Post on 23-Apr-2023
thWednesday 17thTuesday 16 thThursday 18
PRECONFERENCES
thFriday 19 thSaturday 20
A1-A6
B1-B8
C1-C8
D1-D10
E1-E7
F1-F11
G1-G10
H1-H9
I
J1-J10
K1-K10
L1-L10
CONFERENCE REGISTRATION, June 17-20, h 9-17.30
19.00-20.30
GRADUATEWORKSHOP
GRAD
UATE
WOR
KSH
OP
TRAN
SMED
IALI
TY W
ORKS
HOP
Keynote 1Keynote 2
18.00-19.30Keynote 3 Keynote 4
18.00-19.30 18.00-19.30
p. 20 p. 20 pp. 18-19
p. 24
p. 25p. 25
p. 26 p. 27
pp. 28-29
pp. 30-31
pp. 32-33
pp. 34-35
pp. 36-37
pp. 38-39
pp. 40-41
pp. 42-43
pp. 44-45
pp. 46-47
pp. 48-49
pp. 50-51
Partners NECS Conference
Supported by: General Partner:
Partners:
Honorary Patronage
Media Patronage
NECS Conference
Organising Team
The NECS Steering Committee
Sophie Einwächter» University of Mannheim Jaap Kooijman» University of Amsterdam Trond Lundemo» Stockholm University Patricia Pisters» University of Amsterdam Petr Szczepanik» Masaryk University, Brno Alena Strohmaier» Philipp University of Marburg Malin Wahlberg» Stockholm University
The NECS Conference Committee
Ruggero Eugeni» Catholic University of the Sacred Heart James Harvey-Davitt» Anglia Ruskin University Daniel Kulle» University of Hamburg Michał Pabiś-Orzeszyna» University of Lodz Rikke Schubart» University of Southern Denmark Petr Szczepanik» Masaryk University, Brno
Conference Key Contacts Conference ManagerEwa Ciszewska ciszewska@uni.lodz.pl Programme and Panel CoordinationMichał Pabiś-Orzeszyna michal.pabis@uni.lodz.pl Media and Public RelationsNatalia Szeligowska szeligowska.natalia@gmail.comAgnieszka Walewska a.m.walewska@uni.lodz.pl Special EventsMikołaj Góralik mikolaj.goralik@uni.lodz.pl Publishers ForumKarol Jóźwiak karoljozwiak@uni.lodz.pl LogisticsKamil Jędrasiak kamil.jedrasiak@uni.lodz.pl Communication DesignKrzysztof Jajko jajkokrzy@o2.plMonika Rawska mrawska@uni.lodz.pl Graduate WorkshopAlex Casper Cline not@territory.ccKarol Jóźwiak karoljozwiak@uni.lodz.pl
Project Forum and Transmediality WorkshopŁukasz Biskupski lukasz.biskupski@swps.edu.pl Participants administrationMarta Kasprzak necs2015@uni.lodz.pl
TranslationsOlga Łabendowicz olgalabendowicz@uni.lodz.pl General Inquiresnecs2015@uni.lodz.pl
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
UK nationals with a passport endorsed British Citizen do not require a visa and must have a passport valid on arrival. If their passport is endorsed British National (Overseas), British Overseas Territories Citizen or British Subject with the right of abode in the UK a visa is not required for a stay of up to 90 days; passports for these endorsements must be valid for three months beyond intended departure, with the exception of British Subjects, who need a passport valid on arrival. Other passport holders require a visa and three months validity on their passports.
Canadian nationals do not require a visa for stays of up to 90 days. Passports must be valid for three months beyond period of intended stay.
Australians require a passport valid for at least three months beyond period of intended stay to enter Poland and may stay for up to 90 days without a visa.
South African passport holders require a visa for travel to Poland. Passports must be valid for at least three months after period of intended stay.
New Zealand nationals require a passport valid for at least three months beyond the period of intended stay. A visa is not needed for up to 90 days.
Irish nationals require a passport valid on arrival, but no visa is necessary.
A passport valid for at least three months after period of intended stay is needed for those who require a visa. Generally, visa exempt nationals must have a passport valid for period of intended stay (other than EEA nationals). The borderless region known as the Schengen area includes the following countries: Austria, Belgium, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Italy, Latvia, Lithuania, Luxembourg, Malta, The Netherlands, Norway, Poland, Portugal, Slovakia, Slovenia, Spain and Sweden. All these countries issue a standard Schengen visa that has a multiple entry option that allows the holder to travel freely within the borders of all with nothing more than a valid identity card or passport.
TIME ZONE
Poland is in the Central European Time Zone. Central European Standard Time (CET) is 1 hour ahead of Greenwich Mean Time (GMT+1). Like most states in Europe, Summer (Daylight-Saving) Time is observed in Poland, where the time is shifted forward by 1 hour; 2 hours ahead of Greenwich Mean Time (GMT+2).
CLIMATE
Łódź has a humid continental climate with warm summers and no dry season. Over the course of a year, the temperature typically varies from -6°C to 25°C and is rarely below -15°C or above 31°C. The warm season lasts from May 27 to September 6 with an average daily high temperature above 20°C. The cold season lasts from December 2 to March 6 with an average daily high temperature below 5°C.
CURRENCY
Poland does not use the euro as its currency. The złoty (sign: zł; code: PLN) is the currency of Poland. The modern złoty is subdivided into 100 groszy (singular: grosz). When shopping in Poland you will need to pay in the local currency. You will need to exchange your currency for PLN because no other currency will be accepted. You can change money in banks, where you will be charged commission for the transaction. You can also go to a “kantor” (exchange office) which usually provides services without commission and usually offers better exchange rates than banks. You can also pay for your shopping by using your bank card (many types are accepted). Travelers' cheques are the safest way of carrying money. However, they are only accepted by main banks and hotels. They are not accepted by exchange offices.
TELEPHONE
To call Polish telephone number from outside Poland, either from a landline or a mobile phone, you will need to add the international dialing code for Poland, which is 0048 (+48), followed by the telephone number you require. To call another country from Poland, you will need to add the international dialing code for the country you are calling, followed by the telephone number you require. To make calls within Poland, dial the number you require without adding the international country dialing code. Before travelling to Poland you should contact your telephone service provider to activate the international roaming service (if it is not already activated automatically).
COUNTRY CODE: +48
INTERNATIONAL CALL PREFIX: 00
TRUNK PFREFIX: NONE
NECS Conference
INTERNET
A free access to Wi-Fi network will be provided to conference participants.
There are numerous Internet points and cafés offering Internet access. In many hotels (especially higher-category ones) a direct Internet connection is provided in the rooms.
In addition, in Poland you will find Wi-Fi access available in many airports, hotels, train stations, and other public places where travelers pass through or stop off.
TECHNICAL INFORMATION
The voltage in Poland is 230 V which is the same voltage used in France, Germany, and the United Kingdom.
The electrical frequency in Poland is 50 Hz. Note that most household and electrical/electronic equipment nowadays support multiple frequencies, so generally, electrical frequency is not an issue compatibility wise.
The plugs used in Poland are C or E. Plugs/sockets are usually an issue when it comes to traveling, so always make sure you travel with a universal plug adapter.
Poland uses DVD Region 2. DVD Region 2 is used in Europe, the Middle East, and Japan. Note that a region 2 DVD cannot play on a DVD player supporting another region. There are, however, some region free DVD players available that can be used to overcome this.
Poland uses Blu-ray Region B. Blu-ray Region B is used across Europe, the Middle East, Africa, Australia and New Zealand.
Poland uses the following GSM frequencies: GSM 900 / GSM 1800. When travelling, make sure that your phone supports the GSM frequency of the country you're traveling to. Usually the supported GSM frequencies are printed on the box of your phone as well as its manual.
INSURANCE
The organizers do not accept responsibility for individual medical, travel or personal insurance. All participants are strongly advised to take out their own personal insurance before travelling to the conference.
WiFi Internet Access at NECS 2015 Conference Venue
A free access to Wi-Fi network will be provided.
No username or password necessary. All network traffic is archived.
TRAVEL
An excellent geographical location is the main advantage of Łódź. The city is situated in the center of Poland, at the junction of two motorways: A1 (north - south) and A2 (east - west) and main railway lines. Our city is located only 130 km (80 miles) from the capital city of Poland - Warsaw, the journey takes around 2 hours.
Air travel enables you to get to the largest Polish cities quickly and comfortably. Airports are situated in the vicinity of most of the largest cities in Poland. Many low budget airlines fly into Poland. There are two international airports in Warsaw (Warsaw Modlin Airport and Warsaw Chopin Airport) and one in Łódź (Łódź Reymont Airport).
WARSAW AIRPORTS
Arriving from abroad, you will probably enter Poland at Warsaw Chopin Airport. From there, you may either take a direct bus to Łódź or get to the Central Railway Station (Dworzec Centralny) in Warsaw and take a train to Łódź from there (it also applies to Modlin Airport). Please be advised that the express buses have limited passenger capacity and are often booked up. There is also a railway connecton with Warsaw Chopin Airport leading through the center of Warsaw. The line is operated by two railway carriers. Warsaw Chopin Airport can be reached by Urban Rapid Rail (SKM) line S2 and it is also operated by Masovian Railways which are launching KML airport trains. The best way to get from central Warsaw to the Warsaw airports is to travel by ModlinBus. Tickets may be purchased online, at airport sales kiosk or directly on the bus in cash or with credit/debit card. You can also easily get from Łódź directly to the Warsaw airports using ModlinBus.
ŁÓDŹ AIRPORT
There are direct flights from Łódź to Amsterdam, Dublin, East Midlands, London, Stansted, Munich and Oslo Rygge. A taxi stand and a municipal transport stop (service 55, 65) is in the direct neighborhood of Łódź Reymont Airport. There is also line L which connects airport with train stations. To get to the univeristy campus you have to take a bus (55) and then at the bus stop called POLITECHNIKI change the bus to the tram (15, 15A). You have to get off the tram at the stop called POMORSKA-KONSTYTUCYJNA, final destination is 80 meters away.
POLISH STATE RAILWAYS
The railway network in Poland is well developed. You can reach most places in the country by train. Intercity trains (express) run between the larger cities and you can get to other localities taking the regional or fast trains. Timetables are available at railway stations and on the Internet. Intercity TLK (Low Cost Train) trains run between Warsaw and Łódź They stop at 2 stations: Łódź Widzew and the final destination – Łódź Kaliska.
BUS
You can travel to Poland by bus using one of the many international firms, such as PolskiBus, Eurolines, Eurobus, Orbis Transport, Euro-Trans and many others.
NECS Conference
TAXIS
MPT Tele-Taxi 400-400 s.c.
tel.: (+48) 800 400 400
download mobile app: http://800400400.pl/aplikacje
EMERGENCY PHONE NUMBERS
GENERAL EMERGENCY NUMBER FOR MOBILE PHONES: 112
Police: 997
Fire Brigade: 998
Ambulance: 999
Municipal Police: 986
Police Helpline: (+48) 42 651 50 07
Traffic police: (+48) 42 665 25 00
LOCAL TRANSPORT
Tickets are available at newsstands, they allow unrestricted travel around the city and are valid for journeys.
TICKET PRICES:
You can buy tickets for:
20 minutes – 2,60 zł 40 minutes – 3,40 zł
60 minutes – 4,40 zł You can also buy 24-hours ticket and it costs 12 zł.
CAR RENTING
Avis: 35 Gen. S. Maczka St. , 94-328 Łódź, tel.: (+48) 607 036 308
Express (C.H Manufaktura): 5 Karskiego St., 92-103 Łódź, tel.: (+48) 42 632 80 44
Hertz (Centrum): 68 Kościuszki St., 90-432 Łódź, tel.: (+48) 605 150 420
Hertz (Lublinek): 35 Gen. S. Maczka St., Łódź, tel.: (+48) 42 686 60 01
TOURIST INFORMATION
Tourist Information Center: 87 Piotrkowska St., 90-423 Łódź tel.: (+48) 42 638 59 55, (+48) 42 638 59 56
Tourist Information Point at Manufakturatel.: (+48) 695 131 113
Tourist Information Point at Old Market: 1 Stary Rynek , 90-001 Łódźtel.: (+48) 42 661 46 66, (+48) 42 656 82 84
Tourist Information Point at PKP Lodz Kaliska:55 Karolewska St., 94-023 Łódź tel.: (+48) 42 205 42 00
Tourist Information Point at Władysław Reymont Łódź Airport: 35 Gen. Maczka St., 94-328 Łódźtel.: (+ 48) 42 253 14 03
12
NECS Conference
RESTAURANTS
PolkaOgrodowa 91a, 91-065 Lodzhttp://lodz.restauracjapolka.pl/Monday–Saturday 11:00–23:00Sunday 11:00–22:00
Soups, salads, main dishes, traditional Polish cuisine
KamariPiotrkowska 122, Lodzhttp://www.restauracjakamari.pl/plThursday–Sunday 11:00–22:00Friday–Saturday 11:00–23:00
Starters, salads, Greek dishes, Greek pastas, beers, alcohols, wines
NienażartyAndrzeja Struga 4, Lodzhttp://nienazarty.com.pl/Sunday–Thursday 12:00–21:00 Friday–Saturday 12:00–23:00
Traditional polish food, beers
La StradaPiotrkowska 25, Lodzhttp://www.la-strada.pl/Monday–Thursday 11:00–22:00Friday 11:00–23:00Saturday 12:00–23:00Sunday 12:00–21:00
Lunch (daily offers), pastas, salads, desserts, pizzas, Italian cuisine
AffogatoPiotrkowska 90, Lodzhttp://www.affogato.pl/Monday–Thursday 12:00–23:00 (kitchen till 21:30)Friday 12:00–24:00 (kitchen till 23:00)Saturday 12:00–24:00 (kitchen till 23:00)Lunch (Monday–Friday 12:00–17:00),
Main dishes, starters, salads, desserts, tea and coffee, alcohols, drinks
Manekin6 sierpnia 1, Lodzhttp://manekin.pl/lodz.htmlSunday–Thursday 10:00–22:30Friday–Saturday 10:00–23:30
Pancakes, crêpes, soups, salads, desserts, alcohols, wines
ServantkaPiotrkowska 55, Lodzhttp://www.servantka.pl/Monday–Thursday 12.00–22.00Friday–Saturday 12.00–23.00Sunday 12.00–22.00
Traditional Russian dishes, Ukrainian cuisine, traditional Polish meals, Byelorussian dishes
BawełnaOgrodowa 91A/46, Lodzhttp://www.bawelna-lodz.pl/Monday–Thursday 11:00–00:00Friday–Saturday 09:00–23:00Sunday 09:00–23:00
Main dishes, soups, pizzas, desserts
Ato Sushi6 sierpnia 1/3, Lodzhttp://www.atosushi.pl/Monday–Thursday 12:00–23:00Friday–Saturday 12:00–24:00Sunday 12:00–22:00
Japanese cuisine
Hot SpoonDrewnowska 58, Lodzhttp://www.hotspoon.pl/Sunday–Thursday 11:00–22:00Friday–Saturday 11:00–23:00
Thai cuisine
Otwarte drzwiPiotrkowska 120, Lodzhttp://otwarte-drzwi.com/Tuesday–Thursday 12:00–22:00Friday–Saturday 12:00–23:00Sunday 14:00–22:00
Italian cuisine
Już wróciłemPiotrkowska 101, Lodzhttp://www.juzwrocilem.pl/Daily 12:00–22:00
Tarts, coffee, tea, regional beers, regional cuisine.
Anatewka6 sierpnia 2/4, Lodzhttp://www.anatewka.pl/Daily 12:00–22:00
Main dishes, starters, salads, desserts
MitmiPiotrkowska 138/140 (OFF Piotrkowska), Lodzhttp://offpiotrkowska.com/portfolio-items/mitmi-restobar/Monday–Thursday 09:00–23:00Friday 09:00–02:00Saturday 11:00–02:00Sunday 11:00–23:00
Main dishes, pastas, salads and vegetarian food, soups, desserts
NECS Conference
RESTAURANTS
Drukarnia Skład wina i chlebaPiotrkowska 138/140 (OFF Piotrkowska), Lodzhttp://www.drukarniaoff.pl/#Monaday–Wednesday 07:00–22:00Thursday 07:00–24:00Friday 07:00–until last guestSaturday 11:00–until last guestSunday 11:00–22:00
Breakfast, main dishes, pastas, fish, starters, sandwiches, salads, wines
SpółdzielniaPiotrkowska 138/140 (OFF Piotrkowska), Lodzhttp://spoldzielnia-lodz.pl/Monday–Thursday 09:00–22:00Friday–Saturday 09:00–02:00Sunday 10:00–22:00
Breakfast, sandwiches, salads, starters, soups, main dishes, lunch, pastas, cocktails
MEG MUPiotrkowska 138/140 (OFF Piotrkowska), Lodzhttp://offpiotrkowska.com/portfolio-items/meg-mu-african-cook/Monday–Tuesday 12:00–21:00Wednesday–Thursday 12:00–22:00Friday–Saturday 12:00–00:00Sunday 13:00–20:00
Main dishes, starters, soups, desserts, African cuisine
VEGETARIAN RESTAURANTS
KorzeniePiotrkowska 217, LodzTuesday–Saturday 11:00–21:00Sunday 13:00–20:00
Main dishes, salads, soups, desserts
GreenWayPiotrkowska 80, LodzMonday-Saturday: 9:00 – 21:00Sunday: 10:00 – 21:0
Main dishes, salads, soups, desserts
GrandaRewolucji 1905 r. 48, Lodzhttp://klubokawiarnia-granda.pl/Monaday–Saturday 10:00–until last guestSunday 15:00–until last guestMeals, coffee, tea, regional beers, drinks
GreenWayDrewnowska 58 (Manufaktura), LodzMonday–Saturday 10:00–22:00Sunday 11:00–22:00Main dishes, salads, soups, desserts
COFFEE SHOPS
Szwalnia smakówPiotrkowska 217, LodzMonday–Friday 09:00–21:00Saturday–Sunday 10:00–22:00
Breakfast, main dishes, starters, pastas, salads, cakes
Café VertePiotrkowska 113/115, LodzSunday–Thursday 10:00–22:00Friday–Saturday 10:00–24:00
Cakes, beers
MontagPiotrkowska 107, LodzMonday–Friday 08:00–20:00Saturday 08:00–16:00
Bakery
Owoce i WarzywaTraugutta 9, Lodzhttp://www.owoceiwarzywa.com/Monday–Friday 10:00–00:00Saturday 10:00–until last guestSunday 12:00–00:00
Events, food, cocktails, beers, drinks, tea, coffee
Lodziarnia Cukiernia WasiakowieTraugutta 2, Lodzhttp://www.cukiernia.eu/Monday–Saturday 10:00–21:00Sunday 12:00–20:00
Cakes, Ice creams, coffee, chocolates
Mebloteka YellowPiotrkowska 138/140 (OFF Piotrkowska), Lodzhttp://meblotekayellow.pl/Monday–Thursday 13:00–22:30 or 00:00Friday–Saturday 13:00–02:00 or 03:00Sunday 13:00–22:30 or 00:00
Food, desserts, drinks, events
Daleko BliskoPiotrkowska 138/140 (OFF Piotrkowska), Lodzhttp://dalekoblisko.com/Tuesday–Thursday 12:00–23:00Friday 12:00–until last guestSaturday 1100–until last guestSunday 11:00–23:00
Tea, coffee, cakes
Cafe WiedeńskaPlac Wolności 6, Lodzihttp://www.restauracja-cafe-wiedenska.pl/index2.htmlDaily 08:00–22:00
Main dishes, desserts, alcohols, drinks
NECS Conference
BARS, CLUBS, NIGHT LIFE
Spaleni słońcemPiotrkowska 138/140 (OFF Piotrkowska), LodzDaily 14:00–minimum 00:00
Drinks, alcohols, cocktails
DOMPiotrkowska 138/140 (OFF Piotrkowska), LodzDaily 16:00–until last guest
Events, drinks, alcohols, cocktails
Łódź kaliskaPiotrkowska 102, Lodzhttp://www.lodzkaliska.eu/Monday–Thursday 16:00–02:00Friday–Saturday: 16:00–06:00Sunday 16:00–02:00Arts, entertainment, cocktails, beers, alcohols
Café Foto 102Piotrkowska 102, Lodzhttp://www.fotocafe102.pl/Monday–Wednesday 10:00–02:00Thursday–Friday 10:00–until last guestSaturday 11:00–until last guestSunday 13:00–01:00Exhibitions, concerts, events, cocktails, beers, alcohols
Piwoteka Narodowa6 sierpnia 1/3, Lodzhttp://piwotekanarodowa.pl/Monday – Thursday: 15:00-00:00Friday and Saturday: 15:00-02:00Sunday: 17:00-00:00 Regional beer, events
Café wolnośćPlac Wolności 7, Lodzhttp://www.cafewolnosc.pl/Monday – Friday: 10:00 – until last guestSaturday and Sunday: 11:00 – until last guest Beer, cocktails, alcohol, coffee
Fabryka babeczekNarutowicza 45, Lodzhttp://www.fabrykababeczek.pl/Monday–Friday 10:00–19:00Saturday 10:00–17:00
Cupcakes, cakes
Niebieskie MigdałySienkiewicza 40, Lodzhttp://www.niebieskie-migdaly.pl/Monday–Thursday 11:00–21:00Friday–Saturday 11:00–22:00Sunday and holidays 13:00–21:00
Ms caféWięckowskiego 36, Lodzhttp://www.mscafe.com.pl/index.htmlTuesday–Thursday 11:00–22:00Friday 11:00–until last guestSaturday 17:00–until last guest
Tea house, coffee, desserts, cocktails, alcohols
VindaZgierska 69, Lodzhttp://www.vinda.pl/Monday–Saturday 11:00–22:00Sunday 11:00–20:00
Coffee, lunch, cocktails
Caffe przy ulicyŁagiewnicka 120, Lodzhttp://www.caffeprzyulicy.pl/#Monday–Saturday 09:00–20:00Sunday 12:00–20:00
Meals, sandwiches, coffee, ice creams
DESSERTS
Cafe WiedeńskaPlac Wolności 6, Lodzihttp://www.restauracja-cafe-wiedenska.pl/index2.htmlDaily 08:00–22:00
Main dishes, desserts, alcohols, drinks
TEA HOUSE
Z innej beczkiMoniuszki 6, LodzSunday–Thursday 15:00–24:00Friday–Saturday 15:00–02:00
Regional beers, events
NECS Conference
Food Trucks
Casseroles Vegan oriental food
Quesadillas, burgers, ciabattas
Vegan burgers with homemade sauces
Empanadas, mini pizzas, hot sandwiches
Coffee, hot chocolate, round waffles, smoothies
Ice cream, waffles, beverages
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.
Beef burgers
Disclaimer: all entities will provide services for individual purchase.
Panel Chairs DutiesAudio 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!
Transmediality in modern popular culture
WorkshopWednesday 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 convergencein 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 SWPSMirosław Filiciak, University of Social Sciences and Humanities SWPSMichał 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.
Transmediality in modern popular culture
WorkshopWednesday 17th, Art_Inkubator, Tymienieckiego 3
Room A_120
Registration and Welcome Coffee9:00–9:15
Welcome and Opening Remarks9:15–9:20
Introductory lecture9:20–11:00
Matthew Freeman» Birmingham City UniversityThe Historical Rise of Transmedia Storytelling
Respondent: Mirosław Filiciak» University of Social Sciences and Humanities SWPS
Coffee break11:00–11:15
Session 111:15–12:45
Paola Valentini» University of Florence, ItalyTransmediality in Italy in the Fascist Era: Soundscape and Transmedia Resonances
Federico Pagello» Queen's University BelfastTransmedial Crime Narratives in Early Twentieth-Century Film and Print Culture
Michał Pabiś-Orzeszyna» University of LodzTraveling Sound. Radio, Gramophone and Sound Film in the Interwar Poland
Lunch Break12:45–14:00
Session 214:00–15:30
Gert Jan Harkema» Stockholm UniversityThe New within the Old, the Old within the New: Transmediality and the Introduction of the Kinematograph
Benjamin Eugster » University of ZürichAffirmative Neurasthenia: Aesthetic Excess and the Dilemma of Expressionist Transmediality
Šárka Gmiterková» Masaryk University, BrnoMultiple Charms, Multiple Media Presence. Oldřich Nový 1936-1945
Coffee Break15:30–15:50
Session 315:50–18:00
Pamela Gionco» Universidad de Buenos AiresHigh and Popular Culture on a 19th Century Satirical Publication from Argentina
Witold Filar» Nicolaus Copernicus UniversityThe Influence of the Local Media on Development of popular culture in Second Polish Republic
Beatriz Bartolome Herrera» Concordia UniversityMovie-themed Exhibitions: Interrogating Transmedia Practices in Spatial Terms
Mirosław Filiciak» University of Social Sciences and Humanities SWPSThe Other Kind of Media. Problematizing the Media Concept in the Polish Lands Before World War II
Summaries and discussion
Opening Keynote
» 19:00 at the University of Lodz, Faculty of Philology
Krzysztof Wodiczko
Art_Inkubator in Fabryka Sztuki, Tymienieckiego 3, Lodz
Graduate Workshop
Tuesday, 16.06
Wednesday, 17.06
Introductions » 9:30–10:00
Networked Fictions » 10:00–11:15
Tim Yaczo» University of Amsterdam, Amsterdam School for Cultural AnalysisThinking, Reading, Tweeting: Neuronarratives and Jennifer Egan's Black Box
Petrina Vasileiou » Lund University, Department of Arts and Cultural Sciences“An Online Ideal World Which Reality Can No Longer Meet?”: Technology, Fiction and Identity in The Eraof Social Media
Break » 11:15–11:45
Embodied Fiction » 11:45–13:00
Lunch » 13:00–15:00
The Media Artefact» 15:00–16:15
Marta Wasik» University of Warwick, Department of Film and Television StudiesSlouching 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 PoeticsThe Imaginary in Cylindrical Anamorphosis
Break » 16:15–16:45
Biomechanics » 16:45–18:00
Giuseppe Gatti» Roma Tre UniversityThe Mecha that therefore I am (not): Notes on the Becoming-animal in the Age of Robot Genesis Evangelion
Genesis Evangelion Sophia Satchell-Baeza» King's College, University of London, Department of Film StudiesThe Boyle Family's Son et Lumière for Insects, Reptiles, and Water Creatures (1966) and the Biological Aesthetic of Light Shows
Closing Remarks » 18:00–18:15
Opening Keynote
» 19:00 at the University of Lodz, Faculty of Philology
Krzysztof Wodiczko
Welcome Coffee» 9:00–09:30
Publishers Forum
Feel free to visit stands of the renowned publishers presenting their studies series, books and journals on film, media and culture. The Publishers Forum is located on the first floor corridor at the Faculty of Philology building and is open throughout the entire conference.
LIST OF THE PUBLISHER STANDS
Amsterdam University Press Bloomsbury Publishing
Edinburgh University Press Muzeum Sztuki
Routledge, Taylor and Francis Wallflower Press / Columbia University Press
National Audiovisual Institute Lodz University Press
Publishers Forum coordinator:Karol Jóźwiak
Screening
Enthusiasts
“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 #2
SERIES #2 (22 minutes)SERIES #3 TĘSKNOTA/LONGING
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
Friday, June 19, session H (15:45)
Screening, Saturday, June 20, session L (15:45)
Productions from The Educational Film Studio in Lodz
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.
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.
Abakany/The Abakans (13'00'')
Panels
th Thursday, 18 9:00-10:45
Digital Games Workgroup Meeting
Organizer: Maria B. Garda» University of Lodz
Medical Film Workgroup Meeting
Organizer: Bregt Lameris» Utrecht University, the Netherlands
Media Archeology Workgroup Meeting
Organizer: Alex Casper Cline » Anglia Ruskin University
Sound and Music in Media Workgroup Meeting
Organizer: Nessa Johnston» Glasgow School of Art
Graduates Workgroup Meeting
Organizer: Carlos Roos » Ghent University
Project Forum
Cati Alice» Catholic University of the Sacred Heart, MilanAlice Cati, Vicente Sanchez-Biosca (eds.), Archives in human pain. Circulation, persistence, migration,“Cinema & Cie. International Film Studies Journal”, no.24, forthcoming
Zofia Rzeznik» University of WrocławGąszcz/Thicket. The Atlas of Histories of Wrocław's Art in the 1970s
Marta Brzezińska» University of WarsawIconography of everyday life in GDR in German film after 1989
Chris Wahl» Film University Babelsberg Konrad Wolf“Film-Erbe”: New German-language book series on issues of Film Heritage
Carolina Sourdis» Pompeu Fabra UniversityColombian Found Footage: Mapping the archive of silence
Agata Kołacz » National Audiovisual InstituteNInA - institution for online and offline audience
Notes
28
2.50
2.51
2.53
2.54
2.55
2.57
Sound and Archives
Chair: Leo Murray» Murdoch University
Colin Black» The International Radio Art (and Creative Audio for Trans-media) Research GroupAudio Archives as Content and Metaphor
Cristina Formenti » University of Milan(Re)Animating Archival Sound Recordings: The "StoryCrops" and "Blank on Blank" Projects
Kaspars Steinbergs» Alberta CollegeStrategy of Latvian Audiovisual Sector Cluster: Balanced Scorecard Approach
From Archival Truth to Narrative Historiography: The Filmic Work of Thomas Harlan
The Uses of Archival Footage from WWII
Chair: Marta Brzezińska» University of Warsaw
Henrik Gustafsson » University of Tromsø – The Arctic University of Norway“From the Archive of Everyday Observations”: Daniel Eisenberg's Postwar Films
Adriana Martins » Catholic University of PortugalJoão Canijo's Fantasia Lusitana and the Rewriting of WWII from the Margins
Digitation and Computation in Film Studies
Chair: Michał Pabiś-Orzeszyna» University of Lodz
Trond Lundemo» Stockholm UniversityFilms as Maps: History as Propagation and Modulation
Annemone Ligensa» Film University Babelsberg Konrad WolfAudience Archives: Digital Tools for Studying Historical Audiences
Helen Doherty» National Film School/IADT, Dublin Projections from the Archive: a Corpus Analysis of Film Studies
Murat Akser » Ulster UniversityFrom Analog to Digital Cinema Archive: Some Challenges and Opportunities for a New Life of Celluloid
Anarchiving Practices Across Media Forms
Chair: Michael Cowan» University of St. Andrews
Alanna Thain» English and World Cinemas / McGill UniversityContagious Corporealities: The When and Then of Performance's Long Arc
Toni Pape» University of AmsterdamResurrecting Television: Anarchiving Media Pasts in Contemporary Television
Bodil Marie Stavning Thomsen» Aarhus UniversityDigitally Remastered and Anarchived - Evoking or Creating Memory by AnimatingPhotographs from Maoist
Ilona Hongisto» University of Turku The Soviets and Sue Ellen: American Popular Culture as an Archive for EasternEuropean Documentary
Practices of Collecting - Case Studies
Chair: Eef Masson» University of Amsterdam
Ralf Forster» Film University Babelsberg Konrad Wolf / Potsdam Film MuseumFilm Collections of German Federal States History, Common Practises and Concepts for the Future - the Case of the Filmmuseum Potsdam
Joanna Walewska» Nicolaus Copernicus University in Toruń“And What About the Quality?”: Oral History and Technology in the Historical Research on Technology in the People's Republic of Poland
Sofia Sampaio» University Institute of Lisbon / Centre for Research in AnthropologyThe Archive's Ghosts: Looking for the Invisible in the Visible: a Practices-Based Approach to the Moving Image Archive
Chair: Chris Wahl » Film University Babelsberg Konrad Wolf
Leonie Geisinberg » Film University Babelsberg Konrad WolfThe Fiction of Historiography in Thomas Harlan's Life Narrative
Jesko Jockenhoevel» Film University Babelsberg Konrad WolfThe Excess of Archival Footage in “Verrat an Deutschland” (”The Case of Dr. Sorge”)
Eva Flügel » Film University Babelsberg Konrad Wolf(Re)Enactment – Writing History in the Present through Reflecting the Past in “The Act of Killing“ and “Gun Wound“
Michael Wedel» Film University Babelsberg Konrad WolfMaterial Ghosts: Time, Memory, and the Political in “Myself and No Angel“,“Torre Bella“and “Souvenance“
Respondent: Tobias Ebbrecht-Hartmann » Hebrew University Jerusalem
Panels
th Thursday, 18 11:00-12:45
2.20 2.21
2.22
2.33
2.43
2.50
Beyond the Subalterns' Archives. How to share Colonized and Migrant Memories
Chair: Rosanna Maule» Concordia University
Ilaria A. De Pascalis» Roma Tre UniversityArchiving the Empire: The Ghost of Nostalgia in "Remember Me"
Massimiliano Coviello» University of SienaThe Liquid Traces of Migrations through the Mediterranean Sea
Alice Cati and Maria Francesca Piredda» Catholic University of the Sacred Heart in MilanTrawl (Media)Nets. How to Search for Fragments of Migrant Memories in Lampedusa
Archives of the Present and Derrida
Chair: Tomasz Majewski» Jagiellonian University
Aija Laura Zivitere» Information Systems Management Institute, Riga Francia 2013: The Archive of the Present
Andrew Burke» University of WinnipegThe Time of Zidane
Daniela Agostinho» Catholic University of PortugalSpectral Images: Archival Effects in Daniel Blaufuk's Terezín
Panels
th Thursday, 18 11:00-12:45
2.51 2.53
Panels
th Thursday, 18 13:45-15:30Sp
on
sor:
The
Mar
ek E
delm
an D
ialo
gue
Cent
er in
Łód
ź
Reviewing and Reusing the Past: The Appropriation of Archival Images from the Holocaust and the Third Reich
Chair: Michael Wedel» Film University Babelsberg Konrad Wolf
Tobias Ebbrecht-Hartmann» The Hebrew University in JerusalemTrophy, Evidence, Document: A Journey from Atrocity to Archive
Brad Prager» University of MissouriThe Unseen Image: Archival Photography and Forensics in Contemporary Holocaust Documentaries
Chris Wahl » Film University Babelsberg Konrad WolfThe Triumph of Which Will? Repurposing Leni Riefenstahl's Images
Victoria Grace Walden» Queen Mary, University of LondonAn Experience with Holocaust Memory: Re-appropriating the Archive
Institutions for Archives
Chair: Kaspars Steinbergs» Alberta College
Grazia Ingravalle» University of St AndrewsRemixing Silent Cinema: Historical Explorations at the EYE Film Institute Netherlands
Indrek Ibrus » Tallinn University / Baltic Film and Media SchoolThe Effects of Power in the Evolution of AV-Heritage Metadata Standards and Heritage Recycling: Estonian Perspective
Aidan Power» University of BremenEurimages and the Archiving of Utopia
Spo
nso
r: N
atio
nal A
udio
visu
al In
stitu
te N
InA
Archiving Labour, Researching Production
Chair: Shane O'Sullivan» Kingston University, London
Frédéric Vidal » Centre for Research in Anthropology, LisbonDo You Remember the Struggle of Applied Magnetics Workers (Portugal, 1974-1975)? An Analysis of Social Memories Through Cinematography
David Archibald» University of GlasgowArchiving Loach: Recording Ken Loach's Cinematic Working Practices
Aaron Hunter» Queen’s University, BelfastGetting a Guy to Walk on Water: Archives and the Question of Authorship in “Being There“ (1979)
Amateur Materials as Archives
Chair: Piotr Sitarski » University of Lodz
Diego Cavallotti » University of Udine“Amateur video must not be overlooked”: Analog Amateur Video as New Archival Object
Paulina Haratyk » Jagiellonian UniversityHome Movies – Images of Everyday Life? Found Footage Film Projects from Archives of Archeology of Photography Foundation
Francesca Scotto Lavina» La Sapienza University of RomeThe Memory Circuit: Refiguring Collective and Autobiographical Memories through Amateur Materials Re-mediated by Digital Archive
GIF me more. Archives of Affect and Motion
Chair: André Wendler» Bauhaus University, Weimar
André Wendler» Bauhaus University, Weimar Moving Bodies on Screen
Daniela Wentz» Bauhaus University, Weimar The Infinite Gesture
Aileen Pinkert» University of HamburgGIF me more depth: 3D GIFs
Christiane Lewe» Bauhaus University Weimar “My face when…” Why Facebook Hates Reaction GIFs
Gendering Cinema Archives
Chair: Monika Talarczyk-Gubała» University of Szczecin
Małgorzata Radkiewicz» Jagiellonian UniversityRe-Writing History of Women Pioneers of Photography and Cinema in Former Polish Galicia 1896-1939
Robin Steedman» University of LondonGendering Contemporary Kenyan Film Production: A Contextual Analysis of “Dangerous Affair“ (2002) and “Pumzi” (2009)
Adriana Margareta Dancus» University of AgderKristiansand Archives of Vulnerability in Scandinavian Reality-Based Films of the 2010s
Rosanna Maule» Concordia UniversityArchiving Women's Films in the Age of Digital Culture
2.20 2.21
2.22
2.33
2.43
2.50
Politics of Archiving and the Writing of Transnational Cultural History
Chair: Petr Szczepanik» Masaryk University, Brno
Rosa Olmos» Bibliothèque de Documentation Internationale Contemporaine LibraryThe Living Memories. Audio-Visual Archives of the BDIC Library, Research Material on International Conflicts
Caroline Moine» University of Versailles Saint-Quentin-en-YvelinesTransnational History of Solidarity Movements in Europe during the Cold War: New Sources, New Archives
Viviane Saglier» Concordia UniversityDiasporic Film Festivals and Trans-Historical Film Economies
Dunja Jelenkovic» University of Versailles Saint-Quentin-en-YvelinesThe Politics of Archiving – The Politics and Archiving: The Case of Yugoslav Documentary and Short Film Festival (1954-today)
Archives Shaping Canons
Chair: Piotr Kulesza» Museum of Cinematography in Lodz
Anne Ciecko» University of Massachusetts-AmherstContemporary World Cinema Canons and/as Discursive Archives
Johann Mahlknecht» University of InnsbruckThe Influence of Film Archives on Canon Formation
Kim Louise Walden» University of HertfordshireSite Excavations: An Archaeology of Film Transmedia Award Archives
Screening of "Ida" room 0.38 with an introduction by producer, Ewa Puszczyńska
Panels
th Thursday, 18 13:45-15:30
2.51 2.53
Panels
th Thursday, 18 15:45-17:30
The Toxicity of European Archives
Wor
ksho
p
Natascha Drubek» Freie University Berlin
Tomasz Łysak» University of Warsaw
Gudrun Heidemann» University of Lodz
Ewa Ciszewska» University of Lodz
Tomasz Majewski» Jagiellonian University
Opening/Re-Opening of Archives
Chair: Anna Nacher» Jagiellonian University
Dietmar Kammerer» Philipps-University MarburgThe Second Best Thing? Creating a Weblog as Open-Access Archive for Film Studies
Talitha G. Ferraz» Capes Foundation (Brazil)/University of GhentUnder the Cultural Projects of Reopening Cinemas: Rebirthing of the Ex-Movie Theaters and Its Sociabilities in the City?
Pamela Gionco» University of Buenos Aires/National LibraryDigitizing Sources for Media Studies in ArgentinaSounding Out the Archive: Sonic
(Re)Presentations of the Past
Chair: Nessa Johnston» Glasgow School of Art
Kate Bolgar Smith» SOAS, University of London'Ghosts of Songs': The Haunting Soundtracks of the BAFC
Leo Murray» Murdoch UniversityClues in the Library: Fiction Techniques in the Non-Fiction Film Soundtrack Archive
Andrew Hill» University of GreenwichHistoric Soundscapes: Authenticity vs. Experience
Lizzie Thynne» University of SussexVoices in Movement: Dramatizing Oral Histories
Doing Archival Research on the Socialist PastW
orks
hop
Alice Bardan» Loughborough University
Dana Mustata» University of Groningen
Sabina Mihelj» Loughborough University
Cristina Preutu » Alexandru Ioan Cuza University of Iassy
Sylwia Szostak» Loughborough University
Wor
ksho
p
Archiving and Archives in Online Media Research Rainer Hillrichs» University of Bonn
Murat Akser» University of Ulster
Sophie G. Einwächter» University of Mannheim
Benjamin Eugster» University of Zurich
Kim Louise Walden» University of Hertfordshire
Personal Archives, Personal Archiving
Chair: Shane O'Sullivan» Kingston University, London
Tom Cuthbertson» University of OxfordArchive Varda: Archival Impulses in Agnès Varda's “Agnès de ci de là Varda“ (2011)
Agnieszka Dytman-Stasieńko» University of Lower SilesiaPersonal Archive as an Example of Historical Responsibility
Deniz Bayrkdar» Kadir Has UniversityMuseum of Innocence: Archiving of/for the Future by Orhan Pamuk
Catarina Mourao» University of Edinburgh - ECAMy Grandfather and His Revolver: Dreams and Fragmented Memories Connected to Personal Archives
2.20 2.21
2.22
2.33
2.43
2.50
Gender in Audiovisual Arts
Chair: Greg de Cuir, Jr» University of Arts, Belgrade
Dagmara Rode» University of LodzAppropriated Images, Appropriated Bodies: On Two Feminist Video Works
Martina Panelli » University of Paris 8 Vincennes/Saint-Denis / University of UdineArchiving Gender: (Bio)Technologies of the Self in Found Footage Films and Contemporary Audiovisual Art
Victoria Pastors-Gonzáles» Regent´s University LondonDocudrama as Visual Archive: Tracing the Origin of Women's Rights Movement in Spain in the Biopics of Clara Campoamor and Concept
Wor
ksho
p
Pedagogical Futures and Cinematic Histories: Teaching World Cinema Workshop
Bruce Bennett» Lancaster University
Nick Hodgin» Lancaster University
Alex Lykidis» Montclair State University
Katarzyna Marciniak» Ohio University
Áine O'Healy» Loyola Marymount University
Laurence Raw» Baskent University
Celluloid, Digital and Wax Archives
Vito Adriaensens» University of Antwerp / VU University Amsterdam / School of Arts (KASK) GhentWaxing Poetic, from the Museum to the Screen
Surbhi Goel» Panjab University, ChandigarhAfter Amnesia, Carving Archive as a Current Creative Collaboration: Kamal Swaroop's Phalke Files
Akshaya Kumar» University of GlasgowArchiving the Self
Video Games
Biljana Mitrovic» University of Art, BelgradeThe New Media Recording and Archiving – By/In the New Media: The Video Game Playing Experience
Paweł Frelik» Maria Curie-Sklodowska University“Where Is That Beam, Scotty?”: Towards a Science Fiction Video Game Archive
Mateusz Felczak» Jagiellonian UniversityGather, Manage, Play – The Case of the Steam Platform and Its Influence on the PC Video Games
Chair: Karol Jóźwiak» University of Lodz
Chair: Maria B. Garda» University of Lodz
"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)
Panels
th Thursday, 18 15:45-17:30
2.51 2.53
2.54 2.55
Panels
th Friday, 19 9:00-10:45
Screen Industries Workgroup Meeting
Organizer: Petr Szczepanik» Masaryk University, Brno
Documentary Workgroup Meeting
Organizer: Aida Vallejo » University of the Basque Country (UPV/EHU)
Cinema and Contemporary Visual Arts Workgroup Meeting
Organizer: Miriam De Rosa» Catholic University of the Sacred Heart, Milan
New Media Workgroup Meeting
Organizer: Rainer Hillrichs » University of Bonn
Open Access Workshop
Organizer: Greg De Cuir, Jr. » University of Arts, Belgrade
Project Forum
Notes
Sponsor: NECSUS European Journal of Media Studies
Dead Media in Central-Eastern Europe Workgroup Meeting
Organizer: Michał Pabiś-Orzeszyna» University of Lodz
Sabina Mihelj» Loughborough UniversityScreening Socialism: Popular Television and Everyday Life in Socialist Eastern Europe (2013-16)
Sylwia Szostak» Loughborough UniversityArchives and the Uncovering of Missing Histories of Television
Monika Talarczyk-Gubała» University of SzczecinWanda Jakubowska. Staring anew (work in progress)
Carolyn Birdsall» University of AmsterdamSound Preservation Studies: How to Critically Imagine a New Research Agenda?
Paweł Polit» Muzeum Sztuki in LodzDADA Impuls. Egidio Marzoni Collection
Aida Vallejo» University of the Basque Country (UPV/EHU)Documentary and Film Festivals
Adriano D'Aloia and Ruggero Eugeni» Catholic University of the Sacred Heart, MilanNeurofilmology. Audiovisual Studies and the Challenge of Neuroscience. Cinéma&Cie. International Film Studies Journal, Special Issue no. 22–23, edited by Adriano D'Aloia and Ruggero Eugeni
2.50
2.51
2.53
2.54
2.56
2.57
2.55
Panels
th Friday, 19 11:00-12:45
Queer Cinema
Chair: Dagmara Rode» University of Lodz
Katharina Lindner» University of StirlingIntangible Archives? Queer Embodiment and Affect in Cinema
Antoine Damiens» Concordia UniversityThe Festivals that Did Not Matter: Queer Film Festivals and their Scattered Archives
Nanna Heidenreich» Braunschweig University of Art“Once upon a Future”. Traversing the Archive
Italian Connections: Politics, History and Identity
Chair: Diana Dąbrowska» University of Lodz
Giancarlo Lombardi » College of Staten Island and Graduate Center/CUNY DoubleSpeak as Boomerang Language, Politics, and Consensus in „Viva la libertà”
Cosetta Gaudenzi » University of Memphis Rewriting Italy: Language and Family in Alice Rohrwacher's “Le meraviglie”
Áine O'Healy » Loyola Marymount University Chinese Immigration in the Italian Mediascape
Memory Matters
Chair: Trond Lundemo» Stockholm University
Katharina Rein » Bauhaus University, Weimar / Humboldt University of BerlinArchives of Horror. Memory in “Buffy the Vampire Slayer”
Kateřina Svatoňová » Charles University, PragueThe Memory of the Experiment: Multimedia Installations and Experimental Film Based on the Recyling of Archive Material
Katharina Włoszczynska » International Research Institute for Cultural Techniques and Media Philosophy, Bauhaus University, Weimar“Archival Remakes” and Re-Making as Archive
Kateřina Krtilová » Bauhaus University, WeimarIn Praise of Forgetting
Spotlights on Television Business
Chair: Philipp Drake» Edge Hill University
Luca Barra and Massimo Scaglioni» Catholic University of the Sacred Heart, MilanHistory Repeating. Archives as a Connection between Television and Media History
Petr Szczepanik » Masaryk University, Brno An Uneasy Transfer of “Quality”: HBO Europe's Original Content Production
Susanne Eichner » Aarhus University Television Series as Containers of Imagined Communities
Remediating the “Real”, Refiguring the Past in (Post-)Communist Central and Eastern European Cinema
Chair: Katalin Sándor» Sapientia Hungarian University of Transylvania
Judit Pieldner » Sapientia Hungarian University of TransylvaniaRemediating the Unspeakable. The Memory of the Holocaust in András Jeles's “Parallel Lives”
Laszlo Strausz » Eötvös Loránd University Modernism under Construction – Films on Filmmaking in the Ceausescu Era
Katalin Sándor » Sapientia Hungarian University of Transylvania(Re)making the Past in Lucian Pintilie's “Reenactment” (1969) and “Niki and Flo” (2003)
Melinda Blos-Jáni» Sapientia Hungarian University of TransylvaniaUnreliable Images. Mediating the "Real" in East European Compilation Documentaries about the Communist Past
Film Policy Research and Archives: Methods, Challenges and Case Studies
Chair: Baschiera Stefano » Queen's University, Belfast
Gertjan Willems » Ghent University Archival Film Policy Research: Methodological Opportunities
Marco Cucco » University of LuganoWhat is Film (From a Film Policy Perspective)? A Case Study on “The Great Beauty”
Olof Hedling » Lund University Between Art, Economics, Commerce, and Nationalism. Notes on the Interaction Between Different Perspectives in Swedish Film Policy
Lorraine Blakemore» University of LeedsCultural Intervention, Institutional Politics and the Archive: Challenges in Researching the British Film Institute's Museum of the Moving Image
2.20 2.21
2.22 2.33
2.43 2.50
Carnal Archives
Chair: Magdalena Zdrodowska» Jagiellonian University
Jan Stasieńko » University of Lower SilesiaBeautiful Agony: Between Humanism of an Archive and Non-Human Erotism of a Data Base
Giancarlo Grossi » Catholic University of the Sacred Heart, MilanCharcot and the Canon of the Moving Body – The Photographic Archive of the Nouvelle Iconographie de la Salpêtrière (1888-1918)
Hung-Han Chen » Aalto University Archaeology of Face Expressions: From Empirical Studies to Algorithm Design
Media Archives and the (Re-)Production of Memories
Chair: Sophie G. Einwächter» University of Mannheim
Mirjam Kappes » a.r.t.e.s. Graduate School for the Humanities, CologneMediacultural Archives and Nostalgic Remembering in the Digital Age
Tobias Steiner » University of HamburgBlockbuster Tales of Days Past! Renegotiation of History in Fictional U.S. TV Drama from the 1940s up to Today
Stefan Udelhofen » a.r.t.e.s. Graduate School for the Humanities, CologneObsolescence, Persistence and Alternative Archives in the Media History of Internet Cafés
Experiencing the Space
Chair: Talitha G. Ferraz» Capes Foundation, Brazil / University of Ghent
Giorgio Avezzu » Catholic University of the Sacred Heart, MilanMemories of a Lost Dispositif: Historicizing the Cave as a Metaphor of a Spectacular Geometry
Maria Luna » InCom Autonomous University of BarcelonaOn Mapping Heterotopias: A Location Based Archive of Documentary Films
Kamil Lipiński » Adam Mickiewicz University, PoznanThe Archival Hauntings in the National Documentaries of Péter Forgács
Irina Schulzki » University of Munich Archive and Gesture: Spatial Structures in Kira Muratova's Films
Collective Memories of Mediatized Identities
Chair: Alena Stohmaier» Philipps University of Marburg
Agata Pospieszyńska » University of Lodz Cinema Beur as Archive of Colonialism
Andrea Meuzelaar » University of Utrecht Compiling Islam: The Politics of Archival Compilation
Oemer Alkin » Heinrich Heine University, DuesseldorfTradierung in Turkish-German Cinema: Turkish Emigration Cinema Re-Loaded
Catarina Laranjeiro » University of CoimbraConfronting Vague Ideas with Clear Images: Ghosts and Memories in the Liberation War in Guinea-Bissau
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 ProgramParticipative Interactive Documentary as a Fragmented and “Deterritorialized” Archive
James Harvey-Davitt » Anglia Ruskin University Akomfrah's Art Histories
2.51 2.53
2.54 2.55
2.57
Panels
th Friday, 19 11:00-12:45
Panels
Multicultural, Transcultural, Universal: Politics, Ethics and Aesthetics of Images Migrations
Chair: Philipp Sack» Braunschweig University of Art
Jorge Flores Velasco» The New Sorbonne UniversityInti Raymi Uprising: Video, Identity and Multiculturalism
Marcela Canavarro » University of Porto Audiovisual as a Technopolitical Resource to Mobilize People and Generate Memory
Anna Mrozewicz » Adam Mickiewicz University, PoznanAffective Remediation and Transnational Shared Space in Pirjo Honkasalo's Documentary Film “The 3 Rooms of Melancholia”
Asbjorn Gronstad » University of Bergen Archival Migrations: The Organic Image in John Akomfrah's “The Nine Muses”
Memory Televisualized
Chair: Kamila Żyto» University of Lodz
Enrique Fibla Gutierrez» Concordia UniversityNO-DO: Public Audiovisual Archives and the Kidnapping of Imagination
Vicente Rodriguez Ortega » The Charles III University of Madrid1980s Spanish History through Contemporary Television: The Case of “Cuéntame cómo pasó”
Cecilia Penati » Catholic University of the Sacred Heart, MilanUnconventional Archives: Popular Media and Personal Memories as Sources for Early TV History
Georgia Aitaki » University of Gothenburg TV Fiction as an Archive of Crises: National and European Imaginaries in Greek Television Fiction
The Use of Archival Footage in Contemporary South American Films
Chair: Caroline Moine» University of Versailles Saint-Quentin-en-Yvelines
Clara Garavelli » University of Leicester Re-Using Found Footage Film in Experimental Argentine Video Documentaries
Beatriz Tadeo-Fuica » University of the Republic, Montevideo / University of St AndrewsUsing Archival Footage in Contemporary Uruguayan Film
Elizabeth Ramírez Soto » University of Valparaíso / University of WarwickThe Afterlife of a Train: Archive Footage from Pinochet's Dictatorship and its Uses
Digital Archiving Across Books, Food, and Adult Films: Possibilities and Challenges
Chair; Murat Akser » University of Ulster, Londonerry
Beste Atvur » Goethe University, FrankfurtHow to Find Adult Films? Digital Archives as a Potential Source for Academic Research on Erotic and Porn Film Industries
Seda Aktaş » Marmara University, IstanbulDigital Libraries as Digital Archives; The Gutenberg Project as an Example of Crowdsourcing
Sedef Erdoğan Giovanelli » Istanbul Bilgi UniversityDigital Food Archives: Black Sea Cuisine as an Intangible Cultural Heritage
Fandoms, Margins, Minorities and the Issues of Technological Emancipations
Chair: Anders Marklund» Lund University
Anders Marklund » Lund UniversityEmerging Memes, Canonization and Marginalized Identity Groups: Two Spanish Lesbian-Themed Pop Songs and their YouTube Fanvids
Veronica Paredes » The New School, New YorkNetworked Collaborations and Feminist Pedagogies with Wikipedia
Peter Rehberg» The University of Texas at AustinThe Archive of Post-Pornography: Queer Genealogies and Remediations in the Queer Fanzine Butt
Between Institution and Grassroots? Archiving Struggles and Methods
Chair: Marcin Składanek» University of Lodz
Kamil Jędrasiak » University of Lodz Wiki Encyclopedias as Archives and Important Tools in Convergence Culture
Alexandra Kapka» Queen's University, Belfast Perpetual Archivists: Grassroots Conservation in a Digital Age
Anna Nacher » Jagiellonian University Should We Trust the Corporation to Do the Archivist's Job? A Datafied Practices, Collective Memory and Dynamic Communication
Magdalena Zdrodowska » Jagiellonian University NAD Signed Films: Between Archiving and Temporariness
th Friday, 19 13:45-15:30
2.20 2.21
2.22
2.33
2.43
2.50
Documentary Film and Indexicality
Chair: Aida Vallejo » University of the Basque Country (UPV/EHU)
Aleksandra Milovanović » Faculty of Dramatic Arts, Belgrade Historical Documentary Programs and (Mis)Use of Archive Footage
Terri Ginsberg » The American University, Cairo Vanessa Redgrave's “The Palestinian”: Star Vehicle or Political Praxis?
Belinda Smaill » Monash University The Problem of the Archive: Life, Documentary and Extinction
Archives Montage: Film Essays, Newsreels, Documentaries
Chair: Patricia Pisters» University of Amsterdam
Juliana Froehlich » University of Antwerp “Les statues meurent aussi”: Seen and Being Seen Through Art and Archive
Alan Wright » University of Canterbury Storming the Citadel of Time: The Use of the Archive in “Blockade” (Loznitsa, 2006) and “Mirror” (Tarkovsky, 1985)
Umberto Famulari » Royal Holloway, University of LondonThe 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
Images of History and Representations of the Future
Chair: Agata Pospieszyńska» University of Lodz
Dominic Leppla » Concordia UniversityThe Radicalism of Negative Community in Krzysztof Kieślowski's 1970s work
Ana Balona de Oliveira » University of Lisbon / New University of Lisbon / Courtauld InstituteArchival Past Futures of Revolution and Decolonization in Contemporary Artistic Practice from and about 'Lusophone' Africa
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
Experiments in the Aesthetics of the Archive
Chair: Erika Balsom» King's College, London
Susanne Sæther » University of Oslo Sampling the Digital in Recent Video Art
Malte Hagener » Philipp University of MarburgRembrance of Films Past: Film History in Art and in Cinema
Miriam De Rosa » Catholic University of the Sacred Heart, MilanSpatializing the Archive: From Tabletop Performance to Desktop Cinema
1. Anatomia/Anatomy (1974), Tadeusz Wudzki, Pegaz Amateur Film Club, Warsaw, Poland, 5'55”
2. Współczesna Symfonia/Contemporary Symphony (1971), Maciej Korus and Jerzy Ridan, Nowa Huta Amateur Film Club, Kraków, Poland, 6'20”
3. Homo (1975), Krzysztof Janicki, Grunwald Amateur Film Club, Olsztyn, Poland, 2'45”
4. bez tytułu/untitled, Sawa Amateur Film Club, Warsaw, Poland, 11'0”
5. Syzyfowie/Sisyphuses (1971), Tadeusz Wudzki, Wiedza Amateur Film Club, Warsaw, Poland, 5' 30”
6. Przez lustro/Through the Looking Glass, Franciszek Dzida, Klaps Amateur Film Club, Chybie, Poland, 15'30”
7. Razem/Together (1977), Krzysztof Janicki and Marek Barański, Grunwald Amateur Film Club, Olsztyn, Poland, 3'30”
8. Dotknąć Dźwięku/Touching the Sound (1981), Darek Skubel and Zdzisław Zinczuk, Awa Amateur Film Club, Poznań, Poland, 6'13”
9. Karuzela/Carousel (1984), Krzysztof Szafraniec, Nowa Huta Amateur Film Club, Kraków, Poland, 2'20”
Enthusiasts Screening: SERIES #1 (60 minutes)
2.51 2.53
2.54 2.55
Panels
th Friday, 19 13:45-15:30
Editions, Remakes, History Revivals
Chair: Katharina Włoszczynska » International Research Institute for Cultural Techniques and Media Philosophy, Bauhaus University, Weimar
Casper Tybjerg » University of Copenhagen The Case for Film Ecdotics
Kathleen Loock » Free University of BerlinThe Remake as Archive
Agnieszka Rasmus » University of Lodz Hollywood Remakes of British Films as Popular Archives for the Future
Con Verevis » Monash UniversityNew Millennial Remakes
Presenting Archival Utility Films
Chair: Bregt Lameris» Utrecht University
Bregt Lameris » Utrecht University Science on Display: On Presentation Strategies for Neurological Film Collections
Eef Masson » University of Amsterdam Utility Films in the Contemporary Heritage Museum
Claudy Op den Kamp » University of Zurich The Film Archive as a Birthplace: Found Footage, Legal Provenance and the “Aesthetics of Access”
Anke Mebold » German Film InstitutePresenting the Films of William Held MD Online
Insights into Digital Archives: Youtube, Video-On-Demand
Chair: Kamil Jędrasiak» University of Lodz
Naomi Rolef » Free University of Berlin Online Resurrection: Two Biographies of Rare Archival Material from Israel on YouTube
Philip Drake » Edge Hill University Digital Archives and VOD Platforms: Establishing a New Role for the Digital Archive in the Disrupted Independent Film Industry
Valentina Re» Link Campus University of Rome Formal and Informal VOD Platforms as Archives: Changes and Continuity
Philipp Sack» Braunschweig University of ArtOf engines and photographs. archiving contingent futures in the visual content industry
Body Trouble: Gender, Sexuality, Minorities and the Politics of the Archive
Chair: Nanna Heidenreich» University of Fine Arts, Hamburg
Darshana Sreedhar Mini » Free University of Berlin Cabaret in Malayalam Cinema: Obscenity Debates and Gender Trouble
Alejandro Melero » The Charles III University of MadridResearching the Representation of Homosexuality in the Archives of Franco's Dictatorship
Terez Vincze » ELTE University Representation of Historical Memory through Sport in Hungarian Cinema
Transformations of Found Footage and Interactive Documentaries
Chair: Andrew Burke» University of Winnipeg
Sabrina Tenório Luna da Silva » Federal University of PernambucoThe Guests – Found Footage and the Archive
Leo Goldsmith » New York UniversityMemories of the Future: Found Footage and the Digital Archive
Stefano Odorico » University of Bremen / Leeds Trinity UniversityThe Interactive Documentary Form Between Aesthetics and Complexity
Mark Paul Meyer » Eye Film Institute, AmsterdamArtistic Research at the Edges of the Film Archive
Remembrance and Oblivion in Media Commemorative Practices
Chair: Magdalena Saryusz-Wolska» University of Lodz
Nike Jung» University of WarwickTruth, Bones, and Fiction: Chile's Los Archivos del Cardenal
Lydia Nsiah » Academy of Fine Arts, Vienna To Forget: Memory and Oblivion in Contemporary Archival Practice
Adriano D'Aloia » Catholic University of the Sacred Heart, MilanForget It! Politics of Disarchiving
Dorota Głowacka » University of Lodz / Helsinki Foundation for Human RightsForgetting the Dark Side of Newspapers' Online Archives
Panels
th Friday, 19 15:45-17:30
2.20 2.21
2.22 2.33
2.43
2.50
Rethinking Archive, Memory and History in Contemporary Portuguese CinemaChair: Sofia Sampaio» University Institute of Lisbon / Centre for Research in Anthropology
Daniel Ribas » The Polytechnic Institute of Bragança Archive as Material for Cultural Discourse: The Case of “Lusitanian Illusion” by João Canijo
Paulo Cunha » The Coimbra's University Centre for 20th Century Interdisciplinary Studies"Luta ca caba inda": The Work of Filipa César with the Film Archive of Guinea-Bissau
Raquel Schefer » The New Sorbonne University / Rennes 2 UniversityThe Archives of Connection: Rethinking Colonial Categories in Portuguese Contemporary Cinema
Glòria Salvadó and Fran Benavente» Pompeu Fabra UniversityMake History, Build the Document: Archive in Fiction and Fiction as Archive
Spo
nso
r: D
ocum
enta
ry W
orkg
roup
Personal Archives and Documentary Practice
Chair: Andrea Pócsik » Pázmány Péter Catholic University, Budapest
Efrén Cuevas» University of NavarraThe Archive Effect in the Appropriation of Home Movies in Documentary Films. The Case of "Stories We Tell"
Debra Beattie » Griffith UniversityThe New Woman and Gender Disruption: On Researching the Archives of Daphne Mayo
Andrea Pócsik » Pázmány Péter Catholic University, BudapestInstalling, "Inscening" Found Footages
Aida Vallejo » University of the Basque Country (UPV/EHU)Film Festivals and the Documentary Archive
Post-Internet-Archives in Digital Aesthetics
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 AcademyWebcams 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”
2.51 2.53
2.54
Panels
th Friday, 19 15:45-17:30
Auditorium A5
th Saturday, 20 9:00-10:45
Notes
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.
Panels
th Saturday, 20 11:00-12:45
The Archive and the Testimony
Chair: Ewa Ciszewska» University of Lodz
Tomasz Majewski» Jagiellonian University Modes of Representation of Lodz Ghetto: Forbidden vs. Official Photography In Postwar Documentary Film
Maurizio Cinquegrani» University of KentThe Łódź Ghetto: On Location and at the Archive
Ben Gook» The University of MelbourneOptical Unconscious and the Blind Recording of History: Thomas Heise and Harun Farocki
Archivists of the Present: Dispatches from the Repository
Chair: Philip Drake» Edge Hill University
Phil Wickham» University of ExeterPresenting the Audience: The Bill Douglas Cinema Museum
Karl Magee» University of StirlingFrom Card Catalogue to Crowdsourcing: An ArchivalJourney
Wendy Russell» British Film InstituteThe Materiality of the Archive: Some Considerations in the Wake of Digitisation
Sarah Atkinson» University of BrightonDeep Film Access: Laying the Foundations for Digital Film Archives of the Future
Film Sound Practice: Processing Archives, Archiving Processes
Chair: Aaron Hunter» Queen's University, Belfast
Helen Hanson» University of ExeterBelow the Line, In the Gaps: Tracing Sound Craft in the Hollywood Archives
Ilario Meandri» University of TurinItalian Foley Sound Archives: A Restoration Project
Nessa Johnston» Glasgow School of ArtSound Practice in Brazil: Towards a Transnational Study of Film Sound Production
Flows, Contingencies and Remixes of the Archive
Chair: Nike Jung» University of Warwick
Patricia Pisters» University of AmsterdamThe Filmmaker as Metallurgist: The Archive and Radical Contingency
Shane O'Sullivan» Kingston University, LondonHidden in the Rushes, Lost in the Feed
Sanja Garic-Komnenic» British Columbia Institute of Technology, VancouverCreative Appropriation of Television Archived Footage in Documentary Films Made During the War in Sarajevo
Trawling the Archive: Testing the Limits of Polish Cinematic Representation in the 1960s and 1970s
Chair: Petr Szczepanik» Masaryk University, Brno
Mikołaj Kunicki» University of OxfordPoland's Wild West and East: Polish Westerns of the 1960s
Piotr Zwierzchowski» Kazimierz Wielki University, BydgoszczThe Sheriff of the County Committee: Cinematic Representations of Polish Communist Officials in the 1970s
Ilana Miller» University of ChicagoBeyond the Brutal Image Hid Metaphors of Racism: Persecution of Jews in 1960s Polish Films on Nazi Occupation
Rohan Crickmar» University of St Andrews“Ręce do góry” Resurrected: Using the Archive to Complicate the Production History of Jerzy Skolimowski's 'Polish' Farewell
Surveillance and Superintending Devices
Chair: Joanna Walewska» Nicolaus Copernicus University, Toruń
Jeff Scheible» State University of New YorkPurchase What Does Indexed Archive? On Material History, Indexicality and New Media
Giuseppe Gatti» Roma Tre UniversityRaiders of the Archives: Notes for a Social Media Archaeology
Synne Tollerud Bull» University of OsloVolumteric (H)Overview: The Progressive Geography of Aerial View in Motion
Carina Lesky» Ludwig Boltzmann Institute for History and SocietyChronicles of the Ordinary – The Filmic ApparatusInterfering with the Street
2.20 2.21
2.22
2.33
2.43
2.50
The Art of Memory: The Atlas and the Archive
Chair: Elena Vogman» Free University of Berlin
Larisa Dryansky» Paris-Sorbonne University, National Institute for Art History, ParisWoody Vasulka's Atlas of War and Memory: An Archive Between Past and Future
Riccardo Venturi» National Institute for Art History, ParisRecovering from History. Photography and Moving Images in Fabio Mauri
Angela Mengoni» University IUAV of Venice From the Media 'Image-Event' to the Atlas: September by Gerhard Richter
Antonio Somaini» The New Sorbonne University The Temporality of the Raster Image: Siegfried Kracauer, Sigmar Polke
The Dilemmas of Use: Humans and OtherAnimals in the Archive
Chair: Paweł Frelik» Jagiellonian University
Richard Martin» King's College London, Middlesex UniversityListening to Andrea Fraser: A Psychoanalytic Archive in the Gallery
Justyna Włodarczyk» University of WarsawTranscending Animality/Performing Animality in Late 19th Century Animal Training Displays
Zuzanna Ładyga» University of WarsawThe Affect of Waning: Uses of the Human Archive in Contemporary Film
The Living Archives of Art
Chair: Ryszard W. Kluszczyński» University of Lodz
Tomasz Załuski» University of LodzHas the Future Come Yet? KwieKulik and the Archiveof Possibilities
Karol Jóźwiak» University of LodzInventorying as an Art Practice
Zofia Reznik» University of WrocławArchiving and Mapping the Non-Existent in Art
Anja Ellenberger» University of HamburgBildwechsel Hamburg as Living Archive
Project Forum
Adéla Mrázová, Jakub Jiřiště, Terezie Křížkovská» NaFilM, Faculty of Arts, Charles University, PragueNaFilM: The National Film Museum project
Valentina Re» Link Campus University of Rome / Ca' Foscari University of VeniceResearch project: FRAMING DIGITAL 'PIRACY'. Piracy and anti-piracy in Italy from 1988 to the present: discursive strategies, forms of consumption and culturalpolicies
Maria B. Garda, Paweł Grabarczyk» University of Lodz“Replay: The Polish Journal of Game Studies”
Wright Alan» University of CanterburyFilm on the Faultline
Łukasz Biskupski» Warsaw University of Social Sciences and Humanities SWPSDigital 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”
2.51 2.53
2.54
2.57
Panels
th Saturday, 20 11:00-12:45
Panels
13:45-15:30Sp
on
sor:
“Pa
nopt
ikum
”
Rhetorics and Technologies of the Testimony
Chair: Tomasz Majewski» Jagiellonian University
Maria Zalewska» USC School of Cinematic ArtsHolography, Historical Indexicality, and the Holocaust
Grażyna Świętochowska» University of Gdansk“Warsaw Uprising” (2014) as lieux de mémoire. Digital and Affective Dimension of Contemporary Uses of Archives
Tomasz Łysak» University of WarsawGenealogies of Holocaust Testimony in Polish Documentary Film
Cinephiliac Online Film Archives
Chair: Malte Hagener» University of Marburg
Guido Kirsten» Stockholm UniversityEverything for Everyone, and for Free? The Utopian Moment of Cinephiliac Online Archives
Alexander Karpisek» Braunschweig University of ArtThoughts on Spectatorship
Audio History of/and/from Film
Chair: Michael Wedel» Film University Babelsberg Konrad Wolf
Winfried Pauleit» The University of BremenAcoustic Space as Communal Space: Filmic Interventions in the Visual and Narrative Constructions of History
Rasmus Greiner» The University of BremenSonic Histospheres: The Auditory Shaping of Time and Space in Historical Films
Mattias Frey » University of Kent, The University of BremenThe Acoustic Conventions of Historical Films: Dialect in "Requiem", "Robin Hood" and Beyond
Carolyn Birdsall» University of AmsterdamSounds that Work: Production Films, Sound Archiving and Audio History
Reworking and Remixing Found Footage
Chair: Andrew Burke» University of Winnipeg
Monise Nicodemos» The New Sorbonne University Paolo Gioli – In the Shadow of Anonymous
Katarzyna Ruchel-Stockmans» Free University of BrusselsBetween Fact and Fiction: Revisiting Histories of the Cold War Through Television and Cinema Archives
Adam Freeman» University of Kent Space Place and the Archive in the Films of Jem Cohen and Chris Petit
Popular Cinemas in Central Europe: Film Cultures and Histories
Chair: Zsuzsanna Varga» Glasgow University
Dorota Ostrowska» Birkbeck, University of LondonForeign Popular Cinema in Socialist Poland
Andrea Virginas» Sapientia University, ClujA Kind of 'Hollywood' in Post-1989 Popular Hungarian Film Production: Translating Mainstream into Small Cinema
Francesco Pitassio» University of UdineSerial Nostalgia: Alternative Modes of Popular Cinemain 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
The Archives of the Self
Chair: Alex Casper Cline» Anglia Ruskin University
Tamara Skalska» University of LodzNew Media and Archives of Self as a Tool for Future Memories Design
Carolin Anda» HBK Braunschweig DFG Graduate College "The Photographic Dispositif"Hybrid Datachives of the Self: Memory and Network Dynamics on Facebook
Philippe Bédard» Concordia UniversityBe a Hero: The Aesthetic of Self-Representation in GoPro Videos
Panels
th Saturday, 20
2.20 2.21
2.22
2.33
2.43
2.50
Re-Collection: Museums and Means of Memory-Making
Chair: Christian Lewe» Bauhaus University, Weimar
Sarah Czerney» Herder Institute, MarburgNational Museums as Archives of Forgetting
Jana Mangold» University of ErfurtArchives for the Future of the Past
Ulrike Hanstein» Bauhaus University, WeimarObsolete and Contemporary: Film as objet retrouvé
Nicole Kandioler» Bauhaus University, WeimarMarcela, René, Katka, Hitler, Stalin and I: Archival Versions of Ourselves
Divergent Narratives of the Archive
Chair: Olof Hedling» Lund University
Simona Arillotta» Catholic University of the Sacred Heart, MilanFrom Autarky to Métissage: Archives of Contamination in the Photographic Representation of Italian Childhood in Second Postwar
Belén Vidal» King's College, LondonRadical Politics, Consensual Cinema: Remembering the Long 60s in Contemporary European Films
Marta Brzezińska » University of WarsawFilm Representations of the German Democratic Republic After 1989 – A Counter-Archive?
Magdalena Saryusz-Wolska » University of Lodz“I hereby complain about the scandalous film…”Opinions on 'Inappropriate' Films in 1950s West-BerlinSpaces, Bodies, and Things: On Archives
of Emotions
Chair: Skadi Loist» University of Rostock
Tomasz Basiuk» University of WarsawBody's Archive: Karol Radziszewski's Homage to Andy Warhol
Saige Walton» University of South AustraliaCoppola's Versailles: Archives of Luxury in “Marie Antoinette” (2006) and “The Bling Ring” (2013)
Ger Zielinski» Trent UniversityOn Queer Film Festivals as Archives of Feelings
Living Archives of Sergei Eisenstein: Correspondence, Library, Diary
Chair: Antonio Somaini» The New Sorbonne University
Natalie Ryabchikova» University of PittsburghEisenstein's Archive: Tracing the Journey/Traces of the Journey
Ada Ackerman» The French National Centre for Scientific Research On Sergey Eisenstein's Books and Readings: What Kind of Archival Legacy?
Marie Rebecchi» The New Sorbonne University 1929-1932: Eisenstein and Painlevé. A Correspondence for the Future
Elena Vogman» University of Potsdam / Free University of BerlinBeyond 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)
2.51 2.53
2.54
2.55
Panels
13:45-15:30Panels
th Saturday, 20
Archives of Genocide
Chair: Natascha Drubek» Free University, Berlin
Michael Cowan» McGill UniversityNazi Ghost in the Machine: Contemporary Cinema Envisions the Origins of Computing
Vesna Lukic» University of BristolPerformativity of the Archive in the Contemporary Holocaust Representations
Suncem Kocer» Kadir Has UniversityThe Meta-Culture of Fatih Akın's „The Cut” (2014): Discourses of Armenian Genocide
Perspectives on the Contextualization of Audiovisual Online Archives: Access and Publication Formats
Chair: Berber Hagedoorn» Utrecht University
Eleonora Maria Mazzoli, Berber Hagedoorn, Willemien Sanders, Eggo Müller» Utrecht UniversityThe Online Audiovisual Essay: Using and Contextualizing Audiovisual Sources in Digital Media Studies
Mariana Salgado» Aalto UniversityCreative Reuse of Audiovisual Archives: Formats for Supporting Amateur Practices
Dana Mustata» University of GroningenEnriching Access to Socialist Television Archives OnlineCinematic Memory Embodied. Young
Audiences and (Digital) Cinema Experience
Chair: Konrad Klejsa» University of Lodz
Alexandra Schneider» Johannes Gutenberg University, Mainz“The Film is Thinking” – Some Preliminary Thoughts on the Research of Children's Movie-Going Experiences
Mariagrazia Fanchi, Giovanna Mascheroni» Catholic University of the Sacred Heart, MilanAt the Sunrise of the Digital Revolution: Young Cinema Audiences in Italy Between Resilience and Changes
Wanda Strauven» University of AmsterdamMediated Childhood Memories
Ian Christie» Birkbeck College Cinema Is What and How We Make It
Critical Film Festival Studies
Chair: Liz Czach» University of Alberta
Skadi Loist » University of RostockMapping the Circuit: Methodological Considerations of New Empiricism and the Spatial Turn
Kirsten Stevens» Monash UniversityClutching at Ephemera: Archives, Big Data and Methodological Challenges in Multi-Event Film Festival Research
Liz Czach» University of AlbertaAffective Labour and the Work of Film Festival Programming
Tess Van Hemert » Queensland University of TechnologyFarewelling the Regent: Considering 'Festival Memory' in the Face of Change and Innovation
Popular Cinemas in Central Europe: Film Cultures and Histories II
Chair: Francesco Pitassio» University of Udine
Zsuzsanna Varga» Glasgow UniversityStarlets and Heartthrobs: Popular Cinema in Hungaryin the 1930s
Balazs Varga» Eötvös Loránd UniversityBudapest, Crime Film and Socialism: A Mission Impossible?
Clara Orban» DePaul University, ChicagoWhen Walls Fall: Families in Hungarian Filmsof the New Europe
Elżbieta Ostrowska» University of Alberta, EdmontonPower of Love: Polish Postcommunist Popular Cinema
YouTube as an Archive
Chair: Tamara Skalska» University of Lodz
Jihoon Kim» Chung-ang UniversityArchiving Networked Subjectivity: Documentaries Remixing YouTube
Sheenagh Pietrobruno» St. Paul University / University of OttawaYouTube, Intangible Heritage and the Politics of Archiving
Lande Pratt» Kingston University, LondonFuture Archive: Visualising the Flow of IP Use in UGC Platforms
Panels Panels
th Saturday, 20 15:45-17:30
2.20 2.21
2.22
2.33
2.43
2.50
Archives of Spaces, Images of Transition
Chair: Tomasz Załuski» University of Lodz
Zsolt Győri » University of Debrecen Archives of Utopian Modernity: Housing Films in Socialist Hungarian Cinema
Débora Gauziski» Rio de Janeiro State UniversityFausto Amaro» Rio de Janeiro State UniversityImages of a City Under Construction: Cesar Barreto's Photographs of the Olympic City
Sara Rundgren Yazdani » University of Oslo Neue Welt: Inkjet, Life and Machines
Defne Tuzun» Kadir Has University, IstanbulArchival Fantasies: The Question of Fiction as a Necessity for Archival Preservation
An Archeology of Nostalgic Futures
Chair: Mirosław Filiciak» University of Social Sciences and Humanities
Marta Wasik» University of WarwickHorrific Home Movies: Analog Nostalgia, Monstrosityand the Family Film
Michał Pabiś-Orzeszyna» University of LodzTapes of Nostalgia: Contemporary VHS Screenings and Prosthetic Memory
Beja Margithazi» Eötvös Loránd UniversityDigitally Monochrome: Reflective Nostalgia and Time- Shift in Contemporary Silent Cinema
Piotr Sitarski» University of LodzBetween Future and Eternity: SF Clubs and the Catholic Church as Video Distribution and Exhibition Networks in Poland in the 1980s
Visual Archives Beyond the Discourse
Chair: Irina Schulzki» University of Munich
Ivan Pintor» Pompeu Fabra UniversityArchive and Film Gestures
Roberta Agnese» University Paris Est Créteil Altering the Archive, Registering Amnesia: The Atlas Group and the Fiction of What Escaped History
Senaldi Marco» The New Sorbonne UniversityL'empreinte en mémoire / The Memory Imprint – Duchamp's Cinema as Self-Recycling Archive
Experimental Archives
Chair: Antonio Somaini» The New Sorbonne University
Erika Balsom» King's CollegeA Cinematic Bayreuth: Gregory Markopoulos and the Temenos
Enrico Camporesi» The New Sorbonne University, University of BolognaUne Histoire du cinéma: An Archival Research
Lydie Delahaye» University Paris VIIIThe Inherent Artistic Potential of the Archive
Jonathan Pouthier» Centre PompidouScreening Room: Acknowledging Independent Film Through Mass Media
2.51 2.53
2.552.54
Panels Panels
th Saturday, 20 15:45-17:30
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 History and Theory of Film
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:
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
Department of Electronic Media
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
Culture Theory Department
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, PolandWebsite: www.filmoznawstwo.uni.lodz.pl, www.media.uni.lodz.pl