama ◆ “Beyond Database Cinema: Crowd‑Sourcing “‘I Can’t Get Enough of Myself’: Music and Recasting the Modern Masses, Merchandising and the Ambivalent Feminism Post‑Internet” of Extending Play” Susan Felleman ◆ University of South Carolina ◆ “A Tale of Love and Entropy: Evan Meaney Remediates Hollis Frampton” SPONSOR Experimental Film and Media Scholarly Interest Group U4 Immersion and Surveillance in New Screen Modalities
CHAIR Fareed Ben-Youssef ◆ New York University Shanghai U6 Revolutionizing Cuban Media session ◆ ◆ Tory Jeffay University of California, Berkeley “Body/Camera: Viewing Raw Footage of CHAIR Ruth Goldberg ◆ Empire State College Policing through the Lens of Early Film” CO-CHAIR Laura-Zoe Humphreys ◆ Tulane University ◆ New York University Fareed Ben‑Youssef RESPONDENT Susan Lord ◆ Queens University Shanghai ◆ “‘I Saw Him Die!’: Kim Nguyen’s U ◆ ◆ Eye on Juliet and the Uncanny Intimacy of the Ruth Goldberg Empire State College “Seeing Humanitarian Drone” the Light in Santa y Andrés: Metaphor, Myth ◆ and Historical Ambivalence” Maria Soledad Altrudi University of Southern ◆ ◆ California ◆ “Us and Them: A Critical Reading Margaret Frohlich Dickinson College “A of Spy in the Wild” Lighthouse Behind Closed Doors: Cuba’s ◆ ◆ Cardumen Orients New Media” Beth Bird Independent Scholar “Carne y ◆ ◆ Arena: Immersive Post Cinematic Realism” Laura‑Zoe Humphreys Tulane University “Fan/atics: The South Korean Wave in Cuba”
SUNDAY MARCH 17 1:30 pm 3:15 pm
169 U7 Gender and Industry U9 Global Trash
Fantasizing Redemption in the Racial Transnational CHAIR Alicia Kozma ◆ Washington College Alicia Kozma ◆ Washington College ◆ “The Precarity of Independence: Women’s Labor in CHAIR Celine Shimizu ◆ San Francisco State the Neo‑Art House Industry” University Stephanie Brown ◆ Saint Louis University ◆ Linh Nguyen ◆ University of Washington ◆ “Open Mic? Gender, Gatekeeping and Labor in “Saving the Children: Asylum Seekers, Local Stand‑Up Comedy Production” Sentimental Ties and the Citizen Humanitarian” Mel Stanfill ◆ University of Central Florida ◆ Richard Rodriguez ◆ University of California, “Open to Whom? A Feminist Production Riverside ◆ “Dream Lovers: White Pathology Studies Approach to Open Source” and the Fantasy of the Elusive Latino” Caroline Leader ◆ Defiance College ◆ “Princess Celine Shimizu ◆ San Francisco State Jedi: How Disney Teaches Families to University ◆ “Subject‑Abject Relations: Trans Consume” Women, Transnational Sex and Cinema as SPONSOR Media Industries Scholarly Interest Group Technology of Care”
U8 The Bachelor U10 Inside Hollywood 2 Technologies of Production
CHAIR Katherine Lonsdale Waller ◆ Independent Scholar CHAIR Neal King ◆ Virginia Tech University Lauren Wilks ◆ The University of Texas at Dillon Hawkins ◆ Oklahoma State University ◆ session Austin ◆ “One Nation, Under Chris Harrison: “The Post‑Fordist Film School” The Bachelor’s Relationship with Blackness” Li Cornfeld ◆ Amherst College ◆ “Pitch Katherine Lonsdale Waller ◆ Independent Contests: Promotional Cultures of Medial Scholar ◆ “Roses and Rose: The Intoxicating Emergence” Power of The Bachelor” Neal King ◆ Virginia Tech University ◆ “Opening U long‑closed doors in Hollywood: Technologies of production/distribution vs. political movements” Hiaw Khim Tan ◆ University of Chicago ◆ “Between Registration and Depiction: André Bazin’s Responses to Studio Filmmaking Technology”
SUNDAY MARCH 17 1:30 pm 3:15 pm
170 U11 Cinematic Border Crossings U13 Intersections of Race and Class in Contemporary Media ◆ CHAIR Sangjoon Lee Nanyang Technological University CHAIR Benjamin Han ◆ Tulane University ◆ ◆ Xin Peng University of Washington “The CO-CHAIR Chera Kee ◆ Wayne State University Uncanny (Yellow)Voice: Cross‑Racial/Ethnic Matt Linton ◆ Wayne State University ◆ “Cash Is Performances in the Early U.S Sound Horror Green: Examining the Intersection of Race and Daughter of the Dragon (1931)” Class in Sorry to Bother You” Christina Chen Wang ◆ Lingnan University ◆ Matthew A. Cicci ◆ Alma College ◆ “Working “Screening the Text: A Study on Intertitles in Class Heroes? Examining the Racial Politics of the 1920s Chinese Cinema” Marvel’s Street‑Level Supers” Woojeong Joo ◆ Nagoya University ◆ “Sound Chera Kee ◆ Wayne State University ◆ “We’ll Cinema as Discourse: A Case of Film Criticism Just Take It Like It Comes: One Day at a Time in Colonial Korea” and the ‘Real’ American Working Class” Sangjoon Lee ◆ Nanyang Technological Benjamin Han ◆ Tulane University ◆ University ◆ “San Francisco, New York, “Millennials as Working Class: El Rey Network and Honolulu: Projecting Chinese‑language and Pan‑Latino Audience” Cinema to the World”
U12 Streaming Japan U14 Mediating Opacity in Visual Culture
CHAIR Asbjorn Skarsvag Gronstad ◆ University CHAIR Colleen Laird ◆ Western Washington of Bergen University Henrik Gustafsson ◆ University of Tromso ◆ Colleen Laird ◆ Western Washington University ◆ session “Archaeologies of the Off‑Screen: Harun “Made In Japan: Netflix Original Content and Farocki and Trevor Paglen” Mobile Transnationalism” Oyvind Vagnes ◆ University of Bergen ◆ “Seeing Lindsay Nelson ◆ Meiji University ◆ “‘That’s Not as a Form of Action: Tomas van Houtryve’s Very Manly’: Debating Japanese Masculinity for Shadow Imaginaries” U an International Audience on Terrace House” Asbjorn Skarsvag Gronstad ◆ University of Lucy Glasspool ◆ Nagoya University ◆ Bergen ◆ “Mediation, Ethics, and Opacity” “Amateurs Anonymous: Sexual Expression, Gender, and Modes of Engagement in SPONSOR CinemArts Scholarly Interest Group Japanese Streaming Audio Porn” Gavin Furukawa ◆ Sophia University ◆ “‘She was Captain Judgy‑Pants’: Transnational identity and expertise on YouTube videos about Japan” SPONSOR Asian/Pacific American Caucus SUNDAY MARCH 17 1:30 pm 3:15 pm
171 U15 Global China U17 WORKSHOP Production and Distribution Teaching 360° Spherical Video Production CHAIR Wesley Jacks ◆ University of California, Film Theory, Practice, and Santa Barbara Ethics Without a Frame ◆ ◆ Heshen Xie University of Nottingham “Hegemony in Programming: The Hong Kong ◆ Lesbian and Gay Film Festival in the Global CHAIR Andrew Gay Southern Oregon University Festival Circuit” PARTICIPANT Wesley Jacks ◆ University of California, Precious Yamaguchi ◆ Southern Oregon Santa Barbara ◆ “The Shops Around the University Corner: Pirate Disc Retailers in Urban China” Fengyun Zhang ◆ University of California, Los Angeles ◆ “Mapping and Contextualizing it: A New Geography of the Theatrical Distribution for Chinese‑language Films in America” U18 Community Rules and Everyday Fannish Decorums in Intercultural Chinese Fandoms
U16 Historicizing Global Hollywood CHAIR Xiqing Zheng ◆ Chinese Academy of Social Sciences
Yiyi Yin ◆ The Chinese University of Hong Kong ◆ CHAIR ◆ Daniel Gómez Steinhart University of “Speech Code as Fan‑norm: An Ethnography Oregon of Communication of Chinese Idol‑fan Katharina Loew ◆ University of Massachusetts Community on Social Media” session ◆ Boston “‘German camera angles’ and 1920s Meijiadai Bai ◆ Sun Yat‑sen University ◆ Hollywood” “Do Chinese Audiences’ Votes Count? Daniel Gómez Steinhart ◆ University of Oregon ◆ A Contemporary History of the Voting “Cross‑border Hollywood: The Geopolitics of Mechanism for Idol/Singer Production Shows” U 1950s Runaway Productions in Mexico” Yang Lai ◆ Ohio University ◆ “Zero‑Tolerance Kaveh Askari ◆ Michigan State University ◆ towards Plagiarism: The Code of Conduct for “Collage Scores: Found Hollywood Sound as China’s Fan Community” Industrial Practice in Midcentury Iran” Xiqing Zheng ◆ Chinese Academy of Social SPONSOR Classical Hollywood Sciences ◆ “The Establishment of Community Scholarly Interest Group Rules in Early Online Media Fandoms in China” SPONSOR Fan and Audience Studies Scholarly Interest Group
SUNDAY MARCH 17 1:30 pm 3:15 pm
172 U19 New Thoughts on Old Genres U20 Cinematic Experiences
On Screen, In the Theatre CHAIR Megan Minarich ◆ Vanderbilt University Gordon Sullivan ◆ Independent Scholar ◆ CHAIR Matthew Noble-Olson ◆ University of “‘The Ancient Ones See Everything’ Michigan Post‑Surveillance Horror” Matthew Noble‑Olson ◆ University of Michigan ◆ Megan Minarich ◆ Vanderbilt University ◆ “Cinematic Autonomy: Considering the “‘It’s not gonna be the worst Valentine’s Day Examples of Badiou and Adorno” I’ve ever had’: Aborting the Romcom and Nadege Lourme ◆ Norwegian University of Recovering Choice in Obvious Child” Science and Technology ◆ “Between Faces: Genevieve M. Ruzicka ◆ Independent Scholar ◆ How to Embody Ethics with Son of Saul” “From San Andreas to New Orleans: Hurricane Orna Raviv ◆ Haifa University, Shenkar College ◆ Katrina and the Changing Racial Politics of “Responsibility with Screen Characters: Natural Disaster Films” Embodiment and Cinematic Experience” Farbod Honarpisheh ◆ University of Pittsburgh ◆ Zeke Saber ◆ University of Southern California ◆ “Objects in Vitrines, Objects in Motion: On the “The Emergency Exit Sign in Plato’s Cave” ‘Museum Films’ of Ebrahim Golestan and Alain Resnais”
MEETING Sunday, March 17 1:30 pm – 3:15 pm ROOM BALLARD ● 3rd Floor Classical Hollywood Scholarly Interest Group A discussion of upcoming events and plans. session U
Join Us Next Year SUNDAY MARCH 17 Denver, Colorado 1:30 pm April 1–5, 2020 3:15 pm Sheraton Denver Downtown Hotel
173 INDEX
A Abbott, Traci M1 Allbritton, Dean G11 Anable, Aubrey M5, S4 Arnold, Regina H1 Addison, Heather F13 Allison, Caleb C20 Andersen, Joceline S23 Aronson, Michael N8 Affuso, Elizabeth B2 Allison, Tanine B14, S13 Andersen, Kara H1 Arroyo, Brandon R1 Aguirre, Ivan N4 Almeyda-Cohen, Ana N4 Anderson Wagner, Kristen Ashe, Melanie R13 Ahmed, Nedda G5 Alpert, Jennifer J4 H19 Asi, Ahmed F2, S19 Ahn, Ji-Hyun P8 Alsop, Elizabeth E7, S22 Anderson-Lehman, Jesse Askari, Kaveh U16 Ahn, Jiwon A7 Alter, Nora T5 D14 Aslinger, Benjamin R1, S10 Ahnert, Laurel E4 Altergott, Renee K10 Anderson, Joel Neville C11, Asokan, Sue Heun K. G15 Airriess, Hannah T11 Altrudi, Maria Soledad U4 S15 Astourian, Laure N10, S18 Akser, Murat K12 Alvarado-Saggese, Megan Anderson, Mark Lynn F13, Atkinson, Sarah A2 Akudinobi, Jude D19 H4 S3 Atwood, Blake I10 Anderson, Tim Alekseyeva, Julia I4 Alvaray, Luisela L18 C12 Avila, Jacqueline O8 Anderson, Zachariah Alexander, Neta N14 Amadou, Ouma S1 C10 Avilés-Santiago, Manuel Andrejevic, Mark Ali, Isra Q15 Ames, Morgan P9 G12 M4 Aniko, Imre Alilunas, Peter E8 An, Jinsoo D11 G9 Ayers, Drew B14 Anselmo, Diana W. I6, S2 B Badley, Linda P20 Bakerman, Sara B6 Barker, Jennifer B7 Bashara, Dan C7 Bae, Keung Yoon K9 Ballina, Bianka L4 Barner, Briana P19 Bass, Michael Q16 Baer, Nicholas N18 Banks, Beck P1 Baron, Cynthia E17, S10 Baudinette, Thomas R12 Bai, Meijiadai U18 Banks, Miranda J. H5, S10 Baron, Jaimie G8 Bayman, Louis J5 Baishya, Anirban S15 Banner, Olivia R14 Baronian, Marie-Aude K17 Bayne, Caroline D12 Bak, Meredith E3, S19 Bao, Feng S11 Barrow, Sarah R6 Bean, Jennifer L15 Baker, Aaron L7 Baran, Sebnem B3 Barth, Josie G3 Beck, Jay R6 Baker, Courtney R. G8 Barker, Cory S23 Basa, Elaine J4 Becker, Christine I16 174 Becker, Sandra L8 Bey-Rozet, Maxime B8 Boonin-Vail, Eli J. K11 Brodie, Patrick S8, U1 Beisel Hollenbach, Katie Bezerra, Julio D7 Boos, Sonja S14 Bronstein, Phoebe J7 O11 Bhalla, Simran O13 Booth, Paul J. F2 Brown, Matthew N10 Belisle, Brooke T19 Bickoff, Kyle S4 Bouaziz, Gaelle C20 Brown, Stephanie U7 Bell-Metereau, Rebecca F3 Bimm, Morgan O11, S22 Bouchard, Danielle O16 Bruder, Johannes P9 Bell, John P12 Bingham, Christopher B13 Bouchard, Vincent D19 Bruening, Kristina S22 Bell, Tim A10 Bird, Beth U4 Boumaroun, Lauren B2 Brunazzo, Alessandro R18 Belodubrovskaya, Maria Bird, Katie I17, S8 Boumlik, Habiba P11 Bruns, John R9 E10 Birdsall, Carolyn G9 Bowles Eagle, Ryan K2 Buehler, Branden T4 Beltrán, Mary M4 Birdsall, Heather C12 Boyd, Megan H11 Buhler, James J14 Ben Ayoun, Emma G4 Birdwise, Scott I4 Bozelka, Kevin John A8 Bulatova, Asiya O13 Ben-Youssef, Fareed U4 Birks, Chelsea D7 Bradbury-Rance, Clara Bunch, Ryan Q16 Benamou, Catherine E6 Black, Michael D14 Q1, S2 Burditt, Rebecca I3 Bennett, Brooke R4 Blasini, Gilberto I11 Braester, Yomi P3 Burgchardt, Carl G19 Bennett, Kiah I7 Blaylock, Jennifer N20, S1 Braithwaite, Andrea A8 Burgess, Diane C16 Benshoff, Harry Q7 Bloom, Peter J11 Brame, Patrick A20 Burgoyne, Robert O15 Benson-Allott, Caetlin N16 Blumenthal-Barby, Martin Branfman, Jonathan S3 Burnett, Colin E16 Benson, Nicholas T7 T6 Brannon Donoghue, Burnham III, Dave E4 Bergstrom, Kelly J20 Boddy, William C18 Courtney S8 Burns, Gust N10 Berliner, Lauren S. M8 Bodroghkozy, Aniko N7 Brasch, Ilka B6 Burnstine, Adam S5 Bernards, Brian N2 Bohlinger, Vincent M. E10 Brassard, Jeffrey H7 Burris, Greg N3 Bernsmeier, Jordan S2 Bohrod, Jacob Q2 Bratslavsky, Lauren G5 Burson, Harry E3 Bernstein, Matthew Q18 Bollinger, Nicholas S23, T7 Bregent-Heald, Dominique Burton, Nsenga N19 Bersch, JJ Q9 Bollmer, Grant F10, S4 J13 Bury, Rhiannon G6 Bestor, Nick F2, S19 Boluk, Stephanie T16 Brekke, Anjuli U2 Buse, Katherine L9 Beus, Yifen D5, S20 Boman, Stephan D7 Brickman, Barbara P16 Bush, Alexandra Q8 Bevan, Alex H7 Bonner, Hannah P7 Briefel, Aviva D8 C Cacace, Katharine P19 Cenciarelli, Carlo C9 Chen, Michelle S6 Clarke, Christopher K10 Cagle, Chris R5, S20 Chabot, Kevin A4 Chen, Ying-Fen O3 Clarke, Liz K3 Cahill, James Q8 Chadha, Ashish R18, S11 Chirumamilla, Padma H15 Clarke, MJ C18 Cambier, Vanessa H11 Chakravorty, Swagato Cho, Alexander A1 Close, Samantha O1, S11 Cameron, Allan T10 L12, S4 Cho, Michelle F15 Coates, Jennifer A11 Campana, Andrew K9 Champlin, Alexander T4 Choi, Stephanie R12 Cobb, Shelley O19 Campanioni, Chris D9 Chan, Ka Lok Sobel C15 Chong, Sylvia E18 Cohan, Steven K6, S3 Campbell, Donna B6 Chan, Melissa G15 Christian, Aymar Jean Q5 Cohn, Jonathan I16 Cannon, Jonathan O11 Chan, Nadine H20 Christoforo, Larissa H8, S6 Coladonato, Valerio P18 cardenas, micha T18 Chandler, M.M. B18 Chun, Wendy H12 Coleman, Rebecca Q19 Carman, Emily Q18, S3 Chang, Alenda J16 Chung, Ai-Ting F1 Collier, Delinda N20 Carney, Josh P4 Chang, Edmond J20 Chung, Christina Yuen Zi Comella, Lynn E8 Carnicke, Sharon Marie F17 Chang, Ellen A15, S11 A15 Comiskey, Andrea N7 Carpio, Glenda O5 Chao, Shi-Yan S2 Chung, Hye Jean G10 Conley, Miyoko J18 Carroll, William B11 Charbonneau, Stephen L2 Chung, Hye Seung D11 Connolly, Matthew J1 Carter, Gabriel H19 Chatman, Dayna L19 Chung, Peichi Q3 Connor, Megan Q12, S22 Carter, Jacob M1 Chaudhary, Nabeeha J18 Chunsaengchan, Palita O13 Conrich, Ian D5 Carter, Oliver K8 Chavez, Marisela D3 Church Gibson, Pamela R8 Conway, Kelley J10 INDEX Cartier, Nina O8 Cheever, Abigail H6 Church, David N16 Cooley, Claire I10 Cartwright, Lisa Q8 Chefranova, Oksana O2 Cicci, Matthew A. U13 Cooley, Heidi Rae R13, S11 Casey, Lara E19 Chen, Hongwei I4, S5 Cicoski, Jonathan D1 Coon, David O1, S10 Cavalcante, Andre F19 Chen, I-Hsiao O3 Ciecko, Anne P4 Cooper, Anna R. J5 Cazenave, Jennifer F11, S1 Chen, Jasmine Yu-Hsing Cifor, Markia A1 Cooper, Mark G. N8 Ceia, Vanessa G11 O3, S10 Çimencioğlu, Esra N10 Copeland, Stacey S2 Celik Rappas, İpek F15 Chen, Jian B17 Clark, Jennifer B6 Coppola, Joseph F19 175 Corbin, Amy E18 Cosentino, Olivia H16 Coyne, Kelly M. H19 Culhane, Sarah M20 Corfield, Christina N14 Costantino, Jesús B12, S23 Cramer, Lauren M. G8 Cummings, Kelsey S14 Corneil, Marit G4 Costanza-Chock, Sasha T18 Crawford-Holland, Sasha Cump, Sarolta G20 Cornfeld, Li U10 Cote, Amanda H11 P2 Curtis, Rhyse M15 Corrigan, Maria N15 Cottrel, Adam K12 Crey, Karrmen B5 Curtis, Scott N14 Cortez, Iggy T5 Couret, Nilo H16 Crisp, Virginia M15 Cwynar, Christopher B9, Corzo-Duchardt, Beth E3 Covey, William F16 Cronin, Kate C14, S21 S6 Crylen, Jon G20 Czach, Liz K15 D D’Amore, Daniel C12 De Kosnik, Abigail I6 deWaard, Andrew B9 Dove-Viebahn, Aviva H9 d’Harcourt, Ashlynn D3 de Luca, Tiago E20 DeWinter, Jennifer H2 Dowell, Kristin B5 Dabashi, Pardis P4 de Villiers, Nicholas T17 Dhaliwal, Ranjodh P9 Downey, Emma P17, S14 Dadawala, Vikrant K16 DeAngelis, Michael K19 Diaz Pino, Camilo G2 Doxtater, Amanda B1 Daigle, Allain E3, S11 DeBoer, Stephanie R13 Dickason, Cara N12 Doyle, Caitlyn N3 Damiens, Antoine M13 Decker, Lindsey R7, S9 Dickey, Selena H7 Drake, Philip H13, S21 Damluji, Mona F18 Dejmanee, Tisha O17 Dienstfrey, Eric H3 Druick, Zoe E20 Dan, Anat F4 del Rio, Elena B7 Diller, Adam G20 Dubowsky, Jack Curtis Danilovic, Sandra O9 Delahousse, Sarah F16 Dismuke, Brett N19 Q9, S9 Danylevich, Theodora O16 DeLeon, Joseph I15, S15 Dixon Anthony, Aimee C6 Dullisch, Stefanie R4 Das Mollick, Subha Q7 Deleyto, Celestino L18 Doane, Mary Ann F20 Duncan, Pansy B18 Dass, Manishita H15 Denison, Rayna A17 Dollman, Melissa M18 Duncan, Phillip I3 Davis, Nick H14 DePrest, Jessica K13 Dombrowski, Lisa H17 Duncan, Sean C17, S19 Davis, Zeinabu irene Q13, Deshpande, Shekhar G19 Dong, Xinyu T11 Duong, Lan G16 S10 Desilets, Sean F10 Donovan, Mary Kate G13 Dutta, Debjani S1 Dawson-Andoh, Amy E2 Desjardins, Mary O12, S8 Dootson, Kirsty S. J7 Dwyer, Michael N17, S16 Day, Thomas F12 Devine, Jonathan D1, S13 Douglass, Jason F1 E Eagle, Herbert O13, S20 Ellis, Matthew S6 Engelke, Henning M11 Espelie, Erin D18 Eagle, Jonna O15 Ely, Taryn C4 Erhart, Julia J6 Etem, Julide E12 Efrat, Liron Q2 Elza, Cary Q16 Ernest, Marcella M14 Evans, Elizabeth G6 Eisenstein, Ken M11 Embree, Desirae O14, S2 Ernst, Christopher A7 Everett, Anna E5 Ekanayake, Aruna C4 Emmett, Ilana E11 Escobar López, Almudena Ewen, Neil O19 El-Hibri, Hatim F4 Eng-Wilmot, Graham H11 D18 F Fabian, Rachel C6 Felleman, Susan U5 Floyd, Jacob K2 French, Lisa I12 Fairfax, Daniel K17, S7 Felschow, Laura S10 Flueckiger, Barbara P12 Fresko, David K18 Faith, Ian I3 Feng, Peter G16 Fong, Byron S4 Frick, Caroline G9 Falicov, Tamara L14 Fenner, Angelica M17 Fong, Siao Yuong C15 Friedman, Seth A. A7 Fallon, Kristopher T10 Ferguson, Kevin L. P12, S17 Forcier, Kaitlin C12 Frohlich, Margaret U6 Fan, Victor I19 Fernandes, Nicholas T14 Formenti, Cristina E1 Froula, Anna S22 Fariello, Megan P15 Ferrante, Patricia G6 Fornoff, Carolyn N4 Frymus, Agata M20 Farman, Jason Q19 Ferreira, Rodrigo K2 Forrest, Jennifer F9 Fu, Shanchao O9 Farrell, Michelle P13 Feyersinger, Erwin G1 Forster, Nicholas G14, S16 Fuchs, Florian T6 INDEX Faucette, Michael I20 Fibla-Gutierrez, Enrique Forthun, Eric A19 Fuery, Kelli F10 Fauteux, Brian B9 O18 Fortmueller, Kate O12, S8 Fuller-Seeley, Kathy C2 Fay, Jennifer N18 Field, Allyson Nadia O5 Frahm, Laura T12 Fulton, Maxfield G19 Fazekas, Angie Q11 Fileri, Paul R10 Francis, Terri F6 Fung, Catherine N2 Fee, Annie C2 Fish, Laura A20 Frank, Kathryn Q5 Furuhata, Yuriko F20 Feil, Ken N7 Flaxman, Gregory B7 Fratini, Dawn J17, S8 Furukawa, Gavin U12 Felando, Cynthia L. R20 Fleury, James B. A17, S5 Freda, Isabelle Q4 Feldman, Seth M12 Florini, Sarah P19 Freibert, Finley O14, S21 176 G Gaafar, Rania F4 Gerrits, Jeroen S7 Goldschmitt, K.E. J14 Griffis, Noelle K18 Gabara, Rachel D19 Gershon, Daphne D3 Goldsmith, Leo D18 Griffiths, Alison K13 Gabbard, Krin K14 Gerster, Carole S16 Goldstein, Leigh J19, S22 Grinberg, Daniel Q15, S17 Gaboury, Jacob T16 Ghanoui, Saniya Lee K8 González-Cuesta, Begoña Groening, Stephen A18 Gadassik, Alla S13 Gharabaghi, Hadi E12 N3 Groo, Katherine P9 Gaines, Jane O18 Ghosh, Bishnupriya B14 González-López, Irene A11 Grossman, Julie G17 Galili, Doron I9 Giggey, Lindsay C20 Goodwin, Hannah N15 Grube, Katherine A15 Gallagher, Mark O20 Gilbert, Anne T20 Gopal, Sangita E15 Grundmann, Roy O6 Galpin, Shelley A. O11 Gill, Anila R10 Gordon, Marsha K15 Grusin, Richard Q19 Galt, Rosalind E15 Gillan, Jennifer L. A17 Gordon, Rebecca S21 Guan, Cassandra I1 Gao, Yuan C1 Gillespie, Michael Boyce O5 Gorfinkel, Elena R19, S17 Guerra, Katherine O7 Garcia Blizzard, Monica Ginsberg, Terri Q4 Gorton, Kristyn T13 Guilbert, Georges-Claude G13 Girgus, Sam E19 Gosse, Johanna S4 M1 Garcia Leon, Javier M6 Glasspool, Lucy U12 Graefe, Sophia M11 Guinness, Katherine P2, S4 García-López, Sonia O18 Gleesing, Elizabeth F18 Graves, Eve N19 Gunn, Jenny N5, S15 García, Daniel D10 Gleich, Joshua Q18, S8 Gray, David K4 Gunning, Tom F12 Garcia, Desiree J. K6 Glenn, Colleen E19 Gray, Jaime C13 Guo, Yizhou C1 Garda, Maria M9 Glick, Joshua R5 Green, Brandon D2 Gurevitch, Leon T19 Gates, Philippa J18, S3 Glushneva, Iuliia B20 Greenberg, Slava N1 Gurney, David P17 Gates, Racquel O5 Göbel-Stolz, Bärbel E13 Greene, Jane G19 Gustafsson, Henrik U14 Gay, Andrew U17 Godfrey, Nicholas H6 Greene, Liz H3 Gustafsson, Tommy P20 Geier, Theodore G18 Goff, Loretta A12 Greene, Ryan T7 Guthrie, Caroline P15 Geller, Theresa L. O16 Golcheski, Amelia K. M8 Greenwood, Steven O1 Gutiérrez, Arcelia M4, S10 Gentry, Charles Q9 Goldberg, Ruth U6 Gregg, Ronald K1 Gutierrez, Nicholaus S4 Gerhardt, Christina S1 Goldman, Tanya S5 Griffin, Sean P. K6 Gutmann-Gonzalez, Mandy P7 H Haastrup, Helle Kannik H11 Hargraves, Hunter R2 Hegarty, Kerry L18 Hodge, Amber P. D5 Haddad, Alia F18 Hark, Ina S18 Heinzl, Jeff C18 Hodge, James E9 Haenni, Sabine S20 Harmon, Bradley O10 Heller, Dana Q1 Hodges, Elisabeth K5, S15 Hageman, Eva S22 Harper, Morgan C9, S15 Hemmann, Kathryn K9 Hoek, Lotte P6 Haggins, Bambi P19, S10 Harrington, Erin A6, S9 Hendershot, Heather F7 Hoetger, Megan H18 Hagin, Boaz D1 Harrison, Rebecca L3 Henderson, Lisa I8 Hofmann, Maria I8 Hagood, Mack E11 Harrod, Mary J6 Heneghan, Nathaniel C15 Hogan, Mél U1 Hahn, Eric P18 Hart, Phoebe N1 Henkel, Brook C4 Hole, Kristin Lené F14 Halegoua, Germaine F18 Hartono, Marie P3 Hennefeld, Maggie L15 Holliday, Christopher E1 Hall, Barbara M3 Hartzheim, Bryan H. A17 Henry, Joseph P. I1, S17 Holman, Lillian A14, S18 Hall, Dawn J6 Hassoun, Dan A3 Hentrich, Nicole M10, S10 Holmes, Nathan S20 Halle, Randall T3 Hastie, Amelie C6 Heo, Chul C15 Holmlund, Chris O20 Hallett, Hilary I9 Hatch, Kristen R11, S3 Herbert, Daniel F9 Holohan, Conn A6 Hamblin, Sarah C4 Hatchell, Rusty S6, T7 Herhuth, Eric G1, S13 Holt, Jennifer G12 Hamblin, Sarah S1 Hauser, Brian S9 Hermida Lu, Megan J18 Holt, Rebecca E8 Hamilton, Jack H13 Havens, Tim Q5 Herndon, Samantha B20 Holtmeier, Matthew C14, S1 Han, Benjamin U13 Hawkins, Dillon U10 Herold, Lauren E7 Honarpisheh, Farbod U19 Han, Lisa G20 Hawkins, Joan C8 Herzog, Amy Q17 Hook, Jamie B1 INDEX Hanich, Julian K17 Hayes, Joy A9 Hessler, Jennifer G12 Hoover, Jessica L20 Hanna, Erin L13 Hayward, Joni C10 Hilderbrand, Lucas H5 Horak, Laura M6 Hannibal, Carmen G1 Hayward, Mark T2 Hill, Erin J17, S8 Hornsby, Elizabeth D12 Hanson, Britta S8 He, Belinda Qian S17, T14 Hills, Matt B2 Horton, Zach S19, T14 Hanson, Christopher H2 Hearne, Joanna K15, S13 Hilu, Reem J19, S19 Horwatt, Eli T3 Hanstein, Ulrike N3 Heck, Kalling L10 Himberg, Julia M10 Hou, Yushi A12 Harewood, Susan I8 Heffernan, Kevin K8 Hipps, Matthew T3 Howard, Douglas L. R3 177 Howell, Charlotte H7 Hoyt, Eric I5 Hubbert, Julie H3 Humphrey, Daniel O6 Howlett, Anna P7 Hu, Brian Q3 Hudson, Jazmine M19 Humphrey, David T11 Howley, Kevin J3 Huang, Gejun Q3 Hughes, Kit C19 Humphreys, Laura-Zoe U6 Hoyes, Melanie L3 Hubbell, Matthew L10 Hui, Alexandra J16 Hunting, Kyra P14 I Iddins, Annemarie D16 Ingle, Zachary L6 Iyer, Usha P6 Imre, Aniko S6 Iversen, Gunnar M6 J Jacks, Wesley U15 Jeffay, Tory S21, U4 Johnson, Catherine E13 Jones, Timothy B12 Jackson, Josh L16 Jeffers McDonald, Tamar Johnson, Jacqueline I7 Jong, Tien-Tien N3, S3 Jackson, Maghan P11 F13 Johnson, Jessica T18 Joo, Woojeong U11 Jacob, Clarissa M13 Jelaca, Dijana F14 Johnson, Martin K19, S15 Joseph, Ralina L19 Jacobs, Jason J. R3 Jelusic, Jelena F7 Johnson, Poe K11 Joseph, Robert H18 Jacobs, Lea I17 Jenkins, Jennifer K15 Johnson, Thomas S23 Joyrich, Lynne R. O16 Jacobson, Brian H20, S1 Jennings, Morgan J8 Johnson, Victoria E. L7, S16 Juhasz, Alexandra I4 Jacobson, Lisa L20, S18 Jennings, Stephanie I2 Johnston, Andrew Q9 Jung, Grace L20 Jaikumar, Priya P6 Jeong, Seung-hoon S7, T2 Johnston, Jessica Q12 Jung, Seungyeon Gabrielle Jain, Anuja H15 Jo, Ennuri D20 Johnston, Nessa R9 D15 Jaramillo, Deborah T15 Jochum, Elisa B12 Johnston, Ruth T14 Jurca, Catherine E5 Jaramillo, Laura L4 Jodell, Jennifer K11 Jones, Derrick S21 Jurgess, Todd N5, S15 Jayemanne, Darshana I2 Johnson, Alix U1 Jones, Jimi Lee G5 K Kackman, Michael L20 Kee, Chera U13 Kim, Se Young D15 Kohnen, Melanie T20 Kafer, Gary D2 Keegan, Cael E16 Kim, Ungsan S2 Kokas, Aynne Q3 Kaffen, Philip C11 Keeler, Amanda G3 Kimball, Danny D16 Kompare, Derek M10, S5 Kaganovsky, Lilya E10 Keeling, Kara H12 King, Dewitt K11 Konkle, Amanda R4 Kaminishi, Yuta B11 Keever, Justin J9 King, Homay N6 Korola, Katerina I1 Kane, Carolyn A18 Keller, Jessalynn P14 King, Neal U10 Kovacs, Peter Q14 Kang, Kyoung-Lae M15, S17 Keller, Sarah K1, S15 King, Robert R19 Kozma, Alicia U7 Kaplan, E. Ann J15 Kelley, Andrea I13 Kinik, Anthony K14, S20 Kraut, Anthea D4, S3 Kapse, Anupama Prabhala Kennedy, Helen A2 Kinney, Katherine F17 Krayenbuhl, Pamela J11 K16 Kent, Laurence A5 Kirch, Kerli F19 Kredell, Brendan F19 Karaduman, Arzu O9, S3 Keogh, Brendan M9 Kirkpatrick, Bill E11 Krenek, Jessica I20 Karahalios, Harry H18 Kercher, Dona S20 Kirsch, Corinna H13 Kressbach, Mikki A16 Karlekar, Tilottama M13 Kessler, Kelly A3 Kish, Zenia P18 Kreutzer, Evelyn F8 Karppi, Tero Q19 Kessler, Sarah N6 Kissinger, Dani I15 Kruger-Robbins, Benjamin Kase, J. Carlos L12 Khan, Sabiha Q7 Kitamura, Hiroshi A11 E14 Kaufman, Dafna M19 Kidman, Shawna I17 Klein, Amanda Ann H9 Krzych, Scott S7 Kaushik, Ritika K16, S5 Kies, Bridget M7 Klinger, Barbara K19, S18 Kunert-Graf, Rachel I3 Khavar Fahlstedt, Kim C2 Kiley, Aleah L13 Knapp, Jonathan L. O12, S8 Kunigami, Andre N15 Kavka, Misha L16 Kim, Dong Hoon D11 Knee, Adam E15 Kunze, Peter C. C20, S8 Kayhan, Sezen H18 Kim, Gloria M5 Kneese, Tamara B16 Kunzelman, Cameron L9 Kearney, Mary Celeste Q12 Kim, Hyo Jung B13 Kupfer, Alex C19 INDEX Keating, Nicole I18 Kim, Jihoon T10 Knouf, N. Adriana J16 Kutnicki, Saul D. G5 Keating, Patrick F17 Kim, Jinsook P8 Knutson, Matt J9 Kwon, Jungmin R12 Keblinska, Julia P3 Kim, L.S. I11 Kocurek, Carly H2 Kyrola, Katariina C5 L Labuza, Peter L5, S5 Lai, Yang U18 Lamarre, Thomas I19 Landberg, S. Topiary L2, Lafontaine, Andree H10 Laiola, Sarah A16 Land, Jacqueline M14 S20 Landesman, Ohad F11 178 Lagerwey, Jorie R2 Laird, Colleen U12 Landry, Olivia J2 Lee, Sangjoon U11 Li, Dixon F8 Lohmeyer, Edwin J9 LaRocco, Michael Q2 Lee, So-Rim R12 Li, Jinying E4 Long, Casey G2 Larsen, Mads S6 Lee, Sungjae I13 Li, Yi B1 Loock, Kathleen F9 Larsson, Mariah K8 Leeder, Murray A4 Li, Zizi A16, S20 Lopez Lerma, Monica J4 Latsis, Dimitrios S. J13, S4 Leigh, Michele R11 Liao, Sara P8 Lopez, Lori L3 Laurin, Daniel T17 LeMenager, Stephanie O17 Lim, Bliss E15 Lord, Susan U6 Lauro, Sarah Juliet G18 Lempert, William B5 Lim, Yeon Kyoung B10 Loss, Jacqueline L4 Lausch, Kayti M7 Lenos, Melissa R7 Limbrick, Peter O6 Lourme, Nadege U20 Lavelle, Julie L5 Leonard, Suzanne H5 Linton, Matt U13 Loveday, Kiki M15 Lawless, Cecelia S20 Lepage-Richer, Theo P9 Lippard, Chris Q4 Loveday, Kiki S2 Lawlor, Shannon E2 Leppert, Alice P16 Lippit, Akira G18 Lovejoy, Alice B18 Lawrence, Michael Q17 Lerner, Sarah C13 Lison, Andrew D14 Loviglio, Jason T9 Lawson, Thomas D7 Lesinski, Shaylynn P14 Little, Nicolette A16 Lowe, JSA Q11 Leader, Caroline U7 Lesnik, Peter L17 Liu, Linda I13 Lowenstein, Adam D8 Leadston, Mackenzie J10 Lévesque, Marc-Antoine Liu, Mengmeng P8 Lu, Wan-Jun F15 Lee Jackelen, Soo Hyun G15 H8 Lizardi, Ryan B20 Lucia, Cynthia E19 Lee, Hyangjin B15 Levin, Erica S4 Ljungbäck, Hugo C7 Luckett, Josslyn C5 Lee, JeongHyun B4 Levina, Marina D13 Llamas Rodriguez, Juan Lugowski, David Q7 Lee, Jonathan S19 Levine, Elana I6 G4, S17 Lukinbeal, Chris E18 Lee, Joo Yun N9 Levitt, Deborah I19 Lo, Dennis M2 Lunden, Elizabeth C. C2 Lee, Jungmin T2 Levitt, Linda S17 Lodhie, Lindsey B10 Lupher, Sonia C8 Lee, Nam B15 Lewis, Hannah K14 Loetscher, Christine S14 Lykidis, Alex C7 Lee, Regina F15 Lewis, Jon E5 Loew, Katharina S8, U16 Leyda, Julia O17 Logan, Elliott E17 M Ma, Wentao M2 Marx, Nick C3 McEwan, Paul E14 Metz, Walter N7 Macek, Steve T9 Marzola, Luci A. S8 McFarland, James N18 Metzger, Michael D13 Macready, John E19 Marzola, Luci J17 McGillicuddy, Brendan E14 Meyers, Cynthia Q14 Mai, David P7 Masson, Eef P12 McGough, Laura S4 Meyers, Erin I6 Maitra, Ani D4 Massood, Paula J. K6 McKenna, Denise I9 Michell, Kalani T12 Major, Anne R17 Mastrostefano, Stephanie McKim, Kristi O2 Middents, Jeffrey L18 Majumdar, Neepa I8, S1 D13, S13 McKinney, Cait A1 Middleton, Jason D8 Malakaj, Ervin S2 Mateik, Tara Q17 McLaughlin, Andrew F7 Mihailova, Mihaela E1 Malatino, Hilary B17 Matheson, Sarah H10 McLean, Adrienne L. J11 Mikos, Lothar G6 Malkowski, Jennifer J20 Mattern, Shannon T1 McPherson, Tara H12 Miller, April S2 Mallapragada, Madhavi Q5 Mauk, Maureen Q12 Meacham, Brian G5 Miller, Elizabeth J10 Mann, Denise D2 Maule, Rosanna A6 Meador, Daryl D18 Miller, Nicholas G1, S13 Manning, Sam M20 Maye, Steven C13 Mecklenburg, Anne P11 Miller, Taylor M7 Marchessault, Janine E20 Maynard, David O16 Medel, China A1 Miller, Thais H10, S18 Marchetti, Gina F. I13 Mazaj, Meta T5 Mee, Sharon N9, S13 Minarich, Megan U19 Marghitu, Stefania B16 Mazor, Yael C10 Meek, Michele R20 Miner, Joshua C5 Marinos, Martin F7 McCann, Caitlin C17 Meeuf, Russell O7 Miner, Kyle R9 Marks, Laura Helen O14 McCarthy, Anna K7 Mehta, Rijuta K12 Minett, Mark A13 Marks, Laura O6 McCasland, Brandon C10 Meikle, Kyle A10, S23 Minkova, Slaveya M. C7 Marsh, Leslie G14 McClancy, Kathleen R15 Meir, Christopher P13 Mirra, Alessandra O10 Marshall, Owen J16 McClennen, Sophia Q10 Melamed, Laliv K7 Misek, Richard F12 INDEX Marshall, Phoebe E6 McClernon, Tess I13 Melia, Matthew R8 Mishou, A. Luxx O11 Martin-Marquez, Susan McClune, Caitlin D14 Melnick, Ross Q18, S21 Misra, Sonia P2 R15 McCorkle, Brooke J14 Mendelsohn, Ben J8, S6 Mitchell, Joshua C19 Martin, Alfred Q5 McCracken, Allison I6, S18 Mendez, Edward S16 Mitra, Sreya K16 Martin, Catherine G3 McCracken, Chelsea J1 Menne, Jeff B19 Mizejewski, Linda M. S18 Martin, Minda Q13 McDaniel, Byrd M8 Mennel, Barbara M17 Model, Katie F11 Martin, Nina C8 McDonald, Paul F5 Mertens, Jacob G2 Moffett, Chantaelle P11 179 Molina, Isabel L19 Moorti, Sujata T13 Morrison, Landon C9 Murdock-Hinrichs, Isa Molloy, Melissa P20, S2 Moradiyan-Rizi, Najmeh F4 Morrow, Katherine B20 R11, S2 Monaghan, Amy A9 Moralde, Oscar J9, S23 Morse, Nicole S15, T17 Murphy, Brittany D2 Mondelli, Frank H7 Morales, Orquidea K6, S9 Morton, David M20 Murphy, David T16 Monk-Payton, Brandy R2, Morales, Taylor Q6 Morton, Drew M18 Murray, John G2, S19 S16 Moretti, Myrna I15 Mottahedeh, Negar D6 Murray, Soraya J20 Montanez Smukler, Maya Morgan, Daniel T19 Moulton, Carter A2 Murray, Susan J7 M3 Morgenstern, Tyler N20 Moulton, Erica E14 Muscio, Giuliana K3 Montgomery, Colleen H1 Morisue, Noriko T12 Mowchun, Trevor I14 Musser, Charles O18, S11 Monticone, Paul L5 Morris, Austin S23, T17 Mukherjee, Debashree H20 Mwakasege-Minaya, Moore, Chamara M19, S23 Morris, Darcey D12 Mukherjee, Silpa F8 Richard H10, S16 Moorhead, Bailey S9 Morris, Jeremy U2 Mulvogue, Jessica M2 Myers Baran, Jennifer G7 Moors, Rae D16 N Nadel, Alan R15 Navarro, Vinicius M2 Neupert, Richard J10 Nielsen, Elizabeth C17 Nagypal, Tamas D13 Ndounou, Monica White Newman, Geneveive B8 Niessen, Niels A13 Nair, Kartik G10 N19 Newman, Kathleen R6 Niita, Chie B11 Nakahara, Tamao M17 Nebergall, Jason E7 Ng, Eve C1 Nilsen, Sarah J13 Nakamura, Lisa H12 Needham, Gary H17 Nguyen, Hoang Tan I8 Noble-Olson, Matthew U20 Nakayama, Yuki E4 Negra, Diane O17 Nguyen, Josef L1 Noble, Safiya T18 Nam, Inyoung B15 Nekola, Anna N11 Nguyen, Linh U9 Nochimson, Martha P. R3 Nassiri, Hamidreza A20, Nelson, Lindsay U12 Nguyen, Qui Ha E6 Nooney, Laine L9 S10 Ness, Richard S21 Nichols-Pethick, Jonathan Norton, Diana G13 Nault, Curran D4 Nestingen, Andrew O20 M10 Nunoda, Erin D6 Navar-Gill, Annemarie T1 Neuberger, Joan E10 Nieland, Justus B19 O O’Brien, Anne I12 Odabasi, Eren N13, S5 Oliver, Stephanie Q16 Osborne-Thompson, O’Brien, Morgan J9 Ogrodnik, Ben D4 Olivier, Marc A8 Heather A6 O’Brien, Sarah G18, S11 Ogrodnik, Benjamin S4 Olivieri, Domitilla G16 Ovalle, Priscilla H5 O’Healy, Áine M1 Oh, Yoon Jeong S20 Omer, Ayesha R15 Overpeck, Deron N11 O’Malley, Hayley H6, S22 Ohmer, Susan F1, S5 Oren, Tasha I11 Owens, Andrew R1 Ozalp, Behre F17 P Paasche, James J3 Pasek, Anne S10, U1 Perdomo Álvarez, Dalina Phillips, Kendall I20, S9 Padva, Gilad J8 Pastel, Renee S6 R10 Phillips, Wyatt N7 Pai, Gaurav L2 Paszkiewicz, Katarzyna J6 Perez Limon, Lilia A. N4 Phipps, E. Brooke B13 Pal, Soumik I18 Patra, Parichay E16 Perez, Oscar A. J4 Phruksachart, Melissa Palis, Eleni G8 Patterson, Eleanor T9 Perlman, Allison I5 G16, S16 Palmer, Lindsay Q15 Patterson, Natasha R4 Perren, Alisa M10, S8 Pierson, David S23 Palmer, Lucia P17 Patton, Elizabeth A. L11, S22 Perron, Bernard O9 Pierson, Ryan S13 Pande, Rukmini Q11 Paul, Drew Q1 Pesch, Katrin S11 Pignetti, Daisy S18 Panuska, Sarah G19 Paveck, Hannah K5 Peters, Ian B13 Pinedo, Isabel N7 Park, David L6 Pavsek, Christopher J2 Peters, Rebecca S14 Pinkowitz, Jacqueline P17 INDEX Park, Hyun Seon B15 Payne, Matthew J20 Petersen, Christina A20 Piotrowska, Agnieszka Park, Jinhee G15 Payton, Philana K19 Peterson, Elizabeth N8 O10, S14 Parker-Flynn, Christina Peberdy, Donna J8 Peterson, Jennifer K13, S5 Piotrowski, Marcelina R13 L6, S3 Peirano, Maria Paz L14 Petro, Patrice L15 Piper, Timothy T4 Parker, Felan L13 Pember, Alice D1 Petruska, Karen M10 Plaice, Mark D11 Parker, Lauren D15 Peña, Lauren J4 Pettis, Ben M16, S15 Planchenault, Gaëlle K10 Parks, Lisa G12 Penabella, Miguel O2 Petty, Miriam J19 Plungis, Brian P4 Parrish, Jordan P18 Peng, Xin U11 Phillips, Amanda L1 Polonyi, Eszter T6 180 Pomerance, Murray F3 Pow, Kadian Q11 Prager, Brad J2 Pringle, Thomas Patrick Pomp, Joseph Q20, S11 Pow, Whitney M9 Pramaggiore, Maria I8 F20 Poppe, Nicholas M18 Powell, Ryan L8 Pranolo, Jennifer K5 Proctor, Jennifer S10 Porst, Jennifer I16 Powell, Zachary O15 Pravadelli, Veronica R11 Projansky, Sarah L8 Porter, Pete H19 Powers, John B19 Prettyman, Michele R20 Provencher, Ken D15 Potter, Susan Q1 Pozo, Teddy L1 Price, Brian N18 Pruett, Jessica Q1 Poulaki, Maria N5 Pozsonyi, Kriszta I18 Price, Zachary B14 Przybylski, Liz M14 Pummer, Claudia S1 Q Quanz, Katherine H3 Quearry, Jayson A13 Quiros, Oscar E. E6 R Rai, Swapnil B3 Remes, Justin F12 Roberts, Martin A9 Rozo Sánchez, Santiago Rakin, Jelena B4 Rennebohm, Kate S16 Roberts, Nathan D. N5, S7 H16 Rand, Erica N1 Rennett, Michael A3 Robinson, Chris C18 Ruberg, Bonnie L1 Rangan, Pooja G4 Renov, Michael F11 Robinson, Ian Q9 Rubin, Joe O14 Rao, Pallavi K16, S23 Restivo, Angelo J12 Robinson, Luke H19, S3 Rueda, Carolina Q10 Ravetto-Biagoli, Kriss T10 Reynolds, Daniel N5 Roche, David J14 Rueschmann, Eva D5 Raviv, Orna U20 Ribera, Rob S3 Rodriguez, Richard U9 Ruetalo, Victoria H16 Rawlins, Justin S8 Ribera, Robert L10 Rogers, Jamie F6 Ruffin, Jessica U5 Ray, Mary Beth M16 Rice, David Q13 Rogers, Maureen P10 Ruiz, Diana L12 Razlogova, Elena B9 Rich, Aaron J17 Rogerson, Ben L6 Russell, Catherine G9, S3 Real, Brian E12 Richardson, Michael D. J2 Rolef, Naomi L8 Russell, Curtis K14 Reddell, Trace N9 Richmond, Scott E9 Roman, Zak A7 Russill, Chris E20 Reeb, Celeste I7 Ridlen, Tim B19 Romero, Channette B5 Russo, Alexander T9 Reese, Carolyn J12 Riley, Olivia S22 Rooks, Isaac D20 Russworm, TreaAndrea Regester, Charlene G17 Risner, Jonathan F16 Roos, Liina-Ly K3 J20 Reich, Elizabeth E9 Ristola, Jacqueline M16 Rositzka, Eileen S14 Rust, Amy S1 Reighard, Dane A12 Ritzenhoff, Karen R8, S11 Roskos, Joseph R14 Rustad, Gry B16 Reilly, Megan I7 Rivero, Yeidy M4 Ross, Allison J1 Rustamova, Zaya K20 Reimer, Samuel I15 Robbins, Andrew C14 Rossi, Nathan G7 Ruzicka, Genevieve M. U19 Reinhard, Michael F5 Roberts, John T2 Rossman, Margaret L16 Ryberg, Ingrid J15 Reinsch, Paul T8 Roberts, Mark C11 Rowson, Rose R14 S Saber, Zeke U20 Sanson, Kevin R17 Schonig, Jordan F10 Sender, Katherine L16 Sacco, Daniel O7 Santo, Avi B2 Schroeder, Jordan A8 Sendur, Elif S7 Saglier, Viviane U3 Sarkissian, Raffi O1 Schultz-Figueroa, Benjamin Sergeant, Alexander E1 Saidel, Emily C3 Sarlin, Paige S7 N14 Shafer, Leah M17 Salas, Lucia H18 Sborgi, Anna N17, S20 Schumacher, Laura L16 Shahaf, Sharon B3, S6 Saldanha, Humberto N13 Scahill, Andrew Q7 Schwartz, Daniel S20 Shahani, Nishant H14 Salem, Bernadette R14 Scepanski, Philip I16 Schweitzer, Dahlia A19 Shalloe, Harper B17 Saljoughi, Sara D6 Schaefer, Joy K14, S7 Sciachitano, Marian J18 Shanker, Priyadarshini R16 Salter, Anastasia H2, S19 Schaff, Rachel P15 Scoll, Nathan S11 Shary, Timothy P16 Salvati, Andrew N11 Schauer, Bradley K3 Scott, Suzanne T20 Shaw, Deborah Q10 Samardzija, Zoran K20 Scheibel, Will G17 Scott, Travers R7 Sheaffer, Russell K18 INDEX Samer, Roxanne J1 Schleier, Merrill L11 Seaver, Nick T1 Shearer, Martha N17, S3 Sammond, Nicholas Q8 Schmenner, Will A13 Sebok, Bryan E2 Sheehan, Jacqueline B. L11 Sampson, Benjamin M18 Schmidt, Andrea P15 Sebro, Adrien H13 Shell, Hanna Rose S11 San Filippo, Maria R20 Schmidt, Christopher L17 Secular, Steven T4 Sheppard, Samantha L7 Sanchez Prado, Ignacio E16 Schmitt, Mary H14, S16 Sędzielarz, Aleksander F16 Shepperd, Josh I5 Sandler, Monica F5 Schneider, Molly Q14 Segal, Shira K18 Shetley, Vernon S3 Sanogo, Aboubakar Q20 Schneiter, Teague M3 Sen, Meheli R18 Shih, Evelyn T11 181 Shilina-Conte, Tanya F14, Slowik, Michael F13 Spaulding, Hannah T15 Stigsdotter, Ingrid I12 S17 Smiley, Michelle B10, S4 Sperb, Jason A9 Stone, Nora R9 Shimizu, Celine U9 Smith-Rowsey, Daniel K4 Spiers, Aurore G14 Stout, Graeme H4 Shimpach, Shawn I9, S17 Smith-Shomade, Beretta Spigel, Lynn J7 Straayer, Chris N1 Shlensky, Lincoln O4 I11 Sprengler, Christine N11 Strassfeld, Ben I17, S21 Shpolberg, Masha F14 Smith, Ashley R. R7 Stabile, Carol Q14 Stratton, Cole R13 Shriver-Rice, Meryl P20 Smith, Frances P16 Stadler, John E8, S17 Straubhaar, Joseph B3 Shuster, Martin R3 Smith, Jennifer A10 Staiger, Janet N16 Strobel, Nichole K3 Sicondolfo, Claudia C16, S5 Smith, Nova P5 Stamm, Laura K1 Strub, Whitney R19 Siddique, Salma P6 Smith, Patrick M16 Stamp, Shelley G17 Sturgis, Meshell S11 Sidhu, Maya A19 Smoodin, Eric E5 Stanfill, Mel U7 Sturtevant, Victoria O7 Siegel, Brett D17 Smucker, Samuel K19, S7 Stang, Sarah I2 Suher, Dylan A5 Siegel, Marc O6 Snoyman, Natalie Q6 Steenland, James U3 Sullivan, Annie Laurie G7 Sienkiewicz, Matt H14 Snyder, Christine B8 Stein, Erica H. J5, S20 Sullivan, Gordon U19 Sieving, Christopher G14 Sobchack, Vivian K17 Steinbock, Eliza B17 Sullivan, Patrick S13 Silverman, Benjamin L. M8 Soberon, Lennart L6 Steinhart, Daniel Gómez Sun, Lin D17 Silvestri, Anthony M1 Soderman, Braxton D17 S8, U16 Sunya, Samhita H15, S5 Sim, Gerald T1 Soe, Valerie N2 Steinhauer, Margaret T15 Svec, Henry Adam A14 Sim, Hyekyon B15 Soebbing, Hannah H4 Steirer, Gregory R17 Svelch, Jaroslav I2 Singleton, Daniel S3 Solomon, Matthew A4 Stenger, Josh C17 Swalwell, Melanie T16 Sinwell, Sarah R1 Solomon, Rory F18 Steuer, Leah L5, S17 Swan, Anna R14 Skarsvag Gronstad, Sorenssen, Bjorn M12 Stevens, Kirsten C16 Swetich, Steve P5 Asbjorn U14 Soriano, Lucia A19 Stevens, Kyle P5, S15 Szczepaniak-Gillece, Skjerseth, Amy C13 Spada, Marissa S12 Stevens, Rachel U5 Jocelyn N16 Slootweg, Tom C14 Spadoni, Robert J8 Stevenson, Ariel S12 Szczepanik, Petr P13 T Tabachnik, Hebe L14 Tchepikova-Treon, Matthew Thompson, Matt D20, S1 Trisler, Bree D12 Tabarraee, Babak O4 T8 Thurtle, Phillip I19 Troy, Edward F6 Tahmahkera, Dustin M14 Tchouaffe, Olivier Q20 Tierney, Dolores P10 Troyer, Josias S9 Tailor, Vivienne K4, S14 Teno, Jean-Marie Q20 Tierney, Orchid L17 Tryon, Chuck N12 Tait, R. Colin E17 Textor, Cindi K9 Tinic, Serra E13 Tsai, Beth A15 Takacs, Stacy J3 Thain, Alanna P1 Tinnin, Daelena P5 Tsunoda, Takuya A11 Tan, Hiaw Khim U10 Thapa, Anu G10 Titus, Joan O8 Turim, Maureen I14, S9 Tan, See Kam N2 Theus, Tyler K5 Tofighian, Nadi H20 Turner, Caitlin P1 Tang, Pao-Chen I1 Thibault, Rachel O12 Tongson, Karen N6 Turner, Graeme R17 Tanvir, Kuhu A10 Thjellesen, Rasmus Q6 Torlasco, Domietta B7 Turnock, Julie G10 Taurino, Giulia H8 Thoma, Pamela T13 Torner, Evan S19 Turtas, Lia A5, S13 Taylor-Camara, Ayesha E13 Thomas, Sarah G11 Trafton, John O15 Twarog, Anthony S8 Taylor, Aaron E17, S9 Thompson, Ethan M7 Trammell, Aaron T20 Tweedie, James J12 Taylor, Anthea O19 Thompson, K. N20 Tran, Tony F15 Tzioumakis, Yannis H17 Taylor, Chandler B. J15 Thompson, Kirsten Moana Trautenberg, Ezekiel L4 Tzouflas, Konstantinos K12 F1 U Uhlin, Graig L17 Uhrich, Andy G5 Umut, Melis O4 INDEX V Vagnes, Oyvind U14 VanCour, Shawn G9 Varadi, Anna I20, S18 Verheul, Jaap B16 Valck, Marijke F5 Vandekerckhove, Varndell, Daniel F3 Verma, Neil G3 Valkanova, Dora U3 Josephine T12 Vaughan, Hunter P20 Vermeulen, Timotheus J5 Vallejo, Aida M13 Vanderhoef, John M9 Vena, Dan M6 Vernallis, Carol T8 Van Esler, Mike T15 Vanhaelemeesch, Jasper Venegas, Cristina R6 Vesey, Alyxandra U3 Van Hemert, Tess C16 N13 Verevis, Constantine F9 Vickery, Jacqueline P14 182 Vielkind, Andrew M11 Vinogradova, Maria K13 Vogan, Travis L7 Vonderheide, Leah S10 Villarejo, Amy J12 Vitaglione, Sylvie J11 Vonderau, Patrick G12 Vukoder, Bret E12 W Waldman, Diane S18 Warner, Rick O2 White, Mimi K7 Winston, Brian R5 Walia, Ramna I10 Warren-Crow, Heather H1 White, Patricia N6, S2 Winter, Rachel M16 Wahlnerg, Mal M12 Warren, Shilyh D6 Whitney, Allison N8 Wlodarz, Joseph S18 Walker, Christopher D20, Watson, Jacob B4 Whittaker, Tom G11 Woelfle-Erskine, Cleo G20 S1 Wayne, Michael P13 Wiedenfeld, Grant S7, T6 Wojcik, Pamela Robertson Walker, Johnny P10 Webb, Lawrence H13 Wiegand, Erin E. P10 L11, S3 Wall-Romana, Christophe Weber, Brenda I18 Wielgus, Alison E7 Wolock, Lia U2 A14 Weinberg, Leah N9 Wijaya, Elizabeth S11 Wong, KT E2 Wallenberg, Louise I12 Weinbren, Grahame U5 Wild, Jennifer L10 Woo, Benjamin L13, S19 Wallenbrock, Nicole B. R10 Welch, Thomas F2 Wilkins, Christina C3 Wood, Andrea C8 Wallengren, Ann-Kristin Wen, Laura Jo-Han O3, S4 Wilks, Lauren U8 Wood, Glen B12 O20 Wessels, Chelsea R. N8, Willard, Lesley P11, S8 Woodhouse, Taylore S6 Waller, Katherine Lonsdale S10 Williams, Bruce K20 Woods, Derek F20 U8 West III, Thomas J. G7, S3 Williams, Karen J15 Woods, Mae M3 Walsh, Michael I14 Westgate, Christopher Williams, Linda R19 Woodward, Margaret B8 Wang, Chi Q13 Joseph K4 Williams, Mark S21 Workman, Nathan B1 Wang, Christina Chen U11 Westrup, Laurel T8 Williams, Tami L15 Wu, Chia-chi P1 Wang, Jennifer U2 Wetters, Kirk T6 Wilson, Booth O13 Wu, Hong-An O9 Wang, Yiman N2 Wheatley, Helen K7 Wilson, Candice R16 Wu, Lida Zeitlin A18 Wang, Yiwen P3 Whissel, Kristen T19 Wing, Carlin L9 Wuest, Bryan N12 Ward, Meredith S12 White, Khadijah I3 Winn, John O10, S17 Wyatt, Justin H17 Warner, Kristen H5, S22 White, Michele S12 Wyman, Julie Q17 X Xiang, Sunny G16 Xie, Heshen U15 Xiong, Shuyi B10, S1 Xu, Yizhou J3 Y Yahnke, Megan J15 Yang, Li K2 Yin, Yiyi U18 Young, Damon E9 Yamaguchi, Precious U17 Yaqub, Nadia F4 Yip, Man Fung H4 Young, Liam A14 Yamazaki, Junko B11 Yasar, Zeynep O4 Yoon, Soyoung M5 Younger, James Prakash Yan, Yuqian R16 Yeo, Su-Anne A2 Yosef, Raz D1 A5 Yanders, Jacinta H9, S10 Yi, We Jung R16 Youmans, Greg K1 Yuce, Muge P1 Yuksel, Magda D9 Z Zagarrio, Vito O10 Zeglen, David O19 Zhang, Ling O8 Zimdars, Melissa S21 Zahos, Zachary A. A3 Zeitz, Christian David D9 Zhang, Muxin S3 Zimmermann, Patricia R5 Zale, Jennifer D17 Zemel, Dustin B4 Zhao, Jing Jamie C1 Zinman, Gregory L12 Zalewska, Maria P2 Zhang, Fengyun U15 Zheng, Xiqing U18 Zryd, Michael I14 Zavala, Diego N17 Zhang, Linda S13 Zimanyi, Eszter G4 Zuo, Mila M15, S12
INDEX
183 THANK YOU
HONORS OUTGOING BOARD MEMBERS Steven Cohan Derek Kompare Miriam Petty Amber Hodge
Thank you so much for your service – you will be greatly missed! Graduate Faculty 2019–2020 Giorgio Bertellini, Professor: Silent Cinemas; Comparative Media Studies; Fascism; Italian Cinema and TV Hugh cohen, Professor: The Western; Film Criticism; Scandinavian Film caryl Flinn, Professor: Film Music & Musicals; Gender; Critical Theory & Cultural Studies colin Gunckel, Associate Professor & DGS: Am Film History; Chicano/Latino Film & Media; Latina American Cinema dan Herbert, Associate Professor: Media Industries; Media Geographies; Video Studies Ph.D. Program Sheila Murphy, Associate Professor: Digital Media; Internet Studies; Video Game Studies; TV in film, televison, anD meDia Sarah Murray, Assistant Professor, Digital Media, Histories and Theory of New & Emerging Media, TV Audiences, Production Cultures Markus Nornes, Professor: Asian Film; Documentary; Translation Theory he UM Film, Television, and Media Swapnil rai, Assistant Professor: Global Media; Media Industries; Women & Gender; Stars & doctoral program emphasizes the Celebrity; Race & Ethnicity; South Asia & BRICs study of representations exhibited, yeidy M. rivero, Chair & Professor: International T TV & Media; Television History; Race & Ethnic produced and consumed via screens— Representations in Media whether cinematic or televisual screens, Matthew Solomon, Associate Professor: video monitors, computer display, handheld French & US Film History & Theory; Authorship; Intermediality devices, etc. We pursue screen media in Johannes von Moltke, Professor: their social, national, transnational, and Film & Critical Theory; Spectatorship; Genre; German Film History; Fascist Cinemas historical contexts using historically- and affiliated Faculty: theoretically-based methods from film, Megan Sapnar Ankerson, Nilo Couret, Susan television, and digital studies as well as Douglas, Herb Eagle, Geoff Eley, Daniel Herwitz, Tung-Hui Hu, Madhumita Lahiri, Lisa Nakamura, cultural and critical theory. Aswin Punathambekar, Christian Sandvig
www.lsa.umich.edu/ftvm U SEVENTH ANNUAL SCMS Undergraduate Conference April 11–13, 2019 • Allentown, Pennsylvania Hosted by Muhlenberg College The Society for Cinema and Media Studies is proud to announce its support for the seventh annual Society for Cinema and Media Studies Undergraduate Conference. Originating at the University of Notre Dame in 2013, the SCMS Undergraduate Conference offers undergraduate students a forum to present papers representing their best work in the field. The 2019 installment will take place at Muhlenberg College. A panel composed of Muhlenberg College faculty will select the 30 best papers from the proposals received. The resulting conference will allow undergraduate students the rare opportunity to share their cinema and media history, criticism, and theory work with peers from across the world.
We ask that you tell your undergraduate students about the conference. As mentioned, this year it will be held at Muhlenberg College, April 11-13, 2019. The deadline for submitting to this year’s conference has passed but members are encouraged to think about the 2020 conference. More information about next year’s conference will be available on the SCMS website in the fall. Questions about the 2019 conference should be directed to Dr. Elizabeth Nathanson ([email protected]) or Dr. Amy Corbin ([email protected]). If your institution is interested in hosting the undergraduate conference in the future, please contact Jill Simpson ([email protected]). For the call for papers, please visit https://cmstudies.site-ym.com/?page=undergraduate TEMPLE UNIVERSITY PRESS Celebrating 50 Years
The Palestinian Idea Anna May Wong Exploring the Roots Film, Media, and the Radical Performing the Modern of Digital and Media Imagination SHIRLEY JENNIFER LIM Literacy through GREG BURRIS How Anna May Wong’s work Personal Narrative A window into the Palestinian shaped racial modernity and EDITED BY RENEE HOBBS freedom struggle, drawing on made her one of the most Leading scholars reveal insights an analysis of Palestinian film significant actresses of the into the core concepts and his- and media twentieth century torical roots of digital and media Insubordinate Spaces series Asian American History literacy education Available March and Culture series Available April Phantom Skies and Architectures of Revolt Shifting Ground The Cinematic City circa 1968 Consuming Catastrophe Landscape, Culture, and EDITED BY MARK SHIEL Mass Culture in America’s Rephotography in Eadweard Decade of Disaster A groundbreaking exploration of Muybridge’s Illustrations of TIMOTHY RECUBER how filmmaking, architecture, Central America and urban planning shaped and Examines the media’s coverage BYRON WOLFE AND SCOTT BRADY were shaped by mass protest of four American disasters, A fascinating collaborative movements in and around 1968 arguing that media attention investigation of some of the Urban Life, Landscape, and directs our concern for the earliest photographs of Latin Policy series suffering of others toward America by the renowned efforts to soothe our own nineteenth-century photographer emotional turmoil Eadweard Muybridge Distributed by Temple University Take 30% off when you order online at tupress.temple.edu Press for Radius Enter promo code: TSCMS19 for discount • Offer expires 5/1/19 Applies to all Media Studies titles More than just a film festival TIFF is proud to deliver educational programming to students, scholars, and emerging practitioners, including:
Online resources featuring videos from our past events, a virtual museum dedicated to director David Cronenberg, and the ultimate film resource — the Film Reference Library (tiff.net/library).
Unique access to the Toronto International Film Festival through discounted student and scholar passes and to the Film Reference Library’s archival collections as part of a scholarship supporting new research.
To learn more, visit tiff.net/higherlearning Congratulations to the SCMS 2019
Conference Host2018 Conference Committee Sponsors in Seattle! 2018 Conference Sponsors SCMS would like to2018 extend special Conference thanks for the generous Sponsors support from our sponsors. The 2018 TorontoSCMS Host would likeCommittee2018 to extend Conference special thanks is grateful for the Sponsors generous to support its manyfrom our sponsors. sponsors from last year. SCMS would like to2018 extend specialConference thanks for the generous Sponsors support from our sponsors. PlatinumPlatinumSCMS would Sponsorship Sponsorship like to extend2018 special Conference thanks for the generous Sponsors support from our sponsors. PlatinumSCMS would Sponsorship like to extend special thanks for the generous support from our sponsors. University of TorontoPlatinum Sponsorship PlatinumUniversityUniversitySCMS Sponsorship would of of Toronto Toronto like to extend special thanks for the generous support from our sponsors. UniversityLibraries, St.of GeorgeToronto campus Libraries, St. GeorgePlatinumUniversityLibraries, campus Sponsorship ofSt. Toronto George campus PlatinumLibraries,(including Sponsorship St. George Media Commons)campus LIBRARIES (including MediaUniversityLibraries, Commons)(including of Toronto St. George Media campusCommons) LIBRARIES University(including of Toronto Media Commons) LIBRARIES Libraries,St. George(including St. George campus, Media campus Commons) LIBRARIES UniversitySt.Libraries, George ofSt. campus, Toronto George campus LIBRARIESCinema Studies Institute St. George campus,(includingSt. CinemaGeorge Media campus,Studies Commons) Institute Cinema Studies Institute Libraries,St. GeorgeCinema(including St. campus, Studies George Media Institute campus Commons) CinemaLIBRARIES Studies Institute Cinema StudiesSt. George InstituteCinema campus, Studies Institute Cinema Studies Institute St. George(includingCinema campus, Studies Media Institute Commons) CinemaLIBRARIES Studies Institute CinemaSt. George Studies campus, Institute St. George campus,Faculty of Arts & Sciences Cinema Studies Institute St. GeorgeFacultyCinema campus, of Studies Arts & Institute Sciences St. GeorgeScarboroughFaculty campus, of campus, Arts & Sciences Cinema Studies Institute Faculty of Arts &Scarborough SciencesCinema Studies campus, Institute 2018 Conference Sponsors FacultyScarboroughSt. DepartmentGeorge of Arts campus, campus,& ofSciences English English St.Scarborough GeorgeDepartment campus, campus, of English English Scarborough Scarboroughcampus,DepartmentFaculty campus, of Arts ofSCMS &English Sciences would like to extend special thanks for the generous supportEnglish from our sponsors. MississaugaFacultyDepartment of campus, Arts of & English Sciences English MississaugaScarborough campus, campus, English Department of DepartmentEnglishMississaugaDepartment of campus,Platinum English of Visual Sponsorship Studies 2018 Conference Sponsors ScarboroughMississaugaDepartment campus, campus, of VisualEnglish Studies English MississaugaDepartment campus,University of Visual of StudiesToronto Mississauga campus,St. GeorgeDepartment campus, of English Visual SCMS Studies would like to extend special thanks for the generousEnglish support from our sponsors. DepartmentSt.Mississauga George campus, of campus, VisualLibraries, Studies St. George campus St. BookGeorge and campus, Media Program(including Media Commons) LIBRARIES Department of VisualMississaugaSt. GeorgeBookDepartment andStudies campus, campus, Media of VisualPlatinum Program Studies Sponsorship St. GeorgeatatBook St. St.campus, Michael’s Michael’sand Media St. College College George Program campus, Departmentat St. Michael’s of VisualCollegeCinemaUniversity Studies of TorontoInstitute Cinema Studies Institute St. George campus,BookSt.St. George Georgeat and St. MediaMichael’s campus, campus, Program College St. GeorgeBook and campus, MediaSt. George ProgramLibraries, campus, St. George campus Book and MediaatSt. St.Program McLuhanGeorge Michael’s campus, Center College at (including Media Commons) LIBRARIES St. GeorgeBookMcLuhanat St. andMichael’s campus, CenterMedia College Faculty Program of Arts & Sciences St. GeorgeMcLuhan campus, Center ScarboroughSt. George campus, campus, FACULTY OF INFORMATION St. Michael’s CollegeMississaugaMcLuhan campus, Center McLuhanFACULTYCinema Centre OFStudies for INFORMATION Culture Institute & Technology at St. Michael’s CollegeCinema Studies Institute FACULTY OF INFORMATION MississaugaSt. George campus, campus, Department of English EnglishMcLuhan Centre for Culture & Technology McLuhanMississaugaInstitute Center of campus, Communication, Culture, FACULTYMcLuhan Centre OF for INFORMATION Culture & Technology St. George campus, Institute of Communication, Culture, Information & Technology St.Mississauga GeorgeInstitute campus, ofcampus, Communication,Mississauga campus, Culture, FACULTYMcLuhan OF Centre INFORMATION for Culture & Technology St. George campus,InstituteMcLuhan of Center Communication,Faculty of ArtsCulture, & Sciences InstituteInstitute ofof Communication,Communication, Culture,Culture, InformationInformation && TechnologyTechnology MississaugaInformation campus, & TechnologyDepartment of Visual Studies 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Program &in Culture Film 12 & Culture Graduate Program in Communication & Culture BOLD Ideas
SERIAL SELVES EC COMICS INCORRIGIBLES AND CULTURES OF WAR IN LIBERATING SOME KIND OF Identity and Race, Shock, and INNOCENTS GRAPHIC NOVELS HOLLYWOOD MIRROR Representation in Social Protest Constructing Violence, Trauma, and Women Directors and Creating Marilyn Autobiographical Qiana Whitted Childhood and Memory the Feminist Reform Monroe Comics paper $29.95 Citizenship in Edited by of 1970s American Amanda Konkle Frederik Byrn Køhlert A volume in the Comics Progressive Era Tatiana Prorokova and Cinema paper $29.95 paper $29.95 Culture Series Comics Nimrod Tal Maya Montañez Smukler Lara Saguisag paper $29.95 paper $26.95 paper $27.95 Quick Takes: Movies and Popular Culture series Media Matters series
TRANSGENDER L.A. PRIVATE EYES DIGITAL CINEMA UNWATCHABLE GLOBAL CINEMA AT TRANSLATION’S CINEMA Dahlia Schweitzer Stephen Prince Edited by Nicholas Baer, NETWORKS EDGE Rebecca Bell-Metereau paper $17.95 paper $17.95 Maggie Hennefield, Edited by Elena Gorfinkel Edited by Nataša paper $17.95 Laura Horak, and and Tami Williams Durovicová,ˇ ˇ Patrice Petro, Gunnar Iversen paper $29.95 and Lorena Terando paper $29.95 paper $29.95
UNDEAD ENDS BORDER CINEMA ADVENTURES IN TV FAMILY VALUES CINEMA BETWEEN CRIMINALIZATION/ Stories of Apocalypse Reimagining Identity SHONDALAND Gender, Domestic LATIN AMERICA AND ASSIMILATION S. Trimble through Aesthetics Identity Politics Labor, and 1980s LOS ANGELES Chinese/Americans paper $29.95 Edited by Monica Hanna and the Power of Sitcoms Origins to 1960 and Chinatowns in and Rebecca A. Sheehan Representation Alice Leppert Edited by Jan-Christopher Classical Hollywood paper $29.95 Edited by Rachel Alicia paper $26.95 Horak, Lisa Jarvinen, and Film A volume in the Global Media Griffin and Colin Gunckel and Race series Phillipa Gates Michaela D.E. Meyer paper $29.95 paper $34.95 paper $32.95
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BLACK CAMERA: FILM HISTORY: AN INTERNATIONAL FILM JOURNAL AN INTERNATIONAL JOURNAL Historical and contemporary scholarship The historical development of the motion on black cinematic experiences and the picture in its social, technological, and development of black creative culture. economic contexts.
Keywords: African Americans, African Studies, Keywords: Arts & Culture, Cinematography, Black Feminism, Film Studies, Gender Studies, Documentary Films, Fan Cultures, Film Archives, Movie Culture, Political Movements, Popular Film Criticism, Film Studies, Motion Picture Culture, Queer Culture, Race & Ethnicity Industry, Popular Culture, Technology
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Journal of Film and Video WOMEN AND FILM HISTORY Official Publication of the University INTERNATIONAL Film & Video Association EDITED BY MICHAEL CLARKE Queer Timing ISSN: 0742-4671; eISSN: 1934-6018 The Emergence of Lesbian Sexuality in Early Cinema New Media Futures SUSAN POTTER The Rise of Women in the Digital Arts Paper $28.00; E-book | June 2019 EDITED BY DONNA J. COX, ELLEN SANDOR, AND JANINE FRON Subject to Reality Forewords by Lisa Wainwright, Women and Documentary Film Anne Balsamo, and Judy Malloy SHILYH WARREN Hardcover $39.95; E-book Paper $24.95; E-book | May 2019 Lana and Lilly Wachowski Pink-Slipped Sensing transgender What Happened to Women in the CÁEL M. KEEGAN Silent Film Industries? Paper $22.00; E-book JANE M. GAINES Contemporary Film Directors Paper $29.95; E-book Alice in Pornoland Hardcore Encounters with the Victorian Gothic Music and the Moving Image LAURA HELEN MARKS A journal devoted to exploring the Paper $24.95; E-book relationship between music and the Feminist Media Studies entire universe of moving images EDITED BY GILLIAN B. ANDERSON Women at Work in Twenty-First- AND RONALD H. SADOFF Century European Cinema ISSN: 2167-8464; BARBARA MENNEL eISSN: 1940-7610 Paper $27.95; E-book
In Search of Belonging Cinematic Encounters Latinas, Media, and Citizenship Interviews and Dialogues JILLIAN M. BÁEZ JONATHAN ROSENBAUM Paper $26.00; E-book Paper $24.95; E-book Latinos in Chicago and the Midwest Cinematic Encounters 2 Mascot Nation Portraits and Polemics The Controversy over Native American JONATHAN ROSENBAUM Representations in Sports Paper $24.95; E-book | May 2019 ANDREW C. BILLINGS AND JASON EDWARD BLACK Wired into Nature Paper $24.95; E-book The Telegraph and the North American Frontier Chicago New Media, 1973–1992 JAMES SCHWOCH JON CATES Paper $24.95; E-book Paper $19.95 The History of Communication
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Gladiators in Suits Becoming RACE, GENDER, AND THE POLITICS OF GENRE, QUEERNESS, AND REPRESENTATIONIN SCANDAL TRANSFORMATION IN NBC’S HANNIBAL
Edited by Simone Adams, Edited by Kavita Mudan Finn and EJ Nielsen Kimberly R. Moffitt, and Ronald L. Jackson II “An excellent book and provides a strong “An expertly curated collection of exemplary, academic background to the study of Hannibal original scholarship. . . . It presents wide ranging in its various manifestations. It was so good, themes—American politics, identity politics, I just ate it up.”—Paul Booth, DePaul University respectability, liberalism, and national violence— “A varied and exciting collection that will be of to reveal how Scandal is more than soap-opera interest and importance to many scholars in TV/ entertainment. Rather, the work in this volume media studies and cultural studies. . . . It will also evidences how Scandal is a touchstone for a be of value to literary scholars, film scholars, and complex engagement with issues and ideologies those with a particular interest in adaptation.” that grip the US.”—Robin R. Means Coleman, —Rebecca Williams, University of South Wales professor of communication, Texas A&M University Paper $34.95s 978-0-8156-3636-6 Paper $39.95s 978-0-8156-3640-3 Ebook 978-0-8156-5464-3 Ebook 978-0-8156-5468-1 NEW FROM OXFORD
Adapting The Wizard of Oz Hollywood Harmony Digital Uncanny Musical Versions from Baum Musical Wonder and KRISS RAVETTO-BIAGIOLI to MGM and Beyond the Sound of Cinema Edited by DANIELLE BIRKETT FRANK LEHMAN Media in Mind and DOMINIC M HUGH (Oxford Music/Media Series) DANIEL REYNOLDS Theories of the French Musical Culture The Oxford Handbook Soundtrack and the Coming of of Canadian Cinema JAMES BUHLER Sound Cinema Edited by JANINE MARCHESSAULT (Oxford Music/Media Series) HANNAH LEWIS and WILL STRAW (Oxford Music/Media Series) Hollywood by Hollywood The Optical Vacuum e Backstudio Picture and the American Obscurantism Spectatorship and Modernized Mystique of Making Movies History and the Visual in American eater Architecture STEVEN COHAN U.S. Literature and Film JOCELYN SZCZEPANIAK-GILLECE PETER LURIE Filthy Material Get Close Modernism and the Media In Person Lean Team Documentary of Obscenity Reenactment in Postwar and Filmmaking CHRIS FORSTER Contemporary Cinema RUSTIN THOMPSON IVONE MARGULIES Documentary Filmmaking Moving Pictures, in Contemporary Brazil Sternberg and Dietrich Still Lives Cinematic Archives of the Present e Phenomenology of Spectacle Film, New Media, and the Late GUSTAVO PROCOPIO FURTADO JAMES PHILLIPS Twentieth Century JAMES TWEEDIE Transatlantic Television Screen Stories Drama Emotion and the Ethics Wonderful Design Industries, Programs, and Fans of Engagement Glamour in the Hollywood MATT HILLS, MICHELE HILMES, CARL PLANTINGA Musical and ROBERTA PEARSON LLOYD WHITESELL
Visit us in the exhibit hall to explore 1 these and other exciting books, global.oup.com/academic journals, and online resources. JOURNALS FROM UC PRESS FEMINIST MEDIA HISTORIES FILM QUARTERLY Film
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Winter 2018 Volume 72 Number 2 THE SURVEILLANCE APOCALYPSE FALL 2018 RECLAIMING LIU NA’OU THE WOLF WARRIOR 2 PHENOMENON MEDIA INTERVIEWS: AGNES VARDA AND CHERYL DUNYE HISTORIES RAAZI: WOMEN AT WAR HORROR RENAISSANCE RUN COYOTE RUN | | | HISTORY LESSONS FROM THE SEVENTIES AN INTERNATIONAL JOURNAL VOL 4 NO 4 FALL 2018 FESTIVALS: KARLOVY VARY AND TORONTO
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Quentin Tarantino Gender and the The Bad Sixties Poetics and Politics of Superhero Narrative Hollywood Memories Lynching Cinematic Metafiction of the Counterculture, Edited by Michael Violence, Rhetoric, Antiwar, and Black Power David Roche Goodrum, Tara Prescott, and American Identity Movements and Philip Smith Ersula J. Ore Kristen Hoerl Bumpy Road Foreword by Ryan North The Making, Flop, and The Artistry of Revival of Two-Lane Alternate Roots Comics and Blacktop Ethnicity, Race, and Identity Neil Gaiman Sylvia Townsend Adaptation in Genealogy Media Finding Light in the Edited by Benoît Mitaine, Christine Scodari Shadows David Roche, and Edited by Joseph Michael Sommers and Isabelle Schmitt-Pitiot The Life and Times Kyle Eveleth Translated by of Ward Kimball Aarnoud Rommens Maverick of Disney and David Roche Animation The Films of Todd James Pierce Douglas Sirk Exquisite Ironies and Magnificent Obsessions Rod Serling Tom Ryan His Life, Work, and Imagination Dining with Madmen Nicholas Parisi Robert Taylor Fat, Food, and the Foreword by Anne Serling Male Beauty, Environment in 1980s Masculinity, and Horror Stardom in Hollywood Working-Class Comic Gillian Kelly Thomas Fahy Book Heroes Class Conflict and Populist The Films of Mira Nair Funny Girls Politics in Comics Diaspora Vérité Guffaws, Guts, and Edited by Marc DiPaolo Amardeep Singh Gender in Classic American Comics Michelle Ann Abate Alison Bechdel Conversations Edited by Rachel R. Martin
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Panel to the Screen Promises of Style, American Film, and Citizenship Comic Books during the Film Recruitment of African Lois Weber Wong Kar-wai Blockbuster Era Americans in World War II Interviews Interviews Drew Morton Kathleen M. German Edited by Martin F. Edited by Silver Wai-ming Norden Lee and Micky Lee Captain Marvel and The 10 Cent War the Art of Nostalgia Comic Books, Propaganda, Brian Cremins and World War II Edited by Trischa Goodnow and James J. Kimble
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TRANSFORMING HARRY CINEMATIC THE FILMS OF ROBIN WOOD ON The Adaptation of CRYPTONYMIES JESS FRANCO THE HORROR FILM Harry Potter in the The Absent Body in Collected Essays EDITED BY Transmedia Age Postwar Film and Reviews ANTONIO LÁZARO-REBOLL EDITED BY JOHN ALBERTI AND OFER ELIAZ AND IAN OLNEY EDITED BY P. ANDREW MILLER BARRY KEITH GRANT Explores how postwar fi lm The fi rst edited volume Focuses on the critical and represent absent bodies devoted to the legendary Robin Wood’s writing on theoretical implications of via the cinematic practices cult director Jess Franco. the horror fi lm, published adapting the Harry Potter novels of audiovisual erasure by over fi ve decades, to fi lms and media. key fi lmmakers. collected in one volume.
THE BERLIN 1968 AND BEYOND METHOD BIRTH OF THE SCHOOL AND ITS GLOBAL CINEMA Stella Adler and the BINGE Male Actor Serial TV and the GLOBAL CONTEXTS EDITED BY End of Leisure EDITED BY MARCO ABEL CHRISTINA GERHARDT AND SCOTT BALCERZAK AND JAIMEY FISHER SARA SALJOUGHI Explores the DENNIS BROE methodologies and Germany’s most important Examines the political A deep-dive into the infl uence of acting teacher fi lmmaking movement in cinema of 1968 in relation practice and execution of Stella Adler on her conversation with its peers to global events. contemporary television male students. across the globe. viewing. Trip to the Moon (Georges Méliès, France, 1902) Super Mario (1983) Nintendo MA FILM & MEDIA STUDIES The Master’s Program in Film and Media Studies at Columbia takes up the evolution of cinema as an art, an institution, an object of philosophical study, and an international socio-cultural phenomenon. Recently renamed to emphasize both motion picture fi lm and the newest of new media, the program facilitates exploration from the one to the other and back. It is designed to consider current theoretical approaches and to look historiographically at trends such as the transition from motion picture fi lm to digital media. Students concentrate in Film or Media in their selection of elective courses either inside the School of the Arts or outside in Columbia University’s Arts and Sciences departments. Electives include: Cinephilia; The Documentary Tradition; Film and Philosophy; Queer Film Theory; The Western; The Blockbuster; Indian Cinema; Cuban Cinema; Chinese Documentary; Cult Film; Visual Bodies: Cinema to New Media; Seriality; Hacking the Archive; and Digital Storytelling.
FACULTY ADJUNCT FACULTY AFFILIATED FACULTY Nico Baumbach Jim Hoberman Stefan Andriopoulos Brian Larkin Jane M. Gaines Edward Baron Turk Claudia Breger Debashree Mukherjee Ron Gregg Jérôme Game Jonathan Crary Frances Negron-Muntaner Annette Insdorf Hamid Dabishi Ying Qian Rob King VISITING FACULTY Noam Elcott Dennis Tenen Richard Peña Thomas Elsaesser Hilary Hallett Takuya Tsunoda James Schamus Vito Adriaensens Kellie Jones
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Cinema/Politics/ The Dynamic Frame Facebook Society Philosophy Camera Movement in Losing Ourselves in Sharing Ourselves NICO BAUMBACH Classical Hollywood ROBERTO SIMANOWSKI paper - $28.00 $14.00 PATRICK KEATING cloth - $35.00 $17.50 paper - $35.00 $17.50 Audio-Vision Electrified Voices Sound on Screen Post-Fordist Cinema How the Telephone, Phonograph, second edition Hollywood Auteurs and the MICHEL CHION and Radio Shaped Modern Japan, paper - $30.00 $15.00 Corporate Counterculture 1868–1945 JEFF MENNE KERIM YASAR paper - $30.00 $15.00 paper - $30.00 $15.00 Media U How the Need to Win Rewriting Hollywood’s Dirtiest Secret Audiences Has Shaped Indie Cinema The Hidden Environmental Costs Higher Education of the Movies MARK GARRETT COPPER Improvisation, Psychodrama, HUNTER VAUGN AND JOHN MARX and the Screenplay paper - $30.00 $15.00 paper - $30.00 $15.00 J.J. MURPHY paper - $35.00 $17.50 What is Japanese Cinema? Chromatic Modernity A History How Did Lubitsch Color, Cinema, and YOMOTA INUHIKO Do It? Media of the 1920s paper - $26.00 $13.00 SARAH STREET AND JOSEPH MCBRIDE JOSHUA YUMIBE cloth - $40.00 $20.00 paper - $30.00 $15.00
800.343.4499 • CUP.COLUMBIA.EDU • CUPBLOG.ORG • @COLUMBIAUP New books from Wallflower The Films of an imprint of Columbia University Press Michael Mann From the Prison Wall to the Firewall Twenty-First-Century The Cinema of DERYCK SWAN Hollywood Louis Malle paper - $30.00 $15.00 Rebooting the System Transatlantic Auteur Auteur NEIL ARCHER PHILIPPE MET, ED paper - $22.00 $11.00 paper - $30.00 $15.00 It Follows JOSHUA GRIMM Film Censorship New books from our paper - $15.00 $7.50 distribution partners Auteur Regulating America’s Screen SHERI CHINEN BIESEN Twin Peaks: Fire Walk paper - $22.00 $11.00 Werner Schroeter with Me ROY GRUNDMANN LINDSAY HALLAM Suburban Fantastic paper - $29.90 $15.00 paper - $15.00 $7.50 Cinema Austrian Film Museun Auteur Growing Up in the Late Twentieth Century Hitchcock Annual Candyman ANGUS MCFADZEAN JON TOWLSON Volume 22 paper - $15.00 $7.50 paper - $22.00 $11.00 SIDNEY GOTTLIEB, ED paper - $26.00 $13.00 Auteur Avengers Assemble! Hitchcock Annual Studying Horror Cinema Critical Perspectives on the The Devils BRYAN TURNOCK paper - $20.00 $10.00 Marvel Cinematic Universe DARREN ARNOLD TERENCE MCSWEENEY Auteur paper - $30.00 $15.00 paper - $15.00 $7.50 Auteur
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Bright Signals Hush A History of Color Television Media and Sonic Self‑Control SUSAN MURRAY MACK HAGOOD Sign, Storage, Transmission Sign, Storage, Transmission
Double Negative Remapping Sound Studies The Black Image and Popular Culture GAVIN STEINGO and RACQUEL GATES JIM SYKES, editors
Technicolored Digital Sound Studies Reflections on Race in the Time of TV MARY CATON LINGOLD, ANN DUCILLE DARREN MUELLER, and a Camera Obscura book WHITNEY TRETTIEN, editors
Shimmering Images Sound Objects Trans Cinema, Embodiment, JAMES A. STEINTRAGER and the Aesthetics of Change and REY CHOW, editors ELIZA STEINBOCK The Technical Delusion Camp TV Electronics, Power, Insanity Trans Gender Queer Sitcom History JEFFREY SCONCE QUINLAN MILLER Console‑ing Passions Surrogate Humanity Race, Robots, and the Politics Empowered of Technological Futures Popular Feminism and Popular Misogyny NEDA ATANASOSKI and SARAH BANET-WEISER KALINDI VORA Perverse Modernities
dukeupress.edu Forthcoming: Breaking Bad and Cinematic Television ANGELO RESTIVO Coral Empire Underwater Oceans, Colonial Spin Offs Tropics, Visual Modernity ANN ELIAS Figures of Time April 2019 Affect and the Television of Preemption TONI PAPE Experiments with Empire Thought in the Act Anthropology and Fiction in the French Atlantic JUSTIN IZZO Making Sex Public, and Theory in Forms Other Cinematic Fantasies May 2019 DAMON R. YOUNG Theory Q Racism Post‑Race ROOPALI MUKHERJEE, SARAH BANET-WEISER, The Apartment Complex and HERMAN GRAY, editors Urban Living and Global Screen Cultures June 2019 PAMELA ROBERTSON WOJCIK Latter‑day Screens Jugaad Time Gender, Sexuality, and Mediated Mormonism Ecologies of Everyday Hacking in India BRENDA R. WEBER AMIT S. RAI August 2019 ANIMA Where Histories Reside After the Post–Cold War India as Filmed Space The Future of Chinese History PRIYA JAIKUMAR DAI JINHUA August 2019 LISA ROFEL, editor Trans Exploits Sinotheory Trans of Color Cultures and Technologies in Movement Respawn JIAN NEO CHEN Gamers, Hackers, and Technogenic Life ANIMA COLIN MILBURN September 2019 Experimental Futures Fidel between the Lines Paranoia and Ambivalence in Essential Essays Late Socialist Cuban Cinema STUART HALL LAURA-ZOË HUMPHREYS Edited and with an introduction by October 2019 DAVID MORLEY Stuart Hall: Selected Writings Volume 1: Foundations of Cultural Studies Volume 2: Identity and Diaspora Also available as a set for a special price.
dukeupress.edu Essential reading in film and media studies from berghahn
SOFIA COPPOLA HUMANITARIANISM AND MEDIA The Politics of Visual Pleasure 1900 to the Present Anna Backman Rogers Johannes Paulmann [Ed.] New German Historical Perspectives Second Updated Edition POLISH CINEMA ARCHAEOGAMING A History An Introduction to Archaeology in and of Video Games Marek Haltof Andrew Reinhard SCREENED ENCOUNTERS THE VIRAGO STORY The Leipzig Documentary Film Festival, 1955-1990 Assessing the Impact of a Feminist Caroline Moine Publishing Phenomenon Edited by Skyler J. Arndt-Briggs Catherine Riley NEW SERIES: Film and the Global Cold War Protest, Culture & Society PERSISTENTLY POSTWAR CONCENTRATIONARY ART Media and the Politics of Memory in Japan Jean Cayrol, the Lazarean, and the Everyday in Blai Guarné, Artur Lozano-Méndez, and Dolores P. Martinez [Eds.] Post-war Film, Literature, Music, and the Visual Arts Griselda Pollock and Max Silverman [Eds.] SCREENING ART Modernist Aesthetics and the Socialist Imaginary CURATING LIVE ARTS in East German Cinema Critical Perspectives, Essays, and Conversations Seán Allan on Theory and Practice Film Europa Dena Davida, Marc Pronovost, Véronique Hudon, and Jane Gabriels [Eds.] DREAMS OF GERMANY Musical Imaginaries from the Concert Hall NEW IN PAPERBACK to the Dance Floor DESIRES FOR REALITY Neil Gregor and Thomas Irvine [Eds.] Radicalism and Revolution in Western European Film Spektrum: Publications of the German Studies Association Benjamin Halligan Available Open Access MUSEUM WEBSITES AND SOCIAL MEDIA LESSONS IN PERCEPTION Issues of Participation, Sustainability, Trust The Avant-Garde Filmmaker as Practical Psychologist and Diversity Paul Taberham Ana Luisa Sánchez Laws MONETISING THE DIVIDUAL SELF Museums and Collections The Emergence of the Lifestyle Blog and THE ONLINE WORLD OF SURROGACY Influencers in Malaysia Zsuzsa Berend Julian Hopkins Fertility, Reproduction and Sexuality Anthropology of Media
Follow us on Twitter: @BerghahnFilm berghahn Order online (use code SCMS19) and receive a 25% discount! NEW YORK . OXFORD www.berghahnbooks.com berghahn journals SCREEN BODIES An Interdisciplinary Journal of Experience, Perception, and Display Editor: Brian Bergen-Aurand, Bellevue College Screen Bodies is a peer-reviewed journal focusing on the intersection of Screen Studies and Body Studies across disciplines, institutions, and media. It is a forum promoting the discussion of research and practices through articles, reviews, and interviews that investigate various aspects of embodiment on and in front of screens.
RECENT ARTICLES Handover Bodies in a Feminist Frame: Two Hong Kong Women Filmmakers' Perspectives on Sex after 1997, Gina Marchetti Objet A(ffect) and Che(www) Vuoi: The Fleshy Horror of the Unknowable Other in Spring and Honeymoon, Dewey Musante A Cinema of Movement, Michele Barker
Volume 4/2019, 2 issues p.a. www.berghahnjournals.com/screen-bodies
WINNER OF THE 2008 AAP/PSP PROSE AWARD FOR BEST NEW JOURNAL IN THE SOCIAL SCIENCES & HUMANITIES! PROJECTIONS The Journal for Movies and Mind Editor: Ted Nannicelli, University of Queensland Published in association with the Society for Cognitive Studies of the Moving Image Projections: The Journal for Movies and Mind is an interdisciplinary, peer-reviewed journal that explores the way in which the mind experiences, understands, and interprets the audio-visual and narrative structures of cinema and other visual media. Recognizing cinema as an art form, the journal aims to integrate established traditions of analyzing media aesthetics with current research into perception, cognition and emotion, according to frameworks supplied by psychology, psychoanalysis, and the cognitive and neurosciences. Volume 13/2019, 3 issues p.a. www.berghahnjournals.com/projections Increased to 3 issues in 2019!
Visit the Berghahn stand to pick up free journal samples! berghahn Follow us on Twitter @BerghahnFilm NEW YORK . OXFORD www.berghahnjournals.com New from Minnesota University of Minnesota Press | 800-621-2736 | www.upress.umn.edu
Critical Mass The Undocumented Everyday The User Unconscious Social Documentary in Migrant Lives and the Politics of Visibility On Affect, Media, and Measure France from the Silent Era Rebecca M. Schreiber Patricia Ticineto Clough to the New Wave $30.00 paper | $120.00 cloth $25.00 paper | $100.00 cloth | 248 pages Steven Ungar 388 pages | 27 images $28.00 paper | $112.00 cloth The Sound of Things to Come 328 pages | 129 images Playing with Feelings An Audible History Video Games and Affect of the Science Fiction Film Bodies of Information Aubrey Anable Trace Reddell Intersectional Feminism and Digital $25.00 paper | $100.00 cloth $30.00 paper | $120.00 cloth | 488 pages Humanities 176 pages | 25 images Elizabeth Losh and Jacqueline Wernimont, Neurotechnology Enduring Images editors A Future History of New Left Cinema $35.00 paper | $140.00 cloth | 520 pages | 42 and the End of Finitude Morgan Adamson images | Debates in the Digital Humanities Series Michael Haworth $27.00 paper | $108.00 cloth $27.00 paper | $108.00 cloth 322 pages | 35 images Movement, Action, Image, 216 pages | Posthumanities Series, vol. 45 Montage Deconstruction Machines Sergei Eisenstein What Is Information? Writing in the Age of Cyberwar and the Cinema in Crisis Peter Janich Justin Joque Luka Arsenjuk Translated by Eric Hayot and Lea Pao Foreword by Catherine Malabou $27.00 paper | $108.00 cloth $25.00 paper | $100.00 cloth | 216 pages $27.00 paper | $108.00 cloth | 272 pages 264 pages | 104 images 2 images | Electronic Mediations Series, vol. 55 Electronic Mediations Series, vol. 54 The Robotic Imaginary The Truth Is Always Grey The Human and the Price A History of Modernist Disconnect of Dehumanized Labor Painting Facebook’s Affective Bonds Jennifer Rhee Frances Guerin Tero Karppi $22.00 paper | $88.00 cloth $27.00 paper | $108.00 cloth $29.95 paper | $120.00 cloth 192 pages | 1 image 240 pages | 30 images 352 pages | 18 images
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Volume 2 Volume 4 Volume 5 Dorothea Horst Hermann Kappelhoff, Sarah Greifenstein et al. (Eds.) MEANING-MAKING AND Cornelia Müller CINEMATIC METAPHOR POLITICAL CAMPAIGN CINEMATIC METAPHOR IN EPERSPECTIVE ADVERTISING Experience – Affectivity – Reflections on a A Cognitive-Linguistic and Temporality Transdisciplinary Framework Film-Analytical Perspective on 2018. xvi, 280 pages, 83 fig. 2018. viii, 150 pages, 33 fig. Audiovisual Figurativity HC RRP € 77.95 [D] / HC RRP € 49.95 [D] / 2018. ix, 246 pages, 17 fig. US$ 89.99 / £ 71.00 US$ 57.99 / £ 46.50 HC RRP € 77.95 [D] / ISBN 978-3-11-057959-8 ISBN 978-3-11-061223-3 US$ 89.99 / £ 71.00 ISBN 978-3-11-057447-0
degruyter.com All titles are also available as eBooks (PDF and ePUB) Launching Summer 2019 VISIONARIES Thinking Through Female Filmmakers
An open access book series exploring the visual style of female filmmakers through a film-philosophy approach
Series Editors: Lucy Bolton (Queen Mary, University of London) Richard Rushton (Lancaster University) NEW FROM EDINBURGH UNIVERSITY PRESS
B-Movie Gothic: Irish Queer Cinema ReFocus: The Films of Time, Existential Presence International Susanne Bier and the Cinematic Image: Perspectives By Allison Macleod Ethics and Emergence to Edited by Missy Molloy, Mimi Being in Film Edited by Justin Edwards & Nielsen & Meryl Shriver-Rice Johan Höglund By Sam B. Girgus
Postfeminist Whiteness: Worldly Desires: The Two cines con niño: The Computer-Animated Problematising Cosmopolitanism and Genre and the Child Film: Industry, Style and Melancholic Burden Cinema in Hong Kong Protagonist in Over Genre in Contemporary and Taiwan Fifty Years of Spanish Hollywood Film (1955-2010) By Christopher Holliday By Brian Hu By Kendra Marston By Erin K. Hogan
@EdinburghUP www.edinburghuniversitypress.com
University of Wisconsin – Milwaukee MEDIA, CINEMA, & DIGITAL STUDIES
Building on its traditions of innovative graduate study and cinema and critical
theory, UW-Milwaukee’s English Department offers a unique, interdisciplinary
graduate curriculum in Media, Cinema, and Digital Studies. The Master’s and
Doctoral program combines studies of film, media, and popular culture with studies
of developing digital technologies and textualities. Students are encouraged to pursue areas of concentration from courses in film television FACULTY Gilberto Blasini: Latin American and Caribbean Cinemas, Queer Cinema & TV, Genre eory & Criticism; Christine Evans: Socialist Television, media theory Transnational Media History, Media Infrastructures; Richard Grusin: Digital eory, Science and Technology Studies, Philosophy; Thomas Haigh: History of cultural studies Information and Technology, History of Work and Business, Media History; critical theory Lane Hall: Activism and Tactical Media, Experimental Narrative, Multimedia Production; Jennifer Johung: Digital Culture, Media Art, Performance Studies; multimedia writing Elana Levine: Feminist Media Studies, Television History, eory and Criticism, alternative textual Media Production and Audience Studies; Thomas Malaby: Game Studies, Video Game Industry and Culture; Stuart Moulthrop: Game Studies, Digital production Michael Newman: eory, Digital Literature; American Cinema and Television, technology Video Games, Media History, eory, Criticism; Peter Sands: Science Fiction, utopianism, technoculture, law; Jocelyn Szczepaniak-Gillece: American digital studies Exhibition and Screen Technology, Spectatorship, Historiography; Tami Williams: European Cinema, Early Cinema and the Archive, Digital Culture. game studies For more information, visit media.uwm.edu or technology theory contact Stuart Moulthrop, Coordinator, at and more [email protected]
12-month Master of Science in Global Media and Cultures
CREATING THE NEXT Thought Leaders
The one-year MS in Global Media and Cultures and the one-year MS in Applied Languages and Intercultural Studies offer a humanities education for the jobs of the future. Our programs combine advanced language training with media studies and hands-on portfolio building for careers in international business, global media and communications industries, international education, and social entrepreneurship.*
Launch a career that can shape the future.
Language Concentrations: More information at: Chinese, French, German, gmc.iac.gatech.edu Japanese, Russian, Spanish [email protected]
Intermediate-mid language ability in the language of concentration is required. MS-GMC is BOR approved and pending SACSCOC approval. ENCOUNTERS IN ETHNOGRAPHIC FILM
NEW RELEASE
THE MARQUIS OF AROUND INDIA WITH TRAVELS IN THE CONGO WAVRIN: FROM THE A MOVIE CAMERA A FILM BY MARC ALLÉGRET MANOR TO THE JUNGLE A FILM BY SANDHYA SURI AND ANDRÉ GIDE A FILM BY GRACE WINTER Drawn exclusively from the British Film In 1925, Marc Allégret accompanied André The man squats by the fire, holding an Institute National Archive, AROUND INDIA Gide on a journey to French Equatorial Africa object slightly larger than his palm. He feels it features some of the earliest surviving film as his secretary, and novice filmmaker. Filming carefully, pressing and shaping it, then turns from India as well as gorgeous travelogues, only three years after Nanook of the North, it upside down and fills it with hot sand. The intimate home movies and newsreels from Allégret’s goal was to immerse viewers “as we man is a member of the Shuar people, and British, French and Indian filmmakers. Taking in ourselves had been, in the atmosphere of this he is practicing the art of tzantza, or head- Maharajas and Viceroys, fakirs and farmhands mysterious country.” shrinking—a ritual designed to ensnare the soul and personalities such as Sabu and Gandhi, the They carried out most of their journey on of a defeated enemy. film explores not only the people and places foot. Despite the extreme heat and humidity, the Behind the camera, filming the scene, is of over 70 years ago, but asks us to engage nitrate footage survived and in 2018, TRAVELS Robert de Wavrin, a Belgian marquis who spent with broader themes of a shared history, IN THE CONGO was restored; this version also decades traveling among indigenous people in shifting perspectives in the lead up to Indian includes a new instrumental soundtrack. South America. From Paraguay, to Venezuela, independence and the ghosts of the past. Unusual for its time, this is a largely Ecuador, and Brazil, Wavrin visited areas few, if Award-winning filmmaker Sandhya Suri observational documentary showing aspects any, Europeans had ever seen, earning the trust (I for India) skillfully weaves together archival of the lives, culture, and built environments of of local indigenous groups, making friends, and footage—including hand colored sequences— diverse groups in the region, amongst them the filming customs, rituals, and everyday life. with a new score by composer Soumik Datta to Baya, Sara and Fula peoples, without trying to shoehorn them into a dramatic narrative. 2018 INTERNATIONAL FILM FESTIVAL ROTTERDAM create an emotionally resonant story about life 2018 INTERNATIONAL FILM FESTIVAL OF PANAMA across India from 1899 to 1947. “The film is first and foremost witness to the 2018 CAMBRIDGE FILM FESTIVAL “Enlightening; a compelling lesson of visual customs of the people living in Congo, with surprising and moving images.” 85 minutes / B&W / 2017 rhetoric and world history. Academics and –La Cinémathèque française DVD SPECIAL OFFER: $398 $348 librarians will find [this film] a valuable addition icarusfilms.com/if-wavrin to their collections.” –V Cinema Show “A singular account of the complex and uneasy docuseek2.com/if-wavrin 72 minutes / Color & B&W / 2018 power dynamics inherent in erotic exchange.” DVD SPECIAL OFFER: $390 $340 –Light Industry 32 Court Street, 21st Floor icarusfilms.com/if-ar 117 minutes / B&W / 1927 (Released 2018) Brooklyn, NY 11201 docuseek2.com/if-ar DVD SPECIAL OFFER: $398 $348 Tel: 718 488 8900, 800 876 1710 icarusfilms.com/if-voy Fax: 718 488 8642 docuseek2.com/if-voy SPECIAL SOCIETY FOR CINEMA & MEDIA STUDIES OFFER! Between now and April 30th, 2019, use the promo code “SCMS” at checkout on IcarusFilms.com and get $50 OFF! The same coupon code “SCMS” will get you a 25% DISCOUNT off the 1-year or 3-year license fees on any or all of these three films on Docuseek2.com. university of michigan press
esc forthcoming Sonic Adventure in the Anthropocene #identity imagining politics Jacob Smith Hashtagging Race, Gender, Interpretations in Political (Online-only podcast) Sexuality, and Nation Science and Political Television appified Abigail De Kosnik and Stephen Benedict Dyson Keith P. Feldman, Editors (July 2019) Culture in the Age of Apps (April 2019) Jeremy Wade Morris and performance Sarah Murray, Editors global digital cultures constellations Perspectives from South Asia Networks of Protest and Activism gaming the stage Aswin Punathambekar and in Latin America Playable Media and the Rise of Sriram Mohan, Editors Marcela A. Fuentes English Commercial Theater (June 2019) (October 2019) Gina Bloom rediscovering korean transgenerational seeing the past with cinema media industries computers Sangjoon Lee, Editor Adults, Children, and the Experiments with Augmented Reproduction of Culture Reality and Computer Vision for (December 2019) Derek Johnson History soda goes pop (November 2019) Kevin Kee and Timothy Compeau, Pepsi-Cola Advertising and Popular Editors Music a world of fiction Joanna K. Love visit us at our booth Digital Collections and the Future (July 2019) for a 30% discount of Literary History coeds ruining the nation Katherine Bode on all titles Women, Education, and Social communicative Change in Postwar Japanese Media biocapitalism Julia C. Bullock The Voice of the Patient in Digital (September 2019) To order call 800.621.2736 Health and the Health Humanities or go to www.press.umich.edu Olivia Banner e UNIVERSITY of OKLAHOMA
The Department of Film and Media Studies is an interdisciplinary FILM & undergraduate program at the University of Oklahoma designed to give MEDIA students a broad understanding of film and media history, theory, and STUDIES criticism. OU Film and Media Studies, in the OU College of Arts and Sciences, is proud to be the institutional home of the SCMS Office and staff.
Established in 1890, the University of Oklahoma is a doctoral degree-granting university and leader in research, healthcare, and academic activity impacting the state of Oklahoma and global community. The Norman campus enrolls more than 28,000 undergraduate and graduate students, the Health Sciences Center in Oklahoma City enrolls more than 3,000 students and the OU-Tulsa campus enrolls more than 1,000. Of the 4,385 incoming freshmen in 2018, the average ACT score is 26.2 and this class is one of the most diverse and inclusive groups of incoming students in university history.
ou.edu/cas/fms In Memoriam We lost leaders in film and media this past year.
Thomas Cripps Raymond E. Fielding 1932–2018 1931–2018 Photo Credit: Algerina Perna/The Baltimore Sun Photo Credit: Culley’s MeadowWood Funeral Home
Annette Michelson Nwachucku Frank Ukadike 1922–2018 1950–2018 Photo Credit: Still from Noviciat (1965) Photo Credit: Tulane University School of Liberal Arts Website DENVER 2020 CALL FOR Paper, Panel, Workshop and Roundtable Proposals The Society for Cinema and Media Studies announces its call for proposals for the 2020 conference. Please join us Wednesday, April 1-Sunday, April 5, 2020 at the Sheraton Denver Downtown Hotel. The Denver metro area is home to a number of institutions of higher learning. Located in downtown Denver, the Auraria campus houses the University of Colorado Denver, Metropolitan State University of Denver, and the Community College of Denver. Regis University and the University of Denver are also within Denver proper, and just thirty minutes away, at the base of the foothills, lies the University of Colorado Boulder campus. With a vibrant arts scene, Denver boasts such venues as the Sie FilmCenter, the Ellie Caulkins Opera House, the Daniel Libeskind-designed Denver Art Museum, and the Museum of Contemporary Art. The 2020 SCMS Conference Program Committee welcomes quality paper, panel, workshop, and roundtable proposals on any topic related to cinema and media studies. Proposal submission forms will be available through the SCMS website on July 1, 2019. The deadline for proposals is Friday, August 30, 2019 (5:00 pm, Central Time).
LAND ACKNOWLEDGMENT INDIGENOUS HISTORY OF THE SEATTLE AREA As you explore Seattle, you’ll see numerous monuments and civic gestures to the city’s Native heritage. While these rightfully implicate tremendous Indigenous influence in the early days of colonization—a recognition that comes on the heel of decades of Native activism—they also co-exist with violent marginalization. Prior to the arrival of settler colonists, the area currently called Seattle was known as Sdzidzilalitch (Little Crossing- Over-Place). Members of Coast Salish nations began witnessing the arrival of whites interested in land and wealth in the mid-nineteenth century. The emergence of Seattle unfolded slowly through a series of encounters and exchanges between settlers and Indigenous people, whose knowledge and labor shaped Seattle from its “village period” through the 1870s. By the late nineteenth century, those same encounters were marked by widespread disease and wrenching transformations to the landscape. During the Progressive Era, a contingent of Indigenous peoples resisted federal attempts at relocation and, despite enduring oppressive socioeconomic policies, some remained in Seattle. Native migrants also came to the city for seasonal employment and contributed to a brimming Indigenous urban community. Many Indigenous residents who remained moved within Seattle’s underclass, living in working-class neighborhoods and frequenting social institutions on Skid Road. Beginning in the postwar decades, organizations such as the American Indian Service League and community leaders like Ella Aquino and Bernie Whitebear led calls for better living conditions for Indigenous residents of Seattle—both new and old. Native activism centered on socioeconomic issues and the multiethnic Indian community’s place in the city. The fish-ins of the 1970s, for example, were a means of regaining Indigenous rights to Seattle’s fisheries and waterways. Many of these groups continue to exert authority over Indigenous rights in the city and undermine colonial narratives of Seattle’s founding. Across the past century, white residents pushed Indigenous peoples to the hinterlands at the same time as they appropriated native cultures, traditions, and wares as status symbols. But these and other broader civic gestures to Indigenous heritage, manufactured and marketed largely in favor of an imperial narrative of extinction, obscure a longer, entangled history of presence. Credit: History of Science Society Committee for Land Acknowledgement Marissa Petrou (Louisiana State University), Elaine LaFay (University of Pennsylvania), Felicia Garcia (Santa Ynez Band of Chumash Indians, School for Advanced Research), Rosanna Dent (New Jersey Institute of Technology), and Khyati Nagar (York University) Why do we recognize the land? To recognize the land is an expression of gratitude and appreciation to those whose territory you reside on, and a way of honoring the Indigenous people who have been living and working on the land from time immemorial. It is important to understand the longstanding history that has brought you to reside on the land, and to seek to understand your place within that history. Land acknowledgments do not exist in a past tense, or outside historical context: colonialism is an ongoing process, and we need to build our mindfulness of our present participation. It is also worth noting that acknowledging the land is Indigenous protocol. http://www.lspirg.org/knowtheland
SCMS ASKS ALL PANEL CHAIRS TO PLEASE READ THIS STATEMENT ALOUD AT THE BEGINNING OF EACH SESSION: To begin, we respectfully acknowledge that our event today is taking place on the ancestral territory of the Duwamish, Muckleshoot, Snohomish, Snoqualmie, Suquamish, and Tulalip peoples. We pay respect to their Elders past and present and extend that respect to their descendants and to all Indigenous people. To acknowledge this land is to recognize its longer history and our place in that history; it is to recognize these lands and waters and their significance for the peoples who lived and continue to live in this region, whose practices and spiritualities were and are tied to the land and the water, and whose lives continue to enrich and develop in relationship to the land, waters and other inhabitants today.