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

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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

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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.

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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

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Panels

th Thursday, 18 9:00-10:45

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

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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

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Panels

th Thursday, 18 13:45-15:30Sp

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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

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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

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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

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Panels

th Thursday, 18 15:45-17:30

The Toxicity of European Archives

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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

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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

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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

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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

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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

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Panels

th Friday, 19 9:00-10:45

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

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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

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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

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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)

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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

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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

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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”

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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.

Notes

Auditorium A5

th Saturday, 20 9:00-10:45

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

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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”

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Panels

th Saturday, 20 11:00-12:45

Panels

13:45-15:30Sp

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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

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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)

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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

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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

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Panels Panels

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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