PRECONFERENCES

Tuesday 16th Wednesday 17th Thursday 18th Friday 19th Saturday 20th

CONFERENCE REGISTRATION, June 17-20, h 9-17.30

A1-A6 E1-E7 I pp. 28-29 pp. 36-37 pp. 44-45

B1-B8 F1-F11 J1-J10 pp. 30-31 pp. 38-39 pp. 46-47 ORKSHOP Y W ORKSHOP TE W A U C1-C8 G1-G10 K1-K10 SMEDIALIT pp. 32-33 pp. 40-41 pp. 48-49 GRAD TRAN

GRADUATE D1-D10 H1-H9 L1-L10 WORKSHOP pp. 34-35 pp. 42-43 pp. 50-51

p. 20 p. 20 pp. 18-19

18.00-19.30 18.00-19.30

18.00-19.30 Keynote 3 Keynote 4 p. 26 p. 27 19.00-20.30 Keynote 2 Keynote 1 p. 25

p. 24 NECS Conference

7 Partners NECS Conference

Supported by: General Partner:

Partners:

Honorary Patronage

Media Patronage Organising Team NECS Conference

The NECS Steering Committee The NECS Conference Committee

Sophie Einwächter Ruggero Eugeni » University of Mannheim » Catholic University of the Sacred Heart

Jaap Kooijman James Harvey-Davitt » University of Amsterdam » Anglia Ruskin University

Trond Lundemo Daniel Kulle » Stockholm University » University of Hamburg

Patricia Pisters Michał Pabiś-Orzeszyna » University of Amsterdam » University of Lodz

Petr Szczepanik Rikke Schubart » Masaryk University, Brno » University of Southern Denmark

Alena Strohmaier Petr Szczepanik » Philipp University of Marburg » Masaryk University, Brno

Malin Wahlberg » Stockholm University

Conference Key Contacts

Conference Manager Ewa Ciszewska [email protected]

Programme and Panel Coordination Michał Pabiś-Orzeszyna [email protected]

Media and Public Relations Natalia Szeligowska [email protected] Agnieszka Walewska [email protected]

Special Events Mikołaj Góralik [email protected]

Publishers Forum Karol Jóźwiak [email protected]

Logistics Kamil Jędrasiak [email protected]

Communication Design Krzysztof Jajko [email protected] Monika Rawska [email protected]

Graduate Workshop Alex Casper Cline [email protected] Karol Jóźwiak [email protected]

Project Forum and Transmediality Workshop Łukasz Biskupski [email protected]

Participants administration Marta Kasprzak [email protected]

Translations Olga Łabendowicz [email protected]

General Inquires [email protected] NECS Conference

WELCOME TO ŁÓDŹ!

Łódź, the former textile industry empire, today is a city of unique palaces, villas and nineteenth- century textile factories. The city of art festivals, openings, exhibitions, and exciting music events. This post-industrial city is known all over the world for its interests in art of all kinds and most of all for its huge engagement in the world of cinema.

ENTRY FORMALITIES CLIMATE

UK nationals with a passport endorsed British Citizen do Łódź has a humid continental climate with warm not require a visa and must have a passport valid on summers and no dry season. Over the course of a year, arrival. If their passport is endorsed British National the temperature typically varies from -6°C to 25°C and is (Overseas), British Overseas Territories Citizen or British rarely below -15°C or above 31°C. The warm season lasts Subject with the right of abode in the UK a visa is not from May 27 to September 6 with an average daily high required for a stay of up to 90 days; passports for these temperature above 20°C. The cold season lasts from endorsements must be valid for three months beyond December 2 to March 6 with an average daily high intended departure, with the exception of British Subjects, temperature below 5°C. who need a passport valid on arrival. Other passport holders require a visa and three months validity on their CURRENCY passports. Poland does not use the euro as its currency. The złoty Canadian nationals do not require a visa for stays of up to (sign: zł; code: PLN) is the currency of Poland. The 90 days. Passports must be valid for three months beyond modern złoty is subdivided into 100 groszy (singular: period of intended stay. grosz). When shopping in Poland you will need to pay in the local currency. You will need to exchange your Australians require a passport valid for at least three currency for PLN because no other currency will be months beyond period of intended stay to enter Poland accepted. You can change money in banks, where you and may stay for up to 90 days without a visa. will be charged commission for the transaction. You can also go to a “kantor” (exchange office) which usually South African passport holders require a visa for travel to provides services without commission and usually offers Poland. Passports must be valid for at least three months better exchange rates than banks. You can also pay for after period of intended stay. your shopping by using your bank card (many types are accepted). Travelers' cheques are the safest way of New Zealand nationals require a passport valid for at least carrying money. However, they are only accepted by three months beyond the period of intended stay. A visa is main banks and hotels. They are not accepted by not needed for up to 90 days. exchange offices. Irish nationals require a passport valid on arrival, but no TELEPHONE visa is necessary. To call Polish telephone number from outside Poland, A passport valid for at least three months after period of either from a landline or a mobile phone, you will need to intended stay is needed for those who require a visa. add the international dialing code for Poland, which is Generally, visa exempt nationals must have a passport 0048 (+48), followed by the telephone number you valid for period of intended stay (other than EEA require. To call another country from Poland, you will nationals). The borderless region known as the Schengen need to add the international dialing code for the country area includes the following countries: Austria, Belgium, you are calling, followed by the telephone number you Czech Republic, Denmark, Estonia, Finland, France, require. To make calls within Poland, dial the number you Germany, Greece, Hungary, Iceland, Italy, Latvia, require without adding the international country dialing Lithuania, Luxembourg, Malta, The Netherlands, Norway, code. Before travelling to Poland you should contact your Poland, Portugal, Slovakia, Slovenia, Spain and Sweden. telephone service provider to activate the international All these countries issue a standard Schengen visa that roaming service (if it is not already activated has a multiple entry option that allows the holder to travel automatically). freely within the borders of all with nothing more than a valid identity card or passport. TIME ZONE COUNTRY CODE: +48 Poland is in the Central European Time Zone. Central European Standard Time (CET) is 1 hour ahead of INTERNATIONAL CALL PREFIX: 00 Greenwich Mean Time (GMT+1). Like most states in Europe, Summer (Daylight-Saving) Time is observed in Poland, where the time is shifted forward by 1 hour; 2 TRUNK PFREFIX: NONE hours ahead of Greenwich Mean Time (GMT+2). NECS Conference

INTERNET TRAVEL

A free access to Wi-Fi network will be provided to An excellent geographical location is the main advantage conference participants. of Łódź. The city is situated in the center of Poland, at the junction of two motorways: A1 (north - south) and A2 There are numerous Internet points and cafés offering (east - west) and main railway lines. Our city is located Internet access. In many hotels (especially higher- only 130 km (80 miles) from the capital city of Poland - category ones) a direct Internet connection is provided in Warsaw, the journey takes around 2 hours. the rooms. Air travel enables you to get to the largest Polish cities In addition, in Poland you will find Wi-Fi access available quickly and comfortably. Airports are situated in the in many airports, hotels, train stations, and other public vicinity of most of the largest cities in Poland. Many low places where travelers pass through or stop off. budget airlines fly into Poland. There are two international airports in Warsaw (Warsaw Modlin Airport and Warsaw Chopin Airport) and one in Łódź (Łódź Reymont Airport).

WARSAW AIRPORTS WiFi Internet Access at NECS 2015 Arriving from abroad, you will probably enter Poland at Conference Venue Warsaw Chopin Airport. From there, you may either take a direct bus to Łódź or get to the Central Railway Station A free access to Wi-Fi network will be provided. (Dworzec Centralny) in Warsaw and take a train to Łódź from there (it also applies to Modlin Airport). Please be No username or password necessary. All network advised that the express buses have limited passenger traffic is archived. capacity and are often booked up. There is also a railway connecton with Warsaw Chopin Airport leading through the center of Warsaw. The line is operated by two railway carriers. Warsaw Chopin Airport can be reached by Urban Rapid Rail (SKM) line S2 and it is also operated by Masovian Railways which are launching KML airport trains. TECHNICAL INFORMATION The best way to get from central Warsaw to the Warsaw airports is to travel by ModlinBus. Tickets may be The voltage in Poland is 230 V which is the same voltage purchased online, at airport sales kiosk or directly on the used in France, Germany, and the United Kingdom. bus in cash or with credit/debit card. You can also easily get from Łódź directly to the Warsaw airports using The electrical frequency in Poland is 50 Hz. Note that ModlinBus. most household and electrical/electronic equipment nowadays support multiple frequencies, so generally, ŁÓDŹ AIRPORT electrical frequency is not an issue compatibility wise. There are direct flights from Łódź to Amsterdam, Dublin, The plugs used in Poland are C or E. Plugs/sockets are East Midlands, London, Stansted, Munich and Oslo Rygge. usually an issue when it comes to traveling, so always A taxi stand and a municipal transport stop (service 55, 65) make sure you travel with a universal plug adapter. is in the direct neighborhood of Łódź Reymont Airport. There is also line L which connects airport with train Poland uses DVD Region 2. DVD Region 2 is used in stations. To get to the univeristy campus you have to take Europe, the Middle East, and Japan. Note that a region 2 a bus (55) and then at the bus stop called POLITECHNIKI DVD cannot play on a DVD player supporting another change the bus to the tram (15, 15A). You have to get off region. There are, however, some region free DVD players the tram at the stop called POMORSKA- available that can be used to overcome this. KONSTYTUCYJNA, final destination is 80 meters away.

Poland uses Blu-ray Region B. Blu-ray Region B is used POLISH STATE RAILWAYS across Europe, the Middle East, Africa, Australia and New Zealand. The railway network in Poland is well developed. You can reach most places in the country by train. Intercity trains Poland uses the following GSM frequencies: GSM 900 / (express) run between the larger cities and you can get to GSM 1800. When travelling, make sure that your phone other localities taking the regional or fast trains. supports the GSM frequency of the country you're Timetables are available at railway stations and on the traveling to. Usually the supported GSM frequencies are Internet. Intercity TLK (Low Cost Train) trains run between printed on the box of your phone as well as its manual. Warsaw and Łódź They stop at 2 stations: Łódź Widzew and the final destination – Łódź Kaliska. INSURANCE BUS The organizers do not accept responsibility for individual medical, travel or personal insurance. All participants are You can travel to Poland by bus using one of the many strongly advised to take out their own personal insurance international firms, such as PolskiBus, Eurolines, Eurobus, before travelling to the conference. Orbis Transport, Euro-Trans and many others. NECS Conference

LOCAL TRANSPORT TOURIST INFORMATION Tickets are available at newsstands, they allow unrestricted travel around the city and are valid for journeys. Tourist Information Center: 87 Piotrkowska St., 90-423 Łódź tel.: (+48) 42 638 59 55, (+48) 42 638 59 56 TICKET PRICES: Tourist Information Point at Manufaktura You can buy tickets for: tel.: (+48) 695 131 113

20 minutes – 2,60 zł Tourist Information Point at Old Market: 1 Stary Rynek , 90-001 Łódź 40 minutes – 3,40 zł tel.: (+48) 42 661 46 66, (+48) 42 656 82 84

60 minutes – 4,40 zł Tourist Information Point at PKP Lodz Kaliska: 55 Karolewska St., 94-023 Łódź You can also buy 24-hours ticket and it costs 12 zł. tel.: (+48) 42 205 42 00

Tourist Information Point at Władysław Reymont Łódź Airport: 35 Gen. Maczka St., 94-328 Łódź tel.: (+ 48) 42 253 14 03

TAXIS

MPT Tele-Taxi 400-400 s.c. EMERGENCY PHONE tel.: (+48) 800 400 400 NUMBERS download mobile app: http://800400400.pl/aplikacje GENERAL EMERGENCY NUMBER FOR MOBILE PHONES: 112

Police: 997 CAR RENTING Fire Brigade: 998 Avis: 35 Gen. S. Maczka St. , 94-328 Łódź, tel.: (+48) 607 036 308 Ambulance: 999 Express (C.H Manufaktura): 5 Karskiego St., 92-103 Łódź, tel.: (+48) 42 632 80 44 Municipal Police: 986

Hertz (Centrum): 68 Kościuszki St., 90-432 Łódź, Police Helpline: (+48) 42 651 50 07 tel.: (+48) 605 150 420

Hertz (Lublinek): 35 Gen. S. Maczka St., Łódź, Traffic police: (+48) 42 665 25 00 tel.: (+48) 42 686 60 01

12 NECS Conference

RESTAURANTS Polka Bawełna Ogrodowa 91a, 91-065 Lodz Ogrodowa 91A/46, Lodz http://lodz.restauracjapolka.pl/ http://www.bawelna-lodz.pl/ Monday–Saturday 11:00–23:00 Monday–Thursday 11:00–00:00 Sunday 11:00–22:00 Friday–Saturday 09:00–23:00 Sunday 09:00–23:00 Soups, salads, main dishes, traditional Polish cuisine Main dishes, soups, pizzas, desserts Kamari Piotrkowska 122, Lodz http://www.restauracjakamari.pl/pl Ato Sushi Thursday–Sunday 11:00–22:00 6 sierpnia 1/3, Lodz Friday–Saturday 11:00–23:00 http://www.atosushi.pl/ Monday–Thursday 12:00–23:00 Starters, salads, Greek dishes, Greek pastas, beers, Friday–Saturday 12:00–24:00 alcohols, wines Sunday 12:00–22:00 Nienażarty Japanese cuisine Andrzeja Struga 4, Lodz Hot Spoon http://nienazarty.com.pl/ Drewnowska 58, Lodz Sunday–Thursday 12:00–21:00 http://www.hotspoon.pl/ Friday–Saturday 12:00–23:00 Sunday–Thursday 11:00–22:00 Friday–Saturday 11:00–23:00 Traditional polish food, beers La Strada Thai cuisine Piotrkowska 25, Lodz Otwarte drzwi http://www.la-strada.pl/ Piotrkowska 120, Lodz Monday–Thursday 11:00–22:00 http://otwarte-drzwi.com/ Friday 11:00–23:00 Tuesday–Thursday 12:00–22:00 Saturday 12:00–23:00 Friday–Saturday 12:00–23:00 Sunday 12:00–21:00 Sunday 14:00–22:00 Lunch (daily offers), pastas, salads, desserts, pizzas, Italian Italian cuisine cuisine Już wróciłem Affogato Piotrkowska 101, Lodz Piotrkowska 90, Lodz http://www.juzwrocilem.pl/ http://www.affogato.pl/ Daily 12:00–22:00 Monday–Thursday 12:00–23:00 (kitchen till 21:30) Friday 12:00–24:00 (kitchen till 23:00) Tarts, coffee, tea, regional beers, regional cuisine. Saturday 12:00–24:00 (kitchen till 23:00) Lunch (Monday–Friday 12:00–17:00), Anatewka 6 sierpnia 2/4, Lodz Main dishes, starters, salads, desserts, tea and coffee, http://www.anatewka.pl/ alcohols, drinks Daily 12:00–22:00 Manekin Main dishes, starters, salads, desserts 6 sierpnia 1, Lodz http://manekin.pl/lodz.html Mitmi Sunday–Thursday 10:00–22:30 Piotrkowska 138/140 (OFF Piotrkowska), Lodz Friday–Saturday 10:00–23:30 http://offpiotrkowska.com/portfolio-items/mitmi- restobar/ Pancakes, crêpes, soups, salads, desserts, alcohols, wines Monday–Thursday 09:00–23:00 Friday 09:00–02:00 Servantka Saturday 11:00–02:00 Piotrkowska 55, Lodz Sunday 11:00–23:00 http://www.servantka.pl/ Monday–Thursday 12.00–22.00 Main dishes, pastas, salads and vegetarian food, soups, Friday–Saturday 12.00–23.00 desserts Sunday 12.00–22.00

Traditional Russian dishes, Ukrainian cuisine, traditional Polish meals, Byelorussian dishes NECS Conference

RESTAURANTS COFFEE SHOPS Drukarnia Skład wina i chleba Szwalnia smaków Piotrkowska 138/140 (OFF Piotrkowska), Lodz Piotrkowska 217, Lodz http://www.drukarniaoff.pl/# Monday–Friday 09:00–21:00 Monaday–Wednesday 07:00–22:00 Saturday–Sunday 10:00–22:00 Thursday 07:00–24:00 Friday 07:00–until last guest Breakfast, main dishes, starters, pastas, salads, cakes Saturday 11:00–until last guest Sunday 11:00–22:00 Café Verte Piotrkowska 113/115, Lodz Breakfast, main dishes, pastas, fish, starters, sandwiches, Sunday–Thursday 10:00–22:00 salads, wines Friday–Saturday 10:00–24:00

Spółdzielnia Cakes, beers Piotrkowska 138/140 (OFF Piotrkowska), Lodz http://spoldzielnia-lodz.pl/ Montag Monday–Thursday 09:00–22:00 Piotrkowska 107, Lodz Friday–Saturday 09:00–02:00 Monday–Friday 08:00–20:00 Sunday 10:00–22:00 Saturday 08:00–16:00

Breakfast, sandwiches, salads, starters, soups, main Bakery dishes, lunch, pastas, cocktails Owoce i Warzywa MEG MU Traugutta 9, Lodz Piotrkowska 138/140 (OFF Piotrkowska), Lodz http://www.owoceiwarzywa.com/ http://offpiotrkowska.com/portfolio-items/meg-mu- Monday–Friday 10:00–00:00 african-cook/ Saturday 10:00–until last guest Monday–Tuesday 12:00–21:00 Sunday 12:00–00:00 Wednesday–Thursday 12:00–22:00 Friday–Saturday 12:00–00:00 Events, food, cocktails, beers, drinks, tea, coffee Sunday 13:00–20:00 Lodziarnia Cukiernia Wasiakowie Main dishes, starters, soups, desserts, African cuisine Traugutta 2, Lodz http://www.cukiernia.eu/ VEGETARIAN RESTAURANTS Monday–Saturday 10:00–21:00 Sunday 12:00–20:00 Korzenie Piotrkowska 217, Lodz Cakes, Ice creams, coffee, chocolates Tuesday–Saturday 11:00–21:00 Sunday 13:00–20:00 Mebloteka Yellow Piotrkowska 138/140 (OFF Piotrkowska), Lodz Main dishes, salads, soups, desserts http://meblotekayellow.pl/ Monday–Thursday 13:00–22:30 or 00:00 GreenWay Friday–Saturday 13:00–02:00 or 03:00 Piotrkowska 80, Lodz Sunday 13:00–22:30 or 00:00 Monday-Saturday: 9:00 – 21:00 Sunday: 10:00 – 21:0 Food, desserts, drinks, events

Main dishes, salads, soups, desserts Daleko Blisko Piotrkowska 138/140 (OFF Piotrkowska), Lodz GreenWay http://dalekoblisko.com/ Drewnowska 58 (Manufaktura), Lodz Tuesday–Thursday 12:00–23:00 Monday–Saturday 10:00–22:00 Friday 12:00–until last guest Sunday 11:00–22:00 Saturday 1100–until last guest Main dishes, salads, soups, desserts Sunday 11:00–23:00 Granda Tea, coffee, cakes Rewolucji 1905 r. 48, Lodz http://klubokawiarnia-granda.pl/ Cafe Wiedeńska Monaday–Saturday 10:00–until last guest Plac Wolności 6, Lodzi Sunday 15:00–until last guest http://www.restauracja-cafe-wiedenska.pl/index2.html Meals, coffee, tea, regional beers, drinks Daily 08:00–22:00

Main dishes, desserts, alcohols, drinks NECS Conference

DESSERTS BARS, CLUBS, NIGHT LIFE Cafe Wiedeńska Spaleni słońcem Plac Wolności 6, Lodzi Piotrkowska 138/140 (OFF Piotrkowska), Lodz http://www.restauracja-cafe-wiedenska.pl/index2.html Daily 14:00–minimum 00:00 Daily 08:00–22:00 Drinks, alcohols, cocktails Main dishes, desserts, alcohols, drinks DOM Fabryka babeczek Piotrkowska 138/140 (OFF Piotrkowska), Lodz Narutowicza 45, Lodz Daily 16:00–until last guest http://www.fabrykababeczek.pl/ Monday–Friday 10:00–19:00 Events, drinks, alcohols, cocktails Saturday 10:00–17:00 Łódź kaliska Cupcakes, cakes Piotrkowska 102, Lodz http://www.lodzkaliska.eu/ Niebieskie Migdały Monday–Thursday 16:00–02:00 Sienkiewicza 40, Lodz Friday–Saturday: 16:00–06:00 http://www.niebieskie-migdaly.pl/ Sunday 16:00–02:00 Monday–Thursday 11:00–21:00 Arts, entertainment, cocktails, beers, alcohols Friday–Saturday 11:00–22:00 Sunday and holidays 13:00–21:00 Café Foto 102 Piotrkowska 102, Lodz TEA HOUSE http://www.fotocafe102.pl/ Monday–Wednesday 10:00–02:00 Ms café Thursday–Friday 10:00–until last guest Więckowskiego 36, Lodz Saturday 11:00–until last guest http://www.mscafe.com.pl/index.html Sunday 13:00–01:00 Tuesday–Thursday 11:00–22:00 Exhibitions, concerts, events, cocktails, beers, alcohols Friday 11:00–until last guest Z innej beczki Saturday 17:00–until last guest Moniuszki 6, Lodz Sunday–Thursday 15:00–24:00 Tea house, coffee, desserts, cocktails, alcohols Friday–Saturday 15:00–02:00 Vinda Regional beers, events Zgierska 69, Lodz http://www.vinda.pl/ Piwoteka Narodowa Monday–Saturday 11:00–22:00 6 sierpnia 1/3, Lodz Sunday 11:00–20:00 http://piwotekanarodowa.pl/ Monday – Thursday: 15:00-00:00 Coffee, lunch, cocktails Friday and Saturday: 15:00-02:00 Sunday: 17:00-00:00 Caffe przy ulicy Łagiewnicka 120, Lodz Regional beer, events http://www.caffeprzyulicy.pl/# Monday–Saturday 09:00–20:00 Café wolność Sunday 12:00–20:00 Plac Wolności 7, Lodz http://www.cafewolnosc.pl/ Meals, sandwiches, coffee, ice creams Monday – Friday: 10:00 – until last guest Saturday and Sunday: 11:00 – until last guest

Beer, cocktails, alcohol, coffee Food Trucks NECS Conference

On June 18–20, 2015, the student car park of the Faculty of Philology (171/173 Pomorska St.) will be transformed into a gastronomy zone with delicious food, snacks and beverages served by local restaurants and food trucks.

Casseroles Vegan oriental food

Beef burgers Quesadillas, burgers, ciabattas

Vegan burgers Empanadas, mini pizzas, with homemade sauces hot sandwiches

Coffee, hot chocolate, Ice cream, waffles, beverages round waffles, smoothies

Disclaimer: all entities will provide services for individual purchase. Panel Chairs Duties Audio Visual Policy

Panel chairs have three primary duties:

» introducing the presenters in a session, » keeping time during the session » facilitating the Q & A at the end of the session.

Arrive at your presentation room at least 10 minutes early so that you can meet the other panelists and make sure you know how to pronounce their names, titles, etc. Introduce each presenter right before s/he speaks to help audience members joining the session late to easily understand which presentation is underway at a given time.

Introductions should be short and include presenter name, position, affiliation, and paper title but they may also include very brief statements regarding the presenter's research/teaching interests, major publications, etc.

Please keep panel presentations to 20 minutes, respondentsʼ presentations to 8 minutes. Panels with more than three presenters will need to reduce presentation times to fit the 105-minute sessions.

Please have the panelists check their technology in advance, and check that audio and video facilities are working before your session begins. The conference staff will be available to help with any technical issues.

We prefer if presenters stick to the printed order of presentations in a given panel. This allows individuals moving between panels to have a better idea of when a given presentation will occur in the session.

Chairs should remind panelists when there are five minutes and two minutes remaining, and when the 20-minute mark has been reached and speakers should bring their presentation to a close. Please convey to presenters how and when you will give them time signals before the panel starts. If you have indicated to the presenter that her/his time has expired but s/he has not concluded the presentation within a minute or so of that advice, you should intervene verbally to request s/he finish promptly so that the other panelists will have time for their presentations.

Chairs who are presenting papers should designate one of the panelists to time their paper when they are presenting.

The Q & A should occur at the end of the session. Please ask the audience to hold all questions until all panelists have presented.

Please end your panel or workshop on time to allow participants and audience members sufficient time to get to the next panel or workshop.

NECS 2015 Audio Visual Policy

Please, bring your presentation stored on a flash drive with a back-up copy sent to your e-mail address.

» Standard equipment in all conference rooms: PC-Based Computer workstation with CD-R/DVD Drive (region 2 – standard for Europe), internet and USB Connection, LCD Projector (with sound).

» Supported file formats: PPT and PPTX (alternatively: PDF)

» If your file requires an Apple computer, you are responsible for your own equipment and connectors to the PC available in the room.

» If you wish to use your own laptops: please make sure your equipment has a standard VGA output, or bring a well-tested connector (especially for Apple) and a power adapter for continental Europe.

» We are NOT able to accommodate changes or requests for A/V equipment on-site.

Thank you for your cooperation! Workshop Transmediality in modern popular culture Wednesday 17th, Art_Inkubator, Tymienieckiego 3

In reference to one of the conference's sub-themes “The archive of popular culture” a workshop on the history of transmediality in modern popular culture will be held. It will focus on the exploration of cross-media business synergies in the entertainment industry and on the history of media convergence in the 19th and the first half of the 20th century popular culture (before 1939).

SCOPE

Media convergence is one of the widely debated concepts in contemporary media research. As conceptualised by Henry Jenkins, convergence manifests itself i.e. in transmedia storytelling (Jenkins, 2006: 334). The investigation of transmediality, however, most often concentrates on contemporary networked digital media. As concerns the historical research of popular culture, the exploration of transmediality has been limited (although not entirely unexamined). Yet that kind of cross-textual practices can be traced as early as the modern culture industry came into existence. For example, according to Matthew Freeman, at the beginning of the 20th century in the USA we can find examples of "cross-textual self-promotion and cross-media branding (...), grounded in such cultural factors as turn-of-the-century immigration, new forms of mass media - such as, most notably, newspapers, comic strips, and magazines - and consumerism and other related textual activities" (Freeman, 2014: 2).

Therefore, we would like to explore the transmedial dimension of pop culture in the 19th and the first half of the 20th century. » How did motives, characters, narratives circulate between various media platforms and cultural circuits? » What was the transmedial dimension of the emerging global culture industry? » How did mediatization processes impact on local practices (especially in the peripheral media environments)?

References:

Jenkins, Henry, “Convergence Culture: where old and new media collide”, NYU Press, 2006. Freeman Matthew, “Branding consumerism: Cross-media characters and story-worlds at the turn of the 20th century”, International Journal of Cultural Studies, Published online before print January 21, 2014, DOI: 10.1177/1367877913515868.

Workshop organizers:

Łukasz Biskupski, University of Social Sciences and Humanities SWPS Mirosław Filiciak, University of Social Sciences and Humanities SWPS Michał Pabiś-Orzeszyna, University of Lodz

The organization of the workshop is supported by the Polish National Center for Science under Grant DEC-2012/07/E/HS2/03878. Workshop Transmediality in modern popular culture Wednesday 17th, Art_Inkubator, Tymienieckiego 3

Room A_120

Registration and Welcome Coffee Coffee Break 9:00–9:15 15:30–15:50

Welcome and Opening Remarks Session 3 9:15–9:20 15:50–18:00 Introductory lecture Pamela Gionco » Universidad de Buenos Aires 9:20–11:00 High and Popular Culture on a 19th Century Satirical Publication from Argentina Matthew Freeman » Birmingham City University Witold Filar The Historical Rise of Transmedia Storytelling » Nicolaus Copernicus University The Influence of the Local Media on Development Respondent: Mirosław Filiciak of popular culture in Second Polish Republic » University of Social Sciences and Humanities SWPS Beatriz Bartolome Herrera Coffee break » Concordia University 11:00–11:15 Movie-themed Exhibitions: Interrogating Transmedia Practices in Spatial Terms Session 1 11:15–12:45 Mirosław Filiciak » University of Social Sciences and Humanities SWPS Paola Valentini The Other Kind of Media. Problematizing the Media » University of Florence, Italy Concept in the Polish Lands Before World War II Transmediality in Italy in the Fascist Era: Soundscape and Transmedia Resonances Summaries and discussion Federico Pagello » Queen's University Belfast Transmedial Crime Narratives in Early Twentieth-Century Opening Keynote Film and Print Culture » 19:00 at the University of Lodz, Michał Pabiś-Orzeszyna Faculty of Philology » University of Lodz Traveling Sound. Radio, Gramophone and Sound Film in the Interwar Poland Krzysztof Wodiczko Lunch Break 12:45–14:00 Session 2 14:00–15:30

Gert Jan Harkema » Stockholm University The New within the Old, the Old within the New: Transmediality and the Introduction of the Kinematograph

Benjamin Eugster » University of Zürich Affirmative Neurasthenia: Aesthetic Excess and the Dilemma of Expressionist Transmediality

Šárka Gmiterková » Masaryk University, Brno Multiple Charms, Multiple Media Presence. Oldřich Nový 1936-1945 Graduate Workshop Art_Inkubator in Fabryka Sztuki, Tymienieckiego 3, Lodz

Tuesday, 16.06

Wednesday, 17.06

Welcome Coffee Break » 9:00–09:30 » 16:15–16:45 Introductions Biomechanics » 9:30–10:00 » 16:45–18:00

Networked Fictions Giuseppe Gatti » 10:00–11:15 » Roma Tre University The Mecha that therefore I am (not): Notes Tim Yaczo on the Becoming-animal in the Age of Robot Genesis » University of Amsterdam, Amsterdam School Evangelion for Cultural Analysis Thinking, Reading, Tweeting: Neuronarratives and Jennifer Sophia Satchell-Baeza Egan's Black Box » King's College, University of London, Department of Film Studies Petrina Vasileiou The Boyle Family's Son et Lumière for Insects, Reptiles, » Lund University, Department of Arts and Cultural and Water Creatures (1966) and the Biological Aesthetic Sciences of Light Shows “An Online Ideal World Which Reality Can No Longer Meet?”: Technology, Fiction and Identity in The Era Closing Remarks of Social Media » 18:00–18:15 Break » 11:15–11:45 Opening Keynote

Embodied Fiction » 19:00 at the University of Lodz, » 11:45–13:00 Faculty of Philology Stephanie de Smale » Utrecht University, Department of Media and Culture Studies Krzysztof Wodiczko Body Travel: Zooming into Games in Healthcare with Microscopic Vision

Georgia Aitaki » University of Gothenburg, Department of Journalism, Media and Communication "What to do with Fiction?" A Review of Questions and Answers about the Socio-cultural Significance of Television Fiction

Lunch » 13:00–15:00 The Media Artefact » 15:00–16:15 Marta Wasik » University of Warwick, Department of Film and Television Studies Slouching Towards Obsolescence: Cinematic Depictions of Home Movies as “Old Media”

Rudi Knoops » KU Leuven, LUCA School of Arts/Re-Visionary research group, University of Antwerp, Research Centre for Visual Poetics The Imaginary in Cylindrical Anamorphosis Publishers Forum

Feel free to visit stands of the renowned publishers presenting their studies series, books and journals on film, media and culture. The Publishers Forum is located on the first floor corridor at the Faculty of Philology building and is open throughout the entire conference.

LIST OF THE PUBLISHER STANDS

Amsterdam University Press Bloomsbury Publishing

Edinburgh University Press Muzeum Sztuki

Routledge, Taylor and Francis Wallflower Press / Columbia University Press

National Audiovisual Lodz University Press Institute

Publishers Forum coordinator: Karol Jóźwiak Enthusiasts Screening

“Enthusiasts” is a collaborative work by Marysia Lewandowska and Neil Cummings (Great Britain), two exceptional artists who have been working together since 1995. In their previous projects Lewandowska and Cummings focused on the various complications and dependencies that arise between art institutions and the social, economic and political spheres as well as identification of the space within which art pieces are created.

The project entitled “Enthusiasts” was first hosted by the Centre for Contemporary Art Ujazdowski Castle in Warsaw in 2004, where the exhibition referred to a similar experiment – it presented not only works of Polish Amateur Film Clubs (known in Poland as AKFs) but also the whole aparatus related to this phenomenon: 16mm cameras, fictional amateur club lounge, posters, trophies and paraphenalia from film festivals.

The popularity of AKFs, which initially were affiliated to employing establishments, existed in between of the “effective” working time and the “unproductive”, idle, free time. According to the communist ideology, work and leisure existed as a binary opposition akin to conscious production and a hobby. Film clubs reversed this correlation – many enthusiasts of cinema were actively involved in following their passion despite rigorous professional duties. Many amateur filmmakers experienced the sense of operating outside of the “official” culture. Thanks to the collective cooperation they have created extremely diverse works that still amaze. Members of film clubs had as their main objective the creation of films for wider audiences (not only for private use). This is why the productions are characterized by the eponymous enthusiasm, passion and joy accompanying the production process.

After 1989 in Poland, both film clubs with their members and their artistic accomplishments were forgotten about– due not only to the former political system, but also to the amateur nature of the works produced.. The authors of this project rediscover those short films in order to present the practical aspects of the productions of the then working class, to reflect on the position of an amateur filmmaker and to emphasize the meaning of art in the process of changing the contemporary reality. The project “Enthusiasts” divides the amateur works into three thematic categories: “Love”, “Longing” and “Labour”

Featured films:

Due to the technical constraints of amateur filmmaking, the films do not contain dialogues – in some instances they do, however, include a voice-over. Their power stems from a universal language of images with just a hint of a characteristic “whirr” of the film projector in the background. We will find here documentary etudes as well as experimental animated films. Thanks to a personal approach of the filmmakers who portrayed their working environment, everyday routine has been raised almost to the level of craftmanship. The physical effort of the modern Sisyphuses appears as an astonishing ritual – music enhances the rhythm of the activities, ingenuous framing makes each work exceptional. All the presented productions have a common denominator: in a same way as in a famous scene from “Amator” by Krzysztof Kieślowski (1979), the filmmakers/artists focus the camera on themselves and their surroundings trying to record what they deem the most important.

SERIES #1 Friday, June 19, session G (13:45)

SERIES #2 (22 minutes) Saturday, June 20, session J (11:00)

SERIES #23 TĘSKNOT(22 minutes)A/LONGING Friday, June 19, session H (15:45)

We would like to thank InterDoc (www.interdoc.it) – International Institute for Documentary Film (Bologna, Italy) for providing the copies of the listed productions. Marysia Lewandowska and Neil Cummings share the productions of the Amateur Film Clubs under the Creative Commons license.

22 Productions from The Educational Film Studio in Lodz Screening, Saturday, June 20, session L (15:45)

Władysław Strzemiński (11'22'')

A study of the life of the remarkable painter and art theoretician, Władysław Strzemiński – the patron of the Strzemiński Academy of Fine Arts in Lodz. The artist was a pioneer of the constructivist avant-garde of the 1920s and 1930s. His works are creative interpretations of geometric forms. Strzemiński was also the creator of the theory of Unism, which he formed in 1927.

Abakany/The Abakans (13'00'')

A short film about one of the world renowned Polish artists, Magdalena Abakanowicz, and the first of her significant works: created in the early 1960s textile sculptures named "abakans" after their author.

Kierunki i style: Konstruktywizm w Polsce Cz. II – Awangarda rzeczywista /Movements and Styles: Polish Constructivism, part II – The Real Avant-Garde (18'45'')

A film from the “Movements and Styles” series is a study of the works of artists from the "a.r." group, including Strzemiński, Kobro, Stażewski, Przyboś or Brzękowski and their bold, original and mature works representing Polish constructivism. The production includes plastic models and animation techniques.

Trzy wnętrza/Three Interiors (17'00'')

Three different interiors and three artists – Jan Dobkowski, Ryszard Winiarski and Edward Krasiński. Each of them is faced with the exact same task: to create a work based on a white cube designed for the occasion. The object of the experiment was to confront the artistic styles of three contemporary Polish artists and to analyze the concepts behind the different approaches used to produce their final works.

The featured films are a curatorial selection by Daniel Muzyczuk from Muzeum Sztuki in Lodz.

The films are presented by courtesy of the Educational Film Studio in Lodz.

Thursday, 18th 9:00-10:45 Panels

2.50 2.57 Digital Games Workgroup Meeting Project Forum

Organizer: Maria B. Garda Cati Alice » University of Lodz » Catholic University of the Sacred Heart, Milan 2.51 Alice Cati, Vicente Sanchez-Biosca (eds.), Archives in human pain. Circulation, persistence, migration Medical Film Workgroup Meeting , “Cinema & Cie. International Film Studies Journal”, no.24, Organizer: Bregt Lameris forthcoming » Utrecht University, the Netherlands Zofia Rzeznik 2.53 » University of Wrocław Media Archeology Workgroup Meeting Gąszcz/Thicket. The Atlas of Histories of Wrocław's Art in the 1970s Organizer: Alex Casper Cline » Anglia Ruskin University Marta Brzezińska 2.54 » University of Warsaw Iconography of everyday life in GDR in German film Sound and Music in Media Workgroup after 1989 Meeting Chris Wahl Organizer: Nessa Johnston » Film University Babelsberg Konrad Wolf » Glasgow School of Art “Film-Erbe”: New German-language book series 2.55 on issues of Film Heritage Graduates Workgroup Meeting Carolina Sourdis » Pompeu Fabra University Organizer: Carlos Roos Colombian Found Footage: Mapping the archive of silence » Ghent University Agata Kołacz » National Audiovisual Institute NInA - institution for online and offline audience

Notes

28 Thursday, 18th 9:00-10:45 Panels

Notes Thursday, 18th 11:00-12:45 Panels

2.20 2.21 From Archival Truth to Narrative Sound and Archives Historiography: The Filmic Work of Chair: Leo Murray Thomas Harlan » Murdoch University

Chair: Chris Wahl Colin Black » Film University Babelsberg Konrad Wolf » The International Radio Art (and Creative Audio for Trans-media) Research Group Leonie Geisinberg Audio Archives as Content and Metaphor » Film University Babelsberg Konrad Wolf The Fiction of Historiography in Thomas Harlan's Life Cristina Formenti Narrative » University of Milan (Re)Animating Archival Sound Recordings: Jesko Jockenhoevel The "StoryCrops" and "Blank on Blank" Projects » Film University Babelsberg Konrad Wolf The Excess of Archival Footage in “Verrat Kaspars Steinbergs an Deutschland” (”The Case of Dr. Sorge”) » Alberta College Strategy of Latvian Audiovisual Sector Cluster: Eva Flügel Balanced Scorecard Approach » Film University Babelsberg Konrad Wolf 2.33 (Re)Enactment – Writing History in the Present through Reflecting the Past in “The Act of Killing“ Digitation and Computation in Film Studies and “Gun Wound“ Chair: Michał Pabiś-Orzeszyna Michael Wedel » University of Lodz » Film University Babelsberg Konrad Wolf Material Ghosts: Time, Memory, and the Political in “Myself and No Angel“,“Torre Bella“and “Souvenance“ Trond Lundemo » Stockholm University Films as Maps: History as Propagation and Modulation Respondent: Tobias Ebbrecht-Hartmann » Hebrew University Jerusalem Annemone Ligensa 2.22 » Film University Babelsberg Konrad Wolf Audience Archives: Digital Tools for Studying Historical The Uses of Archival Footage from WWII Audiences

Chair: Marta Brzezińska Helen Doherty » University of Warsaw » National Film School/IADT, Dublin Projections from the Archive: a Corpus Analysis of Film Henrik Gustafsson Studies » University of Tromsø – The Arctic University of Norway Murat Akser “From the Archive of Everyday Observations”: » Ulster University Daniel Eisenberg's Postwar Films From Analog to Digital Cinema Archive: Some Challenges and Opportunities for a New Life of Adriana Martins Celluloid » Catholic University of Portugal 2.50 João Canijo's Fantasia Lusitana and the Rewriting of WWII from the Margins Practices of Collecting - Case Studies 2.43 Chair: Eef Masson Anarchiving Practices Across Media Forms » University of Amsterdam

Chair: Michael Cowan Ralf Forster » University of St. Andrews » Film University Babelsberg Konrad Wolf / Potsdam Film Museum Alanna Thain Film Collections of German Federal States History, » English and World Cinemas / McGill University Common Practises and Concepts for the Future Contagious Corporealities: The When and Then of - the Case of the Filmmuseum Potsdam Performance's Long Arc Joanna Walewska Toni Pape » Nicolaus Copernicus University in Toruń » University of Amsterdam “And What About the Quality?”: Oral History Resurrecting Television: Anarchiving Media Pasts in and Technology in the Historical Research Contemporary Television on Technology in the People's Republic of Poland

Bodil Marie Stavning Thomsen Sofia Sampaio » Aarhus University » University Institute of Lisbon / Centre for Research Digitally Remastered and Anarchived - Evoking or in Anthropology Creating Memory by Animating The Archive's Ghosts: Looking for the Invisible Photographs from Maoist in the Visible: a Practices-Based Approach to the Moving Image Archive Ilona Hongisto » University of Turku The Soviets and Sue Ellen: American Popular Culture as an Archive for Eastern European Documentary Thursday, 18th 11:00-12:45 Panels

2.51 2.53 Beyond the Subalterns' Archives. How Archives of the Present and Derrida to share Colonized and Migrant Memories Chair: Tomasz Majewski Chair: Rosanna Maule » Jagiellonian University » Concordia University Aija Laura Zivitere » Information Systems Management Institute, Riga Ilaria A. De Pascalis Francia 2013: The Archive of the Present » Roma Tre University Archiving the Empire: The Ghost of Nostalgia in "Remember Me" Andrew Burke » University of Winnipeg Massimiliano Coviello The Time of Zidane » University of Siena The Liquid Traces of Migrations through Daniela Agostinho the Mediterranean Sea » Catholic University of Portugal Spectral Images: Archival Effects in Daniel Blaufuk's Alice Cati and Maria Francesca Piredda Terezín » Catholic University of the Sacred Heart in Milan Trawl (Media)Nets. How to Search for Fragments of Migrant Memories in Lampedusa Thursday, 18th 13:45-15:30 Panels

2.20 2.21 Reviewing and Reusing the Past: Institutions for Archives The Appropriation of Archival Images from InA Chair: Kaspars Steinbergs the Holocaust and the Third Reich » Alberta College Chair: Michael Wedel » Film University Babelsberg Konrad Wolf Grazia Ingravalle » University of St Andrews Remixing Silent Cinema: Historical Explorations Tobias Ebbrecht-Hartmann at the EYE Film Institute Netherlands » The Hebrew University in Jerusalem ogue Center in Łódź Trophy, Evidence, Document: A Journey from Indrek Ibrus Atrocity to Archive » Tallinn University / Baltic Film and Media School The Effects of Power in the Evolution of AV-Heritage Brad Prager

National Audiovisual Institute N Metadata Standards and Heritage Recycling: » University of Missouri Estonian Perspective The Unseen Image: Archival Photography and Forensics ek Edelman Dial in Contemporary Holocaust Documentaries Aidan Power Sponsor: » University of Bremen Chris Wahl Eurimages and the Archiving of Utopia The Mar » Film University Babelsberg Konrad Wolf The Triumph of Which Will? Repurposing Leni 2.33 Riefenstahl's Images GIF me more. Archives of Affect and Motion Sponsor: Victoria Grace Walden Chair: André Wendler » Queen Mary, University of London » Bauhaus University, Weimar An Experience with Holocaust Memory: Re-appropriating the Archive 2.22 André Wendler » Bauhaus University, Weimar Archiving Labour, Researching Production Moving Bodies on Screen Chair: Shane O'Sullivan Daniela Wentz » Kingston University, London » Bauhaus University, Weimar The Infinite Gesture Frédéric Vidal » Centre for Research in Anthropology, Lisbon Aileen Pinkert Do You Remember the Struggle of Applied Magnetics » University of Hamburg Workers (Portugal, 1974-1975)? An Analysis of Social GIF me more depth: 3D GIFs Memories Through Cinematography Christiane Lewe David Archibald » Bauhaus University Weimar » University of Glasgow “My face when…” Why Facebook Hates Reaction GIFs Archiving Loach: Recording Ken Loach's Cinematic 2.50 Working Practices Gendering Cinema Archives Aaron Hunter » Queen’s University, Belfast Chair: Monika Talarczyk-Gubała Getting a Guy to Walk on Water: Archives » University of Szczecin and the Question of Authorship in “Being There“ (1979) 2.43 Małgorzata Radkiewicz » Jagiellonian University Amateur Materials as Archives Re-Writing History of Women Pioneers of Photography and Cinema in Former Polish Galicia 1896-1939 Chair: Piotr Sitarski » University of Lodz Robin Steedman » University of London Diego Cavallotti Gendering Contemporary Kenyan Film Production: » University of Udine A Contextual Analysis of “Dangerous Affair“ (2002) “Amateur video must not be overlooked”: Analog and “Pumzi” (2009) Amateur Video as New Archival Object Adriana Margareta Dancus Paulina Haratyk » University of Agder » Jagiellonian University Kristiansand Archives of Vulnerability in Scandinavian Home Movies – Images of Everyday Life? Found Reality-Based Films of the 2010s Footage Film Projects from Archives of Archeology of Photography Foundation Rosanna Maule » Concordia University Francesca Scotto Lavina Archiving Women's Films in the Age of Digital Culture » La Sapienza University of Rome The Memory Circuit: Refiguring Collective and Autobiographical Memories through Amateur Materials Re-mediated by Digital Archive Thursday, 18th 13:45-15:30 Panels

2.51 2.53 Politics of Archiving and the Writing Archives Shaping Canons of Transnational Cultural History Chair: Piotr Kulesza Chair: Petr Szczepanik » Museum of Cinematography in Lodz » Masaryk University, Brno Anne Ciecko Rosa Olmos » University of Massachusetts-Amherst » Bibliothèque de Documentation Internationale Contemporary World Cinema Canons and/as Contemporaine Library Discursive Archives The Living Memories. Audio-Visual Archives of the BDIC Library, Research Material on International Johann Mahlknecht Conflicts » University of Innsbruck The Influence of Film Archives on Canon Formation Caroline Moine » University of Versailles Saint-Quentin-en-Yvelines Kim Louise Walden Transnational History of Solidarity Movements » University of Hertfordshire in Europe during the Cold War: New Sources, New Site Excavations: An Archaeology of Film Transmedia Archives Award Archives

Viviane Saglier » Concordia University Diasporic Film Festivals and Trans-Historical Film Economies

Dunja Jelenkovic » University of Versailles Saint-Quentin-en-Yvelines The Politics of Archiving – The Politics and Archiving: The Case of Yugoslav Documentary and Short Film Festival (1954-today)

Screening of "Ida" room 0.38

with an introduction by producer, Ewa Puszczyńska Thursday, 18th 15:45-17:30 Panels

2.20 2.21 The Toxicity of European Archives Opening/Re-Opening of Archives

Natascha Drubek Chair: Anna Nacher » Freie University Berlin » Jagiellonian University

Tomasz Łysak Dietmar Kammerer » University of Warsaw » Philipps-University Marburg The Second Best Thing? Creating a Weblog Gudrun Heidemann as Open-Access Archive for Film Studies orkshop » University of Lodz W Talitha G. Ferraz Ewa Ciszewska » Capes Foundation (Brazil)/University of Ghent Under the Cultural Projects of Reopening Cinemas: » University of Lodz Rebirthing of the Ex-Movie Theaters and Its Sociabilities in the City? Tomasz Majewski » Jagiellonian University Pamela Gionco 2.22 » University of Buenos Aires/National Library Sounding Out the Archive: Sonic Digitizing Sources for Media Studies in Argentina 2.33 (Re)Presentations of the Past Doing Archival Research on the Socialist Past Chair: Nessa Johnston » Glasgow School of Art Alice Bardan » Loughborough University Kate Bolgar Smith » SOAS, University of London Dana Mustata 'Ghosts of Songs': The Haunting Soundtracks » University of Groningen of the BAFC

orkshop Sabina Mihelj

Leo Murray W » Loughborough University » Murdoch University Clues in the Library: Fiction Techniques in the Non-Fiction Film Soundtrack Archive Cristina Preutu » Alexandru Ioan Cuza University of Iassy Andrew Hill » University of Greenwich Sylwia Szostak Historic Soundscapes: Authenticity vs. Experience » Loughborough University 2.50 Lizzie Thynne » University of Sussex Personal Archives, Personal Archiving Voices in Movement: Dramatizing Oral Histories Chair: Shane O'Sullivan 2.43 » Kingston University, London Archiving and Archives in Online Media Tom Cuthbertson Research » University of Oxford Archive Varda: Archival Impulses in Agnès Varda's Rainer Hillrichs “Agnès de ci de là Varda“ (2011) » University of Bonn Agnieszka Dytman-Stasieńko Murat Akser » University of Lower Silesia » University of Ulster Personal Archive as an Example of Historical Responsibility

orkshop Sophie G. Einwächter

W » University of Mannheim Deniz Bayrakdar » Kadir Has University Benjamin Eugster Museum of Innocence: Archiving of/for the Future » University of Zurich by Orhan Pamuk

Kim Louise Walden Catarina Mourao » University of Edinburgh - ECA » University of Hertfordshire My Grandfather and His Revolver: Dreams and Fragmented Memories Connected to Personal Archives Thursday, 18th 15:45-17:30 Panels

2.51 2.53 Gender in Audiovisual Arts Pedagogical Futures and Cinematic Chair: Greg de Cuir, Jr Histories: Teaching World Cinema Workshop » University of Arts, Belgrade Bruce Bennett Dagmara Rode » Lancaster University » University of Lodz Appropriated Images, Appropriated Bodies: On Two Nick Hodgin » Lancaster University

Feminist Video Works orkshop W Martina Panelli Alex Lykidis » University of Paris 8 Vincennes/Saint-Denis / » Montclair State University University of Udine Archiving Gender: (Bio)Technologies of the Self in Katarzyna Marciniak Found Footage Films and Contemporary Audiovisual » Ohio University Art

Victoria Pastors-Gonzáles Áine O'Healy » Regent´s University London » Loyola Marymount University Docudrama as Visual Archive: Tracing the Origin of Women's Rights Movement in Spain in the Biopics Laurence Raw of Clara Campoamor and Concept » Baskent University 2.54 2.55 Celluloid, Digital and Wax Archives Video Games

Chair: Karol Jóźwiak Chair: Maria B. Garda » University of Lodz » University of Lodz Biljana Mitrovic Vito Adriaensens » University of Art, Belgrade » University of Antwerp / VU University Amsterdam / The New Media Recording and Archiving – By/In School of Arts (KASK) Ghent the New Media: The Video Game Playing Experience Waxing Poetic, from the Museum to the Screen Paweł Frelik Surbhi Goel » Maria Curie-Sklodowska University » Panjab University, Chandigarh “Where Is That Beam, Scotty?”: Towards a Science After Amnesia, Carving Archive as a Current Creative Fiction Video Game Archive Collaboration: Kamal Swaroop's Phalke Files Mateusz Felczak Akshaya Kumar » Jagiellonian University » University of Glasgow Gather, Manage, Play – The Case of the Steam Archiving the Self Platform and Its Influence on the PC Video Games

"Ida": production and promotion 2.56 Discussion Panel with: Ewa Puszczyńska (Opus Film), Marzena Bomanowska (Museum of Cinematography)

Interlocutor: Marcin Adamczak (Adam Mickiewicz University in Poznan) Friday, 19th 9:00-10:45 Panels

2.50 2.57 Screen Industries Workgroup Meeting Project Forum

Organizer: Petr Szczepanik Sabina Mihelj » Masaryk University, Brno » Loughborough University 2.51 Screening Socialism: Popular Television and Everyday Life in Socialist Eastern Europe (2013-16) Documentary Workgroup Meeting Sylwia Szostak Organizer: Aida Vallejo » Loughborough University » University of the Basque Country (UPV/EHU) Archives and the Uncovering of Missing Histories 2.53 of Television

Cinema and Contemporary Visual Arts Monika Talarczyk-Gubała Workgroup Meeting » University of Szczecin Wanda Jakubowska. Staring anew (work in progress) Organizer: Miriam De Rosa » Catholic University of the Sacred Heart, Milan Carolyn Birdsall 2.54 » University of Amsterdam Sound Preservation Studies: How to Critically Imagine New Media Workgroup Meeting a New Research Agenda? Organizer: Rainer Hillrichs Paweł Polit » University of Bonn » Muzeum Sztuki in Lodz DADA Impuls. Egidio Marzoni Collection Sponsor: NECSUS European Journal of Media Studies 2.55 Aida Vallejo Open Access Workshop » University of the Basque Country (UPV/EHU) Documentary and Film Festivals Organizer: Greg De Cuir, Jr. » University of Arts, Belgrade Adriano D'Aloia and Ruggero Eugeni 2.56 » Catholic University of the Sacred Heart, Milan Neurofilmology. Audiovisual Studies and the Challenge Dead Media in Central-Eastern Europe of Neuroscience. Cinéma&Cie. International Film Studies Workgroup Meeting Journal, Special Issue no. 22–23, edited by Adriano D'Aloia and Ruggero Eugeni Organizer: Michał Pabiś-Orzeszyna » University of Lodz

Notes Friday, 19th 9:00-10:45 Panels

Notes Friday, 19th 11:00-12:45 Panels

2.20 2.21 Queer Cinema Italian Connections: Politics, History and Identity Chair: Dagmara Rode » University of Lodz Chair: Diana Dąbrowska » University of Lodz Katharina Lindner » University of Stirling Giancarlo Lombardi Intangible Archives? Queer Embodiment and Affect » College of Staten Island and Graduate Center/CUNY in Cinema DoubleSpeak as Boomerang Language, Politics, and Consensus in „Viva la libertà” Antoine Damiens » Concordia University Cosetta Gaudenzi The Festivals that Did Not Matter: Queer Film Festivals » University of Memphis and their Scattered Archives Rewriting Italy: Language and Family in Alice Rohrwacher's “Le meraviglie” Nanna Heidenreich » Braunschweig University of Art Áine O'Healy “Once upon a Future”. Traversing the Archive » Loyola Marymount University Chinese Immigration in the Italian Mediascape 2.22 2.33 Memory Matters Spotlights on Television Business Chair: Trond Lundemo Chair: Philip Drake » Stockholm University » Edge Hill University

Katharina Rein Luca Barra and Massimo Scaglioni » Bauhaus University, Weimar / Humboldt University » Catholic University of the Sacred Heart, Milan of Berlin History Repeating. Archives as a Connection Archives of Horror. Memory in “Buffy the Vampire Slayer” between Television and Media History

Kateřina Svatoňová Petr Szczepanik » Charles University, Prague » Masaryk University, Brno The Memory of the Experiment: Multimedia Installations An Uneasy Transfer of “Quality”: HBO Europe's Original and Experimental Film Based on the Recyling of Archive Content Production Material Susanne Eichner Katharina Włoszczynska » Aarhus University » International Research Institute for Cultural Techniques Television Series as Containers of Imagined and Media Philosophy, Bauhaus University, Weimar Communities “Archival Remakes” and Re-Making as Archive

Kateřina Krtilová » Bauhaus University, Weimar In Praise of Forgetting 2.43 2.50 Remediating the “Real”, Refiguring the Past Film Policy Research and Archives: in (Post-)Communist Central and Eastern Methods, Challenges and Case Studies European Cinema Chair: Baschiera Stefano » Queen's University, Belfast Chair: Katalin Sándor » Sapientia Hungarian University of Transylvania Gertjan Willems » Ghent University Judit Pieldner Archival Film Policy Research: Methodological » Sapientia Hungarian University of Transylvania Opportunities Remediating the Unspeakable. The Memory of the Holocaust in András Jeles's “Parallel Lives” Marco Cucco » University of Lugano Laszlo Strausz What is Film (From a Film Policy Perspective)? A Case » Eötvös Loránd University Study on “The Great Beauty” Modernism under Construction – Films on Filmmaking in the Ceausescu Era Olof Hedling » Lund University Katalin Sándor Between Art, Economics, Commerce, and Nationalism. » Sapientia Hungarian University of Transylvania Notes on the Interaction Between Different Perspectives (Re)making the Past in Lucian Pintilie's in Swedish Film Policy “Reenactment” (1969) and “Niki and Flo” (2003) Lorraine Blakemore Melinda Blos-Jáni » University of Leeds » Sapientia Hungarian University of Transylvania Cultural Intervention, Institutional Politics and Unreliable Images. Mediating the "Real" in East European the Archive: Challenges in Researching the British Compilation Documentaries about the Communist Past Film Institute's Museum of the Moving Image Friday, 19th 11:00-12:45 Panels

2.51 2.53 Carnal Archives Media Archives and the (Re-)Production Chair: Magdalena Zdrodowska of Memories » Jagiellonian University Chair: Sophie G. Einwächter » University of Mannheim Jan Stasieńko » University of Lower Silesia Mirjam Kappes Beautiful Agony: Between Humanism of an Archive » a.r.t.e.s. Graduate School for the Humanities, Cologne and Non-Human Erotism of a Data Base Mediacultural Archives and Nostalgic Remembering in the Digital Age

Giancarlo Grossi Tobias Steiner » Catholic University of the Sacred Heart, Milan » University of Hamburg Charcot and the Canon of the Moving Body – Blockbuster Tales of Days Past! Renegotiation of History The Photographic Archive of the Nouvelle in Fictional U.S. TV Drama from the 1940s up to Today Iconographie de la Salpêtrière (1888-1918) Stefan Udelhofen Hung-Han Chen » a.r.t.e.s. Graduate School for the Humanities, Cologne » Aalto University Obsolescence, Persistence and Alternative Archives in the Media History of Internet Cafés Archaeology of Face Expressions: From Empirical Studies to Algorithm Design

2.54 2.55 Experiencing the Space Collective Memories of Mediatized Identities

Chair: Talitha G. Ferraz Chair: Alena Strohmaier » Capes Foundation, Brazil / University of Ghent » Philipps University of Marburg

Giorgio Avezzu Agata Pospieszyńska » Catholic University of the Sacred Heart, Milan » University of Lodz Memories of a Lost Dispositif: Historicizing Cinema Beur as Archive of Colonialism the Cave as a Metaphor of a Spectacular Geometry Andrea Meuzelaar Maria Luna » University of Utrecht » InCom Autonomous University of Barcelona Compiling Islam: The Politics of Archival Compilation On Mapping Heterotopias: A Location Based Archive of Documentary Films Oemer Alkin » Heinrich Heine University, Duesseldorf Kamil Lipiński Tradierung in Turkish-German Cinema: Turkish » Adam Mickiewicz University, Poznan Emigration Cinema Re-Loaded The Archival Hauntings in the National Documentaries of Péter Forgács Catarina Laranjeiro » University of Coimbra Irina Schulzki Confronting Vague Ideas with Clear Images: Ghosts » University of Munich and Memories in the Liberation War in Guinea-Bissau Archive and Gesture: Spatial Structures in Kira Muratova's Films 2.57 Performance and Materiality of the Moving Image through Tape, Theater and Videoart

Chair: Miriam De Rosa » Catholic University of the Sacred Heart, Milan

Greg de Cuir, Jr » University of Arts, Belgrade The Motovun Meetings: Video – 1976 – Identity

Patricia Nogueira » UT Austin – Portugal International Program Participative Interactive Documentary as a Fragmented and “Deterritorialized” Archive

James Harvey-Davitt » Anglia Ruskin University Akomfrah's Art Histories Friday, 19th 13:45-15:30 Panels

2.20 2.21 Multicultural, Transcultural, Universal: Digital Archiving Across Books, Food, Politics, Ethics and Aesthetics of Images and Adult Films: Possibilities and Challenges Migrations Chair; Murat Akser Chair: Philipp Sack » University of Ulster, Londonerry » Braunschweig University of Art Beste Atvur Jorge Flores Velasco » Goethe University, Frankfurt How to Find Adult Films? Digital Archives as a Potential » The New Sorbonne University Source for Academic Research on Erotic and Porn Film Inti Raymi Uprising: Video, Identity and Multiculturalism Industries

Marcela Canavarro Seda Aktaş » University of Porto » Marmara University, Istanbul Audiovisual as a Technopolitical Resource to Mobilize Digital Libraries as Digital Archives; The Gutenberg People and Generate Memory Project as an Example of Crowdsourcing

Anna Mrozewicz Sedef Erdoğan Giovanelli » Adam Mickiewicz University, Poznan » Istanbul Bilgi University Affective Remediation and Transnational Shared Space Digital Food Archives: Black Sea Cuisine as in Pirjo Honkasalo's Documentary Film “The 3 Rooms an Intangible Cultural Heritage of Melancholia” 2.33 Asbjorn Gronstad Fandoms, Margins, Minorities and the Issues » University of Bergen of Technological Emancipations Archival Migrations: The Organic Image in John Akomfrah's “The Nine Muses” Chair: Anders Marklund 2.22 » Lund University Memory Televisualized Anders Marklund Chair: Kamila Żyto » Lund University » University of Lodz Emerging Memes, Canonization and Marginalized Identity Groups: Two Spanish Lesbian-Themed Pop Songs and their YouTube Fanvids Enrique Fibla Gutierrez » Concordia University Veronica Paredes NO-DO: Public Audiovisual Archives and » The New School, New York the Kidnapping of Imagination Networked Collaborations and Feminist Pedagogies with Wikipedia Vicente Rodriguez Ortega » The Charles III University of Madrid Peter Rehberg 1980s Spanish History through Contemporary » The University of Texas at Austin Television: The Case of “Cuéntame cómo pasó” The Archive of Post-Pornography: Queer Genealogies and Remediations in the Queer Fanzine Butt Cecilia Penati 2.50 » Catholic University of the Sacred Heart, Milan Unconventional Archives: Popular Media and Personal Between Institution and Grassroots? Memories as Sources for Early TV History Archiving Struggles and Methods Georgia Aitaki Chair: Marcin Składanek » University of Gothenburg » University of Lodz TV Fiction as an Archive of Crises: National and European Imaginaries in Greek Television Fiction Kamil Jędrasiak 2.43 » University of Lodz The Use of Archival Footage in Contemporary Wiki Encyclopedias as Archives and Important Tools in Convergence Culture South American Films Alexandra Kapka Chair: Caroline Moine » Queen's University, Belfast » University of Versailles Saint-Quentin-en-Yvelines Perpetual Archivists: Grassroots Conservation in a Digital Age Clara Garavelli » University of Leicester Anna Nacher Re-Using Found Footage Film in Experimental Argentine » Jagiellonian University Video Documentaries Should We Trust the Corporation to Do the Archivist's Job? A Datafied Practices, Collective Memory Beatriz Tadeo-Fuica and Dynamic Communication » University of the Republic, Montevideo / University of St Andrews Magdalena Zdrodowska Using Archival Footage in Contemporary Uruguayan Film » Jagiellonian University NAD Signed Films: Between Archiving and Temporariness Elizabeth Ramírez Soto » University of Valparaíso / University of Warwick The Afterlife of a Train: Archive Footage from Pinochet's Dictatorship and its Uses Friday, 19th 13:45-15:30 Panels

2.51 2.53 Documentary Film and Indexicality Archives Montage: Film Essays, Newsreels, Documentaries Chair: Aida Vallejo » University of the Basque Country (UPV/EHU) Chair: Patricia Pisters » University of Amsterdam Aleksandra Milovanović » Faculty of Dramatic Arts, Belgrade Juliana Froehlich Historical Documentary Programs and (Mis)Use of Archive Footage » University of Antwerp “Les statues meurent aussi”: Seen and Being Seen Through Art and Archive Terri Ginsberg » The American University, Cairo Vanessa Redgrave's “The Palestinian”: Star Vehicle Alan Wright or Political Praxis? » University of Canterbury Storming the Citadel of Time: The Use of the Archive in “Blockade” (Loznitsa, 2006) and “Mirror” Belinda Smaill (Tarkovsky, 1985) » Monash University The Problem of the Archive: Life, Documentary and Extinction Umberto Famulari » Royal Holloway, University of London The Ability to Communicate Propaganda Messages in the Newsreels of Instituto Luce: The Case of Republican Spain

Martin Štoll » Charles University, Prague Documentary Film as an Archive Data Source 2.54 2.55 Images of History and Representations Experiments in the Aesthetics of the Archive of the Future Chair: Erika Balsom Chair: Agata Pospieszyńska » King's College, London » University of Lodz Susanne Sæther Dominic Leppla » University of Oslo » Concordia University Sampling the Digital in Recent Video Art The Radicalism of Negative Community in Krzysztof Kieślowski's 1970s work Malte Hagener » Philipp University of Marburg Ana Balona de Oliveira Rembrance of Films Past: Film History in Art » University of Lisbon / New University of Lisbon / and in Cinema Courtauld Institute Archival Past Futures of Revolution and Decolonization Miriam De Rosa in Contemporary Artistic Practice from and about » Catholic University of the Sacred Heart, Milan 'Lusophone' Africa Spatializing the Archive: From Tabletop Performance to Desktop Cinema Esin Paça Cengiz » Kadir Has University, Istanbul Exploring Un-Preserved Pasts in Films

Hyunseon Lee » SOAS, University of London South-Korean Blockbuster as Historical Archive

Enthusiasts Screening: SERIES #1 (60 minutes)

1.Anatomia/Anatomy (1974), Tadeusz Wudzki, Pegaz Amateur Film Club, Warsaw, Poland, 5'55”

2.W spółczesna Symfonia/Contemporary Symphony (1971), Maciej Korus and Jerzy Ridan, Nowa Huta Amateur Film Club, Kraków, Poland, 6'20”

3.Homo (1975), Krzysztof Janicki, Grunwald Amateur Film Club, Olsztyn, Poland, 2'45”

4.bez tytułu/untitled, Sawa Amateur Film Club, Warsaw, Poland, 11'0”

5.Syzyf owie/Sisyphuses (1971), Tadeusz Wudzki, Wiedza Amateur Film Club, Warsaw, Poland, 5' 30”

6.Przez lustro/Through the Looking Glass, Franciszek Dzida, Klaps Amateur Film Club, Chybie, Poland, 15'30”

7.Razem/T ogether (1977), Krzysztof Janicki and Marek Barański, Grunwald Amateur Film Club, Olsztyn, Poland, 3'30”

8.Dotknąć Dźwięku/Touching the Sound (1981), Darek Skubel and Zdzisław Zinczuk, Awa Amateur Film Club, Poznań, Poland, 6'13”

9.Karuzela/Car ousel (1984), Krzysztof Szafraniec, Nowa Huta Amateur Film Club, Kraków, Poland, 2'20” Friday, 19th 15:45-17:30 Panels

2.20 2.21 Editions, Remakes, History Revivals Presenting Archival Utility Films

Chair: Katharina Włoszczynska Chair: Bregt Lameris » International Research Institute for Cultural Techniques » Utrecht University and Media Philosophy, Bauhaus University, Weimar Bregt Lameris Casper Tybjerg » Utrecht University » University of Copenhagen Science on Display: On Presentation Strategies The Case for Film Ecdotics for Neurological Film Collections

Kathleen Loock Eef Masson » Free University of Berlin » University of Amsterdam The Remake as Archive Utility Films in the Contemporary Heritage Museum

Agnieszka Rasmus Claudy Op den Kamp » University of Lodz » University of Zurich Hollywood Remakes of British Films as Popular Archives The Film Archive as a Birthplace: Found Footage, for the Future Legal Provenance and the “Aesthetics of Access”

Con Verevis Anke Mebold » Monash University » German Film Institute New Millennial Remakes Presenting the Films of William Held MD Online 2.22 2.33 Insights into Digital Archives: Youtube, Body Trouble: Gender, Sexuality, Minorities Video-On-Demand and the Politics of the Archive

Chair: Kamil Jędrasiak Chair: Nanna Heidenreich » University of Lodz » University of Fine Arts, Hamburg

Naomi Rolef Darshana Sreedhar Mini » Free University of Berlin » Free University of Berlin Online Resurrection: Two Biographies of Rare Archival Cabaret in Malayalam Cinema: Obscenity Debates Material from Israel on YouTube and Gender Trouble

Philip Drake Alejandro Melero » Edge Hill University » The Charles III University of Madrid Digital Archives and VOD Platforms: Establishing Researching the Representation of Homosexuality a New Role for the Digital Archive in the Disrupted in the Archives of Franco's Dictatorship Independent Film Industry Terez Vincze Valentina Re » ELTE University » Link Campus University of Rome Representation of Historical Memory through Sport Formal and Informal VOD Platforms as Archives: in Hungarian Cinema Changes and Continuity 2.50 Philipp Sack Remembrance and Oblivion in Media » Braunschweig University of Art Commemorative Practices Of Engines and Photographs. Archiving Contingent Futures in the Visual Content Industry Chair: Magdalena Saryusz-Wolska 2.43 » University of Lodz Transformations of Found Footage Nike Jung and Interactive Documentaries » University of Warwick Truth, Bones, and Fiction: Chile's Los Archivos Chair: Andrew Burke del Cardenal » University of Winnipeg Lydia Nsiah Sabrina Tenório Luna da Silva » Academy of Fine Arts, Vienna » Federal University of Pernambuco To Forget: Memory and Oblivion in Contemporary The Guests – Found Footage and the Archive Archival Practice

Leo Goldsmith Adriano D'Aloia » New York University » Catholic University of the Sacred Heart, Milan Memories of the Future: Found Footage and the Digital Forget It! Politics of Disarchiving Archive Dorota Głowacka Stefano Odorico » University of Lodz / Helsinki Foundation for Human » University of Bremen / Leeds Trinity University Rights The Interactive Documentary Form Between Aesthetics Forgetting the Dark Side of Newspapers' Online Archives and Complexity

Mark Paul Meyer » Eye Film Institute, Amsterdam Artistic Research at the Edges of the Film Archive Friday, 19th 15:45-17:30 Panels

2.51 2.53 Personal Archives and Documentary Rethinking Archive, Memory and History Practice in Contemporary Portuguese Cinema Chair: Sofia Sampaio Chair: Andrea Pócsik » University Institute of Lisbon / Centre for Research » Pázmány Péter Catholic University, Budapest in Anthropology oup Efrén Cuevas Daniel Ribas

orkgr » University of Navarra The Archive Effect in the Appropriation of Home » The Polytechnic Institute of Bragança Movies in Documentary Films. The Case of "Stories Archive as Material for Cultural Discourse: The Case We Tell" of “Lusitanian Illusion” by João Canijo

Debra Beattie Paulo Cunha » The Coimbra's University Centre for 20th Century

Documentary W » Griffith University The New Woman and Gender Disruption: Interdisciplinary Studies On Researching the Archives of Daphne Mayo "Luta ca caba inda": The Work of Filipa César with the Film Archive of Guinea-Bissau

Sponsor: Andrea Pócsik » Pázmány Péter Catholic University, Budapest Raquel Schefer Installing, "Inscening" Found Footages » The New Sorbonne University / Rennes 2 University The Archives of Connection: Rethinking Colonial Aida Vallejo Categories in Portuguese Contemporary Cinema » University of the Basque Country (UPV/EHU) Film Festivals and the Documentary Archive Glòria Salvadó and Fran Benavente » Pompeu Fabra University 2.54 Make History, Build the Document: Archive in Fiction Post-Internet-Archives in Digital Aesthetics and Fiction as Archive

Chair: James Harvey-Davitt » Anglia Ruskin University

Kamila Kuc » Goldsmiths College / University of London Photomediations: An Open Book: Writing About and Curating Visual Arts Online

Paula Albuquerque » UvA – Gerrit Rietveld Academy Webcams as Realtime Archive: 24/7 Production /Archival of Cinematic Traces and Deixis

Lisa Åkervall » Bauhaus University, Weimar Auto-Tune the Archive! YouTube's Modulated Sounds

Enthusiasts Screening: SERIES #3 (55 minutes), TĘSKNOTA/LONGING

1. Motyle/Butterflies (1971) Franciszek Dzika, Klaps Amateur Film Club, Chybie, Poland, 12'55”

2. Karuzela/Carousel (1984), Krzysztof Szafraniec, Nowa Huta Amateur Film Club, Kraków, Poland, 2'20”

3. Plakaciarz/A Man Who Puts Up Posters, Henryk Urbańczyk, Bielsko Amateur Film Club, Bielsko-Biała, Poland, 9'0”

4. Humbug (1970), Gerard Piszczek and Michał Kuczminski, IKS Amateur Film Club, Mikołów, Poland, 3'40”

5. A czy my to jacy my/And We, Who Are We, Egelbert Kral, Alchemik Amateur Film Club, Kędzierzyn, Poland, 7'20”

6. Gwiazdą być/To Be a Star, Henryk Urbańczyk, Bolesław Białek, Bielsko Amateur Film Club, Bielsko-Biała, Poland, 7'15”

7. Przed zmierzchem/Before the Twilight, Leszek Boguszewski, Sawa Amateur Film Club, Warsaw, Poland, 6'30”

8. Dotknąć dźwięku/Touching the Sound (1981) Darek Skubel i Zdzisław Zinczuk, Awa Amateur Film Club, Poznań, Poland, 6'13” Saturday, 20th 9:00-10:45 Auditorium A5

The Future of NECS Workshop

This year, in addition to the formal general meeting, we will also organize a workshop meeting to discuss in a more general way the future of NECS as a community.

Notes Saturday, 20th 9:00-10:45 Auditorium A5

Notes Saturday, 20th 11:00-12:45 Panels

2.20 2.21 The Archive and the Testimony Archivists of the Present: Dispatches Chair: Ewa Ciszewska from the Repository » University of Lodz Chair: Philip Drake » Edge Hill University Tomasz Majewski » Jagiellonian University Phil Wickham Modes of Representation of Lodz Ghetto: Forbidden » University of Exeter vs. Official Photography In Postwar Documentary Film Presenting the Audience: The Bill Douglas Cinema Museum Maurizio Cinquegrani » University of Kent Karl Magee The Łódź Ghetto: On Location and at the Archive » University of Stirling From Card Catalogue to Crowdsourcing: An Archival Ben Gook Journey » The University of Melbourne Optical Unconscious and the Blind Recording of History: Wendy Russell Thomas Heise and Harun Farocki » British Film Institute 2.22 The Materiality of the Archive: Some Considerations in the Wake of Digitisation Film Sound Practice: Processing Archives, Archiving Processes Sarah Atkinson » University of Brighton Chair: Aaron Hunter Deep Film Access: Laying the Foundations for Digital » Queen's University, Belfast Film Archives of the Future 2.33 Helen Hanson » University of Exeter Flows, Contingencies and Remixes Below the Line, In the Gaps: Tracing Sound Craft in the Hollywood Archives of the Archive

Ilario Meandri Chair: Nike Jung » University of Turin » University of Warwick Italian Foley Sound Archives: A Restoration Project Patricia Pisters Nessa Johnston » University of Amsterdam » Glasgow School of Art The Filmmaker as Metallurgist: The Archive and Radical Sound Practice in Brazil: Towards a Transnational Contingency Study of Film Sound Production Shane O'Sullivan 2.43 » Kingston University, London Trawling the Archive: Testing the Limits Hidden in the Rushes, Lost in the Feed of Polish Cinematic Representation Sanja Garic-Komnenic in the 1960s and 1970s » British Columbia Institute of Technology, Vancouver Creative Appropriation of Television Archived Footage Chair: Petr Szczepanik in Documentary Films Made During the War in Sarajevo » Masaryk University, Brno 2.50

Mikołaj Kunicki Surveillance and Superintending Devices » University of Oxford Poland's Wild West and East: Polish Westerns Chair: Joanna Walewska of the 1960s » Nicolaus Copernicus University, Toruń

Piotr Zwierzchowski Jeff Scheible » Kazimierz Wielki University, Bydgoszcz » State University of New York The Sheriff of the County Committee: Cinematic Purchase What Does Indexed Archive? On Material Representations of Polish Communist Officials History, Indexicality and New Media in the 1970s Giuseppe Gatti Ilana Miller » Roma Tre University » University of Chicago Raiders of the Archives: Notes for a Social Media Beyond the Brutal Image Hid Metaphors of Racism: Archaeology Persecution of Jews in 1960s Polish Films on Nazi Occupation Synne Tollerud Bull » University of Oslo Rohan Crickmar Volumteric (H)Overview: The Progressive Geography » University of St Andrews of Aerial View in Motion “Ręce do góry” Resurrected: Using the Archive to Complicate the Production History of Jerzy Carina Lesky Skolimowski's 'Polish' Farewell » Ludwig Boltzmann Institute for History and Society Chronicles of the Ordinary – The Filmic Apparatus Interfering with the Street Saturday, 20th 11:00-12:45 Panels

2.51 2.53 The Art of Memory: The Atlas and the Archive The Dilemmas of Use: Humans and Other Chair: Elena Vogman Animals in the Archive » Free University of Berlin Chair: Paweł Frelik » Jagiellonian University Larisa Dryansky » Paris-Sorbonne University, National Institute for Art History, Paris Richard Martin Woody Vasulka's Atlas of War and Memory: An Archive » King's College London, Middlesex University Between Past and Future Listening to Andrea Fraser: A Psychoanalytic Archive in the Gallery Riccardo Venturi » National Institute for Art History, Paris Justyna Włodarczyk Recovering from History. Photography and Moving » University of Warsaw Images in Fabio Mauri Transcending Animality/Performing Animality in Late 19th Century Animal Training Displays Angela Mengoni » University IUAV of Venice Zuzanna Ładyga From the Media 'Image-Event' to the Atlas: September » University of Warsaw by Gerhard Richter The Affect of Waning: Uses of the Human Archive in Contemporary Film Antonio Somaini 2.57 » The New Sorbonne University The Temporality of the Raster Image: Siegfried Kracauer, Project Forum Sigmar Polke 2.54 Adéla Mrázová, Jakub Jiřiště, Terezie Křížkovská » NaFilM, Faculty of Arts, Charles University, Prague The Living Archives of Art NaFilM: The National Film Museum project

Chair: Ryszard W. Kluszczyński Valentina Re » University of Lodz » Link Campus University of Rome / Ca' Foscari University of Venice Tomasz Załuski Research project: FRAMING DIGITAL 'PIRACY'. » University of Lodz Piracy and anti-piracy in Italy from 1988 to the present: Has the Future Come Yet? KwieKulik and the Archive discursive strategies, forms of consumption and cultural of Possibilities policies

Karol Jóźwiak Maria B. Garda, Paweł Grabarczyk » University of Lodz » University of Lodz Inventorying as an Art Practice “Replay: The Polish Journal of Game Studies”

Zofia Reznik Wright Alan » University of Wrocław » University of Canterbury Archiving and Mapping the Non-Existent in Art Film on the Faultline

Anja Ellenberger Łukasz Biskupski » University of Hamburg » Warsaw University of Social Sciences and Humanities Bildwechsel Hamburg as Living Archive SWPS Digital Humanities Project: “The Culture of attractions: early cinema and popular culture in Russian Poland before 1918” (www.kultura-atrakcji.swps.edu.pl)

Enthusiasts Screening: SERIES #2 (22 minutes) 1. Anatomia/Anatomy (1974) Tadeusz Wudzki, Pegaz Amateur Film Club, Warsaw, Poland, 5'55”

2. Funkcja/Function (1981), Zdzisław Zinczuk, Awa Amateur Film Club, Poznań, Poland,1'7”

3. Przez lustro/Through the Looking Glass, Franciszek Dzida, Klaps Amateur Film Club, Chybie, Poland, 15'30” Saturday, 20th 13:45-15:30 Panels

2.20 2.21 Rhetorics and Technologies of the Testimony Cinephiliac Online Film Archives

Chair: Tomasz Majewski Chair: Malte Hagener » Jagiellonian University » University of Marburg

Maria Zalewska Guido Kirsten » USC School of Cinematic Arts » Stockholm University Holography, Historical Indexicality, and the Holocaust Everything for Everyone, and for Free? The Utopian Moment of Cinephiliac Online Archives

“Panoptikum” Grażyna Świętochowska » University of Gdansk Alexander Karpisek “Warsaw Uprising” (2014) as lieux de mémoire. Digital » Braunschweig University of Art and Affective Dimension of Contemporary Uses Thoughts on Spectatorship Sponsor: of Archives 2.33 Tomasz Łysak Reworking and Remixing Found Footage » University of Warsaw Genealogies of Holocaust Testimony in Polish Chair: Andrew Burke Documentary Film » University of Winnipeg 2.22 Monise Nicodemos Audio History of/and/from Film » The New Sorbonne University Paolo Gioli – In the Shadow of Anonymous Chair: Michael Wedel » Film University Babelsberg Konrad Wolf Katarzyna Ruchel-Stockmans » Free University of Brussels Winfried Pauleit Between Fact and Fiction: Revisiting Histories » The University of Bremen of the Cold War Through Television and Cinema Archives Acoustic Space as Communal Space: Filmic Interventions in the Visual and Narrative Constructions of History Adam Freeman » University of Kent Rasmus Greiner Space Place and the Archive in the Films of Jem Cohen » The University of Bremen and Chris Petit Sonic Histospheres: The Auditory Shaping of Time 2.50 and Space in Historical Films The Archives of the Self Mattias Frey » University of Kent, The University of Bremen Chair: Alex Casper Cline The Acoustic Conventions of Historical Films: Dialect » Anglia Ruskin University in "Requiem", "Robin Hood" and Beyond Tamara Skalska Carolyn Birdsall » University of Lodz » University of Amsterdam New Media and Archives of Self as a Tool for Future Sounds that Work: Production Films, Sound Archiving Memories Design and Audio History 2.43 Carolin Anda Popular Cinemas in Central Europe: » HBK Braunschweig DFG Graduate College "The Photographic Dispositif" Film Cultures and Histories Hybrid Datachives of the Self: Memory and Network Dynamics on Facebook Chair: Zsuzsanna Varga » Glasgow University Philippe Bédard » Concordia University Dorota Ostrowska Be a Hero: The Aesthetic of Self-Representation » Birkbeck, University of London in GoPro Videos Foreign Popular Cinema in Socialist Poland

Andrea Virginas » Sapientia University, Cluj A Kind of 'Hollywood' in Post-1989 Popular Hungarian Film Production: Translating Mainstream into Small Cinema

Francesco Pitassio » University of Udine Serial Nostalgia: Alternative Modes of Popular Cinema in Contemporary Czech Production

Jan Hanzlík » University of Economics, Prague "A Good Cinema Manager Can Save Kids from Drugs": Media Discourse, Film Distribution and Programming of Cinemas in the Czech Republic before and after Digitalization Saturday, 20th 13:45-15:30 Panels

2.51 2.53 Re-Collection: Museums and Means Divergent Narratives of the Archive of Memory-Making Chair: Olof Hedling Chair: Christiane Lewe » Lund University » Bauhaus University, Weimar Simona Arillotta Sarah Czerney » Catholic University of the Sacred Heart, Milan » Herder Institute, Marburg From Autarky to Métissage: Archives of Contamination National Museums as Archives of Forgetting in the Photographic Representation of Italian Childhood in Second Postwar Jana Mangold » University of Erfurt Belén Vidal Archives for the Future of the Past » King's College, London Radical Politics, Consensual Cinema: Remembering Ulrike Hanstein the Long 60s in Contemporary European Films » Bauhaus University, Weimar Obsolete and Contemporary: Film as objet retrouvé Marta Brzezińska » University of Warsaw Nicole Kandioler Film Representations of the German Democratic » Bauhaus University, Weimar Republic After 1989 – A Counter-Archive? Marcela, René, Katka, Hitler, Stalin and I: Archival Versions of Ourselves Magdalena Saryusz-Wolska 2.54 » University of Lodz “I hereby complain about the scandalous film…” Spaces, Bodies, and Things: On Archives Opinions on 'Inappropriate' Films in 1950s West-Berlin of Emotions 2.55 Living Archives of Sergei Eisenstein: Chair: Skadi Loist » University of Rostock Correspondence, Library, Diary Chair: Antonio Somaini Tomasz Basiuk » The New Sorbonne University » University of Warsaw Body's Archive: Karol Radziszewski's Homage to Andy Warhol Natalie Ryabchikova » University of Pittsburgh Saige Walton Eisenstein's Archive: Tracing the Journey/Traces » University of South Australia of the Journey Coppola's Versailles: Archives of Luxury in “Marie Antoinette” (2006) and “The Bling Ring” (2013) Ada Ackerman » The French National Centre for Scientific Research Ger Zielinski On Sergey Eisenstein's Books and Readings: What Kind » Trent University of Archival Legacy? On Queer Film Festivals as Archives of Feelings Marie Rebecchi » The New Sorbonne University 1929-1932: Eisenstein and Painlevé. A Correspondence for the Future

Elena Vogman » University of Potsdam / Free University of Berlin Beyond the Personal Archive: Eisenstein's Diary

Working with the Past 2.56

A conversation with representatives of Muzeum Sztuki in Lodz. Interlocutor: Karol Jóźwiak (University of Lodz) Saturday, 20th 15:45-17:30 Panels

2.20 2.21 Archives of Genocide Perspectives on the Contextualization Chair: Natascha Drubek of Audiovisual Online Archives: Access » Free University, Berlin and Publication Formats Chair: Berber Hagedoorn Michael Cowan » Utrecht University » McGill University Nazi Ghost in the Machine: Contemporary Cinema Envisions the Origins of Computing Eleonora Maria Mazzoli, Berber Hagedoorn, Willemien Sanders, Eggo Müller Vesna Lukic » Utrecht University » University of Bristol The Online Audiovisual Essay: Using and Contextualizing Performativity of the Archive in the Contemporary Audiovisual Sources in Digital Media Studies Holocaust Representations Mariana Salgado Suncem Kocer » Aalto University » Kadir Has University Creative Reuse of Audiovisual Archives: Formats The Meta-Culture of Fatih Akın's „The Cut” (2014): for Supporting Amateur Practices Discourses of Armenian Genocide 2.22 Dana Mustata » University of Groningen Cinematic Memory Embodied. Young Enriching Access to Socialist Television Archives Online Audiences and (Digital) Cinema Experience 2.33 Chair: Konrad Klejsa Critical Film Festival Studies » University of Lodz Chair: Liz Czach » University of Alberta Alexandra Schneider » Johannes Gutenberg University, Mainz “The Film is Thinking” – Some Preliminary Thoughts Skadi Loist on the Research of Children's Movie-Going Experiences » University of Rostock Mapping the Circuit: Methodological Considerations Mariagrazia Fanchi, Giovanna Mascheroni of New Empiricism and the Spatial Turn » Catholic University of the Sacred Heart, Milan At the Sunrise of the Digital Revolution: Young Cinema Kirsten Stevens Audiences in Italy Between Resilience and Changes » Monash University Clutching at Ephemera: Archives, Big Data Wanda Strauven and Methodological Challenges in Multi-Event Film Festival Research » University of Amsterdam Mediated Childhood Memories Liz Czach Ian Christie » University of Alberta Affective Labour and the Work of Film Festival » Birkbeck College Cinema Is What and How We Make It Programming 2.43 Tess Van Hemert Popular Cinemas in Central Europe: » Queensland University of Technology Farewelling the Regent: Considering 'Festival Memory' Film Cultures and Histories II in the Face of Change and Innovation Chair: Francesco Pitassio 2.50 » University of Udine YouTube as an Archive Zsuzsanna Varga » Glasgow University Starlets and Heartthrobs: Popular Cinema in Hungary Chair: Tamara Skalska in the 1930s » University of Lodz

Balazs Varga Jihoon Kim » Eötvös Loránd University » Chung-ang University Budapest, Crime Film and Socialism: A Mission Archiving Networked Subjectivity: Documentaries Impossible? Remixing YouTube

Clara Orban Sheenagh Pietrobruno » DePaul University, Chicago » St. Paul University / University of Ottawa When Walls Fall: Families in Hungarian Films YouTube, Intangible Heritage and the Politics of Archiving of the New Europe Lande Pratt Elżbieta Ostrowska » Kingston University, London » University of Alberta, Edmonton Future Archive: Visualising the Flow of IP Use in UGC Power of Love: Polish Postcommunist Popular Cinema Platforms Saturday, 20th 15:45-17:30 Panels

2.51 2.53 Archives of Spaces, Images of Transition An Archeology of Nostalgic Futures Chair: Tomasz Załuski Chair: Mirosław Filiciak » University of Lodz » University of Social Sciences and Humanities

Zsolt Győri Marta Wasik » University of Debrecen » University of Warwick Archives of Utopian Modernity: Housing Films Horrific Home Movies: Analog Nostalgia, Monstrosity in Socialist Hungarian Cinema and the Family Film

Débora Gauziski Michał Pabiś-Orzeszyna » Rio de Janeiro State University » University of Lodz Fausto Amaro Tapes of Nostalgia: Contemporary VHS Screenings » Rio de Janeiro State University and Prosthetic Memory Images of a City Under Construction: Cesar Barreto's Photographs of the Olympic City Beja Margithazi » Eötvös Loránd University Sara Rundgren Yazdani Digitally Monochrome: Reflective Nostalgia and Time- » University of Oslo Shift in Contemporary Silent Cinema Neue Welt: Inkjet, Life and Machines Piotr Sitarski Defne Tuzun » University of Lodz » Kadir Has University, Istanbul Between Future and Eternity: SF Clubs and the Catholic Archival Fantasies: The Question of Fiction Church as Video Distribution and Exhibition Networks as a Necessity for Archival Preservation in Poland in the 1980s

2.54 2.55 Visual Archives Beyond the Discourse Experimental Archives

Chair: Irina Schulzki Chair: Antonio Somaini » University of Munich » The New Sorbonne University

Ivan Pintor Erika Balsom » Pompeu Fabra University » King's College Archive and Film Gestures A Cinematic Bayreuth: Gregory Markopoulos and the Temenos Roberta Agnese » University Paris Est Créteil Enrico Camporesi Altering the Archive, Registering Amnesia: The Atlas » The New Sorbonne University, University of Bologna Group and the Fiction of What Escaped History Une Histoire du cinéma: An Archival Research

Senaldi Marco Lydie Delahaye » The New Sorbonne University » University Paris VIII L'empreinte en mémoire / The Memory Imprint – The Inherent Artistic Potential of the Archive Duchamp's Cinema as Self-Recycling Archive Jonathan Pouthier » Centre Pompidou Screening Room: Acknowledging Independent Film Through Mass Media

SCHOOL OF MEDIA AND AUDIOVISUAL CULTURE

The School of Media and Audiovisual Culture is a part of the Institute of Contemporary Culture, established in 1945. The school, founded in 1997, emerged from the Department of Film Studies which was originally created in 1959 by Professor Bolesław W. Lewicki as the first Polish academic centre devoted to the research in moving pictures. The faculty of the School is currently engaged in a wide range of research projects and topic areas which have at its core the creation of a nurturing environment where the students will be provided with an opportunity to gain expertise in one of three departments:

Department of History and Theory of Film

addresses the topics of historical poetics of European and American cinema, issues of film narration, aesthetics of non-fiction film, transformations of contemporary cinema, production studies, screenplay theory and audience research

Department of Electronic Media

focuses mainly on theory and history of media and new media, communication practices and media institutions connected with them, new media art and design, theory, history and critique of computer games, issues of interactive narration

Culture Theory Department

explores the topics of history and theory of modern culture with the critical intent to the phenomenon of mass and popular culture, Polish avant-garde, modern French philosophy and the philosophy of culture, issues of identity and memory, urban studies

The School of Media and Audiovisual Culture regularly organizes international conferences which attract attention of renowned scholars – the most recent were devoted to History of Central-European Cinema and History of New Media. All three departments offer international student exchange programs in cooperation with many universities abroad, e.g. in Germany, Scotland, Italy, Turkey or Sweden.

Situated in the heart of the city of Lodz, the School is located close to other institutions connected with film industry, such as the Polish National Film, Television and Theatre School in Lodz, the Film Museum in Lodz or Opus Film production company, what creates an inspiring ambiance for studying film, new media and contemporary culture.

Visit us: Address: Pomorska 171/173 Street, Faculty of Philology, 90-236 Łódź, Poland Website: www.filmoznawstwo.uni.lodz.pl, www.media.uni.lodz.pl