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Home , 2017 Wichita swatting, 30th GLAAD Media Awards, Arne Sucksdorff, Big Bethel AME Church, Briarcliff Plaza, Carlos Saura

SCMS 2016 CONFERENCE PROGRAM

HILTON • ATLANTA, March 30–April 3, 2016

COVER PHOTO: 1940s view of Atlanta’s Auburn Avenue including a sign for Bailey’s Royal Theatre and Big Bethel AME Church Courtesy of Kenan Research Center, Letter from the President

Dear Friends and Colleagues, On behalf of the SCMS Board of Directors, the Host and Program Committees, and the Home Office staff, let me welcome everyone to Atlanta! Since the SCMS conference was last here twelve years ago, the Society has seen both membership and the conference itself increase dramatically in size. This year in Atlanta we have twice the number of panels as we had in 2004. Our growth confirms the vitality of cinema and media studies, as well as its continuing importance to the academy internationally and to our increasingly globalized societies. I know from previewing the program that it boasts an impressive display of the best, most stimulating work presently being done in our field, which is at once singular in its focus on visual and digital media and yet quite diverse in its scope, intellectual interests and goals, and methodologies. Given the dazzling assortment of panels on tap for the five days of our conference, I hope you will find this year’s selection as exciting and stimulating as in years past. And as dizzying, perhaps, as you try to decide where to go next. To assist you in navigating the program we have arranged for everyone to have access to the Grupio app. Among other features, it allows you to view the entire schedule and then to create your own calendars based on the sessions you want to attend. With this app you can also take notes during panels, interact with other attendees via social media, and navigate the hotel and the surrounding areas in through in-app maps. We hope you’ll check it out. While I know that you will find more information about the big evening events elsewhere in the program, I want simply to call your attention to them. The Host Committee has scheduled two special events reflecting Atlanta’s relatively new role as a hub of and production, as well as its historical importance for the civil rights movement. Both take place on Saturday evening at the Center for Civil and Human Rights. The Center itself is a terrific multi-media and interactive museum, and attendees are invited to visit the galleries on Saturday evening, too. Two other evening events are also worth adding to your busy schedule. On Wednesday, “Richard Dyer in the House of Cinema” celebrates the work and career of this esteemed scholar, who recently retired from King’s College London. Then on Thursday there is a timely multimedia panel, “Mediated Rights: The Transformative Power of Images from Selma to Ferguson.” Details for all these events are in the program. Additionally, I want to invite everyone who is new to SCMS to come to the Orientation for New Members/Networking Session on Thursday, which this year is being organized as a drop-in event from 11 am until 12:15 pm. Please stop by for some edibles and beverages and an opportunity to meet your officers and Board members, as well as representatives of the SIGs and caucuses. This is a wonderful opportunity for you to find out more about the work of the organization and to speak with representatives from groups that reflect your academic interests and that you may want to join. Other important SCMS events to put on your calendar take place on Friday. First up is the Members’ Business Meeting at 11 am, where you will learn about the Society’s activities this past year. Later in the day the Awards Ceremony starts at 4:15 pm. Here we will pay tribute to some of the best scholarship that appeared during the previous year. At the ceremony we will also honor and hear from the winner of this year’s Distinguished Career Achievement Award, Rick Altman. Following the ceremony, the official conference reception begins at 5:30 pm, where, over a drink and something to eat, you will have the opportunity not only to stand in line for those refreshments, but also to mingle with colleagues, catch up with old friends, make new acquaintances, and congratulate the award winners. Finally, a conference of this size is never possible without the help of many people, so I must single out and thank people whose names you will hear again during the conference, I am sure: Leslie LeMond, Conference Manager; Lindsey Pendleton, Home Office Administrative Coordinator; Debbie Rush, Account and Budget Representative; Aviva Dove-Viebahn, Web Content Manager; Brennick Gaudet, Program Assistant; and Bruce Brasell, Program Schedule Coordinator. We would all be lost without the insight and oversight of SCMS Executive Director, Jill Simpson. My gratitude also goes to Neepa Majumdar, who chaired the Program Committee, and to the many hardworking members who volunteered to serve with her this year. I thank Matthew Bernstein and Alessandra Raengo, and the Host Committee they co-chaired, for arranging the Saturday evening events. On a 2 day-to-day basis, my job as President would not be possible without the valuable assistance of Jill and the Home Office staff as well as the Board of Directors, who meet three times a year, and more often than that on email. Your officers—Past President Barbara Klinger, President-Elect Pamela Wojcik, Secretary Victoria Johnson, and Treasurer Amanda Ann Klein—are tireless in their dedication to the Society. But so are your elected representatives: Mary Beltrán, Nick Davis, Mary Desjardins, Kara Keeling, Juan Llamas-Rodriguez, Neepa Majumdar, and Linda Mizejewski. Kara and Neepa will be cycling off at the end of this academic year, and I want to thank them now for their service. I also must not forget to mention my appreciation for the contributions of Will Brooker, Cinema Journal editor, and Caetlin Benson-Allott, representative of the Film/Media Studies Program at the University of Oklahoma (where the Home Office is located), who both serve on the Board in an ex-officio capacity. And in this vein, I want to extend personal thanks to Barb Klinger for steering the Society so well during the previous two years and for providing me with such an exceptional example of leadership that I now can only try to emulate. I am glad to be able to continue working with you, Barb, and to benefit from your sage advice. Much of the work that keeps SCMS running efficiently and beneficially for our discipline is done on a volunteer basis. There are too many members who serve on annual, standing, and ad-hoc committees for me to thank each by name. To each of you, please know that the Board and I appreciate your service. I know I am not speaking only for myself when I say that active involvement in the Society is rewarding on both a personal and professional level. Please consider volunteering to serve on one of your Society’s annual or standing committees. Enjoy the conference! Steven Cohan President, SCMS

3 Letter from the Program Chair

On behalf of this year’s Program Committee, I want to welcome you all to the Atlanta conference. Once again, the conference is a snapshot of the state of our field today. This year, we decided to panels on similar topics to constitute a series that you will find scheduled back-to-back in the same conference room. Such clusters will also give you a sense of some of the trends in this year’s conference: in revisiting auteurism, camera movement, and color, for example. Among workshops, there is a noticeable trend this year as well of taking stock of current and future research and teaching methods. I would like to thank the members of the Program Committee for volunteering to take on the hard work of reading proposals in September and October—one of the busiest times on the academic calendar. They worked very hard not only to read proposals, but also to form cohesive panels from open-call papers that are diverse enough to generate discussion. My thanks and appreciation go to Baerbel Goebel- Stolz, Mary Beltrán, Caetlin Benson-Allott, John Bruns, Alenda Chang, Glyn Davis, Nick Davis, Mary Desjardins, Mark Gallagher, Roger Hallas, Kristen Hatch, Christine Holmlund, Kara Keeling, Cynthia Lucia, Moya Luckett, Nicholas Marx, Linda Mizejewski, Alan Nadel, Rielle Navitski, Gary Needham, Joanna Rapf, Kevin Sanson, Mark Shiel, Shawn Shimpach, Victoria Sturtevant, and Pamela Wojcik. As in past years, we have events lined up for you each evening. We open on Wednesday evening with “Richard Dyer and the House of Cinema,” a special event honoring Dyer, whose groundbreaking scholarship continues to inspire and generate new work in star studies, queer theory, and sound studies. SCMS thanks the many sponsors of this event: King’s College London, the University of Massachusetts Amherst, Palgrave/BFI Publishing, Routledge, Film Quarterly, Screen, and the SCMS African American and Queer Caucuses. Atlanta is a particularly exciting venue for us this year because of its rich connection to African American media and history. As in past years, Scholarly Interest Groups and Caucuses jointly organized a conference special event. On Thursday evening, the African American Caucus, the Caucus on Class, and the Documentary SIG have co-sponsored a timely discussion on “Mediated Rights: The Transformative Power of Images from Selma to Ferguson.” Please note, too, that caucuses and SIGs also sponsor regular panels and workshops, which are indicated in the conference schedule. I want to thank our Host Committee, co-chaired by Matthew Bernstein () and Alessandra Raengo (Georgia State University) for securing the Center for Civil and Human Rights as the venue for their Saturday evening events. Following a reception at 6:30 pm hosted by Emory University, during which you can visit the museum, we have a panel at 7 pm on “Atlanta on the Rise: The Emerging African-American Television Industry,” which brings together media scholars and local industry people to discuss the emergence of the city as a major site of TV production. After this panel, at 8:15 pm, there is a screening of the , Dreams Are Colder Than Death, a poetic documentary exploration of blackness and its relationship to life and death and what it means to be black in America, which will be followed by a discussion with the director, Arthur Jafa. A short walk away from the conference hotel, the Center for Civil and Human Rights has regular exhibits that you can visit during the day as well. Just as a note, the first 200 attendees will be able to visit the Center’s Civil Rights and Human Rights Galleries for free (with their SCMS badge) during the evening. Seats are on a first come/first served basis. For their hard work in organizing and securing funding for these events, I thank all members of the Host Committee: Ethan Tussey, Lauren Cramer, Daren Fowler, Jenny Gunn, Kristin Juarez, Shady Patterson, and Colin Wheeler. Thanks also to the following from Georgia State University: the Honors College, Creative Media Industries Institute, the Department of Communication, and the Center for Human Rights and Democracy. In addition, I thank the Ivan Allen College of Liberal Arts and the School of Literature, Media, and Communication both at the Georgia Institute of Technology. I would like to invite graduate students to a reception on Thursday evening made possible with the generous sponsorship of Syracuse University’s English Department, the University of , Santa Barbara’s Film and Media Studies Department, University of Southern California's School of Cinematic Arts, University of California, Irvine's PhD Program in Visual Studies and the University of Texas' Department of Radio-Television-Film. Your graduate student representative Juan Antonio 4 Llamas-Rodriguez has also organized a workshop on graduate school as academic labor on Saturday. As in other years, we will have a graduate student lounge and hospitality area, with internet access and printers available for your use. Lastly, I would like to invite you to our annual Awards Ceremony and Reception on Friday evening. As our membership grows, the reception is the place where we gather together once a year, no matter how loud and crowded it gets, to celebrate our scholarship and conviviality. This year, thanks to the hard work of Aviva Dove-Viebahn, our Web Content Manager, we will be offering you the mobile app Grupio, which, among other features, also allows you to take notes on sessions and e-mail yourselves those notes from the app. As a novice Program Chair, I am grateful for the groundwork laid before me by previous Program Chairs, and especially for the help and advice I got from Steven Cohan, last year’s Program Chair. A conference of this scale would not be possible without the quiet, indefatigable work of the tiny army of stalwarts from the Home Office and beyond. For easing me into the job, I thank Lindsey Pendleton who, in her first year as SCMS Administrative Coordinator, mastered the intricacies of conference organization without a hitch; David Rissenberg, who helped me navigate the technical aspects of our conference portal; and Bruce Brasell, for the unimaginable feat of figuring out the actual schedule of panels and workshops. My grateful thanks also go to Jill Simpson, our Executive Director, who coordinated the special events; Leslie LeMond, Conference Manager; Debbie Rush, Account and Budget Representative; and Brennick Gaudet, Program Assistant. Best wishes for a productive and enjoyable conference experience. Neepa Majumdar SCMS 2016 Program Chair

5 Letter from the Executive Director

Dear SCMS Colleagues, A warm Atlanta welcome to you! Over the last several months, the SCMS Program Committee has worked hard to bring you a slate of timely and engaging panels and workshops for the 2016 conference. We are also proud to bring you an abundance of riches with this year’s roster of events, influenced by Georgia’s unique history, culture, and growing stature as a center for film and media activity. Over the last decade, with the help of lucrative financial incentives, Georgia has seen the rapid expansion of its film and media activity and workforce. With a 2015 economic impact of more than $6 billion, it is now one of the fastest-growing entertainment production hubs in the world, ranking third in the US after only Louisiana and California. During this growth cycle, venerable Atlanta-based media titan Turner Broadcasting has been joined by major production companies such as EOE , Studios, and Pinewood Atlanta Studios, to name but a few. Last year 248 film and television productions were shot in the state, including big-budget productions such as The Hunger Games, Insurgent, and The Walking Dead. Saturday night’s Host Committee event, “Civil Encounters with Black Media and Black Life,” delves into the growth of Atlanta entertainment to shed light on the story behind the headlines. As it turns out, the backbone of the city’s industry is the proliferation of its homegrown television series with primarily African American producers and casts, which shoot nearly year round and take on issues of gender and economics from a regional perspective. Thursday night’s event, “Mediated Rights: The Transformative Power of Images from Selma to Ferguson,” provides another perspective on the region’s media and social change by providing us with images from historical, theoretical, political, and practical perspectives. Atlanta 2016 provides us with a compelling canvas, indeed. It would not be possible without the many individuals who have spent untold hours putting together such discussion-provoking events this year. We also wish to thank our 2016 sponsors who help make our five-day conference happen. Sponsorships and donations support not only our annual conference, but also our ongoing efforts year round. We encourage you to consider SCMS in your annual giving. In closing, I hope you will be in touch with me or any other member of the SCMS Board or Home Office staff if we can do anything to make your conference experience more enjoyable. We always welcome your input and would certainly like to work with you if you wish to become more involved in the organization. Have a great week! Best regards, Jill Simpson Executive Director

6 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, Cinema Journal, 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 Steven Cohan • Syracuse University • President Victoria Johnson • University of California, Irvine • Pamela Wojcik • University of Notre Dame • Secretary President-Elect Amanda Klein • East Carolina University • Treasurer Barbara Klinger • Indiana University • ex officio, Past President BOARD OF DIRECTORS Mary Beltrán • University of Texas at Austin Neepa Majumdar • University of Nick Davis • Northwestern University Linda Mizejewski • Mary Desjardins • Dartmouth College Juan Llamas-Rodriguez • University of California, Kara Keeling • University of Southern California Santa Barbara • (Graduate Student Representative) NON-VOTING MEMBERS Will Brooker • Kingston University • Editor, Caetlin Benson-Allott • University of Oklahoma • Cinema Journal Director of Film and Media Studies Aviva Dove-Viebahn • Arizona State University • Jill Simpson • University of Oklahoma • Web Content Manager Executive Director Lindsey Pendleton • University of Oklahoma • Administrative Coordinator Conference Organization

2016 CONFERENCE PROGRAM COMMITTEE Neepa Majumdar • University of Pittsburgh • (Chair) Barbara Klinger • Indiana University Mary Beltrán • University of Texas at Austin Cynthia Lucia • Rider University Caetlin Benson-Allott • University of Oklahoma Moya Luckett • New York University John Bruns • College of Charleston Nicholas Marx • Colorado State Alenda Chang • University of Connecticut Linda Mizejewski • Ohio State University Corey Creekmur • University of Iowa Alan Nadel • University of Kentucky Nick Davis • Northwestern University Rielle Navitski • Glyn P. Davis • University of Edinburgh Gary Needham • Nottingham Trent University Mary Desjardins • Dartmouth College Joanna Rapf • University of Oklahoma Mark Gallagher • University of Nottingham Kevin Sanson • University of California, Santa Barbara Baerbel Goebel-Stolz • Indiana University Mark Shiel • King’s College London Roger Hallas • Syracuse University Shawn Shimpach • University of Massachusetts Amherst Kristen Hatch • University of California, Irvine Victoria Sturtevant • University of Oklahoma Chris Holmlund • University of Tennessee Pamela Wojcik • University of Notre Dame Kara Keeling • University of Southern California 7 2016 HOST COMMITTEE Matthew Bernstein (Chair) • Emory University Ethan Tussey • Georgia State University Alessandra Raengo (Chair) • Georgia State University Lauren Cramer* • Georgia State University for liquid blackness: Daren Fowler * Kristin Juarez* Colin Wheeler* Jenny Gunn* Shady Patterson* * denotes Graduate Student

2016 CONFERENCE ORGANIZERS

EXECUTIVE DIRECTOR: Jill Simpson ADMINISTRATION, REGISTRATION, AND ACCOUNTING: Brennick Gaudet, CONFERENCE MANAGER: Leslie LeMond Lindsey Pendleton, and Debbie Rush ASSISTANT CONFERENCE MANAGER: Ginger Leigh WEBSITE MANAGEMENT AND COORDINATION: Aviva Dove-Viebahn PROGRAM SCHEDULE COORDINATOR: Bruce Brasell CONFERENCE PHOTOGRAPHER: Michael Kackman COPY EDITOR: Mark Hain MULTIMEDIA FIELD PRODUCER: Maile Hetherington PROGRAM DESIGNER AND TYPESETTER: Del LeMond

Special Thanks A special thanks to the following for their support and assistance with the 2016 conference: Joel Neville Anderson Roger Hallas Alessandra Raengo Jamie Baron Jada Harris Ingo Schlupp Christine Becker Lisa Henderson Tova Shaban Mary Beltrán Maile Hetherington Samantha Sheppard Matthew Bernstein Bill Kirkpatrick Victoria Sturtevant Bruce Brasell Barbara Klinger Todd Thompson Stephanie Brown Juan Llamas-Rodriguez Haidee Wasson Jim Castonguay Michael Kackman Pamela Wojcik Stephen Charbonneau Kara Keeling Freeman: Brent Graham, Katherine Kelly Damphousse Neepa Majumdar Baize Aviva Dove-Viebahn Andrew Miller Hilton: Portia Aofiyebi, Damir Cesar, Jane Dye Matthew Ogonoski Brittany Cockrell, Adam Kerth Victor Andrew Owens PSAV: Caroline Wisdom Mark Hain Patrice Petro

SCMS Social Media & Mobile App Follow us on (@SCMStudies) and Instagram (@scmstudies). Use #SCMS16 to post about your experiences during the conference. Grupio Like us on Facebook: www.facebook.com/SCMStudies and keep up to date on conference events via our Grupio mobile app. Access information about the conference from your mobile device including the conference schedule, directory of speakers and exhibiting vendors, sponsors and more! Further instructions on installing the app will be sent to registered conference goers in advance of the conference.

8 Schedule of Events at a Glance

Wednesday, March 30 Friday, April 1 10:00–11:45 am Session A 9:00–10:45 am Session K 12:00 noon–1:45 pm Session B 11:00 am–12:00 noon Members’ Business Meeting 2:00–3:45 pm Session C 12:15–2:00 pm Session L 4:00–5:45 pm Session D 2:15–4:00 pm Session M 6:00–7:45 pm Session E 4:15–5:30 pm Awards Ceremony 8:00 pm SPECIAL EVENT: 5:30–7:30 pm Reception Richard Dyer in the House of Saturday, April 2 Cinema Thursday, March 31 9:00–10:45 am Session N 11:00 am–12:45 pm 9:00–10:45 am Session F Session O 1:00–2:45 pm 11:00 am–12:15 pm Orientation for New Members/ Session P Networking Session 3:00–4:45 pm Session Q 11:00 am–12:45 pm Session G 5:00–6:45 pm Session R 1:00–2:45 pm Session H 6:30–10:30 pm SPECIAL EVENT: 3:00–4:45 pm Civil Encounters with Black Media Session I and Black Life 5:00–6:45 pm Session J 6:30–7:00 pm Host Committee Reception 7:00 pm 7:00–8:00 pm Atlanta on the Rise SPECIAL EVENT: 8:15–9:45 pm Can Blackness be Loved? Graduate Student Reception 9:45–10:30 pm Dessert Reception 8:30 pm SPECIAL EVENT: Sunday, April 3 Mediated Rights: The Transformative Power of 9:00–10:45 am Session S Images from Selma to Ferguson 11:00 am–12:45 pm Session T 1:00–2:45 pm Session U

Registration Desk(s) Hours Exhibit Hours*

ROOM 211 • Second Floor ROOM Grand Ballroom East/AB • Second Floor TUESDAY, MARCH 29* THURSDAY, MARCH 31 4:00 – 6:00 pm 10:30 am – 5:30 pm *Tuesday hours for name badge and conference FRIDAY, APRIL 1 program pick-up only (pre-registered attendees) 9:30 am – 5:30 pm WEDNESDAY, MARCH 30 SATURDAY, APRIL 2 8:00 am – 5:00 pm 9:00 am – 6:00 pm THURSDAY, MARCH 31 *hours subject to change 8:00 am – 5:00 pm FRIDAY, APRIL 1 8:00 am – 5:00 pm Lost and Found SATURDAY, APRIL 2 Lost and found items can be turned in at Registration 8:00 am – 5:00 pm during the conference. Any items not claimed by the SUNDAY, APRIL 3 end of the conference will be left at the hotel front desk. 8:30 am – 12:00 noon 9 2016 Conference Sponsors SCMS would like to extend special thanks for the generous support from our sponsors.

Platinum Sponsorship

Emory University Department of Film and Media Studies

Gold Sponsorship

MoviesTO

Specialized Conference Sponsorships

Emory University Department of Film and Media Studies

University of Notre Dame Department of Film, Television, & Theatre

Georgia State University Honors College HONORS COLLEGE Bloomsbury Publishing

Georgia State University Creative Media Industries Institute CREATIVE MEDIA INDUSTRIES INSTUTUTE

Georgia Institute of Technology School of Literature, Media & Communication

King’s College London

Georgia Institute of Technology Ivan Allen College of Liberal Arts 10 2016 Conference Sponsors (cont’d)

Specialized Conference Sponsorships

Syracuse University University of Texas at Austin Department of English Department of Radio-Television-Film University of California, Santa Barbara Screen Department of Film and Media Studies (Oxford University Press) University of Southern California University of Massachusetts Amherst School of Cinematic Arts Department of Communication Georgia State University Georgia State University’s Center for Department of Communication Human Rights and Democracy Routledge Palgrave, Macmillan Education University of California, Irvine Film Quarterly Ph.D. Program in Visual Studies (University of California Press)

English Department SYRACUSE UNIVERSITY

DEPARTMENT OF COMMUNICATION

CENTER FOR HUMAN RIGHTS & DEMOCRACY

The following SCMS Caucus and Scholarly Interest Groups gave all, or a portion of, their funding to co-sponsor conference events. African/African American Caucus Latino/a Caucus Caucus on Class Media Industries Scholarly Interest Group CinemArts: Film & Art History Media Literacy & Pedagogical Outreach Scholarly Interest Group Scholarly Interest Group Classical Scholarly Interest Group Nontheatrical Film & Media Scholarly Interest Group Documentary Studies Scholarly Interest Group Queer Caucus & Media Scholarly Interest Group Scholarly Interest Group Film Scholarly Interest Group Women in Screen History Scholarly Interest Group French/Francophone Scholarly Interest Group Women’s Caucus 11 SCMS Caucus & Scholarly Interest Group Meeting Schedule All SCMS members are welcome to attend. Wednesday, March 30 12:00–1:45 pm Television Studies Scholarly Interest Group ROOM 410 • Fourth Floor 2:00–3:45 pm Film & Media Festivals Scholarly Interest Group ROOM 410 • Fourth Floor 2:00–3:45 pm Middle East Caucus ROOM 206 • Second Floor 4:00–5:45 pm French/Francophone Scholarly Interest Group ROOM 410 • Fourth Floor 4:00–5:45 pm Documentary Studies Scholarly Interest Group ROOM 206 • Second Floor 6:00–7:45 pm Comedy & Humor Studies Scholarly Interest Group ROOM 410 • Fourth Floor Thursday, March 31 9:00–10:45 am Women’s Caucus ROOM 410 • Fourth Floor 9:00–10:45 am Animated Media Scholarly Interest Group ROOM 206 • Second Floor 1:00–2:45 pm Scandinavian Scholarly Interest Group ROOM 410 • Fourth Floor 1:00–2:45 pm Media, Science, & Technology Scholarly Interest Group ROOM 206 • Second Floor 3:00–4:45 pm Women in Screen History Scholarly Interest Group ROOM 410 • Fourth Floor 3:00–4:45 pm Scholarly Interest Group Coordinating Committee ROOM 206 • Second Floor 5:00–6:45 pm Comics Studies Scholarly Interest Group ROOM 410 • Fourth Floor 5:00–6:45 pm Media Industries Scholarly Interest Group ROOM 206 • Second Floor 5:00–6:45 pm African/African American Caucus ROOM 205 • Second Floor Friday, April 1 9:00–10:45 am Radio Studies Scholarly Interest Group ROOM 410 • Fourth Floor 9:00–10:45 am Asian/Pacific American Caucus ROOM 206 • Second Floor 12:15–2:00 pm Media & the Environment Scholarly Interest Group ROOM 410 • Fourth Floor 12:15–2:00 pm Urbanism/Geography/Architecture Scholarly Interest Group ROOM 206 • Second Floor 2:15–4:00 pm Transnational Cinemas Scholarly Interest Group ROOM 410 • Fourth Floor 2:15–4:00 pm Experimental Film & Media Scholarly Interest Group ROOM 206 • Second Floor 7:30–8:45 pm Latino/a Caucus ROOM 410 • Fourth Floor 7:30–8:45 pm Caucus on Class ROOM 206 • Second Floor 7:30–8:45 pm Silent Cinema Cultures Scholarly Interest Group ROOM 205 • Second Floor Saturday, April 2 9:00–10:45 am War & Media Studies Scholarly Interest Group ROOM 410 • Fourth Floor 9:00–10:45 am CinemArts: Film & Art History Scholarly Interest Group ROOM 206 • Second Floor 11:00 am–12:45 pm Nontheatrical Film & Media Scholarly Interest Group ROOM 410 • Fourth Floor 11:00 am–12:45 pm Adult Film History Scholarly Interest Group ROOM 206 • Second Floor 1:00–2:45 pm Queer Caucus ROOM 410 • Fourth Floor 1:00–2:45 pm Studies Scholarly Interest Group ROOM 206 • Second Floor 3:00–4:45 pm Fan & Audience Studies Scholarly Interest Group ROOM 410 • Fourth Floor 3:00–4:45 pm Film Philosophy Scholarly Interest Group ROOM 206 • Second Floor 5:00–6:45 pm Classical Hollywood Scholarly Interest Group ROOM 410 • Fourth Floor 5:00–6:45 pm Caucus Coordinating Committee ROOM 206 • Second Floor Sunday, April 3 9:00–10:45 am Media Literacy & Pedagogical Outreach Scholarly Interest Group ROOM 410 • Fourth Floor 11:00 am–12:45 pm Sound Studies Scholarly Interest Group ROOM 410 • Fourth Floor 11:00 am–12:45 pm Oscar Micheaux Society ROOM 206 • Second Floor 1:00–2:45 pm Central/East/South European Cinemas Scholarly Interest Group ROOM 410 • Fourth Floor 1:00–2:45 pm Cognitive/Analytic Scholarly Interest Group ROOM 206 • Second Floor 12 Thanks to Advertisers & Exhibitors We gratefully acknowledge the following advertisers and exhibitors for their support of this year’s conference. ADVERTISERS Berghahn Books NYU Steinhardt University of Michigan Press Canadian Journal of Oxford University Press University of Michigan, Screen Arts & Columbia University Press Routledge Cultures DEFA Film Library Rutgers University Press University of Minnesota Press Duke University Press Ryerson University, Film & University of Oklahoma, Film & Media Duke University Press, Journals Photography Preservation & Studies Emory University, Department of Film Collections University of Texas Press and Media Studies Shayne Lee, University of Houston University of Wisconsin-Milwaukee, Indiana University Press SUNY Press Media, Cinema and Digital Studies McGill-Queen’s University Press International Film Festival University Press of Mississippi MoviesTO University of California, Irvine, Ph.D. Vanderbilt University Press Muhlenberg College Program in Visual Studies W.W. Norton & Company New York University, Department of University of California Press Wayne State University Press Cinema Studies University of California Press, Journals NYU Press University of Illinois Press EXHIBITORS Alexander Street Indiana University Press SUNY Press Berghahn Books Intellect The MIT Press Bloomsbury Publishing Kino Lorber EDU University of California Press Canadian Filmmakers Distribution Centre Latino/a Caucus Press Canyon Cinema Foundation McFarland University of Illinois Press Columbia University Press McGill-Queen’s University Press University of Iowa Press MoviesTO University of Michigan Press Dartmouth College Press / University NYU Press University of Minnesota Press Press of New England Ohio State University Journal of Short University of Texas Press DEFA Film Library Film University Press of Mississippi Duke University Press Oxford University Press W.W. Norton & Company Edinburgh University Press Palgrave Macmillan Wayne State University Press Harvard University Press Routledge Wiley I.B.Tauris Rutgers University Press Exhibitor Receptions Thursday, March 31 3:00 – 4:00 pm Routledge—reception to celebrate the anniversaries of four Routledge journals Table in the exhibit area Friday, April 1 9:30 – 10:30 am Bloomsbury Publishing—chat with Global Exploitation Cinemas series editors Austin Fisher and Table in the exhibit area Johnny Walker! 3:00 – 4:00 pm Rutgers University Press—a celebration of our authors! Table in the exhibit area 3:00 – 4:00 pm Columbia University Press—event to celebrate Roy Thomas and the Film and Culture series Table in the exhibit area 7:30 – 8:30 pm Duke University Press—reception to celebrate Camera Obscura's 40th Anniversary and their ROOM 409 • Fourth Floor publication of two special issues: "Collectivity: Part 1" and "Collectivity: Part 2”. Hosted by Duke University Press, the University of California, Santa Barbara, Department of Film and Media Studies, and Camera Obscura. 7:30 – 9:30 pm Oxford University Press—a cocktail reception to celebrate the publication of OUP film studies ROOM 404 • Fourth Floor books for 2015-2016 13 Thanks to Our 2015–2016 Donors Many thanks to those who generously donated to the Award, General, Travel, and SCMS-U Funds: AWARD FUND James Leo Cahill Livia Rodica Monnet GENERAL FUND Steven Cohan Brent Holden Paul S. Moore Mary Desjardins Priya Jaikumar Denise O’Malley Nicolas Frederic Guezennec Victoria Johnson Jill Simpson SCMS-U Rebecca Bell-Metereau Chris Holmlund Tiel Lundy TRAVEL FUND Catherine Benamou Robert Eberwein Leslie LeMond Matthew Bernstein Ken Feil Kathleen McHugh Janett Buell Bishnupriya Ghosh Constance Penley Robert Burgoyne Matthew Holtmeier Stacy Takacs Heidi Cooley Mary C. Kearney Haidee Wasson Scott Curtis Nicole Keating Charles Wolfe Michael D. Dwyer Barbara Klinger Cristina Venegas

Thanks to Our Registration Desk Volunteers Ivan Aguirre Christina Hodel Jessica Mulvogue Diane Anselmo-Sequeria Maria Hoffman Eleanor Patterson Andrew Bottomley Jessica Johnston Kenneth Pinion Stephanie Brown Arzu Karaduman Eszter Polonyi Samantha Close Masaki Kondo Javier Ramirez John Cruz Katerina Korola Marc Rose Jesse Cumming Sarah Lerner Zeke Saber Lindsey Decker Michael Lovelock Janina Schupp Ilana Emmett Wan-Jun Lu Genne Speers Julian Etienne Fulvia Massimi Staci Stutsman Rachel Fabian Chelsea McCracken Kateria Symes Carolyn Fornoff Taylor Cole Miller Marie-Alix Thouaille Samantha Herndon Nicole Erin Morse Katie

Please Note Replacement conference programs are available at Registration for $20 (subject to availability). Unless otherwise noted, all meetings, panels, workshops, and events will take place at the conference hotel— Hilton Atlanta, 255 Courtland Street NE.

14 Thanks to Our 2015–2016 Institutional Members Academy of Motion Pictures Arts and Sciences, Margaret University of California, Santa Barbara, Film and Media Herrick Library Studies Art Resource, The Kobal Collection University of Chicago, Cinema and Media Studies Brown University, Department of Modern Culture & Media University of Colorado Boulder, Film Studies Program Chapman University, Dodge College of Film & Media Arts University of Iowa, Department of Cinematic Arts Concordia University, Mel Hoppenheim School of Cinema University of Kansas, Department of Film & Media Studies Emerson College, Department of Visual & Media Art University of Michigan, Department of Screen Arts & Florida Atlantic University, School of Communication & Cultures Multimedia Studies University of Minnesota, Department of Cultural Studies & Georgia State University, Department of Communications Comparative Literature Leeds Beckett University, University of Notre Dame, Department of Film, Television, Lillehammer University, Department of Social Sciences and Theatre Liverpool John Moores University, Film Studies University of Oklahoma, Film and Media Studies New York University, Cinema Studies University of Oregon, Cinema Studies Northwestern University, RTVF Screen Cultures University of the Pacific, Film Studies Syracuse University, English Department University of Texas at Austin, Radio, Television & Film Toronto International Film Festival University of Utah, Department of Film/Media Arts Tufts University, Film and Media Studies University of Virginia, Media Studies Universidad Europea de Madrid, School of Arts & University of Wisconsin-Milwaukee, Film Studies Program Communication Vanderbilt University, Cinema & Media Arts University of California, Irvine, Program in Visual Studies Washington University in St. Louis, Film & Media Studies University of California, , Film, Television and Yale University, Film Study Center Digital Media York University, Department of Film

Become an Institutional Member! Benefits of SCMS Institutional Membership (membership year runs from September 1 – August 31) Institutional members receive Cinema Journal, access to the members’ area of the website, e‑newsletters and announcements, and a profile page. In addition, institutional members will be able to have unlimited access to our 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. Institutional members will also be featured in the Programs/Schools area of the SCMS website, listed in our annual conference program, and in future issues of Cinema Journal. In addition, institutional members are invited to provide us with logos and links to their homepage to showcase their programs and activities on the SCMS website. For more information, please visit www.cmstudies.org/?page=institut_membership

15 SCMS Graduate Student Lounge & Hospitality Area with Computer/Internet/Printer Access ROOM 209 • Second Floor Feel free to hang out in this area, hold informal meetings, charge your devices, chat with friends, work on your computer. All registered attendees of SCMS 2016 may use these computers free of charge. You may also use them with flash drives to print out necessary documents. Please limit the time you spend so that everyone can have access. Thank you. 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.

Wireless Internet Access — Standard in all meeting space at SCMS 2016 — This includes the Exhibit Area (Grand Ballroom East/AB • Second Floor) and the SCMS Graduate Student Lounge & Hospitality Area (Room 209 • Second Floor). You will need to obtain a password at conference registration.

Thanks for Staying at the Hilton Atlanta If you booked a room at the Hilton Atlanta under the SCMS room block (online or by phone), your guest room rate includes in‑room, high-speed internet access. Please inquire at the front desk for details regarding how to log on to the internet in your guest room and how this will be taken care of on your final bill. Again, this applies only to those who booked directly through the hotel and under the SCMS room block. Thank you again for attending SCMS 2016!

2016 Audio Visual Policy The following equipment will be standard in all panel/workshop rooms at the conference: DVD player (Region 1—standard for USA and Canada) LCD projector (with audio) Wireless internet access (you will need to obtain the password at registration) We are NOT able to accommodate changes or requests for A/V equipment onsite. Thank you for your cooperation.

How Are Workshops Different than Panels? Workshops are distinct from panels in that they focus on field-specific topics with brief presentations by presenters that lead to focused, substantive discussions and debate among workshop participants and the audience. Workshops are intended to be dialogical, interactive, and productive workspaces with topics typically focused on pedagogy, research strategies, and methodologies. They may also explore major intellectual issues/trends in the discipline. 16 Accessibility at the Hilton Atlanta

All sessions at the SCMS Conference are accessible to people with disabilities. The conference will span multiple floors of the hotel with ADA accessible elevators connecting all areas. The meeting rooms are located on floors 1, 2, 3, and 4 and are all accessible. The Crystal Executive Boardroom, which is bi-bevel, is equipped with one wheelchair lift (SCMS is not holding any official functions in this room). The Hilton Atlanta is certified accessible and wheelchair friendly. There are no restrictive steps that impede full hotel access. There is an accessible lobby. Thresholds and doormats are in compliance with American with Disabilities Act (ADA) regulations and door-service personnel are available. Lobbies have marble floors and/or low-pile area carpeting. The Hilton has an accessible hotel registration desk or will provide a clipboard to guests to complete registration documentation. Elevators connect all levels of the hotel. Each elevator has a wheelchair accessible keypad, Braille numerals beside each control button, and audible directions. Restrooms in lobbies and on meeting room floors are wheelchair accessible and have tactile signage. The Hilton has 35 ADA-approved accessible rooms. Among other amenities, these rooms feature wheelchair-accessible doors, lever door handles, security peepholes, ample room space, grab bars in restrooms, low sinks with insulated pipes, accessible towel racks, and accessible mirrors. ADA rooms are based on availability and are not guaranteed. The following auxiliary aids are available at most properties: flashing fire alarm, doorbell, and telephone; vibrating alarm clock; closed-caption decoders; Braille signage; and TDD telephones. The hotel’s restaurants, Market Place, Southern Elements, Nikolai’s Roof, and Trader Vic’s are all accessible. An elevator from the self-parking garage leads directly to the hotel lobby. Self-parking spaces are based on availability and are not guaranteed. Ceiling height limit is 6 feet. Valet parking service is available in front of the hotel only. Valet parking spaces are based on availability and are not guaranteed. Special car parking spaces and wheelchair van parking is available nearby at other parking lots and garages that are not operated by Hilton Atlanta. Please contact the hotel before the conference if you have concerns or need special assistance of any kind during the week of the conference by dialing (404) 659-2000 and asking for group reservations or by e-mail at . If you wish to speak with someone from SCMS, please feel free to contact Leslie LeMond, Conference Manager . 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.

Nominations for Distinguished Career Achievement & Pedagogy 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 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. 17 Meeting Space at a Glance

First Floor

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Op 201 T 202 214 Ly 213 212 203 208 207 209 206 210 Caucus & 205 211 SIG Meetings 204 Conference Graduate Student 18 Registration Lounge & Hospitality Area Meeting Space at a Glance

Third Floor

305 306 Tennis Courts 304 307 303 308 302

301 Pool

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315 Op T Ly 314 313 CrcCr 309 310 311 312 MoviesTO

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Tennis Court 403 405

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Basketball Court

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Caucus & SIG Meetings 19 AtlantaAtlantaHost Committee Recommendations Welcome to Atlanta, the most international and modern city in the Southeast. Atlanta combines deep roots in Southern history with worldly feel and resources. Rich in art, fine dining, popular and media culture, Atlanta can very quickly feel like home. Don’t limit yourself to the hotel area: short taxi or Uber/Lyft rides will give you access to Atlanta’s distinctive neighborhoods, historic sites, and thriving music and art scenes.

Arriving in Atlanta

Need to Know • Most common credit cards are widely accepted. ATMs are widespread across the city in bank offices, convenience stores, and pharmacies. • Street names can be confusing, so pay close attention. Peachtree Street, , and West Peachtree, for example, are different streets. Decatur Street, Marietta Street, and Dekalb Avenue are in fact the same street, but it changes names on the edges of downtown. • Further tourist information is available online: atlanta.net.

From Hartsfield-Jackson International Airport to the Conference Hotel MARTA (METRO ATLANTA RAPID TRANSIT AUTHORITY) The MARTA system provides the easiest connection between the airport and downtown Atlanta, running from 5 am to 1:30 am, seven days a week. You have to buy the MARTA card ($1) and then make your selection: you can buy single rides ($2.50 each); a one-day pass for $9; a two-day pass for $14; a three-day pass for $16; and a four-day pass for $19. These passes get you unlimited travel on the public transportation system throughout the city (bus and train), including the ride from the airport. In the airport, as you leave the baggage claim, you will head west, away from ticketing/check-in and security checkpoints, and then move through the sliding doors. Inside you will find blue vending machines as well as RideStore ticket agents (open Monday through Friday from 8 am to 5:30 pm) for the Metropolitan Atlanta Rapid Transit Authority. At both vending machines and the RideStore, you can use either cash or credit/debit card to purchase a MARTA Breeze card. You will tap your Breeze card to both enter and exit the MARTA, so please keep it handy. Both the Red and Gold lines travel north towards downtown. Both trains have eight stops between the airport and Peachtree Center Station—the closest station to the conference hotel. The train, on average, takes sixteen minutes to reach Peachtree Center Station from the airport. The train offers enough space for luggage. However, during peak hours (6 am to 9 am and 3 pm to 7 pm) the train fills more quickly the closer it gets to downtown, so be prepared to possibly stand or adjust luggage. All MARTA trains, stations, and buses are handicap accessible.

20 Host Committee Recommendations Once you exit the train at Peachtree Center Station, the hotel is 0.4 miles northeast. Inside the station, take the north exit towards Harris Street/Peachtree Street East. The long escalator exits into the Mall at Peachtree Center. Continuing through the mall and up another set of escalators will take you outside to Peachtree St. Directly north of the station exit will be Ellis Street and further north on Peachtree will be an easy marker: Hard Rock Café. You can either take a taxi to the hotel from Peachtree Center Station or walk the 0.4 miles (about a ten-minute walk). If walking, head north on Peachtree St. for two blocks, turn right onto John Portman Blvd., head east (right) another two blocks before turning left onto Courtland St. and the Hilton will be on the right—225 Courtland St. NE. Further bus and train information is available online: itsmarta.com.

Checker Cab A trip from the airport to the city (or the city to the airport) costs about $30. Taxi drivers normally get a tip of ten to fifteen percent. Checker Cab taxis are all yellow and white with the company name on the front driver- and passenger-side doors, and a “TAXI” sign on top of the vehicle. Inside, the driver should have a proof of registration and photo ID installed in a place visible to the passenger. The average rates are an initial fare of $2.50 with an additional $0.25 for each 1/8 mile. If traveling with multiple passengers, each additional passenger will cost $2. All Checker Cab taxis major credit cards; however, do confirm this with the company when calling a taxi by phone or with the driver before you settle in for your ride. (404) 351–1111 atlantacheckercab.com

Uber and Lyft Using Uber, a trip from the airport to the conference hotel costs on average $16 to $22. Uber requires that you download their smartphone app and register using a valid e-mail address, phone number, name, and credit card (Uber does not accept cash payments). Once in the app and registered, select the size and level of vehicle, enter your pick-up location to find the nearest Uber driver, and then input destination location. The app will provide you with your driver’s name, phone number, and the make/color of his/her vehicle. The base fare for the standard level of Uber (UberX) is $1.30 plus $0.16 per minute plus $1 per mile, with a minimum fare of $5.75—all trips that cost less than the minimum will be charged at this price. All Uber drivers undergo background checks before being hired as drivers. For further information visit uber.com/cities/atlanta. Using Lyft, a trip from the airport to the conference hotel costs on average $14. Lyft requires that you download their smartphone app and register using a valid e-mail address, phone number, name, and credit card, Pay-pal, Google Wallet (Android only), or Apple Pay (Lyft does not accept cash payments). Once in the app and registered, enter your pick-up location to find the nearest Lyft driver, and then input destination location. Lyft cars can hold only three passengers. The app will provide you with your driver’s name, phone number, and the make/color of his/her vehicle. After arriving at your destination, select any level of tip and payment option. The base fare for the standard level of Lyft is $1.15 plus $0.15 per minute plus $0.80 per mile, with a minimum fare of $6—all trips that cost less than the minimum will be charged at this price. All Lyft drivers undergo background checks before being hired as drivers. For further information visit lyft.com/cities/atlanta.

21 Host Committee Recommendations Getting Around Town

Walking Atlanta is a city of unique and sprawling neighborhoods with distinct personalities. Neighborhoods have their own atmosphere, but each is full of locally-owned shops, good food, fun bars, and cultural landmarks. March begins Atlanta’s transition from winter into spring, with lows in the 40s and highs in the 60s. Gloves, scarves, and a hat could come in handy at night, but a light coat or warm sweater will be essential for downtown’s breezier corridors and the crisp nights. Atlanta’s rainfall is fairly consistent throughout the year, but March can be on the heavier side, so umbrellas and raincoats could prove useful—and of course, comfortable shoes. The Hilton Atlanta is near the main tourist center of downtown—Peachtree St.—but it is also a ten to fifteen-minute walk from some key downtown features, including CNN, , the Center for Civil and Human Rights, the World of Coca-Cola, Phillips Arena, the Atlanta Aquarium, and the College Football Hall of Fame (the Atlanta CityPass can give you a discount if you are planning to visit a number of these sites: citypass.com/atlanta). Also a ten to fifteen-minute walk away, the provides easy access to other key attractions near downtown. The area around the conference hotel is easily walkable and usually filled with pedestrians visiting the many tourist attractions. Equally walkable are the rest of Atlanta’s neighborhoods, though you will need to take MARTA, the streetcar, or other transportation to reach them easily and safely. Atlanta and its neighborhoods are generally safe spaces filled with students, residents, families, and tourists, but do take the usual precautions when visiting any large city.

MARTA The Metropolitan Atlanta Rapid Transit Authority (MARTA) operates Atlanta’s public transportation. To use MARTA trains requires purchasing a Breeze Card, which costs $1; buses also accept cash payment. You then add different levels of fares to the card to gain access to the trains and buses. A single trip fare costs $2.50 with up to four transfers between buses within a three-hour period. You can purchase a one-day pass for $9, a two-day pass for $14, a three- day pass for $16, and a four-day pass for $19. MARTA’s southbound Red and Gold lines will take you to the airport. While MARTA can take you close to many neighborhoods, for some neighborhoods it may be easier and quicker to ride MARTA to the nearest station and then use Uber, Lyft, or a taxi to reach the neighborhood center. For more information about pricing, train and bus routes, and schedules, visit itsmarta.com. If you have a smartphone, we recommend that you download the free MARTA app to consult bus and train timetables. MARTA Lines: There are four lines that operate from 5 am to 1:30 am seven days a week. The Red/Gold lines run north and south, while the Blue/Green lines run East/West. Five Points Station is the transfer point for switching between north/south and east/west. After 9 pm, the Red line limits its service. Visit MARTA’s website for more information on how to navigate North Atlanta after 9 pm. The Red and Gold lines will take you to , Midtown, and Westside. The Blue and Green lines will help you reach Cabbagetown/Reynoldstown, , Edgewood/Candler Park, Kirkwood, and Decatur. If you are attempting to go further east than Edgewood/Candler Park, you will need to take the Blue line, as the Green line is a limited services train. Bus: MARTA’s bus routes stem off from the train stations and run from 5 am to 1:30 am during the week and 5 am to 12:30 am on the weekend. Buses arrive at stops roughly every ten minutes, but frequency changes according to traffic and weather conditions. In general, most buses and train stations include line maps and timetables, but we recommend consulting the MARTA website or app beforehand. Note that to take the bus you will either need to add money onto a Breeze card or have exact change for the $2.50 trip. Accessibility: For people with reduced mobility, all buses and trains have low-floor ramps accessible by wheelchairs. 22 Stations also have elevators that will exit near the bus loading area of each station. Host Committee Recommendations Atlanta Streetcar Atlanta’s Streetcar is a new addition to the MARTA public transportation system and gives easy access to Atlanta’s downtown and . A single adult fare is $1, with a one-day pass costing $3 or a five-day pass for $10. You will need to purchase a Breeze Card and load the card with the streetcar fare prior to boarding. Vending machines are available at each stop and other MARTA stations. The streetcar will give easier access to the Market, Old Fourth Ward bars and restaurants, Martin Luther King Jr.’s birth home, Historic , and Martin Luther King Jr. National Historic Site.

Near the Conference

Downtown You will find large hotels with restaurants and restaurant chains catering to visitors at the northern end of downtown (where the conference hotel is located). The southern end of downtown (a fifteen to twenty-minute walk from the conference hotel) is home to Georgia State University’s campus, artist-run spaces, and government buildings. There you’ll find quick lunch spots for students and the downtown work crowd. Please note that many downtown stores and restaurants have limited to no service on weekends, particularly when you get closer to Georgia State’s campus.

In the Hotel COFFEE Caribou Coffee Starbucks 303 Peachtree St. NE, Suite BL7 265 Peachtree Center Ave. NE LUNCH/DINNER IN THE CONFERENCE HOTEL Nikolai’s Roof Trader Vic’s (404) 572–6548 (404) 221–6339 nikolaisroof.com tradervicsatl.com With a long-esteemed history in Tiki-themed restaurant inside the Atlanta, Nikolai’s Roof is known for Hilton is known for its island-themed its presentation, view, and three- décor and strong drinks. course meals. $20–40 $30–60

Lunch/Dinner Nearby (within a ten-minute walk from the conference hotel) Alma Cocina Aviva The Corner Bakery 191 Peachtree St. NE, next to the Peachtree Centre Mall, 231 270 Peachtree St., Suite #100 Ritz-Carlton Peachtree St. (404) 215–9000 (404) 968–9662 (404) 698–3600 Quick and good breakfast and lunch alma-atlanta.com avivabykameel.com $5–10 Upscale Mexican fusion Considered a gem in a food court, $20–40 great Mediterranean lunch spot. $10–20

23 Host Committee Recommendations Gus’s World Famous Fried Polaris Restaurant Chicken 265 Peachtree St. NE (the top of the 231 West Peachtree St. NE, A–05 Hyatt Regency). (404) 996–2837 (404) 460–6425 gusfriedchicken.com polarisatlanta.com A Memphis favorite, the Atlanta For the revolving dining experience! newcomer is getting rave reviews. Entrée’s are limited but serves Good for lunch. appetizers and good drinks. $10–15 $20–40

Restaurants Around CNN Center Dantanna’s Downtown McCormick & Schmick’s Seafood Der Biergarten One CNN Center, Suite 269 & Steaks 300 Marietta Street NW (404) 522–8873 190 Marietta Street (404) 521–2728 Dantannas.com One CNN Center Derbiergarten.com Sports Bar, great burgers and wings (404) 521–1236 Everyone loves a German $15–20 Mccormickandschmicks.com beer garden with Fussball and Surf and Turf with a Great Happy shuffleboards Max’s Coal Oven Pizzeria Hour $20–25 300 Marietta Street NW $25–40 (404) 801–3258 Ruth’s Chris Steakhouse Maxsatl.com 267 Marietta Street New York Style pizza made in only (404) 223–6500 coal burning oven in Atlanta Ruthschris.com $15–20 Embassy Suites Centennial Olympic Park Great Wine, Great Steaks

Neighborhoods in the Area

Southern End of Downtown Bustling on weekdays and much quieter on the weekends, this area is near the Georgia State Campus and Five Points, the latter named for converging railroad lines from which Atlanta grew. MARTA rail stations for the southern end of downtown include Five Points and Georgia State. Broad Street Buenos Dias Café Between Marietta St. and Luckie St. 30 Decatur St. SE 209 Edgewood Ave. SE Good for lunch. Find pizza by the (404) 584–0444 thecurbmarket.com slice at Rosas, falafel at Ali Baba’s, buenosdiascafe.com Good for lunch. You can find soul and pho at Dua Vietnamese Noodle Good for breakfast and lunch, with food, killer burgers, Jamaican food, Soup on this restaurant row. café con leche, fresh-squeezed juice, burritos, fresh produce, and baked $5–15 papusas, and Cuban sandwiches goods at Atlanta’s original food hall. $5–10 $5–15

24 Host Committee Recommendations Old Fourth Ward Old Fourth Ward is known for being the birthplace of Martin Luther King Jr. and has a vibrant nightlife popular with students. The MARTA station for Old Fourth Ward is Martin Luther King. Ammazza The Sound Table 591-A Edgewood Ave. SE 447 Edgewood Ave. SE 483 Edgewood Ave. (404) 228–1036 mother447.com (404) 835–2534 ammazza.com Good for dinner and drinks, find thesoundtable.com This Napoletana pizzeria is not your brisket tacos and pub food. Next- Good for dinner and drinks, the average pizza: find a full bar and DJ door is Joystick Gamebar where you Sound Table is a nice, dim spot after 10 pm can spend your quarters playing with great food and freshly made $15–30 vintage games. cocktails. It turns into a dance spot $10–15 with a rotating selection of local and Ladybird international DJs. Expect a cover 684 John Wesley Dobbs Ave NE Noni’s Deli after 10 pm (404) 458–6838 357 Edgewood Ave. SE $20–30 ladybirdatlanta.com (404) 343–1808 The lively Ladybird sits on the nonisdeli.com The Staple House Beltline and serves campfire-inspired Good for lunch and dinner and 541 Edgewood Ave food with mess hall seating. close to downtown. Noni’s serves (404) 524–5005 $15–30 Italian food during the week, staplehouse.com and it transforms into Edgewood Buy a ticketed five-course meal Miso Izakaya Avenue’s de facto dance party on the online or sit at the bar for their 619 Edgewood Ave. SE weekends. This place gets packed. à la carte menu. New to the (470) 225–6252 $10–20 neighborhood, the restaurant began Trendy Japanese known for its sushi, first as local supper club and is savory small plate offerings, and frequented by chefs. signature cocktails. $30–80 $20–30 Venkman’s 740 Ralph McGill Blvd. (470) 225–6162 venkmans.com At the north end of the neighborhood, catch dinner and some live yacht rock. $10–25

Inman Park Old Fourth Ward’s next-door neighbor, Inman Park, is considered Atlanta’s first suburb. Find trendy restaurants and old mansions. The MARTA station for Inman Park is Inman Park/Reynoldstown. BoccaLupo 753 Edgewood Ave. NE (404) 577–2332 boccalupoatl.com Fine Italian dining with a seasonal menu, nice outdoor patio, and extensive wine selection $25–40

25 Host Committee Recommendations Inman Quarter/Highland Avenue and Elizabeth Street 299 North Highland Ave. NE Another restaurant row known for its dining selections. Restaurants include farm-to-table Parish, chefs’ favorite MF Sushi, and Italian standout Sotto Sotto. For great patios try Bartaco (Mexican), Barcelona (tapas), and Fritti (pizza). Spice to Table Wisteria 99 Krog St. 659 Auburn Ave. NE 471 North Highland Ave. krogstreetmarket.com (404) 220–8945 (404) 525–3363 At the foot of the Beltline, Krog Street spicetotable.com wisteria-atlanta.com Market is a food hall with anchoring Lunch only, Spice to Table is unlike Housed in a 100-year-old building, sit-down restaurants like Superica any Indian food you’ve had before: Wisteria serves contemporary and gourmet food stands. the James Beard-nominated chef American cuisine with a Southern Asha Gomez uses local seasonal twist, and features an extensive wine One Eared Stag ingredients and changes her menu list. 1029 Edgewood Ave. NE daily. $30–60 (404) 525–4479 $15–20 oneearedstagatl.com For the adventurous meat eater, the restaurant’s menu often has been described as bold, original, and cliché-defying. $20–40

Neighborhoods and Restaurants Farther Away but Worth a Trip

Midtown Booming with new development since the 1996 Olympics, now has some fine restaurants either on or just a block or two off of Peachtree Street. Go north from the Hilton on Peachtree or Piedmont to get to Midtown. MARTA stops at Midtown, North Ave., and Arts Center stations. Ecco Mary Mac’s Tea Room Tamarind Seed Thai Bistro 40 7th St NE 224 Ponce de Leon Ave. NE 1197 Peachtree St. NE (404) 347–9555 (404) 876–1800 (404) 873 4888 ecco-atlanta.com marymacs.com Nan Thai’s less expensive cousin. Seasonal European menu serving Classic southern lunch or an early $20–40. Mediterranean and Italian fare. dinner; you must try the tomato pie— Reservations recommended. it’s world famous. The Vortex $18–25 $10–15 878 Peachtree St. NE (404) 875–1667 Empire State South Nan Thai Fine Dining thevortexatl.com St. NE, Suite 140 1350 Spring Street NW Solid burger bar and an Atlanta (404) 541–1105 (404) 870 9933 staple empirestatesouth.com www.nanfinedining.com $10–15 Southern-inspired but eclectic Excellent Thai food in a lavish setting. dining owned by Top Chef celebrity $30–60. chef, Hugh Acheson. Reservations recommended. $18–30 26 Host Committee Recommendations Grant Park A historic neighborhood near downtown, just south on Grant Street from the King/Memorial MARTA station Grant Park is famous for its historic Victorian-era homes; it is also the location of the Atlanta Zoo. Mezcalito’s Cocina & Tequila Bar Ria’s Bluebird Six Feet Under 304 Oakland Ave. SE 421 Memorial Dr. SE 437 Memorial Dr. SE (678) 705–7008 (404) 521–3737 404–523–6664 mezcalitoscantina.com riasbluebird.com sixfeetunderatlanta.com Great and authentic Mexican in Famous Grant Park spot for breakfast, Fish pub house with a full bar; the Grant Park with delicious homemade brunch, and lunch. Waits can be long original was named for its location salsas and margaritas on the weekends, but it’s an easy across the street from the historic $12–20 weekday spot. Oakland Cemetery. TVs at the bar for $9–12 your sports-watching needs. $10-$20

Cabbagetown A quiet, tucked-away neighborhood known for its shotgun homes and former cotton mills turned lofts. The MARTA station for Cabbagetown is Martin Luther King. Agave Cafe Carroll Street Café 242 . SE 208 Carroll St. SE (404) 588–0006 (404) 577–2700 agaverestaurant.com carrollstreetcabbagetown.com With Southwestern fare that gets A local hangout with homey food rave reviews, Agave is always packed and art by local artists decorating with out of town guests and large the walls groups. $15–25 $15–30

Kirkwood Another quiet neighborhood where small restaurants are surprising and innovative. The MARTA station for Kirkwood is East Lake. Dish Dive Ration and Dram 2233 College Ave. NE 130 Arizona Ave. (404) 957–7918 (678) 974–8380 www.dishdivekitchen.com rationanddram.com A local review recently described a Started by chefs with a local cult meal at Dish Dive like hanging out following, Ration and Dram is a at your cool friend’s house while he neighborhood restaurant with locally cooks you dinner. sourced ingredients. $15–30 $10–20

Reynoldstown/Glenwood Park Originally settled by freed slaves after the Civil War, this area is home to the highly walkable and some excellent new eateries. Head east down Memorial Ave. from Grant Park, although we recommend taking Uber, Lyft, or some other form of transportation to get there.

27 Host Committee Recommendations GunShow H. Harper Station 924 Garrett St. 904 Memorial Dr. SE (404) 380–1886 (678) 732–0415 gunshowatl.com hharperstation.com “Dim sum” style collective-style This is a great place for local, craft, dining from Top Chef alum Kevin and retro cocktails, a full menu but Gillespie. Gillespie and his sous with a low-key, intimate vibe. $15- chefs bring the day’s dishes by your $25 table, and you select on the fly. Best to go with a group. Reservations required. $20–30

East Atlanta Village East Atlanta Village is a fun and relatively affordable neighborhood with a vibrant late night bar scene. Head east down Glenwood Ave. from Grant Park. We recommend taking Uber, Lyft, or some other form of transportation to get there. Argosy The Earl Holy Taco 470 Flat Shoals Ave. SE 488 Flat Shoals Ave. SE 1314 Glenwood Ave. SE (404) 577–0407 (404) 522–3950 (404) 230–6177 argosy-east.com badearl.com holy-taco.com Beautiful interior design with jaw- One of the best burgers in Atlanta, A diverse and eclectic taco list with dropping beer list, delicious bar cheap PBR, and indie rock shows in good margaritas. food, and super chill vibe the back room $10–15 $10-$20 $10–15

Buckhead Just north from Midtown, Buckhead is known for its tony shopping and eating. MARTA stops at the Buckhead and Lenox Road stations (near the Phipps and Lenox Malls), but Uber or other car service may be easier depending on destination. King & Duke Seven Lamps 3060 Peachtree St. NW 3400 Around Lenox Rd. NE #217 (404) 477–3500 sevenlampsatl.com kinganddukeatl.com An intimate spot for artisanal A 24-foot wood hearth oven cocktails, great wine, rustic staples, make this Ford Fry eatery unique; and handmade pasta excellent cocktails. Reservations $18–25 recommended and required on weekends. Shake Shack $20–35 3035 Peachtree Rd. NE A146 (470) 809–9201 St. Cecilia shakeshack.com/location/atlanta-ga/ 3455 Peachtree Rd. Not just in New York; classic (404) 554–9995 American diner-style burgers and stceciliaatl.com milkshakes on the double Atlanta restaurateur and chef $10–15 Ford Fry’s take on upscale Italian; reservations recommended. 28 $20–35 Host Committee Recommendations Decatur Atlanta’s favorite burb due to its nearly in-town location, pedestrian friendly walkways, three story building heights, friendly vibe and great restaurant and bar scene—definitely worth a MARTA ride to Decatur Station, next to the Decatur Square. Café Alsace Farm Burger no. 246 121 E Ponce de Leon Ave 410 W Ponce de Leon Ave. 129 E Ponce de Leon Ave. (404) 373–5622 (404) 378–5077 (678) 399–8246 cafealsace.net farmburger.net/decatur/ no246.com Authentic Alsace French Restaurant. The flagship location next-door to Ford Fry restaurant in partnership Cozy atmosphere (10 tables). Chai Pani if the wait there gets you with Chef Drew Belline, no. 246 Reservations recommended. down. The burgers are grass fed, dry serves Italian-inspired and locally $12–30 aged, and ground fresh. driven food. Great wine selection. $10–15 Reservations available. Cakes & Ale $20–30 155 Sycamore St. Iberian Pig (404) 377–7994 121 Sycamore St. Taqueria del Sol cakesandalerestaurant.com (404) 371–8800 359 W. One of Atlanta’s best farm-to-table theiberianpigatl.com (404) 377–7668 dining experiences; famous for Spanish tapas, wine, and cocktails. taqueriadelsol.com their bakery and desserts also. Reservations recommended Southern, Mexican and Reservations recommended. $15–25 Southwestern dishes, delivered fresh $20–30 in a “fast-casual” style. Long lines are Leon’s Full Service to be expected but they move fast. Chai Pani 155 Sycamore St. Also has a second location on the 406 W Ponce de Leon Ave. (404) 377–7994 Westside. (404) 378–4030 leonsfullservice.com Under $10 chaipanidecatur.com Bistro style dining and signature Indian Street Food in a big and lively cocktails; fun for a group. No open space with a full bar; great for reservations so be prepared to wait. a crowd $12–24 $10–15

Westside Atlanta’s Westside has two distinct neighborhoods—West Midtown and —and they each have their own personality. Visitors to Atlantic Station are treated to a walkable retail paradise, while West Midtown is a haven for foodies and fashionistas. Bacchanalia Bocado JCT. Kitchen & Bar 1198 Howell Mill Rd. 887 Howell Mill Rd. NW 1198 Howell Mill Rd. (404) 365–0410 (404) 815–1399 (404) 355–2252 starprovisions.com/bacchanalia www.bocadoatlanta.com jctkitchen.com Bacchanalia has well-earned Eclectic American eatery known for Excellent old school steakhouse its reputation as Atlanta’s most its burger and craft cocktails. The in historic Westside Market. First celebrated restaurant since modern, industrial restaurant space Atlanta opening by chef Ford Fry. opening in 1993, and consistently is a great representation of the Reservations recommended. gains ratings as one of Atlanta’s Westside’s recent revitalization and $15–30 top restaurants. Reservations highly its manufacturing history. $15–25 recommended. Five-course prix fixe menu: $85/ person; a la carte ordering also available 29 Host Committee Recommendations The Optimist 914 Howell Mill Rd. (404) 477–6260 theoptimistrestaurant.com A seafood-centric restaurant with incredible sides and a Southern flair, The Optimist was named #7 best new restaurant in America by Bon Appétit in 2013. $20–35

Nightlife

Bars/Cocktails Augustine’s Krog Bar Sister Louisa’s Church of the 327 Memorial Dr. SE 112 Krog St. NE #27 Living Room and Ping Pong (404) 681–3344 (404) 524–1618 Emporium augustinesatlanta.com krogbar.com 466 Edgewood Ave. SE Looking for somewhere close by to Small wine bar owned by local Sister Louisa’s has good sangria, grab a bite and down a few? This is a restaurateur, Kevin Rathbun, cheap beer, and lively décor. local favorite. across from Krog Street Market and Upstairs, play a round of Ping-Pong. adjacent to Rathbun’s. Snacks and The Bookhouse Pub desserts available. Trader Vic’s 736 Ponce de Leon Ave. NE 255 Courtland St. NE (404) 254–1176 The Local (404) 221–6339 thebookhousepub.net 758 Ponce de Leon Ave. NE tradervicsatl.com Full bar with Twin Peaks-themed (404) 873–5002 You may never end up leaving the “Log Lady” cocktail; often airing Twin Great dive bar and a great second Hilton once you venture down to this Peaks on the bar TV sets; full menu. location option after The Bookhouse tiki-themed Mad Men-era throwback closes. Brick Store Pub bar in the basement. 125 E. Court Square The Porter Beer Bar (404) 687–0990 1156 Ave. NE brickstorepub.com (404) 223–0393 Beer-focused tavern with Belgian theporterbeerbar.com bar upstairs. Ranked among the top Very well respected beer bar in Little three beer bars in the country. Five Points; also has a full menu

Microbreweries 5 Seasons Westside Monday Night Brewing SweetWater Brewing Company 1000 Marietta Street NW 670 Trabert Ave. NW 195 Ottley Dr. NE 5seasonsbrewing.com mondaynightbrewing.com sweetwaterbrew.com Eventide Brewing Orpheus Brewing The Wrecking Bar Brewpub 1015 Grant St. SE 1440 Dutch Valley Pl. NE 292 Moreland Ave. NE eventidebrewing.com www.orpheusbrewing.com wreckingbarbrewpub.com

30 Host Committee Recommendations Rock Clubs/Venues Hoping to see some live music while you’re in town? Check the listings at these local favorites. 529 Bar The Drunken Unicorn The Tabernacle 529 Flat Shoals Ave. SE 736 Ponce de Leon Ave. NE 152 Luckie St. NW (404) 228–6769 thedrunkenunicorn.net (404) 659–9022 529atl.com tabernacleatl.com The Earl Buckhead Theatre 488 Flat Shoals Ave. SE Terminal West 3110 Roswell Rd. NE (404) 522–3950 887 West Marietta St. NW (404) 843–2825 badearl.com (404) 876–5566 thebuckheadtheatre.com Also has an adjacent restaurant with terminalwestatl.com casual bar food Also has an adjacent restaurant with /The Loft/ Vinyl casual bar food 1374 W. Peachtree St. NW Eddie’s Attic (404) 885–1365 515 N. McDonough St. centerstage-atlanta.com (404) 377–4976 1099 Euclid Ave. NE eddiesattic.com (404) 524–7354 variety-playhouse.com

LGBT Blake’s on the Park Jungle My Sister’s Room 227 10th St. NE 2115 Faulkner Rd. 66 12 St. NE (404) 892–5786 (404) 844–8800 (678) 705–4585 blakesontheparkatlanta.com jungleatl.com mysistersroom.com Burkhart’s Pub Mary’s 1492 Piedmont Ave. 1287 Glenwood Ave. (404) 872–4403 (404) 624–4411 burkharts.com marysatlanta.com

Theaters and Performance Spaces 1280 Peachtree St. NE 660 Peachtree St. NE (404) 733–4650 (404) 881–2100 alliancetheater.org foxtheatre.org Live performance, orchestra, plays, Live performances, screenings etc. Southwest Arts Center 915 New Hope Rd. 1404 Spring St. NW (404) 613–3220 (404) 873–3391 fultonarts.org centerforpuppetryarts.com Live performance, Black Performance Marionettes Theater

31 Host Committee Recommendations Film Venues and Production Studios EUE Screen Gems Studios Studioplexx47 175 Lakewood Way SW 1049 Ponce de Leon Ave. NE 675 Metropolitan Parkway (404) 333–6506 (404) 873–1932 (404) 941–7301 studios.euescreengems.com/atlanta plazaatlanta.com studioplexx47.com Big-budget, classical Hollywood Independent, mostly re-released Short-term production facility spaces movie studio for rent Landmark Midtown Art Cinema Regal Atlantic Station Stadium 16 Tyler Perry Studios 931 Monroe Dr. NE 261 19th St. NE 3300 Continental Colony Parkway (404) 879–0160 (404) 347–9889 SW landmarktheatres.com/Atlanta regmovies.com (678) 500–3710 Independent, foreign, and New and blockbuster films tylerperrystudios.com documentary films Home to Tyler Perry’s productions; Starlight Drive-In Theatre in the process of relocating, but 2000 Moreland Ave. SE possibly still open for tours (404) 627–5786 starlightdrivein.com New, drive-in

Museums and Galleries Atlanta Contemporary Art Center Mammal Gallery 535 Means St. NW 503 Peeples St. SW 91 Broad St. SW (404) 688–1970 (404) 612–0500 (678) 744–7095 atlantacontemporary.org hammondshouse.org mammalgallery.com Contemporary art venue with artists Historical museum with African Underground music and art in residence American art collection City of Atlanta Gallery 72 1315 Peachtree St. NE 72 Marietta St. 1280 Peachtree St. NE (404) 979–6455 ocaatlanta.com (404) 733–4400 museumofdesign.org City-supported public art; free high.org All things “design” admission The city’s major art museum, with blockbuster exhibitions whitespace Gallery 814 Edgewood Ave. 1200 Foster St. NW (404) 688–1892 [email protected] whitespace814.com Contemporary art and performance Contemporary multi-media art

Cultural Centers, Parks, and Atlanta Landmarks Atlanta History Center The Beltline 1345 Piedmont Ave. NE 130 West Paces Ferry Rd. NW 22-miles of public walking, (404) 876–5859 (404) 814–4000 running, biking, and riding paths atlantabg.org atlantahistorycenter.com and trails through multiple Atlanta neighborhoods Beltline.org

32 Host Committee Recommendations Centennial Olympic Park House 265 Park Ave. West NW 990 Peachtree St. NE 1000 Robert E. Lee Blvd. (404) 223–4412 (404) 249–7015 Stone Mountain, GA 30083 centennialpark.com (800) 401–2407 Site of the1996 Olympic Games with Martin Luther King Jr. National stonemountainpark.com a cool Olympic rings fountain Historic Site While seventeen miles outside of 450 Auburn Ave. NE Atlanta, this historical Confederate Center for Civil and Human (404) 331–5190 park with three-acre high Rights nps.gov/malu/index.htm commemorative granite stone relief 100 Ivan Allen Jr. Blvd. Free tickets available from the is must for many visiting the city. (678) 999–8990 Firehouse at the corner for a tour of civilandhumanrights.org Dr. King’s birth home one block east World of Coca-Cola from the Site. 121 Baker St. NW Ebenezer Baptist Church (404) 676–8395 407 Auburn Ave. NE worldofcoca-cola.com (404) 688–7300 10th St. and Piedmont Ave. ebenezerbaptist.com (404) 875–7275 Piedmontpark.org Green, lush multi-recreational park 225 Baker St. NW and festival hotspot (404) 581–4000 georgiaaquarium.org

Life’s Necessities

Office Supplies FedEx Office Print and Ship Peachtree Supplies Inc. Staples Center 233 Peachtree St. NE #1265 650 Ponce de Leon Ave. NE 255 Courtland St. NE (404) 963–2410 (404) 881–0354 (404) 223–0836 peachtreesupplies.com

Post Offices 822 Ralph McGill Blvd. NE 570 Piedmont Ave. NE 340 Boulevard. NE (404) 875–3452 (404) 874–8718 (404) 265–4250

Supermarkets Publix Super Market at Trader Joe’s Piedmont 931 Monroe Circle NE 595 Piedmont Ave. NE (404) 815–9210 (404) 881–1750 Whole Foods 650 Ponce de Leon Ave. NE (404) 853–1681

33 Host Committee Recommendations Pharmacies CVS Pharmacy Express Food & Pharmacy Market Pharmacy 12 J Broad St. SW 50 Upper Alabama St. SW #92 Sweet Auburn Curb Market (404) 681–1976 (404) 818–0075 209 Edgewood Ave. SE expressfoodandpharmacy.com (404) 524–8888 Marketpharmacy.com

Liquor Stores Peachtree Package Store Sol’s Liquor Tony’s Package Store 300 Peachtree St. NW 186 Courtland St. NE 29 Baker St. NW (404) 688–5216 (404) 523–0312 (404) 523–6378 Solsliquor.com Under a AAA parking deck, look for red lettering on white board

Bookstores A Cappella Books Barnes & Noble Charis Books and More 208 Haralson Ave. NE 48 5th St. NW 1189 Euclid Ave. NE (404) 681–5128 (404) 894–2515 (404) 524–0304 acappellabooks.com charisbooksandmore.com New, used, and rare books Independent

Dry Cleaning ABC Dry Cleaners C&S Dry Cleaning Sig Samuel’s Dry Cleaners 340 Auburn Ave. NE 1197 Peachtree St. NE #507 906 Monroe Dr. NE (404) 345–2911 (404) 883–3185 (404) 872–2233 abcdrycleaners.com csdrycleaning.com sigsamuels.com

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H FOR PANELInstructions AND WORKSHOP CHAIRS 1. Please keep panel presentations to 20 minutes and workshop presentations to no more than 10 minutes. Panels with more than 3 presenters will need to reduce presentation times to fit the 105‑minute sessions. • 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. Papers should be no longer than 8 double‑spaced pages for a 20‑minute talk, and fewer pages if there are clips. If your panelists have more than this, ask them to edit down in advance. 3. Technology problems cut into panel times. Please have panelists check their technology (, 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 panel or workshop promptly at 15 minutes before the hour to allow participants and audience members enough time to get to the next panel or workshop.

36 TO ALL SCMS MEMBERS

You’re Invited! Orientation for New Members & Networking Session Thursday, March 31 • 11:00 am – 12:15 pm

ROOM Crystal Ballroom • First Floor If you are new to SCMS, please plan to attend this orientation and networking session for new members. You will learn more about the Society, the conference, the journal, the website, and other benefits of membership. Members’ Business Meeting Friday, April 1 • 11:00 am – 12:00 noon

ROOM Crystal Ballroom • First Floor All SCMS members are encouraged to attend the annual Members’ Business Meeting to learn more about SCMS and current strategic planning processes. Members will also meet the officers and Board members, and the leadership of the SCMS Caucuses and Scholarly Interest Groups. Awards Ceremony Friday, April 1 • 4:15 – 5:30 pm

ROOM West Ballroom • Second Floor Please join us in acknowledging and honoring this year’s awards recipients. Reception Friday, April 1 • 5:30 – 7:30 pm

ROOM Prefunction & Grand Salon • Second Floor Celebrate this year’s awards 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.

37 SESSION WEDNESDAYMARCH 30 10:00 – 11:45 am A

A1 Technologies of Time and Space A2 A Golden Age of Podcasting? Journeys and Durations in Experimental Part I Cinema The Politics, Pleasures, and Production of

Narrative Nonfiction

CHAIR Andrew Vielkind • Yale University James Hansen • Ohio State University • ​“24-Hour CHAIR Alexander Russo • Catholic University of Temporality: Omer Fast, Christian Marclay, and the America Consequences of Playback” Jason Loviglio • University of Maryland • ​“Serial and Andrew Vielkind • Yale University • ​“Ernie Gehr’s Freddie Gray: Baltimore in Neoliberal Times” Side/Walk/Shuttle: Panorama of an Invisible City” Alexander Russo • Catholic University of America • Michael Walsh • University of Hartford • ​“Minimal and “‘Shenanigans Not Stakes’: The Institutional and Multiple: Durational Cinema as Gallery Art” Cultural Production of The Mystery Show’s ‘Twee’ This American Life Tyler Theus • Brown University • ​“Struggle at the Affect; or, The World that Wrought” Boundaries of the Nomos: The Politics of Territory and Chenjerai Kumanyika • Clemson University • Landscape in Mortu Nega” “Media Diversity and the Hidden Structures of

SPONSOR Experimental Film & Media Narrative Nonfiction Radio and Production” Scholarly Interest Group Andrew Bottomley • University of Wisconsin- Madison • ​“Radio from the Bottom Up: Storytelling 38 Podcasts and the Politics of Everyday Life” 10:00 – 11:45 am

WEDMARCH A3 WORKSHOP A5 Sick Celebrity Where Is Media Theory Today? Making Sense of Fame, Mental Illness, 30 Suicide, and Infertility

CHAIR Scott Richmond • Wayne State University CHAIR Spring-Serenity Duvall • Salem College WORKSHOP PARTICIPANTS Hilde Van den Bulck • University of Antwerp • ​ Stephanie Boluk • University of California, Davis “Celebrity Gossip Media and Audiences Framing Kris Cohen • Reed College Celebrity Suicide: Illness, Personal Responsibility, and Anna Watkins Fisher • University of Michigan the Moral High Ground” James Hodge • Northwestern University Jessica Birthisel • Bridgewater State University • ​“‘This Patrick Jagoda • University of Chicago Whole SPN FAM Loves You LIke Crazy’: Celebrity, , and Social Media as a Vehicle for Creating Mental Illness Awareness and Support” Brooke Edge • University of Colorado Boulder • ​“‘She’s Totally One of Us’: Affiliating with and Lashing out at A4 Positioning Race Pregnant Celebrities on TheBump.com” Intersectional and Transnational Studies of Rosemary Pennington • Miami University • and US Film and Television Stacie Jankowski • Independent Scholar • ​ “‘Nail Them While They're Vunlnerable’: Addiction, Depression, Stigma, and the Story of Robin Williams’s CHAIR Daniel Langford • University of California, Suicide” Los Angeles Philana Payton • University of Southern California • ​ “Drip, Drop, Drip Drippity Drop . . . : Empire’s Selling of Black Queerness through the Commodification of Hip-hop” A6 Re-reading the Boundaries of Sylvia Chong • University of Virginia • ​“Playing Art and Commercial Film Kim Jong Un: Randall Park, Margaret Cho, and the

Quandary of Yellow Yellowface Minstrelsy” CHAIR • University of Alabama Daniel Langford • University of California, Los Angeles • ​ William Evans “‘Sink the Boat’: Countercultural Humor and the Michael Laramee • Lasell College • ​“Unthinking Profane Black Image in Putney Swope” Industry Conventions: Reflexivity and Media Jujitsu in Osuofia in London Franklin Cason • North Carolina State University • ​“On ” Purpose and Positions: At the Risk of Theorizing African Larrie Dudenhoeffer • Kennesaw State University • ​ American Cinema as Transnational” “Skin Graph(ic)s: CG Transracialization in Josh Trank’s ” SESSION William Evans • University of Alabama • ​“Perception in Narrative and Lyrical-associative Film Experiences: A Content Analysis of Mainstream and Art Films” A

39 10:00 – 11:45 am

WEDMARCH 30 A7 Digital Mediations in Large and A9 Masculinities Small Screens

CHAIR Emily Satterwhite • Virginia Tech CHAIR Mi Young Park • Southern Illinois University Joshua Vasquez • Indiana University • ​“Melancholy Carbondale Men, Elegiac Battlefields: Representations of the Christman Lavin • SUNY, University at Stony Veteran in American Film as a Cultural Context for the Brook • ​“Is the Gaze Human?” Disquieted Masculine” Mi Young Park • Southern Illinois University Emily Satterwhite • Virginia Tech • ​“Backwoods Carbondale • ​“A Man with a Mobile Screen: Old Palace Slashers and the Politics of White Masculinity” App and Narcissism” Janina Schupp • University of Cambridge • ​“Creating War: The Hybridization of Cinema, Media, and Video Game Technologies in Military Training” Brian Keilen • University of Wisconsin, Milwaukee • ​ A10 Anticipation and Adaptation “Tying It Together: LittleBigPlanet, Modes, and Video Film and Television as Evolution

Game Textuality”

CHAIR Itay Harlap • University Arturo Serrano • Universidad de las Artes • ​“Toward a Definition of ‘Bajo Tierra’ Cinema” Reenactment, Revival, and Katheen McClancy • Texas State University • ​ A8 “Mutating History: Nostalgia, Retroactive Continuity, Other Historical Turns and X-Men: Days of Future Past” Itay Harlap • • ​“It’s Not TV, It’s Be- CHAIR Lisa Jacobson • University of California, Tipul: Discussing the Discourse of Quality in the Israeli Berkeley Version of In Treatment” Lisa Jacobson • University of California, Berkeley • ​ “From Nazi to Stasi: The Return of History as Television” Raz Yosef • Tel Aviv University • ​“Ghostly Witnesses: The Ethics of Documentary Reenactment in Current Israeli Cinema” Evangelos Tziallas • Concordia University • ​“The Spectacle of the Scaffold Returns: Retro AIDS Cinema and Pornopticism” SESSION A

40 10:00 – 11:45 am

WEDMARCH A11 WORKSHOP A13 Sexualized Spaces 30 Difference and the Early Career Encounters and Exchanges Scholar Strategies for Success CHAIR Michael DeAngelis • DePaul University Daniel Laurin • University of Toronto • ​“‘Is This Your CHAIR Andrew Owens • Boston College First Time?’: Pleasure, Desire, and Confession in Straight-Guy Porn” WORKSHOP PARTICIPANTS Ryan Powell • Indiana University • ​“Action-Icon: The Shelleen Greene • University of Wisconsin- Eroto-politics of the Trucker in 70s Cinema” Milwaukee • DePaul University • ​“Therapy, University of Southern California Michael DeAngelis Vicki Callahan • Cinema, and the Sexual Block” • University of Southern Laura Isabel Serna SPONSOR Adult Film History Scholarly Interest Group California

A14 Policing A12 Transnational Media Flow Interventions of Media Technology and Control

CHAIR Gillian Helfield • York University

Lin Feng • University of Hull • ​“Hear the Unseen: CHAIR Isra Ali • New York University Shanghai Dialect and Taiwan Cinema” Tero Karppi • SUNY, University at Buffalo • ​“Towards a Jeff Porter • University of Iowa • ​“The Many Lives of Theory and Criticism of Predictive Policing” Harry Lime: Some Dynamics of Migratory Narratives” Joshua Synenko • Trent University • ​“Simulating Geoff Lealand • University of Waikato • ​“We’re Going Extremism: Migration, Maps, and the New Europe” to Be Sent to Hollywood: Shirley Temple ‘Double’ Isra Ali • New York University • ​“Traversing the Global/ Competitions in 1930s New Zealand” Domestic Divide: Policing, Militarism, Media in the Era Gillian Helfield • York University • ​“The Wandering of the War on Terror” Dead: and the New American Diaspora”

SPONSOR Transnational Cinemas Scholarly Interest Group

SESSION A

41 10:00 – 11:45 am

WEDMARCH 30 A15 Recovering Film Histories A17 Global and Resistant Strategies

CHAIR Nathaniel Brennan • New York University Guy Barefoot • University of Leicester • ​“Researching CHAIR Jing (Jamie) Zhao • University of Melbourne Seriality, Continued: Children, Adults, the Film Serial Stella Kim • Wake Forest University • ​“Narrative and Film History” Circularity, the Cosmetic Gaze, and the Fusion of Self Priyanjali Sen • New York University • ​“The Literary and Other in Kim Ki-Duk’s Time” Poetics of Bengali Cinema (1947–67)” Jin Lee • Southern Illinois University Carbondale • ​ Ana Grgic • University of St Andrews • ​“Edison in the “Feeling Pleasure, Guilt, and Fatigue in Watching Body Balkans: New Perspectives on Early Film History” Images: An Audience Research on Korean Reality TV Nathaniel Brennan • New York University • ​“‘Execs Shows” Nix Pix Crix’; or, According to Hollywood: Koel Banerjee • University of Minnesota • ​“Eat, ‘Useless’ Film Critics, Studio Publicity Campaigns, and Pray, Purchase—Travel Films and Gendered the Daily Press, 1926–1942” Cosmopolitanism” Jing (Jamie) Zhao • University of Melbourne • ​ “Queering a ‘Queered’ Super : Female Homosociality in Chinese Reality TV and Fannish Re- worlding in Chinese Literature” A16 Inheritance and Futurity Critical Theory, Psychoanalysis, and the Politics of the Archive in Spanish Cinema A18 Living on the Razor’s Edge On the Aesthetics of Precarity, Risk, and Affect CHAIR Patty Keller • Cornell University

CO-CHAIR Julian Daniel Gutierrez-Albilla • University of Southern California CHAIR Darshana Sreedhar Mini • University of Southern California Patty Keller • Cornell University • ​“Buñuel’s Phantoms” CO-CHAIR Anirban Baishya • University of Southern Cristina Moreiras-Menor • University of Michigan • ​ California “The Betraying Gaze: Image and Legacy in Agustín Villaronga’s Pa Negre” Tupur Chatterjee • University of Texas at Austin • ​ “Precarious in Safe Spaces: Mapping the • University of Julian Daniel Gutierrez-Albilla Circuits of Miss Lovely” Southern California • ​“Impossibility of Not Sharing: Queer/Feminine Trans-subjectivity and Trauma in Todo Darshana Sreedhar Mini • University of Southern sobre madre” California • ​“Anonymity, Spectrality, and the Precarious Labor of Soft Porn” SESSION RESPONDENT Steven Marsh • University of Illinois at Chicago Anirban Baishya • University of Southern California • ​ “Viral News: Moral Policing and the Precarious Virality of Shaming”

A SPONSOR Asian/Pacific American Caucus

42 10:00 – 11:45 am

WEDMARCH A19 Major Figures A21 Production Studies 30 in Early Film Criticism across the World

CHAIR Naoki Yamamoto • University of California, CHAIR Kath Dooley • Curtin University of Technology Santa Barbara Kath Dooley • Curtin University of Technology • ​ Seth Watter • Brown University • ​“‘Prisoners of Form’: “Models of Collaboration: Fostering Screen Production V. F. Perkins, Mise-en-scène Criticism, and the Concept Students’ Teamwork Skills” of Milieu” Priya Jaikumar • University of Southern California • ​ Jenelle Troxell • Union College • ​“Mind-Cure, Ecstasy, “Mumbai’s Film Location Managers: New Social and and an Ethics of Contemplation” Spatial Codes of a Professionalizing Practice” Naoki Yamamoto • University of California, Santa Annemarie Navar-Gill • University of Michigan • and Barbara • ​“‘Our Dream Cinema’ Revisited: Montage Nathalie Knöhr • Georg-August-University Theory and Japanese Film Criticism” Göttingen • “Handling Noisy Feedback Loops: Comparing Uses of Social Media in the Production Cultures of US and German Television Writers” Kimberly Owczarski • Texas Christian University • ​ “The Relativity Theory: Ryan Kavanaugh, Managerial A20 Soundtrack, Voice, and Aurality Power, and the Collapse of a Mini-Major Studio” From Text to Context

CHAIR Vanessa Ament • Ball State University Irina Leimbacher • Keene State College • ​“Aural A22 On and Beyond the Screen Haptics: Sonorities of Voice in Documentary” Form, Space, and Affect Ball State University Vanessa Ament • • ​“Sound Design for The English Patient: A Study in Contrasts” CHAIR Ryan Conrath • University of Rochester Nina Cartier • Northwestern University • ​“From ‘Mississippi Goddamn’ to ‘Hell You Talmbout’: Lauren Albright • University of Maryland • ​“Color Me Soundtracks to Black Protest in America” Crazy: In My Haptic Space” Mark Durrand • SUNY, University at Buffalo • ​“The Ryan Conrath • University of Rochester • ​“Harun Threat of Music in Sergio Leone’s Once Upon a Time Farocki and Hito Steyerl: Towards a Demilitarized in the West (1968): Exploring a Dangerous Chiasm of Montage” Embodied Music and a Musical Embodiment” Ivan Villarmea Alvarez • University of Zaragoza/ State University of Milagro SPONSOR Sound Studies Scholarly Interest Group • ​“Places of Otherness: Strategies of Representation in Contemporary SESSION —an Analysis of Foreign Parts” Grant Bollmer • University of Sydney • ​“Shocks to the Face: Affect, Embodiment, Inscription” A

43 SESSION WEDNESDAYMARCH 30 12:00 – 1:45 pm B

B1 Evolving Representations B2 A Golden Age of Podcasting? Visibility in Contemporary Film Part II and Television A Critical Look at Cultural Identity in

Podcasting’s “Golden Age”

CHAIR David Coon • University of Washington Tacoma CHAIR Eleanor Patterson • University of Wisconsin- Selena Lester Breikss • Washington State Universtiy • ​ Madison “Rescripting Transgender Sexualities in Sons of Christopher Cwynar • University of Wisconsin- Anarchy and ” Madison • ​“‘Too Endorse-y?’: Podcasting, Promotional Ellen Grabiner • Simmons College • ​“Gender Culture, and the New Spirit of Public Radio” Trap(pings): Signs of Love, Power, and Identity” Chvonne Parker • Old Dominion University • ​“Pass the Stephen Tropiano • Ithaca College • ​“Jazz IS a Girl: Read like We Used to Do: Gender, Reading, and Race Transgender Youth and the Media’s Struggle with on The Read” Gender Identity” Eleanor Patterson • University of Wisconsin-Madison • ​ David Coon • University of Washington Tacoma • ​ “Connected Listening: Podcasting, Identity, and “Translations: A Transgender Film Festival as a Catalyst Television Fandom in the Digital Era” for Social Change” Jennifer Wang • Independent Scholar • ​“A ’s SPONSOR Queer Caucus Work Is Never Done: The Domestication of Podcasting in the Second Age”

44 12:00 noon – 1:45 pm

WEDMARCH B3 Festival Mobilities B4 Cultural Memory, Media 30 Movement, Movements, Publics Performance, and the Legacies of Black Activism CHAIR Bernard Cook • Georgetown University Vincent Pham • California State University San Marcos • ​ CHAIR Mary Schmitt • University of California, Irvine “Drive Outs to ‘Drive By Cinema’: Public Modality and Mary Schmitt • University of California, Irvine • ​“‘By Space in an Irregular Film Festival Project” Any Means Necessary’: A Neoliberal Sound Byte? Ran Ma • Nagoya University • ​“The Asian Documentary The Memory of Black Radicalism in 1990’s Television Connections: From Yamagata International Documentary” Festival (YIDFF) to Asian Network of Alexander Johnston • University of California, Documentary (AND)” Santa Cruz • ​“The Haptic Archive: Jack Johnson, Bernard Cook • Georgetown University • ​“Reality Muhammad Ali, and Embodied Historical Encounters” Circuits: The Documentary Film Festival and the Mode Katherine Kinney • University of California, Riverside • ​ of Production of Documentary” “What an Actor Does: Black Actors in Independent Olivier Thevenin • University of Upper Alsace • ​“ Films of the 1960s” Cinema at and the Directors’ Sarah Lozier • University of California, Riverside • ​ Fortnight” “Obscured Revelations: Digitality, The Knotted Line, SPONSORS Asian/Pacific American Caucus and Film & and the Functional Logic of Colorblind Racism” Media Festivals Scholarly Interest Group SPONSOR Oscar Micheaux Society

B5 Versions of the Archive

CHAIR Scott MacDonald • Hamilton College Scott MacDonald • Hamilton College • ​“Reading Catalogues” Steven A. Carr • Indiana University-Purdue University Fort Wayne • ​“Remnants of The Search (MGM, 1948): Postwar Testimony in Production History and the Archive” Matt Von Vogt • Indiana University • ​“Painting the Cinematic Archive: Manny Farber’s Fassbinder SESSION Painting” Joan Hawkins • Indiana University • ​“In the Anger Archives” B

45 12:00 noon – 1:45 pm

WEDMARCH 30 B6 Technotopias and B8 States of Exception Historical Turns War, Memory, Violence

CHAIR University of Southern CHAIR Zabet Patterson • Stony Brook University Maria Zalewska • California Zabet Patterson • Stony Brook University • ​ “Technocracy or Technoutopia: USCO’s Multimedia John Cruz • Ohio State University • ​“Violence and Environments” Woman in a Country at War: A Poetic Aesthetic of Violence in La Sirga” Robert Alford • University of California, Berkeley • ​ “Sounds Like Home: Vitaphone Shorts, Domestic Scott Birdwise • York University • ​“‘There Is Something Space, and Queer Circulation” Else Out There’: Political Imagination in Adam Curtis’s Bitter Lake” Hilde D’haeyere • Ghent University • ​“Man-Eating Sharks: Fishing Films, the American Museum of Maria Zalewska • University of Southern California • ​ Natural History, and Mack Sennett’s Industrial Film “#Holocaust: Rethinking the Relationship between Division (1930–1932)” Spaces of Memory and Places of Commemoration in the Digital Age” Katerina Symes • Concordia University • ​“: A Zone of Normative Indistinction in a State of Exception” B7 Intermedial Possibilities Theorizing New Media Projects

CHAIR Braxton Soderman • University of California, Irvine B9 Asian Cinemas in Transnational Contexts Byron Fong • University of Texas at Austin • ​“Dark Souls and Player-Encoders: Gaming with Online Resources” CHAIR Junji Yoshida • Old Dominion University Peter Kunze • University of Texas at Austin • ​ Daisy Yan Du • University of Science and “Sincerely Ours: Humans of New York, the New Technology • ​“International Childhood Fraternity: Sincerity, and New Media Textuality” Imagining the West in Animated Films in Socialist Braxton Soderman • University of California, China” Irvine • ​“Total Flow: Innovation and Opposition in Yiyang Hou • Columbia University • ​“Screening Video Games” Extremity: Men Behind the Sun and Chinese Exploitation Cinema of the 1980s” Ohio University SESSION Erin Schlumpf • • ​“The Spatial Politics of Reduction in Liu Jiayin’s Beijing Diptych” Junji Yoshida • Old Dominion University • ​“Sayonara to Sayonara (1957): Shōhei Imamura’s Pigs and B Battleships (1961) and Cold War Orientalism”

46 12:00 noon – 1:45 pm

WEDMARCH B10 Animating Contexts B12 Cultivating the Self New Perspectives on Theory Rethinking Gendered Agency 30 and History in Neoliberal Society

CHAIR Amber Bowyer • University of Southern CHAIR Leslie Marsh • Georgia State University California Leslie Marsh • Georgia State University • ​“Women’s Nicholas Miller • Loyola University Maryland • ​ Filmmaking and Comedy in : Anna Muylaert’s “Embryonic Visions: Drawing, Evolutionary Durval Discos (2002) and É Proibido Fumar (2009)” Morphology, and the Origins of Animated Kathleen Battles • Oakland University • ​“Knowledge, Metamorphosis” Agency, and the ‘Strong Female Lead’ in Serialized Amber Bowyer • University of Southern California • ​ Television” “The Application of Animation: Experiments in Faithe Day • University of Michigan • ​“Between Butch/ Instruction and Interactivity 1915–1923” Femme: On the Politics of Quare YouTube Web Series” Lora Mjolsness • University of California, Irvine • ​“The Lara Bradshaw • University of Southern California • ​ Hibernation Is Over: Russian Animation and the “How to Be Pinteresting: Maternal Scrapbooking and Globalization of Masha and the Bear” Emotional Well-being in the Twenty-First Century” Jesse Anderson-Lehman • University of Pittsburgh • ​ “From Bipolarity to Simultaneity: Wanting It All in Knights of Sidonia”

B13 Political Ontology and the Moving Image B11 Back from the Past Intertextuality, Heritage, and Retro CHAIR Adam Cottrel • Georgia State University

Domietta Torlasco • Northwestern University • ​ “Montage and the Rhythms of the Sensible” CHAIR Vito Zagarrio • Third University of Brian Price • University of Toronto • ​“Aesthetics Before • Queen’s University Belfast • ​ Stefano Baschiera Politics” “ Nostalgia: Appropriations of Giallo Aesthetics in Contemporary European Cinema” Davide Panagia • University of California, Los Angeles • ​ “Sympathy, Solidarity, and Montage: On Gilles • University of Bedfordshire • ​“The Elena Caoduro Deleuze’s Political Ontology” Gendered Politics of Retro ” Meghan Sutherland • University of Toronto • ​“The • University of Wisconsin-Milwaukee • ​ Shelleen Greene Aporetic Apparatus” “Strange Fruits: The Scene of Lynching in the Postracial SESSION Televisual Narrative” SPONSOR Film Philosophy Scholarly Interest Group Louis Bayman • University of Southampton • ​“Retro- active: Looking Back with Pride” B

47 12:00 noon – 1:45 pm

WEDMARCH B14 Situated Spectators B16 Another Side of the ‘80s 30 Studies in Regional Exhibition Eccentric Perspectives on the Forgotten Decade

CHAIR Philip Sewell • Independent Scholar CHAIR Kenneth Pinion • SUNY, University at Stony Brook Philip Sewell • Independent Scholar • ​“‘Are You a Victim of Habiphobia?’: A Regional Theater Circuit Adam Hebert • University of Pittsburgh • ​“‘What We Reacts to the Post-WWII Decline in Texas Movie-going” Call Monsters’: The 1980s, Nuclear Sublimity, and Chris Hite • Hancock College • ​“Response, Reception, Efforts to Turn from the Spectacular” and Suppression: Italian in and Kenneth Pinion • SUNY, University at Stony Brook • ​ Central after WWII” “This Is Not an AIDS Advertisement: GMHC Safer Sex Tom Rice • University of St Andrews • ​“Watching The Shorts (1985–1992) and the Logic of Pornographic Face at Your Window (1921): The KKK in Atlanta” Illegitimacy” Julie Lavelle • Indiana University • ​“The Yankee’s New Devin Orgeron • North Carolina State University • ​ El Dorado: Serials in Havana” “Regional Production in the 1980s: Walter J. Klein Company, Ltd. (Raleigh, NC) and Exploiting the Shifting Educational Market” Melissa Dollman • Independent Researcher/Archivist • ​ “1980s and Rewinding the Video Record” B15 Soviet Cinema of the 1920s–1950s Ideology, Psychology, and

B17 Actors, , Stars, and Audiences CHAIR Rhode Island College Vincent Bohlinger • Performance and Reception in Horror and Natalie Ryabchikova • University of Pittsburgh • ​ and Television

“Creation through Appropriation: Soviet Editing Bureaus of the 1920s” CHAIR Bowling Green State Rhode Island College Cynthia Baron • Vincent Bohlinger • • ​ University “‘Indecent, Inhuman, and Will Tend to Corrupt Morals’: Censoring Soviet Films in the US in the 1920s–30s” Kate Egan • Aberystwyth University • ​“‘So Well Acted’ to ‘No Acting There!’: Ridley Scott’s Alien and Audience Ana Olenina • University of North Carolina at Responses to Performances in the ‘Chestburster’ Wilmington • ​“The Soulless State: The Soviet Film Sequence” Avant-garde and the Materialist View of the Child’s Psyche” Mike Dillon • California State University, Fullerton • ​ “After Shock: Eli Roth as Horror Huckster” SESSION Maria Belodubrovskaya • University of Wisconsin- Madison • ​“Brave Men or The Horsemen: Soviet Film Mark Bernard • University of North Carolina at Comedy, Propaganda, and the Cold War Circa 1950” Charlotte • ​“Jessica Lange and : Artificiality and Authenticity in the Post-television Era” B SPONSOR Central/East/South European Cinemas Scholarly Interest Group Emma Pett • University of East Anglia • ​“Performing : Transmedia Immersive Events, Subcultural Branding, and Audience Participation”

48 12:00 noon – 1:45 pm

WEDMARCH B18 Intersectional Approaches B20 Breaks with the Past 30 to Fandom Deconstructing Ideals in the Latin Diaspora Racial/Cultural/National Identities

CHAIR Stacy Rusnak • Georgia Gwinnett College CHAIR Raven Maragh • University of Iowa Naida Garcia-Crespo • Naval Academy • ​ Rukmini Pande • University of Western Australia • ​ “Reconstructing Dominican History through “Coloring Outside the Lines: A Postcolonial Critique of Storytelling: Cinematic Strategies in Ángel Muñiz’s Media Fandom” Perico Ripiao (2003)” Emily Thomas • University of Michigan • ​“Nothing Stacy Rusnak • Georgia Gwinnett College • ​“Breaking Cinematic in Andalusia: Reevaluating the Spanish with the Past: Redefining Mexico in the Global Context Response to Visions of in 1920s Hollywood” in Jorge Michel Grau’s Somos lo que hay” Ramna Walia • University of Texas at Austin • ​“‘Lonely Diana Norton • University of Texas at Austin • ​“Race Night Watchman’s Art’: The Absent-Presence of C-grade and Nationalism in the International Celebrity of María Fandom of Bombay Cinema” Félix” Raven Maragh • University of Iowa • ​“Layers of Online Publicness: An Analysis of Connected Viewing, Race, and Performativity” B21 Social Optics New Approaches to Experimental Media

WORKSHOP B19 CHAIR Erica Levin • Ohio State University New Curatorial, Research, and Erika Balsom • King’s College London • ​“Polavision: Pedagogical Approaches for Instant Cinema in the Age of Video” Time-based Art Exhibitions Erica Levin • Ohio State University • ​“Social Media and the New Newsreel”

CHAIR Kristin D Juarez • Georgia State University Johanna Gosse • Columbia University • ​“(Anti-)Social Media in Contemporary Art” WORKSHOP PARTICIPANTS RESPONDENT Homay King • Bryn Mawr College Gregory Zinman • Georgia Institute of Technology SPONSOR Experimental Film & Media Spelman College Anne Collins Smith • Scholarly Interest Group Christina Price Washington • Artist Beth Malone • Dashboard Co-op

SPONSORS CinemArts: Film & Art History Scholarly SESSION Interest Group and Experimental Film & Media Scholarly Interest Group B

49 12:00 noon – 1:45 pm

WEDMARCH 30 B22 WORKSHOP B23 Transnationality and Stars Ecomedia of the Silent Screen

From Classroom to Community

CHAIR Michael Williams • University of CHAIR Hunter Vaughan • Oakland University Southampton • University of Central Florida • ​ WORKSHOP PARTICIPANTS David Morton “America’s Favorite Movie Actress: The Vitagraph SUNY College of Environmental Tiffany Deater • Company’s Promotion of Florence Turner as an Science and Forestry Everywoman Matinee Idol” • University of Oregon Stephen Rust Agata Frymus • University of York • ​“‘I Am a Gypsy, Sarah O’Brien • Georgia Institute of Technology Just Like My Father’: Pola Negri as the Exotic Other” Georgia State University Ruth Dusseault • Martina Lovascio • York University • ​“Valentino as a Paula Willoquet-Maricondi • Champlain College Problematic Transnational Star in in Early 1920s” SPONSOR Media & the Environment Daniel Clarke • University of Sheffield • ​“Heroes and Scholarly Interest Group Heroines: Performing the Transcontinental Joan of Arc”

SPONSORS Silent Cinema Cultures Scholarly Interest Group and Transnational Cinemas Scholarly Interest Group

MEETING 12:00 – 1:45 pm Television Studies Scholarly Interest Group

ROOM 410 • Fourth Floor

SESSION B

50 SESSION WEDNESDAYMARCH 30 C 2:00 – 3:45 pm

C1 Reexamining C2 WORKSHOP What Comes Next? 25 Years Later The Future of Post-feminist Media Studies

CHAIR Chelsea McCracken • University of CHAIR Amanda Rossie • The College of New Jersey Wisconsin-Madison WORKSHOP PARTICIPANTS CO-CHAIR Andrew Davis • Oklahoma State University University of Southern University of Wisconsin- Sarah Banet-Weiser • Chelsea McCracken • California Madison • ​“What’s in a Name?: ‘New Queer Cinema’ University of East Anglia and the Discursive Creation of a Movement” Jessalynn Keller • • Georgia Institute of Technology Laura Stamm • University of Pittsburgh • ​“Picturing Chelsea Bullock AIDS, Picturing Personality: New Queer Cinema and Taylor Nygaard • University of Denver the Biopic” Amanda Rossie • The College of New Jersey Andrew Davis • Oklahoma State University • ​“Bringing New Queer Cinema into the Mainstream: Late Bloomers a Case Study”

RESPONDENT Daniel Humphrey • Texas A&M University

SPONSOR Queer Caucus

51 2:00 – 3:45 pm

WEDMARCH C3 Rethinking Movement I C5 Mad Men 30 Camera Movement Creative Afterthoughts

CHAIR Oksana Chefranova • Yale University CHAIR Andrea Gyenge • University of Minnesota CO-CHAIR Lukas Brasiskis • New York University CO-CHAIR Niels Niessen • University of Toronto Lukas Brasiskis • New York University • ​“Post-historical Andrea Gyenge • University of Minnesota • ​“Don Space through Lenses of Moving Camera in Films by Draper Isn’t Afraid of Heights; or, the Cultural Logic of Béla Tarr” the Fall” Jordan Schonig • University of Chicago • ​“Seeing Grace Torcasio • University of Melbourne • ​“‘More Aspects of the Moving Camera: Lateral Movement and of an Idea than a Place’: Utopic Spaces and the ‘Panoramic Perception’” Rewritable West in Mad Men” Oksana Chefranova • Yale University • ​“From Molly Lewis • Independent Scholar • ​“Making Gondola to iPhone: On the Definition and Aesthetics Memories with Mad Men: The Past, the Present, and of Tracking” the Flashback in Contemporary Serial Television” Miriam De Rosa • Catholic University of the Sacred Niels Niessen • University of Toronto • ​“Mad Men and Heart • ​“I Move therefore I Am (Cinematic): Cinema Mindfulness” beyond Camera Movement in the Age of New Screen Media”

C6 Film, Transnationalism, and Colonialism, 1920s–1930s #BlackLivesMatter C4 The Mediatic Life of a Movement CHAIR Fabio Andreazza • University of Chieti- Pescara CHAIR Charles Linscott • Ohio University Fabio Andreazza • University of Chieti-Pescara • ​ Charles Linscott • Ohio University • ​“All Lives (Don’t) “Adapting the 1920s ‘International Style’ in the Matter: The Internet Meets Afro-pessimism” Cinematic Periphery” Michele Prettyman-Beverly • Middle Georgia Jasmine Trice • University of California, Los Angeles • ​ College • ​“No Medicine for Melancholy: The Optics of “Cinema, Race, and Hygiene Reform in Colonial Memory, Transgression, and Mourning in the Era of the Manila, Philippines” Black Lives Matter Movement” Peter Bloom • University of California, Santa Barbara • ​ Kristopher Cannon • Northeastern University • ​“When “The Dialectics of Archival Media and Colonial SESSION Do #BlackLivesMatter?” Invasion: Pan-Africanism and the 1935 Italian Invasion RESPONDENT Michael B. Gillespie • City College of New of Ethiopia” York Rocco Giansante • Hebrew University • ​“Radical C Anxiety: Paulo Rocha and Portuguese Cinema”

52 2:00 – 3:45 pm

WEDMARCH C7 Documentary Images C9 Franchises and Economies 30 and the United States of Contemporary Media Criminal Justice System

CHAIR Deron Overpeck • Eastern Michigan University CHAIR Kristen Fuhs • Woodbury University Sean Guynes • Michigan State University • ​“Trans CO-CHAIR Jaimie Baron • University of Alberta Narrative and DC Comics’ Camelot 3000 (1982–1985)” Daniel Smith-Rowsey • Sacramento State University • ​ Joe Tompkins • Allegheny College • ​“The Makings of “Body-worn Cameras and the New Defensive a ‘Revolutionary’ Franchise: Promotional Cynicism and Panopticism” The Hunger Games” Jaimie Baron • University of Alberta • ​“From Video Deron Overpeck • Eastern Michigan University • ​“Too Armor to InformaCam: The Production of Audiovisual Marvel for Marvel; or Why ’s Ant-Man Evidence by Law Enforcement and Citizen Activists” Failed to Astonish ” Kristen Fuhs • Woodbury University • ​“The Contexts SPONSOR Comics Studies Scholarly Interest Group and Cultures of Confession in Contemporary Crime Documentary” Chris Barnes • Syracuse University • ​“Visions of Attica: Reframing the Attica Rebellion in Ghosts of Attica and Criminal Injustice: Death and Politics at Attica” C10 Slowness, Politics, the Image Three Explorations of Boredom and Cinema

CHAIR Kalling Heck • University of Wisconsin- Milwaukee C8 War beyond the Battlefield Gender, Bodies, and Bioterror Gordon Sullivan • University of Pittsburgh • ​“‘They Obey Their Own Nature’: Boredom and Order in Lars von Trier’s Dogville (2003)” CHAIR University of California, Dahlia Schweitzer • • University of Wisconsin-Milwaukee • ​ Los Angeles Kalling Heck “The Project of Boredom: Dissatisfaction in/at Karen Ritzenhoff • Central Connecticut State Sátántangó” University • ​“War Bodies and Their Effacement while John Rhym • University of Pittsburgh • ​“Boredom as Battlefields Turned to Meadows: Jean-Pierre Jeunet’s A Affective Form in Chantal Akerman’s Jeanne Dielman” Very Long Engagement (2004)” RESPONDENT Elena Gorfinkel • University of Wisconsin- Colleen Glenn • College of Charleston • ​“‘Hot damn! Milwaukee What a foxhole!’: Nostalgia and the Gendering of War SPONSOR Film Philosophy Scholarly Interest Group in Ocean’s Eleven and The Manchurian Candidate” SESSION Dahlia Schweitzer • University of California, Los Angeles • ​“When Terrorism Met the Plague: How 9/11 Impacted the Outbreak Narrative” C RESPONDENT Karen Randell • University of Bedfordshire

SPONSOR War & Media Studies Scholarly Interest Group

53 2:00 – 3:45 pm

WEDMARCH 30 C11 Sonic Articulations C13 Contemporary French Cinema and the Politics of the “Popular”

CHAIR Adrienne Seely • University of Illinois at Urbana-Champaign CHAIR Charlie Michael • Georgia State University Adrienne Seely • University of Illinois at Urbana- CO-CHAIR David Pettersen • University of Pittsburgh Champaign Two-Lane Blacktop • ​“Hear the Cicadas: Charlie Michael • Georgia State University • and the Sounds of Movement” “Authorship Politics, Canal+, and the Cinema of Albert Joo Yun Lee • SUNY, University at Stony Brook • ​ Dupontel” “Sensibility of Data, Sound, and Matter in Ryoji Ikeda’s • University of Warwick • superposition Mary Harrod Audiovisual Performance ” “Cine-filles: Genre, Pastiche, and Popular French Michael Rowin • University of Florida • ​“Acoustic Women’s Filmmaking” In a Terrorism: Noise, Capitalism, and Subjectivity in • Independent Scholar • ​“Toward Year of Thirteen Moons The Third Generation Joseph Bender and ” a Post-banlieue Cinema?: Genre and Critique in Sean Strader • Yale University • ​“Phonographs, Radios, Contemporary Suburban Film” and : The Spark of Electric Media in the David Pettersen • University of Pittsburgh • Classic French Cinema” “The Politics of American Popular Music in Contemporary French Banlieue Cinema”

C12 Examining Digital Videos and Videogames C14 WORKSHOP Ethics, Ontology, Spectacle Flip the Script, This Is Not Plan B Strategic Planning for a Para-academic Career

CHAIR David Thomas • University of Colorado Denver CHAIR Caitlin McGrath • University of Maryland Ryan Thames • Georgia State University • ​“NPCs as Moral Ensembles” WORKSHOP PARTICIPANTS Sara Swain • York University • ​“An Octopus Steals Snowden Becker • University of California, Los a Camera and Makes a Movie: Revisiting Cinema’s Angeles Non-anthropocentric Ontology with Accidental Animal Theresa Scandiffio • TIFF Bell Lightbox Videos” Amy Beste • School of the Art Institute of Chicago David Thomas • University of Colorado Denver • ​“More Michelle Puetz • School of the Art Institute of Chicago SESSION Than a Game: The E3 Spectacle and the Marketing of C Videogames”

54 2:00 – 3:45 pm

WEDMARCH C15 Politics and Policies C17 Comedy Theory and 30 Alternative Media Ecologies the Modern Mediascape

CHAIR University of Leicester Katie Moylan • CHAIR Nicholas Marx • Colorado State University Katie Moylan • University of Leicester • ​“Complicating Alfred Martin • The New School • ​“From Domestic Community: An Ecology of New Orleans Community Space to Workplace: Generic Closets, Sitcoms, and Radio” Black Gayness” Donna de Ville • University of New Brunswick • ​ Amber Day • Bryant University • ​“Welcome to the “Independent Programmers and the DIY Business of Clickhole: The Economics of Internet Parody and Microcinema” Critique” Julio Jose Valdes • Concordia University • ​ Philip Scepanski • Vassar College • ​“Sacred “Understanding Media Distribution in Present- Catastrophe, Profane Laughter: Family Guy’s Comedy day Havana: The Advantages of a Cultural Studies in the Ritual of National Trauma” Approach” Matt Sienkiewicz • Boston College • and Nicholas Marx • Colorado State University • “Inside Joking: Comedy Theory beyond the Political Paradigm”

SPONSOR Comedy & Humor Studies Scholarly Interest Group C16 Dangerous or Girls in Danger?

CHAIR Michele Meek • University of Rhode Island Marian Sciachitano • Washington State University • ​ C18 Appropriate Audiences From Industrial Imperatives “Looking Spectacular: Transgender Girls in Online to Subcultural Struggles Media and Film” Jessica Johnston • University of Wisconsin- Milwaukee • ​“Little Girls, Monstrous Secrets: How CHAIR Mark Stewart • Massey University Genre Paradigms Can Restrict Our Understanding of Bethan Jones • Aberystwyth University • ​“‘By Listening Girlhood in Mass Culture” to Their Music Am I Celebrating a Paedophile?’: Michele Meek • University of Rhode Island • ​“Shame Moral Crusades, the Media, and the Creation of an and Pleasure: From Sapphire’s Push to Precious” Appropriate Audience” Eva-Lynn Jagoe • University of Toronto • ​“Feminism, Bertha Chin • Swinburne University of Technology • ​ Neoliberalism, and the Self: Lena Dunham’s Voice of a “‘Bad Fan Behavior Ruins It for the Rest of Us’: Fandom Generation” Policing as a Form of ‘Fanagement’” SESSION SPONSOR Women’s Caucus Mark Stewart • Massey University • ​“The Use of Social Media by the Television Industry to Moderate Fandom” Mel Stanfill • Purdue University • ​“From Surplus C Desire to Profit: Audiences, Consumption, and the Management of Desire”

55 2:00 – 3:45 pm

WEDMARCH C19 Strange Bedfellows C21 Governance and Pedagogy 30 Questioning the Strategic Value of Intra- The Many Faces of USIA in Asia, 1940–1960

industry Relationships

CHAIR Sueyoung Park-Primiano • New York CHAIR Joshua Coonrod • Indiana University University Joshua Coonrod • Indiana University • ​“‘I Wanted Hongwei Chen • University of Minnesota • ​“Microfilm to See Your Movie, but the Line to Meet Tom Savini in the China-Burma-India Theater: A Logistical Was SO LONG’: Intersections of Film Festivals and Fan Genealogy of the World Brain” Conventions” Hadi Gharabaghi • New York University • ​“The Anne Major • University of Texas at Austin • ​“Powering ‘Remaking’ of a Documentary Film Format: The USIA at Premium Content: An Analysis of Ooyala’s Online Home and in Iran during the 1950s” Video Services” Sueyoung Park-Primiano • New York University • ​ Jesse Balzer • Indiana University • ​“‘Honoring “Projecting Anti-Communism and the USIS/A-ROK the Stars Who Make the Stars Shine’: The Prestige Alliance” Economy and Labor of The Hollywood Reporter’s Key RESPONDENT Regina Longo • SUNY, Purchase College Art Awards” SPONSORS Middle East Caucus and Media Literacy & Pedagogical Outreach Scholarly Interest Group and War & Media Studies Scholarly Interest Group C20 Lost in Space, Time, and Consciousness The Aesthetic Politics of Alejandro Jodorowsky’s Film and Comic Production C22 WORKSHOP The Other Distributors CHAIR Ivan Aguirre • Washington University in St. Sharers’, Pirates’, Recommenders’, and Louis Renters’ Roles in Global Media

Francisco Flores-Cuautle • Wichita State University • ​ “The Initiatic Films of Alejandro Jodorowsky (1968– CHAIR Jonathan Gray • University of Wisconsin- 1972): Cruelty, Panic, Nakedness, and Mysticism” Madison Mauricio Espinoza • Ohio State University • ​“John the Fool and Juan the Lonely: Alejandro Jodorowsky’s WORKSHOP PARTICIPANTS Comics and the Im/Possibility of Heroism” Stuart Duncan Cunningham • Queensland Matthias Göritz • Washington University in St. Louis • ​ University of Technology SESSION “Dune—A Movie Should Have Changed the World” David Craig • University of Southern California Ivan Aguirre • Washington University in St. Louis • ​ Ying Zhu • College of Staten Island, CUNY “Familiar Magicians: The Affectual Assemblages of Daniel Herbert • University of Michigan C Kinship Theatre in Santa Sangre (1989) and Dance of SPONSOR Media Industries Scholarly Interest Group Reality (2013)”

SPONSORS Latino/a Caucus and Comics Studies Scholarly Interest Group 56 2:00 – 3:45 pm MEETING WEDMARCH C23 Propaganda and the Politics 2:00 – 3:45 pm 30 of Representation

Film & Media Festivals Scholarly Interest Group CHAIR Tong Wang • Columbia University ROOM 410 • Fourth Floor Rob Ribera • Boston University • ​“Donald Duck in Nutzi Land: Politics and Propaganda at the Walt Disney Studios” Ritika Kaushik • Jawaharlal Nehru University • ​ “Violence: What Price? Who Pays?: Bureaucratic Films on ‘Violence’ in India, 1974” MEETING Tong Wang • Columbia University • ​“Rekindle the 2:00 – 3:45 pm Occupied Shanghai Cinema (1941–1945): Eternity and the Dual Propagandistic Discourse of Nation-State and Middle East Caucus Nation-People” ROOM 206 • Second Floor Sean Macdonald • University of Florida • ​“Type, Critique, Stereotype”

Strike a Pose Follow SCMS on Instagram @scmstudies Be sure to tag your Instagram photos with #scms16.

SESSION C

57 SESSION WEDNESDAYMARCH 30 4:00 – 5:45 pm D

D1 Word Is Out D2 Jacques Rancière Marketing Queer Film and Media Film, Politics, Equality

CHAIR Matt Connolly • University of Wisconsin- CHAIR Konstantinos Koutras • Madison Rea Amit • Yale University • ​“Emancipating Spectators CO-CHAIR Bryan Wuest • University of California, Los from the Regime of (Western) Art: Jacques Rancière Angeles and the Potential for an Eastern ” Matt Connolly • University of Wisconsin-Madison • ​ Konstantinos Koutras • Carleton University • ​ “Selling the Underground in Baltimore, Queerly: “Ontological Equality: Rancière, Bazin, and the Paradox Camp, Regionality, and Underground Cinema in the of Cinema” Marketing of ’s Early Shorts” Teet Teinemaa • University of Warwick • ​“‘He Could Bryan Wuest • University of California, Los Angeles • ​ Have Been Me, for God's Sake!’: The Politics of “‘Building an Empire of Gay Media’: LGBT Promotion Contingency in Thirteen Conversations” and Conglomeration at Here Media” RESPONDENT Nico Baumbach • Columbia University Julia Himberg • Arizona State University • ​“Diversity, SPONSOR Film Philosophy Scholarly Interest Group Inc.: The Politics of Promoting LGBT Television” Benjamin Kruger-Robbins • University of California, Irvine • ​“I Don’t Want to Be a Brady: Queerly Selling The Fosters on ABC Family”

58 4:00 – 5:45 pm

WEDMARCH D3 Rethinking Movement II D5 Austerity Cinema 30 Body Movement

CHAIR Matthew Fee • Syracuse University CHAIR Northwestern Pamela Krayenbuhl • • University of Massachusetts Amherst • ​ University Anne Ciecko “Audacious Abjection and Euro/: Philippe Bedard • University of Montreal • ​“Snorricam Contemporary Greek and Polish ‘Best Foreign vs. Steadicam: On Visible and Invisible Relations of Language Film’ Contenders in an Age of Austerity” Bodies and Camera Movement” Jacquelyn Cain • York University • ​“The Mary Pappalardo • Louisiana State University • ​ Entrepreneurial Self, Wall Street and the New Cinema “Frances Ha’s Clumsiness: Moving Bodies, Digital of Excess” Filmmaking, and Cinematic Authenticity” Matthew Fee • Syracuse University • ​“Ruralized Laura Lee • Florida State University • ​“Transforming the Masculinity in Ireland’s Cinema of Austerity” Cinematic Body: Media and Movement in Tetsuo: The Michael Truscello • Mount Royal University • ​ Iron Man” “Reflections on Making a Film about the Austerity Pamela Krayenbuhl • Northwestern University • ​ Agenda” “With Cartoons, on the Ceiling, with Shadows: Innovating Dancefilm Movement in the Golden Age Hollywood Musical”

D6 Political and Experimental Documentary D4 Cinema and Black Visual Historiography CHAIR Tess McClernon • Concordia University New York University Bruno Guarana • • ​ “Deconstructing Coutinho: Documentary, Performance, CHAIR College of Staten Island, Racquel Gates • and Authenticity” CUNY Michael Svedman • University of Pittsburgh • ​ Allyson Nadia Field • University of Chicago • ​“The “Gardner and Brakhage on the Art-Science Spectrum” Archive of Absence: Black Visual Historiography and • Georgia State University • ​“Love and Nonextant Film” Laurel Ahnert the Documentary Image” Ayesha Hardison • University of Kansas • ​“Chained to • Concordia University • ​“Dream the Past, Stalled in the Movement in Night Catches Us” Tess McClernon Catchers: The Aura of the Habitual in Grete Stern’s Courtney Baker • Connecticut College • ​“Disobedient Sueños Photomontages” 12 Years a Slave Cinema: Film as Terrain of Struggle in SESSION and Selma” Michael B. Gillespie • City College of New York • and Lokeilani Kaimana • University of Texas at Austin Ganja and Hess D • “Bloodbeats: Bill Gunn’s , ’s Da Sweet Blood of Jesus, and Black Visual Historiography”

SPONSOR African/African American Caucus and Oscar Micheaux Society 59 4:00 – 5:45 pm

WEDMARCH 30 D7 Global Constructions D9 (Dis)Embodiment in the of Media Celebrity Digital Visual Effects Image

CHAIR Jennifer Clark • Fordham University CHAIR Drew Ayers • Eastern Washington University Jennifer Clark • Fordham University • ​“The Day a Nathan Blake • Northeastern University • ​“Between Libber-Lobber Came to Work at ABC: Billie Jean King, Mesh and Flesh: Pygmalionesque Desire, Curiositas, Eleanor Riger, and the Politics of Women’s Sports on and Visual Effects in Ex Machina” Television in the 1970s” Mihaela Mihailova • Yale University • ​“The Life Christina Belcher • University of Southern California • ​ Plasmatic: Digital Bodies and the Negotiation of “The Unbearable Child: Region, Class, and the Reality” Endangerment of Honey Boo Boo” Drew Ayers • Eastern Washington University • ​“The Michael OBrien • University of Texas at Austin • ​“Kobe Composite Body: Action Stars and Embodiment in the Bryant and Contemporary Sport Celebrity” Digital Age” Swapnil Rai • University of Texas at Austin • ​“Whither Jake Ivan Dole • Georgia State University • ​“Inhabiting ?: Articulating Bollywood Celebrity as the the Camera’s Gesture: The Mobile Frame in the Age of Industry’s Global Node” Human-Computer Interfaces”

D8 How Does Lubitsch Do It? D10 Pop after MTV Reconsidering the Vital Importance of Music, the Moving Image, and (Being) Ernst Lubitsch the Practice and Politics of Visual Listening

CHAIR Kathryn Wardell • University of North CHAIR Jack Hamilton • University of Virginia Alabama Jack Hamilton • University of Virginia • ​“‘Baby I’m a Richard McCormick • University of Minnesota • ​ Star’: Prince, Purple Rain, and the Audiovisual Making “‘Sophistication,’ Screwball, and Censorship: Lubitsch of a Rock and Roll Icon” in the 1930s” Erich Nunn • Auburn University • ​“The Musical and Noa Merkin • University of Chicago • ​“Lubitsch and the Cultural Logic of Monday Night Football” Objects of Love” Shirley Wong • Westfield State University • ​“Girl Gangs Kathryn Wardell • University of North Alabama • ​“Jazz and BFFs: Taylor Swift’s 1989, Pop Music, and the Up Your Lingerie, Just like a Melody: Sensuality and Performance of Female Friendship” Sound in the Ernst Lubitsch Musical” SESSION RESPONDENT Brian Hochman • Georgetown University D SPONSOR Sound Studies Scholarly Interest Group

60 4:00 – 5:45 pm

WEDMARCH D11 Coupling D13 The FBI and Media Studies, 30 Media Representations of Sex and Marriage 1914–1980

CHAIR University of Amanda McQueen • CHAIR Bryce Peake • University of Maryland, Wisconsin-Madison Baltimore County Carol Donelan • Carleton College • ​“‘Sing Me a Song Stacy Spaulding • Towson University • ​“One FBI File, of a Lass that Is Gone’: Myth and Meaning in the Many Stories: World War II Broadcaster Lisa Sergio” Original Series Outlander” Carol Stabile • University of Oregon • ​“Monopolizing Anna Siomopoulos • Bentley University • ​“‘They the Universal: American Business Consultants, Do Not Get to Take My Marriage’: The Whistleblower CounterAttack, and the Television Blacklist” Couple in Hollywood Film” Bryce Peake • University of Maryland, Baltimore Shelton Waldrep • University of Southern Maine • ​ County • ​“A Global Turf War in the Jazz Arena” “The Pornographic Imaginary in Recent Films” Amanda McQueen • University of Wisconsin-Madison •​ “Songs and Sexplicity: ‘Heironymus Merkin’ and the Adult Film Musical” D14 Ontologies and Affects of Digital Technology

D12 Sites of Digital Resistance CHAIR Ryan Pierson • University of Calgary Federico Pierotti • University of Florence • ​“Selling with Color: Colored Emotion in Digital Video CHAIR • Clemson University Sarah Juliet Lauro Advertising” University of Colorado Michela Ardizzoni • • ​ Adam Daniel • University of Western Sydney • ​“The “Ambivalent Spaces of Protest: Media Practices of Unbearable Frightness of Seeing: The Oculus Rift and Matrix Activism” Virtual Reality Horror” University of Oregon HyeRyoung Ok • • ​“Fan Girls on Terrance McDonald • Brock University • ​“Towards Street: K-Pop Fandom and Youth Digital Activism in an Ontology of Digital Cinema through the Jurassic Korea” Franchise” University of Tampa Sarah Juliet Lauro • • ​“Speaking Ryan Pierson • University of Calgary • ​“Rotoscoping as Freedom: Slave Revolt in Film and Videogames” an Act of Love” Jason Buel • North Carolina State University • ​“Mere Footage into Argument: #BlackLivesMatter and Algorithmic Montage” SESSION SPONSOR Fan & Audience Studies Scholarly Interest Group D

61 4:00 – 5:45 pm

WEDMARCH 30 D15 Hydrological Media D17 Growing Old Comically

CHAIR Melody Jue • University of California, Santa CHAIR Kristine Karnick • Indiana University-Purdue Barbara University Indianapolis Chris Russill • Carleton University • ​“Clouded Planet, Joanna Rapf • University of Oklahoma • ​“Polly Moran: One-World, Whole Earth: Toward a Planetary Media A Bassoon in Hollywood’s ‘Symphony of Sweet-Tuned Theory” Violins’” Melody Jue • University of California, Santa Barbara • ​ Kristine Karnick • Indiana University-Purdue University “Freeze-frame: Glaciers, Ice, and Intimate Scales of Indianapolis • ​“The Comedy of Experience and the Climate Change” Matriarchal ” Rafico Ruiz • McGill University • ​“Saudi Dreams: Kristen Anderson Wagner • Solano College • ​“‘With Icebergs in Iowa” Age Comes Wisdom’: Joan Rivers, Betty White, and the Aging Comedienne” RESPONDENT John Shiga • Ryerson University • DePaul University • ​“Annie Hall, SPONSOR Media & the Environment Kelli Marshall Scholarly Interest Group All Grown Up: Diane Keaton, Self-referentiality, and Coming of Age in Something’s Gotta Give”

SPONSOR Comedy & Humor Studies Scholarly Interest Group

D16 Activating Images Networked Activist Communities and Media Practices Sherlock, SuperWhoLock D18 and Transfandom CHAIR Steven Doles • Syracuse University

Kelsey Cameron • University of Pittsburgh • ​“On the CHAIR Aberystwyth University Limits of Technological Witness: #BlackLivesMatter and Bethan Jones • Police Video” Matt Hills • Aberystwyth University • ​“Different Authors, Steven Doles • Syracuse University • ​“Interpretive Different Canons: Transfan Readings of Sherlock in Practices in Postwar American Communist Film Relation to Doctor Who and Conan Doyle” Culture” Paul Booth • DePaul University • ​“SuperWhoLock and Lucia Palmer • University of Texas at Austin • ​“American Transfandom” Dreams and Nightmares: Home, Nation, and Anti- Lori Hitchcock Morimoto • Northern Virginia immigration Activism in Chris Burgard’s Border” Community College • ​“Sherlock and Global SESSION Chun Chun Ting • University of Chicago • ​“Redefining Transfandom” Neighborhoods: Documentary Filmmaking and RESPONDENT Louisa Stein • Middlebury College Political Empowerment in Hong Kong’s Inner City” SPONSOR Fan & Audience Studies Scholarly Interest Group D SPONSORS Caucus Coalition and Media Literacy & Pedagogical Outreach Scholarly Interest Group

62 4:00 – 5:45 pm

WEDMARCH D19 Make Room for Ecosystems D21 WORKSHOP 30 Vast Narratives in Contemporary Media Governance Research Television Series Challenges and Opportunities I

CHAIR University of Bologna Veronica Innocenti • CHAIR Jaap Verheul • New York University Veronica Innocenti • University of Bologna • and Ilaria Antonella De Pascalis • University of WORKSHOP PARTICIPANTS Bologna • “Serial Narratives as Ecosystems in Michelle Kelley • Washington University in St. Louis Contemporary Television” Anna McCarthy • New York University Hector Perez • Polytechnic University of Valencia • ​ Allison Perlman • University of California, Irvine “Evolution and Science as Resources for Narrative Jennifer Holt • University of California, Santa Ecosystems” Barbara J. D. Connor • Yale University • ​“Kroll Show and the Comedy-Industrial Complex”

RESPONDENT Marta Boni • University of Montreal D22 Where Credit Is Due Authorship, Industry, and Film Style

D20 The Worldly Aesthetics CHAIR Christopher Sieving • University of Georgia of Genre in Latin America Aaron Hunter • Maynooth University • ​“Designing Authorship: Polly Platt’s Contributions to the Early Films of ” CHAIR Ana Lopez • Tulane University • University of Oregon • ​“Really, Ana Lopez • Tulane University • ​“Rethinking Zach Cheney Really Long Takes in Children of Men and Birdman: in Latin American Cinema” Neorealism Realized and Auteurist Autocracy” Nicolas Poppe • Middlebury College • ​“Gauchos and • University of Georgia • ​ Cowboys: A Look into Cultural Identity, , and Christopher Sieving “‘Extremists from the Film Institute’: , the Argentine National Cinema” , and Scholarly Cinephilia” Cristina Venegas • University of California, Santa • Texas State University • ​ Barbara • ​“History, the History Film, and Cuban Super Rebecca Bell-Metereau “Filmed Realities and the Politics of Bio-Pics” Productions”

SPONSOR Latino/a Caucus

SESSION D

63 4:00 – 5:45 pm MEETING WEDMARCH 30 D23 Transnationalism, 4:00 – 5:45 pm Migration, and Media

French/Francophone Scholarly Interest Group CHAIR Ali Sengul • Artuklu University ROOM 410 • Fourth Floor Kaarina Nikunen • University of Tampere • ​“Affective Economy of Refugee Reality Show: The Case of Go Back to Where You Came From” Carlos Jimenez • University of California, Santa Barbara • ​“From Telephones in Rural Oaxaca to Mobile Phones Among Mixtec Farm Workers in MEETING Oxnard, California” 4:00 – 5:45 pm Lisa Dolasinski • Indiana University • ​“‘Talking Back’: Migrant Agency, Sexuality, and Memory in Amoroso’s Documentary Studies Cover Boy” Scholarly Interest Group Artuklu University Ali Sengul • • ​“Transnational ROOM 206 • Second Floor Cinema as Discourse and the National Question”

SPONSOR Transnational Cinemas Scholarly Interest Group

Tweet . . . your experiences during the conference Use #SCMS16 SESSION D

64 SESSION WEDNESDAYMARCH 30 E 6:00 – 7:45 pm E1 Star Text and Fashion in E2 Mediating Mood Japanese Cinema Experiencing the Interfaces of Social Media Towards New Practices of ‘Cinematic Costume’ from the 1930s to the 1960s CHAIR Jason Farman • University of Maryland

Michele White • Tulane University • ​“The Heart of CHAIR Miyoko Shimura • Waseda University Social Media: How Love Buttons and Narratives Akiko Miyamoto • Tokyo Institute of Technology • ​ Configure Gender, Sexuality, and Feelings” “Face Covering: Tokihiko Okada in Ozu’s Early 1930s Jason Farman • University of Maryland • ​“Waiting for Films” Word: The Emotional Experience of Waiting in Mobile Kyohhei Kitamura • University of Tokyo • ​“Kyo Media Culture” Machiko’s Star Text as an Aesthetic Vehicle: The F. Hollis Griffin • Denison University • ​“#TinderFail: Practices around Stars’ Cinematic Bodies and the Affect and Desire at the Mobile Media Interface” Kimono as National Costume” Sarah Murray • University of Wisconsin-Madison • ​ Risa Hirota • Hokkaido University • ​“The Practice of “Happification: Redefining the Happiness Imperative Character Development through Costumes—Costume as Compulsory Media Use” Designer Hanae Mori and Color” Miyoko Shimura • Waseda University • ​“Yagyu Etsuko, Cinematic Costume Designer: On the Creation of Vibrant Toho Style /Branding”

65 6:00 –7:45 pm

WEDMARCH 30 E3 Rethinking Movement III E5 Digital Intimacies and the Cinematic Movement Cultural Logic of Oversharing YouTube, Affect, Collectivity

CHAIR Philippe Bedard • Univerity of Montreal Gert Jan Harkema • Stockholm University • ​“‘Move as CHAIR Feng-Mei Heberer • Massachusetts Institute if Alive’: The Instability of Movement in the Early Years of Technology of the Kinematograph” Feng-Mei Heberer • Massachusetts Institute of Linda Bertelli • IMT Institute for Advanced Studies Technology • ​“Asian-German YouTube Channels: Lucca • ​“Images, Invisibility, and Motion: Brief Bridging Popular Culture and Diasporic Activism” Essay on Chronophotography, Cinema, and Optical Jeff Scheible • SUNY, Purchase College • ​“Noise Unconscious” without Signal: Contentless Content in Digital Culture” Michael LaRocco • University of Southern California • ​ Michelle Cho • McGill University • ​“Kinetic Intimacies “Aesthetics of (in) Stability: Disruptions of Perception and the Cosmopolitical: K-Pop Dance Covers on in High Frame Rate Motion Simulators” YouTube” • University of California, Berkeley • ​ Abigail De Kosnik RESPONDENT Joshua Neves • Concordia University “The Media Crease: Repeated Re-viewings of Video on SPONSOR Asian/Pacific American Caucus VCRs vs. Digital Networks”

E4 “It’s kind of like a trailer . . .” E6 Experiments in Documentary Redefining Contemporary Trailers and Nonfiction Film

CHAIR Stephanie Janes • Royal Holloway, CHAIR Katherine Robinson • University of University of London Southern California Cassie Blake • Academy of Motion Picture Arts and Jon Crylen • Coe College • ​“‘Drawing Things Together’: Sciences • ​“Coming Soon to an Archive near You: The CG Images in Science Documentaries as Latourian Many Trailers of the Academy Film Vaults” Inscriptions in Motion” Ed Vollans • Economic and Social Research Council • ​ Markos Hadjioannou • Duke University • ​“Hosting “Watching Trailers: Experiences, Discourse, and the Hostage: Ex Machina” Definitions” Katherine Robinson • University of Southern Ksenia Frolova • University of East Anglia • ​“‘Putin’s California • ​“Finding What Is Hidden in the Hyperreal: Russia . . . This Video is ugly, Sad, but True . . . ’: Ulrich Seidl, Hybrid Cinema, and the Austrian National SESSION ‘Russian Trailers, Fan Creation, and Social Protest” Narrative” Theo Plothe • American University • ​“Not Actual Game SPONSOR Documentary Studies Scholarly Interest Group Play, but Is It Real Life?’: Live-action Footage in Digital E Game Trailers and Advertising as Gamerspace”

66 6:00 –7:45 pm

WEDMARCH E7 Cultural Critique E9 Work on Film 30 in Classical Hollywood Capitalism in Contemporary European Cinema

CHAIR Michael Slowik • San Diego State University CHAIR University of Wisconsin- San Diego State University Elena Gorfinkel • Michael Slowik • • ​“‘What’s Milwaukee the Matter with Bigamy?’: Evading the Production Code in The Miracle of Morgan’s Creek” Vinzenz Hediger • University of Frankfurt • ​“The Expendables: Configurations of Body, Honor, and Work Lauren Davine • Ryerson University • ​“Motherly Love: in Contemporary Cinema” Maternal Lovers and Childish Men in Postwar Male- centered Melodrama” Randall Halle • University of Pittsburgh • ​“Capitalism Critique in Recent Cinema: Interzones and Imaginative Kathaleen Boche • Independent Scholar • ​“‘I Like Communities” Myself’: Dance and Cold War Self-affirmations in Hollywood Musicals, 1955–1957” Barbara Mennel • University of Florida • ​“Precarious Management: ’s It’s a Free World . . .”

RESPONDENT Karl Schoonover • University of Warwick

E8 Presentation of Self in Social Media, Celebrity, and Fandom E10 Analyzing Female Identity CHAIR Greg Goldberg • Wesleyan University through Contextualized Studies of Performance Michael Lovelock • University of East Anglia • ​“The Queerness of the Catfish: Constructing the ‘Good’ Social Media User in Reality TV” CHAIR Staci Stutsman • Syracuse University Nandana Bose • University of North Carolina at Staci Stutsman • Syracuse University • ​“Pre-Code Wilmington • ​“Sridevi, Queen of Farce: Comedy, Stanwyck: The Sass, the Stare, and the Scream” Performance, and Star Persona in Popular Hindi Will Scheibel • Syracuse University • ​“Gene Tierney Cinema” and Laura: Wartime Fantasies of Inconspicuous Greg Goldberg • Wesleyan University • ​“The Queer Consumption” Narcissism of the Selfie” Steven Rybin • Minnesota State University Mankato • ​ “ and Transnational Performance in the Films of ” Cynthia Baron • Bowling Green State University • ​ “Angela Bassett: What Do Black Actresses Have to Do SESSION with the Black New Wave and More?”

SPONSOR Women in Screen History Scholarly Interest Group E

67 6:00 –7:45 pm

WEDMARCH 30 E11 Production and Distribution of E13 History Alive African Content in the Digital Age Historical Media Pedagogies

CHAIR St. Cloud State University CHAIR Manouchka Kelly Labouba • University of Brad Chisholm • Southern California Brad Chisholm • St. Cloud State University • ​ CO-CHAIR Moradewun Adejunmobi • University of “Muybridge in Minnesota: Undergraduates, Primary California, Davis Research, and the Joy of History” Jude Akudinobi • University of California, Santa Michael Newbury • Middlebury College • and Barbara • ​“Breaking Out: African Cinema, Digital Daniel Houghton • Middlebury College • ​ Dividends and Dilemmas” “Animating the Collinwood Fire of 1908” Manouchka Kelly Labouba • University of Southern Cary Elza • University of Wisconsin-Stevens Point • ​ California • ​“The End of Dependency: Production and “Alice’s Education: The Pedagogical Use of Cinema in Distribution of African Films in the Digital Age” the 1910s–1920s” Noah Tsika • Queens College, CUNY • ​“Nollywood Love Beyond Cinephilia: Nostalgia, Intermediality, and Digital Preservation” Moradewun Adejunmobi • University of California, Davis • ​“Streaming ‘Quality’ with An African City: E14 On the Case Constraints and Opportunities” “Procedural Play” in

CHAIR Racquel Gonzales • University of California, Irvine Racquel Gonzales • University of California, Irvine • ​ E12 New Approaches to Network-era “‘What it’s really like to be a cop’: Procedural Play in Television News History Sierra On-Line’s Police Quest: In Pursuit of the Death Angel” University of California, Los CHAIR Mark Williams • Dartmouth College Kathleen McHugh • Angeles • ​“Hermeneutics or Diagnostics: The Autism • University of Virginia • ​“WFAA- Aniko Bodroghkozy Spectrum Detective” TV Dallas and the Kennedy Assassination: Comparing Local and Network Television News in the History of Robert Miklitsch • Ohio University • ​“Odds for Live, Breaking Crisis Coverage” Tomorrow: Race, Melo-policier, and the Trope of Oriental Inscrutability in Samuel Fuller’s The Crimson • Bowling Green State University • ​ Tom Mascaro Kimono” “Women Producers of Documentary Newsfilm at NBC • University of Southern California • ​“Film SESSION News” Zeke Saber Noir and the Submission of Cinema to Literature” Mark Williams • Dartmouth College • ​“Local Television Newsfilm as Historical Resource: The Eula Love E Demonstration of June, 1979” SPONSORS Documentary Studies Scholarly Interest Group and Television Studies Scholarly Interest Group

68 6:00 –7:45 pm

WEDMARCH E15 A Vision of Beyond E17 New Geographies of Media 30 Interventions in Film Theory and Philosophy Production and Distribution

CHAIR DePaul University Dan Bashara • CHAIR Francisco Monar • Brown University Henry K. Miller • University of Cambridge • ​“A Matter Olof Hedling • Lund University • ​“A Note on the of Being and Nothingness: Durgnat and The Archers Changing Geography of European Film and Television Revisited” Production since 1989” Dan Bashara • DePaul University • ​“Cosmic Francisco Monar • Brown University • ​“The Border Modernism: The Horror of Cinematic Abstraction” as Interface; or, Adventures in Reconceptualizing the Sulgi Lie • Free University of Berlin • ​“Reification Borderlands” without Utopia; or, the Death Drive in Contemporary Michael Purvis • Queen’s University Belfast • ​ Hollywood Cinema” “Bilingual Anglo- and Francophone Stars in Latin American Co- productions and Their Implications for Processes of Distribution and Canonization” Lande Pratt • Kingston University • ​“Good for New Nollywood?: and the Value of New Online E16 Non-Hollywood Sound Distribution and Licensing Strategies—the Case of Transnational Approaches, Kenneth Gyang’s Confusion Na Wa (2013) “ “Glocal” Perspectives

CHAIR Nessa Johnston • Edge Hill University CO-CHAIR • Wilfrid Laurier University Katherine Quanz E18 WORKSHOP Ilario Meandri • University of Turin • ​“When Light Teaching Fandom Becomes Sound: Italian Film Industry and the Creative Strategies Transition to the Dolby SVA (1977–1982)”

Katherine Quanz • Wilfrid Laurier University • ​“‘Pro Tools, eh?’: Mermaids, Hereafter, and Technological CHAIR Casey McCormick • McGill University Change in Toronto” WORKSHOP PARTICIPANTS Nessa Johnston • Edge Hill University • ​“Film Sound • DePaul University Practice in Brazil and Ireland: Comparisons and Paul Booth Transnational Insights” Sarah Sinwell • The University of Utah Rukmini Pande • University of Western Australia RESPONDENT Jennifer Fleeger • Ursinus College Melanie Kohnen • Coventry University SPONSORS Transnational Cinemas Scholarly Interest Group and Sound Studies Scholarly Interest Group SPONSOR SCMS Teaching Committee SESSION E

69 6:00 –7:45 pm

WEDMARCH 30 E19 WORKSHOP E21 WORKSHOP Understanding the Oikos Media Governance Research Approaches to the Cinematic Domestic Space Challenges and Opportunities II

CHAIR Noelle Griffis • Indiana University CHAIR Hadi Gharabaghi • New York University

WORKSHOP PARTICIPANTS WORKSHOP PARTICIPANTS Merrill Schleier • University of the Pacific Peter Bloom • University of California, Santa Barbara John David Rhodes • University of Cambridge Zoe Druick • Simon Fraser University Stefano Baschiera • Queen’s University Belfast Priya Jaikumar • University of Southern California Miriam De Rosa • Catholic University of the Sacred Matt Sienkiewicz • Boston College Heart

E22 New Takes on Global Auteurs E20 Mexican Queer Aesthetics and Iconography CHAIR Chelsea Birks • University of Glasgow

Shi-Yan Chao • Independent Scholar • ​“Camping CHAIR Sergio de la Mora • University of California, in The Hole: Tsai Ming-liang, Queer Affect, Camp Davis Aesthetic” CO-CHAIR Laura Gutierrez • University of Texas at Austin Steven Woodward • Bishop’s University • ​“Kieślowski Sergio de la Mora • University of California, Davis • ​ and the Cognizance of the Spiritual” “Sara Garcia’s Body: The Grandmother of Mexican Jose Gutierrez III • Hong Kong Baptist University • ​ Cinema and Lesbianism” “The Realist Cinema of Lino Brocka” Mara Fortes • University of Chicago • ​“Impertinent Chelsea Birks • University of Glasgow • ​“Green Sounds, Unruly Bodies” Unpleasant Lands: Ecology and the Sacred in Ben Laura Gutierrez • University of Texas at Austin • ​ Wheatley and Apichatpong Weerasethakul” “Performance, Camp Aesthetics, Queerness: The Triad (Sevilla, Gout, and Custodio) of Mexican Rumbera Cinema” Ilana Luna • Arizona State University • ​“Towards a Queer Mexican Iconography: Don Hermosillo y sus SESSION juegos” E

70 6:00 –7:45 pm MEETING WEDMARCH E23 Media Organizing, 6:00 – 7:45 pm 30 Activism, and Law

Comedy & Humor Studies Scholarly Interest Group CHAIR Christina Aushana • University of California, San Diego ROOM 410 • Fourth Floor Leslie Abramson • Loyola University • ​“Keaton’s Law: American Justice, Disorder, and Trials of Otherness” Christina Aushana • University of California, San Diego • ​“Arresting Visualities: Screening Sociality in the Cinema of Policing” Cait McKinney • McGill University • ​“The Media Infrastructures of 1990s HIV/AIDS Activism” Kevin Sanson • Queensland University of Technology • ​ “Workers Are Doing It for Themselves?: Local Labor Solidarity in Precarious Times”

SPONSOR Media Literacy & Pedagogical Outreach Scholarly Interest Group

FOR MORE INFORMATION ABOUT Affiliate Events please refer to pages 205-210

SESSION E

71 WEDMARCH SPECIAL EVENT 30 WEDNESDAY, MARCH 30 8:00 pm Richard Dyer in the House of Cinema ROOM Grand Ballroom West • Second Floor Few scholars have considered as many topics in cinema and media studies as Richard Dyer, or with as much depth and love— love for film and its history, for audiences of all stripes, for the of cinema scholarship, and for colleagues and their work. His published scholarship has ranged from light entertainment and the history of stardom, to film song, serial killers, and especially to path breaking and sustained work as a founding author of gay film studies in English. Throughout, Dyer reveals the rich mix of affect, form, and world, whether in the slippery and overwhelming power of whiteness, the delicacy of male genitalia in a genre—porn—typically imagined as indelicate, the expressive complexity of pastiche, or the vaporous whimsy of an eyeline. His oeuvre and presence have enriched our field for 40 years. Dyer himself will be joined by an international group of panelists whose collective range illuminates cinema studies of gayness, blackness, whiteness, stardom, masculinity, style, affect, seriality, and music, and who can address Dyer with expertise, fond critique, and living history. We anticipate a lively, expansive event and, if not the passing of a torch, an intergenerational recognition of Dyer and the practice of cinema scholarship he represents.

PARTICIPANTS Richard Dyer • King's College London B. Ruby Rich • University of California, Santa Cruz Lisa Henderson • University of Massachusetts Amherst Jackie Stacey • University of Manchester Louis Bayman • University of Southampton Amy Villarejo • Cornell University Anu Koivunen • Stockholm University Tom Waugh • Concordia University Miriam Petty • Northwestern University Victor Fan • King's College London Ryan Powell • Indiana University

SPONSORED BY SCMS, King’s College London, Routledge, Screen, University of Massachusetts Amherst, Queer Caucus, Palgrave, Macmillan Education/BFI Publishing, Film Quarterly, African/African American Caucus

72 SESSION MARCHTHURSDAY 31 F 9:00 – 10:45 am

F1 Machine Vision Documentaries I F2 Identifying and Analyzing The Politics and Aesthetics Media Archives of Machine Witnessing Preservation, Institutional Legitimation,

and Cultural Meaning-making

CHAIR Nea Ehrlich • Van Leer Jerusalem Institute Cristina Formenti • University of Milan • ​“Precarious CHAIR Jacqueline Stewart • University of Chicago Limited Camera Gazes and their Modes of Operation in Andy Uhrich • Indiana University • ​“Profiting Horror ” from Preservation: Stock Footage Companies as Jesse Cumming • York University • ​“Watching You Economically Driven Film Archives” without You: Towards an Understanding of CCTV Lauren Bratslavsky • Illinois State University • ​“The Cinema” Industry-initiated TV Archive: A History of the Museum Genne Speers • York University • ​“Graphic Documents: of Broadcasting” Visualization and Violence in Forensic Archives” Jenny Doctor • Syracuse University • ​“Archiving Media Sandra Danilovic • University of Toronto • ​ as Business: Exploring the Formation of the BBC “Reformatting Game Ludologies via the Computer Written Archives” Game Autopathography” Shawn VanCour • New York University • ​“Amateur SPONSOR Documentary Studies Scholarly Interest Group Archivization and the Digital Afterlife of Old-time Radio”

73 9:00 – 10:45 am

F3 Violence and the F5 Rage Against the Machine Anticolonial Image Failure, Gaps, and Noise in the Age of Streaming

CHAIR Jasmine Cobb • Duke University CHAIR Neta Alexander • New York University Kenneth Berger • Brown University • ​“Cinema, CO-CHAIR Stockholm University THU Revolution, and the Remaking of Subjectivity: Chris Baumann • MARCH Anticolonial Critique in The Hour of the Furnaces” Derek Kompare • Southern Methodist University • ​ 31 Aniruddha Maitra • Colgate University • ​“Vox Manet: “Unavailable to Stream: Coming to Terms With Gaps in The Acoustic Mirror in Assia Djebar’s La Nouba des the Digital Archive” femmes du Mont Chenoua” Chris Baumann • Stockholm University • ​“Better Rijuta Mehta • Brown University • ​“In and Out of Viewing: Streaming Devices and the Quest for Repatriation’s Marketplace” Interoperability” Kaneesha Parsard • Yale University • ​“‘And the House Anna McCarthy • New York University • ​“The Austerity Will Always Look Clean’: British West Indian Housing, of Streaming, the Irresponsibility of Clutter” Photography, and the Soft Violence of Rationalization” Neta Alexander • New York University • ​“Catered to Your Future Self: Netflix’s ‘Predictive Personalization’ and the Mathematization of Taste”

SPONSORS Media, Science & Technology Scholarly Interest Group and Television Studies Scholarly Interest F4 What Is Queer About Horror? Group

CHAIR Peter Marra • Wayne State University CO-CHAIR Ashley R. Smith • Northwestern University Peter Marra • Wayne State University • ​“Queer F6 Alternative Visions Bogeymen; or, What Is Queer about the Slasher?” Technological Innovations in Film and Video

Ashley R. Smith • Northwestern University • ​ “Queering Whiteness: 1970s Hicksploitation Cinema CHAIR Hannah Spaulding • Northwestern and the Horror of the White Underclass” University • Independent Scholar • ​“Queer Ethics, David Church Yale University Urban Spaces, and the Horrors of Monogamy in It Ila Tyagi • • ​“Blood Moon: Infrared Follows” Cinematography in Early Wartime Hollywood” Harvard University Andrew Owens • Boston College • ​“The Blood Is the Daniel D’Amore • • ​“Astral Life/Death: Queer Contagion and Viral Vampirism in Projections: The Screen Environments of Manned SESSION the Age of HIV/AIDS” Spacecraft Center—Building 30 and the Harris County Domed Stadium, Houston, 1965” SPONSORS Queer Caucus Hannah Spaulding • Northwestern University • ​“TV F Eyes and Video Doorbells: Television as Domestic Protection in Cold War America” Kyle Parry • University of Rochester • ​“The Event Archive as a Genre of Networked Media”

74 9:00 – 10:45 am

F7 Legendary Figures, Both Real F9 Film Advertising and Imagined Address, Regulation, and Manipulation

CHAIR Christopher Newport CHAIR Bruce Williams • William Paterson University John Nichols • University Boaz Hagin • Tel Aviv University • ​“Not the John Wayne Promised Me: Cast a Giant Shadow and the John Nichols • Christopher Newport University • ​ THU Unmaking of Exodus” “‘Shovelers of Print Filth’: Censoring Film MARCH Advertisement under the Production Code” Bruce Williams • William Paterson University • ​“A 31 Wonder Woman of the Czech New Wave: Intertext and Martin Johnson • The Catholic University of America • ​ Gender Politics in Václav Vorlícek’s Who Wants to Kill “Exhibitors! Stop Being the Goat!: The Curious Failure Jessie” of the Advertising Film in the United States” Christine Acham • University of Southern California • ​ Beth Corzo-Duchardt • Muhlenberg College • ​“The “Shifting Shonda: The Politicization of Shondaland” Great Daughter of the Gods Poster Controversy” Nick Bestor • University of Texas at Austin • ​“Fabio’s Blood on the Tracks: Masculinity, Celebrity, and a Fateful Roller Coaster Ride” F8 Understanding Temporalities and Histories F10 Girl in the CHAIR Alex Pittman • Barnard College Twenty-first Century Masaki Kondo • York University • ​“Encountering Owen Identity, Participation, and Queer Kydd’s ‘Retail Compositions’: Temporality of Affectivity Reappropriation in Global Media

through an Event of Contemporary Moving Image Art” Yael Munk • Open University of Israel • ​“Israeli CHAIR M.M. Chandler • Santa Monica College Fantastic Cinema: Coming to Terms with History in the Present” Janett Buell • Yale University • ​“Appropriating Loki: The Cultural Significance of Girl Fans, Queerness, and Alex Pittman • Barnard College • ​“Images Fannish Nonfiction” under Pressure: Cauleen Smith, the Aesthetic of Intensification, and the Historical Present” Daisy Asquith • University of Sussex • and • University of Sussex • “This Is Not Matthew Noble-Olson • Georgetown University • ​ Lucy Robinson Us: Public and Private in the One Direction Fandom” “Purchasing the Future” Lies Lanckman • University of Kent • ​“Brickbats, Bouquets, and Bytes: Classic Hollywood Fandom in the SESSION Twenty-first Century” F

75 9:00 – 10:45 am

F11 Imagining Ethnicity, Race, F13 Transferrence and Transgression and Racial Politics Forming Identities Online and in Cinema

CHAIR University of Chicago CHAIR Carol Siegel • Washington State University Nova Smith • Vancouver Wan-Jun Lu • University of Wisconsin-Madison • ​ THU Joy Schaefer • Stony Brook University • ​“The Ecole “Rethinking Cultural Hybridity: The Identification of MARCH Laïque as Transnational Microcosm” Diasporic on Mixed-race Children’s Facebook Fan Pages” 31 Joo Young Lee • University of Michigan • ​“Visualizing Genealogies of (Be)gotten Korean Negro: Nova Smith • University of Chicago • ​“Paint the White Representations of Racialized and Gendered Afro- House Black: ‘White Films,’ Black Aesthetics, and the Koreans in Korean Films in the 1980s” Infiltration Narratives of Antoine Fuqua” Chuck Tryon • Fayetteville State University • ​ Caroline Leader • University of Wisconsin-Madison • ​ “ of Political Process: Fictional US “The Princess Problem?: Feminine Culture Transference Television Depicts Black Lives Matter” and Disney’s Princess Collection” Carol Siegel • Washington State University Vancouver • ​ “Opposing Views of the Jewish Sexologist: A Dangerous Method and Nymphomaniac” F14 Histories of/on Television Discursive Forms, Industrial Practices

F12 Interactivity in Cinema, Games, CHAIR Ben Olin • New York University and Online Katherine Steinbach • University of Iowa • ​ Archives, Curation, Immersion “Anchoring Time: The Broadcast Journalist Sign-off, Mass Media Audiences, and Time Manipulation” CHAIR Oscar Moralde • University of California, Los Ben Olin • New York University • ​“Reframing the New Angeles York School: Public Access Poetry and the Performance Maria Engberg • Malmö University • ​“‘I Love Your of Poetic Coterie” Work:’ Procedurality and Weak Narrative in Interactive Ian Murphy • University of North Carolina at Chapel Documentary Film” Hill • ​“What the History of Television Retransmission Jedd Hakimi • University of Pittsburgh • ​“Interactive Fees Indicates About the Future of Media Content Design and the Moving Image: Unpacking MoMA’s Distribution” Foray into Video Game Collection” SESSION Oscar Moralde • University of California, Los Angeles • ​ “Machines of the Interactable: Video Games and Experiencing the Body Politic” F Richard Rushton • Lancaster University • ​“Ida, Art Cinema, and Immersion”

76 9:00 – 10:45 am

F15 Paratextual Analysis F17 Night on Earth and Global Circulation Nocturnal Spaces across the Media Landscape

CHAIR Lisa Patti • Hobart and William Smith Colleges CHAIR Iggy Cortez • University of Pennsylvania CO-CHAIR David Richler • Carleton University Iggy Cortez • University of Pennsylvania • ​“Holy Motors THUMARCH David Richler • Carleton University • ​“Film Festival ’s Nocturnal Delirium: The Digital Nightscape as Paratexts, Digital Circulation, and the Idea of World Cinema’s Analogue and Limit” 31 Cinema” Will Straw • McGill University • ​“Fear and Possibility in Melissa Gelinas • University of Michigan • ​“Trailers the Mexico City Night” and the Transnational Circulation of Multilingual Charlotte Ickes • University of Pennsylvania • ​ Films” “‘Nothingness in the Cage’: Darkness, Blueness, and Fan Yang • University of Maryland, Baltimore County • ​ Blackness in the Work of Steve McQueen” “House of Cards in China: Paratexts and Transnational RESPONDENT Jean Ma • Stanford University Circulation”

F18 Intermedial Aesthetics and F16 Blurred Boundaries in Silent Affects in Contemporary East and Early Sound Film Asian Cinema

CHAIR • University of West Jeffrey Zamostny CHAIR Moira Weigel • Yale University Georgia Panpan Yang • University of Chicago • ​“Animating the R. Gabriel Dor • Northwestern University • ​“‘You’ll Handscroll: Edward Yang’s Unfinished Film The Wind” Queer Yourself on Broadway’: Gender Trouble and • University of California, Berkeley • ​ Ethnic Masquerade in the Synchronized Musical Jianqing Chen “Very Very Moe: The Cuteness of 3D ” Numbers of The Jazz Singer” • Stanford University • ​“Genre Megan Boyd • University of Wisconsin-Madison • ​ Daniel Cohen Unbound: Some Reflections on Cao Fei’s Works on “Olive Thomas, Joy of Living Star: Madcaps, Showgirls, Video” and the Foundations of the Film Flapper” • Yale University • ​“Slowness, Mobility, Jeffrey Zamostny • University of West Georgia • ​ Moira Weigel and Precarity in Midi Z’s Homecoming Trilogy “Queer Fandom and the Dawn of Spanish Sound Film: (2011–2014)” El Misterio de la Puerta del Sol (1929)” SESSION RESPONDENT University of California, • Kalamazoo College • ​“‘A Strangely Weihong Bao • Babli Sinha Berkeley un-English Actress’: Race, Legibility, and the Films of Merle Oberon” F SPONSOR Silent Cinema Cultures Scholarly Interest Group

77 9:00 – 10:45 am

F19 Rethinking Auteurism F21 Pay TV Innovations versus French Cinema between the Waves Public-service Traditions Continuity and Change in European Television Fiction Production CHAIR Sam Di Iorio • Hunter College, CUNY

Marco Grosoli • University of Kent • ​“The Unobtrusive Passeur: Jean-Louis Comolli’s Early Writings” CHAIR Giancarlo Lombardi • The Graduate Center, THUMARCH CUNY Sam Di Iorio • Hunter College, CUNY • ​“Farewell to 31 Mac-Mahonism: Classicism and Modernity in Présence Petr Szczepanik • Masaryk University • ​“‘Act Locally, du Cinéma” Think Regionally, Aspire Internationally?’: HBO Jamie Berthe • New York University • ​“Decolonizing la Europe’s Original Programming as a Challenge to PSB Nouvelle Vague: On Godard’s African Epiphany” in Central-Eastern Europe” Massimo Scaglioni • Catholic University of the Sacred RESPONDENT Steven Ungar • University of Iowa Heart • ​“Looking for a New Production Model: Sky Italia Original Fictions and the Struggle for Difference” Juan Francisco Gutierrez Lozano • University of Málaga • ​“Spanish Television Fiction Production: Past in the Public National Channel, Present in Commercial F20 WORKSHOP Networks, Future in Pay TV” Video Essays in Transnational Catherine Johnson • University of Nottingham • ​ Cinema Studies “Online Original Shorts: A Public Service Response to

Netflix?”

SPONSOR Media Industries Scholarly Interest Group CHAIR Tracy Cox-Stanton • Savannah College of Art and Design

WORKSHOP PARTICIPANTS Nicolas Poppe • Middlebury College Michael Talbott • Castleton University F22 WORKSHOP Austin Fisher • Bournemouth University Pedagogy Catherine Grant • University of Sussex Teaching with and through Audio Jeffrey Middents • American University

SPONSOR Transnational Cinema Scholarly Interest Group CHAIR Aaron Trammell • Rutgers University

WORKSHOP PARTICIPANTS Tim Anderson • Old Dominion University SESSION Andrew Bottomley • University of Wisconsin- Madison Amanda Keeler • Marquette University F University of Wisconsin-Madison Jeremy Morris • Aaron Trammell • Rutgers University

SPONSOR SCMS Teaching Committee

78 9:00 – 10:45 am MEETING F23 Out of Historical Time 9:00 – 10:45 am Anachronism, Appropriation, and Adaptation

Women’s Caucus

ROOM • Fourth Floor CHAIR Anne Mecklenburg • University of Michigan 410 Anne Mecklenburg • University of Michigan • ​“Eyes and Brains: The Role of Female Students in Sherlock THU Holmes Modernizations” MARCH Sandra Annett • Wilfrid Laurier University • ​“Dance 31 the Body Electric: Re-animating Classical Hollywood in MEETING Electroswing Music Videos” 9:00 – 10:45 am Sophia Satchell-Baeza • King’s College London • ​ “‘Time Turn Turtle’: Representing ‘Expanded’ Notions Animated Media of Time with the Classical Indian Film Score in British Scholarly Interest Group Psychedelic Cinema of the 1960s” ROOM 206 • Second Floor Linda Liu • University of Massachusetts Boston • ​“Out of Time: Anachronism and Historical Consciousness in It Follows”

THURSDAY, MARCH 31 11:0 0 am – 12:15 pm Orientation for New Members and Networking Session ROOM Crystal Ballroom • First Floor If you are new to SCMS, please plan to attend this drop-in orientation and networking session for new members. You will learn more about the Society, the conference, the journal, the website, and other benefits of membership. You will also meet members of the various Caucuses and Scholarly Interest Groups of the Society and hear about their activities. SESSION SPONSORED BY University of Notre Dame, Department of Film, Television, and Theatre F

79 SESSION MARCHTHURSDAY 31 11:00 am – 12:45 pm G

G1 Machine Vision Documentaries II G2 A World of Frontiers Algorithmic and Virtual Culture 50 Years of Star Trek

CHAIR Ted Kafala • College of Mount Saint Vincent CHAIR Matt Yockey • University of Toledo Nea Ehrlich • Van Leer Jerusalem Institute • ​ Ina Hark • University of South Carolina • ​“On the Fan “Telepresence and Indexicality in Virtual Spectrum: The Fictionalized ” Documentaries” Bob Rehak • Swarthmore College • ​“Building a Halil Deniz Tortum • Massachusetts Institute of Playable Universe: Reference Materials, Tabletop Technology • ​“Documentary and the Transplane Miniatures Games, and Grassroots Transmedial Image: Virtual Documentaries” Adaptation in 1970s Star Trek Fandom” Daniela Agostinho • Catholic University of Portugal • ​ Matt Yockey • University of Toledo • ​“Return to “Under the Clouds: Algorithmic Culture and the Scopic Tomorrow: Star Trek Continues and the Afterlife of Star Regime of Data Visualization” Trek”

Ted Kafala • College of Mount Saint Vincent • ​“Data RESPONDENT Matt Hills • Aberystwyth University Metanarratives, Fuzzy Logic, and Info-aesthetics” SPONSOR Fan & Audience Studies Scholarly Interest Group

80 11:00 am – 12:45 pm

G3 Black Images Matter G5 WORKSHOP Contextualizing Images of Gaming the Archive Racialized Police Violence The Challenges of Games Collections in

Libraries, Archives, and Institutions

CHAIR Ellen Scott • University of California, Los Angeles CHAIR Christopher Hanson • Syracuse University THU Roopali Mukherjee • Queens College, CUNY • ​“Bio- MARCH work in the Blacking Factory: Police Videos and the WORKSHOP PARTICIPANTS 31 Work Ethics of Seeing and Being Seen” Jennifer deWinter • Worcester Polytechnic Institute LaCharles Ward • Northwestern University • ​“On Ken S. McAllister • University of Arizona the Pain of Black Bodies: Racialized Violence and Judd Ruggill • Arizona State University Contemporary Protest Images” Patrick Williams • Syracuse University

Safiya Noble • University of California, Los Angeles • ​ SPONSOR Video Game Studies Scholarly Interest Group “Black Death on Screen: The Politics of Internet Spectacles” Ellen Scott • University of California, Los Angeles • ​“‘The So-called Third Degree Method’: Police Brutality and Race in Classical Hollywood Cinema” G6 The Politics of Place and Space RESPONDENT Jasmine Cobb • Duke University

SPONSOR African/African American Caucus CHAIR Jon Kraszewski • Seton Hall University Antje Ascheid • University of Georgia • ​“Coffee in Berlin: German Identity and the Berlin Film” Wyatt Phillips • Texas Tech University • ​“Deliverance, Atlanta, and Appalachia: Ecological Regionalism in G4 Contemporary Queer Camp James Dickey and John Boorman’s Post-classical ‘Western’” CHAIR Josh Morrison • University of Michigan Jon Kraszewski • Seton Hall University • ​“Open Josh Morrison • University of Michigan • ​“Killer Spaces in Allen Funt’s Candid Camera: Urban Camp: Communal Trauma and Ticked-off Trannies with Geography and Postwar Economic Equalitarianism” Knives” Mark Lipton • University of Guelph • ​“I Got AIDS at Camp: Prognosis, Hope, and Sontag’s Camp” Matthew Tinkcom • Georgetown University • ​“The Purple Sweater: Beginners, Camp, and the Gerontic SESSION Style” RESPONDENT Caryl Flinn • University of Michigan G

81 11:00 am – 12:45 pm

G7 Out of the Past G9 Star Maps History on Film Publicity, Authorship, and Hollywood Stars

CHAIR Jennifer Alpert • University of California, CHAIR Milan Hain • Palacky University Berkeley Michael Williams • University of Southampton • ​ THU Qi Wang • Georgia Institute of Technology • ​ “’Above Everything?’: Icons and Idolatry in Mata Hari MARCH “Sauntering on the Edge of History: Narrative and (George Fitzmaurice, 1931)” 31 Color in the Films of Hong Sang-soo” Milan Hain • Palacky University • ​“Courting Europe: Arthur Knight • College of William & Mary • ​“Miles David O. Selznick and His Transnational Stars” Ahead?: The Black Biopic after ” Kelsey Moore • University of Southern California • ​“‘A Sushila Shekhawat • Birla Institute of Technology and Story Only Life Itself Could Have Inspired’: Publicity, Science • ​“Tracing Genre Specific Traits of Selected Subjectivity, and A Star is Born” Indian Biopics: An Empirical Study” R. Colin Tait • Texas Christian University • ​“The King Jennifer Alpert • University of California, Berkeley • ​ of Comedy in the Archive: What the Robert De Niro “Utopia in High-key Lighting: The Happy Ending as a Papers Tell Us about the Actor’s Authorial Stamp” Balm for History in Contemporary Argentine Cinema”

G10 Framing the Screen G8 Disruption Theater, Architecture, and Screen Practices Practices, Policies, and Histories of Media in the Digital Era CHAIR William Paul • Washington University in Saint Louis

CHAIR Goucher College Danny Kimball • William Paul • Washington University in Saint Louis • ​ Paul Torre • University of Northern Iowa • ​“Global “Roaring Trains, Screaming Ladies, and the Fourth Streaming: Netflix Expands into New Territories” Wall” Kyle Wrather • University of Texas at Austin • ​“Boxed Diane Lewis • Washington University in St. Louis • ​“The In?: Home Streaming Video Devices as a Site of Projected Image in Political Avant-garde Theater in Industrial Conflict, Compromise, and Change” Interwar Japan” Leo Rubinkowski • University of Wisconsin-Madison • ​ Chie Niita • Meijigakuin University • ​“Cinema and “The Digital Cinema Distribution Coalition’s Variety Stage: The Rise of Modern Movie Houses in Network and the Slow Evolution of Efficient Japan” Distribution” SESSION Ariel Rogers • Northwestern University • ​“Tele-Vision: Danny Kimball • Goucher College • ​“Net Neutrality Screens, Windows, and Mirrors in the Los Angeles G and Wonkish Populism in Media Policy Discourse” Theatre”

82 11:00 am – 12:45 pm

G11 What is Music for Film Theory? G13 WORKSHOP Hacking the Industry Studying Hollywood Digitally CHAIR Olga Solovieva • University of Chicago

Olga Solovieva • University of Chicago • ​“‘Large Scale Form’: The Function of Music in Theorizing Cinematic CHAIR Matthias Stork • University of California, Los Hybridity” Angeles THU King’s College London MARCH Victor Fan • • ​“Cantonese Music WORKSHOP PARTICIPANTS and Cantonese Theater Film in the 1950s: Cultural 31 • University of Texas at Austin Extraterritoriality and the Rise of Hong Kong Identity” Alisa Perren Kristen Warner • University of Alabama RESPONDENT Temenuga Trifonova • York University James Fleury • University of California, Los Angeles Myles McNutt • Old Dominion University David Hesmondhalgh • University of Leeds

G12 Of Droids and Dollhouses Transmedia and Material Culture G14 Identity and Experimentation CHAIR Moya Luckett • New York University in the Public Sphere Jessica Campbell • University of Washington • ​“Clap if 1970s Transnational You Believe in Hollywood: Colleen Moore’s Fairy Tales” Asian/Middle Eastern Film/Video

Moya Luckett • New York University • ​“Surplus Beauty and Synthetic Stars: Star Search Contests, Transmedia CHAIR Jun Okada • SUNY, University at Geneseo Ephemera, and the Lottery of Fame” CO-CHAIR Joel Neville Anderson • University of Philipp Dominik Keidl • Concordia University • ​“Fans, Rochester Museums, and the Material Culture of Cinema” Jun Okada • SUNY, University at Geneseo • ​“Global • Carnegie Mellon University • ​“Bring Jeff Hinkelman Flow vs. Racial Resistance: Paik, Ono, Fluxus, and Asian ‘em Back Alive: Frank Buck and the Multimedia American Film and Video” Formation of a Public Persona” Joel Neville Anderson • University of Rochester • ​ “Circuits of Performance and Engagement: Public Access Video Art and Community Video” Tara Najd Ahmadi • University of Rochester • ​ “Gavaznha (Masoud Kimiayi, 1974): The Depiction of a Transformation in the Iranian Public Sphere” SESSION RESPONDENT Peter Feng • University of Delaware

SPONSORS Asian/Pacific American Caucus and Middle East Caucus and CinemArts: Film & Art History G Scholarly Interest Group

83 11:00 am – 12:45 pm

G15 In Theory G17 Bronze Skin and Interdisciplinary and Historical Approaches the Silver Screen Race, Film, and Moving Image Repositories in Mexico CHAIR Eszter Polonyi • Columbia University

Patrice Petro • University of Wisconsin-Milwaukee • ​ “Film Theory Now: Revisiting From Caligari to Hitler” CHAIR Monica Garcia Blizzard • Ohio State THUMARCH University Eszter Polonyi • Columbia University • ​“Seeing Words 31 on the Screen: Béla Balázs, Fraeulein Else and the Monica Garcia Blizzard • Ohio State University • ​ Emergence of the Film Script” “Tracing the Ethnographic Spectacle in Mexican Nicholas Baer • SUNY, Purchase College • ​“‘Things as Cinema” They Could Have Happened’: Film, History, and Poetics Patricia Arroyo Calderon • University of California, in Siegfried Kracauer’s Writings” Los Angeles • ​“Screening Indigeneity: Tourism, Anthropology, and the Ethnographic Gaze during the Lost Decade of Mexican Cinema (1955–1965)” Julian Etienne • University of Texas at Austin • ​ “Writing, Storing, Processing . . . Race: Mexico’s G16 Expanded Horizons Archivo Etnográfico Audiovisual” New Approaches to CinemaScope Aesthetics

CHAIR Sam Roggen • University of Antwerp CO-CHAIR Anthony Coman • University of Florida G18 Perspectives on Sam Roggen • University of Antwerp • ​“The End of Quebec Global Cinema Montage?: A Systematic Formal Analysis of Editing

Style in Early CinemaScope” CHAIR • University of Stirling Marshall Deutelbaum • Purdue University • ​“Graphic Bill Marshall Continuity and Set Design in the CinemaScope Bill Marshall • University of Stirling • ​“Quebec Composition of The Tender Trap” Cinema; Globalising la Francophonie?” Anthony Coman • University of Florida • ​“‘Out of the Kester Dyer • Concordia University • ​“Recasting Inner Moment Comes the Whole’: Organic Continuity Quebec/ as Intercontinental Haunting: Jean- in Wright, Ray, and Perkins” Marc Vallée’s Café de Flore” Nathaniel Deyo • University of Florida • ​“Toward Fulvia Massimi • Concordia University • ​“‘I Didn't Say a Non-bourgeois Use of CinemaScope: Notes on Superhero’: Alternative Configurations of Paternal Contempt” Masculinity in Quebec Popular Cinema” SESSION Julie Ravary • University of Montreal • ​“The Exportability of National Specificities on the International Circuit: A Case Study of Quebec National G Cinema and the Emergence of Its Historical Frescoes in the 2000s”

84 11:00 am – 12:45 pm

G19 Re-assessing Auteurism I G21 WORKSHOP New Places, Politics, and Histories In the Trenches Teaching Film at Sites of Production, Distribution, and Exhibition CHAIR Linda Mokdad • St. Olaf College

Bjorn Nordfjord • St. Olaf College • ​“Anxiety as Comedy: The Challenging Aesthetics of Swedish CHAIR Andrew Douglas • Bryn Mawr Film Institute THU Provocateurs Ruben Östlund and ” MARCH WORKSHOP PARTICIPANTS Amy Monaghan • Clemson University • ​“Ethan Hawke 31 • University of Wisconsin-Madison as Paratext and Pop Song in the Films of Richard Kelley Conway Linklater” Timothy Jones • University of California, Los Angeles University of Hawaii at Manoa Linda Mokdad • St. Olaf College • ​“Salah Abu Seif’s Glenn Man • Women’s Empowerment Trilogy: Filmic Realism and Robert Silberman • University of Minnesota Feminism in Nasser’s Egypt” Andrew Utterson • Ithaca College

SPONSOR Scandinavian Scholarly Interest Group

G22 Trauma, Desire, and Movement G20 Liberating Rhythms Women’s Bodies and Meanings Choreographies of Gender in Early European Cinema CHAIR Baran Germen • University of Oregon David Lerner • Fairfield University • ​“Fifty Shades of CHAIR Tami Williams • University of Wisconsin- Burgundy: Sexuality and Desire across Contemporary Milwaukee Film Cultures” CO-CHAIR Elisa Uffreduzzi • University of Florence Baran Germen • University of Oregon • ​“Playing the Elisa Uffreduzzi • University of Florence • ​“Women Victim: Vurun Kahpeye and the Melodramatics of and Dance: Perspectives of Liberty in Italian Silent Turkish Politics” Cinema” Usha Iyer • Clark University • ​“Transitioning from Bai Tami Williams • University of Wisconsin-Milwaukee • ​ to Devi: Professional Dance and Female Stardom in “Beneath the Surface: Gestural Abstraction, Rhythmic 1950s and 1960s Hindi Cinema” Sensation, and Sexual Liberty in Belle Époque Dance SPONSOR Caucus Coalition and French Impressionist Cinema” Chiara Tognolotti • University of Florence • ​“The Female Body and the Gaze in the Films of Jean and SESSION Marie Epstein”

RESPONDENT Lucia Cardone • University of Sassari SPONSOR Silent Cinema Cultures Scholarly Interest Group G

85 11:00 am – 12:45 pm

G23 Target Markets Issues of Identity, Audience, and Access in the Global Era

CHAIR Tim Bell • Indiana University THU Jiwon Ahn • Keene State College • ​“Gourmet Cinema MARCH in Transnational Encounters” 31 Karrmen Crey • University of California, Los Angeles • ​ “Broadcasting Indigeneity: Indigenous Independent Television in Canada” Ilana Emmett • Northwestern University • ​“Switched at Birth and Troy’s Big Break: A Look at ASL in Narrative Programming” Tim Bell • Indiana University • ​“A Study in Tweed: Sherlock Holmes, Transnational Address, and Heritage beyond Genre”

Explore . . . the SCMS Exhibit Area Grand Ballroom East/AB Second Floor see page 9 for Exhibit Hours SESSION G

86 SESSION MARCHTHURSDAY 31 H 1:00 – 2:45 pm

H1 WORKSHOP H2 World Cinema in French Producing/Curating/Commentary

Pre-World War II African American CHAIR Rachel Gabara • University of Georgia and Race Cinema Carina Yervasi • Swarthmore College • ​“West Africa’s Heterolinguistic Spaces of Cinéma-monde” CHAIR Charles Musser • Yale University Panivong Norindr • University of Southern California • ​ “The Force of the Image: History, Trauma, and Filmwork WORKSHOP PARTICIPANTS in Rithy Panh’s Movies” University of North Carolina at Charlene Regester • • University of Georgia • ​“‘I Travel in Chapel Hill Rachel Gabara French’: Dyana Gaye’s Global Cinema” Rhea Combs • National African American Museum of RESPONDENT Yale University History and Culture Dudley Andrew • Charles Musser • Yale University Jacqueline Stewart • University of Chicago

SPONSOR Oscar Micheaux Society and African/African American Caucus

87 1:00 – 2:45 pm

H3 Color and Film I H5 The Babadook, Motherhood, Animated Materialities, Aesthetics, and and Feminism Visual Culture

CHAIR Jason Middleton • University of Rochester CHAIR Ryerson University and Carolyn Kane • Bowdoin College Brown University Aviva Briefel • • ​“Parenting through THU Horror: Reassurance in Jennifer Kent’s The Babadook MARCH Kirsten Moana Thompson • University of Victoria • ​ (2014)” “‘Better Living through Chemistry’: Du Pont, Disney, 31 Meredith Bak • Rutgers University-Camden • ​“Magic, and the Getty Institute” Materiality, and Maternal Rage: Challenging a M.M. Chandler • Santa Monica College • ​“’I Must Feminist Interpretation of The Babadook” Succeed in Fixing the Colors’: Towards a New History of Jason Middleton • University of Rochester • ​ Color Imaging and Preservation” “Haunting the Mommy Wars: Taking Care of Monsters Rebekah Rutkoff • Institute for Advanced Study • ​ in The Babadook” “Lillian Schwartz: Light Pen/Paintbrush” RESPONDENT Shilyh Warren • University of Texas at Dallas Carolyn Kane • Ryerson University and Brown University • ​“Chroma Glitch: Datamoshing in Contemporary Digital Video Art”

SPONSOR CinemArts: Film & Art History Scholarly Interest Group H6 Viewing and Listening to War and Violence

CHAIR Andre Carrington • Drexel University H4 Queer(ing) Celebrity Matthew Ellis • Brown University • ​“Almost like a Real War: The Mercury Theater on the Air’s War of the Worlds, Cinema, and the Sonic Topography of Battle” CHAIR Raffi Sarkissian • University of Southern California Tanya Shilina-Conte • SUNY, University at Buffalo • ​ “‘How It Feels to Be Run Over’: Film Phenomenology CO-CHAIR Mark Hain • Bowling Green State University and Black Screens in 9/11 Cinema” Erica Rand • Bates College • ​“In the Season of Cait and • Drexel University • ​ K.C.: Transgender Celebrity and Racial Obfuscation on Andre Carrington “Audiofuturism: The War of the Worlds, Theories of The Bold and The Beautiful” Genre, and Adaptation” Mark Hain • Bowling Green State University • ​“Only My SPONSOR War & Media Studies Scholarly Interest Group Book in Bed Knows how I Look in Bed: Chris Connor SESSION and the Closet of Cool” Raffi Sarkissian • University of Southern California • ​ “The Queer Politics of Celebrity Capital: George Takei, H Laverne Cox, and Digital-era Activism” RESPONDENT Richard Dyer • King’s College London

88 1:00 – 2:45 pm

H7 Contended Maps and Lenses H9 Exploiting and Enjoying Documentary and Topography Desire and Sexuality in Cinematic Contexts

CHAIR Ben Mendelsohn • New York University CHAIR Michelle Robinson • University of North Carolina at Chapel Hill Faith Olson • Northern Michigan University • ​“Three Ways of Looking at a ‘Native Girl’: John Marshall and Elin Abrahamsson • Stockholm University • ​ THU Jamie Uys’s Ethnographic Cinema” “Consuming Passions: A Queer Reading of the Popular MARCH Chris Cagle • Temple University • ​“Beyond the Straw Romance Genre through the Concept of Masturbation” 31 Man: Observational Style in Contemporary European Candice Wilson • University of Pittsburgh • ​“The Documentary” Wound and the Blade: Queering the Japanese New Ben Mendelsohn • New York University • ​“Elemental Wave” Media, Infrastructuralism, and the Making of Urban Michelle Robinson • University of North Carolina at Coastlines” Chapel Hill • ​“The Zoot Suit Riots, Kenneth Anger’s George Potter • Valparaiso University • ​“Mapping Fireworks, and the Ethnic Dimensions of Early Gay Amman: Social Geography and Cinema in Jordan” Cinema”

SPONSOR Documentary Studies Scholarly Interest Group

H10 Data Mining and Fandoms Quantitative and Qualitative Approaches H8 Sites of Nontheatrical Exhibition and Distribution CHAIR • Wheaton College Josh Stenger Deborah Castro • Autonomous University of Barcelona • ​ CHAIR Javier Ramirez • Indiana University “Fans and Series Finales: Analyzing Internet Users’ Maria Vinogradova • New York University • ​“UNICA Discourse” and the Global Amateur Film Movement: If Shawn Shimpach • University of Massachusetts Filmmaking Is Not Art, Is It Sport?” Amherst • ​“‘Only in This Way Is Social Progress Javier Ramirez • Indiana University • ​“Defining Possible’: The Social Survey Movement and Early Film Mexican American: Fort Bliss and Nontheatrical Audiences” Exhibition” Jeremy Butler • University of Alabama • ​“Data Mining Kelsey Cummings • University of Pittsburgh • ​“‘I’ll TV Comedy: Laugh Tracks and Sitcom Production Miss Our Late-night Phone Chats’: Word-of-mouth in Modes” the Distribution and Narrative of Snowpiercer” • Wheaton College • ​“ Fodder: Fan Josh Stenger SESSION Alex Kupfer • New York University • ​“The Nontheatrical Fiction Metadata, and What Mining It Can Tell Us about Exhibition of Football Newsreels in the Studio Era” Fandom” SPONSOR Fan & Audience Studies Scholarly Interest Group H

89 1:00 – 2:45 pm

H11 Palestine Solidarity H13 For Your Consideration in Film and Media Critical Approaches to Media Industry Awards Historiographic and Theoretical Approaches

CHAIR Cory Barker • Indiana University CHAIR Terri Ginsberg • American University in Cairo Karen Petruska • Gonzaga University • ​“Financing the American University in Cairo Fete: The History of Televised Media Award Programs” THUMARCH Malek Khouri • • ​ “Appropriations of the Palestinian Struggle in Arab Cory Barker • Indiana University • ​“Snubbed: The 31 Cinema” Discursive Power of Being Ignored by the Emmy Terri Ginsberg • American University in Cairo • ​ Awards” “Vanessa Redgrave’s The Palestinian: Star Vehicle or Alyxandra Vesey • University of Wisconsin-Madison • Political Praxis?” “‘Elevate the Music’?: Struggles for Awards Greg Burris • American University of Beirut • ​“Black Recognition and Cross-industrial Legitimation in the Power Palestine: Media, Race, and Transnational Guild of Music Supervisors” Solidarity” Myles McNutt • Old Dominion University • ​“Award Umayyah Cable • University of Southern California • ​ Shows as Professional Ritual: The Location Managers “Cinematic Activism: Palestinian-American Identity Guild of America Awards” Politics at the Boston Palestine Film Festival” SPONSOR Media Industries Scholarly Interest Group

SPONSORS Caucus on Class and Middle East Caucus and War & Media Studies Scholarly Interest Group

H14 Modernization and the Politics of Space in South American H12 Nationhood and Citizenship Silent Film and Film Culture in Television Histories

CHAIR Juan Ospina • University of California, CHAIR Michael Kackman • University of Notre Berkeley Dame Luciana Correa de Araujo • Federal University of São Michael Kackman • University of Notre Dame • Carlos • ​“Stage and Screen Attractions at Teatro Santa “From Human to Digital: The Americans and Helena in São Paulo” Intelligence Work in 1980s America” Rafael Freire • Federal Fluminense University • ​“Film Joanna Hearne • University of Missouri • ​“I Am Not Projection and Film Projectors: Notes for a History of a : Indigenous Storytelling on Canadian Film Exhibition in Brazil during the Silent Era” SESSION Television” Juan Ospina • University of California, Berkeley • Michelle Kelley • Washington University in St. Louis • “Porteño Cinedrama: Urban Locales and Sociocultural “To Observe but Not to Celebrate: NAACP TV and the Boundaries in Argentine Silent Cinema, 1916–1929” Ten-year Anniversary of Brown v. Board” H SPONSORS Latino/a Caucus and Silent Cinema Cultures Matthew Kendall • University of California, Berkeley • Scholarly Interest Group “The Meeting Place Has Been Changed: Domestic Transformation and Seriality in the Late Soviet Union”

90 1:00 – 2:45 pm

H15 Media Crisis and Transformation H17 Ecologies of Scale in the 1970s

CHAIR Amy Rust • University of South Florida CHAIR Allison Perlman • University of California, Kian Bergstrom • Roosevelt University • ​“Scales of Irvine Wonder in Exotic Melodramas and Early Modern University of Virginia Philosophy; or, Descartes and Sidney on Skull Island” Jennifer Petersen • • ​“From THUMARCH Radio Speakers to Corporate Speech” Scott Ferguson • University of South Florida • ​“A Tale Richard Popp • University of Wisconsin-Milwaukee • of Two Infinities: Money, Physics, and Scale in 2001: A 31 “‘One Holistic System of Systems’: Conglomerates and Space Odyssey” Political Culture in 1970s America” Zach Horton • University of California, Santa Barbara • Kathryn Brownell • Purdue University • ​“The Politics “Powers of Ten as Trans-scalar Ecology” of Cable Deregulation in the 1970s” Amy Rust • University of South Florida • ​“Passage Heather Hendershot • Massachusetts Institute of within Limits: Ecology, Scale, and the Long Take” Technology • ​“Tripping over Tricky Dick: Firing Line, SPONSOR Media & the Environment Watergate, and the Conservative Movement in Crisis” Scholarly Interest Group

H16 Cinematic New York H18 Cinematic Representations Reframing the Ruins of the Everyday

CHAIR Johan Andersson • King’s College London CHAIR Heike Klippel • Braunschweig University of Cortland Rankin • New York University • ​“Gordon Art Matta-Clark’s New York: Cinematic Reappropriations of Heike Klippel • Braunschweig University of Art • ​“Fatal Urban Space” Objects of Everyday Life” King’s College London Johan Andersson • • • University of Antwerp • ​“To Show Life, Downtown 81 Tom Paulus “ and the Urban Picturesque” You Must Show People Eating: Food as Ritual and Lawrence Webb • University of Sussex • ​“Selling NYC Sensuous Particular in the Cinema of Hou Hsiao- 1981: Nostalgia for Urban Decline and the Marketing Hsien” A Most Violent Year of ” Florian Krautkrämer • Braunschweig University of RESPONDENT Sabine Haenni • Cornell University Art • ​“Staging the Real: GoPro, Selfie & Co., and the Documentation of the Everyday” Rembert Hueser • Goethe University Frankfurt • ​ SESSION “Everyday Life on the Observation Deck” H

91 1:00 – 2:45 pm

H19 Re-assessing Auteurism II H21 Sound and Scoring Theory and Analysis

CHAIR Michael Hammond • University of CHAIR Justin Horton • Georgia State University Southampton Jeffrey Menne • Oklahoma State University • ​“The Daniel P. Robinson • SUNY, University at Buffalo • Theoretical Business of Auteurism” ​“A Problem in the Historiography of Recorded Sound: THUMARCH Ben Rogerson • Savannah College of Art and Design • The Hidden History of Optical Sound, and Walter 31 “Public Apathy and the Limits of Professional Expertise Ruttmann’s ‘Study in Sound-Montage,’ Wochenende in The Great Waldo Pepper” (1930)” Justin Horton • Georgia State University • Michael Hammond • University of Southampton • “Reverberant Auteurism: Repetition and “Cowboys, Beggars, and the Deep Ellum Blues: Anamorphosis in Lynne Ramsay’s Cinema” Playing ‘Authentic’ to Silent Films” University of California, Davis SPONSOR African/African American Caucus Alexander Stalarow • • ​ “Postwar Orpheus at Play: Dramatized Creative Processes in Orphic Settings by and Pierre Schaeffer”

SPONSOR Silent Cinema Cultures Scholarly Interest Group and Sound Studies Scholarly Interest Group H20 Fans, Videogames, and the Archive Collection, Preservation, and Exhibition

CHAIR Melanie Swalwell • Flinders University H22 WORKSHOP Jennifer deWinter • Worcester Polytechnic Institute • The Pleasures and Perils of “Repacking My Library: The Divestment of Game Comedy Scholarship, Part I Collections and the Building of Archives”

Melanie Swalwell • Flinders University • ​“Working CHAIR • Yale University with Game Fans for Preservation Outcomes” Annie Berke Helen Stuckey • Flinders University • ​“Replaying the WORKSHOP PARTICIPANTS Past: Museums and Retro Gamer Sites Collecting and Rob King • Columbia University Exhibiting the Intangible” Stephanie Brown • University of Illinois at Urbana- RESPONDENT Carly Kocurek • Illinois Institute of Champaign Technology Kyle Stevens • Colby College SPONSORS Fan & Audience Studies Scholarly Interest Group University of Michigan SESSION Nilo Couret • and Video Game Studies Scholarly Interest SPONSOR Comedy & Humor Studies Group H Scholarly Interest Group

92 1:00 – 2:45 pm MEETING H23 Don’t Touch That Dial 1:00 – 2:45 pm The Gendered Interface

Scandinavian Scholarly Interest Group CHAIR Stephen Monteiro • American University of ROOM 410 • Fourth Floor Asha Tamirisa • Brown University • ​“Audio Interfacing: THU Logics and Rhetorics of Modularity in Electronic MARCH Sound” 31 Ian Jones • School of the Art Institute of Chicago • ​ “Interfacing Intuition: Attention, Alignment, and MEETING the Peculiar Constraints of the Mystery Genre in Videogames” 1:00 – 2:45 pm Annie Dell’Aria • Hanover College • ​“The Controlling Media, Science, & Technology Touch: Analyzing the Haptic in Contemporary Media Scholarly Interest Group Art” ROOM 206 • Second Floor Stephen Monteiro • American University of Paris • ​ “You See with Your Eyes, Not Your Hands: Gender, the Gaze, and Mobile Media Interfaces”

AFFILIATE EVENT 2:30 – 3:30 pm Crawford Media Services— Post-Production Facility Tour

LOCATION 6 West Druid Hills Drive, NE (http://ow.ly/X6FZu) Attendees are invited to tour the post-production facilities, including screening room, tracking rooms, audio booths, editing suites and more. SESSION Free to SCMS attendees. H

93 SESSION MARCHTHURSDAY 31 3:00 – 4:45 pm I

I1 Gone with the Wind I2 WORKSHOP Interracial Crossings Television Studies from “Rest of the World” Re-energizing “Core” Debates CHAIR Matthew H. Bernstein • Emory University Steve Wilson • University of Texas at Austin • ​“The Slave ‘Hopefuls’: Casting Gone with the Wind” CHAIR Sharon Shahaf • Georgia State University Douglas Kern • University of Maryland • ​“Lending WORKSHOP PARTICIPANTS Body and Voice: Investigating Hattie McDaniel’s Performances of White-authored Texts” Graeme Turner • University of Queensland University of Southern California Charlene Regester • University of North Carolina at Aniko Imre • Chapel Hill • ​“White Fascination with Blackness: Michael Curtin • University of California, Santa Racial Masquerades in Gone With the Wind” Barbara Matthew H. Bernstein • Emory University • ​“Gone Chiara Ferrari • California State University, Chico with the Wind in Black Theaters: The Distribution Plan” Bish Sen • University of Oregon

SPONSOR Oscar Micheaux Society SPONSOR Television Studies Scholarly Interest Group

94 3:00 – 4:45 pm

I3 Color II I5 Projecting Feminist Futures Perception, Address and Space Climate Change, Post-cinema, and Origin

Stories

CHAIR Tyler Schroeder • University of Chicago CHAIR St. John’s University Hannah Garibaldi • Chapman University • ​“Natalie Dijana Jelaca • Kalmus: ‘Conscious’ Chromatic Cinema” E. Ann Kaplan • Stony Brook University • ​“Visualizing THUMARCH Junko Yamazaki • University of Chicago • ​“Between Climate Trauma: The Cultural Work of Films Black and Dark: Matsumoto Toshio’s Pandemonium Anticipating the Future” 31 (1971)” Kristin Hole • Portland State University • ​“Fantasy Tyler Schroeder • University of Chicago • ​“Marginal Echoes and the Future Anterior of Cinema and Gender” Habitability: Sourcing Colored Light in All That Heaven Dijana Jelaca • St. John’s University • ​“Becoming- Allows (1955)” feminists, Post-cinemas, and Affective Turns”

RESPONDENT Kirsten Moana Thompson • University of RESPONDENT Anne Ciecko • University of Massachusetts Victoria Amherst

I4 New Cold War Cinemas I6 Encounters across Media The Arctic, Ice Melt, and Geopolitical Tension New Paradigms

CHAIR Gunnar Iversen • Norwegian University of CHAIR Maria Fackler • Davidson College Science and Technology Lindsay Reckson • Haverford College • ​“Reenacting CO-CHAIR Scott MacKenzie • Queen’s University Indigeneity: The Ghost Dance and Cacophonous Gunnar Iversen • Norwegian University of Science and Media” Technology • ​“Arctic Noir: Sámi Detectives and Arctic Brian Herrera • Princeton University • ​“My Actor Spies in Contemporary Norwegian Cinema” Alibi; or, How Juano Hernandez Taught Me to Defy Scott MacKenzie • Queen’s University • and Discipline” Anna Stenport • University of Illinois at Urbana- Maria Fackler • Davidson College • ​“Complicating Champaign • “The New Cold War and Arctic Intermediality: ’s Collaborations Allegories” with Steve Coogan and Rob Brydon” Noelle Belanger • University of Illinois at Urbana- Nick Salvato • Cornell University • ​“Poetry’s Champaign • ​“Contemporary Hollywood Films, Cold : Contemporary Experiments in Medium War Legacies, and the Politics of Ice” and Form” SESSION RESPONDENT Jay Telotte • Georgia Institute of Technology SPONSOR Scandinavian Scholarly Interest Group I

95 3:00 – 4:45 pm

I7 Children at War I9 Rethinking Indian Performance, Reception, New Wave Cinema and Ideology in Cinema

CHAIR Rochona Majumdar • University of Chicago CHAIR Rebecca Harrison • University of East Anglia Rochona Majumdar • University of Chicago • ​“Art CO-CHAIR Michael Lawrence • University of Sussex THUMARCH Cinema: The Indian Career of a Global Category” Rebecca Harrison • University of East Anglia • ​“‘Away Aparna Frank • New York University • ​“The Artisans’ 31 from the Village, the Cinema, Everything’: Film Dissent: Mani Kaul, Kumar Shahani, and the Subject Entertainments for Evacuees in the Second World War” Matter of the Indian New Wave” Michael Lawrence • University of Sussex • ​“‘The Sangita Gopal • University of Oregon • ​“Indian New Grammar School Girls’ Laurence Olivier’: Steven Wave Cinema and the Woman Question” Muller, a ‘British’ German Jewish Juvenile Actor in • University of St Andrews • ​“The Politics 1940s Hollywood” Anuja Jain and Legacies of the New Wave Movement in Maria Shpolberg • Yale University • ​“Children Contemporary South Asian Cinema” in Soviet World War II Films: Images of Heroic Victimhood” Sabah Haider • Concordia University • ​“Situating Children’s Perspectives in Palestinian Cinema” SPONSOR War & Media Studies Scholarly Interest Group I10 Redefining the Market US Spanish-language Networks’ New Business and Creative Trends

CHAIR Tasha Oren • University of Wisconsin- I8 Class Outing Milwaukee Contemporary Representations in British and American Media Moses Shumow • Florida International University • ​ “Capitalizing on Cultural Identity: Broadcasters’ Efforts to Break into the Spanish-language/Latino News CHAIR June Deery • Rensselaer Polytechnic Institute Market in an Era of Corporate Monopoly” June Deery • Rensselaer Polytechnic Institute • ​“Class Carolina Acosta-Alzuru • University of Georgia • ​ Caricature and Containment: The Entertainment Value “Writing Telenovelas for a Country within a Country: A of Poverty and Wealth” Study of ’s Telenovela Writers” Helen Wood • University of Leicester • ​“The Magalluf Yeidy Rivero • University of Michigan • ​“Teresa Girl: Public Sex, Viral Attitudes, and the Class Relations Mendoza, a.k.a, ‘la reina del sur’: A Woman Who Loves SESSION of Social Contagion” Women” Britney Summit-Gil • Rensselaer Polytechnic Institute • ​ Juan Pinon • New York University • ​“The New ‘Male- “All the World’s a Market: The New American oriented Latin American Melodrama’: Fighting for TV I Masculinity” Audiences in an Era of Digital Convergence” SPONSOR Latino/a Caucus RESPONDENT Andrea Press • University of Virginia

96 3:00 – 4:45 pm

I11 Queering Game Studies I13 Transnational Stardom and Celebrity

CHAIR Eric Freedman • Queens University of Charlotte CHAIR Ashley Young • University of Southern Eric Freedman • Queens University of Charlotte • ​ California “Engine: (En)gendering the Mechanics of Play” University of Oregon Danielle Seid • • ​“Forgotten THUMARCH Bonnie Ruberg • University of California, Berkeley • ​ Femmes, Forgotten War: The Kim Sisters’ Dis- “‘Passing’ for Human: Octodad and Queerness as appearance from American Television” 31 Video Game Mechanic” Priyadarshini Shanker • New York University • ​“Why Whitney Pow • Northwestern University • ​“‘You Can Study Shah Rukh Khan’s Film Acting?: The Cultural Get Away from It All Here, at Least for a Little While’: Politics of SRK’s Performances in Karan Johar’s Affect, Interface, and Queer Domestic Space in the Cinema” Video Game Curtain” Ashley Young • University of Southern California • ​ RESPONDENT Matthew Payne • University of Alabama “Viola Davis and the Politics of Image Formation: Exploring Black Female Agency in Television” SPONSOR Video Game Studies Scholarly Interest Group Helle Kannik Haastrup • University of Copenhagen • ​ “Infatuation and Insight: Analyzing Celebrity Documentaries in Contemporary Cinema”

I12 Gendered Fan Practices, Gendered Spectatorships I14 Audio Cultures CHAIR Sean Griffin • Southern Methodist University

Laura Brunner • University of Maryland • ​“Feminism, CHAIR Benjamin Wright • University of Toronto , and Solidarity, According to Fans of The Eric Dienstfrey • University of Wisconsin-Madison • ​ Other Woman (2014)” “The Negatives and Positives of Magnetic Recording, JSA Lowe • University of Houston • ​“Wayward 1947 to 1952” Daughters, Drunk Prophets, and Fridged Hackers: The Paul Cote • University of Maryland • ​“‘He Goes Transformative Labor of Supernatural’s Young Female Boing-Boing Instead’—Dismantling the Conventions Fandom” of Synchronized Sound Cartoons in Gerald McBoing- Heather Osborne-Thompson • California State Boing” University, Fullerton • ​“A Seat at the Table: Julie Hubbert • University of South Carolina • ​“Audio Professionalized Fandom and the Marketing of Only: High Fidelity and the New Hollywood Film Outlander” SESSION Soundtrack” • Southern Methodist University • ​ Sean Griffin Benjamin Wright • University of Toronto • ​“The Sound “Brozens: Straight Male Subjectivity and Disney’s Is the Studio: Film Music in Contemporary Hollywood” Frozen” I SPONSOR Sound Studies Scholarly Interest Group

97 3:00 – 4:45 pm

I15 David Perlov I17 Branding National Difference Media, Montage, Poetics in Sport Media Culture

CHAIR University of California, Noa Steimatsky • CHAIR Jennifer McClearen • University of Berkeley Washington THU Michael Renov • University of Southern California • ​ C. Richard King • Washington State University • ​ MARCH “Diary/Essay/Exile: The Impure Poetics of David Perlov” “Staging Sovereignties: National Narratives and 31 Christa Blumlinger • University of Paris 8 • ​“The Indigenous Identities at the Olympics” Intelligence of Montage: David Perlov/Chris Marker/ Mia Fischer • University of Minnesota • ​“Aktiv, Attraktiv, ” Anders?: The Bundeswehr’s Deployment of German Noa Steimatsky • University of California, Berkeley • ​ Athletes as Sport Soldiers” “Film’s Memory, Photography’s Smile, Perlov’s Media” Jennifer McClearen • University of Washington • ​ RESPONDENT Doron Galili • Stockholm University/Oberlin “Gendering the National Sports Star in the Ultimate College Fighting Championship” RESPONDENT Dayna Chatman • University of Southern California

I16 Interactive Documentary and the Spectator Experience WORKSHOP I18 The Adjunct Crisis CHAIR Vicki Callahan • University of Southern California Combating Neoliberal Trends in the Academy

Aashish Kumar • Hofstra University • ​“Highrise and Community Advocacy” CHAIR Jennifer Moorman • University of California, Los Angeles Lance Weiler • Columbia University • ​“Crime Scene Stories in Sherlock Holmes and the Internet of Things” WORKSHOP PARTICIPANTS Patrick Reagan • Yale University • ​“Structures of Emily Carman • Chapman University Immemory: Chris Marker’s Interactive Documentary Alison Hoffman-Han • Moorpark College Practice” Laurel Westrup • University of California, Los Angeles Joshua Glick • Hendrix College • ​“UnionDocs, Living Los Sures, and Documentary Historiography”

SPONSOR Documentary Studies Scholarly Interest Group SESSION I

98 3:00 – 4:45 pm

I19 WORKSHOP I21 Global Formations of Horror Teaching Authorship Negotiating Collaboration within the Media CHAIR Rutgers University Industries Meheli Sen • • Georgia State University • ​ Lawrence Musante “Insidious Forms: Deleuze, the Bodily Diagram, and CHAIR Aaron Hunter • Maynooth University the Haunted House Film” THU University of Pittsburgh MARCH WORKSHOP PARTICIPANTS Mary Gryctko • • ​“Trapped in the ‘Children’s Limbo’: The Horror of Eternal Childhood 31 • Queen’s University Alexis Carreiro in The Orphanage and The Others” Helen Hanson • University of Exeter • Emory University • ​“Screen- Texas Christian University Pedro Noel Rodríguez R. Colin Tait • captured Horror: Not Yet ‘Found,’ Not Quite ‘Footage’” • University of Toronto Corinn Columpar Meheli Sen • Rutgers University • ​“The Planetary SPONSORS Media Literacy & Pedagogical Outreach Paranormal: Bollywood Horror in the New Scholarly Interest Group and SCMS Teaching Millennium” Committee

I22 Screen Policies I20 School Is Out; or, What Happens Confronting and Responding to International When a Wave Is No Longer New? Challenges and Developments

CHAIR University of CHAIR Marco Abel • University of Nebaska Julia Hammett-Jamart • Wollongong Marco Abel • University of Nebaska • ​“‘School Is Out’: Christoph Hochhäusler’s Polit-thrillers and the Fate of Julia Hammett-Jamart • University of Wollongong • the Berlin School’s Utopian Politics” and David Newman • Simon Fraser University • ​ “Pivots in Policy: Comparisons and Contrasts between Margrit Froelich • University of California, San Diego • ​ New Zealand and Australian Screen Policy” “Reverberations of American Genre Cinema and German History in Christian Petzold’s Film Phoenix” Petar Mitric • University of Copenhagen • ​“European Screen Policies in Times of Crisis: The Case Study of Gerd Gemunden • Dartmouth College • ​“Recent Serbia” Trends in the New Argentine Cinema and the Berlin School” Marco Cucco • University of Lugano • and Dominic Holdaway • University of Bologna • “The RESPONDENT • Harvard University Eric Rentschler Shapes of State-funded Cinema: Researching Italian SESSION Film Policy” Noah Zweig • University of the Americas • ​“The Screen Policies of Ecuador´s Early Twenty-first-century Film Scene: Towards a ‘Plurinational’ Industry?” I

99 3:00 – 4:45 pm MEETING I23 Ordinary Media 3:00 – 4:45 pm

Scholarly Interest Group CHAIR SUNY, Purchase College Shaka McGlotten • Coordinating Committee Kris Cohen • Reed College • ​“Bitmapped Form” ROOM 206 • Second Floor James Hodge • Northwestern University • ​“The Time of THUMARCH the Animated .gif: twohundredfiftysixcolors” Scott Richmond • Wayne State University • ​“How 31 Networks Matter: #blacklivesmatter, Documentary Violence, and Network Form” EXHIBITOR RECEPTION RESPONDENT Tung-Hui Hu • University of Michigan 3:00 – 4:00 pm Routledge

ROOM Grand Ballroom East/AB • Second Floor MEETING at their table in the exhibit area Reception to celebrate the anniversaries 3:00 – 4:45 pm of four Routledge journals. Women in Screen History Scholarly Interest Group

ROOM 410 • Fourth Floor

SESSION I

100 SESSION MARCHTHURSDAY 31 J 5:00 – 6:45 pm

J1 WORKSHOP J2 Écriture and Cinema The Future of From Bazin and Barthes “Film/Cinema Studies” to Derrida and Daney in the Age of Media Studies

CHAIR Daniel Fairfax • Yale University Washington University in St Louis CHAIR Thomas Schatz • University of Texas at Austin Colin Burnett • • ​ “Écriture and Écrivance in the Criticism of the WORKSHOP PARTICIPANTS Nouvelles Avant-gardes, 1948–1953” Charles Wolfe • University of California, Santa Barbara Dudley Andrew • Yale University • ​“Barthes, Bazin, Julie Turnock • University of Illinois at Urbana- and Books in Cinema: The Force of Écriture” Champaign Daniel Fairfax • Yale University • ​“From Astruc to Kathy Fuller-Seeley • University of Texas at Austin Derrida: Écriture in the Critical Writings of Serge Daney Joshua Gleich • University of Arizona and Pascal Bonitzer” Ross Melnick • University of California, Santa Barbara RESPONDENT Tom Conley • Harvard University

101 5:00 – 6:45 pm

J3 Upstream Color J5 Dis/Appearances Saturation, Chromo-politics and Dark Archives of Southeast Asian Cinema

Animism in Contemporary Film and Media

CHAIR Fatimah Tobing Rony • University of CHAIR Yvette Granata • SUNY, University at Buffalo California, Irvine THU Yvette Granata • SUNY, University at Buffalo • ​“Red Bliss Lim • University of California, Irvine • ​“The Archive MARCH and/or Dead: Chromatic Realism, Photo-fiction, and and the Dictatorship: The National Film Archive of the 31 the Chromo-politics of Thermal Imagery” Philippines under the Marcos Regime” Halbe Kuipers • University of Amsterdam • ​“Between I Lan Duong • University of California, Riverside • ​ and I: Ed Atkin’s Translucent Self” “Vietnamese Transnational Cinemas and the Making Bogna Konior • Hong Kong Baptist University • ​ of Archival Spaces” “Personhood of Color: Dark Animism and Cinematic Fatimah Tobing Rony • University of California, Irvine • ​ Darkness” “The Disappeared Archive: ‘Tracing a Song in Cinema’”

RESPONDENT Tony Yanick • University of Glasgow Viola Lasmana • University of Southern California • ​ “The Willful Archive of Indonesian Women’s Stories”

SPONSOR Asian/Pacific American Caucus

J4 Gaming Race Seeking Justice beyond Representation J6 Bodies in Motion Cinematic Spectacle and Sensation CHAIR Amanda Phillips • University of California, Davis Amanda Phillips • University of California, Davis • ​ CHAIR Lauren Steimer • University of South Carolina “Nothing Is True: Racial Hybridity, Manipulated Scott Combs • St. John’s University • ​“Films without Memory, and White Innocence in Assassin’s Creed III” Nets: DeMille’s Circus and the Suspense of Acrobatic Alexandrina Agloro • Worcester Polytechnic Institute • ​ Narrative” “The Perils of Gaming While Brown: The Limitations of Mark Minett • University of South Carolina • ​“Up in Game Worlds in ARGs” the Air!: Sensation and Superhero Storytelling of the Kimberly Bain • Princeton University • ​“Glitches//Black 1930s and 1940s” Bodies: ‘Alright,’ Digital Games, and Newly Imagined Carolyn Jacobs • Yale University • ​“Travelogues on Emancipations” the Treadmill: Corporeal Spectatorship and Cinematic RESPONDENT Kishonna Gray • Eastern Kentucky University Relocation in Forward Motion Simulation Videos” SESSION University of South Carolina SPONSOR Video Game Studies Scholarly Interest Group Lauren Steimer • • ​ “Experts in Action: A New Paradigm for the Analysis of J Action Genre Performance”

102 5:00 – 6:45 pm

J7 Useful Cinemas J9 Mis-fits Stardom and the Casting of Doubt

CHAIR Kenneth Garner • Oakland Community College CHAIR Kyle Stevens • Colby College Kia Afra • Independent Scholar • ​“‘Organizing Our Old Linda Ruth Williams • University of Southhampton • ​ Opposition to Sell Our Films for Us’: The Better Films “Performing Conservatism: Meryl Streep, Margaret THU Movement and the MPPDA’s Committee on Public Thatcher, and Political Imitation” MARCH Relations, 1922–1926” George Toles • University of Manitoba • ​“Miscast for 31 Tanya Goldman • New York University • ​“Isn’t Death: Gene Lockhart’s Inconsequential End in Red Her Smile of Gratitude Worth Your Investment?: Light (1949)” Fundraising, Useful Cinema, and the Henry Street Daniel Varndell • University of Winchester • ​“Charm Settlement Visiting Nurse Service, 1924–1944” Offensive: A Close Look at ‘Gorgeous George’ in Up in Lauren Pilcher • University of Florida • ​“Cities Down the Air” South in Post-World War II Useful Films” Murray Pomerance • Ryerson University • ​“The Man Kenneth Garner • Oakland Community College • ​ Who Never Was: A Case of Erasure” “Grand Illusions: French and Intellectual Cooperation at the League of Nations, 1924–35”

J10 Talking Dolls, Female Replicants, and Elastic Hearts J8 Television Settings, Locations, Synthesizing Gendered Voices and Bodies and Places on the Dial across Media Rethinking American Television Histories

CHAIR Sarah Kessler • University of California, Irvine CHAIR Evan Brody • University of Southern California CO-CHAIR Reem Hilu • Northwestern University Laura LaPlaca • Northwestern University • ​“‘Live Like • Northwestern University • ​“‘A ROM of Lucy’: Suburban Aspiration and the Commodification Reem Hilu One’s Own’: Computing and Voice in Girls’ Talking Doll of Sitcom Set Design” Technologies” Kevin Hagopian • Pennsylvania State University • ​ • University of California, Irvine • ​“The “Toma, `The Cop Show,’ Urbanism, and the White Sarah Kessler Voice behind the Big Blonde Wig: Sia’s Ventriloquial Ethnic Problematic in Post-Civil Rights Era Primetime Aesthetic” Television” RESPONDENT Occidental College Evan Brody • University of Southern California • ​“Pride Allison de Fren • and Progress: An Archival Analysis of the Gay Cable SESSION Network’s Flagship News Program” Heather Birdsall • University of California, Los Angeles • ​ “Of Backlots and Genres: Disneyland’s Industrial and J Conceptual Origins in Film and Television”

SPONSORS Television Studies Scholarly Interest Group and Urbanism/Geography/Architecture Scholarly Interest Group 103 5:00 – 6:45 pm

J11 Framing Nollywood’s Global J13 Cross-dressing in Silent Cinema Audiences from Above and Below Fashion, Costume, and Gender

CHAIR University of Miami CHAIR Anouk Batard • University of Toulouse Ricardo E. Zulueta • CO-CHAIR Jade Miller • Wilfrid Laurier University Ricardo E. Zulueta • University of Miami • ​“Dragging Fashion into American Silent Cinema: Sartorial THUMARCH Anouk Batard • University of Toulouse • ​“Nigerian Uses of a Stigmatized Movie Culture, Nollywood” Influences that Shaped Cross-dresser Popularity” 31 Carleton University Alessandro Jedlowski • University of Liege • ​“The Laura Horak • • ​“The Sexualization Time of Responsibility: Female Audiences’ Responses of Cross-dressing and Emergence of in to Nigerian Video Films about Prostitution in Italy” American Cinema” Museum of Fine Arts, Boston Jade Miller • Wilfrid Laurier University • ​“iROKO in Michelle Finamore • • ​ Nigeria: Digital Distribution and Transparency in “Out of the and into the Suit: Dressing La Nollywood’s Domestic Market” Garçonne in Early Cinema” Anupama Kapse • Queens College, CUNY • ​“From RESPONDENT Lindiwe Dovey • University of London Anna Salunke to Bal Gandharva: Cross-dressing and SPONSORS African/African American Caucus and the Transition to Sound” Caucus on Class and Fan & Audience Studies SPONSORS Queer Caucus and Silent Cinema Cultures Scholarly Interest Group Scholarly Interest Group

J12 Prison Media Networks J14 Technologies of Losslessness Media History in Perpetuity

CHAIR Daniel Grinberg • University of California, Santa Barbara CHAIR Patrick LeMieux • University of California, CO-CHAIR Joshua Mitchell • University of Southern Davis California Jacob Gaboury • Stony Brook University • ​“A Voice Catherine Harrington • Northwestern University • ​ Uncoiled: Noise, Loss, and the Origins of Digital “‘Be Systematic, Be Thorough, Be Curious’: Sound” Instructional Films for Corrections Officers, 1960– • University of California, 1980” Patrick LeMieux Davis • ​“Losing Time: Microtemporal Histories of Joshua Mitchell • University of Southern California • ​ Speedrunning” “Film Spectatorship, Reform, and the Endurance of • Georgia Institute of Technology • ​ SESSION Violence at Angola Prison” Laine Nooney “What the Engine Can’t Reveal: The Other Lives of Alison Griffiths • Baruch College, CUNY • ​“Media Sierra On-Line’s AGI Development Software” in the Women’s Reformatory: The (Slow) Rise of SPONSOR Media, Science & Technology J Entertainment Culture and Anxiety about Cinema” Scholarly Interest Group Daniel Grinberg • University of California, Santa Barbara • ​“Some Restrictions Apply: The Exhibition Spaces of Guantanamo Bay” 104 5:00 – 6:45 pm

J15 Space and Politics in Spanish J17 Spaces of Spectatorship Film and Media Architectures of the Projected Image

CHAIR Yale University CHAIR Juan Tarancon • University of Zaragoza Swagato Chakravorty • CO-CHAIR Virginia Luzón-Aguado • University of Swagato Chakravorty • Yale University • ​“Screen Zaragoza Architectures and (Expanded) Screen Practices: Space, THUMARCH Juan Tarancon • University of Zaragoza • ​“Spaces and Movement, Spectatorship” Politics in Francoist Cinema: The Case of Early Crime Grazia Ingravalle • University of St Andrews • ​ 31 Films” “Projecting Works of Art: The George Eastman House Steven Marsh • University of Illinois at Chicago • ​ as Museological Dispositif” “Space, Periodization, and the Filmic Frame: Katerina Korola • University of Chicago • ​“Probing Disturbing Andalucia in the 1970s Films of Gonzalo Light: Projection Mapping, Architectural Surface, and García Pelayo” the Politics of Luminous Abstraction” Virginia Luzón-Aguado • University of Zaragoza • ​“On RESPONDENT Andrew Uroskie • SUNY, University at Stony Dangerous Ground: Landscape and in Brook Marshland La isla mínima / ” SPONSOR Urbanism/Geography/Architecture Almudena Escobar Lopez • University of Rochester • ​ Scholarly Interest Group “Digital Occupation and the Right to Protest: The First Hologram Demonstration in Spain”

J18 Between and Beyond Borders Media Infrastructures, Technology, and J16 Cinema Landmarks Geography in American Youth Culture

CHAIR Sarah T. Roberts • Western University CHAIR Independent Scholar Timothy Shary • Evan Elkins • Miami University • ​“Geoblocking and CO-CHAIR Barbara Brickman • University of Alabama Everyday Experiences of Infrastructure” Yannis Tzioumakis • University of Liverpool • ​“In Aynne Kokas • Rice University • ​“Content Control the Shadow of The Wild One, Blackboard Jungle, and Infrastructure in Digital Entertainment: The Global Rebel Without a Cause: Rock Around the Clock and Its Impacts of the Sino-US Case” Independent Look at the Youth of the 1950s” Sarah T. Roberts • Western University • ​“‘Building Elissa Nelson • SUNY, Purchase College • ​“The Visions’: The Infrastructure and Imaginary of the Breakfast Club as Archetype: Revealing the Tropes of Globalized Filipino Outsourcing Industry” SESSION the as Genre” Elizabeth Ellcessor • Indiana University • ​“911, What Tim McNelis • Falmouth University • ​“Precious about Is Your Emergency?: Digitization and Emergency Genre?: Hybridity and the African American Youth Media Infrastructure” J Film” RESPONDENT Lisa Parks • University of California, Santa Timothy Shary • Independent Scholar • ​“Depicting Barbara Boyhood on Screen: ’s Audacious SPONSOR Media, Science & Technology Endeavor” Scholarly Interest Group 105 5:00 – 6:45 pm

J19 Women Working behind the J21 WORKSHOP Scenes in World War II and Queer-Cinematic-Style Postwar Hollywood

CHAIR David A. Gerstner • College of Staten Island, CUNY CHAIR Therese Grisham • Oakton Community College THUMARCH WORKSHOP PARTICIPANTS • Rowan University • ​“Virginia Sheri Chinen Biesen Matthew Tinkcom • Georgetown University 31 Van Upp and Women behind the Scenes in ‘Musical’ University of Massachusetts Boston Jazz ” Sarah Keller • • University of Iceland Christina Lane • University of Miami • ​“Producing Lara Martin Joan Harrison: Work, Feminism, Politics, and the Daniel Humphrey • Texas A&M University Postwar Era” Therese Grisham • Oakton Community College • and Julie Grossman • Le Moyne College • “Ida Lupino’s Creative Diplomacy and Off-screen Roleplaying” J22 WORKSHOP Helen Hanson • University of Exeter • ​“Behind the Audiovisual Aids Scenes, Below the Line: Female Sound Technicians, Producing Media Adjuncts to Scholarly Creative Labor, and Constraints in Hollywood’s Studio Publications

System” SPONSORS Women’s Caucus and Classical Hollywood CHAIR • Arizona State University Scholarly Interest Group and Women in Screen Judd Ruggill History Scholarly Interest Group WORKSHOP PARTICIPANTS Alice Lovejoy • University of Minnesota Devin Orgeron • North Carolina State University J20 The Attainable Text? Raina Polivka • Indiana University Reflecting Upon the Evolving Status of Tom Rice • University of St Andrews Videographic Film Studies and Criticism Andy Uhrich • Indiana University

CHAIR Mariachiara Grizzaffi • IULM University of Milan Mariachiara Grizzaffi • IULM University of Milan • ​ “Rethinking the Spectrum: A Formal Approach” SESSION Pasquale Iannone • University of Edinburgh • ​ “Performance, Stardom, and the Audiovisual Essay” Miklos Kiss • University of Groningen • ​“PowerPrezi J and VimeoTube: Towards a User-friendly Production and Presentation Platform for Videographic Work” Drew Morton • Texas A&M University-Texarkana • ​ “Beyond the Essayistic: Defining the Varied Modal Origins of Videographic Criticism” 106 5:00 – 6:45 pm

J23 and New Approaches

CHAIR Sonia Lupher • University of Pittsburgh Daniel Miller • University of Oregon • “Transnational THU Collaborations in Documenting Human Rights in The MARCH Look of Silence and its Predecessor, The Act of Killing” 31 Sonia Lupher • University of Pittsburgh • “Epistephilia and Generic Excess in The Act of Killing” Elizabeth Gailey • University of Tennessee • “Intertextuality, Rhythm, and Construction of the ‘Jurified’ Audience as Affective Strategies in Joshua Oppenheimer’s The Look of Silence” Michael Meneghetti • Independent Scholar • “Self-exculpatory Imaginings: Reenactment and Observation in The Act of Killing and The Look of Silence”

SPONSOR Scandinavian Scholarly Interest Group

Trending . . . Like SCMS on Facebook facebook.com/SCMStudies SESSION J

107 MEETING MEETING 5:00 – 6:45 pm 5:00 – 6:45 pm Comics Studies Media Industries Scholarly Interest Group Scholarly Interest Group

ROOM 410 • Fourth Floor ROOM 206 • Second Floor

THUMARCH 31 MEETING 5:00 – 6:45 pm African/African American Caucus

ROOM 205 • Second Floor

THURSDAY, MARCH 31 7:00 pm Graduate Student Reception ROOM Crystal Ballroom • First Floor All Graduate Student members are invited to meet, mingle, and network at the Graduate Student Happy Hour. Take a break from an otherwise very busy conference and get to know the next generation of media scholars.

SPONSORED BY SCMS, Syracuse University, Department of English, University of California, Santa Barbara, Department of Film and Media Studies, University of Southern California, School of Cinematic Arts, University of California, Irvine, Ph.D. Program in Visual Studies, University of Texas at Austin, Department of Radio-Television-Film

English Department SYRACUSE UNIVERSITY

108 AFFILIATE EVENT AFFILIATE EVENT 7:00 – 8:45 pm 7:30 pm Drinks, 8:00 pm Dinner French Cinema, A State Affair 30th Annual Grrrls Night Out at SCMS! History of Cinema and Public Policies LOCATION Truva Atlanta Turkish Kitchen • from World War II to the Digital Age 60 Andrew Young International Blvd NE ROOM 406 • Fourth Floor Grrrls Night Out is an open, friendly networking dinner/ THU Panel discussion on the role of the state in French film social extravaganza aimed at encouraging conversation and MARCH history with Pierre-Emmanuel Lecerf (Director – Financial, connection among all women: trans, cis, and genderqueer. 31 Legal and International Affairs, CNC), Jonathan Buchsbaum You don’t have to be an SCMS member to attend, and (CUNY Graduate Center and Queens College) and others. we welcome friends and children of our grrrls too. There will be a reception following the panel discussion. Tickets must be purchased in advance at https://www.eventbrite.com/e/30th-annual-grrrls- PROVIDED BY Cultural Services of the French Embassy, night-out-at-scms-tickets-20428741917 Centre National du Cinéma et de l'image animée (CNC) and the French/Francophone Scholarly Interest Group $29.48 grad and under-employed/$40.03 full-time faculty. Drinks not included. If the event is sold out, please contact Caetlin Benson-Allott ([email protected]) to learn of any last minute cancellations.

DIRECTIONS walk south from the Hilton Atlanta on Courtland St NE for one block. Turn right onto Andrew Young International Blvd NE for one block. Truva is on the corner of Andrew Young International Blvd NE and Peachtree Center Ave NE.

AFFILIATE EVENT 7:30 – 9:30 pm An Evening with Cuban filmmaker, Gloria Rolando Screening of Reembarque/Reshipment (2014, NR, Documentary/Foreign Language, 59m) and Q&A with filmmaker

LOCATION Cinéfest • 66 Courtland Street NE, Georgia State University, University Center, Suite 240 Reembarque/Reshipment is a documentary film by acclaimed Afro-Cuban filmmaker Gloria Rolando that builds on the memories of Haitians and their descendants in Cuba to understand the impact of the presence of migrant labor on the Island’s economic and social history.

DIRECTIONS walk approximately ½ mile south on Courtland St

PROVIDED BY Latino/a Caucus and the Department of World Languages and Cultures and Center for Latin American and Latino Studies, Georgia State University 109 AFFILIATE EVENT RECEPTION 7:30 – 10:15 pm 8:00 – 10:00 pm Re-hinging Cinematic Theory, University of East Anglia Reception

History and Philosophy ROOM 408 • Fourth Floor Thom Andersen’s The Thoughts That Once We Had (2015, NR, Documentary, 108m) with The event will be hosted by UEA to offer a chance to UEA THU Q&A between Andersen and D.N. Rodowick alumni and current faculty to meet up and share recent MARCH news from the university in teaching and research. LOCATION Plaza Theatre • Shopping Center, 31 1049 Ponce De Leon Ave NE A screening of renowned filmmaker Thom Andersen’s latest film, The Thoughts That Once We Had, followed by a discussion between distinguished film scholar and philosopher D.N. Rodowick and Andersen about AFFILIATE EVENT the film and its broader implications for the study 8:00 pm – midnight of film theory, history, and philosophy. Held in coordination with the 2016 . More Light— Tickets can be reserved ahead of time at the SCMS Media Art from Atlanta conference on-site registration desk, and will be LOCATION • 88 Forsyth St. SW available on a first-come, first-served basis at the theatre, with SCMS conference badge. A related http://www.eyedrum.org/ workshop— ‘Film and Philosophy: Unanswered Opening night of a gallery exhibition showcasing Questions’ will take place on Saturday. 15 media artists from Atlanta. Works include Free to SCMS attendees. looped 16mm projection, single-channel video, PROVIDED BY SCMS, Film Philosophy and Classical outdoor projections, and video games. Hollywood Scholarly Interest Groups, The Atlanta Film Free for SCMS attendees, $5 general public Festival and the 2016 Atlanta Host Committee DIRECTIONS by taxi/Uber, 8 min drive from Hilton. By MARTA, 15min train ride: take Peachtree Station (southbound) to Five Points Station.

PROVIDED BY Experimental Film & Media, CinemArts: Film & and RECEPTION Art History, Nontheatrical Scholarly Interest Groups; the School of Media, Literature, and Communication at 8:00 – 10:00 pm Georgia Tech; liquid blackness, a research group in the Department of Communication at Georgia State University; University of Pittsburgh Eyedrum; Contraband Cinema; and Dashboard Co-op. Film Studies Program Reception

ROOM 206 • Second Floor Reception for students, faculty, alumni/ae, and friends of the Film Studies Program at the University of Pittsburgh.

110 SPECIAL EVENT THURSDAY, MARCH 31 8:30 pm Mediated Rights The Transformative Power of Images from Selma to Ferguson THUMARCH

LOCATION Kopleff Recital Hall • Georgia State University, 10 Peachtree Center Ave 31 Please refer to Atlanta vicinity map on page 35 for location. Photographic and filmic images played a major role in the Civil Rights struggles of the 1960s. Today, digital photography and video as well as social media platforms have major influence on the struggle for racial equality in the United States. At the same time, images from earlier struggles, preserved in and disseminated by various archives, continue to exert a force on contemporary understandings of what it means to act against a system that devalues certain bodies and lives. Mediated Rights: The Transformative Power of Images from Selma to Ferguson brings together filmmakers, activists, archivists, and scholars who have worked with photography and film from the Civil Rights era to discuss the ways in which various media have served the struggle for African American rights in the United States. Ruta Abolins and Sheila McAlister of the Civil Rights Digital Library, filmmaker Shola Lynch, and Professor Andrea Young will talk about their work with civil rights materials, after which Professor Ellen Scott will moderate a discussion about the role of media and the media archive in the ongoing struggle for civil rights.

DIRECTIONS from conference hotel - a 10 minute walk. Head southwest on Ted Turner Drive, turn left onto Williams St., turn right onto Peachtree St., turn left onto Auburn Ave., turn right onto Equitable Ave., turn left onto Edgewood Ave., turn right onto Peachtree Centre Ave., destination will be on the left.

SPONSORED BY SCMS, Documentary Studies Scholarly Interest Group, African/African American Caucus, Caucus on Class and Media Literacy & Pedagogical Outreach Scholarly Interest Group

AFFILIATE EVENT 9:00 – 11:00 pm Slow Scholarship A World Building Event

ROOM 410 • Fourth Floor The event seeks to apply the tenets of slow scholarship to film and media studies collaborative academic production. Slow scholarship posits an alternative approach to producing scholarly work and to working within academic institutions that increasingly demand more time and an accelerated work pace.

PROVIDED BY Women in Screen History and Media Literacy & Pedagogy Scholarly Interest Groups; Women’s Caucus, Queer Caucus, and Latino/a Caucus 111 SESSION APRILFRIDAY 1 9:00 – 10:45 am K

K1 Programming and Curating K2 Current Trends in Critical Media Experimental Film and Media, Industry Studies Part I

CHAIR Philippe Meers • University of Antwerp CHAIR Michael Zryd • York University Daniel Biltereyst • Ghent University • ​“Audience’s Michele Pierson • King’s College London • ​“Creativity Agency, Stratification, and Structural Limitations: and Collaboration: Programming at the Collective for Deconstructing ‘Celebratory’ Audience Studies” Living Cinema” Janet Wasko • University of Oregon • ​“Global Media Michael Zryd • York University • ​“Experimental Film Giants: The Importance of Studying Corporations” and the Campus : Innis Film Society Eileen Meehan • Southern Illinois University (1984–93)” Carbondale • ​“Rethinking the Hollywood-Burbank Kenneth White • The New School • ​“Period Visions: Divide: Critical Research, Academic Fields, and Tom Sherman’s Art-Style Computer Processing System” Transindustrial Conglomeration” Andrew Uroskie • SUNY, University at Stony Brook • ​ Philip Drake • Edge Hill University • ​“Inside and “Exhibiting Movement: Robert Breer and the Outside: Critical Reflections on Researching Media Institutionalization of the Moving Image, 1955–1980” Industries in Partnership with Media Industries”

SPONSOR Experimental Film & Media Scholarly Interest Group

112 9:00 – 10:45 am

K3 WORKSHOP K5 Beyond Montage Meet Me at the Crossroads Soviet Film Theory, 1945–1991 and Feminist Game Studies

CHAIR Victor Fan • King’s College London CHAIR Shira Chess • University of Georgia Viktoria Paranyuk • Yale University • ​“Soviet Film Theory and Criticism and Their Love Affair with WORKSHOP PARTICIPANTS Neorealism” • University of Georgia Shira Chess Raisa Sidenova • Yale University • ​“Soviet Film Theory Adrienne Shaw • Temple University with and against , 1956–1991” Eastern Kentucky University Kishonna Gray • Lilya Kaganovsky • University of Illinois at Urbana- Sarah Schoemann • Georgia Institute of Technology Champaign • ​“Ways of Seeing: Was There a Soviet Adrienne Massanari • University of Illinois at Women’s Cinema?” Chicago RESPONDENT Philip Rosen • Brown University FRIAPRIL SPONSOR Video Game Studies Scholarly Interest Group SPONSOR Central/East/South European Cinemas 1 Scholarly Interest Group

K4 Hollywood Stardom and Transnationalism, 1920–1960 K6 Technological Innovation and Media Materiality CHAIR Scott Balcerzak • Northern Illinois University Lucy Fischer • University of Pittsburgh • ​“Nazimova: Art CHAIR Michael High • Fordham University Film Star of the 1920s” Megan Brown • Indiana University • ​“‘Mysteries of Maureen Turim • Universiy of Florida • ​“From to #Gravity’: Science Fiction Cinema, Social Media, and Garbo: The Pose and Timing of Female Desire” Scientific Verisimilitude” Mark Gallagher • University of Nottingham • ​“Beyond Michael High • Fordham University • ​“Computer Caligari and Casablanca: Conrad Veidt’s Global Heroes: Masculinity and Tech in the ” Performances” Kevin Chabot • University of Toronto • ​“Glitch/Error: Scott Balcerzak • Northern Illinois University • ​ Technological Failure as Indexical Trace in Found- “Kowalski via Stanislavski: Marlon Brando, Stella Adler, footage ” and Soviet Performance” Nicholas Hanford • Rensselaer Polytechnic Institute • ​ SPONSOR Classical Hollywood Scholarly Interest Group “Grappling Hooks and Jet Packs: Technology and SESSION Verticality in First-person Shooters” K

113 9:00 – 10:45 am

K7 Cinema in the 1930s K9 Bringing Sexy Back Modernity, Museums, and Exoticism Rebooting

CHAIR HyunHee Park • University of Chicago CHAIR Maya Montanez Smukler • The New School Hilaria Loyo • University of Zaragoza • ​“How to Be Modern and Spanish: Lessons on Modernity through CO-CHAIR Maria San Filippo • Independent Scholar Fan Magazines in 1930s Spain” Suzanne Leonard • Simmons College • ​ Maxime Bey-Rozet • University of Pittsburgh • ​“The “Postfeminism and the Suburban Noir: From Horrors of Exoticism in 1930s French Cinema” Desperate Housewives to Gone, Girl” Maya Sidhu • Northwestern University • ​ Maya Montanez Smukler • New School • ​“The “Reconsidering ’s 1930’s Films through Girl Next Door Gets Away with Murder: Viola Davis, His Editor, Marguerite Houllé-Renoir” Jennifer Lopez, and the Legacy of Fatal Attraction” University of Chicago Independent Scholar FRIAPRIL HyunHee Park • • ​“Enchantment Maria San Filippo • • ​“Queering and Enlightenment: Sweet Dream (1936), Traffic Film, the ‘Homme Fatal’: Re-reading the 1 and Disillusioned Modernity of Women” through The New Girlfriend and Stranger by the Lake” RESPONDENT Linda Ruth Williams • University of Southhampton

SPONSOR Women’s Caucus K8 Documenting the Arts

CHAIR Roger Hallas • Syracuse University Dimitrios Latsis • Internet Archive • ​“American Art K10 WORKSHOP Comes of Age: Documentaries and the Nation at the Towards a Transnational Dawn of the Cold War” Fan Studies Vera Brunner-Sung • Ohio State University • ​ “Ekphrasis and Experience: Contemporary Art Practice CHAIR Iain Smith • University of Roehampton in Recent Documentaries” Roger Hallas • Syracuse University • ​“Intermediality WORKSHOP PARTICIPANTS and Aesthetic Mimicry in Photography Documentaries” Tamao Nakahara • Independent Scholar Stephan Boman • University of California, Santa Sandra Annett • Wilfrid Laurier University Barbara • ​“Drawing Distinctions: The Art and Bertha Chin • Swinburne University of Technology Automatisms of Tim’s Vermeer” Lori Hitchcock Morimoto • Northern Virginia SESSION SPONSOR CinemArts: Film & Art History Community College Scholarly Interest Group K SPONSOR Transnational Cinemas Scholarly Interest Group

114 9:00 – 10:45 am

K11 Methodologies of K13 On the Subject of Hearing Race and Place Audio, Identification, and Address in Moving Economic and Racial Disparities in Mediated Images

Space

CHAIR Ian Jones • School of the Art Institute of Chicago CHAIR Leigh Duck • University of Mississippi Elizabeth Patton • University of Maryland, Baltimore Dan Wang • University of Chicago • ​“Two Speeches by County • ​“We All Have Our Jobs to Do!: Maintaining Colin Firth” Labor Relations in the Private Sphere on Postwar Laura Jaramillo • Duke University • ​“ASMR: Affective Television” Labor, Sound Tactility, and Spectatorship” Lauren Cramer • Georgia State University • ​“It’s a Peter Shultz • Whitman College • ​“Undermining Trap!: Race and Space in Atlanta’s Hip-hop Visual Music in Games” Culture” RESPONDENT Kiri Miller • Brown University FRI Noelle Griffis • Indiana University • ​“The Godfather APRIL SPONSOR Sound Studies Scholarly Interest Group Comes to Sixth Street: The Ethics of the Urban Location 1 Shoot” Nathan Koob • Oakland University • ​“The Gentrification of John Waters”

SPONSORS Caucus on Class and Caucus Coalition and Urbanism/Geography/Architecture K14 Upstairs Downstairs Scholarly Interest Group Masters and Servants in American Cinema

CHAIR Lisa Dombrowski • Wesleyan University Lisa Dombrowski • Wesleyan University • ​“The Land of Might Have Been: Constructing Service in Gosford K12 Urban Representation and Park” Restructuring in Los Angeles David Lugowski • Manhattanville College • ​ Cinema since the 1960s “Authorship, Britishness, Chronotopes, and the

Depression: The ABCD’s of Masters and Servants in James Whale’s Films” CHAIR University of North Carolina at Kirk Boyle • Manhattanville College Asheville Robert Lightning • • ​“Full Integration?: The Political Nexus Centered on Black Mark Shiel • King’s College London • ​“’A Free-thinking Female Servitude” Environment’: Beatniks, Hippies, and the Cinematic RESPONDENT Ina Hark • University of South Carolina Landscape of Venice, California around the 1960s” SESSION Celestino Deleyto • University of Zaragoza • ​“Lost and Found on the Freeway: L.A. Alienation and Collateral (2004)” K Kirk Boyle • University of North Carolina at Asheville • ​ “Ecology of Opportunity: Los Angeles and the Imagination of Disaster Capitalism in Nightcrawler (2014)”

RESPONDENT • Hendrix College Joshua Glick 115 9:00 – 10:45 am

K15 Film Festivals, Cultural Memory, K17 New Media Mutations and Politics of the (In)visible The Cultural Logic of Contemporary Capitalism

CHAIR Antoine Damiens • Concordia University CHAIR Genevieve Yue • The New School CO-CHAIR John Lessard • University of the Pacific New York University John Lessard • University of the Pacific • ​“The East Leo Goldsmith • • ​“Precarious German Amateur Film Festival as Archive” Networks, Online Ethnography, and Contemporary Appropriation Films” • Ball State University • ​“Re-collecting Kristine Kotecki The New School Yugoslavia: Curatorial Politics at Regional Film Genevieve Yue • • ​“Medium Festivals” Retrospection: Industrial Test Imagery in Contemporary Art and Film” • SUNY, University at Stony Brook • ​“Visible Beth Tsai Columbia University Art, Invisible Nations?: On the Politics in Film Festivals Nico Baumbach • • ​“A FRI and the Case of Taiwanese Cinema” Pharmacology of Anonymous Media” APRIL University of California, Berkeley • Concordia University • ​“Screening Damon R. Young • • ​ 1 Antoine Damiens The Festivals: Queer Film Festivals as Visual Architecture” “Post-cinematic Sexuality: Making Sex Public in Canyons” SPONSORS Central/East/South European Cinemas Scholarly Interest Group and Film & Media Festivals Scholarly Interest Group

K18 From Footsteps to Breath Atmosphere, Affect, and Audible Bodies in the Cinema 16 Girls Rule! K Are and Disney Constructing the New Order? CHAIR Liz Greene • Dublin City University Liz Greene • Dublin City University • ​“The Breathing Body and the Environment: Sound Design, Authorship, CHAIR Christina Hodel • University of Kansas and Collaboration in Cinema” Gregoire Halbout • Francois Rabelais University • ​ • Johns Hopkins University • ​“What “Nickelodeon’s Dora the Explorer Social Project: Meredith Ward Seeps Through: Body Sounds in the Film Theater’s Revisiting Gender Representation and Youth Soundscape” Construction in Children’s Television Programs” • Case Western Reserve University • ​ Sharon Ross • Columbia College Chicago • ​“‘At Robert Spadoni “Film Atmosphere and Breath” Nickelodeon, Your Daughter Kicks Cinderella's Ass’*: SESSION Growing Pains for Girl Power at Nickelodeon” Tracy Cox-Stanton • Savannah College of Art and Design • ​“The Sounding Body and Film Aesthetics” Christina Hodel • University of Kansas • ​“From Superstars to Psychics: A Decade of Girl Power-fueled K Disney Tween Television (2001–2011)”

116 9:00 – 10:45 am

K19 Ecosensuality in PostCinema K21 WORKSHOP (Self-)Disclosure In and Out

CHAIR Thomas Patrick Pringle • Brown University of the Classroom Al Larsen • Champlain College • ​“ and Ecofeminist Post-apocalypse in Mad Max: Fury Road” CHAIR Charlotte Howell • University of Texas at Selmin Kara • OCAD University • ​“The Anthropocene Austin Breach” WORKSHOP PARTICIPANTS • McGill University • ​“Bodies of Light: Alanna Thain David Gurney • Texas A&M University-Corpus Christi Mobile Media’s Intimate Allure” Mary Celeste Kearney • University of Notre Dame Lauran Whitworth • Emory University • ​“Goodbye Taylor Cole Miller • University of Wisconsin- Gauley Mountain: Hello Eco-camp” Madison SPONSOR Media & the Environment F. Hollis Griffin • Denison University Scholarly Interest Group FRIAPRIL Nina Cartier • Northwestern University 1 SPONSOR SCMS Teaching Committee

K20 Moving across Different Worlds Cinematic Movement and Imagination K22 Media Activism and Social Formations CHAIR James Tweedie • University of Washington

James Tweedie • University of Washington • ​“The Cinematic Imagination in a Speculative World: Camera CHAIR Chris Robe • Florida Atlantic University Movement, CAD, and the Contradictions of Design Angela Aguayo • Southern Illinois University • ​ Thinking” “Documenting Labor: Political Agitation and the Ling Zhang • University of Chicago • ​“Animating the Women of the Radical Left Counter-culture” Cityscape: Horizontal Movement and Montage Christina Dunbar-Hester • Rutgers University • ​ in Chris Marker’s Dimanche à Pékin (1956)” “Diversity Advocacy, Labor, and Freedoms in Open Yunwen Gao • University of Southern California • ​ Technology Projects” “Reimagining Late Qing Shanghai: Mobility of Time Nike Nivar Ortiz • University of Southern California • ​ and Space in Hou Hsiao-hsien’s Flowers of Shanghai” “The Borders of Light Movement as New Media Man Fung Yip • University of Oklahoma • ​“Motion in Activism” Stillness: The Aesthetics of Movement in Hou Hsiao- Chris Robe • Florida Atlantic University • ​“Criminalizing hsien’s The Assassin (2015)” Dissent: State Repression, Video Activism, and SESSION RESPONDENT Daniel Morgan • University of Chicago Counter-summit Protesting” SPONSORS Caucus on Class and Media Literacy & Pedagogical Outreach Scholarly Interest Group K

117 9:00 – 10:45 am MEETING K23 Reanimating Technology, 9:00 – 10:45 am Bodies, and Things in Spain’s Disappearing Silent Era Radio Studies

Scholarly Interest Group ROOM 410 • Fourth Floor CHAIR Leigh Mercer • University of Washington Leigh Mercer • University of Washington • ​“Sexual Technophilia: Vernacular Modernism in Spain’s Early History” Juli Highfill • University of Michigan • ​“The Fabric of Modern Life: The Mantón de Manila in Rosa de Madrid” Eva Woods • Vassar College • ​“Technology and FRIAPRIL the Body in Spanish Cinema and Film Magazines, 1 1921–1936” RESPONDENT Jennifer Bean • University of Washington

SPONSOR Silent Cinema Cultures Scholarly Interest Group

AWARDS

Join Us Friday at 4:15 pm for the Awards Ceremony Grand Ballroom West • Second Floor

SESSION K

118 MEETING EXHIBTOR RECEPTION 9:00 – 10:45 am 9:30 – 10:30 am Asian/Pacific American Caucus Bloomsbury Publishing

ROOM 206 • Second Floor ROOM Grand Ballroom East/AB • Second Floor at their table in the exhibit area Chat with Global Exploitation Cinemas series editors Austin Fisher and Johnny Walker!

FRIAPRIL 1

SPECIAL EVENT FRIDAY, APRIL 1 11:0 0 am – 12:00 noon Members’ Business Meeting ROOM Crystal Ballroom • First Floor All SCMS members are encouraged to attend the annual Members’ Business Meeting to learn more about SCMS and current strategic planning processes. Members will also meet the officers and Board members, and the leadership of the SCMS Caucuses and Scholarly Interest Groups. Refreshments will be provided.

119 SESSION APRILFRIDAY 1 12:15 – 2:00 pm L

L1 WORKSHOP L2 Image and Culture in Japanese Programming and Curating Film Experimental Film and Media, Local and Global Contexts Part II CHAIR Stephen Prince • Virginia Tech University CHAIR Joshua Guilford • Amherst College David Desser • California State University, Northridge • ​ “The Ambiguous Stardom of Misora Hibari” WORKSHOP PARTICIPANTS Ryan Cook • Emory University • ​“On the Olympic Andy Ditzler • Film Love Railroad: Olympic-era Japanese Cinema as Subcultural Irina Leimbacher • Keene State College Critique” Rebecca Meyers • Bucknell University Stephen Prince • Virginia Tech University • ​“The David Pendleton • Harvard Film Archive Vertical Dimension: The High Camera Postion in the Joshua Guilford • Amherst College Films of Kobayashi Masaki”

SPONSOR Experimental Film & Media RESPONDENT Mitsuyo Wada-Marciano • Carleton Scholarly Interest Group University

120 12:15 – 2:00 pm

L3 I Confess L5 Hollywood Confidential Gay Male Pornographic Self-presentation in Gossip, Politics, and Lifestyle, 1945–1967

the Internet Age

CHAIR Jon Lewis • Oregon State University CHAIR Concordia University Thomas Waugh • Nora Gilbert • University of North Texas • ​“Hedda CO-CHAIR Brandon Arroyo • Concordia University ’s Housewives: A Conservative Defense of a Brandon Arroyo • Concordia University • ​“The Progressive Cause” Economy of Confession: Gay Pornographic Desire and Catherine Russell • Concordia University • ​“Barbara Affective Potentiality in the New Internet Economy” Stanwyck as the Bad Mother” Thomas Waugh • Concordia University • ​“Come and Jon Lewis • Oregon State University • ​“Fly Straight and Confess” Live Right (Fly Right and Live Straight): Westbrook Nicholas de Villiers • University of North Florida • ​ Pegler and the Politics of Gossip” Emerson College “The Videomaker and the Rent Boy: Gay-for-pay Ken Feil • • ​“Jacqueline Susann’s FRIAPRIL Confessional in 101 Rent Boys and Broke Straight Boys Gossip Girls: Valley of the Dolls, Star Scandal TV” Narratives, and New Hollywood” 1 Harvard University Nicholas Mendoza • • ​“Erotic RESPONDENT Thomas Doherty • Brandeis University Askesis and Spiritual Community in the Work of Paul SPONSOR Classical Hollywood Scholarly Interest Group Morris and Purusha Larkin”

SPONSOR Adult Film History Scholarly Interest Group

L6 The Horror of the Domestic L4 Exploitation Cinema and History Rethinking the Relationship CHAIR Marc Olivier • Brigham Young University Stephanie Jennings • Rensselaer Polytechnic Institute • ​“Demonic Conceptions: The Forced, Divine CHAIR Johnny Walker • Northumbria University Pregnancies of Horror” Austin Fisher • Bournemouth University • ​“Blood in • Brigham Young University • ​ the Streets: Negotiating History through the Italian Marc Olivier “Houseplant Horror: Telepathy, Torture, and Time-lapse Vigilante Film” Paranoia in the 1970s” Johnny Walker • Northumbria University • ​“A ‘Golden • Connecticut College • ​“Monstrous Age’ of Exploitation?: Video Culture in 1980s Britain, Nina Martin Mothers or Evil Children: Maternal Ambivalence in beyond the ‘Video Nasties’” Women-directed Horror” Neil Jackson • University of Lincoln • ​“From Porno SESSION Chic to Porno Eeeek!: ‘Forced Entry’ and the Hardcore Roughie” Eric Schaefer • Emerson College • ​“Sexploitation after L Hardcore: Strategies of Soft-core Sex Films in the 1970s”

SPONSOR Adult Film History Scholarly Interest Group

121 12:15 – 2:00 pm

L7 Archaeologies of the L9 Screening Finance I Time Capsule Imaginaries Media Preservation, Materiality, and American Culture CHAIR Zenia Kish • Stanford University

Ben Stork • Seattle University • ​“Speculative CHAIR Brian Murphy • Champlain College Temporalities: Documenting Finance” Nick Yablon • University of Iowa • ​“‘A Living History of Kit Hughes • Miami University • ​“Building the Big the Times’: Alexander Konta and the Modern Historic Board on the Backs of Buffers: Sponsored Film in the Records Association, 1911–14” NYSE’s Mid-century Expansion Campaign” Brian Murphy • Champlain College • ​“The Golden Lana Swartz • Microsoft Research • ​“Performing the Crates Time Capsule: Media Preservation as Resistance Future of Money in Silicon Valley Science Fiction” to the Corporatization of Hip-hop” RESPONDENT Joyce Goggin • University of Amsterdam FRI Diana Kamin • New York University • ​“‘Poor Images’: APRIL Preserving the Picture Collection at the New York 1 Public Library”

RESPONDENT Aleksandra Kaminska • Simon Fraser University L10 “Black Pleasure is a Critical Thing” Centering Black Audiences’ Consumption, Critique, and Desire

CHAIR Patrick Johnson • University of California, L8 Cinematic Aftershocks Berkeley

from the Nazi Era CO-CHAIR University of Washington Re-screening the Wartime Archive Ralina Joseph • • University of California, Berkeley • ​ Patrick Johnson “‘Where Did Tommy Work?’: Black Audiences and CHAIR Jennifer William • Purdue University Remembering Past Black Television” Brad Prager • University of Missouri • ​“Offspring Kaia Shivers • Rutgers University • ​“Primal Sites in Trauma: Nazi Family Photographs in Contemporary Nollywood Consumption” Documentaries” Darnell Hunt • University of California, Los Angeles • ​ Chris Wahl • Film University Babelsberg Konrad Wolf • ​ “The End of Television as We Know It: The Case of “The Real Triumph of the Reels of Triumph of the Will” Anacostia” Michael Richardson • Ithaca College • ​“Individual Ralina Joseph • University of Washington • ​“The Suffering and Collective Identity: Recent Cinematic Pleasure of Hatewatching: Black Women Audiences SESSION Portrayals of The Battle of Stalingrad” and Interactive Television Viewing” Film University Michael Wedel • • ​“Memory RESPONDENT Cherise Smith • University of Texas at Austin as Melodrama and Myth: The Nazi Past and the SPONSOR African/African American Caucus L Collaboration between Veit and Thomas Harlan in the 1950s”

122 12:15 – 2:00 pm

L11 The Pirate Audience L13 Selling Games, Gaming Sells Production, Representation, Regulation, and Promotion and Videogames

Reception of Illegal Audiences in Film and Media CHAIR Ed Vollans • Economic and Social Research Council

CHAIR King’s College London Paul McDonald • Daniel Reardon • Missouri University of Science and Paul McDonald • King’s College London • ​“Producing Technology • and David Wright • University of the Pirating Public: Creating Evidence in the MPAA’s Missouri • “Quest for the Happy Ending: Undelivered Anti-piracy Campaigning” Marketing Promises in Mass Effect 3” Virginia Crisp • Coventry University • ​“Printing the Drew Byrd-Smith • University of Southern California • ​ Legend: (Re)-producing Statistics on the ‘Pirate “Video Game Advertising and the Commodification of Audience’” Technological Progress” Sarah Atkinson • King’s College London • ​“Prevention Leora Hadas • University of Nottingham • ​“Geniuses FRI Is Better than More: From Criminalization to and Garages: Promotional Authorship in the Video APRIL Commercialization of Mass-pirating Publics” Game Industry” 1 Stephanie Janes • Royal Holloway, University of London • ​“‘This Is Not a Game’—Immersive Promotional Strategies for Videogames”

SPONSOR Video Game Studies Scholarly Interest Group L12 WORKSHOP Publishing Outside Academia Perks and Pitfalls

CHAIR Krin Gabbard • Stony Brook University, L14 Global Latin American Cinema emeritus Politics, Aesthetics, and Ethics

WORKSHOP PARTICIPANTS CHAIR Pennsylvania State University of Michigan Sophia McClennen • Caryl Flinn • University Rebecca Bell-Metereau • Texas State University Sophia McClennen • Pennsylvania State University • ​ • Georgia Institute of Technology Laine Nooney “The Location of Capital: What Latin American Cinema Julia Kostova • Oxford University Press Teaches Us about Globalization” Kerry Hegarty • Miami University Ohio • ​“Global Film Worlds: The Cinematography of Emmanuel Lubezki” Jeffrey Middents • American University • ​“‘My Dream SESSION Is to Represent the Beauty of the Women from My State’: Latin American vs. World Cinema” Deborah Shaw • University of Portsmouth • ​“Domestic L Servants in Latin American Women’s Cinema: Revealing Private Lives to International Audiences”

123 12:15 – 2:00 pm

L15 Hollywood Women in Transition L17 Philosophical Approaches Rediscovery and Reconfiguration from Stage to the Cinema of the and Screen to Television Dardenne Brothers

CHAIR Vera Dika • New Jersey City University CHAIR William Rothman • University of Miami New Jersey City University Vera Dika • • ​“Remaking Charles Warren • Boston University, Harvard the Serpentine Dance and the Skin Light: Edison, the University • ​“Immersion in ” Lumières, and Stephanie Wuertz” • King’s College London • ​“The Arizona State University Catherine Wheatley Desiree Garcia • • ​“You Can’t Third City: Ethics, the Sacred, and the Post Secular Keep a Good Girl Down: Marilyn Miller, Stardom, and Space of the Dardenne Brothers’ Seraing” Early Musicals” • University of Miami • ​“Philosophy University of Warwick William Rothman J. E. Smyth • • ​“Refusing the and the Films of the Dardenne Brothers” FRI Feminist Frame: A Struggle over Hollywood’s Women APRIL in the 1930s and 1970s” RESPONDENT Joseph Mai • Clemson University 1 Cynthia Lucia • Rider University • ​“Big Screen/Small SPONSOR Film Philosophy Scholarly Interest Group Screen: Natalie Wood’s Quest for the New Hollywood”

SPONSOR Women’s Caucus

L18 Professionalizing and Digitizing the Cultural Forum L16 World Cinema and Television’s New Curators, Agenda Setters, Cultural Memory and Archivists

CHAIR Aymar Christian • Northwestern University CHAIR Inez Hedges • Northeastern University • Georgia State University • ​“Mentored Katherine Henninger • Louisiana State University • ​ Ethan Tussey Binge Viewing: Talking about TV in an On-demand Era” “On Success: When Counter Narratives Become Dominant” Suzanne Scott • University of Texas at Austin • ​ “Television as a Subcultural Forum?: Fannish Curation, Joshua Kierstead • University of Iowa • ​“Confronting Brandom, and the Cult of Chris Hardwick” Atomic Trauma: The Face of Another’s Point/ Counterpoint Structure as Cultural Discourse” Jonathan Gray • University of Wisconsin-Madison • ​“X Marks the Spot: How We Get to Television Shows and Elaine Basa • University of Wisconsin-Milwaukee • ​ Why It Matters” “Trauma Echoes: Memorialization and Mediation in SESSION Chilean Films After Allende” Aymar Christian • Northwestern University • ​ “Developing Community-based Web TV with Small Data” L RESPONDENT Derek Kompare • Southern Methodist University

SPONSOR Television Studies Scholarly Interest Group

124 12:15 – 2:00 pm

L19 Centering on the Peripheral L21 Who Paints the Light? Design Histories of Home Media Networks Contextualizing and Theorizing

Cinematography’s Boundaries

CHAIR Brent Strang • Stony Brook University CHAIR Trinity University David Parisi • College of Charleston • ​“Designing, Patrick Keating • Domesticating, and Disputing Gamic Touch: The Case Patrick Keating • Trinity University • ​“Theorizing Light: of the Rumble Apparatus” Henri Alekan and ” Brent Strang • Stony Brook University • ​“Armchair Clifford Galiher • University of Southern California • ​ Harmonics: Designing Logitech’s Harmony One “Getting the Impossible Shot: Virtual Cinematography Remote Control” at RKO” Megan Ankerson • University of Michigan • ​“From Bradley Schauer • University of Arizona • ​“From Desktop Publishing to Everyday iLife: Configuring Innovation to Convention to Transgeneric Mode: Peripherals in the Digital Home” Approaches to Cinematography, 1986– FRIAPRIL Carlin Wing • New York University • ​“Made for TV: The 1996” Mediatic Life of the Optic Yellow Tennis Ball” Julie Turnock • University of Illinois at Urbana- 1 Champaign SPONSOR Media, Science & Technology • ​“Creating Light in the Computer: Scholarly Interest Group Cinematographers and Special Visual Effects Artists as Collaborators and Competitors”

L20 New Directions in Videographic Criticism L22 Rethinking Documentary Film History

CHAIR Corey Creekmur • University of Iowa CHAIR Heather McIntosh • Minnesota State Allison de Fren • Occidental College • ​“Fembot in a University, Mankato Red Dress: A Video Essay on Gender, Technology, and Birmingham-Southern College Affect” David Resha • • ​ “Selling Direct Cinema: Robert Drew and the Rhetoric Middlebury College Jason Mittell • • ​“Adaptation’s of Reality” Anomalies: A Videographic Adaptation of Adaptation” • The University of Texas at Dallas • ​“A Coventry University Shilyh Warren Melanie Kohnen • • ​“Non- Long History of Feminist Documentary” normative Scholarship for Non-normative Media: Georgia Institute of Technology A Videographic Exploration of Classical Hollywood Juan Rodriguez • • ​ Cinema’s Queer Tropes” “Towards a Film Micology?: Thoughts on the SESSION Biodeterioration of Cuban Revolutionary University of Iowa Corey Creekmur • • ​“Digital Documentaries from the Seventies” Madhubala: The Video Essay and South Asian Cinema” Heather McIntosh • Minnesota State University, RESPONDENT Drew Morton • Texas A&M University- Mankato L • ​“Kartemquin Films: Writing an Institution Texarkana into Documentary Film History”

125 12:15 – 2:00 pm MEETING L23 Circuits of Cinema 12:15 – 2:00 pm Methods and Cases for Histories of Film Distribution Media & the Environment Scholarly Interest Group

CHAIR Paul Moore • Ryerson University ROOM 410 • Fourth Floor CO-CHAIR Deb Verhoeven • Deakin University Paul Moore • Ryerson University • ​“Visualizing the Space and Pace of Cinema Circuits in North America, 1896–1907” Kathy Fuller-Seeley • University of Texas at Austin • ​ MEETING “Archeology of Itinerant Film Exhibition—Unpacking the Brinton Company Collection” 12:15 – 2:00 pm University of Oregon FRIAPRIL Michael Aronson • • ​“A Very Urbanism/Geography/Architecture Circuitous Route: Locating the Telenews Theatre Chain, Scholarly Interest Group 1 1939–1949” ROOM 206 • Second Floor Deb Verhoeven • Deakin University • ​“On Location: Techniques for Analyzing the Circulatory Economies of Cinema”

Strike a Pose Follow SCMS on Instagram @scmstudies Be sure to tag your Instagram photos with #scms16.

SESSION L

126 SESSION APRILFRIDAY 1 M 2:15 – 4:00 pm

M1 A Education M2 Rethinking Transcendental Style Producing and Distributing Activist Media New Approaches to Spirituality and in the 1970s Cinematic Form

CHAIR Roxanne Samer • University of Southern CHAIR Cristina Ruiz-Poveda • University of Florida California CO-CHAIR Dan Chyutin • University of Pittsburgh CO-CHAIR Western Washington Greg Youmans • • University of Pittsburgh • ​“Absence, University Dan Chyutin Presence, Hiddenness: Transcendental Style Greg Youmans • Western Washington University • ​ Reconsidered” “Gay-liberal Media Activism In the Best Interests of the Joseph Kickasola • Baylor University • ​“Schrader’s Children (1977)” Transcendental Style and the Challenge of Tarkovsky” Ingrid Ryberg • University of Gothenburg • ​ Cristina Ruiz-Poveda • University of Florida • ​ “Lesbianism as Contraception: Media Activism and “Political Transcendence: The Sacred and the Everyday in in the 1970s and 1980s” in Patricio Guzman’s Nostalgia for the Light” Roxanne Samer • University of Southern California • ​ RESPONDENT • Independent Scholar “Lesbian Media in Movement: International Videoletters (1975–77)”

RESPONDENT Lisa Henderson • University of Massachusetts Amherst

SPONSORS Queer Caucus and Women’s Caucus and Scandinavian Scholarly Interest Group 127 2:15 – 4:00 pm

M3 Shonda Rhimes Reboots M5 Magazines about the Movies Televisuality Fans, Trades, and More Celebrating Shondaland’s Bad Feminist Transmedia Discourses CHAIR Tamar Jeffers McDonald • University of Kent CHAIR Anna Everett • University of California, Santa Gregory Waller • Indiana University • ​“Beyond Barbara Fan Magazines and Trade Journals: Motion Picture Anna Everett • University of California, Santa Barbara • ​ Discourse in Periodicals of the 1910s” “Scandalized: Affective Expressionism in Shondaland’s Michael Cowan • St Andrews University • ​“Trade Live-Tweeting Fandom Phenomenon” Journals and the Logic of Professions” Norma Coates • University of Western Ontario • ​ Tamar Jeffers McDonald • University of Kent • ​ “Auteurs of Sound: The ‘Blindsounded’ Television “Reviewing ‘Reviewing the Fan Mags’” Music of Shondaland” University of Wisconsin-Madison FRIAPRIL Eric Hoyt • • ​“Martin Mia Mask • Vassar College • ​“Scandalous Quigley’s Failed Monopoly and the Triumph of 1 Sexploitation?: Shonda Rhimes and the Race for American Cinema’s Trade Press”

Ratings” SPONSOR Classical Hollywood Scholarly Interest Group RESPONDENT Allyson Nadia Field • University of Chicago

M6 Remapping the Hollywood M4 Joint Ventures Western Landscape Middle Eastern Cine-media in Co-production, Past and Present CHAIR • University of Chicago Matt Hauske Jennifer Peterson • University of Colorado Boulder • ​ CHAIR Sara Saljoughi • University of Toronto “Landscape and Ecology on The Big Trail” • American University of Beirut • ​ Samhita Sunya Richard Grusin • University of Wisconsin-Milwaukee • ​ “India-Iran Cinematic Alignments: Cold War-era “Landscape, Diegesis, and Music in the Westerns of Co-production and the Case of Subah-o-Sham (Tapi John Ford, Anthony Mann, and Budd Boetticher” Chanakya, 1972)” Matt Hauske • University of Chicago • ​“You’ve Gotta • Temple University • ​“Raised Stakes: Persheng Vaziri Know the Territory: Maps, Landscapes, and Physical Contemporary Iranian Documentary Film, between Reality in Action Cinema” State and External Sources of Funding” Joshua Gleich • University of Arizona • ​“Coogan’s • University of California, SESSION Mohannad Ghawanmeh Bluff: Transposing Western and Urban Frontiers” Los Angeles • ​“The ‘Face’ and Funding: Politics and Practices of Casting for Arab Characters in Transnational SPONSOR Urbanism/Geography/Architecture M Film Production” Scholarly Interest Group Laura Marks • Simon Fraser University • ​“Co-producing Distribution in Arab Experimental Cinema”

SPONSOR Middle East Caucus

128 2:15 – 4:00 pm

M7 Beyond the Panopticon M9 Screening Finance II Media Archaeologies of the Surveillance State Subjectivities

CHAIR Dimitrios Pavlounis • University of CHAIR Roopali Mukherjee • Queens College, Michigan CUNY Brian Hochman • Georgetown University • ​“The Bug Eva Hageman • New York University • ​“Debt by in the Martini Olive: Privacy and Publicity in the Age of Design: Race and Home Valorization on Reality TV” the Transistor” Justin Rawlins • DePauw University • ​“Pioneering Dimitrios Pavlounis • University of Michigan • ​“The Precarity in Alaska: Entrepreneurial Subjects and Failure to Communicate: Tape Recorders, Bugs, and Financial Survival in Reality TV’s Last Frontier” the Limits of Surveillance Networks in The Anderson Daniel Marcus • Goucher College • ​“Excess and Access Tapes” in Recent Films of Finance” RESPONDENT Catherine Zimmer • Pace University Stanford University Zenia Kish • • ​“Mediating the FRIAPRIL Returns on Giving: Philanthrocapitalist Testimonials from The Giving Pledge to NBC’s The Philanthropist” 1

SPONSOR Caucus on Class Scoring the Final Frontier 50 Years of Music in the Star Trek Franchise

CHAIR Brooke McCorkle • SUNY, University at M10 Independent Game Scenes Geneseo

Michael Harris • University of Colorado Boulder • ​ CHAIR Maria B. Garda • University of Lodz “Borrowing beyond the Stars: James Horner’s Music Felan Parker • Concordia University • ​“Canadian Indie for Star Trek II and III” Games between the Local and the Global” • University of Michigan • ​“I, Jessica Getman Olli Sotamaa • University of Tampere • ​“Demos, Mods, Musician: Humanity, Music, and the Star Trek Android” Freeware, Indies: Changing Modes of Independence Evan Ware • University • ​“It’s Been a Long, within the Finnish Game Industry” Hard Road: Analytical Perspectives on Hatred of the Jaroslav Svelch • Charles University • ​“The Scene and Enterprise Title Cue” the Platform: The Case of the 1980s Czechoslovak Brooke McCorkle • SUNY, University at Geneseo • ​“The Sinclair ZX Spectrum Scene” Concert Movie Chimera and Star Trek: Into Darkness” Maria B. Garda • University of Lodz • ​“Towards a Comparative History of Independent Games” SESSION SPONSOR Video Game Studies Scholarly Interest Group M

129 2:15 – 4:00 pm

M11 WORKSHOP M13 Scientific Fictions Cruising (1980) Rethinking Strategies and Approaches to a CHAIR Binghamton University Controversial Film Jeffrey Kirkwood • • Columbia University • ​“Making Grant Wythoff Science in the Pulps” CHAIR • Manhattanville College David Lugowski Ghislain Thibault • University of Montreal • ​“Towers: WORKSHOP PARTICIPANTS Transmitting Fictions” Gary Needham • Nottingham Trent University Jeffrey Kirkwood • Binghamton University • “Cinematic Empiricism around 1900” Harry Benshoff • University of North Texas Joseph Wlodarz • University of Western Ontario RESPONDENT Kenneth White • New School David Greven • University of South Carolina FRIAPRIL 1 M14 Latin America in Los Ángeles M12 The Work of Scholarship in the Tracking Transnational Archives and Histories Age of Digital Reproducibility CHAIR University of Michigan Colin Gunckel • CO-CHAIR • University of Southern CHAIR University of Southern Laura Isabel Serna Virginia Kuhn • California California • New York University • ​“From Jentery Sayers • University of Victoria • ​“From Paulina Suarez Theatrical Libretto to Film Scenario: Unraveling the Accessing to Prototyping Media History” History of Luz and Antonio Guzmán Aguilera” Stephen Charbonneau • Florida Atlantic University • ​ • University of California, Los “Playing the Archive: Gaming, Pedagogy, and New Jan-Christopher Horak Angeles • ​“Classic Latin American Cinema in Los Modes of Expressivity” Angeles: A Preservation Challenge” George Carstocea • University of Southern California • ​ • University of Michigan • ​“Cinema “The Cinemanuensis: A Speculative Tool and the Colin Gunckel between Hollywood and Mexico: What We Can Learn Bootstrapped Solutions that Point to It” from Adaptations, Remakes, Dubs, Talent Swaps, and SPONSOR Media Literacy & Pedagogical Outreach Other Curiosities” Scholarly Interest Group Alejandra Espasande Bouza • Academy Film Archive •​ “Romualdo Tirado and Pioneers of Independent Spanish-language Cinema in Los Angeles” SESSION M SPONSOR Latino/a Caucus

130 2:15 – 4:00 pm

M15 French Cinema at the Margins M17 Invisible Ecologies in Forgotten Sites, Practices, and Discourses, Contemporary Asian Film 1920–1960 and Media Installations

CHAIR Eric Smoodin • University of California, Davis CHAIR Livia Monnet • University of Montreal University of California, Davis Eric Smoodin • • ​“The Christine Marran • University of Minnesota • ​ Last Amateurs of Pure Cinema: Ciné-clubs and French “Slow Violence in Film” Film Culture, 1927–1945” • University of Montreal • ​“Ecologies of University College London Najat Rahman Annie Fee • • ​“Educational Absence: Sama Alshaibi’s Silsila and Sand Rushes In” Cinema between Art and Social Activism: Competing Ecole normale supérieure de Lyon Cinephilias in 1920s Paris” Elise Domenach • • ​ “Narration, Storytelling, and Poetry in Recent Asian University of Chicago Jennifer Wild • • ​“Beyond the Documentary on Environmental Disasters” Margin: Against Avant-garde Film c.1930” • University of Montreal • ​“Invisible FRI University of Toronto Livia Monnet APRIL Brian Jacobson • • ​“Industrial Violence, Trauma, and Chaosmopolitics in Nalini 1 Film Festivals and the Cultural Politics of Postwar Malani’s Multimedia Installation In Search of Vanished Business” Blood”

M16 Networks and the M18 Working with Farocki American South on TV

CHAIR Paige Sarlin • SUNY, University at Buffalo CHAIR Cornell Katherine Lonsdale Waller • Ithaca College University Cathy Lee Crane • • ​“Farocki’s Hands: On the Problem of Performance in Non-fiction Film” • Northwestern University • ​“Rod Molly Schneider Caspar Stracke • University of the Arts Helsinki • ​“Build Serling and Emmett Till: The American South as Your Own Farocki: Curating the 60th Flaherty Seminar” Television Bogeyman” Paige Sarlin • SUNY, University at Buffalo • ​“Practice: • University of Texas at Austin • ​ Charlotte Howell Farocki’s Die Bewerbung and the Problem of Work” “Rectify, Christianity, and Representing an ‘Authentic South’” RESPONDENT Abina Manning • Video Data Bank Whitten Overby • Cornell University • ​“‘A Huge Machine’: Dolly Parton and Southern Christian Dolly Discomfort in Her 1987–88 ABC Variety Show, ” SESSION Katherine Lonsdale Waller • Cornell University • ​ “CMT, MTV, and Viacom’s Homogenization of Regional American Identities” M

131 2:15 – 4:00 pm

M19 Media, Ecology, M21 Contemporary Global Political and New Materialism (Non)Cinema

CHAIR Rachel Webb Jekanowski • Concordia CHAIR Agnieszka Piotrowska • University of University Bedfordshire Kenneth Rogers • York University • ​“Plastic Ecologies: William Brown • Roehampton University • ​“Khavn de Media and Materialism” la Cruz and the Politics of Non-cinemapaper” Rachel Webb Jekanowski • Concordia University • ​ Agnieszka Piotrowska • University of Bedfordshire • ​ “Between Apocalypse and Utopia: Speculations upon “Non-cinema in Zimbabwe—Lobola (2010)” the Oil Archive” Anna Backman Rogers • University of Gothenburg • ​ Matthew Stoddard • University of Toronto • ​“The “Abandoning Happiness in Maja Borg’s Future My Celluloid Animal: Ahuman Temporalities and the Alien Love” Phenomenology of Cinema” FRIAPRIL RESPONDENT Robert Burgoyne • University of St Andrews • Yale University • ​“Documentary and Charles Musser SPONSORS Scandinavian Scholarly Interest Group and War 1 The Flooding the 1970s Environmental Movement: & Media Studies Scholarly Interest Group River (1972)”

SPONSORS Film Philosophy Scholarly Interest Group and Media & the Environment Scholarly Interest Group M22 Transmedial Artistry and Aesthetics in the New Audiovisual Swirl M20 WORKSHOP Pedagogies of Film CHAIR James Buhler • University of Texas at Austin and Media Theory James Buhler • University of Texas at Austin • ​ Historical and Contextual Classroom Practices “Afterglow: Television, Joss Whedon, and The Avengers” Stanford University CHAIR Shira Segal • SUNY, University at Albany Carol Vernallis • • ​“Baz Luhrmann’s Audiovisual Sublime: Partying in The WORKSHOP PARTICIPANTS Great Gatsby” Maureen Turim • Universiy of Florida Charles Kronengold • Stanford University • ​“Songs Janet Robinson • University of Colorado Boulder and Multivocality in the Action Films of Johnnie To and Ringo Lam” SESSION Claire King • Vanderbilt University Nicholas Miller • Loyola University Maryland RESPONDENT Selmin Kara • OCAD University University of Denver M Diane Waldman • SPONSOR Sound Studies Scholarly Interest Group

132 2:15 – 4:00 pm MEETING M23 Now Playing at . . . 2:15 – 4:00 pm Geopolitical Histories of Distribution and Exhibition Transnational Cinemas Scholarly Interest Group

CHAIR Jessica Whitehead • York University ROOM 410 • Fourth Floor Jessica Whitehead • York University • “Cinema-going on the Margins: The Mascioli Theater Circuit in the Company Towns of Northeastern Ontario” Daniel Sánchez-Salas • King Juan Carlos University • ​ “Spectator Combatants: Conflicts in Spanish Cinemas MEETING during the First World War” Katie Young • Royal Holloway, University of London • 2:15 – 4:00 pm “Indian Cinema in the Zongo: Impacts of Colonial Experimental Film & Media FRIAPRIL Urban Planning Programs in Ghana’s Scholarly Interest Group Urban Migrant Neighborhoods, 1945–1965” 1 ROOM 206 • Second Floor Claudia Romanelli • University of Alabama • “Distributors Marzetto, Baronetto & Co., Barattolo, and Lombardo, and the Rise of Feature Length Film in Italy (1909–1912)”

EXHIBITOR RECEPTION EXHIBITOR RECEPTION 3:00 – 4:00 pm 3:00 – 4:00 pm Rutgers University Press Columbia University Press

ROOM Grand Ballroom East/AB • Second Floor ROOM Grand Ballroom East/AB • Second Floor at their table in the exhibit area at their table in the exhibit area A celebration of our authors! Event to celebrate Roy Thomas and the Film and Culture series. SESSION M

133 FRIDAY, APRIL 1 4:15 – 5:30 pm Awards Ceremony ROOM Grand Ballroom West • Second Floor

PRESENTER Steven Cohan • Syracuse University • SCMS President

Student Writing Award Best Edited Collection FIRST PLACE Lisa Parks • University of California, Santa Barbara • and Neta Alexander • New York University • ​“Rage Against Nicole Starosielski • New York University • Signal the Machine: Buffering, Noise, and ‘Perpetual Anxiety’ Traffic: Critical Studies of Media Infrastructure in the Age of Connected Viewing” (Champaign: University of Illinois Press, 2015) FRIAPRIL SECOND PLACE Best First Book Award • University of California, Juan Llamas-Rodriguez Nicole Starosielski • New York University • The 1 Santa Barbara • ​“A Global Cinematic Experience in the Undersea Network (Durham: Duke University Press, Age of Luxury Branding” 2015) THIRD PLACE Daniel Grinberg • University of California, Santa Barbara •​ The Katherine Singer Kovács Book Award “Some Restrictions Apply: The Exhibition Spaces of Yeidy M. Rivero • University of Michigan • Guantanamo Bay” Broadcasting Modernity: Cuban Commercial Television, 1950–1960 (Durham: Duke University Press, 2015) Dissertation Award Meredith Ward • Johns Hopkins University • ​“Chatter, The Anne Friedberg Innovative Reverberation, and the Static in the System: Noise in Scholarship Award American Cinema Culture” Zabet Patterson • Stony Brook University • Peripheral Vision: Bell Labs, the S-C 4020, and the Origins of • University of Lausanne • ​ Anne-Katrin Weber Computer Art (Cambridge: The MIT Press, 2015) “Television before TV: A Transnational History of an Experimental Medium on Display, 1928–1939” Service Award The Katherine Singer Kovács Essay Award Andrew Horton • University of Oklahoma • University of Notre Dame • ​ Mary Celeste Kearney Pedagogy Award “Sparkle: Luminosity and Post-Girl Power Media,” (Continuum: Journal of Media and Cultural Studies 29, Eylem Atakav • University of East Anglia no. 2, 2015) Distinguished Career Achievement Award Best Essay In An Edited Collection Rick Altman • University of Iowa Maria San Filippo • Independent Scholar • ​“Before and After Afterellen: Online Queer Cinephile Communities as Critical Counterpublics” in Film Criticism in the Digital Age. Matthias Frey and Cecilia Sayad, eds. (New Brunswick: Rutgers University Press, 2015) 134 FRIDAY, APRIL 1 5:30 – 7:30 pm SCMS Reception ROOM Grand Salon (including Prefunction Space) • Second Floor 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 MEETING 7:30 – 8:45 pm 7:30 – 8:45 pm FRIAPRIL Latino/a Caucus Silent Cinema Cultures 1 ROOM 410 • Fourth Floor Scholarly Interest Group ROOM 205 • Second Floor

MEETING EXHIBITOR RECEPTION 7:30 – 8:45 pm 7:30 – 8:30 pm Caucus on Class Reception to celebrate Featuring a presentation on "The State of Class Studies" Camera Obscura’s 40th Anniversary by Chuck Kleinhans, founder, co-editor, and publisher ROOM 409 • Fourth Floor of Jump Cut: A Review of Contemporary Media Celebrating Camera Obscura’s 40th anniversary and the ROOM • Second Floor 206 publication of two special issues: “Collectivity: Part 1” and “Collectivity: Part 2”. Hosted by Duke University Press, the University of California, Santa Barbara, Department of Film and Media Studies, and Camera Obscura.

135 RECEPTION EXHIBITOR RECEPTION 7:30 – 9:00 pm 7:30 – 9:30 pm Georgia Tech Oxford University Press School of Literature, Media and Reception

Communication Reception ROOM 404 • Fourth Floor ROOM • Fourth Floor 408 A cocktail reception to celebrate the publication Reception for Georgia Tech School of Literature, of OUP film and media studies books and Media and Communication faculty, students, alumni journals for 2015-2016. All are welcome. and friends. Hosted by the GT School of Literature, Media and Communication and the Wesley Center for New Media. Join us for food, drink and works- in-progress demos by GT faculty and students. FRIAPRIL 1

RECEPTION RECEPTION 7:30 – 9:30 pm 7:30 – 10:30 pm New York University University of California, Department of Cinema Studies Los Angeles Reception

Reception ROOM Crystal Ballroom CD • First Floor ROOM • First Floor Crystal Ballroom AF Reception for UCLA faculty, students and alumni hosted by Reception for alumni, students, faculty, and UCLA’s Department of Film, Television and Digital Media. affiliates. Hosted by NYU Cinema Studies.

136 SESSION SATURDAYAPRIL 2 N 9:00 – 10:45 am

N1 The Seventies Cinema N2 WORKSHOP Underbelly Comics and Methodology

(or, Which Method Would Win in a Fight— Superman and Semiotics or the Hulk and CHAIR Christine Holmlund • University of Historiography?) Tennessee

Gary Needham • Nottingham Trent University • ​ CHAIR DePaul University “Andy Warhol’s Flesh: The Commercialization of Blair Davis • Underground Cinema?” WORKSHOP PARTICIPANTS University of North Texas Harry Benshoff • • ​ Bart Beaty • University of Calgary “Hollywood, Hollywood, Down We Go: Tearing Apart • Stanford University Tinsel-town and the American Family in Angel, Angel, Scott Bukatman Down We Go” Henry Jenkins • University of Southern California Carleton University Amelie Hastie • Amherst College • ​“Wanda’s Ghost” Benjamin Woo • Christine Holmlund • University of Tennessee • ​“The SPONSOR Comics Studies Scholarly Interest Group Trouble with Female Trouble”

137 9:00 – 10:45 am

N3 Screen Policies N5 Light and Darkness as Media Defining and Defending National Interest

CHAIR Antonio Somaini • University of Paris 3: CHAIR Nolwenn Mingant • University of Nantes Sorbonne Nouvelle Mike Van Esler • University of Kansas • ​“‘Sophisticated CO-CHAIR Noam Elcott • Columbia University Cyber Terrorists’: The Film Industry, Rhetoric, and Noam Elcott • Columbia University • ​“Artificial National Security” Darkness: A Different Archaeology of Cinema” Jeffrey Brassard • University of Alberta • ​“Putin’s Larisa Dryansky • Paris-Sorbonne University/INHA • ​ Lumbering Giant: State Television and Ontological “Black Light: Dada and Photography as a Medium of Security in the Putin Era” Darkness” Natalie Kowalik • University of Antwerp • and Antonio Somaini • University of Paris 3: Sorbonne Philippe Meers • University of Antwerp • “New Nouvelle • ​“The Plasticity of Light as a ‘Medium of Perspectives on South Africa’s Post-Apartheid Film Perception’: Walter Benjamin, László Moholy-Nagy, Policy” Fritz Heider” • Victoria University of Wellington • ​“Screen Alfio Leotta RESPONDENT Jennifer Wild • University of Chicago Policies and Emerging Film Industries in the Middle SPONSOR CinemArts: Film & Art History East: The Case of the United Arab Emirates” Scholarly Interest Group SPONSOR Media Industries Scholarly Interest Group

SATAPRIL 2 N6 Ruminations on Food N4 WORKSHOP Programming Television’s Lesser Forms The Other Side of the “New Golden Age” CHAIR Florida Atlantic University Gerald Sim • • Merrimack College • ​“‘It’s Like CHAIR Sudeep Sharma • University of California, Melissa Zimdars Los Angeles Crack to Me’: Rethinking Fatness and the Discourse of Personal Responsibility in Food Television” WORKSHOP PARTICIPANTS Peri Bradley • Bournemouth University • ​“Snap, Marsha Cassidy • University of Illinois at Chicago Crackle, and Pop: The Aural Language of Food, Affect, John Caldwell • University of California, Los Angeles and Desire in TV Advertising” Shawna Kidman • University of California, San Sabiha Khan • University of Texas at El Paso • ​“Reality Diego Bites Back: Animated Food as Agro-environmental SESSION Lindsay Palmer • University of Wisconsin-Madison Critique in Documentary Media” Robert Cavanagh • Emerson College Bryan Sebok • Lewis & Clark College • ​“Reflections Alexander Thimons • DePaul University from the Mobile Kitchen: An Autoethnography of N Documentary Practice and Distribution” SPONSOR Television Studies Scholarly Interest Group RESPONDENT Rosalind Galt • King’s College London

138 9:00 – 10:45 am

N7 Unglamorous Work N9 Affect, Collectivity, Media Labor’s Discontents Contemporary Cinema

CHAIR Massey University Alexandra Bevan • CHAIR Claudia Breger • Indiana University Maria Boyd • Delaware County Community College • ​ Shane Denson • Duke University • ​“Post-cinematic “Do Reality TV Writers Have Rights?: The Curious Case Affect, Collectivity, and Environmental Agency” of the America’s Next Top Model Strike” Anders Bergstrom • Wilfrid Laurier University • ​“On Gina Giotta • California State University, Northridge • ​ Dissipation: The Loss of the Movie Theater as Affective “Dead Labor: Facebook Memorialization and the Work Site in Goodbye, Dragon Inn” of Mourning” Jecheol Park • National University of Singapore • ​“A Keith Herndon • University of Georgia • and Counter-neoliberal Collective to Come: Joshua Danielle Williams • Georgia Gwinnett College • ​ Oppenheimer’s The Act of Killing” “Mission Accomplished: A Three-state Labor Analysis Claudia Breger • Indiana University • ​“The Epic Confirms Tax Credits Increase Film Labor” Aesthetics of Ruptured Collectivity in Fatih Akın’s The Alexandra Bevan • Massey University • ​“One-fifth Cut (2014)” the Thickness of a Human Hair: 3D Printing and New Approaches in Film and TV Art Direction”

SPONSOR Caucus on Class

N10 Film Socialism SATAPRIL 2 CHAIR University of Chicago N8 Rendering Volume Robert Bird • Digital Technologies in Cinema and Beyond Robert Bird • University of Chicago • ​“The Lyrical Document: Dziga Vertov in 1938”

Joshua Malitsky • Indiana University • ​“Nonfiction CHAIR • Center for 21st Century Studies Gloria Kim Cinematic Labor in Yugoslavia, 1945–1952” New York University Gianni Barchiesi • • ​“Ambient Alice Lovejoy • University of Minnesota • ​“Socialism Occlusion: Verisimilitude and the Impossible Shadow” and International Documentary in Early Cold War Javier O’Neil-Ortiz • University of Pittsburgh • ​ Europe” “Change of Scale: Magnitude, Sound, and Silence in • Northwestern University • ​“An Pacific Rim Gravity Christina Kiaer and ” Aesthetic of Anti-racism in the Animated Short Blek- Gloria Kim • Center for 21st Century Studies • ​ end-Uait, 1932”

“Technologies of Foresight: GIS Visualization, SPONSOR Central/East/South European Cinemas Pandemic Speculation, and Making Calculated Scholarly Interest Group SESSION Futures” Scott Higgins • Wesleyan University • ​“The Depth of Adventure, the Volume of Discovery: Feeling 3D Space” N

139 9:00 – 10:45 am

N11 British Film Cultures N13 Troubling Transgender Media Fact, Fiction, and Compromise

CHAIR Lindsey Decker • Syracuse University CHAIR King’s College London Robert Shail • Leeds Beckett University • ​“John Krish Daniel Udy • and British Art Cinema” CO-CHAIR Nicole Erin Morse • University of Chicago Rachel Fabian • University of California, Santa Barbara • ​ Daniel Udy • King’s College London • ​“Keeping It Real: “‘What Are We Left With?’: The London Women’s Film Genre Politics in I am Cait” Group and the Limits of 1970s British Alternative Film Nicole Erin Morse • University of Chicago • ​“Trans Culture” Consultants: Aesthetics of Authenticity and Lindsey Decker • Syracuse University • ​“The British Compromise” Are (or Aren’t) Coming: Transnational Influence, Film Micha Cardenas • University of Southern California • ​ Festivals, and Middle-class British Film Culture” “Transreal Games: Trans of Color Shifting between Justin Smith • University of Portsmouth • ​“Ploughing Truth and Fiction” a Lonely Furrow?: A Field in England (2013) and RESPONDENT Alexandra Juhasz • Pitzer College Alternative Distribution in the UK” SPONSOR Queer Caucus

SATAPRIL N12 Unruly Bodies 2 Gender and Performance across Media N14 The Promotion and Circulation of Contemporary Latin American Cinemas CHAIR University of Warwick Frances Smith • Agents, Strategies, and Policies Wilfrid Laurier University Philippa Gates • • ​“Aging in Action: The Ensemble Aging Action Hero Series of the 2010s” CHAIR Miguel Fernandez Labayen • Charles III University of Madrid Lucia Soriano • Washington State University • ​“On How the Bodies of Women of Color Matter in TLC’s Dolores Tierney • University of Sussex • ​“Twenty Years Love, Lust, or Run and Dare to Wear” On: INCAA and the Branding of the New Argentine Cinema” Frances Smith • University of Warwick • ​“Melissa McCarthy: Gender, Class, and Body Politics in Miguel Fernandez Labayen • Charles III Contemporary Hollywood Comedy” University of Madrid • ​“Branding as Conflict: The Institutionalization of Iberoamerican Cinema in the Tamas Nagypal • York University • ​“Hollywood’s Twenty-first Century” SESSION Sovereign Exception: On Film Noir’s Masculine Biopolitics” Clara Garavelli • University of Leicester • ​“On Exhibition: The Ontology of Experimental Video in Argentina”

N RESPONDENT Vassar College Eva Woods •

140 9:00 – 10:45 am

N15 Fascist Screens N17 Mapping Urban Horror New Approches to Italian Cinema under Mussolini CHAIR Zachary Price • Cornell University

Lorrie Palmer • Towson University • ​“Chicago’s Bloody CHAIR Yale University Luca Peretti • Baths: Candyman and the Cabrini-Green Housing Edward Bowen • Wake Forest University • ​“Film Projects” Culture at a Roman Cinema Palace during Fascism” Zachary Price • Cornell University • ​“Echolocation and Sergio Rigoletto • University of Oregon • ​“Neorealist Soundscapes in ” Stardom and Its Fascist Hauntings” Andrew Scahill • Salisbury University • ​“Our Lady of Lorenzo Fabbri • University of Minnesota • ​“Before Gentrification: The Exorcist, Washington, D.C., and Neorealism: Realism, Black Shirts, and White Black Displacement” Telephones” RESPONDENT Caetlin Benson-Allott • University of Jennifer Myers • University of Washington, Tacoma • ​ Oklahoma “‘The Machine and the Woman’: Grandi magazzini, SPONSOR Urbanism/Geography/Architecture Gender, Genre, and Intermediality in Inter-war Italy” Scholarly Interest Group

WORKSHOP SAT N16 From Popular APRIL A Job (Un)like Any Other N18 Graduate School as Academic Labor to Feminist Fantasy 2 Current Feminisms and Affective Politics

CHAIR Juan Llamas-Rodriguez • University of CHAIR University of Southern California, Santa Barbara Inna Arzumanova • California WORKSHOP PARTICIPANTS Sarah Banet-Weiser • University of Southern Vicki Mayer • Tulane University California • ​“Popular Misogyny: The Pick-up Artist and Brady Fletcher • New York University Men’s Rights Activism” Kelli Marshall • DePaul University • University of Southern California • ​ Laila Shereen Sakr • University of California, Santa “Bystander Intervention and the Feminist Politics of Barbara Witness” • Princeton University • ​“Feminism’s SPONSORS Graduate Student Organization and Melissa Deem Caucus on Class Angry Optimism” SESSION RESPONDENT Kyra Pearson • Loyola Marymount University N

141 9:00 – 10:45 am

N19 Selling Ideology N21 “The World Viewed” and Stanley Authenticity, Likeability, and Sexuality in Cavell’s Perplexing Modernism Contemporary Celebrity

CHAIR Jennifer Fay • Vanderbilt University CHAIR Elizabeth Affuso • Pitzer College Jennifer Fay • Vanderbilt University • ​“Must We Mean Ann Mattis • University of Wisconsin-Sheboygan • ​ What We Film?: Stanley Cavell’s Sincerity” “Amy Schumer’s Likeability and Feminist Counter- Daniel Morgan • University of Chicago • ​“Stanley publics” Cavell and the Competition of Modernisms” • Pitzer College • ​“They’re Just Like Elizabeth Affuso James McFarland • Vanderbilt University • ​“When Us: Celebrity Civilianizing on Social Media” There’s No More Room in Hell, Should We Read Jorie Lagerwey • University College Dublin • ​“A Stanley Cavell?: The -Image in the Ordinary Duggar Family Scandal and the Failure of Authenticity” World”

RESPONDENT Fairfield University Kate Fortmueller • RESPONDENT Justus Nieland • Michigan State University

SPONSOR Film Philosophy Scholarly Interest Group

N20 Race, Digital Technologies, and SAT Social Media Activism N22 Susanne Bier’s Oeuvre APRIL Transnationality, Genre, Ethics, and Authorship 2 CHAIR Madhavi Mallapragada • University of Texas at Austin

Lori Lopez • University of Wisconsin-Madison • ​ CHAIR Meryl Shriver-Rice • Miami Dade College “Fighting Online Racism in the Age of the Troll” CO-CHAIR Melissa Molloy • Santa Fe College Alexander Cho • University of California, Irvine • ​“Selfie Gunhild Agger • Aalborg University • ​“Susanne Bier’s Politics: #BlackOutDay’s Affirmative Resonances” Genre Strategies” Myra Washington • University of New Mexico • ​ Melissa Molloy • Santa Fe College • ​“Ethics in Crisis: “#hashtagactivism: Using Digital Media for Coalition Transgressive Desires in Bier’s B-sides” Building” Meryl Shriver-Rice • Miami Dade College • ​“First Madhavi Mallapragada • University of Texas at World Guilt, Danish Privilege and Responsibility in the Austin • ​“Online Tactics of Immigrant Activists: Work of Susanne Bier” Articulating Race and Gender to Social Media • Deakin University • ​“Susanne Bier Technologies” Catherine Moore SESSION as Transnational Signifier and Co-story Creator” SPONSORS Asian/Pacific American Caucus and Caucus SPONSORS Scandinavian Scholarly Interest Group and Coalition and Media Literacy & Pedagogical Women in Screen History Outreach Scholarly Interest Group N Scholarly Interest Group

142 9:00 – 10:45 am MEETING N23 Speculative Aesthetics 9:00 – 10:45 am Media between Art and Science

War & Media Studies Scholarly Interest Group CHAIR Brooke Belisle • Stony Brook University ROOM • Fourth Floor Tung-Hui Hu • University of Michigan • ​“Media for 410 10,000 Years: Aesthetics, Visualization, and the Long Duration” Alenda Chang • University of California, Santa Barbara • ​ “‘An Infinite Canvas in Time’ and Space: Big History, or Science Fiction?” MEETING Kristopher Fallon • University of California, Davis • ​ “Data Visualization and Documentary’s (In)visible 9:00 – 10:45 am Frontiers” CinemArts: Film & Art History Nicole Starosielski • New York University • and Scholarly Interest Group Jamie Bianco • New York University • “Material ROOM 206 • Second Floor Compositions of Agricultural Media”

SATAPRIL 2

Browse . . . the SCMS Exhibit Area closes at 6 pm. Be sure and stop by for some great deals! SESSION N

143 SESSION SATURDAYAPRIL 2 11:00 am – 12:45 pm O

O1 The Aesthetics of Film O2 Television as Transatlantic Aesthetic Commodity CHAIR University of North Carolina Todd Berliner • at Wilmington CHAIR Christine Becker • University of Notre Dame CO-CHAIR Malcolm Turvey • Tufts University • Marquette University • ​“Remake, Tufts University Amanda Keeler Malcolm Turvey • • ​“Jacques Tati and Adaptation, or Copy: The Aesthetic Transformation of Parametric Narration” Broadchurch into Gracepoint” York University Temenuga Trifonova • • ​“On the Taylor Cole Miller • University of Wisconsin-Madison • ​ Limits of Neuroaesthetics and Neurocinematics” “’Sue, Did the Precedent Call?’: Veep and the Evolution Todd Berliner • University of North Carolina at of Adaptations” Wilmington • ​“The Aesthetics of Ideology in Barbara Klinger • Indiana University • ​“Anatomy of a Hollywood Cinema” Transatlantic Cycle: The Gothic, Seriality, and Female Sarah Kozloff • Vassar College • ​“We Need to Talk Bodies in Imported Procedural TV Today” About Dialogue” Christine Becker • University of Notre Dame • ​“Public SPONSORS CinemArts: Film & Art History Scholarly Value, Commercial Service: The Last Kingdom’s Utility Interest Group and Cognitive/Analytic for the BBC and BBC America” Scholarly Interest Group

144 11:00 am – 12:45 pm

O3 Destination Atlanta O4 Giving Voice Branding Blackness in the The Location of Voice in Experimental and Southern Media City Documentary Cinema

CHAIR Helen Morgan Parmett • Western CHAIR Tess Takahashi • Camera Obscura Washington University Tess Takahashi • Camera Obscura • ​“Children Make CO-CHAIR Kate Ranachan • University of Minnesota Movies: Voice as Testimony and Metaphor in the Amy Corbin • Muhlenberg College • ​“New Films of 1960s” Racial Uplift: Atlanta as a Symbol in African American Soyoung Yoon • The New School • ​“Nagra or It-will- Film” record: Politics of Synch Sound in Chronicle of a Brendan Kredell • Oakland University • ​“Tyler Perry Summer” in the Black Mecca: Atlanta and the Ascendancy of the Pooja Rangan • Amherst College • ​“The Skin of the New South” Voice and the Films of Mounira Al Solh” Saint Xavier University Jacquelyn Arcy • • ​“Black Wives RESPONDENT Mary Ann Doane • University of California, Matter: Black Women, Reality TV, and Branding ‘Black Berkeley Hollywood’” SPONSORS Documentary Studies Scholarly Interest Group Helen Morgan Parmett • Western Washington and Experimental Film & Media Scholarly University • and Kate Ranachan • University of Interest Group Minnesota • “Fortune Favors the Braves?: Race, Media, and the Suburban Re-branding of Baseball in SAT Atlanta” APRIL

SPONSORS Oscar Micheaux Society and Urbanism/ 2 Geography/Architecture Scholarly Interest Group O5 WORKSHOP Occupying the Academy as Feminists Rethinking Work/Life

CHAIR Amanda Ann Klein • East Carolina University

WORKSHOP PARTICIPANTS Julie Wilson • Allegheny College Carol Stabile • University of Oregon Kamille Gentles-Peart • Roger Williams University SESSION Roxana Walker-Canton • Akosua Productions Amanda Ann Klein • East Carolina University SPONSOR Women’s Caucus O

145 11:00 am – 12:45 pm

O6 De/Legitimating O8 Movement in the Marketplace Media Histories Four Approaches to Distribution

CHAIR Aurora University CHAIR Mark Lynn Anderson • University of Gerald Butters • Pittsburgh Maureen Rogers • University of Wisconsin-Madison • ​ Mark Lynn Anderson • University of Pittsburgh • ​ “From ‘X’ to ‘R’: The 1970s Teen Sexploitation Cycle “‘Reckless to the Point of Stupidity’: The Armat-Jenkins and the Juvenilization of the Adult Film Market” Controversy at the National Museum and the Politics Derek Long • University of Wisconsin-Madison • ​“The of Historical Recovery” Franchise System as a Strategy of National Feature Evelyn Kreutzer • Northwestern University • ​“‘Untold Distribution: Triangle and First National, 1915–25” Stories and Official Histories:’ Europeana 1914–1918 Gerald Butters • Aurora University • ​“It’s Not Playing as a Democratic Memory Platform” in the Loop?: The Exorcist and Its Impact on Film Paul McEwan • Muhlenberg College • ​“In Search of Distribution in Chicago” Legitimacy and Masterpieces: The Birth of a Nation in Academic Film Studies, 1965–1985” Katie Day Good • Miami University • ​“‘Coming to Our Senses’: Multimodality, Youth Participation, and Media Literacy Education in American Schools, 1920–1946” O9 Banality in/and the Everyday Media Landscape SATAPRIL 2 CHAIR Dan Hassoun • Indiana University O7 Border Crossings CO-CHAIR James Gilmore • Indiana University Transnational Studies of Media Jocelyn Szczepaniak-Gillece • University of Wisconsin- Milwaukee • ​“The Other Distracted Spectator: Hallucinogens, Film, and Media Spectatorship” CHAIR Mari Pajala • University of Turku Stephen Groening • University of Washington • ​“The Martin Roberts • University of Derby • ​“From Iron Chef Banality of Happiness” to Fresh off the Boat: Street Food and Oppositional Dan Hassoun • Indiana University • and Taste in Post-millennial US Food Media” James Gilmore • Indiana University • “Slow Kristen Alfaro • New York University • ​“From the Media: Everyday Deceleration and Routines of United States to Japan: The Aesthetics of Tourism in Restfulness” 1980s American Video Art” RESPONDENT Charles Acland • Concordia University Mari Pajala • University of Turku • ​“Popular Television SESSION from Socialist Countries in Finnish Television Culture from the 1960s to the 1980s” Yoshiharu Tezuka • Komazawa University • ​“Japan’s O Cinematic Flows and Exchanges: Otherness and Self- Orientalism”

SPONSOR Transnational Cinemas Scholarly Interest Group

146 11:00 am – 12:45 pm

O10 Urban Cartographies O12 MCNs Mobile, Geolocative Technologies Harnessing the Power of Teen Connectivity to and the City Fuel YouTube’s Algorithmic Ecosystem

CHAIR Nanna Verhoeff • Utrecht University CHAIR Denise Mann • University of California, Los Angeles Nanna Verhoeff • Utrecht University • ​“Connecting Cartographies: Media Meeting Places between Stuart Duncan Cunningham • Queensland University Intervention and Infrastructure” of Technology • and David Craig • University of Heather Zwicker • University of Alberta • ​“Mobilizing Southern California • “Appetite for Mass Disruption: Multiplicities: Charting the Economic Topography of Agentic Creative Labor and Precarious Media Urban Space in Rossdale, Alberta, Canada” Management in Online Entertainment” Maureen Engel • University of Alberta • ​“Perverting Denise Mann • University of California, Los Angeles • ​ Play: Theorizing a Queer Game Mechanic” “MCNs Partner in YouTube’s Algorithmic Land Grab across Transnational Borders” Heidi Rae Cooley • University of South Carolina • ​ “Productive Mis-mappings: Geo-locative Patrick Vonderau • Stockholm University • ​“Producing Contingencies and Dis-locations in the Case of Ghosts Selves in the New Screen Ecology” of the Horseshoe” SAT O13 Sex, Class, and Stardom in APRIL O11 Screening Women’s Health Postwar Hollywood 2 Autonomy, Access, and Advocacy

CHAIR Amanda Konkle • University of Kentucky CHAIR Megan Minarich • Tennessee State Adrienne L. McLean • University of Texas at Dallas • ​ University “‘Can Allure Be Mature?’: Stardom and Age in Late- Megan Minarich • Tennessee State University • ​“‘Can't studio Hollywood” You See I'm Well and Strong?’: Denying Female Health Lucy Bolton • Queen Mary University of London • ​ Knowledge in Crane Wilbur’s Tomorrow’s Children “’Well, I'll Take the Lower, Every Time’: Sex, Class, and (1934)” Princess Grace Kelly” Lauren Mitchell • Vanderbilt University • ​“Lifting Amanda Konkle • University of Kentucky • ​“‘An the Fleshly Veil: Self, Exam, and Self-exam in David Unacceptable Suggestive Flavor’: Marilyn Monroe’s Cronenberg’s Dead Ringers and Orlan’s Carnal Art” Films, Class, and the Weakening of the Hollywood • University of East Anglia • ​“‘A Production Code” Marie-Alix Thouaille SESSION Lazy, Self-indulgent Little Girl Who Is Driving Herself Andrea Press • University of Virginia • and Crazy’: Screening Female Mental Illness in Girl, Marjorie Rosen • Lehman College, CUNY • “Sex, Interrupted (1999)” Class, and Trash: The Gold Diggers and Femmes RESPONDENT Oklahoma State University Fatales of Postwar Hollywood” O Jeffrey Menne • SPONSORS Women’s Caucus and Women in Screen History Scholarly Interest Group

147 11:00 am – 12:45 pm

O14 New Frames on Latino/a Film O16 Technologies of Transition and Television and on Latina/o Sound, Color, and the Body in India’s Film Media Studies Industries (1920s–1960s)

CHAIR Nitin Govil • University of Southern California CHAIR Frederick Aldama • Ohio State University University of Pittsburgh • DePaul University • ​“Latino Film in the Neepa Majumdar • • ​“Indian Camilla Fojas Bazaar Rumors All Facts End Times” Cinema’s Talkie Debates: and ” University of Southern California Isabel Molina • University of Illinois • ​“Thugs, Cops, Nitin Govil • • ​ Maids, and Spitfires: From the Past to the Future of “Technique, Travel, and Translation: Film Technology Casting Latinos on Contemporary US Television” between Hollywood and Bombay” Jawaharlal Nehru University Frederick Aldama • Ohio State University • ​“Twenty- Ranjani Mazumdar • • ​ first-century Reel Latinas and the Anxiety of Presence” “The Geography of Color in 1960s Bombay Cinema” Columbia University Mary Beltrán • University of Texas at Austin • ​“Disney Debashree Mukherjee • • ​“The TV’s Elfego Baca: Whitewashing History for Late ‘50s, Body in the Cine-machine: Accidents, Breakdowns, and Law-abiding Kids” Depletion in the Early Talkie Studio” SPONSOR Asian/Pacific American Caucus

SAT APRIL O15 Reading Swedish Auteurs 2 against the Grain O17 WORKSHOP , , and Jan New Approaches to Teaching Troell Animation History and Theory

CHAIR University of California, Los Arne Lunde • CHAIR Nicholas Sammond • University of Toronto Angeles Emil Stjernholm • Lund University • ​“Visions WORKSHOP PARTICIPANTS of Post-independence India in Arne Sucksdorff’s Donald Crafton • University of Notre Dame Documentaries” Andrew Johnston • North Carolina State University Arne Lunde • University of California, Los Angeles • ​ Hannah Frank • University of Chicago “Monika, the Story of a Bad Girl!: Summer with Andrea Comiskey • University of Wisconsin- Monika, Sexploitation, and the Selling of Erotic Madison Bergman in America” SESSION Robert Silberman • University of Minnesota • ​ “Hubristic Men, Heroic Women: Gender Roles and Sexual Politics in the Films of ” O RESPONDENT Anna Stenport • University of Illinois at Urbana-Champaign

SPONSOR Scandinavian Scholarly Interest Group

148 11:00 am – 12:45 pm

O18 WORKSHOP O20 The New Cultural Politics of Camp The State of Horror Studies

CHAIR Dana Heller • Old Dominion University CHAIR Murray Leeder • University of Calgary Misha Kavka • University of Auckland • ​“Truly, Madly, CO-CHAIR Adam Hart • Harvard University Queerly: Extending the Camp Canon” Katrin Horn • Julius Maximilian University of Würzburg • ​ WORKSHOP PARTICIPANTS “‘Naturally Fancy’—30 Rock’s Jenna as Postfeminist Joan Hawkins • Indiana University Camp” Brock University Barry Keith Grant • Tanya Gonzalez • Kansas State University • ​“Virgins, Aviva Briefel • Bowdoin College Spitfires, and Latin Lovers: Latina/o Camp in Jane the Virgin” Brenda Weber • Indiana University • ​“Taking It in the Missionary Position: The Book of Mormon, the LDS Brand, and the Divine Politics of Cultural O19 Disney’s Star Wars Appropriation” Forces of Production, Promotion, and Reception

CHAIR Justin Battin • Jorge Tadeo Lozano University Matthew Freeman • Bath Spa University • ​“Promoting Cybernetic Cinema SAT Transmedia Star Wars: Strategies of Branding and Un- O21 APRIL branding a Galaxy Far, Far Away” 2 Andrew Myers • University of Southern California • ​“A CHAIR Justus Nieland • Michigan State University Certain Point of View: Authorship, Authenticity, and Bernard Dionysius Geoghegan • Leuphana Materiality in Behind-the-scenes Discourse for Star University • ​“An Archaeology of Intermediation: Wars: The Force Awakens” Cybernetics, Cinema, and the Suburbs in the Film Richard McCulloch • University of Huddersfield • ​ Work of Gregory Bateson” “When You Wish upon a Death Star: Disney, Star Wars, Laura Frahm • Harvard University • ​“A World of Signs and Trans-fandom at the 2015 D23 Expo” and Signals: The Cybernetic Cinema of Ottomar William Proctor • Bournemouth University • ​“‘A Domnick” Disturbance in the Force’: Hyperdiegetic Genocide, Orit Halpern • Concordia University • ​“‘Demo or Die!’: Online (Fan) Activism and the Fate of the Star Wars The Architecture Machine Group, Expanded Cinema, Expanded Universe” and the Rise of Responsive Environments” SPONSOR Fan & Audience Studies Scholarly Interest Group Seb Franklin • King’s College London • ​“Post- cybernetic Cinema” SESSION

SPONSOR Media, Science & Technology Scholarly Interest Group O

149 11:00 am – 12:45 pm MEETING O22 I’ll Be Watching You 11:00 am – 12:45 pm Technologies of Surveillance and Socialization in DEFA (East German) Cinema Nontheatrical Film & Media Scholarly Interest Group

CHAIR Muriel Cormican • University of West ROOM 410 • Fourth Floor Georgia Evan Torner • University of Cincinnati • ​“‘Overhasty’ and Open Marriages—East German Women’s Cinematic Confessions” Delene White • University of Massachusetts Amherst • ​ MEETING “Runaway Girl on the Streets of Berlin: Sabine Kleist, 7 Years Old” 11:00 am – 12:45 pm Muriel Cormican • University of West Georgia • ​ Adult Film History “Technologies of Surveillance: Medicine and the Body Scholarly Interest Group Politic in Roland Gräf’s Die Flucht” ROOM 206 • Second Floor RESPONDENT Faye Stewart • Georgia State University

SPONSOR Central/East/South European Cinemas Scholarly Interest Group

SATAPRIL 2 O23 The Utopian Body as Screen Structure and Mediated Object

CHAIR Margaret Schwartz • Fordham University Jennifer Fleeger • Ursinus College • ​“When Robots Speak on Screen: Imagining the Cinemechanical Ideal” Ofer Eliaz • Ohio University • ​“Utopian Absences and the Contemporary Cinematic Image” Erica Stein • Marymount Manhattan College • ​“Seeing Symphonically: Symphonies as Utopia SESSION and Rhythmanalysis” Margaret Schwartz • Fordham University • ​“Future O Perfect: The Photographed Corpse as Utopian Object”

150 SESSION SATURDAYAPRIL 2 P 1:00 – 2:45 pm

P1 NOT Seen on TV P2 Postwar Hollywood Blackness, Television, and Participatory Containing Female Agency in the Workplace

Digital Media Practices

CHAIR Alan Nadel • University of Kentucky CHAIR Old Dominion University Sarah Florini • Alan Nadel • University of Kentucky • ​“It’s All About Dayna Chatman • University of Southern Eve: Margo Channing, Norma Desmond, Lina Lamont California • and Kevin Driscoll • Microsoft and the Abjection of Female Stars” Research • “‘Olivia’s Hair Is Laid!’: Black Viewership Mary Desjardins • Dartmouth College • ​“‘One Good and Live-tweeting during Scandal” Idea into the Mainstream of American Life’: Hollywood Meredith Clark • University of North Texas • ​“Out of Stardom under the Sign of Postwar Catholicism” ‘The Nothing’: @BlackGirlsNerds and the TV Audience Steven Cohan • Syracuse University • ​“Paris Loves Online” Lovers and Americans Loved Paris: Gender, Work, and Sarah Florini • Old Dominion University • ​ Modernity in the Postwar Hollywood Musical” “#DemThrones: Enclaving and Cultural Resonance in RESPONDENT Lucy Fischer • University of Pittsburgh Game of Thrones Fan Practices” TreaAndrea Russworm • University of Massachusetts Amherst • ​“Blackness, Branded Play, and the Televisual Remediations of the Family Vlog”

SPONSORS African/African American Caucus and Television Studies Scholarly Interest Group

151 1:00 – 2:45 pm

P3 Theorizing Feminist Media and P5 The System beyond the Studios Comedy The Industrial Geography of Hollywood

CHAIR University of Southern CHAIR Linda Mizejewski • Ohio State University Luci Marzola • California Linda Mizejewski • Ohio State University • ​“Wexler’s Hysteria and a Theory of Women’s Comedy” Luci Marzola • University of Southern California • ​ “‘Maintained Solely for Your Benefit’: Building the Rebecca Krefting • Skidmore College • ​“Social Media: Hollywood Service Corridor” Public Enemy #1 of Comedy’s Gag Rule” • University of Toronto • and Stephanie Brown • University of Illinois at Urbana- Charlie Keil • University of Southern Champaign • ​“Gendered Taste Cultures and Comedic Denise McKenna California • “Building a Unique Industry: The Distinction; or, Why Everyone Ignored Oxygen’s Funny Discourses of Early Hollywood” Girls” Paul Monticone • University of Texas at Austin • ​“The RESPONDENT • University of Minnesota Maggie Hennefeld Hollywood Office of the MPPDA and the Bicoastal SPONSOR Women in Screen History Scholarly Interest Geography of the Film Industry” Group and Comedy & Humor Studies Scholarly RESPONDENT University of Toronto Interest Group Brian Jacobson • SPONSOR Classical Hollywood Scholarly Interest Group

SATAPRIL 2 4 Class and Comic Books P Mimesis and Authenticity P6 Global Cinematic Realisms CHAIR • Wayne State University Chera Kee • DePaul University • ​“From the Streets Blair Davis CHAIR Northeastern Luke Cage Man-Thing Paul Schroeder Rodriguez • to the Swamp: , and the 1970s Illinois University Class Issues of ” • Northeastern Illinois Kevin Scott • Albany State University • ​“‘It's Just Us Paul Schroeder Rodriguez University • ​“The Multiple Realisms and Realities of Here’: Daredevil’s Fight against ‘Big Power’ from the Buñuel’s Los olvidados” Streets of Hell’s Kitchen” • University of California, Daniel Martin • Korea Advanced Institute of Science and Fareed Ben-Youssef Berkeley • and • University of Technology • ​“The Americanization of the Hong Kong Marianne Tarcov California, Berkeley • “’When I’m in the Ring, I Can’t Kung Fu Hero: Class and Power in Marvel Comics’ Iron Act’: Lifting the Veils of Authenticity in Hidekazu Fist” SESSION Takahara’s Gamushara” Chera Kee • Wayne State University • ​“Gwen Dylan • Eckerd College • ​“The ‘Marvelous is Not the Girl She Used to Be: Class and the Christina Petersen New Birth’ of Cameron Frye: Mimetic Play and Genre Transformation of iZombie” Aesthetics in Ferris Bueller’s Day Off (1986)” P SPONSOR Comics Studies Scholarly Interest Group Gilad Padva • Ben Gurion University • ​“Anticipating the Big Brother: Existential Reality, Mocked Stardom, and Interrogated Wannabes in Hole in the Moon”

152 1:00 – 2:45 pm

P7 New Discoveries and Directions P9 Illusionism and Its Limits in in Silent Film Artists’ Moving Images

CHAIR Booth Wilson • University of Wisconsin- CHAIR Grahame Weinbren • Millennium Film Madison Journal Booth Wilson • University of Wisconsin-Madison • ​ CO-CHAIR Susan Felleman • University of South “Transnational Cinema and Taste in Silent-era Europe: Carolina Recent Rediscoveries from Yakov Protazanov’s Émigré J. Carlos Kase • University of North Carolina at Period” Wilmington • ​“Where Is the Surface?: Formalism Suzanne Gauch • Temple University • ​“Georges Méliès contra Autobiography” and the Dream Palaces of Early Cinema” Gregory Zinman • Georgia Institute of Technology • ​ Burke Hilsabeck • Oberlin College • ​“On Comedy and “Echoes of the Earth: Nonhuman Collaboration in Ambivalence: Buster Keaton and the Machine Age” Process Cinema” Aurore Spiers • University of Chicago • ​“French Susan Felleman • University of South Carolina • ​ Cowboys in the Camargue: Jean Durand and Joë “A View of Narrative: Wavelength and Its Intertexts” Hamman’s Silent Westerns” Grahame Weinbren • Millennium Film Journal • ​“The SPONSOR Silent Cinema Cultures Scholarly Interest Group Disappearance of the Silver Screen”

SPONSOR Experimental Film & Media Scholarly Interest Group SATAPRIL 2 P8 Questions of Access Rethinking Media Spectatorship P10 On Mediation Technological Becomings CHAIR Zeynep Yasar • Indiana University and World-making Gestures Caren Pagel • Georgia State University • ​“Riding the Dragon Age: Inquisition Bull: Gamergate, and the CHAIR Alessandra Raengo • Georgia State Production of an Inclusive Gaming Culture” University Hye Seung Chung • Colorado State University • ​ CO-CHAIR Bishnupriya Ghosh • University of “The Interview as a Millennial The Great Dictator?: California, Santa Barbara Rethinking Foreign Relations and Film Regulation Bishnupriya Ghosh • University of California, Santa through the Crisis” Barbara • ​“Cut and Flow: Molecular Choreographies Jane’a Johnson • Brown University • ​“Prisoners as a of Change in Scientific Animations” Niche Market: Media Consumption, Censorship and SESSION Alessandra Raengo • Georgia State University • ​ the Prison-industrial Complex” “Mercurial Contemplations: The Diasporic Subject and Zeynep Yasar • Indiana University • ​“Circulation the Liquid Image” Despite and Through Censorship: The Politics of North • Georgia State University • ​“The Color P Angelo Restivo at the Istanbul Film Festival” of Sound, the Sound of Color: Larry Clark’s Passing Through” Bhaskar Sarkar • University of California, Santa Barbara • ​“Bollywood’s Global Gesture” 153 1:00 – 2:45 pm

P11 Alternative Channels P13 The Future of Pornography Exploring Music Video in International and Aesthetic Contexts CHAIR Patrick Keilty • University of Toronto

Susanna Paasonen • University of Turku • ​“‘Not Your CHAIR Stanford University Carol Vernallis • Average Smut’: Pornography, Risk, and Safety” Rachel Kahn • Guggenheim Museum • ​“Curating Jennifer Moorman • University of California, Los Music Video: The Museum Space and Pop Visual Flow” Angeles • ​“‘Doing It Online’: Women’s Authorship Marc Rose • University of Portsmouth • ​“MTV to in the Production and Distribution of Internet Channel 3: British Music Video and The Chart Show” Pornography” Sarah Lerner • University of California, Santa Barbara • ​ Patrick Keilty • University of Toronto • ​“Desire by “Derek Jarman’s Music Video Activism: Sounding Blue Design” (1993)” Shaka McGlotten • SUNY, Purchase College • ​“Porn David Henderson • St. Lawrence University • ​“Very Fast”

Wavy: Music Video in Nepal” SPONSOR Adult Film History Scholarly Interest Group

P12 Working in the Archives P14 Cinephilia and Modernism SATAPRIL Latin American Film Culture at Mid-century 2 CHAIR Eirik Frisvold Hanssen • National Library of Norway CHAIR Rielle Navitski • University of Georgia University of Minnesota Nichole Neuman • • ​“Who Nilo Couret • University of Michigan • ​“Labor on Shapes the Film Archive?: The Personal and Political in Display: Cinephilic Site-seeing at the Studio Pavilions Creating German Film History” in the Mar del Plata Film Festival of 1948” National Library of Norway Eirik Frisvold Hanssen • • ​ Rielle Navitski • University of Georgia • ​“Educating “Imitating the Past: Cultural Memory and the Film Audiences, Forging Institutional Networks: The Digitization of Norwegian Educational Films” Cine Club de Colombia, 1949–1969” Birkbeck, University of London Anna Warchalowska • • ​ Irene Rozsa • Concordia University • ​“The “Saving Archival World Cinema: The Case of Maung Institutionalization of Cinephilia in Cuba: ICAIC and Its Tender Are the Feet Ché phawa daw nu nu Wunna’s ( ) Discontents” (1972)” Jeronimo Arellano • Brandeis University • ​“Intimidad de los parques/Intimacy of Parks: Experimental SESSION Screenwriting, ‘Boom’ Literature, and New Argentine Cinema in the 1960s” P SPONSOR Latino/a Caucus

154 1:00 – 2:45 pm

P15 WORKSHOP P17 Bioregional Cinema New Histories of the Environment, Culture, Image American Newsreel CHAIR Matthew Holtmeier • Ithaca College CO-CHAIR Oklahoma State University CHAIR Mark Cooper • University of South Carolina Graig Uhlin • Graig Uhlin • Oklahoma State University • ​“The WORKSHOP PARTICIPANTS Bioregional Imagination of Jean Epstein’s Brittany Dan Streible • New York University Orphan Film Films” Symposium Leigh Duck • University of Mississippi • ​“Documenting Greg Wilsbacher • University of South Carolina Louisiana’s Wetlands: Place, People, and Petroleum” University of Colorado Boulder Jennifer Peterson • Matthew Holtmeier • Ithaca College • ​“Space Joseph Clark • Franklin & Marshall College Becoming Place: Hollywood North, Transnational Mary Samuelson • University of California, Los Capital, and Bioregional Resistance” Angeles Hunter Vaughan • Oakland University • ​“Invasive Species in the Bioregion: The Ecology of Incentive Programs and Runaway Productions”

SPONSOR Media & the Environment Scholarly Interest Group P16 The Technicity of Surveillance SATAPRIL CHAIR Lisa Han • University of California, Santa 2 Barbara Pace University P18 The Cronenberg Question Catherine Zimmer • • ​“Seriality and Rethinking a Body of Work Surveillance: Television and Surveillant Narration” Jennifer Hessler • University of California, Santa Barbara • ​“Peoplemeter Technologies and CHAIR Adam Lowenstein • University of Pittsburgh Cooperative Surveillance: Metering Active/Passive Caetlin Benson-Allott • University of Oklahoma • ​“The Bodies” Minor Cronenberg” Lisa Han • University of California, Santa Barbara • ​ Adam Hart • Harvard University • ​“I, Mugwump: “Tactical Transport: Surveillance, (In)security, and Projection, Abjection, and Monstrosity in Cronenberg’s Transportation Network Company” Naked Lunch” Mark Andrejevic • Pomona College • ​“Droning Timothy Holland • University of Southern California • ​ the Media: The Automation of Surveillance and the “Cronenberg’s Anesthetics” Foreclosure of Politics” Adam Lowenstein • University of Pittsburgh • ​ SESSION SPONSOR Media, Science & Technology “Exploding Heads: Cronenberg’s Cinema of Scholarly Interest Group Therapeutic Disintegration” P

155 1:00 – 2:45 pm

P19 The Art Documentary P21 WORKSHOP Debates and Institutions (1940–1960) Ethics and Fan Studies

CHAIR Ghent University Steven Jacobs • CHAIR Louisa Stein • Middlebury College Birgit Cleppe • Ghent University • ​“The Institutional Breeding Grounds of the Postwar Art Documentary: WORKSHOP PARTICIPANTS ICOM’s New Method of Revealing Art” Kristina Busse • Independent Scholar Henning Engelke • Goethe University Frankfurt • ​ Bob Rehak • Swarthmore College “Beyond Neoplasticism: Ilya Bolotowsky’s Art Francesca Coppa • Muhlenberg College Documentaries and Experimental Film Practice” Gregory Steirer • Dickinson College

Natasha Ritsma • Loyola University • ​“The SPONSOR Fan & Audience Studies Scholarly Interest Group Photographer: A Weapon of Cultural Diplomacy” Steven Jacobs • Ghent University • ​“Art Documentary and Art Historiography 1940–1960”

SPONSOR CinemArts: Film & Art History Scholarly Interest Group P22 Emerging Screen Practices in China

CHAIR The New School SATAPRIL Anne Balsamo • 2 P20 Reframing Travel Film Jia Tan • Hong Kong Baptist University • ​“Masking, Modernity, Imperialism, and Corporeality Masquerading, Manifestation: Domestic Social Media Assemblage for Freeing China’s Feminist Five”

Anne Balsamo • The New School • ​“Emerging CHAIR Shota Ogawa • University of North Carolina at Charlotte Technologies and Soft Power: Nation Branding at the 2010 Shanghai World Expo” University of North Carolina at Shota Ogawa • • Indiana University • ​ Charlotte Stephanie DeBoer • ​“On-location Adventures at the Fringes of “Interventions in Media Art, Public Screens, and Urban Technicolor (1927–1934)” Space: A Hong Kong/China Genealogy” Mitsuyo Wada-Marciano • Carleton University • ​“2 + RESPONDENT Kristy H.A. Kang • Nanyang Technological 1 Travelogues: Memories from the Empire of Japan” University Youngmin Choe • University of Southern California • ​ “Paris in Korean Cinema”

RESPONDENT Dimitrios Latsis • Internet Archive SESSION P

156 1:00 – 2:45 pm MEETING P23 Putting Film under the 1:00 – 2:45 pm Microscope French Cinema and Science Queer Caucus

ROOM 410 • Fourth Floor

CHAIR Raymond Watkins • Pennsylvania State University James Younger • Trinity College • ​“Renoir and Watteau: The Cytherean Chronotope” Raymond Watkins • Pennsylvania State University • ​ MEETING “Empirical Cinema: ’s L’Argent and the 1:00 – 2:45 pm Constructivist Machine” Kristi McKim • Hendrix College • ​“‘Always the Same Video Game Studies and Ever New’: Meteorology and Aging in Clouds of Scholarly Interest Group Sils Maria” ROOM 206 • Second Floor Angela Dalle Vacche • Georgia Institute of Technology • ​“André Bazin’s Film Theory: Biology and Mathematics”

SATAPRIL 2

SESSION P

157 SESSION SATURDAYAPRIL 2 3:00 – 4:45 pm Q

1 Prison Is the New Guilty Pleasure 2 The Apartment Plot Reconsidered Q Orange Is the New Black Q , the Prison TV Genre, and the Prison-industrial Complex CHAIR Pamela Wojcik • University of Notre Dame

Pamela Wojcik • University of Notre Dame • ​“What CHAIR Cornell University Hannah Mueller • Makes an Apartment Plot?” CO-CHAIR Alan Pike • Emory University Merrill Schleier • University of the Pacific • ​“Palaces Lauren DeCarvalho • University of Arkansas • and of Pleasure and Deceit among the Clouds: The Nicole Cox • Valdosta State University • “‘We Do Depression-era Cinematic Penthouse Plot” Everything Around Here’: An Analysis of Litchfield • Northwestern University • Orange Is the New Leigh Goldstein Penitentiary as a Workplace on ​“Is There a Feminist Apartment Plot?” Black” RESPONDENT University of Wisconsin- Cornell University Patrice Petro • Hannah Mueller • • ​“ Milwaukee vs. Dropping the Soap: The Gendered Representation of Prison Inmates on TV” Kyra Pearson • Loyola Marymount University • ​“Digital Pleasures: Surrendering to the Affective and Temporal Mobility of Orange Is the New Black” Alan Pike • Emory University • ​“The Prison Genre on Premium Television, from Oz to Orange Is the New Black” 158 3:00 – 4:45 pm

Q3 Educational Media In and Q5 The Politics of the Blacklist Outside of the American

Classroom CHAIR Chuck Maland • University of Tennessee Thomas Doherty • Brandeis University • ​“The CHAIR Lisa Rabin • George Mason University Hollywood Eleventh and Twelfth: Bertolt Brecht and Josh Shepperd • The Catholic University of America • ​ Emmett Lavery before the House Committee on Un- “Educational Effect and Aesthetic Affect: The Origins of American Activities” Media Industry Research in Public Radio Discourses, Chuck Maland • University of Tennessee • ​“‘I Am 1937–1939” What You Call a Peacemonger:’ Chaplin, Government Lisa Rabin • George Mason University • ​“Screening, Investigation, and the Blacklist 1947–1952” Discussing, and Repurposing: A US Reception History Cynthia Meyers • College of Mount Saint Vincent • ​ of Three Postwar Documentary Shorts, 1945–1960” “Blacklisting as an Advertising Strategy: J. Walter Victoria Cain • Northeastern University • ​“Seeing (like) Thompson, Television Sponsors, and Anticommunist a Scientist: PSSC, MACOS, and the Shifting Paradigms Activists, 1951–1955” of Postwar Classroom Films” SPONSOR Classical Hollywood Scholarly Interest Group

RESPONDENT Gregory Waller • Indiana University RESPONDENT Brian Neve • University of Bath

SATAPRIL Q4 Renewing the Ciné-genre Q6 Mediating Contemporary 2 Pasts and Futures Global Politics

CHAIR Franklin & Marshall Colin Williamson • CHAIR Harry Karahalios • Duke University College Nathan Lee • Brown University • ​“Economies of Hannah Frank • University of Chicago • ​“The Cosmopolis” Draughtsman’s Imagination: Deep-focus Gregor Campbell • University of Guelph • ​“Realism Cinematography in Walt Disney’s Cinderella (1950)” and Race in David Simon’s Show Me a Hero” • Loyola University • ​“Chase Scenics: Nathan Holmes Alexander Champlin • University of California, Santa Global Pursuits in Contemporary Action Cinema” Barbara • ​“Risky Play: Streamers; or, Now Colin Williamson • Franklin & Marshall College • ​ You’re Playing with (Police) Power” “Dramatized Natural History: Virtuosity, Special Effects, Harry Karahalios • Duke University • ​“The Indefinite and Machine Interest in Contemporary Popular Location of the Greek Gaze in Sotiris Goritsas’ Trilogy Science Films” SESSION of Borders” RESPONDENT Tom Gunning • University of Chicago Q

159 3:00 – 4:45 pm

Q7 Mediating the Q9 Corporate Production Studies Mexican Drug War in European Cinema and , Media, and Violence Television

CHAIR University of Southern Sophia Serrano • CHAIR Alisa Perren • University of Texas at Austin California Ben Harris • University of California, Los Angeles • ​ Juan Llamas-Rodriguez • University of California, “International Adventures and Domestic Bliss: Santa Barbara • ​“The Lives of Female Narcotraffickers” Constantin Film and the (Re)Invention of German Deborah Jaramillo • Boston University • ​“Kingpins Cinema in the 1990s” No More: The Evolving Mexican Narco on US Christopher Meir • University of the West Indies, Television” University of Carlos III of Madrid • ​“Polygram, Sophia Serrano • University of Southern California • ​ StudioCanal and the Pursuit of a European Studio, “Circulating Violence and the Internet Media Ecology 1991–Present” of the Mexican Drug War” Eva Redvall • University of Copenhagen • ​“Outsourcing Pavel Shlossberg • Gonzaga University • ​“Folklore, Public Service Television Drama: The Cultural Policy Cultural Production, and the Erasure of the Drug War Battles and Industry Debates around the Production in Michoacan” of Denmark’s Most Expensive Television Drama Series 1864 SPONSOR Latino/a Caucus ” Inge Sorensen • University of Glasgow • ​“Reality Check: Connected Viewing of Live News, Factual and SATAPRIL 2 Documentary Events across Screens” Q8 Cinema and the Planetary

CHAIR Jessica Mulvogue • York University Jessica Mulvogue • York University • ​“Expanded Cinema and Planetary Aesthetics: R. Buckminster Fuller’s World Game” Andrew Bieler • University of Saskatchewan • ​“The Role of Aesthetic Cosmopolitanism in Climate Change Communication and Education: Explorations of the Future Anterior of Our Place/s on the Planet” Eu Jin Chua • University of London, Auckland University SESSION of Technology • ​“Planetary Landscape as Posthuman Cinema” Janine Marchessault • York University • ​“Planetary Q Consciousness at the Festival of Britain” SPONSOR Media & the Environment Scholarly Interest Group

160 3:00 – 4:45 pm

10 Beyond the Sea 12 War on Terror Cinema Q BioShock Q New Perspectives on

CHAIR Shakti Jaising • Drew University CHAIR University of Montreal Jessica Aldred • Fabrizio Cilento • Messiah College • ​“The Aesthetics of CO-CHAIR Felan Parker • Concordia University the Procedural in Post-9/11 Cinema” Patrick Brown • University of Iowa • ​“The Hands of the Adam Knee • University of Nottingham Ningbo China • ​ Other: Media Allegory in BioShock and The Hands of “Training the Body Politic: Media, the Body, and the Orlac” War on Terror in Unstoppable and Code” John Vanderhoef • University of California, Santa Dinah Holtzman • Indiana University • ​“Sympathetic Barbara • ​“Big Daddies and Monstrous Mommies: Post 9/11 Bollywood Representations of Diasporic Maternal Abjection, Absence, and Annihilation in the Muslim Indians in New York (2009) and My Name is BioShock Franchise” Khan (2010)” Sarah Thorne • Carleton University • ​“Imagining the Shakti Jaising • Drew University • ​“Radical Infinite: Narrative Decision Systems after BioShock” Documentary Perspectives on the Iraq War: The Work Cameron Kunzelman • Georgia State University • ​ of James Longley and Laura Poitras” “Bioshock 2 and the Decay of the Human”

SPONSOR Video Game Studies Scholarly Interest Group

Q13 Queering and SATAPRIL Contextualizing Melodrama 2 Q11 Film Industries in the Middle East and North Africa CHAIR Aviva Dove-Viebahn • Arizona State

University Columbia University CHAIR Patricia Caille • University of Strasbourg Aaron Boalick • • ​“Almodóvar’s Queer Revisions of Melodrama” Nolwenn Mingant • University of Nantes • ​ “Hollywood vs. France?: Coopetition in the North Aviva Dove-Viebahn • Arizona State University • ​ African Market (1910s–1960s)” “Queer Eye for the Housewife: Julianne Moore, Domestic Space, and Destabilizing the Suburban • Northwestern University in Qatar • ​ Kaveh Askari Family” “Relaying American Films in Iran after WWII” Michelle Smiley • Bryn Mawr College • ​“Passionate • Goucher College • ​“‘Shoe String or Florence Martin Failures: The Melodramas of Mark Rothko and Douglas No Shoe String?’: The Impact of Arab Film Festivals on Sirk” MENA Cinema Production” SESSION Patricia Caille • University of Strasbourg • ​ “Researching Film Spectatorship in North Africa”

SPONSORS Middle East Caucus and Media Industries Scholarly Interest Group Q

161 3:00 – 4:45 pm

Q14 Ancillary Media Industries Q16 Authorship at Its Limits Businesses That Shape How We Produce, Case Studies for New Histories of Sell, and Consume Media Documentary and Nonfiction Media

CHAIR Shawna Kidman • University of California, CHAIR Joshua Malitsky • Indiana University San Diego Alla Gadassik • Emily Carr University of Art and Design • ​ Kate Fortmueller • Fairfield University • ​“Breaking “A Skillful Isis: Esfir Shub and the Feminization of Film down the Casting Process: The Business of Breakdown Editing” Services” Zoe Druick • Simon Fraser University • ​“Documentary Andrew Zolides • University of Wisconsin-Madison • ​ Seriality: The Database Logic of Postwar Governmental “Scoring Personas/Scoring Audiences: A History of the Film Agencies” Celebrity Ratings Industry” Joshua Neves • Concordia University • ​“Inhuman, Erin Hanna • University of Oregon • ​“Geeks, Leaks, Nonhuman, Posthuman: Dead Bodies and Authoring and Sneak Peeks: Comic-Con, Exclusivity, and Industry Agencies in Contemporary Documentary” Power” RESPONDENT James Cahill • University of Toronto • Arcadia University • ​“Something on Michael Dwyer SPONSOR Documentary Studies Scholarly Interest Group the Air: Radio Formats, Soundtracks, and Hollywood Film”

SPONSORS Comics Studies Scholarly Interest Group and Media Industries Scholarly Interest Group SATAPRIL 2 Q17 Music Matters Sound Studies in Context

Q15 From Revolutionaries CHAIR Brian Fauteux • University of Alberta to Outcasts Brian Fauteux • University of Alberta • ​“‘Songs You Historicizing Workers’ Struggle in Korean Need to Hear’: Public Radio Partnerships and the Independent Cinema Mobility of National Music” Steve Spence • Clayton State University • ​“Eyes on the Prize and the Music of ” CHAIR Nam Lee • Chapman University • University of Texas at Austin • ​ Inyoung Nam • Dongseo University • ​“Voices of Social Colleen Montgomery “From The Little Mermaid to Merida: Female Vocal Others in Minjung Documentary Films” Performance in Disney and Animation” Nam Lee • Chapman University • ​“The Making of • Old Dominion University • ​“Listening Minjung Cinema: Socialist Realism and Workers’ Tim Anderson SESSION to What I Want to Become: Instructional Records, Struggle in The Night Before Strike” Instructional Listening” Mi-Jeong Lee • Université du Québec à Montréal • ​ Q “Aesthetic Rethinking of Women’s Labor in the Korean Avant-garde Documenatries” Jeeheng Lee • Chung-Ang University • ​“The Emergence of ‘Apocalyptic Subject’ in Recent Korean Independent Films” 162 3:00 – 4:45 pm

Q18 WORKSHOP Q20 WORKSHOP Digital Humanities New Directions and Methods in and Media Studies Urban Studies and Film

Methodological Expansion and Hands-on Experimentation CHAIR Erica Stein • Marymount Manhattan College

CHAIR Eric Hoyt • University of Wisconsin-Madison WORKSHOP PARTICIPANTS Jennifer Bean • University of Washington WORKSHOP PARTICIPANTS Stan Corkin • University of Cincinnati University of California, Los Angeles Miriam Posner • Sabine Haenni • Cornell University University of Southern California Virginia Kuhn • Mark Shiel • King’s College London Queens College, CUNY Kevin Ferguson • Lawrence Webb • University of Sussex Jason Mittell • Middlebury College SPONSOR Urbanism/Geography/Architecture Charles Acland • Concordia University Scholarly Interest Group

Q19 Girls as Media Agents Q21 Defining Deviancy Consumption, Creativity, and Self- Modern Sexuality and the SATAPRIL Representation Global Hygiene Film 2

CHAIR Diana Anselmo-Sequeira • University of CHAIR Ervin Malakaj • Sam Houston State Pittsburgh University University of Pittsburgh Diana Anselmo-Sequeira • • ​ CO-CHAIR Courtney Andree • Washington University in “Girl Crafters: Fan Agency and Movie Consumption in St. Louis the 1920s” James Burns • Clemson University • ​“Social Hygiene Kirsten Pike • Northwestern University in Qatar • ​ Films in the British Empire, 1895 to 1940” “Feminist, Media Critic, Girl: Lessons from Trina Porte’s • Washington University in St. Louis • ​ 1970s Teen Diaries” Courtney Andree “Beyond the ‘Sterile Screen’: Dramatizing Disability Jessalynn Keller • University of East Anglia • ​“‘I’m and Eugenics in Tomorrow’s Children” Proud of This Belly:’ #CropTopDay and Girls’ Self- • Sam Houston State University • ​“The representation as Feminist Activists” Ervin Malakaj Potentials of Genre and the Popularization of the ‘Third RESPONDENT Mary Celeste Kearney • University of Notre Sex’ in Anders als die Andern (1919)” SESSION Dame Katie Sutton • Australian National University • ​ “Deviance, Sexuality, and Scientific Respectability in Interwar German Film” Q

163 3:00 – 4:45 pm

Q22 WORKSHOP Q23 Contestations of Mobility and Collaboration Now Interactivity in Global Contexts

How We Practice Together and with Others in the Transnational/Digital Era CHAIR Peter Limbrick • University of California, Santa Cruz

CHAIR Indiana University Stephanie DeBoer • Jennifer Blaylock • University of California, Berkeley • ​ “‘Who Wants a BlackBerry These Days?’: BlackBerry WORKSHOP PARTICIPANTS Babes (2011–12) and the Serial Promises of Virtual University of South Carolina Duncan Buell • Mobility” • University of South Carolina Heidi Rae Cooley Najmeh Moradiyan Rizi • University of Kansas • ​ Kristy H.A. Kang • Nanyang Technological University “Gender Mobility and Contested Spaces: A Case Study Veronica Paredes • University of Southern California of Mania Akbari’s Feminist Cinema” Lisa Parks • University of California, Santa Barbara Aaron Tucker • Ryerson University • ​“Military Virtual Reality in Cinema: Brainstorm, Gamer, and Ghost Machine” Peter Limbrick • University of California, Santa Cruz • ​ “‘The Voice of the Arabs’: Radio, Voice, and Transmission in North African Modernist Cinema”

SPONSOR Middle East Caucus SATAPRIL 2

MEETING 3:00 – 4:45 pm Fan & Audience Studies Scholarly Interest Group

ROOM 410 • Fourth Floor

SESSION MEETING 3:00 – 4:45 pm Q Film Philosophy Scholarly Interest Group

ROOM 206 • Second Floor

164 SESSION SATURDAYAPRIL 2 R 5:00 – 6:45 pm

R1 Atlanta’s Favorite Son R2 If It Doesn’t Spread, It’s Dead? Tyler Perry’s Black Cultural Imaginary Finding Value and Meaning

in Unspreadable Media

CHAIR TreaAndrea Russworm • University of Massachusetts Amherst CHAIR Sam Ford • Fusion Miriam Petty • Northwestern University • ​“A Simpler Henry Jenkins • University of Southern California • ​ Place in Time: Tyler Perry and African American “The Geographies of Public Writing: Genres of Nostalgia” Participation and Circulation in Contemporary Youth Keith Corson • Rhodes College • ​“Tyler Perry Activism” Superstar: Brand Management and the Re-Imagining Sam Ford • Fusion • ​“The Broadcast Ghost: The of Gospel Theater” Persistent Logic of Traditional Media Industries Karen Bowdre • Independent Scholar • ​“Spike and Metrics” Tyler’s Beef—Blackness, Authenticity, and Discourses of Lauren Berliner • University of Washington • ​“The Black Exceptionalism” Best LGBTQ Youth Videos Are the Ones You’ll Probably Ben Raphael Sher • University of California, Los Never See” Angeles • ​“All My Life I Had to Fight: Domestic Trauma Leah Shafer • Hobart and William Smith Colleges • ​ and Cinephilia in Tyler Perry’s Archive of Feelings” “Targeted Advertising, Exhibition Interfaces, and the ‘Individually Wrapped’ Viewing Public” RESPONDENT Eric Pierson • University of San Diego

SPONSORS African/African American Caucus and Oscar Micheaux Society

165 5:00 – 6:45 pm

R3 Practicing Scholarly Action R5 WORKSHOP Questions of Belonging Porn Pedagogy Discovering Best Practices

CHAIR Bambi Haggins • Arizona State University Bambi Haggins • Arizona State University • ​“Black CHAIR Constance Penley • University of California, Laughter Matters: How Speaks to the Santa Barbara State of Black America” WORKSHOP PARTICIPANTS Miranda Banks • Emerson College • ​“The Pre Industry: • Independent Scholar Mapping Gender and Racial Disparities among Media David Church Production Students” Mariah Larsson • Malmö University Southern Methodist University John Caldwell • University of California, Los Angeles • ​ Kevin Heffernan • “Boron to Buttonwillow: Film Studies from the Eric Schaefer • Emerson College Ground” Laura Marks • Tulane University RESPONDENT Beretta Smith-Shomade • Tulane University SPONSORS Adult Film History Scholarly Interest Group and SCMS Teaching Committee

R4 Re-imagining New Sources SATAPRIL and Methodologies for Film R6 Neoliberalism 2 Histories and Postfeminist Affect

CHAIR Northwestern University CHAIR Richard Abel • University of Michigan Nick Davis • Janelle Blankenship • University of Western Ontario • ​ Natalie Greenberg • York University • ​“Flying Toasters “Alternating Apparatuses: Illustrative and Descriptive and Boris the Cat: Labor and the Personal Computer” Magic Lantern Catalogues, 1896–1909” Jonathan Cohn • University of Alberta • ​“Not Richard Abel • University of Michigan • ​“The Michigan Needing but Wanting: #WomenAgainstFeminism and Film Review (1917–1918): Rethinking Early Cinema Postfeminist Phenomenology” History at the Local and Regional Level” Angelica Fenner • University of Toronto • ​“An Amos Stailey-Young • University of Iowa • ​“Finding Aesthetics of Disaffection: The Films of Maria Speth” the View: Classical Hollywood Location Shooting and Nick Davis • Northwestern University • ​“Queer the Indexing of Nature” Machines and Sexual Contracts: The Girl with the Dragon Tattoo” SESSION R

166 5:00 – 6:45 pm

R7 Theorizing Contemporary Media R9 Silence in Experimental Cinema

CHAIR Sam B. Girgus • Vanderbilt University CHAIR Justin Remes • Iowa State University Suzanne Buchan • Middlesex University • ​“White Sarah Keller • University of Massachusetts Boston • ​ Cube/Dark Cube: Curating Animated Wonderworlds” “Unspeakable Sound and the Voice’s Tyranny” Andrew Marzoni • Georgia Institute of Technology • ​ Justin Remes • Iowa State University • ​“Brakhage and “On Failure in American Cinema” the Birth of Silence” Sam B. Girgus • Vanderbilt University • ​“Birth to Ken Eisenstein • Bucknell University • ​“Sounding Presence” ”

SPONSOR Experimental Film & Media Scholarly Interest Group

R8 History Repeats Linking the Digital Era to Its Past R10 Restoring and Reinventing CHAIR Kevin McDonald • California State University, Animation Aesthetics

Northridge University of California, Los Angeles James Fleury • • CHAIR Kara Andersen • Brooklyn College, CUNY SAT and Matthias Stork • University of California, Los APRIL • University of Rochester • ​“Animation Angeles • “New Frontier or Virtually the Same Thing?: Patrick Sullivan 2 and Our World” Hollywood’s VR Vision” • Brooklyn College, CUNY • ​“Slightly James Hodges • Rutgers University • ​“Negotiating Kara Andersen Fake: Animation Aesthetics in the Films of Wes a Mind Movie: Timothy Leary’s Failed Cinematic Anderson” Software” • University of Pittsburgh • ​“Song of Kevin McDonald • California State University, Alison Patterson the Sea’s ‘Simple’ Geometry” Northridge • ​“Patching into the World’s Mixing Board: Public Libraries and ” Andrea Comiskey • University of Wisconsin-Madison • ​ “Straight-ahead Character Animation, Workflow, and Peng-yi Tai • National Central University • ​“Zombies ” and the Digital Mode of Production: The Automatic Gameplay of Plants vs. Zombies”

SESSION R

167 5:00 – 6:45 pm

R11 The Spotification of Media R13 Queer Excisions Subscribing to Culture in the Digital Age in Global Cinema

CHAIR University of California, Santa Jennifer Holt • CHAIR Marc Siegel • Goethe University Frankfurt Barbara Karl Schoonover • University of Warwick • ​“Queer Maria Eriksson • University of Umea • ​“Notes from a Excision 1: Jump Cuts as History and Aesthetic Form” Scientific ” Rosalind Galt • King’s College London • ​“Queer Jeremy Morris • University of Wisconsin-Madison • ​ Excision 2: Registrations of Longing in Global Cinema” “The Spotify App: Multi-platform Media Delivery and Marc Siegel • Goethe University Frankfurt • ​“How Do I the Reformatting of Culture” Look Now?” RESPONDENT Stockholm University Patrick Vonderau • Juan Suarez • University of Murcia • ​“Cuts, Wounds, Skins: Jennifer Reeves and Luther Price”

SPONSOR Queer Caucus

R12 Behind the Screens Critical Interventions in Debates about Technological Change R14 One Hundred Years SAT of Advertising APRIL CHAIR • Muhlenberg College Irene Chien 2 Aaron Gurlly • Beloit College • ​“Digital Videography, CHAIR William Boddy • Baruch College, CUNY Whiteness, and Skin Tone Rendering: Some Concerns Regarding Practice and Pedagogy” William Boddy • Baruch College, CUNY • ​“Advertising Theory and Early Cinema” Andrew Lison • University of Kansas • ​“‘My Socrates Note’: Cryptography and Multimedia from the 1990s Peter Lester • Brock University • ​“‘A Certain Amount to the Present” of Hokum’: Reconsidering the Press Agent in Early Hollywood” Katie Bird • University of Pittsburgh • ​“The Man and the (Robotic) Movie Camera: Automated Visual Jason Sperb • Lake Bluff History Museum • ​“The Hard Technologies and Cinematographic Craft Labor” Sell of Paradise: Hawaii Five-O, United Airlines, and the Rhetoric of `60s Hawaiian Tourism” Irene Chien • Muhlenberg College • ​“The Serial Saga of Candy Crush and ‘Freemium’ Gameplay” Robert Kroll • St. Clair County Community College • ​ “’No Wine Before Its Time’: The History of Orson Welles with Paul Masson”

SESSION R

168 5:00 – 6:45 pm

R15 The Northern Question R17 Accommodating Difference Cinema, Sustainability, and Eco-aesthetics US Network Television and Social Change in India and Italy in the 1960s

CHAIR Marguerite Waller • University of California, CHAIR Caryn Murphy • University of Wisconsin- Riverside Oshkosh Tabassum Ruhi Khan • University of California, Meenasarani Murugan • Northwestern University • ​ Riverside • ​“The Implacable Rain Gods and Infallible “This Is Tom Jones: Variety Performance and Capitalism: The Moral Decrepitude of Indian Eco- Transatlantic Desire” critique” Kelly Kessler • DePaul University • ​“Who’s the Diva Tanya Rawal • California State University, Los Angeles • ​ Here?: Male Authorship, Female Performance, and “Farmer Suicide as Protest: The Land as Creditor and a Small Screen Musicals of the Sixties” Sickly Economy” Caryn Murphy • University of Wisconsin-Oshkosh • ​ Marguerite Waller • University of California, Riverside • ​ “Correction and Rejection: Prime-time TV’s Campaign “Filming Slow Violence: The Eco-aesthetics of Sabina for Racial Understanding” Guzzanti’s Le regioni dell’aragosta” Elana Levine • University of Wisconsin-Milwaukee • ​ RESPONDENT Christine Danelski • California State “Integration for Housewives: Writing Race into 1960s University, Los Angeles Daytime Soap Opera”

SATAPRIL 2 R16 New “Format Capitals” R18 Blood, Guts, and Exploring Emerging Centers of Production the Spanish Horror Film

in the Global South

CHAIR Dean Allbritton • Colby College CHAIR University of Iowa Tim Havens • Shelagh Rowan-Legg • Independent Researcher • ​ Sharon Shahaf • Georgia State University • ​“The Israeli “Bastard Sons: Álex de la Iglesia and the Spanish Format Boom: De-centering Television Innovation” Fantastic New Wave” Sookeung Jung • Georgia State University • ​“Doing Dean Allbritton • Colby College • ​“It Came from Business with China: The Korean Television Format California: AIDS, Spain, and the Villainous Virus” Industry” Alejandro Melero • Carlos III University of Madrid • ​ Sebnem Baran • University of Southern California • ​ “The Pornification of Spanish Horror Cinema in the “The Curious Case of Turkish Television: Challenging 1980s” SESSION Global Format Markets” Agustín Rico Albero • University of Hertfordshire • ​ [REC] RESPONDENT Serra Tinic • University of Alberta “ ycling Spanish Horror” R

169 5:00 – 6:45 pm

R19 First Person Plural R21 Popular Culture Filmic Autobiography in Documentary 15 Years after 9/11 Cinema

CHAIR Anna Froula • East Carolina University CHAIR Linnea Hussein • New York University Stacy Takacs • Oklahoma State University • ​“Terror of a Alisa Lebow • University of Sussex • ​“Performing New Order?: The Genealogy of Conspiracy Post-9/11” the Self at a Distance: Simone Fattal’s Autoportrait Tony Grajeda • University of Central Florida • ​ (1971/2012)” “Remembering and Mis-remembering 9/11: American Lawrence Andrews • University of California, Santa Sniper and Historical Trauma” Cruz • ​“ States” James Castonguay • Sacred Heart University • ​“Why Nicole McClure • Kutztown University • ​“Acting Our We Keep Fighting: Gender, Genre, and Terror TV, Trauma: Reliving the Events of Bloody Sunday in Keys 2001–2015” and Gargan’s Sunday” RESPONDENT Andrew Martin • University of Wisconsin- Linnea Hussein • New York University • ​ Milwaukee “Schizophrenia’s Subjectivities: Documenting First SPONSOR War & Media Studies Scholarly Interest Group Person Narratives of Psychosis”

SPONSOR Documentary Studies Scholarly Interest Group SAT APRIL R22 A Machine for Recreating Life 2 Film and Reproduction R20 WORKSHOP Film and Philosophy Unanswered Questions CHAIR Kirsten Ostherr • Rice University

Oliver Gaycken • University of Maryland • ​“Cinema’s Plasticity: The Embryological Series and Animation” CHAIR Rebecca Sheehan • California State University, Fullerton Patrick Ellis • University of California, Berkeley • ​“A Cinema for the Unborn: Moving Pictures, Mental CO-CHAIR Katherine Rennebohm • Harvard University Pictures, and New Thought Film Theory” WORKSHOP PARTICIPANTS Caitjan Gainty • King’s College London • ​“The David Rodowick • University of Chicago Obstetrical Oeuvre of Joseph B. DeLee, 1920–1940” Gregory Flaxman • University of North Carolina at Janina Wellmann • Leuphana University Lüneburg • ​ Chapel Hill “Animating Embryos: The ‘In Toto’ Representation of University of Toronto the Embryo” SESSION Meghan Sutherland • Brian Price • University of Toronto SPONSOR Media, Science & Technology Scholarly Interest Group R SPONSOR Film Philosophy Scholarly Interest Group

170 5:00 – 6:45 pm MEETING R23 The Politics of Place 5:00 – 6:45 pm Technologies and Aesthetics

Classical Hollywood Scholarly Interest Group CHAIR Ben Ogrodnik • University of Pittsburgh ROOM • Fourth Floor Yi Lu • University of Texas at Austin • ​“Orientalist 410 Exhibitionism, Chinese Landscape Paintings, and Spectacles in Zhang Yimou’s Blockbusters” Jacob Watson • University of North Carolina at Chapel Hill • ​“‘The World as an Animated Panorama’: Graphic Visualization and the Invention of TV News” MEETING Hart Cohen • University of Western Sydney • ​ “Experiments in Multiperspective: Edmund 5:00 – 6:45 pm Carpenter’s Film and Media Projects in Arctic Art” Caucus Coordinating Committee University of Pittsburgh Ben Ogrodnik • • ​ ROOM 206 • Second Floor “Repurposing Industrial Ruins and Aesthetic Obsolescence in Peggy Ahwesh’s Pittsburgh Trilogy (1983)”

SATAPRIL 2

Tweet . . . your experiences during the conference Use #SCMS16

SESSION R

171 SPECIAL EVENT SATURDAY, APRIL 2 6:30 – 10:30 pm Civil Encounters with Black Media and Black Life LOCATION Center for Civil and Human Rights, 100 Ivan Allen Jr. Blvd. NW Please refer to Atlanta vicinity map on page 35 for location. Join us for panels and a screening at the Center for Civil and Human Rights, an immersive, multi-mediatic and interactive environment which archives the Civil Rights Movement within its historic media landscape.

The first 200 attendees will be able to visit the Center’s Civil Rights and Human Rights Galleries for free (with their SCMS badge) during the evening. Seats are on a first come/first served basis. There will be a cash bar.

6:30–7:00 pm Host Committee Reception SATAPRIL 2 7:00–8:00 pm Atlanta on the Rise: The Emerging African-American Television Industry

Thanks to a tax incentive program, Atlanta is now the third biggest producer of film and television in the United States and the location of big-budget film franchises such as the Hunger Games, Insurgent, or Marvel’s cinematic universe. While these productions do not reflect the cultural specificity of the region, television series with African-American casts and producers shoot nearly year-round do, by taking on issues of gender, economics, and equality. This panel offers an opportunity to hear from the creative community and to hear their thoughts on casting, representation, and tax-incentives designed to foster creative labor. Kristen Warner • University of Alabama Racquel Gates • SUNY, Staten Island Chase Paris and Tara Feldstein Bennett • Casting for Atlanta (FX) Alpha Tyler • casting for The Game (BET)

172 8:15–9:45 pm Can Blackness be Loved?

A screening of Dreams Are Colder Than Death (Arthur Jafa, 2013, 52 min), a lyrical mediation on the legacy of Martin Luther King’s “I have a dream” speech, which gives way to a philosophical reflection on the ontology of blackness and its relationship to life, death, and the possibility of love in the context of the “afterlife of slavery.” The screening will be followed by a panel discussion with Arthur Jafa, Kara Keeling (University of Southern California), and George Yancy (Emory University).

9:45–10:30 pm Dessert Reception

DIRECTIONS the Center for Civil and Human Rights is a 15-minute walk or a short taxi/Uber ride from the conference hotel. If walking, turn right onto Courtland St. heading north, then left onto Ralph McGill Blvd, which becomes Ivan Allen Jr. Blvd. The Center is located between the World of Coca-Cola and the Georgia Aquarium. * Attendees will be able to freely visit the Center’s Civil Rights and Human Rights Galleries during the evening

SPONSORED BY Emory University, Department of Film and Media Georgia State University, Department of Studies Communication Georgia State University, Honors College Media Industries Scholarly Interest Group Georgia State University, Creative Media Industries Georgia State University, Center for Human Rights and Institute Democracy Georgia Institute of Technology, School of Literature, Television Studies Scholarly Interest Group Media & Communications African/African American Caucus Georgia Institute of Technology, Ivan Allen College of SATAPRIL Liberal Arts 2

HONORS DEPARTMENT OF COLLEGE COMMUNICATION

CENTER FOR HUMAN CREATIVE MEDIA RIGHTS & DEMOCRACY INDUSTRIES INSTUTUTE

MEETING 7:00 pm Cinema Journal Editorial Board Social

LOCATION White Oaks Kitchen and Cocktail • 270 Peachtree St NW 173 SESSION SUNDAYAPRIL 3 9:00 – 10:45 am S S1 E/Affective Encounters S2 Real People Emerging Urban Mediations Celebrity, Performance, and Reality

in the Global South

CHAIR Janet Staiger • University of Texas at Austin CHAIR University of California, Bianka Ballina • • Independent Scholar • ​“Community, Santa Barbara Kristina Busse Fiction, and Reality: Real People Fiction as CO-CHAIR Bhargavi Narayanan • University of Historiography” California, Santa Barbara Frankie Mastrangelo • University of Wisconsin- Allison Schifani • Case Western Reserve University • ​ Milwaukee • ​“ Balaclavas and Nonprofit “Playing in the City: Speculative Art as Urban Spectacles: Media Compression and Pussy Riot’s Intervention” Convergence with Amnesty International” Bhargavi Narayanan • University of California, Santa David McGowan • Savannah College of Art and Barbara • ​“Ephemeral Mediations: Chennai, Its Design • ​“Nicolas Cage as Meme: Celebrity and Infrastructures, and Media Events” Performance in the Age of the Internet” Bianka Ballina • University of California, Santa Barbara • ​ Janet Staiger • University of Texas at Austin • ​“Mailer “Modernity from the Margins: Cinematic Views of Post- and Maidstone: When Cinéma Vérité Fiction Becomes special Period Havana” Real”

Kyoung-lae Kang • Korea University • ​“Kyung-Sung, a SPONSOR Fan & Audience Studies Scholarly Interest Group Space of Negativity or ‘a Forgotten Future’—Cinematic Memories of the Colonial Past in Contemporary Korea”

RESPONDENT Rahul Mukherjee • University of Pennsylvania

SPONSOR Urbanism/Geography/Architecture Scholarly Interest Group

174 9:00 – 10:45 am

S3 WORKSHOP S5 From Comics to Screens Music, Memory, and Nostalgia Adapting the Marvel Universe Towards a Theoretical Model for Music in European Cinema CHAIR Robert Buerkle • University of Southern California CHAIR Michael Baumgartner • Cleveland State Paul Young • Dartmouth College • ​“Frank, Drew, University Daredevil: The Function of Comics Creators in Superhero Adaptations” WORKSHOP PARTICIPANTS Caitlin McCann • University of California, Los Angeles • ​ • University of Texas at Austin Hannah Lewis “The Phoenix Force and Female Empowerment: A Fan Maria Cizmic • University of South Florida Reception Study of Marvel’s Phoenix from Page to Joan Titus • University of North Carolina at Screen” Greensboro Paul Morton • University of Washington • ​“Peter Parker Ewelina Boczkowska • Youngstown State University and Johnny Storm Hang out at the Film Forum: Stan

SPONSOR Sound Studies Scholarly Interest Group Lee and Alain Resnais’s The Monster Maker” Monica Sandler • University of California, Los Angeles • ​ “Presenting Quicksilver, the Cross-franchise Enigma!: The Effect of Copyright Constraints on Adaptation in the Marvel Cinematic Universe” S4 Pornography Is a Fighting Word SPONSOR Comics Studies Scholarly Interest Group Sex Media and the Law

CHAIR Benjamin Strassfeld • University of Michigan S6 Media Industries Benjamin Strassfeld • University of Michigan • ​“‘Burn Labor and Commodification the House to Roast the Pig’: Censorship and Childhood SUN in 1950s Detroit” APRIL Laura Marks • Tulane University • ​“The New Wave: The CHAIR Jennifer Porst • Emerson College 3 Fall Out of Traci Lords” Lindsay Palmer • University of Wisconsin-Madison • ​ Peter Alilunas • University of Oregon • ​“Regulation, “The Invisible Side of War Reporting: A Media Authenticity, and Pornography: The Legacy of ‘Freeman Industries Approach to the Labor of the News ‘Fixer’” v. California’” Erik Watschke • University of California, Irvine • ​“Are You Watching Closely?: The Crisis of Illusionism in RESPONDENT Constance Penley • University of California, The Prestige Santa Barbara Christopher Nolan’s ” SESSION Emerson College SPONSOR Adult Film History Scholarly Interest Group Jennifer Porst • • ​“The Soundtrack of Precarious Labor: The American Federation of Musicians and the Fight for Musicians’ Rights and S Residuals in the Digital Age”

SPONSOR Caucus on Class

175 9:00 – 10:45 am

S7 The Essay Film S9 Detecting the South Technologies and Aesthetics Race and the Intersections of Film Noir, the

Detective Genre, and the Southern Imaginary

CHAIR Rick Warner • University of North Carolina at Chapel Hill CHAIR Deborah Barker • University of Mississippi Nicolas Guezennec-Fouche • School for Advanced Phoebe Bronstein • Georgia Institute of Technology • ​ Studies in the Social Sciences, France/University “Failed Souths: Detecting Race, Gender, and Region on of California, Berkeley • ​“Figure, Distancing and Bourbon Street Beat” Intermediality” Claudia Calhoun • Skidmore College • ​“A City without Andrew Utterson • Ithaca College • ​“Toward a 3D Boundaries: Elia Kazan’s New Orleans in Panic in the Caméra-Stylo: Technologies of Dimensionality in Jean- Streets (1950)” Luc Godard’s Adieu au langage” Jacqueline Pinkowitz • University of Texas at Austin • ​ Patrick Smith • Concordia University • ​“The “Whiteness Undercover: Detecting Black Southern Possibilities of ‘Structural Essayism’: Jonathan Perel’s Oppression in Black Like Me (1964)” Toponymy” Sarah Leventer • Boston University • ​“Film Noir, Rick Warner • University of North Carolina at Chapel Matthew McConaughey, and Queer Capital in the Hill • ​“The 3D Essay Film in the New Century: Southern Imaginary”

Aesthetic and Philosophical Interventions” SPONSOR Oscar Micheaux Society

S8 Architectures and Ecologies S10 Who Rules the World? Place and Space in Global Cinema Re-thinking the Media Heroine

CHAIR Martin Doll • Heinrich Heine University CHAIR Karen Williams • Fordham University SUNAPRIL Düsseldorf • University of Georgia • ​“Sympathetic Oklahoma State University Naomi Graber 3 Clayton Dillard • • ​“Flying Vibrations: Minimalist Music and Violence in The on Foot: The Politics of Land Use in Transnational Film Hunger Games” Styles” • Oregon State University • ​“Uncooperative Northwestern University Mila Zuo Stephen Babish • • ​“‘A Women: Resistant in Contemporary East Confusion of Metal’: Quintet, Man the Explorer, and Asian Women’s Cinema” the Ecological Fiction of Postindustrial Space” Karen Williams • Fordham University • ​“Masculinity’s • Heinrich Heine University Düsseldorf • ​ SESSION Martin Doll Undercurrent: The Affective Pedagogy of the 1940s “‘Reception in Distraction’: About the ‘Casual Noticing’ Female ” of Architecture (in Film) from a Media Studies Point of University of North Texas View” Shaylynn Lesinski • • ​ “ by Proxy: Heroine-ism in Game of Thrones” S • University of California, Berkeley • ​“Kitchen Chi Li Design and Chinese Films of Transformed Housewives, 1948–1966”

176 9:00 – 10:45 am

S11 Tracing Abjection across Media S13 Liveness in Medical Media Uncute , Cold War Drek, Effusive Cinema, and a Woman Beyond Unruly CHAIR Luke Stadel • DePaul University

Scott Curtis • Northwestern University • ​“Liveness, Cell CHAIR University of Toronto Kate Russell • Biology, and the Television Microscope” Thomas Lamarre • McGill University • ​“Everyday Kirsten Ostherr • Rice University • ​“Live-tweeting the a Little Death: Domestication and Abjection in Awake Craniotomy” Animation” Karly-Lynne Scott • Northwestern University • ​ Nicholas Sammond • University of Toronto • ​“The “Her Sexual Skeleton: Stillness and Death in X-ray Abject Objection: The Fluid Vernacular in Cold War Pornography” Control Society” Luke Stadel • DePaul University • ​“Surgical TV: Maggie Hennefeld • University of Minnesota • ​“The Endoscopy as Televisual Practice” Comedy of Abject Feminism on Post-apocalyptic SPONSOR Media, Science & Technology Television” Scholarly Interest Group Kate Russell • University of Toronto • ​“Abject Laughter in a Cinema of Effusions: John Waters and Georges Bataille”

SPONSOR Comedy & Humor Studies Scholarly Interest Group S14 Market Strategies for Digital Media Advertising from Print to YouTube

S12 WORKSHOP CHAIR Josh Jackson • University of California, Teaching Film Criticism Berkeley The Question of the Internet Josh Jackson • University of California, Berkeley • ​ “YouTube and Monetizing the Pleasures of Video SUN APRIL Game Spectatorship” CHAIR Christopher Sharrett • Seton Hall University 3 Caitlin Reynolds • Indiana University • ​“Press Play to WORKSHOP PARTICIPANTS Get Paid: The Politics of Monetizing User-generated Cynthia Lucia • Rider University Content on YouTube” Christopher Sharrett • Seton Hall University Alexander Swanson • Indiana University • ​“We Are All Marked: Paranormal Activity and the Horrors of David Cook • University of North Carolina at Greensboro Possession, Promotion, and Fan Participation” University of Montreal SESSION Robert Lightning • Manhattanville College Carl Therrien • • ​“Lock and Load: Targeting the Audience and Preshaping the SPONSOR SCMS Teaching Committee Game Experience in Video Game Printed Marketing (1981–1996)” S

177 9:00 – 10:45 am

S15 Re-reading the Filmic Text S17 Surface Tension Authorship, Economics, Celebrity Flatness and Its Filmic Uses

CHAIR Thomas Dorey • York University CHAIR Jennifer Stob • Texas State University Eric Herhuth • University of Wisconsin-Milwaukee • ​ Lida Oukaderova • Rice University • ​“The Engendered “Reconsidering Corporate Art: Critical Aestheticism and Flatness of Kira Muratova’s Screens” Studio Authorship” Peter Schweigert • University of California, Irvine • ​ Justin Wyatt • University of Rhode Island • ​“Textual “The Flatness of Experience: Exploring the Limits of Media Economics: Model Building and Design” Representation in Caveh Zahedi’s I Was Possessed by John Bruns • College of Charleston • ​“Showtime!: God” Under the Spell of Tony Curtis in Sweet Smell of Michael Cramer • Sarah Lawrence College • ​“‘..[T]he Success” Screen Is No More Than a Blackboard..’: Intermediality, Thomas Dorey • York University • ​“’s Flatness and ‘Discursive Superimposition’ in Godard” Close-ups: Implied Authorship and the Deleuzian RESPONDENT Lalitha Gopalan • University of Texas at Affection-Image” Austin

SPONSOR CinemArts: Film & Art History Scholarly Interest Group

S16 1968 and Global Cinema

CHAIR Christina Gerhardt • University of Hawaii S18 Screaming, Silence Aural Textures and Sound Formations Sara Saljoughi • University of Toronto • ​“A Cinema of Refusal: The Sealed Soil, the , and Oppositional Form” CHAIR Brenda Austin-Smith • University of New York University Manitoba SUNAPRIL Pablo La Parra-Perez • • ​“Striking Film: Helena Lumbreras’s and Joaquim Jordà’s Arzu Karaduman • Georgia State University • ​“Cryptic 3 Militant Films and Industrial Struggles in 1970s Voices: Hauntings from the Past, from the Future” Spain” Joseph Pomp • Harvard University • ​“Tectonics of Morgan Adamson • Macalester College • ​“Toward a Vision and the Deaf-mute Flâneuse in Babel (2006)” New Mode of Study: Militant Student Filmmaking and • University of Manitoba • ​“The the Long 1960s” Brenda Austin-Smith Acousmatic City: The Sounds of Summertime” Sarah Hamblin • University of Massachusetts Boston • ​ • Carleton University • ​“Selling “Disaffected Utopianism: Imagining Revolution in The James Deaville SESSION Abjection: The Female Scream in the Horror Trailer” Adversary” S SPONSOR Middle East Caucus

178 9:00 – 10:45 am

S19 Outside the Lines S21 Korean Cinema, Television, Interrogating Sports Media Textuality and Stars across Geographies and Genres in the Age of the CHAIR Branden Buehler • University of Southern Korean Wave

California CO-CHAIR Matthew Perkins • University of California, CHAIR Benjamin Han • Concordia University Los Angeles Wisconsin University of Southern California Branden Buehler • • ​ Benjamin Han • Concordia University Wisconsin • ​ “Second Screen and Back Again: Making Sense of the “Exporting Tears: Korean TV Dramas in Latin America” Sports TV ‘Microcast’” • University of Illinois at Urbana- Seattle University Robert Cagle Chris Paul • • ​“It’s Outside the Game: Champaign • ​“Time Is Ticking Away . . . : Trauma, Texts and Sports Video Games” Temporality, and the Post-Hallyu Drama” University of California, Los Matthew Perkins • • University of Washington • ​“Disposable Angeles Ungsan Kim • ​“Man Caving: Visualizing Multi-platform Labor, Social Outcasts, and Queer Others: New Voices Sports Media Texts” in Recent Korean Queer Cinema” RESPONDENT Victoria Johnson • University of California, Irvine

S22 Gender, Media, and the Euro-Crisis S20 Mediating Contemporary Television Industries CHAIR Rutgers University Perspectives on Transnational Jack Bratich • Distribution and Transmedia Integration Zala Volcic • University of Queensland • ​“Gender,

Cinema, and Geographies of Crime and Justice in Bosnia and Herzegovina” SUNAPRIL CHAIR Barbel Gobel-Stolz • Indiana University Maria Stehle • University of Tennessee • ​“The Politics 3 Paul Grainge • University of Nottingham • ​“Training of Intimacy in Contemporary European Cinema” the Transmedia Audience: the Promotional Aniko Imre • University of Southern California • ​“Pop Imagination of the BBC iPlayer” Music, Gender, and European Nationalism” Elizabeth Evans • University of Nottingham • ​ RESPONDENT • University of Denver “Viewing, Tweeting, Playing: Negotiating Nadia Kaneva ‘Engagement’ within Transmedia Culture” Luca Barra • Catholic University of the Sacred Heart • ​ SESSION “Setting up Different Temporalities: Broadcasters’ Logics and Viewing Practices in Italian Convergent Television” S Barbel Gobel-Stolz • Indiana University • ​“‘Far or Wide?’: Investigating Television Industries and Global Audiences in a Transnational/Transmedia ‘Circuit of Affect’”

SPONSORS Media Industries Scholarly Interest Group and Television Studies Scholarly Interest Group 179 9:00 – 10:45 am MEETING S23 The Presence and Manifestation 9:00 – 10:45 pm of Info-capital in Everyday Life Media Literacy & Pedagogical Outreach CHAIR Bournemouth University William Proctor • Scholarly Interest Group German Duarte • Jorge Tadeo Lozano University • ROOM • Fourth Floor “Value Creation in the Info-capital Era” 410 Justin Battin • Jorge Tadeo Lozano University • “The Essence of Instagram: A Heideggerian Exploration into the Relationship between Embodiment, Info- capital, and the World’s Most Prolific Photo Sharing Application” Ana Castillo • Alberto Hurtado University • “#SitiadosTVN: Practice Theory in Online Conversations about Historical TV Series”

SUNAPRIL 3 Trending . . . Like SCMS on Facebook facebook.com/SCMStudies

SESSION

180 SESSION SUNDAYAPRIL 3 T 11:00 am – 12:45 pm

T1 Pleasure Just for Us T2 Event Cinema and Livecasting Affective Resonance and Aesthetics, Identification, Women Targeted Media and Liminal Social Space

CHAIR Melissa Lenos • Donnelly College CHAIR Christopher Pullen • Bournemouth University Melissa Click • University of Missouri • ​“Shades of Sandrine Simeon • Susquehanna University • ​ Postfeminism: Understanding Fifty Shades of Grey’s “Theatre in 2D: The Rhetoric of the NT Live Films” Audiences” Christopher Pullen • Bournemouth University • ​ Dana Och • University of Pittsburgh • ​“Fifty Shades of “Event Cinema and Liminal Spaces of Dress: Popular Fans: Hailing Multiple Women Audiences” Music, Venues, and Performativity” Faye Woods • University of Reading • ​“Pleasure, Julia Sirmons • Columbia University • ​“Theatrical Desire, and Male Nudity in Outlander’s Recognition of Liveness and Seductive Visuality” the Female Viewer” RESPONDENT Peri Bradley • Bournemouth University Kristen Warner • University of Alabama • ​“‘Any God Worth Believing in Sends You Dudes in Thongs When in Need’: Affect, Resonance, and Magic Mike XXL”

SPONSOR Women’s Caucus

181 11:00 am – 12:45 pm

T3 Chasing Paper T5 Playful Thinking Studio Planning, Support Departments, Explorative Perspectives on and Hollywood Production Textuality in Japanese Videogames

CHAIR Erin Hill • University of California, Los Angeles CHAIR Martin Roth • Leipzig University Aaron Rich • University of Southern California • ​“Bible Michael Craig • University of California, Berkeley • ​ Building, World Building: Studio Research Libraries “Character-ifying the Hyperobject: On Branching and the Creation of Realism” Storylines That Don’t Actually Branch and the Revenge Erin Hill • University of California, Los Angeles • ​ of the Narrative Impulse in Chrono Trigger” “Weeders, Readers, and ‘D-Girls’: Feminized Labor in Martin Roth • Leipzig University • ​“Touching the Story Department” Alternatives: On the Haptic Quality of Game Spaces” Dawn Fratini • Chapman University • ​“Tracing Douglas Schules • Rikkyo University • ​“Gaming Technological Transformation in the 1950s: The Long Nationalism: The Semiotic Reproduction of Ideology and Wide Paper Trail of the Motion Picture Research in JRPGs” Council” Christopher Yap • Nara Institute of Science and Daniel Steinhart • University of Oregon • ​“The Technology • ​“Tale of the Snake: The Meta-narrative of Learning Curves and Trade Knowledge of Hollywood’s and the Franchise” Postwar ‘Runaway’ Productions”

SPONSORS Classical Hollywood Scholarly Interest Group and Media Industries Scholarly Interest Group T6 Marketing Globalization, Globalizing Markets Big and Small Worlds T4 WORKSHOP My So-called AcaMedia Life CHAIR Simon Hewitt • King’s College London SUNAPRIL A Professional Development Workshop for Junior Faculty Miranda Larsen • University of Tokyo • ​“Subcultural 3 Franchising: Viz Media’s Fashionable Venture in Shimotsuma Monogatari” CHAIR Kyle Edwards • Oakland University Benjamin Woo • Carleton University) and Jason Rothery • Carleton University • “Mutatis Mutandis: WORKSHOP PARTICIPANTS Industrial Discourses of Fidelity and the Comic Book Kimberly Hall • Wofford College Film Adaptation” Northwestern State University of Tania Darlington • • University of Wisconsin-Platteville • ​ SESSION Louisiana Gohar Siddiqui “Selling Tasty Globalization: Industry, Ideology, and Kyle Edwards • Oakland University the Emergent Bollywood Trailer” David Shaerf • Oakland University Simon Hewitt • King’s College London • ​“Talk Does T Lewis & Clark College Guardians Bryan Sebok • Not Come Cheap: Word-of-mouth and the of the Galaxy SPONSOR SCMS Professional Development Committee Campaign”

182 11:00 am – 12:45 pm

T7 Media, Memory, T9 Art and Avant-garde Cinema and Site Specificity Industries, Reception, Technologies

CHAIR Queens College, CHAIR Viviane Saglier • Concordia University Jonathan Buchsbaum • CUNY Hatim El Hibri • American University of Beirut • ​ “Hizballah and Media Theory: Two Reflections on Jonathan Buchsbaum • Queens College, CUNY • ​ Verticality” “Quality Control and Art Cinema in the French Film Industry” Anat Zanger • Tel Aviv University • ​“The Then and Now in Chantal Akerman’s Cinema” Mark Benedetti • Blackburn College • ​“Watching the Avant-garde: Online Rhetorics of Avant-garde Film and Viviane Saglier • Concordia University • ​“’Global Video” Sumud’ and the Shashat Women’s Film Festival” • Pace University • ​“A Geneaology SPONSOR Middle East Caucus Ruth Johnston of the Cinematic Frame: Peter Greenaway’s The Draughtsman’s Contract” John Powers • University of Wisconsin-Madison • ​ “Unprintable: Avant-garde Cinema, Pornography, and Marvin Soloway’s Cinelab” T8 Performance and Subjectivities in Documentary Media

CHAIR Ryan Watson • Misericordia University University of Texas at Austin T10 First and Second Nature Elizabeth Bolton • • ​“The Sound Recording as a Clamor of Reticence: Producing News Television in Human-ecological Interface Pakistan” Isaac Rooks • University of Southern California • ​“Slow but Steady: An Ecocritical Appreciation of Norway’s CHAIR Mack Hagood • Miami University, Ohio SUN Slow TV Movement” Max Ritts • University of British Columbia • and APRIL Ulrike Hanstein • Acadamy of Music and Theater John Shiga • Ryerson University • “The 3 Leipzig • ​“Framing Performance Art: Acts of Hydrophone as Eco-sonic Medium” Documenting in Being and Doing (1984)” Mack Hagood • Miami University, Ohio • ​“‘A Ryan Watson • Misericordia University • ​“Interactive Cybernetic Ecology’: Irv Teibel’s Psychologically Documentary and the Radical Tradition” Ultimate Seashore” SPONSOR Scandinavian Scholarly Interest Group Jacob Smith • Northwestern University • ​“The Chance Meeting of a Goose and a Plover on a Turntable: SESSION Problems of Frame in Chris Watson’s Wildlife Sound Recordings” Ely Rosenblum • University of Cambridge • ​“Sono- montage: Tony Schwartz and His Urban Ecologies” T

183 11:00 am – 12:45 pm

T11 Screening Migration, Identity, T13 Queer and Trans-formative and Borders in Post-colonial Film and Television’s Recent Approaches to French-language Cinema Gender and Sexual Identities across the US and Latin America

CHAIR Leslie Kealhofer-Kemp • University of Rhode Island CHAIR Gilberto Blasini • University of Wisconsin- Milwaukee • Southern Methodist University • ​ Dayna Oscherwitz DePaul University “Overturned Equality: Migration, Globalization, and Jen Kelly • • ​“The Triumphs and Sense8 the African Immigrant Film” Pitfalls of Netflix’s : How the Series Succeeds at Queer Representation and Fails in Its Construction of University of Manchester Joseph McGonagle • • ​ the Global” “Filming an ‘Imageless War’: Cinematic University of Wisconsin-Milwaukee Representations of the Algerian Civil War” Edward Danecki • • ​ “Space, Sexuality, and Disconnection: Lucía Puenzo’s University of Rhode Island Leslie Kealhofer-Kemp • • ​ XXY and Contemporary New Argentine Cinema” “Inter-ethnic Couples in Contemporary French Cinema: University of Wisconsin-Milwaukee Exploring Difference, Integration, and Identity on the Gilberto Blasini • • ​ Big Screen” “Queer Incarnations” DePaul University Michael Gott • University of Cincinnati • ​“Crossing Luisela Alvaray • • ​“Visible Lives: 2.0: Cinéma-monde and France’s Flexible, Contested Transgenderism in Latin American Films” Borders” RESPONDENT Yeidy Rivero • University of Michigan

SPONSORS Latino/a Caucus and Queer Caucus

T12 Postwar Negotiations of Gender T14 WORKSHOP CHAIR Nicoleta Bazgan • University of Maryland, Pedagogy beyond the Podium SUNAPRIL Baltimore County Teaching Using Twenty-first-century Technologies 3 Catherine Martin • Boston University • ​“You Don’t Have to Be a Bad Girl to Love Crime: Representations of Women in Postwar Radio Crime Programming” CHAIR Miriam Posner • University of California, Los Shelley Stamp • University of California, Santa Cruz • ​ Angeles “Marketing Noir’s Red Meat to Women” WORKSHOP PARTICIPANTS Nicoleta Bazgan • University of Maryland, Baltimore Oakland University SESSION County • ​“The Atlas of Cinematic Paris: City Women in Brendan Kredell • Paris since 1957” Miriam Sweeney • University of Alabama Monique Bourdage • University of Michigan • ​ Nicole Cooke • University of Illinois at Urbana- T “Teevee Jeebies: Gender, Taste, and Playboy’s Stake in Champaign the Critique of Television as Mass Culture, 1954–1972” Meredith Ward • Johns Hopkins University

SPONSOR Women in Screen History SPONSORS Media Literacy & Pedagogical Outreach Scholarly Interest Group Scholarly Interest Group and SCMS Teaching Committee 184 11:00 am – 12:45 pm

T15 War in Contemporary T17 Readings in Film Global Media and Television Comedy

Between Commemoration and Critique

CHAIR Andrew Horton • University of Oklahoma CHAIR Emory University Tanine Allison • Rebecca Burditt • Hobart and William Smith College • ​ Tanine Allison • Emory University • ​“Saving White “Laughing at Failure: Gag Reels and Contemporary Masculinity: American War Films of the Late 1990s” Hollywood Comedy” Graeme Stout • University of Minnesota • ​ Katherine Morrissey • Rochester Institute of “Between War and Rebellion: Reconciling Media Technology • ​“Modular Love: The Contemporary Commemoration in Contemporary Ireland” Hyper-romance Comedy” Ying Xiao • University of Florida • ​“The Flowers of Kriszta Pozsonyi • Cornell University • ​“The Politics of War!?: Chinese Cinema and the Unbearable Lightness Jocular Butts on Inside Amy Schumer” of Memory and Commemorating in the Postwar Era” Seth Soulstein • Cornell University • ​“That’s SPONSOR War & Media Studies Scholarly Interest Group Hysterical!: A Genealogy of Gesture from Tragic to Comic”

SPONSOR Comedy & Humor Studies Scholarly Interest Group

T16 Consistent Inconsistencies Gender, Globality, and the Complexities of Historical Media Industries Research T18 Hitchcock Adapted Constructing and Reconstructing an Auteur CHAIR Sara Levavy • University of North Carolina at Chapel Hill Courtney Brannon Donoghue • Oakland University • ​ CHAIR Matthew Bolton • Concordia College New York “Breaking ‘Hollywood’s Glass Ceiling’?: Institutional SUNAPRIL Structures, Management Cultures, and Women in the Sidney Gottlieb • Sacred Heart University • ​“Truffaut Conglomerate Era” Adapts Hitchcock” 3 Mary Samuelson • University of California, Los Donna Kornhaber • University of Texas at Austin • ​ Angeles • ​“Changing Stations: Gracie Allen, Marion “ Presents Alfred Hitchcock: Brand, Jordan and the Transition from Radio to Television” Media, and Directorial Identity” Emily Carman • Chapman University • ​“Hard John Hellmann • Ohio State University • ​“Petzold’s Bargainer: Constance Bennett as Star-turned-producer Hitchcock” in Postwar Hollywood” Matthew Bolton • Concordia College New York • ​ SESSION Ross Melnick • University of California, Santa Barbara • ​ “Hitch Out-Hitches Hitch: Consolidation of a Romantic “Warner Worldwide: Warner Bros. Theater Circuits and Style in The Man Who Knew Too Much” the Global Marketplace, 1938–2013” T

185 11:00 am – 12:45 pm

T19 Post-cinematic Control T21 Re/claiming Film Theory Politics and Visualities

CHAIR Lisa Akervall • Bauhaus University, Weimar CHAIR Hallym University Lisa Akervall • Bauhaus University, Weimar • ​“The Truth N. Trace Cabot • of Auto-Tune: Voice Modulations in Post-cinematic Olga Blackledge • Universty of Pittsburgh • ​“Two Media Ecologies” Soviet Theoretical Systems of Views on Animation: Lev Viviana Lipuma • North Carolina State University • ​ Kuleshov and ” “Semiocapitalism: The Production of Signs as the Joseph Kraemer • Towson University • ​“Abbas Production of Desire in the Media” Kiarostami’s Poetics of Automobility” Gregory Flaxman • University of North Carolina at Syed Feroz Hassan • University of Michigan • ​“The Chapel Hill • ​“Left of Conspiracy” Hors-champ of Radical Film Theory at : Pascal Bonitzer and the Re-claiming of Bazin” RESPONDENT Shane Denson • Duke University N. Trace Cabot • Hallym University • ​“The Thing from Another Medium: Kracauer’s Theory of CGI”

T20 WORKSHOP Transmedia Studies Where Now? T22 Computation and Attention Perspectives on Statistical Tools

CHAIR Elizabeth Evans • University of Nottingham CHAIR Tsivian • University of Chicago WORKSHOP PARTICIPANTS Zdenko Mandusic • University of Chicago • ​“Editing Mark J.P. Wolf • Concordia University Wisconsin Strategies of the Soviet New Wave” Helen Kennedy • University of Brighton Kaitlin Fyfe • University of Wisconsin-Madison • ​ King’s College London SUNAPRIL Sarah Atkinson • “Visualizing Strategies for Cutting Dialogue Scenes” Matthew Freeman • Bath Spa University Mohsen Nasrin • Carleton University • ​“Measurement 3 and Perception in Using Statistical Analysis”

SESSION T

186 11:00 am – 12:45 pm MEETING T23 Animal Studies 11:00 am – 12:45 pm and Mediated Cuteness

Sound Studies Scholarly Interest Group CHAIR Katy Peplin • University of Michigan ROOM 410 • Fourth Floor Samantha Close • University of Southern California • ​ “The Melodramatic Imagination of the Internet: Cute Animal Videos and the New Flow” Melissa Bianchi • University of Florida • ​“Awkward Animal Avatars: Examining Goat Simulator as a Case of Botched Taxidermy” MEETING Kelly Wolf • University of South Carolina • ​“The 11:00 am – 12:45 pm Cybercute Universe: Media Convergence and Multispecies Celebrity” Oscar Micheaux Society

Katy Peplin • University of Michigan • ​“‘She's Such ROOM 206 • Second Floor a Good Mama’: Constructions of Motherhood, Adoptability, and Cuteness in Shelter Livestreams”

SUNAPRIL 3

SESSION T

187 SESSION SUNDAYAPRIL 3 1:00 – 2:45 pm U

U1 Multi-platform Cuteness U2 Film Remakes Media and Cute Affect Transnational Perspectives

CHAIR Joyce Goggin • University of Amsterdam CHAIR Constantine Verevis • Monash University Matt Cornell • University of Amsterdam • ​“The Lucy Mazdon • University of Southampton • ​ Cuteness within Cruelty: A Close Reading of ISIS Cats” “Remaking Scandinavian Cinema in Hollywood” Maria Pramaggiore • Maynooth University • ​ David Scott Diffrient • Colorado State University • ​ “Military Cuteness: Gaga, Beyoncé, YouTube and the “A Tale of Two Balloons: Intercultural Cinema and Deployment of Soft Power in the War on Terror” Transnational Nostalgia in Le voyage du ballon rouge” Rebecca Gordon • Northern Arizona University • ​ Iain Smith • University of Roehampton • ​“For the Dead “Skewering Normative Cuteness with Latinidad” Travel Fast: The Transnational Afterlives of Dracula” Julia Leyda • Free University Berlin • ​“Gendering Constantine Verevis • Monash University • ​“Trading Machine Cuteness: Androids, AIs, and Femininity” Places: Das doppelte Lottchen and The Parent Trap”

SPONSOR Transnational Cinemas Scholarly Interest Group

188 1:00 – 2:45 pm

U3 Tracking Sound U5 Eroticism and Ideology in On Film Music, Aesthetics, and Narrative Spanish Cinema (1960s–2010s)

CHAIR Brandeis University Paula Musegades • CHAIR Santiago Fouz-Hernandez • Durham Paula Musegades • Brandeis University • ​ University “Communism, Propaganda, and Music: Aaron CO-CHAIR Annabel Martin • Dartmouth College The North Copland’s Film Score for Lewis Milestone’s • Dartmouth College • ​“The Failures Star Annabel Martin (1943)” of Sexualized Nationhood in 1960’s Spain: Queering Kevin John Bozelka • Bronx Community College • ​ Neoliberalism, Tourism, and Dictatorship” “Music Is Heard, Not Seen: Grand Rights and the Jorge Perez • University of Kansas • ​“Undressing the Visualization of Song in Hollywood Cinema” Opus Dei: On the Underrated Political Currency of Hannah Lewis • University of Texas at Austin • ​“Love Destape” Me Tonight (1932) and the Development of the Santiago Fouz-Hernandez • Durham University • ​ Integrated Film Musical” “Boys Interrupted: Sex between Men in Recent Matthew McDonald • Northeastern University • ​ Spanish Cinema” “Behind the Whirring Machinery: Narrative Levels in Txetxu Aguado • Dartmouth College • ​“Another Type the ’ Films” of Sexual Body Politics: Erika Lust’s Feminist Porn” SPONSOR Classical Hollywood Scholarly Interest Group SPONSOR Adult Film History Scholarly Interest Group

U4 WORKSHOP U6 Digital Dispersions Teaching Media Industries in the Digital Age CHAIR Matt Applegate • Molloy College

Silpa Mukherjee • Jawaharlal Nehru University • ​ SUNAPRIL CHAIR University of Michigan Amanda Lotz • “Badmash Networks: Dispersion of the Item Numbers 3 of Bombay Cinema” WORKSHOP PARTICIPANTS University of Pittsburgh Tim Havens • University of Iowa Kuhu Tanvir • • ​“Voices of Devotion: Voice, Mediation, and Taste in the Remixed • University of Alberta Serra Tinic Devotional Song” Chuck Tryon • Fayetteville State University • McGill University • ​“Affect and Body Austin College Ayanna Dozier Erin Copple Smith • Intensities in FKA Twigs’s M3LL155x” • University of Michigan SESSION Amanda Lotz Matt Applegate • Molloy College • and SPONSOR SCMS Teaching Committee James Cohen • Molloy College • “Communicating with the Homologlyph: Mimesis, Visual Culture, and Commodification as Culture” U

189 1:00 – 2:45 pm

U7 Elements of Style U9 Africa, the Cold War, On Film Form and Aesthetics and Film Culture

CHAIR University of Jenny Oyallon-Koloski • CHAIR Aboubakar Sanogo • Carleton University Wisconsin-Madison Ros Gray • Goldsmiths, University of London • ​ Guy Harrison • Arizona State University • ​“Bennett “The Socialist Friendships of Filmmaking in the Miller’s Big Gamble: Moneyball, the Baseball Film, and Mozambican Revolution” Mise-en-scène” Kodwo Eshun • Goldsmiths, University of London • and Hiaw Khim Tan • University of Chicago • ​“From Doreen Mende • Haute École d’art et de design • ​ Augustus Egg to King Vidor: Rediscovering the “The Black Star: A Cinema of Affiliation and Conflict in Emblem Form in Hollywood Visual Style of the Studio Ghana, East Germany, and West Germany” Period” Aboubakar Sanogo • Carleton University • ​“Cinematic Jenny Oyallon-Koloski • University of Wisconsin- Revisitations of the Congo Crisis” Madison • ​“A Dance in Disguise: Figure Movement SPONSOR African/African American Caucus and Genre Play in Jacques Demy’s Peau d’âne” Shu Ching Chan • University of Texas at Austin • ​ “Cinematographers of Coproduction: Eastern Aesthetics Meets Western Technology” U10 Negotiated Personas Investigating the Woman in American Narratives, Mass Media, and Audience Appeal 8 on Television U Poetics, Artificiality, Gender CHAIR York College, CUNY Sarah Delahousse • Sarah Delahousse • York College, CUNY • ​“Mediating CHAIR Elizabeth Alsop • Western Kentucky SUN University Female Empowerment: Marketing the American APRIL Female Detective Figure as an Adventure Heroine in 3 C. Lee Harrington • Miami University • and the Kate Kirby Detective Series and The Hazards of Byron Miller • Miami University • “Mapping the Helen” Daytime Landscape: Worldbuilding on US Soap Opera” April Miller • Arizona State University • ​“Cooking Up Anne Gilbert • University of Kansas • ​“Sex, Money, Crime: Domesticity and Detection in Clarence Brown’s Anti-heroine: Lifetime’s UnREAL and the Dirty The Goose Woman” Feminism of ” Darrell Newton • Salisbury University • ​“Investigating • Western Kentucky University • ​“Stop SESSION Elizabeth Alsop Women Investigators: The Dangerous Dame in Dark Action: The Lyrical Turn in Complex Television” Corner and Phantom Lady” Despina Kakoudaki • American University • ​“Artificial William Covey • Slippery Rock University • ​“Millennial U People in The Twilight Zone, 1959–1964” Female Sleuths: Victims, Vixens, and Victors” SPONSOR Women in Screen History Scholarly Interest Group

190 1:00 – 2:45 pm

U11 Regional Platforms in Asia U13 Of Queer Times and Places

CHAIR Marc Steinberg • Concordia University CHAIR Vinicius Navarro • Emerson College Jihoon Kim • Chung-Ang University • ​“Digital Curran Nault • University of Texas at Austin • ​“‘Queer’ Television in the Matrix Media: Broadcasting TV’s Philippine Cinema’s Undead: Homonationalism and Multiple ‘Lives’ in Korean Digital Platforms” the Zombading” Rahul Mukherjee • University of Pennsylvania • ​ Vinicius Navarro • Emerson College • ​“Queer “Reconfiguring Mobile Media Assemblages: Chinese Relationality and Place-making in the Films of DVD Players and Translocal Flows of Platforms across Fernando Eimbcke” Asia” Jennifer Smith • University of Wisconsin-Madison • ​ Jinying Li • University of Pittsburgh • ​“The Interface “Seeing Stars: Northstar, Shatterstar, and the Queer Affect of a Contact Zone: Danmaku on China’s Video Temporality of Comic Book Seriality” Streaming Platforms” Victoria Thomas • University of Washington • ​“‘Us’ Marc Steinberg • Concordia University • ​“On Line versus ‘Them’: Ideal White Women and Flawed Black WeChat: Regional Platforms and Visual Culture” Women in The L Word Mississippi”

RESPONDENT Thomas Lamarre • McGill University

U14 Colonial and Postcolonial U12 What Will Cinema Become Disciplinarities Paramediality, Interface, Emotion

CHAIR Nadine Chan • Nanyang Technological University CHAIR Matthew Ogonoski • Concordia University Marc Vernet • University of Montpellier 3 • ​“Access to Paul Fileri • New York University • ​“In the Mirror of Its Constitution: L’éveil d’un monde (1949) and the and Cultural Understanding of American Cinema of SUNAPRIL the 1915–1920 Period” Documentary as Colonial Bureaucratic Document” 3 Matthew Ogonoski • Concordia University • ​“[Be] Nadine Chan • Nanyang Technological University • ​ Coming to a Screen Near You: Advertising and the “Disciplining Slippery Cinemas: Sexual Hygiene and Shaping of the VCR Film Experience” the Governance of Colonial Educational Film” Richard Neupert • University of Georgia • ​“Pixar, Dong Hoon Kim • University of Oregon • ​“Reforming Embodied Characters, and Emotional Style” the Colony: Moving Picture Unit of the Japanese Colonial Government of Korea” Michael Potterton • University of California, Los SESSION Angeles • ​“Translating Democracy: Intersecting Postcolonialism and Media Imperialism in Postwar Korea Film Policy (1945–1948)” U

191 1:00 – 2:45 pm

U15 Theorizing Documentary Form U17 The Past and Future of Genre and Politics

CHAIR Patricia Ventura • Spelman College CHAIR Nora Stone • University of Wisconsin- Dora Valkanova • University of Illinois at Urbana- Madison Champaign • ​“Science Fiction Film as a Site of Freya Schiwy • University of California, Riverside • ​ Memory: Moving Forward while Looking Back” “Rage, Rebel, Rejoice: Some Thoughts on Cinema, Luis M. Garcia-Mainar • University of Zaragoza • ​“The Video, and the Affective Modes of the Political” Context of the Introspective Realist Crime Film, an Nora Stone • University of Wisconsin-Madison • ​ International Film Trend” “Omnisicating to Subjectivizing: A Spectrum of Chelsea Wessels • Cornell University • ​“North/ Reenactments in Nonfiction Film and Television” Western: Industry and Bioregion in McCabe & Mrs. Ashley Smith • Stockholm University • ​“Re-seeing the Miller” Home Movie Collection: Documentary Reuse and Live Patricia Ventura • Spelman College • and Screenings” Beth Maudlin • Georgia Gwinnett College • “Hit Maria Hofmann • University of Minnesota • ​“Between Me Baby One More Time: Regenerative Violence and Respite and Return of the Image: Harun Farocki’s Hipster Racism in Harmony Korine’s Spring Breakers” Rewind and the New Genocide Documentary”

U18 Media and Ecological Crisis U16 Beyond Backdrop Landscape Allegory in Transnational Cinema CHAIR Carolyn Fornoff • University of Pennsylvania

Belinda Smaill • Monash University • ​“Documentary, CHAIR David Melbye • Effat University Life, and Extinction: The Moving Image and the SUN David Melbye • Effat University • ​“The Allegorical Archive” APRIL Extreme of Joseph Losey’s Figures in a Landscape” Thomas Patrick Pringle • Brown University • ​ 3 Susan Barber • Loyola Marymount University • ​“The “Epistemic Barometry: Reading Media Ecological Hunter: Stranger in a Strange Land” History in Light of Global Nuclearity” Grant Wiedenfeld • Sam Houston State University • ​ Anastasia Kostina • Yale University • ​“From “Commons, Commoners, and Tycoons: Progressive Geiger’s Counter to Birds Singing: Documentary Pastoral Landscape in D.W. Griffith’s 1776; or, The Representations of Chernobyl over Time” Hessian Renegades” Carolyn Fornoff • University of Pennsylvania • ​ SESSION Kohki Watabe • University of Southern California • ​ “Framing the Guatemalan Tropics: Anxiety and “Japanese Farming Immigrants’ Cultural Assimilation Biophony” of the American Frontier Myth in Hollywood Cinema” SPONSOR Media & the Environment U Scholarly Interest Group

192 1:00 – 2:45 pm

U19 Across the Ethers U21 WORKSHOP The US Media Industries in the 1940s Little Data Challenges and Strategies for Media Research in Contexts of Absence and Scarcity CHAIR Andrea Kelley • Auburn University

Seth Friedman • DePauw University • ​“Alfred Hitchcock’s Radio Lodging: Selling ‘The Master of CHAIR Amy Shore • SUNY, University at Oswego Suspense’ across Media” WORKSHOP PARTICIPANTS James Paasche • Indiana University • ​“Citizen Bob: • New York University Hope’s Transmedia Patriotism” Tejaswini Ganti Debashree Mukherjee • Columbia University • Auburn University • ​“Jockeying for a Andrea Kelley University of Massachusetts Home: Soundies on Early Television” Shawn Shimpach • Amherst Susan L. Brinson • Auburn University • ​“Patrolling the • York University Ether: A 1944 Film about Radio on Television” Janine Marchessault

U20 Space, Data, Narrative U22 Forms and Politics of Rethinking Video Game and Representation

Digital Media Analysis

CHAIR Mary Hoque • University of Georgia CHAIR Blake Hallinan • Indiana University Mary Hoque • University of Georgia • ​“‘This Is How Mark J.P. Wolf • Concordia University Wisconsin • ​“A We Roll’: Bro-country and (Re)Defining Country Brief History of Procedurally-generated Space in Video Masculinity” Games” Marisela Chavez • Northwestern University • ​“The Blake Hallinan • Indiana University • ​“Digitizing the ‘Magic’ of Liveness: Blackness, Tape-Delay, and the SUN Theatrical Audience: Computers, Communications, and 1980 NBA Finals” APRIL Cards” Allison Ross • University of Southern California • 3 Robert Buerkle • University of Southern California • ​“At “Visual Dialogues from Silenced Images: Play on the Frontier: What the Western Can Teach Us Documenting the Unspeakable in South African LGBT about Open World Videogames” Documentary” SPONSOR Oscar Micheaux Society

SESSION U

193 1:00 – 2:45 pm MEETING U23 Between Progadanda 1:00 – 2:45 pm and Resistance Violence, Atrocity, and Media Form Cognitive/Analytic ​ Scholarly Interest Group CHAIR Bret Vukoder • Carnegie Mellon University ROOM 206 • Second Floor Katie Model • New York University • ​“Simultaneous Atrocities in the Interactive Documentary: Eyal Sivan’s Montage Interdit” Thong Win • University of California, Santa Barbara • “One of Us/US: The USIA in the Republic of Vietnam MEETING and Cold War Internationalism” Bret Vukoder • Carnegie Mellon University • ​“Violent 1:00 – 2:45 pm Images as Cold War Currency: The United States Central/East/South European Cinemas ​ Information Agency’s Propaganda Documentary, Scholarly Interest Group Vietnam! Vietnam!” ROOM 410 • Fourth Floor Qui Ha Nguyen • University of Southern California • “Women, Nation, and Space: Northern Socialist Women and Spatial Mobility in Ngoc Quynh’s On Top of the Wave, On Top of the Wind (1967)”

SPONSOR Asian/Pacific American Caucus

SUNAPRIL 3

SESSION U

194 Index

A Abbott, Stacey B5 Aguirre, Ivan C20 Alvaray, Luisela T13 Anselmo-Sequeira, Diana Q19 Abel, Marco I20 Ahn, Jiwon G23 Ament, Vanessa A20 Applegate, Matt U6 Abel, Richard R4 Ahnert, Laurel D6 Amit, Rea D2 Arcy, Jacquelyn O3 Abrahamsson, Elin H9 Akervall, Lisa T19 Andersen, Kara R10 Ardizzoni, Michela D12 Abramson, Leslie E23 Akudinobi, Jude E11 Anderson Wagner, Kristen D17 Arellano, Jeronimo P14 Acham, Christine F7 Albright, Lauren A22 Anderson, Joel Neville G14 Aronson, Michael L23 Acland, Charles O9, Q18 Aldama, Frederick O14 Anderson, Mark Lynn O6 Arroyo Calderon, Patricia G17 Acosta-Alzuru, Carolina I10 Aldred, Jessica Q10 Anderson, Tim F22, Q17 Arroyo, Brandon L3 Adamson, Morgan S16 Alexander, Neta F5 Anderson-Lehman, Jesse B10 Arzumanova, Inna N18 Adejunmobi, Moradewun E11 Alfaro, Kristen O7 Andersson, Johan H16 Ascheid, Antje G6 Affuso, Elizabeth N19 Alford, Robert B6 Andreazza, Fabio C6 Askari, Kaveh Q11 Afra, Kia J7 Ali, Isra A14 Andree, Courtney Q21 Asquith, Daisy F10 Agger, Gunhild N22 Alilunas, Peter S4 Andrejevic, Mark P16 Atkinson, Sarah L11, T20 Agloro, Alexandrina J4 Allbritton, Dean R18 Andrew, Dudley H2, J2 Aushana, Christina E23 Agostinho, Daniela G1 Allison, Tanine T15 Andrews, Lawrence R19 Austin-Smith, Brenda S18 Aguado, Txetxu U5 Alpert, Jennifer G7 Ankerson, Megan L19 Ayers, Drew D9 Aguayo, Angela K22 Alsop, Elizabeth U8 Annett, Sandra F23, K10 B Babish, Stephen S8 Batard, Anouk J11 Berke, Annie H22 Boalick, Aaron Q13 Backman Rogers, Anna M21 Battin, Justin O19, S23 Berliner, Lauren R2 Boche, Kathaleen E7 Baer, Nicholas G15 Battles, Kathleen B12 Berliner, Todd O1 Boczkowska, Ewelina S3 Bain, Kimberly J4 Baumann, Chris F5 Bernard, Mark B17 Boddy, William R14 Baishya, Anirban A18 Baumbach, Nico D2, K17 Bernstein, Matthew H. I1 Bodroghkozy, Aniko E12 Bak, Meredith H5 Baumgartner, Michael S3 Bertelli, Linda E3 Bohlinger, Vincent B15 Baker, Courtney D4 Bayman, Louis B11 Berthe, Jamie F19 Bollmer, Grant A22 Balcerzak, Scott K4 Bazgan, Nicoleta T12 Beste, Amy C14 Bolton, Elizabeth T8 Ballina, Bianka S1 Bean, Jennifer K23, Q20 Bestor, Nick F9 Bolton, Lucy O13 Balsamo, Anne P22 Beaty, Bart N2 Bevan, Alexandra N7 Bolton, Matthew T18 Balsom, Erika B21 Becker, Christine O2 Bey-Rozet, Maxime K7 Boluk, Stephanie A3 Balzer, Jesse C19 Becker, Snowden C14 Bianchi, Melissa T23 Boman, Stephan K8 Banerjee, Koel A17 Bedard, Philippe D3, E3 Bianco, Jamie N23 Boni, Marta D19 Banet-Weiser, Sarah C2, N18 Belanger, Noelle I4 Bieler, Andrew Q8 Booth, Paul D18, E18 Banks, Miranda R3 Belcher, Christina D7 Biltereyst, Daniel K2 Bose, Nandana E8 Bao, Weihong F18 Belisle, Brooke N23 Bird, Katie R12 Bottomley, Andrew A2, F22 Baran, Sebnem R16 Bell, Tim G23 Bird, Robert N10 Bourdage, Monique T12 Barber, Susan U16 Bell-Metereau, Rebecca Birdsall, Heather J8 Bowdre, Karen R1 Barchiesi, Gianni N8 D22, L12 Birdwise, Scott B8 Bowen, Edward N15 Barefoot, Guy A15 Belodubrovskaya, Maria B15 Birks, Chelsea E22 Bowyer, Amber B10 Barker, Cory H13 Beltrán, Mary O14 Birthisel, Jessica A5 Boyd, Maria N7 Barker, Deborah S9 Bender, Joseph C13 Blackledge, Olga T21 Boyd, Megan F16 Barnes, Chris C7 Benedetti, Mark T9 Blake, Cassie E4 Boyle, Kirk K12 Baron, Cynthia B17, E10 Benshoff, Harry M11, N1 Blake, Nathan D9 Bozelka, Kevin John U3 Baron, Jaimie C7 Benson-Allott, Caetlin N17, P18 Blankenship, Janelle R4 Bradley, Peri N6, T2 Barra, Luca S20 Ben-Youssef, Fareed P6 Blasini, Gilberto T13 Bradshaw, Lara B12 Basa, Elaine L16 Berger, Kenneth F3 Blaylock, Jennifer Q23 Brannon Donoghue, Baschiera, Stefano B11, E19 Bergstrom, Anders N9 Bloom, Peter C6, E21 Courtney T16 Bashara, Dan E15 Bergstrom, Kian H17 Blumlinger, Christa I15 Brasiskis, Lukas C3 195 Index

Brassard, Jeffrey N3 Brown, Megan K6 Buehler, Branden S19 Burnett, Colin J2 Bratich, Jack S22 Brown, Patrick Q10 Buel, Jason D12 Burns, James Q21 Bratslavsky, Lauren F2 Brown, Stephanie H22, P3 Buell, Duncan Q22 Burris, Greg H11 Breger, Claudia N9 Brown, William M21 Buell, Janett F10 Busse, Kristina P21, S2 Brennan, Nathaniel A15 Brownell, Kathryn H15 Buerkle, Robert S5, U20 Butler, Jeremy H10 Brickman, Barbara J16 Brunner, Laura I12 Buhler, James M22 Butters, Gerald O8 Briefel, Aviva H5, O18 Brunner-Sung, Vera K8 Bukatman, Scott N2 Byrd-Smith, Drew L13 Brinson, Susan L. U19 Bruns, John S15 Bullock, Chelsea C2 Brody, Evan J8 Buchan, Suzanne R7 Burditt, Rebecca T17 Bronstein, Phoebe S9 Buchsbaum, Jonathan T9 Burgoyne, Robert M21 C Cable, Umayyah H11 Chan, Shu Ching U7 Cleppe, Birgit P19 Corkin, Stan Q20 Cabot, N. Trace T21 Chandler, M.M. F10, H3 Click, Melissa T1 Cormican, Muriel O22 Cagle, Chris H7 Chang, Alenda N23 Close, Samantha T23 Cornell, Matt U1 Cagle, Robert S21 Chao, Shi-Yan E22 Coates, Norma M3 Correa de Araujo, Luciana H14 Cahill, James Q16 Charbonneau, Stephen M12 Cobb, Jasmine F3, G3 Corson, Keith R1 Caille, Patricia Q11 Chatman, Dayna I17, P1 Cohan, Steven P2 Cortez, Iggy F17 Cain, Jacquelyn D5 Chatterjee, Tupur A18 Cohen, Hart R23 Corzo-Duchardt, Beth F9 Cain, Victoria Q3 Chavez, Marisela U22 Cohen, Daniel F18 Cote, Paul I14 Caldwell, John N4, R3 Chefranova, Oksana C3 Cohen, Hart R23 Cottrel, Adam B13 Calhoun, Claudia S9 Chen, Hongwei C21 Cohen, James U6 Couret, Nilo H22, P14 Callahan, Vicki A11, I16 Chen, Jianqing F18 Cohen, Kris A3, I23 Covey, William U10 Cameron, Kelsey D16 Cheney, Zach D22 Cohn, Jonathan R6 Cowan, Michael M5 Campbell, Gregor Q6 Chess, Shira K3 Collins Smith, Anne B19 Cox, Nicole Q1 Campbell, Jessica G12 Chien, Irene R12 Columpar, Corinn I19 Cox-Stanton, Tracy F20, K18 Cannon, Kristopher C4 Chin, Bertha C18, K10 Coman, Anthony G16 Crafton, Donald O17 Caoduro, Elena B11 Chinen Biesen, Sheri J19 Combs, Rhea H1 Craig, David C22, O12 Cardenas, Micha N13 Chisholm, Brad E13 Combs, Scott J6 Craig, Michael T5 Cardone, Lucia G20 Cho, Alexander N20 Comiskey, Andrea O17, R10 Cramer, Lauren K11 Carman, Emily I18, T16 Cho, Michelle E5 Conley, Tom J2 Cramer, Michael S17 Carr, Steven A. B5 Choe, Youngmin P20 Connolly, Matt D1 Crane, Cathy Lee M18 Carreiro, Alexis I19 Chong, Sylvia A4 Connor, J. D. D19 Creekmur, Corey L20 Carrington, Andre H6 Christian, Aymar L18 Conrath, Ryan A22 Crey, Karrmen G23 Carstocea, George M12 Christman Lavin, Sophie A7 Conway, Kelley G21 Crisp, Virginia L11 Cartier, Nina A20, K21 Chua, Eu Jin Q8 Cook, Bernard B3 Cruz, John B8 Cason, Franklin A4 Chung, Hye Seung P8 Cook, David S12 Crylen, Jon E6 Cassidy, Marsha N4 Church, David F4, R5 Cook, Ryan L2 Cucco, Marco I22 Castillo, Ana S23 Chyutin, Dan M2 Cooke, Nicole T14 Cumming, Jesse F1 Castonguay, James R21 Ciecko, Anne D5, I5 Cooley, Heidi Rae O10, Q22 Cummings, Kelsey H8 Castro, Deborah H10 Cilento, Fabrizio Q12 Coon, David B1 Cunningham, Stuart Cavanagh, Robert N4 Cizmic, Maria S3 Coonrod, Joshua C19 Duncan C22, O12 Chabot, Kevin K6 Clark, Jennifer D7 Cooper, Mark P15 Curtin, Michael I2 Chakravorty, Swagato J17 Clark, Joseph P15 Coppa, Francesca P21 Curtis, Scott S13 Champlin, Alexander Q6 Clark, Meredith P1 Copple Smith, Erin U4 Cwynar, Christopher B2 Chan, Nadine U14 Clarke, Daniel B23 Corbin, Amy O3 D Dalle Vacche, Angela P23 Danelski, Christine R15 Davine, Lauren E7 Day, Amber C17 Damiens, Antoine K15 Daniel, Adam D14 Davis, Andrew C1 Day, Faithe B12 D’Amore, Daniel F6 Danilovic, Sandra F1 Davis, Blair N2, P4 de Fren, Allison J10, L20 Danecki, Edward T13 Darlington, Tania T4 Davis, Nick R6 De Kosnik, Abigail E3 196 Index

De Pascalis, Ilaria Antonella D19 Desser, David L2 Dole, Jake Ivan D9 Druick, Zoe E21, Q16 De Rosa, Miriam C3, E19 Deutelbaum, Marshall G16 Doles, Steven D16 Dryansky, Larisa N5 DeAngelis, Michael A13 deWinter, Jennifer G5 Doll, Martin S8 Du, Daisy Yan B9 Deater, Tiffany B22 Deyo, Nathaniel G16 Dollman, Melissa B16 Duarte, German S23 Deaville, James S18 D’haeyere, Hilde B6 Dombrowski, Lisa K14 Duck, Leigh K11, P17 DeBoer, Stephanie P22, Q22 Di Iorio, Sam F19 Domenach, Elise M17 Dudenhoeffer, Larrie A6 DeCarvalho, Lauren Q1 Dienstfrey, Eric I14 Donelan, Carol D11 Dunbar-Hester, Christina K22 Decker, Lindsey N11 Diffrient, David Scott U2 Dooley, Kath A21 Duong, Lan J5 Deem, Melissa N18 Dika, Vera L15 Dor, R. Gabriel F16 Durrand, Mark A20 Deery, June I8 Dillard, Clayton S8 Dorey, Thomas S15 Dusseault, Ruth B22 Delahousse, Sarah U10 Dillon, Mike B17 Douglas, Andrew G21 Duvall, Spring-Serenity A5 De la Mora, Sergio E20 Ditzler, Andy L1 Dove-Viebahn, Aviva Q13 Dwyer, Michael Q14 Deleyto, Celestino K12 Doane, Mary Ann O4 Dovey, Lindiwe J11 Dyer, Kester G18 Dell’Aria, Annie H23 Doctor, Jenny F2 Dozier, Ayanna U6 Dyer, Richard H4 Denson, Shane N9, T19 Doherty, Thomas L5, Q5 Drake, Philip K2 Desjardins, Mary P2 Dolasinski, Lisa D23 Driscoll, Kevin P1 E Edge, Brooke A5 Eliaz, Ofer O23 Engberg, Maria F12 Espasande Bouza, Edwards, Kyle T4 Elkins, Evan J18 Engel, Maureen O10 Alejandra M14 Egan, Kate B17 Ellcessor, Elizabeth J18 Engelke, Henning P19 Espinoza, Mauricio C20 Ehrlich, Nea F1, G1 Ellis, Matthew H6 Eriksson, Maria R11 Etienne, Julian G17 Eisenstein, Ken R9 Ellis, Patrick R22 Escobar Lopez, Almudena J15 Evans, Elizabeth S20, T20 El Hibri, Hatim T7 Elza, Cary E13 Eshun, Kodwo U9 Evans, William A6 Elcott, Noam N5 Emmett, Ilana G23 Everett, Anna M3 F Fabbri, Lorenzo N15 Feng, Peter G14 Fletcher, Brady N16 Frank, Hannah O17, Q4 Fabian, Rachel N11 Fenner, Angelica R6 Fleury, James G13, R8 Franklin, Seb O21 Fackler, Maria I6 Ferguson, Kevin Q18 Flinn, Caryl G4, L12 Fratini, Dawn T3 Fairfax, Daniel J2 Ferguson, Scott H17 Flores-Cuautle, Francisco C20 Freedman, Eric I11 Fallon, Kristopher N23 Fernandez Labayen, Miguel N14 Florini, Sarah P1 Freeman, Matthew O19, T20 Fan, Victor G11, K5 Ferrari, Chiara I2 Fojas, Camilla O14 Freire, Rafael H14 Farman, Jason E2 Field, Allyson Nadia D4, M3 Fong, Byron B7 Friedman, Seth U19 Fauteux, Brian Q17 Fileri, Paul U14 Ford, Sam R2 Froelich, Margrit I20 Fawaz, Ramzi J10 Finamore, Michelle J13 Formenti, Cristina F1 Frolova, Ksenia E4 Fay, Jennifer N21 Fischer, Lucy K4, P2 Fornoff, Carolyn U18 Froula, Anna R21 Fee, Annie M15 Fischer, Mia I17 Fortes, Mara E20 Frymus, Agata B23 Fee, Matthew D5 Fisher, Anna Watkins A3 Fortmueller, Kate N19, Q14 Fuhs, Kristen C7 Feil, Ken L5 Fisher, Austin F20, L4 Fouz-Hernandez, Santiago U5 Fuller-Seeley, Kathy J1, L23 Felleman, Susan P9 Flaxman, Gregory R20, T19 Frahm, Laura O21 Fyfe, Kaitlin T22 Feng, Lin A12 Fleeger, Jennifer E16, O23 Frank, Aparna I9 G Gabara, Rachel H2 Gallagher, Mark K4 Garcia-Mainar, Luis M. U17 Gelinas, Melissa F15 Gabbard, Krin L12 Galt, Rosalind N6, R13 Garda, Maria B. M10 Gemunden, Gerd I20 Gaboury, Jacob J14 Ganti, Tejaswini U21 Garibaldi, Hannah I3 Gentles-Peart, Kamille O5 Gadassik, Alla Q16 Gao, Yunwen K20 Garner, Kenneth J7 Geoghegan, Bernard Gailey, Elizabeth J23 Garavelli, Clara N14 Gates, Philippa N12 Dionysius O21 Gainty, Caitjan R22 Garcia Blizzard, Monica G17 Gates, Racquel D4 Gerhardt, Christina S16 Galiher, Clifford L21 Garcia, Desiree L15 Gauch, Suzanne P7 Germen, Baran G22 Galili, Doron I15 Garcia-Crespo, Naida B20 Gaycken, Oliver R22 Gerstner, David A. J21 197 Index Getman, Jessica M8 Goldsmith, Leo K17 Grant, Barry Keith O18 Grossman, Julie J19 Gharabaghi, Hadi C21, E21 Goldstein, Leigh Q2 Grant, Catherine F20 Grusin, Richard M6 Ghawanmeh, Mohannad M4 Gonzales, Racquel E14 Gray, Jonathan C22, L18 Gryctko, Mary I21 Ghosh, Bishnupriya P10 Gonzalez, Tanya O20 Gray, Kishonna J4, K3 Guarana, Bruno D6 Giansante, Rocco C6 Good, Katie Day O6 Gray, Ros U9 Guezennec-Fouche, Nicolas S7 Gilbert, Anne U8 Gopal, Sangita I9 Greenberg, Natalie R6 Guilford, Joshua L1 Gilbert, Nora L5 Gopalan, Lalitha S17 Greene, Liz K18 Gunckel, Colin M14 Gillespie, Michael B. C4, D4 Gordon, Rebecca U1 Greene, Shelleen A11, B11 Gunning, Tom Q4 Gilmore, James O9 Gorfinkel, Elena C10, E9 Greven, David M11 Gurlly, Aaron R12 Ginsberg, Terri H11 Göritz, Matthias C20 Grgic, Ana A15 Gurney, David K21 Giotta, Gina N7 Gosse, Johanna B21 Griffin, F. Hollis E2, K21 Gutierrez Lozano, Juan Girgus, Sam B. R7 Gott, Michael T11 Griffin, Sean I12 Francisco F21 Gleich, Joshua J1, M6 Gottlieb, Sidney T18 Griffis, Noelle E19, K11 Gutierrez III, Jose E22 Glenn, Colleen C8 Govil, Nitin O16 Griffiths, Alison J12 Gutierrez, Laura E20 Glick, Joshua I16, K12 Graber, Naomi S10 Grinberg, Daniel J12 Gutierrez-Albilla, Julian Gobel-Stolz, Barbel S20 Grabiner, Ellen B1 Grisham, Therese J19 Daniel A16 Goggin, Joyce L9, U1 Grainge, Paul S20 Grizzaffi, Mariachiara J20 Guynes, Sean C9 Goldberg, Greg E8 Grajeda, Tony R21 Groening, Stephen O9 Gyenge, Andrea C5 Goldman, Tanya J7 Granata, Yvette J3 Grosoli, Marco F19 H Haastrup, Helle Kannik I13 Hardison, Ayesha D4 Henderson, Lisa M1 Holmes, Nathan Q4 Hadas, Leora L13 Hark, Ina G2, K14 Herndon, Keith N7 Holmlund, Christine N1 Hadjioannou, Markos E6 Harkema, Gert Jan E3 Hennefeld, Maggie P3, S11 Holt, Jennifer D21, R11 Haenni, Sabine H16, Q20 Harlap, Itay A10 Henninger, Katherine L16 Holtmeier, Matthew P17 Hageman, Eva M9 Harrington, C. Lee U8 Herbert, Daniel C22 Holtzman, Dinah Q12 Haggins, Bambi R3 Harrington, Catherine J12 Herhuth, Eric S15 Hoque, Mary U22 Hagin, Boaz F7 Harris, Ben Q9 Herrera, Brian I6 Horak, Jan-Christopher M14 Hagood, Mack T10 Harris, Michael M8 Hesmondhalgh, David G13 Horak, Laura J13 Hagopian, Kevin J8 Harrison, Guy U7 Hessler, Jennifer P16 Horn, Katrin O20 Haider, Sabah I7 Harrison, Rebecca I7 Hewitt, Simon T6 Horton, Andrew T17 Hain, Mark H4 Harrod, Mary C13 Higgins, Scott N8 Horton, Justin H19 Hain, Milan G9 Hart, Adam O18, P18 High, Michael K6 Horton, Zach H17 Hakimi, Jedd F12 Hassan, Syed Feroz T21 Highfill, Juli K23 Hou, Yiyang B9 Halbout, Gregoire K16 Hassoun, Dan O9 Hill, Erin T3 Houghton, Daniel E13 Hall, Kimberly T4 Hastie, Amelie N1 Hills, Matt D18, G2 Howell, Charlotte K21, M16 Hallas, Roger K8 Hauske, Matt M6 Hilsabeck, Burke P7 Hoyt, Eric M5, Q18 Halle, Randall E9 Havens, Tim R16, U4 Hilu, Reem J10 Hu, Tung-Hui I23, N23 Hallinan, Blake U20 Hawkins, Joan B5, O18 Himberg, Julia D1 Hubbert, Julie I14 Halpern, Orit O21 Hearne, Joanna H12 Hinkelman, Jeff G12 Hueser, Rembert H18 Hamblin, Sarah S16 Heberer, Feng-Mei E5 Hirota, Risa E1 Hughes, Kit L9 Hamilton, Jack D10 Hebert, Adam B16 Hitchcock Morimoto, Humphrey, Daniel C1, J21 Hammett-Jamart, Julia I22 Heck, Kalling C10 Lori D18, K10 Hunter, Aaron D22, I19 Hammond, Michael H21 Hedges, Inez L16 Hite, Chris B14 Hussein, Linnea R19 Han, Benjamin S21 Hediger, Vinzenz E9 Hochman, Brian D10, M7 Han, Lisa P16 Hedling, Olof E17 Hodel, Christina K16 Hanford, Nicholas K6 Heffernan, Kevin R5 Hodge, James A3, I23 Hanna, Erin Q14 Hegarty, Kerry L14 Hodges, James R8 Hansen, James A1 Helfield, Gillian A12 Hoffman-Han, Alison I18 Hanson, Christopher G5 Heller, Dana O20 Hofmann, Maria U15 Hanson, Helen I19, J19 Hellmann, John T18 Holdaway, Dominic I22 Hanssen, Eirik Frisvold P12 Hendershot, Heather H15 Hole, Kristin I5 198 Hanstein, Ulrike T8 Henderson, David P11 Holland, Timothy P18 Index I Iannone, Pasquale J20 Imre, Aniko I2, S22 Innocenti, Veronica D19 Iversen, Gunnar I4 Ickes, Charlotte F17 Ingravalle, Grazia J17 Ivakhiv, Adrian K19 Iyer, Usha G22 J Jackson, Josh S14 Jaising, Shakti Q12 Jennings, Stephanie L6 Johnston, Nessa E16 Jackson, Neil L4 Janes, Stephanie E4, L13 Jimenez, Carlos D23 Johnston, Ruth T9 Jacobs, Carolyn J6 Jankowski, Stacie A5 Johnson, Catherine F21 Jones, Bethan C18, D18 Jacobs, Steven P19 Jaramillo, Deborah Q7 Johnson, Jane’a P8 Jones, Ian H23, K13 Jacobson, Brian M15, P5 Jaramillo, Laura K13 Johnson, Martin F9 Jones, Timothy G21 Jacobson, Lisa A8 Jedlowski, Alessandro J11 Johnson, Patrick L10 Joseph, Ralina L10 Jagoda, Patrick A3 Jeffers McDonald, Tamar M5 Johnson, Victoria S19 Juarez, Kristin D B19 Jagoe, Eva-Lynn C16 Jekanowski, Rachel Webb M19 Johnston, Alexander B4 Jue, Melody D15 Jaikumar, Priya A21, E21 Jelaca, Dijana I5 Johnston, Andrew O17 Juhasz, Alexandra N13 Jain, Anuja I9 Jenkins, Henry N2, R2 Johnston, Jessica C16 Jung, Sookeung R16 K Kackman, Michael H12 Keeler, Amanda F22, O2 Kim, Stella A17 Kornhaber, Donna T18 Kafala, Ted G1 Keidl, Philipp Dominik G12 Kim, Ungsan S21 Korola, Katerina J17 Kaganovsky, Lilya K5 Keil, Charlie P5 Kimball, Danny G8 Kostina, Anastasia U18 Kahn, Rachel P11 Keilen, Brian A7 King, C. Richard I17 Kostova, Julia L12 Kaimana, Lokeilani D4 Keilty, Patrick P13 King, Claire M20 Kotecki, Kristine K15 Kakoudaki, Despina U8 Keller, Jessalynn C2, Q19 King, Homay B21 Koutras, Konstantinos D2 Kamin, Diana L7 Keller, Patty A16 King, Rob H22 Kowalik, Natalie N3 Kaminska, Aleksandra L7 Keller, Sarah J21, R9 Kinney, Katherine B4 Kozloff, Sarah O1 Kane, Carolyn H3 Kelley, Andrea U19 Kirkwood, Jeffrey M13 Kraemer, Joseph T21 Kaneva, Nadia S22 Kelley, Michelle D21, H12 Kish, Zenia L9, M9 Kraszewski, Jon G6 Kang, Kristy H.A. P22, Q22 Kelly, Jen T13 Kiss, Miklos J20 Krautkrämer, Florian H18 Kang, Kyoung-lae S1 Kendall, Matthew H12 Kitamura, Kyohhei E1 Krayenbuhl, Pamela D3 Kaplan, E. Ann I5 Kennedy, Helen T20 Klein, Amanda Ann O5 Kredell, Brendan O3, T14 Kapse, Anupama J13 Kern, Douglas I1 Klinger, Barbara O2 Krefting, Rebecca P3 Kara, Selmin K19, M22 Kessler, Kelly R17 Klippel, Heike H18 Kreutzer, Evelyn O6 Karaduman, Arzu S18 Kessler, Sarah J10 Knee, Adam Q12 Kroll, Robert R14 Karahalios, Harry Q6 Khan, Sabiha N6 Knight, Arthur G7 Kronengold, Charles M22 Karnick, Kristine D17 Khan, Tabassum Ruhi R15 Knöhr, Nathalie A21 Kruger-Robbins, Benjamin D1 Karppi, Tero A14 Khouri, Malek H11 Kocurek, Carly H20 Kuhn, Virginia M12, Q18 Kase, J. Carlos P9 Kiaer, Christina N10 Kohnen, Melanie E18, L20 Kuipers, Halbe J3 Kaushik, Ritika C23 Kickasola, Joseph M2 Kokas, Aynne J18 Kumanyika, Chenjerai A2 Kavka, Misha O20 Kidman, Shawna N4, Q14 Kompare, Derek F5, L18 Kumar, Aashish I16 Kealhofer-Kemp, Leslie T11 Kierstead, Joshua L16 Kondo, Masaki F8 Kunze, Peter B7 Kearney, Mary Celeste K21, Q19 Kim, Dong Hoon U14 Konior, Bogna J3 Kunzelman, Cameron Q10 Keating, Patrick L21 Kim, Gloria N8 Konkle, Amanda O13 Kupfer, Alex H8 Kee, Chera P4 Kim, Jihoon U11 Koob, Nathan K11 L La Parra-Perez, Pablo S16 LaPlaca, Laura J8 Laurin, Daniel A13 Lee, Jeeheng Q15 Labouba, Manouchka Kelly E11 Laramee, Michael A6 Lauro, Sarah Juliet D12 Lee, Jin A17 Lagerwey, Jorie N19 LaRocco, Michael E3 Lavelle, Julie B14 Lee, Joo Young F11 Lamarre, Thomas S11, U11 Larsen, Miranda T6 Lawrence, Michael I7 Lee, Joo Yun C11 Lanckman, Lies F10 Larsson, Mariah R5 Leader, Caroline F13 Lee, Laura D3 Lane, Christina J19 Lasmana, Viola J5 Lealand, Geoff A12 Lee, Mi-Jeong Q15 Langford, Daniel A4 Latsis, Dimitrios K8, P20 Lebow, Alisa R19 Lee, Nam Q15 199 Index Lee, Nathan Q6 Levin, Erica B21 Lipuma, Viviana T19 Lowe, JSA I12 Leeder, Murray O18 Levine, Elana R17 Lison, Andrew R12 Lowenstein, Adam P18 Leimbacher, Irina A20, L1 Lewis, Diane G10 Liu, Linda F23 Loyo, Hilaria K7 LeMieux, Patrick J14 Lewis, Hannah S3, U3 Llamas-Rodriguez, Lozier, Sarah B4 Lenos, Melissa T1 Lewis, Jon L5 Juan N16, Q7 Lu, Wan-Jun F13 Leonard, Suzanne K9 Lewis, Molly C5 Lombardi, Giancarlo F21 Lu, Yi R23 Leotta, Alfio N3 Leyda, Julia U1 Long, Derek O8 Lucia, Cynthia L15, S12 Lerner, David G22 Li, Chi S8 Longo, Regina C21 Luckett, Moya G12 Lerner, Sarah P11 Li, Jinying U11 Lopez, Ana D20 Lugowski, David K14, M11 Lesinski, Shaylynn S10 Lie, Sulgi E15 Lopez, Lori N20 Luna, Ilana E20 Lessard, John K15 Lightning, Robert K14, S12 Lotz, Amanda U4 Lunde, Arne O15 Lester Breikss, Selena B1 Lim, Bliss J5 Lovascio, Martina B23 Lupher, Sonia J23 Lester, Peter R14 Limbrick, Peter Q23 Lovejoy, Alice J22, N10 Luzón-Aguado, Virginia J15 Levavy, Sara T16 Linscott, Charles C4 Lovelock, Michael E8 Leventer, Sarah S9 Lipton, Mark G4 Loviglio, Jason A2 M Ma, Jean F17 Martin, Lara J21 McGowan, David S2 Miller, April U10 Ma, Ran B3 Martin, Nina L6 McGrath, Caitlin C14 Miller, Byron U8 MacDonald, Scott B5 Marx, Nicholas C17 McHugh, Kathleen E14 Miller, Daniel J23 Macdonald, Sean C23 Marzola, Luci P5 McIntosh, Heather L22 Miller, Henry K. E15 MacKenzie, Scott I4 Marzoni, Andrew R7 McKenna, Denise P5 Miller, Jade J11 Mai, Joseph L17 Mascaro, Tom E12 McKim, Kristi P23 Miller, Kiri K13 Maitra, Aniruddha F3 Mask, Mia M3 McKinney, Cait E23 Miller, Nicholas B10, M20 Major, Anne C19 Massanari, Adrienne K3 McLean, Adrienne L. O13 Miller, Taylor Cole K21, O2 Majumdar, Neepa O16 Massimi, Fulvia G18 McNelis, Tim J16 Minarich, Megan O11 Majumdar, Rochona I9 Mastrangelo, Frankie S2 McNutt, Myles G13, H13 Minett, Mark J6 Malakaj, Ervin Q21 Mattis, Ann N19 McQueen, Amanda D11 Mingant, Nolwenn N3, Q11 Maland, Chuck Q5 Mauldin, Beth U17 Meandri, Ilario E16 Mini, Darshana Sreedhar A18 Malitsky, Joshua N10, Q16 Mayer, Vicki N16 Mecklenburg, Anne F23 Mitchell, Joshua J12 Mallapragada, Madhavi N20 Mazdon, Lucy U2 Meehan, Eileen K2 Mitchell, Lauren O11 Malone, Beth B19 Mazumdar, Ranjani O16 Meek, Michele C16 Mitric, Petar I22 Man, Glenn G21 McAllister, Ken S. G5 Meers, Philippe K2, N3 Mittell, Jason L20, Q18 Mandusic, Zdenko T22 McCann, Caitlin S5 Mehta, Rijuta F3 Miyamoto, Akiko E1 Mann, Denise O12 McCarthy, Anna D21, F5 Meir, Christopher Q9 Mizejewski, Linda P3 Manning, Abina M18 McClancy, Katheen A10 Melbye, David U16 Mjolsness, Lora B10 Maragh, Raven B18 McClearen, Jennifer I17 Melero, Alejandro R18 Model, Katie U23 Marchessault, Janine Q8, U21 McClennen, Sophia L14 Melnick, Ross J1, T16 Mokdad, Linda G19 Marcus, Daniel M9 McClernon, Tess D6 Mende, Doreen U9 Molina, Isabel O14 Marks, Laura M4 McClure, Nicole R19 Mendelsohn, Ben H7 Molloy, Melissa N22 Marks, Laura Helen R5, S4 McCorkle, Brooke M8 Mendoza, Nicholas L3 Monaghan, Amy G19 Marra, Peter F4 McCormick, Casey E18 Meneghetti, Michael J23 Monar, Francisco E17 Marran, Christine M17 McCormick, Richard D8 Menne, Jeffrey H19, O11 Monnet, Livia M17 Marsh, Leslie B12 McCracken, Chelsea C1 Mennel, Barbara E9 Montanez Smukler, Maya K9 Marsh, Steven A16, J15 McCulloch, Richard O19 Mercer, Leigh K23 Monteiro, Stephen H23 Marshall, Bill G18 McDonald, Kevin R8 Merkin, Noa D8 Montgomery, Colleen Q17 Marshall, Kelli D17, N16 McDonald, Matthew U3 Meyers, Cynthia Q5 Monticone, Paul P5 Martin, Alfred C17 McDonald, Paul L11 Meyers, Rebecca L1 Moore, Catherine N22 Martin, Andrew R21 McDonald, Terrance D14 Michael, Charlie C13 Moore, Kelsey G9 Martin, Annabel U5 McEwan, Paul O6 Middents, Jeffrey F20, L14 Moore, Paul L23 Martin, Catherine T12 McFarland, James N21 Middleton, Jason H5 Moorman, Jennifer I18, P13 Martin, Daniel P4 McGlotten, Shaka I23, P13 Mihailova, Mihaela D9 Moradiyan Rizi, Najmeh Q23 200 Martin, Florence Q11 McGonagle, Joseph T11 Miklitsch, Robert E14 Moralde, Oscar F12 Index Moreiras-Menor, Cristina A16 Morton, David B23 Mukherjee, Roopali G3, M9 Murray, Sarah E2 Morgan Parmett, Helen O3 Morton, Drew J20, L20 Mukherjee, Silpa U6 Murugan, Meenasarani R17 Morgan, Daniel K20, N21 Morton, Paul S5 Mulvogue, Jessica Q8 Musante, Lawrence I21 Morris, Jeremy F22, R11 Moylan, Katie C15 Munk, Yael F8 Musegades, Paula U3 Morrison, Josh G4 Mueller, Hannah Q1 Murphy, Brian L7 Musser, Charles H1, M19 Morrissey, Katherine T17 Mukherjee, Debashree Murphy, Caryn R17 Myers, Andrew O19 Morse, Nicole Erin N13 O16, U21 Murphy, Ian F14 Myers, Jennifer N15 Mukherjee, Rahul S1, U11 N Nadel, Alan P2 Navarro, Vinicius U13 Newman, David I22 Noble, Safiya G3 Nagypal, Tamas N12 Navitski, Rielle P14 Newton, Darrell U10 Noble-Olson, Matthew F8 Najd Ahmadi, Tara G14 Needham, Gary M11, N1 Nguyen, Qui Ha U23 Nooney, Laine J14, L12 Nakahara, Tamao K10 Nelson, Elissa J16 Nichols, John F9 Nordfjord, Bjorn G19 Nam, Inyoung Q15 Neuman, Nichole P12 Nieland, Justus N21, O21 Norindr, Panivong H2 Narayanan, Bhargavi S1 Neupert, Richard U12 Niessen, Niels C5 Norton, Diana B20 Nasrin, Mohsen T22 Neve, Brian Q5 Niita, Chie G10 Nunn, Erich D10 Nault, Curran U13 Neves, Joshua E5, Q16 Nikunen, Kaarina D23 Nygaard, Taylor C2 Navar-Gill, Annemarie A21 Newbury, Michael E13 Nivar Ortiz, Nike K22 O OBrien, Michael D7 Okada, Jun G14 Orgeron, Devin B16, J22 Overby, Whitten M16 O’Brien, Sarah B22 Olenina, Ana B15 Osborne-Thompson, Overpeck, Deron C9 Och, Dana T1 Olin, Ben F14 Heather I12 Owczarski, Kimberly A21 Ogawa, Shota P20 Olivier, Marc L6 Oscherwitz, Dayna T11 Owens, Andrew A11, F4 Ogonoski, Matthew U12 Olson, Faith H7 Ospina, Juan H14 Oyallon-Koloski, Jenny U7 Ogrodnik, Ben R23 O’Neil-Ortiz, Javier N8 Ostherr, Kirsten R22, S13 Ok, HyeRyoung D12 Oren, Tasha I10 Oukaderova, Lida S17 P Paasche, James U19 Patterson, Alison R10 Petersen, Christina P6 Plothe, Theo E4 Paasonen, Susanna P13 Patterson, Eleanor B2 Petersen, Jennifer H15 Polivka, Raina J22 Padva, Gilad P6 Patterson, Zabet B6 Peterson, Jennifer M6, P15 Polonyi, Eszter G15 Pagel, Caren P8 Patti, Lisa F15 Petro, Patrice G15, Q2 Pomerance, Murray J9 Pajala, Mari O7 Patton, Elizabeth K11 Petruska, Karen H13 Pomp, Joseph S18 Palmer, Lindsay N4, S6 Paul, Chris S19 Pett, Emma B17 Popp, Richard H15 Palmer, Lorrie N17 Paul, William G10 Pettersen, David C13 Poppe, Nicolas D20, F20 Palmer, Lucia D16 Paulus, Tom H18 Petty, Miriam R1 Porst, Jennifer S6 Panagia, Davide B13 Pavlounis, Dimitrios M7 Pham, Vincent B3 Porter, Jeff A12 Pande, Rukmini B18, E18 Payne, Matthew I11 Phillips, Amanda J4 Posner, Miriam Q18, T14 Pappalardo, Mary D3 Payton, Philana A4 Phillips, Wyatt G6 Potter, George H7 Paranyuk, Viktoria K5 Peake, Bryce D13 Pierotti, Federico D14 Potterton, Michael U14 Paredes, Veronica Q22 Pearson, Kyra N18, Q1 Pierson, Eric R1 Pow, Whitney I11 Parisi, David L19 Pendleton, David L1 Pierson, Michele K1 Powell, Ryan A13 Park, HyunHee K7 Penley, Constance R5, S4 Pierson, Ryan D14 Powers, John T9 Park, Jecheol N9 Pennington, Rosemary A5 Pike, Alan Q1 Pozsonyi, Kriszta T17 Park, Mi Young A7 Peplin, Katy T23 Pike, Kirsten Q19 Prager, Brad L8 Parker, Chvonne B2 Peretti, Luca N15 Pilcher, Lauren J7 Pramaggiore, Maria U1 Parker, Felan M10, Q10 Perez, Hector D19 Pinion, Kenneth B16 Pratt, Lande E17 Park-Primiano, Sueyoung C21 Perez, Jorge U5 Pinkowitz, Jacqueline S9 Press, Andrea I8, O13 Parks, Lisa J18, Q22 Perkins, Matthew S19 Pinon, Juan I10 Prettyman-Beverly, Michele C4 Parry, Kyle F6 Perlman, Allison D21, H15 Piotrowska, Agnieszka M21 Price Washington, Christina B19 Parsard, Kaneesha F3 Perren, Alisa G13, Q9 Pittman, Alex F8 Price, Brian B13, R20 201 Index Price, Zachary N17 Pringle, Thomas Patrick Proctor, William O19, S23 Pullen, Christopher T2 Prince, Stephen L2 K19, U18 Puetz, Michelle C14 Purvis, Michael E17 Q Quanz, Katherine E16 R Rabin, Lisa Q3 Rentschler, Carrie N18 Robinson, Janet M20 Rothery, Jason T6 Raengo, Alessandra P10 Rentschler, Eric I20 Robinson, Katherine E6 Rothman, William L17 Rahman, Najat M17 Resha, David L22 Robinson, Lucy F10 Rowan-Legg, Shelagh R18 Rai, Swapnil D7 Restivo, Angelo P10 Robinson, Michelle H9 Rowin, Michael C11 Ramirez, Javier H8 Reynolds, Caitlin S14 Rodowick, David R20 Rozsa, Irene P14 Ranachan, Kate O3 Rhodes, John David E19 Rodríguez, Pedro Noel I21 Ruberg, Bonnie I11 Rand, Erica H4 Rhym, John C10 Rodriguez, Juan L22 Rubinkowski, Leo G8 Randell, Karen C8 Ribera, Rob C23 Rogers, Ariel G10 Ruggill, Judd G5, J22 Rangan, Pooja O4 Rice, Tom B14, J22 Rogers, Kenneth M19 Ruiz, Rafico D15 Rankin, Cortland H16 Rich, Aaron T3 Rogers, Maureen O8 Ruiz-Poveda, Cristina M2 Rapf, Joanna D17 Richardson, Michael L8 Rogerson, Ben H19 Rushton, Richard F12 Ravary, Julie G18 Richler, David F15 Roggen, Sam G16 Rusnak, Stacy B20 Rawal, Tanya R15 Richmond, Scott A3, I23 Romanelli, Claudia M23 Russell, Catherine L5 Rawlins, Justin M9 Rico Albero, Agustin R18 Rony, Fatimah Tobing J5 Russell, Kate S11 Reagan, Patrick I16 Rigoletto, Sergio N15 Rooks, Isaac T8 Russill, Chris D15 Reardon, Daniel L13 Ritsma, Natasha P19 Rose, Marc P11 Russo, Alexander A2 Reckson, Lindsay I6 Ritts, Max T10 Rosen, Marjorie O13 Russworm, TreaAndrea P1, R1 Redvall, Eva Q9 Ritzenhoff, Karen C8 Rosen, Philip K5 Rust, Amy H17 Regester, Charlene H1, I1 Rivero, Yeidy I10, T13 Rosenblum, Ely T10 Rust, Stephen B22 Rehak, Bob G2, P21 Robe, Chris K22 Ross, Allison U22 Rutkoff, Rebekah H3 Remes, Justin R9 Roberts, Martin O7 Ross, Sharon K16 Ryabchikova, Natalie B15 Rennebohm, Katherine R20 Roberts, Sarah T. J18 Rossie, Amanda C2 Ryberg, Ingrid M1 Renov, Michael I15 Robinson, Daniel P. H21 Roth, Martin T5 Rybin, Steven E10 S Saber, Zeke E14 Scepanski, Philip C17 Schwartz, Margaret O23 Shaerf, David T4 Saglier, Viviane T7 Schaefer, Eric L4, R5 Schweigert, Peter S17 Shafer, Leah R2 Saljoughi, Sara M4, S16 Schaefer, Joy F11 Schweitzer, Dahlia C8 Shahaf, Sharon I2, R16 Salvato, Nick I6 Schatz, Thomas J1 Sciachitano, Marian C16 Shail, Robert N11 Samer, Roxanne M1 Schauer, Bradley L21 Scott, Ellen G3 Shanker, Priyadarshini I13 Sammond, Nicholas O17, S11 Scheibel, Will E10 Scott, Karly-Lynne S13 Sharma, Sudeep N4 Samuelson, Mary P15, T16 Scheible, Jeff E5 Scott, Kevin P4 Sharrett, Christopher S12 San Filippo, Maria K9 Schifani, Allison S1 Scott, Suzanne L18 Shary, Timothy J16 Sánchez-Salas, Daniel M23 Schiwy, Freya U15 Sebok, Bryan N6, T4 Shaw, Adrienne K3 Sandler, Monica S5 Schleier, Merrill E19, Q2 Seely, Adrienne C11 Shaw, Deborah L14 Sanogo, Aboubakar U9 Schlumpf, Erin B9 Segal, Shira M20 Sheehan, Rebecca R20 Sanson, Kevin E23 Schmitt, Mary B4 Seid, Danielle I13 Shekhawat, Sushila G7 Sarkar, Bhaskar P10 Schneider, Molly M16 Sen, Bish I2 Shepperd, Josh Q3 Sarkissian, Raffi H4 Schoemann, Sarah A13 Sen, Meheli I21 Sher, Ben Raphael R1 Sarlin, Paige M18 Schonig, Jordan C3 Sen, Priyanjali A15 Shereen Sakr, Laila N16 Satchell-Baeza, Sophia F23 Schoonover, Karl E9, R13 Sengul, Ali D23 Shiel, Mark K12, Q20 Satterwhite, Emily A9 Schrader, Paul M2 Serna, Laura Isabel A11, M14 Shiga, John D15 Sayers, Jentery M12 Schroeder Rodriguez, Paul P6 Serrano, Arturo A10 Shilina-Conte, Tanya H6 Scaglioni, Massimo F21 Schroeder, Tyler I3 Serrano, Sophia Q7 Shimpach, Shawn H10, U21 Scahill, Andrew N17 Schules, Douglas T5 Sewell, Philip B14 Shimura, Miyoko E1 202 Scandiffio, Theresa C14 Schupp, Janina A7 Sexton, Jamie K10 Shivers, Kaia L10 Index Shlossberg, Pavel Q7 Smith, Jacob T10 Stamm, Laura C1 Strang, Brent L19 Shore, Amy U21 Smith, Jennifer U13 Stamp, Shelley T12 Strassfeld, Benjamin S4 Shpolberg, Maria I7 Smith, Justin N11 Stanfill, Mel C18 Straw, Will F17 Shriver-Rice, Meryl N22 Smith, Nova F13 Starosielski, Nicole N23 Streible, Dan P15 Shultz, Peter K13 Smith, Patrick S7 Stehle, Maria S22 Stuckey, Helen H20 Shumow, Moses I10 Smith-Rowsey, Daniel C7 Steimatsky, Noa I15 Stutsman, Staci E10 Siddiqui, Gohar T6 Smith-Shomade, Beretta R3 Steimer, Lauren J6 Suarez, Juan R13 Sidenova, Raisa K5 Smoodin, Eric M15 Stein, Erica O23, Q20 Suarez, Paulina M14 Sidhu, Maya K7 Smyth, J. E. L15 Stein, Louisa D18, P21 Sullivan, Gordon C10 Siegel, Carol F11 Soderman, Braxton B7 Steinbach, Katherine F14 Sullivan, Patrick R10 Siegel, Marc R13 Solovieva, Olga G11 Steinberg, Marc U11 Summit-Gil, Britney I8 Sienkiewicz, Matt C17, E21 Somaini, Antonio N5 Steinhart, Daniel T3 Sunya, Samhita M4 Sieving, Christopher D22 Sorensen, Inge Q9 Steirer, Gregory P21 Sutherland, Meghan B13, R20 Silberman, Robert G21, O15 Soriano, Lucia N12 Stenger, Josh H10 Sutton, Katie Q21 Sim, Gerald N6 Sotamaa, Olli M10 Stenport, Anna I4 ,O15 Svedman, Michael D6 Simeon, Sandrine T2 Soulstein, Seth T17 Stevens, Kyle H22, J9 Svelch, Jaroslav M10 Sinha, Babli F16 Spadoni, Robert K18 Stewart, Faye O22 Swain, Sara C12 Sinwell, Sarah E18 Spaulding, Hannah F6 Stewart, Jacqueline F2, H1 Swalwell, Melanie H20 Siomopoulos, Anna D11 Spaulding, Stacy D13 Stewart, Mark C18 Swanson, Alexander S14 Sirmons, Julia T2 Speers, Genne F1 Stjernholm, Emil O15 Swartz, Lana L9 Slowik, Michael E7 Spence, Steve Q17 Stob, Jennifer S17 Sweeney, Miriam T14 Smaill, Belinda U18 Sperb, Jason R14 Stoddard, Matthew M19 Symes, Katerina B8 Smiley, Michelle Q13 Spiers, Aurore P7 Stone, Nora U15 Synenko, Joshua A14 Smith, Ashley U15 Stabile, Carol D13, O5 Stork, Ben L9 Szczepaniak-Gillece, Jocelyn O9 Smith, Ashley R. F4 Stadel, Luke S13 Stork, Matthias G13, R8 Szczepanik, Petr F21 Smith, Cherise L10 Staiger, Janet S2 Stout, Graeme T15 Smith, Frances N12 Stailey-Young, Amos R4 Stracke, Caspar M18 Smith, Iain K10, U2 Stalarow, Alexander H21 Strader, Sean C11 T Tai, Peng-yi R8 Thames, Ryan C12 Tinkcom, Matthew G4, J21 Truscello, Michael D5 Tait, R. Colin G9, I19 Therrien, Carl S14 Titus, Joan S3 Tryon, Chuck F11, U4 Takacs, Stacy R21 Theus, Tyler A1 Tognolotti, Chiara G20 Tsai, Beth K15 Takahashi, Tess O4 Thevenin, Olivier B3 Toles, George J9 Tsika, Noah E11 Talbott, Michael F20 Thibault, Ghislain M13 Tompkins, Joe C9 Tsivian, Yuri T22 Tamirisa, Asha H23 Thimons, Alexander N4 Torcasio, Grace C5 Tucker, Aaron Q23 Tan, Hiaw Khim U7 Thomas, David C12 Torlasco, Domietta B13 Turim, Maureen K4, M20 Tan, Jia P22 Thomas, Emily B18 Torner, Evan O22 Turner, Graeme I2 Tanvir, Kuhu U6 Thomas, Victoria U13 Torre, Paul G8 Turnock, Julie J1, L21 Tarancon, Juan J15 Thompson, Kirsten Tortum, Halil Deniz G1 Turvey, Malcolm O1 Tarcov, Marianne P6 Moana H3, I3 Trammell, Aaron F22 Tussey, Ethan L18 Teinemaa, Teet D2 Thorne, Sarah Q10 Trice, Jasmine C6 Tweedie, James K20 Telotte, Jay I4 Thouaille, Marie-Alix O11 Trifonova, Temenuga G11, O1 Tyagi, Ila F6 Tezuka, Yoshiharu O7 Tierney, Dolores N14 Tropiano, Stephen B1 Tziallas, Evangelos A8 Thain, Alanna K19 Ting, Chun Chun D16 Troxell, Jenelle A19 Tzioumakis, Yannis J16 Tinic, Serra R16, U4 U Udy, Daniel N13 Uhlin, Graig P17 Ungar, Steven F19 Utterson, Andrew G21, S7 Uffreduzzi, Elisa G20 Uhrich, Andy F2, J22 Uroskie, Andrew J17, K1 V Valdes, Julio Jose C15 Valkanova, Dora U17 Van den Bulck, Hilde A5 Van Esler, Mike N3 203 Index VanCour, Shawn F2 Venegas, Cristina D20 Vernallis, Carol M22, P11 Volcic, Zala S22 Vanderhoef, John Q10 Ventura, Patricia U17 Vernet, Marc U12 Vollans, Ed E4, L13 Varndell, Daniel J9 Verevis, Constantine U2 Vesey, Alyxandra H13 Von Vogt, Matt B5 Vasquez, Joshua A9 Verheul, Jaap D21 Vielkind, Andrew A1 Vonderau, Patrick O12, R11 Vaughan, Hunter B22, P17 Verhoeff, Nanna O10 Villarmea Alvarez, Ivan A22 Vukoder, Bret U23 Vaziri, Persheng M4 Verhoeven, Deb L23 Vinogradova, Maria H8 W Wada-Marciano, Mitsuyo Warner, Rick S7 Wheatley, Catherine L17 Wilson, Julie O5 L2, P20 Warren, Charles L17 White, Delene O22 Wilson, Steve I1 Wahl, Chris L8 Warren, Shilyh H5, L22 White, Kenneth K1, M13 Win, Thong U23 Waldman, Diane M20 Washington, Christina Price B19 White, Michele E2 Wing, Carlin L19 Waldrep, Shelton D11 Washington, Myra N20 Whitehead, Jessica M23 Wlodarz, Joseph M11 Walia, Ramna B18 Wasko, Janet K2 Whitworth, Lauran K19 Wojcik, Pamela Q2 Walker, Johnny L4 Watabe, Kohki U16 Wiedenfeld, Grant U16 Wolf, Kelly T23 Walker-Canton, Roxana O5 Watkins, Raymond P23 Wild, Jennifer M15, N5 Wolf, Mark J.P. T20, U20 Waller, Gregory M5, Q3 Watschke, Erik S6 William, Jennifer L8 Wolfe, Charles J1 Waller, Katherine Lonsdale M16 Watson, Jacob R23 Williams, Bruce F7 Wong, Shirley D10 Waller, Marguerite R15 Watson, Ryan T8 Williams, Danielle N7 Woo, Benjamin N2, T6 Walsh, Michael A1 Watter, Seth A19 Williams, Karen S10 Wood, Helen I8 Wang, Dan K13 Waugh, Thomas L3 Williams, Linda Ruth J9, K9 Woods, Eva K23, N14 Wang, Jennifer B2 Webb, Lawrence H16, Q20 Williams, Mark E12 Woods, Faye T1 Wang, Qi G7 Weber, Brenda O20 Williams, Michael B23, G9 Woodward, Steven E22 Wang, Tong C23 Wedel, Michael L8 Williams, Patrick G5 Wrather, Kyle G8 Warchalowska, Anna P12 Weigel, Moira F18 Williams, Tami G20 Wright, Benjamin I14 Ward, LaCharles G3 Weiler, Lance I16 Williamson, Colin Q4 Wright, David L13 Ward, Meredith K18, T14 Weinbren, Grahame P9 Willoquet-Maricondi, Paula B22 Wuest, Bryan D1 Wardell, Kathryn D8 Wellmann, Janina R22 Wilsbacher, Greg P15 Wyatt, Justin S15 Ware, Evan M8 Wessels, Chelsea U17 Wilson, Booth P7 Wythoff, Grant M13 Warner, Kristen G13, T1 Westrup, Laurel I18 Wilson, Candice H9 X Xiao, Ying T15 Y Yablon, Nick L7 Yap, Christopher T5 Yosef, Raz A8 Young, Paul S5 Yamamoto, Naoki A19 Yasar, Zeynep P8 Yoshida, Junji B9 Younger, James P23 Yamazaki, Junko I3 Yervasi, Carina H2 Youmans, Greg M1 Yue, Genevieve K17 Yang, Fan F15 Yip, Man Fung K20 Young, Ashley I13 Yang, Panpan F18 Yockey, Matt G2 Young, Damon R. K17 Yanick, Tony J3 Yoon, Soyoung O4 Young, Katie M23 Z Zagarrio, Vito B11 Zhang, Ling K20 Zimmer, Catherine M7, P16 Zulueta, Ricardo E. J13 Zalewska, Maria B8 Zhao, Jing (Jamie) A17 Zinman, Gregory B19, P9 Zuo, Mila S10 Zamostny, Jeffrey F16 Zhu, Ying C22 Zolides, Andrew Q14 Zweig, Noah I22 Zanger, Anat T7 Zimdars, Melissa N6 Zryd, Michael K1 Zwicker, Heather O10

204 AFFILIATE EVENTS

Thursday, March 31 2:30 – 3:30 pm Crawford Media Services—Post-Production Facility Tour LOCATION 6 West Druid Hills Drive, NE http://ow.ly/X6FZu Attendees are invited to tour the post-production facilities, including screening room, tracking rooms, audio booths, editing suites and more. Free to SCMS attendees.

Thursday, March 31 3:00 – 4:00 pm Routledge—Exhibitor Reception ROOM Grand Ballroom East/AB • Second Floor at their table in the exhibit area Reception to celebrate the anniversaries of four Routledge journals.

Thursday, March 31 7:00 – 8:45 pm French Cinema, A State Affair History of Cinema and Public Policies from World War II to the Digital Age

ROOM 406 • Fourth Floor Panel discussion on the role of the state in French film history with Pierre-Emmanuel Lecerf (Director – Financial, Legal and International Affairs, CNC), Jonathan Buchsbaum (CUNY Graduate Center and Queens College) and others. There will be a reception following the panel discussion. PROVIDED BY Cultural Services of the French Embassy, Centre National du Cinéma et de l’image animée (CNC) and the French/ Francophone Scholarly Interest Group

205 Affiliate Events Thursday, March 31 7:30 pm Drinks, 8:00 pm Dinner 30th Annual Grrrls Night Out at SCMS! LOCATION Truva Atlanta Turkish Kitchen • 60 Andrew Young International Blvd NE Grrrls Night Out is an open, friendly networking dinner/social extravaganza aimed at encouraging conversation and connection among all women: trans, cis, and genderqueer. You don’t have to be an SCMS member to attend, and we welcome friends and children of our grrrls too. Tickets must be purchased in advance at https://www.eventbrite.com/e/30th-annual-grrrls-night-out-at-scms-tickets-20428741917 $29.48 grad and under-employed/$40.03 full-time faculty. Drinks not included. If the event is sold out, please contact Caetlin Benson-Allott ([email protected]) to learn of any last minute cancellations. DIRECTIONS walk south from the Hilton Atlanta on Courtland St NE for one block. Turn right onto Andrew Young International Blvd NE for one block. Truva is on the corner of Andrew Young International Blvd NE and Peachtree Center Ave NE.

Thursday, March 31 7:30 – 9:30 pm An Evening with Cuban filmmaker, Gloria Rolando Screening of Reembarque/Reshipment (2014, NR, Documentary/ Foreign Language, 59m) and Q&A with filmmaker

LOCATION Cinéfest • 66 Courtland Street NE, Georgia State University, University Center, Suite 240 Reembarque/Reshipment is a documentary film by acclaimed Afro-Cuban filmmaker Gloria Rolando that builds on the memories of Haitians and their descendants in Cuba to understand the impact of the presence of migrant labor on the Island’s economic and social history. DIRECTIONS walk approximately ½ mile south on Courtland St PROVIDED BY Latino/a Caucus and the Department of World Languages and Cultures and Center for Latin American and Latino Studies, Georgia State University

206 Affiliate Events Thursday, March 31 7:30 – 10:15 pm Re-hinging Cinematic Theory, History and Philosophy Thom Andersen’s The Thoughts That Once We Had (2015, NR, Documentary, 108m) with Q&A between Andersen and D.N. Rodowick

LOCATION Plaza Theatre • Briarcliff Plaza Shopping Center, 1049 Ponce De Leon Ave NE A screening of renowned filmmaker Thom Andersen’s latest film, The Thoughts That Once We Had, followed by a discussion between distinguished film scholar and philosopher D.N. Rodowick and Andersen about the film and its broader implications for the study of film theory, history, and philosophy. Held in coordination with the 2016 Atlanta Film Festival. Tickets can be reserved ahead of time at the SCMS conference on-site registration desk, and will be available on a first-come, first-served basis at the theatre, with SCMS conference badge. A related workshop—‘Film and Philosophy: Unanswered Questions’ will take place on Saturday. Free to SCMS attendees. PROVIDED BY SCMS, Film Philosophy and Classical Hollywood Scholarly Interest Groups, The Atlanta Film Festival and the 2016 Atlanta Host Committee

Thursday, March 31 8:00 – 10:00 pm University of Pittsburgh Film Studies Program Reception ROOM 206 • Second Floor Reception for students, faculty, alumni/ae, and friends of the Film Studies Program at the University of Pittsburgh.

Thursday, March 31 8:00 – 10:00 pm University of East Anglia Reception ROOM 408 • Fourth Floor The event will be hosted by UEA to offer a chance to UEA alumni and current faculty to meet up and share recent news from the university in teaching and research.

207 Affiliate Events Thursday, March 31 8:00 pm – midnight More Light— Media Art from Atlanta LOCATION Eyedrum • 88 Forsyth St. SW http://www.eyedrum.org/ Opening night of a gallery exhibition showcasing 15 media artists from Atlanta. Works include looped 16mm projection, single-channel video, outdoor projections, and video games. Free for SCMS attendees, $5 general public DIRECTIONS by taxi/Uber, 8 min drive from Hilton. By MARTA, 15min train ride: take Peachtree Station (southbound) to Five Points Station. PROVIDED BY Experimental Film & Media, CinemArts: Film & Art History, and Nontheatrical Scholarly Interest Groups; the School of Media, Literature, and Communication at Georgia Tech; liquid blackness, a research group in the Department of Communication at Georgia State University; Eyedrum; Contraband Cinema; and Dashboard Co-op.

Thursday, March 31 9:00 – 11:00 pm Slow Scholarship A World Building Event

ROOM 410 • Fourth Floor The event seeks to apply the tenets of slow scholarship to film and media studies collaborative academic production. Slow scholarship posits an alternative approach to producing scholarly work and to working within academic institutions that increasingly demand more time and an accelerated work pace. PROVIDED BY Women in Screen History and Media Literacy & Pedagogy Scholarly Interest Groups; Women’s Caucus, Queer Caucus, and Latino/a Caucus

Friday, April 1 9:30 –10:30 am Bloomsbury Publishing—Exhibitor Reception ROOM Grand Ballroom East/AB • Second Floor at their table in the exhibit area Chat with Global Exploitation Cinemas series editors Austin Fisher and Johnny Walker!

208 Affiliate Events Friday, April 1 3:00 – 4:00 pm Rutgers University Press—Exhibitor Reception ROOM Grand Ballroom East/AB • Second Floor at their table in the exhibit area A celebration of our authors!

Friday, April 1 3:00 – 4:00 pm Columbia University Press—Exhibitor Reception ROOM Grand Ballroom East/AB • Second Floor at their table in the exhibit area Event to celebrate Roy Thomas and the Film and Culture series.

Friday, April 1 7:30 – 8:30 pm Reception to celebrate Camera Obscura’s 40th Anniversary ROOM 409 • Fourth Floor Celebrating Camera Obscura’s 40th anniversary and the publication of two special issues: “Collectivity: Part 1” and “Collectivity: Part 2”. Hosted by Duke University Press, the University of California, Santa Barbara, Department of Film and Media Studies, and Camera Obscura.

Friday, April 1 7:30 – 9:00 pm Georgia Tech School of Literature, Media and Communication Reception ROOM 408 • Fourth Floor Reception for Georgia Tech School of Literature, Media and Communication faculty, students, alumni and friends. Hosted by the GT School of Literature, Media and Communication and the Wesley Center for New Media. Join us for food, drink and works-in-progress demos by GT faculty and students.

209 Affiliate Events Friday, April 1 7:30 – 9:30 pm New York University Department of Cinema Studies Reception ROOM Crystal Ballroom AF • First Floor Reception for alumni, students, faculty, and affiliates. Hosted by NYU Cinema Studies.

Friday, April 1 7:30 – 9:30 pm Oxford University Press—Exhibitor Reception ROOM 404 • Fourth Floor A cocktail reception to celebrate the publication of OUP film and media studies books and journals for 2015-2016. All are welcome.

Friday, April 1 7:30 – 10:30 pm University of California, Los Angeles Reception ROOM Crystal Ballroom CD • First Floor Reception for UCLA faculty, students and alumni hosted by UCLA’s Department of Film, Television and Digital Media.

210 honors OUTGOING BOARD MEMBERS Kara Keeling Neepa Majumdar

Thank you so much for your service – you will be greatly missed! U FOURTH ANNUAL SCMS Undergraduate Conference April 14–17, 2016 • Boulder, CO Hosted by The University of Colorado Boulder

The Society for Cinema and Media Studies is proud to announce its support for the fourth 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. Each year, a panel comprised of faculty from the host institution selects the best papers from the proposals received. In 2016, the panel will be composed of faculty from the CU Film Studies Department. The resulting conference allows undergraduate students the rare opportunity to share their cinema and media history, criticism, and theory work with peers from across the country.

We ask that you tell your undergraduate students about the conference. As mentioned, this year it will be held at The University of Colorado Boulder, April 14–17, 2016. The 2017 Conference will be hosted by the faculty of the University of Minnesota. The deadline for submitting to this year’s conference has passed but members are encouraged to think about the 2017 conference. More information about next year’s conference will be available on the SCMS website in the fall.

Questions about the 2016 conference should be directed to Dr. Tiel Lundy, at University of Colorado ([email protected]).

For the call for papers, please visit https://cmstudies.site-ym.com/?page=undergraduate

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Job: A1512_19_Society for Cinema and Media Studies Publication: Society for Cinema and Media Studies Size: 6” x 7.5” Color(s): b/w Material Type: pdf Line Screen: NA Delivery: email Issue Date: 3/30/16 Closing Date: 12/15/15 Proof: F Date: 12/7/15

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FORTHCOMING ARTICLES Cinemautism, Steven Eastwood The Politics of Revenge (Pornography), Emma Celeste Bedor Monstrous Masses: The Human Body as Raw Material, John Marmysz Redefining Representation: Black Women’s Digital Media Production,Moya Bailey

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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: Stephen Prince, Virginia Tech Associate Editors: Todd Berliner, University of North Carolina Wilmington, and 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. ISSN: 1934-9688 (Print) • ISSN: 1934-9696 (Online) • Volume 10/2016, 2 issues p.a. www.journals.berghahnbooks.com/projections

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The Documentary Film Reader The Cultures of American Film History, Theory, Criticism ROBERT P. KOLKER Edited by JONATHAN KAHANA Foreword by CHARLES MUSSER Telethons Spectacle, Disability, and the “Kahana puts flesh to the bare bones of film history. These Business of Charity are essays that make the present vibrate with the steady PAUL K. LONGMORE drumbeat of a past we may not fully know but dare not entirely forget.” Mike Nichols Introduction to —Bill Nichols, author of Sex, Language, and the Documentary, 2nd Edition Reinvention of Psychological Outside the Lettered City Maghrebs in Motion Realism Cinema, Modernity, and the North African Cinema in Nine KYLE STEVENS Public Sphere in Late Colonial Movements India SUZANNE GAUCH Projections of Memory MANISHITA DASS Romanticism, Modernism, and Devices of Curiosity the Aesthetics of Film RICHARD I. SUCHENSKI The James Bond Pop Songs Early Cinema and Popular Pop Anthems of Late Capitalism Science OLIVER GAYCKEN The Early Film Music of Dmitry ADRIAN DAUB and Shostakovich CHARLES KRONENGOLD Rock ‘N’ Film JOAN TITUS Oxford Music / Media Hollywood Cinema’s Dance with Popular A Very Short Introduction Music Understanding Sound Tracks DAVID E. JAMES PETER DECHERNEY through Film ELSIE WALKER Roadshow! Some of These Days The Fall of Film Musicals in the Black Stars, Jazz Aesthetics, and Roland Barthes’ Cinema 1960s PHILIP WATTS, DUDLEY ANDREW, Modernist Culture MATTHEW KENNEDY YVES CITTON, VINCENT DEBAENE, JAMES DONALD and SAM DI IORIO Save 30% on these and other exciting oup.com/us titles with discount codeAAFLYG6 ! V. 2 4 CANADIAN JOURNAL OF FILM STUDIES N .1 REVUE CANADIENNE D’ÉTUDES CINÉMATOGRAPHIQUES

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Scholarly articles in English and French on theory, history and criticism of fi lm and media; book reviews; rare and archival research documents. Recent contributors include Annette Kuhn, Philip Rosen, Jane Gaines, Patrice Petro, Catherine Russell, Miriam Hansen, Haidee Wasson, Janet Staiger, Tom Waugh, Zuzana Pick, William C. Wees, Charles Acland.

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JOURNALS

JOURNAL OF FILM AND VIDEO MUSIC AND THE MOVING IMAGE Edited by Stephen Tropiano Edited by Gillian B. Anderson Official Publication of the and Ronald H. Sadoff University Film & Video Association Music and the Moving Image is dedicated to the relationship between the entire universe of music The Journal of Film and Video, an internationally and moving images (film, television, music videos, respected forum, focuses on scholarship in the fields computer games, performance art, and web-based of film and video production, history, theory, crit- media). icism, and aesthetics. Article features include film and related media, problems of education in these fields, and the function of film and video in society. The Journal does not ascribe to any specific method but expect articles to shed light on the views and teaching of the production and study of film and video.

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JOURNAL OF THE JOURNAL OF AESTHETIC VISUAL ARTS RESEARCH ANTHROPOLOGICAL STUDY EDUCATION Edited by Jorge Lucero, Laura Hetrick, OF HUMAN MOVEMENT Edited by Pradeep Dhillon and Tyler Denmead Edited by Brenda Farnell and Drid Williams The Journal of Aesthetic Education (JAE) is a highly Visual Arts Research provides a forum for historical, crit- Now in an online-only format, the Journal for the respected interdisciplinary journal that focuses on clar- ical, cultural, psychological, educational and conceptual Anthropological Study of Human Movement presents ifying the issues of aesthetic education understood in research in visual arts and aesthetic education. Unusual current research and stimulates discussion of ideas its most extensive meaning. The journal thus welcomes in its length and breadth, VAR typically publishes 9–12 and issues that arise from a study of human movement articles on philosophical aesthetics and education, to scholarly papers per issue and remains committed to its within the framework of anthropological enquiry. problem areas in education critical to arts and human- original mission to provide a venue for both longstand- Recognizing that there are overlaps between the con- ities at all institutional levels; to an understanding of ing research questions and traditions alongside emerg- cerns of this field and those of other human and social the aesthetic import of the new communications media ing interests and methodologies. sciences, such as philosophy, linguistics, sociology and and environmental aesthetics; and to an understanding psychology, we encourage contributions from members of the aesthetic character of humanistic disciplines. The of other disciplines who are interested in movement as journal is a valuable resource not only to educators, but a world-wide, and particularly human, phenomenon. also to philosophers, art critics and art historians.

e UNIVERSITY of OKLAHOMA

Film and Media Studies is an interdisciplinary undergraduate program FILM & at the University of Oklahoma designed to give students a broad MEDIA understanding of film and media history, theory, and criticism. OU Film STUDIES and Media Studies, in the 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 known for its academic excellence and strong sense of community. Attracting top students from across the nation and more than 100 countries around the world, it is a comprehensive public research university offering a wide array of undergraduate, graduate, and professional programs and extensive continuing education and public service programs. It ranks first in the nation among public universities in the number of National Merit Scholars enrolled, and its 2000-acre Norman Campus houses fifteen colleges with approximately 1300 faculty serving more than 26,000 students.

http://cas.ou.edu/fms/ Graduate Faculty Johannes von Moltke, Professor: Film & Critical Theory; Spectatorship; Genre; German Film History; Fascist Cinemas Matthew Solomon, Associate Professor: French & US Film History & Theory; Authorship; Intermediality yeidy rivero, Professor: International TV & Media; Race & Ethnic Representations in Media abé Mark Nornes, Professor: Asian Film; Documentary; Translation Theory Sheila Murphy, Associate Professor: Digital Ph.D. Program Media; Internet Studies; Video Game Studies; TV candace Moore, Assistant Professor: Ameri- can TV; Queer Media; Production & Fan Cultures in Screen artS & cultureS amanda lotz, Professor: TV Studies; Media Industry Studies; Gender and Media dan Herbert, Associate Professor: Media Industries; Media Geographies; Video Studies he UM Screen Arts & Cultures colin Gunckel, Assistant Professor & DGS: doctoral program emphasizes the Am Film History; Chicano/Latino Film & Media; Latina American Cinema study of representations exhibited, T caryl Flinn, Chair & Professor: Film Music & produced and consumed via screens— Musicals; Gender; Critical Theory & Cultural whether cinematicor televisual screens, Studies Hugh cohen, Professor: The Western; Film video monitors, computer display, handheld Criticism; Scandinavian Film devices, etc. We pursue screen media in Giorgio Bertellini, Associate Professor: Silent their social, national, transnational, and Cinemas; Comparative Media Studies; Fascism; Italian Cinema and TV 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/sac Rowman & Littlefield May 2015 •208 pages 978-1-4422-4185-5 • Hardback • $34.00 978-1-4422-4186-2 • eBook • $33.99

Filled with slapstick humor, musical wizardry, and religious imagery, Tyler Perry’s films have inspired legions of fans, and yet critics often dismiss them or demean their audience. Tyler Perry’s America takes the films seriously in their own right. After providing essential background information on Perry’s life and film career, the book looks at what the films reveal about post–civil rights America and why they inspire so many people. Tyler Perry’s America is a thought-provoking examination of this powerhouse filmmaker which highlights the way Perry’s films appeal to viewers by connecting a rich African-American folk-cultural past with the promise of modern sophistication.

“The book is lovingly informative, and Lee knows the context of the films (be it reality, novels, or other films). . . . Highly recommended.”—CHOICE

“It is impossible to understand modern America without understanding the phenomenon that is Tyler Perry. In this book, Shayne Lee does a masterful job bringing us into the world of Tyler Perry films and helping us understand what they tell us about ourselves. A riveting read; be prepared to be surprised.” —Michael Emerson, Rice University

“In Tyler Perry’s America: Inside His Films, sociologist Shayne Lee offers an unmatched and unrivaled scholarly consideration of the sociocultural relevance of Perry’s oeuvre for a post–civil rights, post-soul era. . . . Lee offers here a compelling, rigorous sociological approach to his data that sets a new standard of engagement that future treatments will have to, no doubt, consider.”—Monica R. Miller, Lehigh University

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