Here - NECS - European Network for Cinema and Media Studies

Transcription

The 10th NECS conference
Potsdam | 28–30 July 2016
Further information:
www.necs.org/conference
Letter
Letter
from
from
thethe
Steering
Steering
Committee
Committee
Potsdam, July 28th-30th 2016 » NECS CONFERENCE
Dear 2016 NECS Conference delegates,
A very warm welcome to all at the 10th NECS conference, hosted by the ZeM – Brandenburgisches Zentrum für Medienwissenschaften in the beautiful city of Potsdam, whose palace is known as the “Prussian Versailles”!
Over the last couple of years our peer network faced major challenges, such as the widespread financial crisis, which
affected the humanities in Europe, and academic studies overall. Furthermore, in these days Europe is taking decisions and undergoing crucial changes, and its very existence seems endangered by political shifts and uncertainties.
For this reason, we firmly believe that such a momentous initiative as the annual NECS conference, which has developed into a professional landmark of the discipline of cinema and media studies and an inspirational moment in the
academic calendar to meet international colleagues, exchange ideas, debate hot topics, create networks and make
friends, is more important than ever to maintain the spirit of unity and exchange at the core of the European moral,
social, and political project.
First of all, we would like to thank the local organising committee for the outstanding work they have done in planning
and organising this year’s conference. We appreciate their incredible dedication and organisational talent, which have
brought us all together here in Potsdam!
This year’s conference is titled in/between: cultures of connectivity, and we think this very appropriate titling brings
to the fore the relevance of bonds, relationships and links in both media studies and practices; a relevance possibly
even more paramount in the present circumstances, when irrational pushes to exclusion, isolation, marginalization are
badly affecting our everyday social and political experience. Paradoxically, at a time when technology, cultural activity,
and academic studies are marked by connectivity and increasingly foster cooperation and mutual agreement, we are
also facing disruptive impulses, leaving entire communities abandoned. Even though recently connectivity has often
played the role of a fetish, concealing inequalities and related discontents, we are positively sure that an ideological
turn towards isolation will lead us astray. Therefore, we are convinced that thinking critically about connectivity, its
power and its contradictions, its assets and its limits is more timely than ever!
We are very happy to announce two distinguished keynote speakers and specialists in the field who will share their
insights with us in the plenary meetings on the second and the third day of the conference. We thankfully welcome
Sean Cubitt (Goldsmiths, University of London) and Deb Verhoeven (Deakin University, Melbourne).
We are also proud to celebrate 10 years of enriching, thought-provoking, intense conferences, which enormously
contributed to the growth and importance of a network of cinema and media scholars throughout Europe and beyond.
For this reason, we organized an Anniversary Round Table with the members of the first NECS Steering Committee
(Malte Hagener, Vinzenz Hediger, Alexandra Schneider, Patrick Vonderau). Together with these founding members we
will discuss defining moments – past and present – of media studies in Europe.
After last year’s conference in Łódź expanded the scope of working meetings relating to our research practices, and
as a way to consider the state of the art in media studies within NECS, we organized a pre-conference workshop to
enable in-depth discussion about the changes and challenges within the field of cinema and media studies. Given the
current circumstances in Europe the workshop will close with an open discussion on European cooperation in times
of nationalization and insulation. Furthermore, we are very happy that a Graduate Workshop (Return of the LivingDead Media: Media Cultures of Persistence, Resistance and Residue) is taking place again this year before the annual
conference. We warmly welcome this great initiative of our younger members.
We are very much looking forward to exchanges of ideas during all of the panel sessions. This year we welcome
over 350 individual presentations by many junior as well as established scholars to ensure lively debate.
This year, after the successful experience at the NECS conferences in Prague (2013) and Milan (2014), we are very
happy to again cooperate with HoMER (History of Moviegoing, Exhibition and Reception) on a number of panels within
our program. The open-access journal NECSUS: European Journal of Media Studies has just gone online with its ninth
issue (http://www.necsus-ejms.org/), and its broad international following consistently grows.
We welcome you all to the General Meeting during which we will discuss the NECS events of the past year as well as
our future plans. Please do take part and have your say!
We are very much looking forward to seeing you at one of the many events this conference has to offer, and we wish
you an inspiring, engaging and enjoyable time in Potsdam!
The NECS Steering Committee
Sophie Einwächter, Judith Keilbach, Skadi Loist,
Francesco Pitassio, Antonio Somaini, Alena Strohmaier, Petr Szczepanik
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Letter
Letter
from
from
thethe
Organising
Steering Committee
Team
[C]onnect without bitterness until all men are brothers.
Howard’s End (1910), E. M. Forster
Dear 2016 NECS Conference delegates,
The Brandenburg Center for Media Studies (ZeM, Brandenburgisches Zentrum für Medienwissenschaften) is greatly
honored by the opportunity to host this year’s NECS conference.
The ZeM is a newly founded, joint research institution of the universities and colleges of Brandenburg. The interconnections that the ZeM aims to represent and create both within media studies and with related disciplines are
intended to increase the visibility of the numerous contributions in research and teaching as well as to develop a
distinct profile for Brandenburg as a significant contributor to the field.
With our suggestion of this year’s topic of connectivity in these difficult times, when our political and cultural
communities and identities are put to the test, we hope to stimulate thinking not only about what Europe can do for
Media Studies, but what Media Studies can do for Europe.
We are highly pleased that Sean Cubitt and Deb Verhoeven accepted our invitations for keynotes, and we are thrilled
about the high number of exciting submissions for papers. We look forward to celebrating NECS’ 10th anniversary by
networking with colleagues and friends, and we hope that you enjoy the conference and your stay in Potsdam.
Annemone Ligensa
Administrator ZeM
NECS 2016 Conference Manager
Brandenburg Center for Media Studies
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Organising Team
NECS Steering Committee
Sophie Einwächter, Judith Keilbach, Skadi Loist, Francesco Pitassio, Antonio Somaini, Alena Strohmaier, Petr
Szczepanik
NECS 2016 Conference Committee
Luca Barra, Ruggero Eugeni, James Harvey, Jesko Jockenhövel, Daniel Kulle, Annemone Ligensa, Michał PabiśOrzeszyna, Petr Szczepanik
HoMER Organising Team
Julia Bohlmann, María Antonia Vélez-Serna, Annemone Ligensa, Liesbeth Van de Vijver
NECS 2016 Local Conference Organising Team
Marie-Luise Angerer, Chris Burgis, Leonie Geisinger, Jesko Jockenhövel, Ursula von Keitz, Anna Luise Kiss, Annemone
Ligensa, Stefan Maciolek, Laura Niebling, Inga Selck, Michael Wedel
Student Assistants: Zeynep Akbal, Tatiana Astafeva, Lilli Berger, Charlotte Beyer, Tobias Börner, Svea Bräunert, Tobias
Conradi, Jeanette Deppe, Rachel Ferrari, Julia Franke, Julian Gruß, Charlene Gürntke, Sarah Hoffmann, Merle Ibach,
Ekaterina Ilin, Tim Kielkopf, Jana Kodadova, Therese Koppe, Hanna Krug, Dana Lange, Dominik Meise, Sarah Melke,
Lisa Nawrocki, Denis Newiak, Teresa Otto, Juliane Prokof, Franziska Senkel, Wendy Sexton, Miriam Weizsäcker,
Jennifer Wergin, Ugur Yildirim, Alexander Zöller
Conference Manager
Program
Annemone Ligensa
Christian Burgis
Jesko Jockenhövel
Annemone Ligensa
Administration
Stefan Maciolek
Publishers Forum, Special Events and
Graduate Workshop Liaison
Anna Luise Kiss
Media and Public Relations
Laura Niebling
Inga Selck
HoMER@NECS Liaison
Annemone Ligensa
Graphic Design
Julia Eckel
Special thanks to the Brandenburg Center for Media Studies (ZeM), in particular Volker Bley, Jan Distelmeyer,
Winfried Gerling, Karl-Heinz Himmelmann, Stefan Kim, Christer Petersen, and Sibylle Sorge, as well as the
administrations of the Film University Babelsberg KONRAD WOLF, the Filmmuseum Potsdam and the University
of Potsdam.
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Partners
We thankfully acknowledge the support of:
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NECSNECS
2016
Conference
Conference Time Table
Potsdam, July 28th-30th 2016 » NECS
PROGRAMME
CONFERENCE
PRECONFERENCE EVENTS
Tuesday 26
th
Wednesday 27
th
DAY 1
Thursday 28
th
9
REGISTRATION
28th – 30th
9.00-18.00
10
10.30-18.00
11
Graduate
Workshop Pt.2
p. 10
12
12.30-14.30
13
HoMER
Get-together
(tba)
14
15
15.00-18.00
NECS
Pre-conference
Workshop
p. 11
18
18.00-20.00
19
Graduate
Workshop Pt.1
p. 10
19.00-21.00
Film
Screening
p. 39
22
pp.
pp.17-19
4-6
21.00
Reception
p. 39
Friday 29
th
9.00-10.45
9.00-11.00
NECS and
HoMER
Panels
Panels
C1-C13
DAY 3
Saturday 30th
F1-F12
22-24
pp. 28-29
30-31
pp. 38-39
Coffee-break
Coffee-break
11.00-13.00
11.00-12.45
NECS and
Panels
HoMER
Panels
11.00-13.00
11.00-12.45
NECS and
Panels
HoMER
Panels
D1-D14
25-27
pp. 30-31
14.00-16.00
14.00-15.45
NECS and
Panels
HoMER Panels
14.00-16.00
14.00-15.45
NECS and
Panels
HoMER Panels
14.00-16.00
14.00-15.45
NECS and
Panels
HoMER Panels
pp. 20-21
pp. 23-24
pp. 28-29
pp. 33-34
pp. 34-35
pp. 43-44
Coffee-break
Coffee-break
16.00-18.00
16.00-17.45
16.00-18.00
16.00-17.15
Opening
16.00-18.00
16.30-17.45
NECS
Keynote
Keynote
1 1
18.00-20.00
18.00-19.45
NECS and
HoMER Panels
Project Forum 1/
Workgroups/
HoMER General Meeting
NECS
Closing
18.00-20.00
18.00-20.00
18.00-19.45
NECS and
HoMER Panels
Project Forum 2/
Workgroups
p. 36
14
15
16
17
p.
p.47
13
Closing
pp. 23-24
p. 36-37
13
NECS Keynote 2
Keynote 2
12
p. 37
NECS General
Meeting
12
H1-H12
H1-H12
p. 27
36
p.
D1-D13
11
pp. 32-33
40-41
Lunch
E1-E13
E1-E13
10
G1-G12
G1-G11
Lunch
B1-B12
B1-B12
9
9.00-10.45
9..00-11.00
NECS and
HoMER
Panels
Panels
Lunch
NECS
NECS Anniversary
Anniversary
Round
Round Table
Table
17
21
A1-A14
Coffee-break
16
20
11.00-13.00
11.00-12.45
NECS and
Panels
HoMER
Panels
DAY 2
18
D1-D13
19
pp. 43-44
p. 37
20
20.00
20.00
Party
21
University of Potsdam
Party
Campus Griebnitzsee
22
p. 48
p. 39
23
23
7
Floor Plan
University of Potsdam, Campus Griebnitzsee, House 6
Ground Floor
1st Floor
2nd Floor
8
Conference Locations
i
VENUES
Please note that the conference takes place in different locations all over the city. Here are the addresses of the
venues and the closest stops nearby. If you have a smartphone, you can download one of the following free apps for
short-range transit routes and tickets: VBB / BVG.
ZeM – Brandenburg Center for Media Studies (NECS Pre-conference Workshop, Graduate
Workshop Pt. 1)
Brandenburgisches Zentrum für Medienwissenschaften (ZeM)
Friedrich-Ebert-Str. 4
14467 Potsdam
Potsdam Main Station (train + 10 minute walk) “Alter Markt/Landtag” or “Platz der Einheit/Bildungsforum” (tram / bus)
Filmuniversity Babelsberg KONRAD WOLF (Graduate Workshop Pt. 2):
Marlene-Dietrich-Allee 11
14482 Potsdam
“Stahnsdorfer Str.” (bus) / “Medienstadt Babelsberg“ / “S Griebnitzsee” (train + 10-15 minute walk)
Filmmuseum Potsdam (German-Italian Film Night/Reception)
Breite Straße 1A
14467 Potsdam
Potsdam Main Station (train) / “Alter Markt” (tram / bus)
University of Potsdam, Campus Griebnitzsee, House 6 (Registration, Main Conference, Party etc.)
August-Bebel-Straße 89
14482 Potsdam
“Griebnitzsee” (train) / “S Griebnitzsee” (bus)
REGISTRATION
University of Potsdam, Campus Griebnitzsee, House 6
28th - 30th July 2016, 9.00-18.00
WIFI
Free access is available at all venues via Eduroam, if
you have your own account.
In addition, at the ZeM, access is provided via the network “NECS Conference”, password: “internet”.
For access at the University of Potsdam to the guest
network “UP-Conference”, you can ask for a personal
voucher at the registration.
Local Organisation Phone Numbers
Annemone Ligensa:
Stefan Maciolek: Tel. +49 (0) 331 / 580-2866
Tel. +49 (0) 331 / 580-2866
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Graduate Workshop
July 26 and 27 2016, ZeM, Film University
th
th
»
14th NECS Graduate Workshop: Return of the Living-Dead Media: Media Cultures of Persistence, Resistance
and Residue
This workshop aims to address notions of persistence and resistance within the study of film and visual culture. A range of conceptual
frameworks have been deployed to examine the persistence of past media forms, such as Residual Media (Acland, 2007), Zombie Media
(Hertz and Parikka, 2012), Haunted Media and studies of hauntology and nostalgia. Whether perceived as comforting or monstrous, as
expressing a conservative attachment to the past or a critical challenge to the present, residual media have generated a range of critical
as well as artistic responses. We invite graduates and post-graduates to reflect on the re-presentation, remediation and re-appropriation
of “old” media in “new” media contexts, both contemporaneous and historical. What do we understand of as “old” media and how is this
historically variable? How, and for what purposes is “the old” being valued, devalued and re-evaluated? What are the different practices
and spaces in which old media are being engaged with? What are the affective modes of engagement being generated by residual media?
How might the past be re-animated to tell new stories, or to represent previously unaccounted for histories?
1
2
Panel 1
Panel 2
»» July 26th, 18.30 - 20.00, ZeM
»» July 27th, 10.30 - 11.30, Film University, Room 2115
Halbe Kuipers
»» University of Amsterdam
On Undead Media, Narcissism and Autocannibalism
Pamela Gionco
»» University of Buenos Aires
Usable / Non-usable / Reusable: Present Continuous of
Microfilms
Andrea Lathrop
»» Philipp University of Marburg
From Analogue to Digital and Back: An Analysis of
Polaroid Practice in the Age of Immateriality
Marek Jancovic
»» Johannes Gutenberg-University of Mainz
The Guest That Won’t Leave – On the Fragmented Origins
of Interlacing
Tim van der Heijden
»» Maastricht University
in/between Reflective and Restorative Forms of
Technostalgia
3
4
Panel 3
Panel 4
»» July 27 , 11.30 - 12.30, Film University, Room 2115
Jakob Boer
»» University of Groningen
Take Your Time: Towards a Theory of Contemplative
Spectatorship in Slow Cinema
Sandra Becker
»» Rijksuniversiteit Groningen
The New World’s Gonna Need TV?! – Walking-Dead
Television and Revived Masculinity in Contemporary TV
Series
th
Claire Jesson
»» Warwick University
Goodbye, Dragon Inn’s Haunted Projection Booth
5
Sebastian Bartosch
»» University of Hamburg
“Sometimes the old stuff is worth keeping around”:
Assembling the Residual Mediality of Comics
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Panel 5
Panel 6
»» July 27 , 14.30 - 15.30, Film University, Room 2115
Sören Schoppmeier
»» Free University of Berlin
Playing with Broadcast: Radio and Television as LudoNarrative Devices in the Video Game Series GRAND THEFT
AUTO
Carlos Kong
»» Cornell University
Memorial Mediations: Intimacy and Loss in Carolee
Schneemann’s MORTAL COILS
th
Alston D’Silva
»» University of California Santa Barbara
Desire, Orientation and Proximity: ISEE-3 and the Queer
Ontology of the Fugitive Technological Object
Katharina Kamleitner
»» University of Glasgow
Looking for Alternatives: Women’s and Online Film
Festivals
Organisers: Marta Małgorzata Wąsik (Warwick University), Sophia Satchell-Baeza (King’s
College London), and Anne Luise Kiss (Film University Babelsberg KONRAD WOLF)
10
NECS Pre-conference Workshop
July 27 2016, 15.00-18.00, ZeM
th
»
Changes and Challenges within the Field of Cinema and Media Studies
»» July 27th, 15.00 - 18.00, ZeM (Friedrich-Ebert-Straße 4, 14467 Potsdam)
On the occasion of NECS’s 10th anniversary, this workshop aims at reflecting the changes that Cinema and Media Studies has undergone in
the past 10 years.
Just as the media system is evolving in unexpected and rapid ways, so is our discipline. What are the key challenges that Cinema and
Media Studies faces today? What are the particular trends and developments that answer to them? And what is the reason for their emergence?
The members of all NECS workgroups were invited to suggest topics and questions for this workshop. Based on their input, the discussion
will focus on new methods, new objects, and new objectives of research. It will address:
Practice based research
(confirmed discussants: Synne Tollerud, Jaap Kooimans, Miriam de Rosa)
Digital humanities
(confirmed discussants: Marina Hassapopoulou, Eef Mason, Karin van Es)
Methodological challenges of media industry studies
(confirmed discussants: Jaap Verheul, Melis Behlil, Petr Szczepanik, Aida Vallejo)
New forms of media distribution
(confirmed discussants: Ramon Lobato, Skadi Loist, Patrick Vonderau)
Media education
(confirmed discussants: Justyna Budzik, Andrea Pócsik, Alexandra Schneider, Winfried Pauleit)
The members of all NECS workgroups were invited to suggest topics and questions for this pre-conference workshop. Based on their
input, the discussion will focus on:
»» Panel A: 15.00 - 17.00
– Media education
– Practice-based research
»» Panel B: 15.00 - 17.00
– Media industries
– Digital humanities
After the Brexit vote, established formats of academic cooperation may face yet another challenge. Which consequences does the current
political situation hold for academic cooperation and what can be done to prepare for them or counteract them? The workshop thus closes
with an open discussion on European cooperation in times of nationalisation and insulation.
»» 17.00 - 18.00
Open discussion: European cooperation in times of nationalization and insulation
Organisers: Malte Hagener (Philipp University of Marburg) and Judith Keilbach (Utrecht University)
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Keynote 1: Sean Cubitt
July 29th 2016, 16.00 - 18.00, University of Potsdam
Sean Cubitt
»» Goldsmiths, University of London, UK
July 29th, 16.00 - 18.00, University of Potsdam, Campus Griebnitzsee, House 6, H05
Against Connectivity
All communication is mediated but not all mediation is communicative. Beyond communication lies the vast
ocean of a-signifying mediations, physical connections of matter and energy, space and time, entropy and
emergence. To focus exclusively on communication is not just anthropocentric: in constructing the human
alone as meaningful, it severs humanity from environment and diminishes both. Because the task of politics
today is to construct a “we” capable of pursuing the good life for all of “us”, the task of political aesthetics
cannot be simply to reconstitute a primal (historical, biographical) union with the world: it is always too late
for that. If signification and communication are special instances of mediation, there may instead be an aesthetic – a sensory thinking – of the polis in its connectivity with and distinction from its multiple environments,
environments which include many aspects of humanity alienated from humans in the effort to refine an exclusively communicative and significant humanity. And if, as I believe, media have the core role in building a new
commons, the best way to unearth such an aesthetic will be through the investigation of specific instances of
mediation, and of confrontations with mediation.
—
Sean Cubitt is Professor of Film and Television and Joined Head of Department at Goldsmiths, University
of London. He is currently researching the history of visual technologies, media art history, and relationships
between environmental and post-colonial criticism of film and media, three strands that converge around the
political economy of globalisation and aesthetics. Having worked in Canada, New Zealand and Australia, he has
an interest in the film and media of these countries, and have ongoing research collaborations and honorary
appointments at the Universities of Dundee and Melbourne.
Prof. Cubitt is on the editorial boards of a number of journals including Screen, Cultural Politics, Animation,
International Journal of Cultural Politics, Visual Communications, Futures, Time and Society, fibreculture, MIRAJ
and The New Review of Film and television Studies, and is a series editor for Leonardo Books, MIT Press.
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Keynote 2: Deb Verhoeven
July 30th 2016, 16.00 - 18.00, University of Potsdam
Deb Verhoeven
»» Deakin University, Melbourne, Australia
July 30th, 16.00 - 18.00, University of Potsdam, Campus Griebnitzsee, House 6, H05
Connectedness, Co-existence and Digital Collections
Discovery and innovation in humanities research, including media studies, has traditionally rested on researchers making serendipitous connections by meandering along knowledge trails and proposing unexpected
conceptual links. Emerging digital research tools are producing even richer opportunities for connectivity in
the humanities, but are often designed for efficient information retrieval rather than serendipitous discovery.
Interrogation techniques based on networked information models or collection visualisations as well as more
general discovery tools offer promising new avenues for discovery, but don’t always align with approaches
to the production of knowledge used by humanities scholars. This presentation asks how we can engage with
computational platforms to co-create a new and imaginatively revised “ordering” of the world and how this
might produce alternative opportunities for global understanding.
—
Deb Verhoeven is Professor and Chair of Media and Communication at Deakin University. Amongst her many
accolades she was named Australia’s Most innovative Academic in 2013. From 2012-2014 she was Deputy Director of the Centre for Memory, Imagination and Invention (CMII). Until 2011 she held the role of Director of the
AFI Research Collection at RMIT University. A writer, broadcaster, film critic and commentator, Verhoeven is the
author of more than 100 journal articles and book chapters. Her most recent book is Jane Campion published
in 2009 by Routledge, a detailed case study of the commercial and cultural role of the auteur in the contemporary film industry. Professor Verhoeven is one of Australia’s leading proponents of Digital Humanities research.
Her work is internationally recognised and evident in her recent appointment as Chair of Digital Humanities
2015. Verhoeven’s research addresses the vast amounts of newly available ‘cultural data’ that has enabled
unprecedented computational analysis in the humanities. Verhoeven is a founding executive member of the
Australasian Association of the Digital Humanities (aaDH) and the Tasmanian Government’s Digital Futures
Advisory Council. She is currently the International Chair of Digital Humanities programming committe (ADHO).
Deb Verhoeven has an active role in film publishing. Until 2012 she was Chair of the widely read film journal
Senses of Cinema and was Editor for the journal Studies in Australasian Cinema (Intellect) in 2009/10.
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Panels Overview
PANELS: A 1 – A 14
pp. 17-19
»» THURSDAY, July 28th, 11.00-13.00
A 1 IDENTITIES IN SOCIAL MEDIA AND GLOBALIZATION
A 2 CONNECTING SOUNDS
A 3 THE AESTHETICS OF (FINANCIAL) CRISIS
A 4 AVANT-GARDE AND EARLY CINEMA
A 5 CONNECTED FANDOM
A 6 CONNECTING THE NOUVELLE VAGUE
A 7 CONNECTIVITY IN FAN-CULTURAL NETWORKS
A 8 A CONCEPT OF MEDIATION: GESTURE IN FILM
A 9 WORKING IN SCREEN INDUSTRIES: ALL NETWORKS AND CONNECTIONS? CAREERS, PRODUCTION CULTURE AND
CHANGING POLICIES
A 10 MEMENTO: NARRATING THE MEMORY THROUGH MEDIATED PRACTICES
A 11 IN/BETWEEN AUDIO-VISUAL ARTS, FILM, AND PHILOSOPHY: FOUR APPROACHES
A 12 FILM FESTIVALS IN LATIN AMERICA AND SPAIN
A 13 (HOMER) CINEMAGOING AS POLITICS
A 14 (HOMER) EARLY CINEMA
PANELS B 1 – B 12
pp. 20-21
»» THURSDAY, July 28 , 14.00-16.00
th
B 1 TRANSLOCAL PLATFORMS – MEDIA ART AND CONNECTIVITY
B 2 CONNECTING TELEVISION
B 3 MEDIA AND CONNECTED MEMORIES
B 4 FILM DISTRIBUTION
B 5 CONNECTED AMATEURS AND EAST EUROPEAN FILM
B 6 DISPLAYING AND SCREENING: MODES OF CIRCULATION FROM SLIDE PROJECTION TO DIGITAL MEDIA ART FESTIVALS
B 7 IMPROVING THE ONLINE ACADEMIC READING EXPERIENCE (WORKSHOP)
B 8 IN/BETWEEN CULTURES: MOVING IMAGE ADVERTISING AND CONNECTIVITY
B 9 MAPPING SOUTHERN MEDIA: INFORMALITY AND DIGITAL SOCIAL FORMATION
B 10 THE STATE OF NEW MEDIA IN 2016: TEN YEARS AFTER ‘YOU’ WERE TIME’S “PERSON OF THE YEAR” (WORKSHOP)
B 11 (HOMER) ALTERNATIVE EXHIBITION
B 12 (HOMER) PROGRAMMING AND LOCAL CULTURES
PANELS C 1 – C 13
pp. 22-24
»» FRIDAY, July 29th, 9.00-11.00
C 1 CONNECTED HARDWARE
C 2 CINEMA-GOING
C 3 TELEVISION PRODUCTION
C 4 MUSEUM AND ARCHIVES
C 5 COSMOPOLITAN CONNECTIVITY AND TRANSNATIONAL CINEMAS
C 6 CULTURAL MEMORY AND CONNECTIVITY IN ITALIAN CINEMA AND TELEVISION
C 7 THE OTHER SIDE OF CONNECTIVITY: TRAUMA, PARANOIA, AND WAR IN ISRAELI AND AMERICAN TELEVISION
C 8 ‘SOUND AND…?’ THE IN/BETWEEN OF SOUND AND VISUAL MEDIA STUDIES (WORKSHOP)
C 9 THE DIALECTICS OF CONNECTIVITY: ITS PROMISES AND PERILS FOR GLOBAL ACTIVISM
C 10 THE AUDIOVISUAL ESSAY IN MEDIA STUDIES RESEARCH
C 11 ‘THINKING INSIDE THE BOX’: PROJECTING IN THE UK
D 12 CULTURES OF CONNECTIVITY IN NEW DIGITAL DISTRIBUTION AND PRODUCTION PRACTICES
C 13 (HOMER) DISTRIBUTION
14
Panels Overview
PANELS D 1 – D 14
pp. 25-27
»» FRIDAY, July 29th, 11.00-13.00
D 1 NARRATION AND TELEVISION
D 2 REPETITIONS AND DOUBLES
D 3 CONNECTED CITIES
D 4 CONNECTIVE MEDIA AND POST-SOCIALIST CONTEXTS: PERSONALIZING THE PUBLIC SPHERE
D 5 TRANSNATIONAL CONNECTIONS IN EUROPEAN CINEMA
D 6 FROM THE SOCIAL TO THE PERSONAL: AN EASTERN EUROPEAN PERSPECTIVE ON (DIS)CONNECTIVITY
D 7 CINE-CULTURAL CONNECTIVITY ACROSS NATIONAL BORDERS: COMPLICITY, SURVEILLANCE, AND LUDIC CONTESTATION
D 8 SOUND, SPACE, AND TIME: SONIC CONNECTIVITIES IN STATIC AND MOVING IMAGE MEDIA
D 9 MEDIATING HISTORY: THE INNATE CONNECTIVITY OF SCIENCE FICTION
D 10 RECOLLECTING (HI)STORIES: POST-COMMUNIST CULTURAL AND MEMORIAL PRACTICES IN BALKAN FILM
D 11 CREATIVE CONNECTIONS: DOCUMENTARY, INTERACTIVITY, AND VISUAL ARTS
D 12 CONNECTED THROUGH FILM FESTIVALS
D 13 (HOMER) CONTEMPORARY SPACES
D 14 (HOMER) AUDIENCE EXPERIENCE AND BEHAVIOUR
PANELS E 1 – E 13
pp. 28-29
»» FRIDAY, July 29 , 14.00-16.00
th
E 1
E2
E3
E 4
E 5
E6
E7
TRANSMEDIA AND THE TRANSNATIONAL
NUCLEAR CINEMA AND AMATEUR FILMMAKING
SPANISH AND LATIN AMERICAN CINEMA
SEQUELS, SERIES, AND CO-PRODUCTIONS
BORDERS AND TERROR
CONNECTIVITY IN CLASSICAL FILM
NEW AESTHETIC FORMS AND REPRESENTATIONS IN TERMS OF CONNECTIVITY: THE CHANGES IN PRODUCTION AND
CONSUMPTION
E 8 FORMS OF CULTURAL MEMORY IN CONTEMPORARY SLOVAK CINEMA
E 9 CONNECTING VERTOV: MONTAGE, TECHNOLOGY, POLITICS
E 10 CROSS-MEDIA CONNECTIVITY AND THE POLITICS OF THE ESTABLISHMENT INVOLVEMENT
E 11 CRITICAL MORPHOLOGY: TO CONNECT MEANS TO TRANSFORM
E 12 (HOMER) MAPPING MARKETS
E 13 (HOMER) PAST AND FUTURE AUDIENCES
PANELS F 1 – F 12
pp. 30-31
»» SATURDAY, July 30 , 9.00-11.00
th
F1
F2
F3
F4
F5
F6
TURKISH CINEMA
CONNECTING COGNITION AND EMBODIMENT
MEDIA ARCHAELOGY AND ARCHIVES
VISUALIZING EUROPE: (TRANS-)NATIONAL CINEMA
TRANSCULTURAL AND INTERMEDIAL CONNECTIONS IN CONTEMPORARY ROMANIAN AND HUNGARIAN CINEMA
EFFECTS OF CONNECTIVITY ON POLITICAL, SOCIAL, AND IDEOLOGICAL CONDITIONS: FAN CULTURE, CONSPICUOUS
CONSUMPTION, AND RISK SOCIETY
F 7 CONNECTIVITY AND ITS FAILURES IN HUNGARIAN ‘RETREAT FILMS’
F 8 QUEER NETWORKS: CONNECTING INSTITUTIONS, PROGRAMMING QUEERNESS
F 9 FILM LITERACY IN CENTRAL EUROPE (WORKSHOP)
F 10 SOCIAL MEDIA AND PARTICIPATION
F 11 (HOMER) NATIONAL INDUSTRIES
F 12 (HOMER) EARLY CINEMA IN SCOTLAND
15
Panels Overview
PANELS G1 – G 11
pp. 32-33
»» SATURDAY, July 30th, 11.00-13.00
G 1 CONNECTED CITIES AND ARCHIVES
G 2 SCANDINAVIAN MEDIA AND FILM SOCIOLOGY
G 3 TRANSNATIONAL PORNOGRAPHY
G 4 CONNECTED THROUGH GAMING
G 5 THE AFFECTS OF CONNECTIVITY
G 6 COPRODUCTION POLICIES: CONNECTING, MISCONNECTING, DISCONNECTING
G 7 AUDIOVISUAL COMPRESSION: POLITICS OF CODING AND DECODING
G 8 NEW CARTOGRAPHIES OF VIDEO AND DIGITAL ARTS
G 9 CONNECTING EVENTS, WORLDS, AND MEDIA ENVIRONMENTS: SERIAL STORYTELLING STRATEGIES IN CONTEMPORARY
MEDIA CULTURE
G 10 INNOVATING FILM FESTIVALS ALONG THE CIRCUITS
G 11 (HOMER) MAPPING MOVIES (WORKSHOP)
PANELS H1 – H12
pp. 34-35
»» SATURDAY, July 30th, 14.00-16.00
H 1 POLITICAL ACTIVISM
H 2 GLOBALIZATION AND AESTHETICS
H 3 DOCUMENTARY AND ANIMATION
H 4 TRANSNATIONALISM IN EUROPEAN FILM
H 5 FESTIVALS AS TEACHING SITES: A ROUND TABLE ON THE FUTURE OF FILM FESTIVAL PEDAGOGY (WORKSHOP)
H 6 SPAIN PLAYS ITSELF: MEDIATING SPAIN BEYOND ITS BORDERS
H 7 ALONE, TOGETHER? MODES OF SOCIALITY IN NETWORKED AR/VR ENVIRONMENTS
H 8 TRANSCULTURAL CONNECTIVITY, MOBILITY, AND CONTACT ZONES IN CONTEMPORARY EAST EUROPEAN CINEMAS
H 9 SMALL-GAUGE PRACTICES AS OVERLOOKED NETWORKS OF FILM CIRCULATION
H 10 PARTICIPATORY ART PRACTICES ACROSS NET.ART, DIY AND SCREEN MEDIA
H 11 (HOMER) CINEMA AUDIENCES AND SOCIAL DIVISION
H 12 (HOMER) PARALLEL MARKETS
16
Thursday 28th » 11.00-13.00
11.00-12.45
Panels 28 -30 July 2016, University of Potsdam
th
th
1
Identities in Social Media and Globalization
S12
A
2
Connecting Sounds
Chair: Solveig Ottmann
»» University of Regensburg
Chair: Jennifer O’Meara
»» Maynooth University
Silke Roesler-Keilholz
Utopia / Dystopia – Identity and Connectivity in
Social Media
Marie Thompson
»» University of Lincoln
The Noise of Connectivity
S13
Philippa Lovatt
»» University of Stirling
“Blackouts”: Dickie Beau, Tape Machines, the Séance,
and the Cinema
Ivo Ritzer
»» University of Bayreuth
Entangled Mediascapes: Perspectives for
Global Cultural Studies in the Digital Age
Dave Boothroyd
Mediation, Individuation, and Encounter in Digital Milieus
Elena Boschi
»» Liverpool Hope University
Coming Soon to New Screens Near You: Soundtracks and
Inattentive Engagements in the Age of Film Relocation
Pepita Hesselberth
»» Leiden University, University of Copenhagen
On Technology Non-use:
Envisioning Connectivity’s Disconnect
Daniel Torras i Segua
»» Escola Superior Politècnica TecnoCampus
How Do Young People Connect to Music Nowadays?
A New Kind of Functional Relationship
3
The Aesthetics of (Financial) Crisis
S14
4
Avant-Garde and Early Cinema
S15
Chair: Christoph Büttner
Chair: Aimee Mollaghan
»» Edge Hill University
Constantin Parvulescu
»» University of Navarra
2007-2013: Market Triumphalism in the Literary and
Cinematic ‘Wolf of Wall Street’
Kristoffer Noheden
»» Stockholm University
The Mechanism of Correspondences: André Breton, PostWar Surrealism, and Film Theory
Elena Oliete-Aldea
»» University of Zaragoza
Local Responses to a Global Financial Crisis: Connecting
Filmic Cultures in the Great Recession
Juliana Froehlich
»» University of Antwerp / CAPES - Ministry of Education
of Brazil
in/between Avant-garde Film and Modernism: The Case
of Mario Peixoto’s Limite (1931)
Kathrin Rothemund
Traversing Media – Blurring Images: On the Interrelation
Between Moving Images of Crisis and Blurred Aesthetics
5
Connected Fandom
Chair: Denis Newiak
»» BTU Cottbus-Senftenberg
Lars Schmeink
»» Hans-Bredow-Institut
Oo, Those Awful Orcs! – The Hobbit, Media Audiences,
and the Question of Genre
Sara Pesce
»» University of Bologna
Connectivity and Community:
Superheroes, Costumes, and Cosplay
Tessa Reed
»» King’s College London
Pretty Boys and Soldier Girls:
Gender and Sexuality in the ‘Hunger Games’-Franchise
Alessandra Ronetti
»» Pantheon-Sorbonne University / Scuola Normale
Superiore di Pisa
Suggestive Projections: The Chromatrope as a Colour
Medium in 19th Century Visual Culture
S16
6
Connecting the Nouvelle Vague
S17
Sponsored by the Workgroup “Cultural Memory & Media”
Chair: Jesko Jockenhövel
»» Film University Babelsberg KONRAD WOLF
Jennifer Wallace
Cultural Memory in Stone: Varda, Romanticism, and the
Parisian Caryatids
Dominic Topp
»» University of Kent
‘Disconnect a Certain Reality in Order to Reconnect It in
Another Way’: New Relations of Images and Sounds in
the Films of the Dziga Vertov Group
Monise Nicodemos
»» New Sorbonne University
in/between: Media Archaeology Lab
17
Thursday 28th » 11.00-13.00
th
th
7
Connectivity in Fan-Cultural Networks
S18
8
A Concept of Mediation: Gesture in Film
Chair: Natascha Drubek
»» Free University Berlin
Roberta Pearson
»» University of Nottingham
Sherlock Holmes Fandom and Connectivity
Oksana Bulgakowa
Face vs. Body between Individuality and Social Discipline
Anne Kustritz
»» Utrecht University
Making a Hash of Ham4Ham: Digital Fan Connectivity and
the Collective Transmediation of Historical Storytelling
Ana Hedberg Olenina
»» Arizona State University
Industrial Catharsis: Sergei Eisenstein on Kinesthetic
Empathy and Cinematic Technologies of Affect
Vera Cuntz-Leng
Fan Fiction Then, Now, and Tomorrow
Ivan Pintor Iranzo
»» Pompeu Fabra University
The Silence and the Mist: Lost Gestures in the Films of
Aleksandr Sokurov
Sophie G. Einwächter
(Dis)connecting Bubbles: Fancultural and Scholarly
Information Sharing
Working in Screen Industries: All Networks
and Connections? Careers, Production
Culture, and Changing Policies
S19
Sponsored by the journal Apparatus: Film, Media and
Digital Cultures in Central and Eastern Europe
Chair: Sven Stollfuß
9
A
Irina Schulzki
»» Ludwig-Maximilian University of Munich
The Gesture of Things in the Films of Kira Muratova
S21
10
Memento: Narrating the Memory through
Mediated Practices
S22
Chair: Irem Inceoglu
»» Kadir Has University
Chair: Skadi Loist
»» University of Rostock
Sinem Aydinli
»» Bahcesehir University
Memory Confined: Framing the Other’s Pain through the
News-Media
Skadi Loist
Career Paths in the European Film Industry: How to
Become a Director and Really Work in the Industry
Eda Sancakdar Onikinci
»» Bilgi University
Posing as a Performance of Claiming the Self
Marion Jenke
»» UFA GmbH
Old Business Needs New Input: About the Necessity to
Renew a Frozen System
Irem Inceoglu
Mediating Conflict through Narrating Memory of Cities
Burce Celik
Rewinding the Present in the 1980s through Tape
Recorders
11
in/between Audio-Visual Arts, Film, and
Philosophy: Four Approaches
S23
Sponsored by the Workgroup “Cinema and Contemporary
Visual Arts”
Chair: Antonio Somaini
Saige Walton
»» University of South Australia
Deleuze’s Fold and Bastards (2013) as
Baroque Dark Matter
Miriam de Rosa
»» Catholic University of Milan
Re-making Connections: For a Paradigm of
Contaminations between Cinema and Visual Arts
Adeena Mey
»» University of Lausanne
“The Entire Country as Field of Operation”: Sonsbeek 71,
Communication and the Film/Exhibition Apparatus
18
12
Film Festivals in Latin America and Spain
Sponsored by the Workgroup “Film Festival Research“
Chair: Aida Vallejo
»» University of the Basque Country UPV/EHU
Aida Vallejo
»» University of the Basque Country UPV/EHU
Transnational Connections: Film Festivals and
Documentary in Latin America and Spain
Maria Paz Peirano
»» Leiden University
Training, Networks, and Collaboration: Professionalising
Latin American Documentary Film
Minerva Campos
»» Charles III University of Madrid
Film Research through Digital and Online Resources:
Working about European Festivals and Latin American
Cinema
S24
Thursday 28th » 11.00-13.00
11.00-12.45
th
th
13
Cinema-going as Politics
S25
14
Early Cinema
Anthony Killick
Building a Small Cinema: Modernity and the Neoliberal
City
H01
Chair: Andrew Higson
»» University of York
HoMER
HoMER
Chair: Maria Velez-Serna
Talitha Ferraz
»» ESPM-Rio
Audience Activism in Reactivations of Brazilian
Movie Theatres: From Cinema-going Memories to the
Community and Institutional Strategies
A
Nezih Erdoğan
»» Istanbul Şehir University
Mapping Entertainment: Film Exhibition and
Cinema-going in Istanbul between 1910 and 1922
Michal Večeřa
»» Masaryk University
‘In the following season we will present…’: Systematization
of Distribution in Czech Cinema During the Silent Era
Stephen McBurney
Oorsels as Others See Us: Scottish Highlanders in
‘John MacKenzie’s Famous Cinematograph’
19
Thursday 28th » 14.00-16.00
th
th
1
Translocal Platforms – Media Art and
Connectivity
S12
2
Connecting Television
Cecilia Penati
Transforming Programs for Italian Digital TV:
TV Formats as Instruments of Connectivity between
Local and Global Markets
Francesco Spampinato
Dis:Connectivity after the Internet
Michael Seemann
»» University of Cologne
From the Network to the Platform Society
Luca Barra and Massimo Scaglioni
Shaping Connections through Premium TV Fiction:
Sky Italia Circulation Strategies for Gomorrah and 1992
Elio Ugenti
»» Roma Tre University
Enacting the Image-Space: The Cinematic Experience of
Connectivity
Aleksandra Powierska
»» Jagiellonian University
How Has Connectivity Changed Television?
Lifestyle Television and New Ways of Watching
Erzsébet Barát
»» University of Szeged
Translocal Sexim in Social Media
Media and Connected Memories
S13
Chair: Nicoletta Marini-Maio
»» Dickinson College
Chair: Julian Hanich
3
B
Philipp Drake
Digital Connectivity, VOD, and the Elusive Audience
S14
4
Film Access, Distribution, and Cross-Cultural
Exchange
S15
Chair: Katarzyna Paszkiewicz
»» University of Barcelona
Chair: Anne Kustritz
Elif Akcali
Tracing Essayism in Contemporary Fiction and
Documentary Filmmaking in Turkey
Melis Behlil
Connecting Nations: Armenia-Turkey Cinema Platform as
an Actor in the Dialogue-building Process
Elzbieta Durys
»» University of Łódź
Poland as (Re)created Community:
Interconnections Among Memory, Cinema, and Nation
Niamh Thornton
»» University of Liverpool
(Dis)Connected Nations: Distribution and Access of Latin
American Cinemas
Alina Thiemann
»» Romanian Academy
Media Memory: The 25th Anniversary of the German
Unity Day
Anders Marklund
»» Lund University
‘Bienvenue chez les allemands’: Successful Distribution
of Non-German/-English Language Films on the German
Market
5
Connected Amateurs and East European Film
S16
Chair: Marta Wasik
»» University of Warwick
Renée Winter
»» The Austrian Media Library
Promises and Practices of Connecting in Pre-Internet Amateur
Video
Michał Pabiś-Orzeszyna
Video Connectors: Smuggling ‘Westernity’ in Communist Poland
Paulina Haratyk
»» Jagiellonian University
Connectivity in the Amateur Film Movement:
A Study of the AKF SAWA from Warsaw
20
Pavel Skopal
»» Masaryk University Brno
»» and
Ewa Ciszewska
The Scriptwriter, or From Prague to Łódź and Back Again: Pavel
Hajný and the Czechoslovak-Polish Cultural Transfer in the 1980s
6
David Richler
»» Carleton University
Curating Connection: The Omnibus Film (Festival) as a
Microcosm of ‘World Cinema’
Displaying and Screening: Modes of
Circulation from Slide Projection to Digital
Media Art Festivals
S17
Visual Arts”
Chair: Lisa Åkervall
»» Trinity College Dublin
Aileen Pinkert
Barely Moving: Extended Stillness in Cinemagraphs
Julian Ross
»» University of Westminster
Between Presence and Absence: Slide Projectors in
Contemporary Art
Petra Skřiváčková
»» Charles University Prague
A Brief History and Theory of Media Art Festivals
Thursday 28th » 14.00-16.00
th
th
7
S18
Workshop
Improving the Online Academic Reading
Experience
B
8
in/between Cultures: Moving Image
Advertising and Connectivity
Sponsored by the journal Apparatus: Film, Media, and Digital
Cultures in Central and Eastern Europe
Chair: Michael Ufer
Bozana Bokan
»» Public Knowledge Project
Re-designing the Workflow Process
Karin Moser
»» University of Vienna
‘Consumer Memories’: (Austrian) Commercials –
Connectivity and the Visual Culture of Memory
Erwin Verbruggen
»» VIEW / Netherlands Institute for Sound and Vision,
University of Luxemburg)
Audiovisual Resources in Journals
S19
Yvonne Zimmermann
What Advertising Knows about Advertising:
Self-Reference in Moving Image Advertising
Adelheid Heftberger and Natascha Drubek and John Newby
»» Apparatus: Film, Media and Digital Cultures in Central and
Eastern Europe)
Figuring out Connectivity: Collaborative Work and Open Access
Publishing
Michael Cowan
»» St Andrews University
The Connected Screen: Interactive Advertising Screens
and the Rhetoric of Connectivity
Jaap Kooijman
»» NECSUS, University of Amsterdam)
Design, Layout, and Communications
9
S21
Mapping Southern Media: Informality and
Digital Social Formation
10
The State of New Media in 2016: Ten Years
after ‘You’ Were TIME’s “Person of the Year”
S22
Sponsored by the Workgroup “New Media”
Chair: Tatiana Astafeva
»» ZeM / Film University Babelsberg KONRAD WOLF
Rainer Hillrichs
»» University of Mannheim
Workshop
Joaquin Serpe
»» Concordia University
UN3 TV: Informal Creative Labor at the Periphery of
Private and Public Bureaucracies
Weixian Pan
Pleasurable Pirates: Video Leeching on Bilibili.tv
Darien Sanchez Nicolas
A Cuban Fight Against Demon(ic) Interfaces: Changing
Media Landscapes in Cuba
Sarphan Uzunoğlu
Murat Akser
»» University of Ulster
Sophie G. Einwächter
Sven Stollfuß
11
12
Programming and Local Cultures
Chair: Dagmar Brunow
»» Linnaeus University
Chair: Daniel Biltereyst
»» Ghent University
Margaret O’Brien
»» Birbeck University London
Cultural Spaces, Cultural Places: Exhibiting Foreign Films
at the Academy, London and the Manchester and Salford
Film Society
Daniela Treveri Gennari and Silvia Dibeltulo
»» Oxford Brookes University
and
Lies Van de Vijver
Comparative Cinema Cultures in 1950s Medium-Sized
Cities in Europe
Jasmine Nadua Trice
»» University of California
Staging Utopia: Art House Screening Spaces and
Translocal Cinema-going in Manila, Philippines
Ian Goode
From Non-theatrical Cinema-going Experience to
Domestic Anomie: Explaining the Decline in Rural
Cinema-going in the Post-War Highlands and
Islands of Scotland
HoMER
HoMER
Alternative Exhibition
S23
S24
Sam Manning
»» Queen’s University Belfast
The Social Practices of Cinema-going in the United
Kingdom: A Comparative Analysis of Belfast and Sheffield,
c. 1945–1962
Monique Toppin
Movie-going in Little Nassau in the 1950s
21
Friday 29th » 9.00-11.00
th
th
1
Connected Hardware
S12
C
2
Cinema-going
Sponsored by the Workgroup “New Media”
S13
Chair: Robert Allen
»» University of North Carolina at Chapel Hill
Chair: Rainer Hillrichs
Julian Hanich
Big Screen Cinema, Small Screen Television:
André Bazin on Collective Viewing in the Movie Theater
and the Living Room
Kata Szita
»» University of Gothenburg
Smartphones and Connectivity
Chris Baumann
There’s an Engineer in My Living Room!
On Interconnectivity, Heterogeneous Design,
and the Messy World of Streaming Media Players
Talitha Ferraz
»» ESPM-Rio
‘We are De Roma’: A Belgian Case of Audience Devotion
and Management of Cinema-going Memories
Jan Hanzlik
»» University of Economics Prague
(Dis)connected Viewers: Popularity of Cinema-going
across Europe after 1989
Ido Ramati
»» Hebrew University of Jerusalem
Machine Translation: Intercultural Connectivity between
Humans and Machines
Julia Hildebrand
»» Drexel University
in/between Sublime Self-Driving Cars: Cultures of
Connectivity in Depictions of Current Concept Cars
3
Television Production
S14
4
Museum and Archives
Chair: Helen Doherty
»» IADT / National Film School
S15
Chair: Justyna Budzik
»» University of Silesia
Tommi Römpötti
»» University of Turku
How Did Finnish Cinema Find a New Connection with the
Audience in the Turn of the Millennium?
Beatriz Bartolomé
Theming the Museum: Cinema and the Experience Economy
Tore Helseth
»» Lillehammer University College
Connecting with the Past through Sound and Music: A
Production Study of the Norwegian Reality History TV
Series Anno
Dagmar Brunow
»» Linnaeus University
Curating Access: Digital Archives, Heritage and Diversity
Daniel Kulle
»» Independent
Dilettantes, Amateurs, and Newbies: Dispositifs and
Discourses of Professionalism in Digitalized Filmmaking
Çiğdem Erdal and Aysel Ay
»» University of Marmara
“I Am What I Produce”: The Complex Interplay between
Television Industry and Audience
Olof Hedling
A Clash with the System: Experiences of Teaching Film
and Media Production in the South of Sweden
5
Cosmopolitan Connectivity and
Transnational Cinemas
S16
Chair: Daniela Berghahn
»» Royal Holloway, University of London
Paul Cooke
»» Leeds University
Soft Power, Film, and the BRICS
22
6
Cultural Memory and Connectivity in Italian
Cinema and Television
Chair: Karol Jóźwiak
Cosetta Gaudenzi
»» University of Memphis
Italian Directors and the Global Film Industry: Paolo
Sorrentino’s This Must be the Place and Youth
Marijke De Valck
Festivals, World Cinema, and the Paradox of Authenticity
Giancarlo Lombardi
»» CUNY Graduate Center and College of Staten Island
Screening Fear: The Long-Lasting Influence of French
Television Drama on the Italian originale televisivo
Lydia Papadimitriou
»» Liverpool John Moores University
Not Exotic Enough? Contemporary Balkan Cinema and the
Creation of a New Transnational Brand
Nicoletta Marini-Maio
»» Dickinson College
Remaking Moro: Reconciliation, Forgetfulness, and
Appropriation across Media
Daniela Berghahn
»» University of London, Royal Holloway
The Cosmopolitan Exotic and Transnational Cinema
Silvia Carlorosi
»» Fordham University
Challenging Cultural Memory in Form and Content: Alina
Marazzi’s Docufilms
S17
Friday 29th » 9.00-11.00
th
th
7
S18
C
8
‘Sound and…?’ The in/between of Sound and
Visual Media Studies
The Other Side of Connectivity: Trauma,
Paranoia, and War in Israeli and American
Television
S19
Nessa Johnston
Workshop
Chair: Michaela Wünsch
»» Institute for Cultural Inquiry Berlin
Ariel Avissar
»» Tel Aviv University
‘It’s All Connected’: Catastrophe and Paranoia on
Contemporary American Television
Itay Harlap
»» Tel Aviv University
Bringing Back the National: The Male Warrior in
Treatment
Aimee Mollaghan
Marie Thompson
Philippa Lovatt
»» Stirling University
Yvonne Kozlovyky
»» University of Haifa
‘The Legacy of Our War on Terror’: America and Israel
through the Microcosms of the TV Drama Series Hatufim
and Homeland
Leo Murray
»» Murdoch University
Yael Munk
»» The Open University Israel
Fauda: Re-considering the Israeli Occupation on Prime
Time
9
The Dialectics of Connectivity: Its Promises
and Perils for Global Activism
S21
10
The Audiovisual Essay in Media Studies
Research
Chair: Nanna Heidenreich
»» Braunschweig University of Art
Chair: Rebecca Sheehan
»» California State University
Andreas Stuhlmann
»» University of Alberta
Introduction: Uncovering the Dialectics of Connectivity
Patricia Pisters
Metallurgy, Media, and Minds #Follow the Silver
Clemens Apprich
»» Leuphana University Lüneburg
Between Connectivity and Collectivity: Re-imagining
Activism under Post-Media Conditions
Liz Greene
»» Dublin City University
in/between the Archive and the Audiovisual Essay:
Connecting Practices
Maya Ganesh
»» Tactical Technology Collective
A Crisis of Ethics: Towards a New Conceptual Framework
for Ethics as Accountability in Data Activism
Jaap Kooijman
Editing the Star Text: The Audiovisual Essay in
Star Studies
H01
Nishant Shah
»» Centre for Internet and Society, Bangalore / Leuphana
University Lüneburg
Free as in Beer: The Premise and Promise of Connectivity
11
S22
‘Thinking Inside the Box’: Projecting in the UK
Chair: Stuart Hanson
»» De Montfort University
Richard Wallace
‘I thought digital was a load of bunkum, but it’s not just
good, it’s better’: The Introduction of UK Digital Cinema
projection
Claire Jesson
The Mediations of the Projectionist
Michael Pigott
The Angel and the Baguette: Projection Mapping and
Advertising in Britain
23
Friday 29th » 9.00-11.00
th
th
12
Cultures of Connectivity in New Digital
Distribution and Production Practices
S23
13
Distribution
Chair: Clara Pafort-Overduin
Sponsored by the Workgroup “Screen Industries”
Patrick Vonderau
“What Is the Value of Video? Multi-Channel Networks and
the Transformation of YouTube”
Petr Szczepanik
»» Charles University in Prague
“A Digital Transformation of East-European Auteur:
Arthouse Filmmakers’ Online Strategies”
Charles Acland
»» Concordia University Montreal
“An Empire of Pixels: Canadian Cultural Enterprise in the
Digital Effects Industry”
Respondent: Aynne Kokas
»» University of Virginia
24
HoMER
Chair: Vicente Rodríguez Ortega
Ramon Lobato Swinburne
»» University of Technology Melbourne
“Netflix Globalization”
C
Jacqueline Maingard
»» University of Bristol
Connecting Global ‘Cinema Citizens’: Twentieth Century
Fox and South African cinema history, 1920s to 1950s
David Morton
»» University of Central Florida
An Agitation Free Trade Zone: American Cinema in the
Belgian Film Market During the Inter-War Period,
1918-1939
Richard Maltby
»» Flinders University
The Romance of Distribution
S24
Friday 29th » 11.00-13.00
11:00-12:45
th
th
1
Narration and Television
S12
D
2
Repetitions and Doubles
Chair: Roberta Pearson
Chair: Thomas Patrick Pringle
»» Brown University
Paolo Braga
Two Cultures, one Show: how British period drama ‘Downton
Abbey’ applies the narrative model of US TV drama
Mark Gallagher
Around the World in Action
S13
Halbe Kuipers
»» Amsterdam School for Cultural Analysis
Self to Self: On the Aesthetics of the Double and its
Relation to Our Conditions
Eugeni Ruggero
»» and
Adriano D’Aloia
»» Università Telemat-ica Internazionale UniNettuno
Connecting (and dis-connecting) Events. A neurofilmological
approach to serial narratives
Sophia Satchell-Baeza
“Chelsea on the first stop to Persia”: Hippie Orientalism
and the Authenticity of Rock in Nicholas Roeg and Donald
Cammell’s Performance (1970)
Herbert Schwaab
Going Global/Being Televisual. The Banality of Connectivity
in Television Series and Multiprotag-onist Film
Erwin Erhardt
»» University of Cincinnati
‘The Rebel’: Reconciling the Past with the Present 100 Years Later
3
Connected Cities
S14
4
Connective Media and Post-Socialist
Contexts: Personalizing the Public Sphere
Chair: Jennifer Wallace
Chair: Levent Yilmazok
»» Mimar Sinan Fine Arts University
Niels Niessen
»» University of Toronto
This Photo Was Shot on an IPhone
Maria Vinogradova
»» New York University
Seghii Astakhov, A Patriot and Orthodox Christian Gay:
One Video Blogger’s Vision of Politics in Putin’s Russia
Daniela Agostinho
»» University of Copenhagen
Connected Visions: Scopic Regimes and
Algorithmic Culture
Sonja Simonyi
»» Independent
Parallel Histories: Appropriating Secret Police Archives
and Reclaiming the Personal File in Péter Forgács’s
Media Installation
Anna Viola Sborgi
Connectivity, Urban Regeneration, and Placemaking:
East London as a Case Study
Laliv Melamed
»» Sapir College
“What Is a Girlfriend?”: Family Videos, Love and the
Regulation of Kinship in post-1990s Israeli Military Video
Commemoration
Anthony Enns
»» Dalhousie University
Structures of Connectivity: Media, Architecture,
and Virtual Urbanism
5
Transnational Connections in European
Cinema
S15
S16
6
From the Social to the Personal: An Eastern
European Perspective on (Dis)Connectivity
S17
Chair: Huw Jones
Chair: György Kalmár
»» University of Debrecen
Andrew Higson
The European Connection: British Cinema in a European
Context
Zsolt Győri
The Motif of Retreat in Hungarian Cinema from the 1970s
to the Present
Aynne Kokas
»» University of Virginia
European/Chinese Co-productions
Fanni Feldmann
“This is not America”: Allegories of Escape and Retreat as
in Eastern European Queer Cinema
Ying Zhu
»» The City University of New York
Chinese and European Cinemas under the Shadow of
Hollywood
Respondent: Liu Ting
»» Communication University of China
Hajnal Király
»» Eötvös Loránd University
A Story of Unlikely Cultural (and Media) Connections:
Liza, the Fox-Fairy
Beja Margitházi
Present Lense: Visual Strategies of Connecting
Post-communist Present and Imagined Past in
Liza, the Fox-fairy (2015)
25
Friday 29th » 11.00-13.00
th
th
7
Cine-cultural Connectivity Across National
Borders: Complicity, Surveillance, and Ludic
Contestation
S18
D
8
S19
Sound, Space, and Time: Sonic Connectivities in
Static and Moving Image Media
Sponsored by the Workgroup “Sound and Music in Media“
Chair: Terri Ginsberg
»» The American University in Cairo
Chair: Liz Greene
»» Dublin City University
Katarzyna Marciniak
»» Ohio University
From Lenin to Darth Vader: Aesthetics of Connectivity and
Play
Jennifer O’Meara
»» Maynooth University
Singer, Narrator, Host: the Woman’s Voice as a Guide in
Inherent Vice (2014), The Lobster (2015) and Serial (2014)
Áine O’Healy
»» Loyola Marymount University
Disconnecting Histories: Italian Filmmakers and
Southeastern Europe
Rahma Khazam
»» Independet
Painting, Architecture and Photography Sounded Out
Terri Ginsberg
»» The American University in Cairo
False “Promise”: Hasbara on British Channel 4
Conor McCafferty
Collective Urban Digital Witnessing Through Participatory
Online Sound Mapping
Isabelle Freda
»» Hofstra University
‘Like Seeing Through A Straw:’ Drone Vision as Paradigm
Respondent: Nessa Johnston
9
Mediating History: The Innate Connectivity
of Science Fiction
Chair: Winfried Pauleit
»» University of Bremen
Delia González de Reufels
Connecting and Disconnecting the Future to the Recent
Past in Argentinian Science-Fiction Films: A Historian’s
Approach
Christian Pischel
Interkosmos – Connecting Space, Media, and History in
GDR’s Sci-Fi Films
Aidan Power
Utopia Interrupted: Connecting Science Fiction and
European Integration
S21
10
Recollecting (Hi)stories: Post-Communist
Cultural and Memorial Practices in Balkan
Film
S22
Chair: Natascha Drubek-Meyer
Raluca Iacob
»» Independent
Records (re)told: The Great Communist Bank Robbery and
History Re-enacted
Ana Grgic
»» University of St Andrews
Deviating Memories: Armando Lulaj’s seriously playful
excursions into Albania’s history
Laura Todd
Identifying Narratives of the Past Through Shifts in Film
genre: post-2000 Serbian film
Aleksandra Milovanović
»» University of Arts Belgrade
Interpretations of the Yugoslav Conflicts in Digital Archives
26
Friday 29th » 11.00-13.00
11:00-12:45
th
th
11
Creative Connections: Documentary,
Interactivity, and Visual Arts
S23
D
12
Connected through Film Festivals
S24
Sponsored by the Workgroup “Film Festival Research”
Sponsored by the Workgroups “Cinema and Contemporary
Visual Arts” and “Documentary Film”
Chair: Annie van den Oever
»» University of Groningen / University of the Free State
Chair: Miriam de Rosa
Eren Odabasi
»» University of Massachusetts Amherst
Constructing Film Festival Audiences: Material Conditions and
the Matter of Taste
Patricia Nogueira
»» University of Porto / University of Texas, Austin
In-Betweenness: Matters of Mediation and Interpretation in
Interactive Documentary
Viviane Saglier
Non/Festivals: Global Imaginaries and Local Possibilities of
Palestine’s Film Festivals
Kim Nelson
»» University of Windsor in Canada / Cinema Research Institute
at NYU
Live Documentary and Communal Authorship in Analog Space
Kirsten Stevens
»» Monash University
Living the Virtually Real Event: Film Festivals in the Age of
Social Media, Online Platforms, and the Digitally Connected
Audience
Kim Jihoon
»» Chung-Ang University
(Re)connecting The Landscapes of Deserts: Redistribution and
Relocation of the Documentary in Chantal Akerman’s NOW
13
S25
14
Audience Experience and Behaviour
Chair: Philippe Meers
»» University of Antwerp
Chair: Daniela Treveri Gennari
»» Oxford Brookes University
Stuart Hanson
‘Entering the Age of the Hypermarket Cinema’:
The First Five years of the Multiplex in the United Kingdom
Melvyn Stokes
»» University College London
“Swinging Sixties”?: Connecting Memories of Sex and
Cinema-going in Britain
Lies Van de Vijver
»» and
Kathleen Lotze
The Cinema is Dead - Long Live the Cinema. Comparative
Research into the Introduction of the Multiplex in Belgium.
Karina Aveyard
»» University of Sydney
Film Consumption in the 21st Century: Mobility and Digital
Technologies
HoMER
HoMER
Contemporary Spaces
Peter Virginas
»» Babes-Bolyai University
Swarming out of Movie Theaters: Networks and Affects
H01
Clara Pafort-Overduin
Adults and Minors in the small mining Town Geleen. A
diachronic and synchronic Analysis of Audience Preferences
from 1929-1967
Anthony Rescigno
»» University of Lorraine
The Young Audience Experience of Cinema in Moselle During
World War II
27
Friday 29th » 14.00-16.00
th
th
1
Transmedia and the Transnational
S12
E
2
Nuclear Cinema and Amateur Filmmaking
S13
Chair: Ivo Ritzer
Chair: Kata Szita
Valentina Re
»» Link Campus University of Rome
Media Design, Social Media and New Spaces of Connectivity:
The Case of Title sequences in TV Series
Thomas Patrick Pringle
»» Brown University
“Emergency Salvage Archaeology”: Toxic Media from Local to
Global Scale
Sarah Renger
»» University of Leicester
In-betweenness in Transmedia Storytelling. A Qualitative
Textual Analysis of the German Trans-media Series Culture
Files
Aija Laura Zivitere
»» Information Systems Management Institute, Riga
The Connection of Equivalence and a Communism of
Nonequivalence: Chernobyl, Plasticity and the Cinema of the
(Emotional) Brain
Robin Steedman
»» SOAS, University of London
Nairobi and Transnational Film Production Culture
Leo Murray
»» Murdoch University
»» and
Damian Fasolo
»» Murdoch University and Edith Cowan University
Less is More: Restraint and Limitation as a Stimulus for
Connectivity in Cinema
Kristian Feigelson
Connecting People and Filmmaking : in between?
3
Spanish and Latin American Cinema
S14
4
Chair: Cheryl Dueck
»» University of Calgary
Vicente Rodriguez Ortega
Spanish Transition to Democracy... To Where?: A Video Essay
Magdalena Saryusz-Wolska
Somewhere in the East. The Commemorative Function of the
TV-Miniseries “Am grünen Strand der Spree” (1960)
Andy Raeder
Sequels in the GDR film production: “Anton’s Ghost” and the
Films of Günter Reisch
Belén Vidal
Cinephilic Retreats and Transient Connections in Hispanic
Cinema
Borders and Terror
S16
Marion Hallet
Living a fairy tale: Romy Schneider and Cultural Memory in
Post-War Europe
6
Connectivity in Classical Film
Chair: Svea Bräunert
»» ZeM
Chair: Erica Carter
Magdalena Yuksel
Drones: Terror Contagion in Film
Guido Kirsten
Connecting Characters and Social Spheres:
‘Connective things’ in Max Ophüls’ Liebelei (1933)
Michael Gott
»» University of Cincinnati
Borders 2.0: Virtual Media and the Limits of Place and
Community in BABEL WEB (2005) and MA PART DU GATEAU
(2011)
Elena Caoduro
»» University of Bedfordshire
Do You Remember the Revolution? Terrorism in European
Non-Fiction Cinema
Arild Fetveit
Precarious Aesthetics and 5 Broken Cameras
(Emad Burnat and Guy Davidi 2012)
28
S15
Chair: Jaap Kooijman
Victoria Pastor-Gonzáles
»» Regent´s University London
Political Docudrama as an Instrument for social Engagement,
the Case of B, la película
5
Sequels, Series, and Co-Productions
S17
Kevin Johnson
»» Anglo-American University Prague
Happy Together? - Gustav Machatý’s Cinema of Connection
and Dislocation
Alexandra Bush
»» University of California Berkeley
“The Threat of an Overwhelming Contingency”:
Stürme über dem Montblanc and the Modernity of Nature
Friday 29th » 14.00-16.00
th
th
7
New Aesthetic Forms and Representations
in Terms of Connectivity: The Changes in
Production and Consumption
S18
8
Connecting Vertov: Montage, Technology,
Politics
Antonio Somaini
Cinema, Montage, and the Technological Milieu
Murat Akser
»» Ulster University
Online Film Festivals: Rise of a New Networked Aesthetic
Natacha Milovzorova
Vertov at the Intersection of the Artistic Circles of the 1920s
Seda Aktaş
»» Marmara University
New Ways of Production in Film Making: “Life in a Day” as an
Example of a Crowdsourced Documentary
Irina Tcherneva
»» École en Hautes Études en Sciences Sociales (EHESS) and
ARIAS/Cnrs, Paris
Redefining the ‘Experimental Cinematographic Station’ Project
in the Soviet Documentary ‘Filmmaking During the 1960s
Sedef Erdoğan Giovanelli
»» Istanbul Bilgi University
The Representation of Food Culture as an Intangible Cultural
Heritage in the Digital Era
Cross-media Connectivity and the Politics of
the Establishment Involvement
S21
10
Critical Morphology: To Connect Means to
Transform
Chair: Thomas Morsch
Chair: Marie Rebechi
»» EHESS Paris
Corey Kai Nelson Schultz
»» University of Southampton
Sites and Sights of Commemoration: Contemporary Chinese
Commemorative Museums, Commemorative Films, and
Affective Experience
Gottfried Schnödl
»» Leuphana University Lüneburg
Euglena Without Qualities – Dissolving Morphologies in
Biology and Literature around 1900
Riccardo Venturi
»» INHA Paris
The Deep-Sea and the Unconscious. Fathoming the Abyss
with Salvador Dalì and William Beebe
Lars Kristensen
»» University of Skövde
The Frozen Dialectic: Marx, Politics and Gamification
Marie Rebecchi
»» EHESS Paris
Photographing the “Ambient” as Connected Space
S23
12
Past and Future audiences
S24
Chair: Jeffrey Klenotic
»» University of New Hampshire
Chair: Karina Aveyard
»» University of Sydney
Pierre Stotzky
Databases and Film Market Studies
Aleit Veenstra and Philippe Meers
»» University of Antwerp
»» and
Daniël Biltereyst
New Screen Audiences? A Comparison of Film Consumption
Practices of Flemish Youth in 2001 and 2015
Brendan Kredell
»» Oakland University
The Geography of Taste: A Study of Netflix Rental Patterns
in US Metro Areas
Maria Fernanda Luna Rassa
»» Autonomous University of Barcelona
Using GIS in Film Studies: Methodological Reflections
HoMER
HoMER
Mapping Markets
S22
Elena Vogman
„The sea has eyes of its own”: Critical Morphology of Sea
Creatures
Ruby Cheung
»» University of Southampton
Border-crossing Film Policy: A Study of the Linguistic
Connectivity and Disruptions in China-Hong Kong Film
Co-productions
11
S19
Chair: Francesco Pitassio
»» University of Udine
Chair: Sarphan Uzunoğlu
9
E
Gabriel Menotti
»» Federal University of Espiritu Santo
»» and
Virginia Crisp
»» Coventry University
Besides the Screen: In-between cinematographic Spaces and
Scholarships
Matthew Jones
»» DeMontfort University
Living Memories: Connecting modern and historical Cinema
Audiences through immersive Theatre
29
Saturday 30th » 9.00-11.00
th
th
1
Turkish Cinema
S12
F
2
Connecting Cognition and Embodiment
Chair: Melis Behlil
Chair: Irina Schulzki
»» Ludwig-Maximilian University of Munich
Levent Yilmazok
»» Mimar Sinan Fine Arts University
Turkish Cinema in the 1960s: An Idiosyncratic Case of
Connectivity
Steffen Hven
»» Bauhaus University Weimar
Cinematic Narration: Reconnecting Cognition and Affect
Maria Poulaki
»» University of Surrey
Embodied Simulation, Narrative and Disconnection
Savas Arslan
What Cinema Connects: The Filmmaker of the Ottoman
Empire
Tamas Nagypal
»» York University Toronto
The Subaltern’s Connective Mutation: The Biopolitics of
Slumdog Millionaire’s Neuro-Images
Ali Halil Kocatürk
The transnational connection: a formalist look at the
filmmakers period in Turkish cinema
Michael Ufer
Intimate Connectivity/Connective Intimacy//Spike Jonze’s HER:
On Some Recent Temporal (Con)Figurations of Love
Oemer Alkin
»» Heinrich Heine University Düsseldorf
New Politics of Connectivity for Visual Culture Studies:
Critique of Representation and Transnational Cinema
3
Media Archaelogy and Archives
S13
S14
4
Visualizing Europe: (Trans)national Cinema
Chair: Alexander Zöller
»» ZeM / Film University Babelsberg KONRAD WOLF
Chair: Randall Halle
»» University of Pittsburgh
Hannah Goodwin
»» University of California Santa Barbara
Constellated Archives: Imagined Connections to the Past in
Silent-Era Astronomy Films
Randall Halle
The German-Turkish Co-production Development Funds:
Interzones and Imaginative Communities
Andrea Pócsik
»» Pázmány Péter Catholic University
Mediatised Otherness. An Archaeology of the Romanies’
Criminalization
Hester Baer
»» University of Maryland
Cinema and Production Collectives in the Age of Media
Conglomeration
S15
Yvonne Franke
»» Midwestern State University
Homes in Crisis – Visualizing Europe during the Economic
Crisis
Katrin Sieg
»» Georgetown University
European Refugee Films
5
Transcultural and Intermedial Connections
in Contemporary Romanian and
Hungarian Cinema
S16
Effects of Connectivity on Political, Social
and Ideological Conditions: Fan Culture,
Conspicuous Consumerism and Risk Society
Chair: László Strausz
Chair: Sarphan Uzunoğlu
»» Kadir Has University/ Galatsaray University
Katalin Sándor
»» Sapientia University, Babeș–Bolyai University Cluj-Napoca
Border Crossings and Contact Zones in Contemporary
Romanian and Hungarian Films
Ilkay Tuzcu Tigli
»» Ozyegin University / Galatasaray University
Identity Formation through the Culture of Conspicuous
Consumption within Connectivity:
The Case of ‘Rich Kids of Instagram’
Melinda Blos-Jáni
»» Sapientia University Cluj-Napoca
Remediated Connections. Staging Video and TV Dispositifs
and Masculinities in Crisis in Recent Romanian Films
Judit Pieldner
»» Sapientia University
Connecting to the Past. History, Intermediality and
Transculturality in Radu Jude’s Aferim!
Andrea Virginás
»» Sapientia University, Cluj-Napoca
Connecting as if Denying: Small Eastern European Cinemas
and the Lure of Mainstream Recognition
30
6
S17
Sergul Tasdemir
»» Galatasaray University
Rethinking Connectivity in the Context of Global Terrorism:
How did Paris attacks have an Effect on Risk Perception?
Arzu Sahin
»» Istanbul University / Galatasaray University
Active Audiences on Social Media Platforms: “Leyla and
Mecnun” Fans as an Example of Online Connectivity
Saturday 30th » 9.00-11.00
Panels 28 -30 July 2016,th
University of Potsdam
Saturday 30 » 09:00-10:45
th
th
7
S18
Connectivity and Its Failures in Hungarian
“Retreat Films”
F
8
S19
Queer Networks: Connecting Institutions,
Programming Queerness
Chair: Hajnal Király
Chair: Anders Marklund
György Kalmár
Retreat Films in Post-Communist Hungarian Cinema
Stuart Richards
»» The University of Melbourne
Queer Cinema and the Perception of a Geographical Divide
of Popular and Art House Cinema
Imola Bülgözdi
Retreat to the Margins: Pseudo-Natives and Frontiersmen
Antoine Damiens
The Queer Film Ecosystem: Symbolic Economy and Queer
Cinema’s Legs
Miklós Sághy
Travels into the (Sub)conscious
Clinton Glenn
In Between and Across: Building Queer Cultural Networks
and Transnationalism in the Baltic States
9
Film Literacy in Central Europe
S21
10
Sponsored by the Workgroup “Eeastern Bloc Cinema”
Workshop
Karin van Es
The NOS Gijzeling: Vamping for Time on Twitter
Tereza Cz Dvořáková
»» Charles University in Prague
Film Education in the Czech Republic: Too Late – Too Soon?
Rainer Hillrichs
A Community of Participants Then – Stars and an Audience
Now? Refuting the “Participatory Cul-ture” Paradigm of
YouTube Studies
Monika Mikušová
»» Academy of Performing Arts, Bratislava
Film Literacy in Slovakia
Tim McNelis
»» Falmouth University
The High School Connection: Genre, Social Media, and
Intertextuality in Easy A (Will Gluck, 2010)
Michał Pabiś-Orzeszyna
Between Criticism and Biopolitics: Film Education in Poland
Justyna Budzik
»» University of Silesia in Katowice
Photography in Media Literacy Activities
Olivier Ruelle
»» The Hong Kong Polytechnic University
»» and
Peter Peverelli
»» Vrije Universiteit Amsterdam
The Discursive Construction of Identity through Interaction on
Social Media in a Chinese NGO
Justyna Deszcz-Tryhubczak
»» Wroclaw University
“The Ambiguous and Disturbing Content”: Critiquing
Constructions of Childhood and Youth in Anglophone Cinema
with University Students
HoMER
National Industries
S22
Chair: Niels Niessen
Ewa Ciszewska
Who cares about Film Education in Central Europe? An
Introduction
S23
12
Early Cinema in Scotland
S24
David Morton
»» University of Central Florida
Chair: John Caughie
Outi Hupaniittu
»» Finnish Literature Society Archives
Finnish Film Business and the Problem of Profitability
1920–1962: Economic History of a Small Nation’s Cinema
Maria Velez-Serna
Travelling Cinema Today: New Uses for an Early Cinema
Dataset
Lukasz Biskupski
»» University of Social Sciences and Humanities SWPS in
Warsaw
In the Shadow of Empires. The Strategy of Affiliation in the
Business operations of Warsaw-based Film Company Sfinks
Before World War I.
Marija Weste
»» Linköping University
A Hundred Years of Cinema: a Draft of the Movie-Going
History in Latvia in the Twentieth Century
Lina Kaminskaitė-Jančorienė
»» Vilnius University
The Attempt to Conquer a Non-cinematic Country:
Kinofikacyja of the Periphery of the Soviet Union
HoMER
11
Social Media and Participation
Julia Bohlmann
From Wholesome Viewing to Wholesale Films:
Early Co-operative Cinema in Scotland, 1902-1928
John Caughie
Film and New Cinema History: Ethics and Aesthetics
31
Saturday 30th » 11.00-13.00
th
th
1
Connected Cities and Archives
S12
2
Scandinavian Media and Film Sociology
Chair: Magdalena Saryusz-Wolska
»» University of Łódź / German Historical Institute Warsaw
Sezen Kayhan
»» Koc University
Cinematic Spaces of Istanbul Through the Foreign Lens
Adriana Margareta Dancus
»» University of Agder
Growing up in Real Time. Vulnerability and Cine-ethics in
Brothers (Aslaug Holm, 2015)
Kimmo Laine
»» University of Oulu
Connecting Nordic Welfare States During the Post-WWII era:
Four Times Love (1951)
Erik Persson
The City Film, the Archive and the Three “A:s”:
Municipal Cinema in Gothenburg 1938-1964
Per Vesterlund
»» University of Gävle
“…but of course we recognized ourselves” – A Case Study of
the Reception of Swedish Televisual Fiction in the 1970s and
1980s
Natalie Ryabchikova
Association of Workers in Revolutionary Cinema (ARRK):
a Network of What?
Transnational Pornography
Denis Newiak
»» ZeM / Brandenburg University of Technology
Aesthetics of Community in the Age of Solitude:
Contemporary Concepts of ‘New sociological Film Theory’
S14
4
Connected through Gaming
S15
Chair: Bianka-Isabell Scharmann
»» Goethe University Frankfurt
Chair: Tobias Conradi
»» ZeM
Peter Rehberg
»» The University of Texas at Austin
Can Pornography Bring Us Together?
Ariana Dongus
»» University of Potsdam
From As-if to What-if – Creating Engineered Experiences in
which Fiction and Reality merge Alternate Reality Games
Mariah Larsson
»» Malmö University College
Porn Travels: The Transnationality of Pornography 1965-1980
Francesca Scotto Lavina
»» La Sapienza University of Rome
The emotional Connetivity of moving Bodies: Locative Media
mapping in-between local lived Places and glocal sentient
Spaces
Giovanna Maina
»» Independent
»» and
Federico Zecca
The Porn Connection: Economy and Semiotics of
Pornographic Video Sharing Website
5
S13
Chair: Conor McCafferty
Gulbin Kiranoglu
»» Kocaeli University
Remembering Forgotten Istanbul: Mediated Connections
3
G
The Affects of Connectivity
Lavinia Brydon
»» University of Kent
From a Jukebox Photograph to a Music Video: Media
Technologies and The popular Culture Heritage of a British
Pleasure Pier
H01
Chair: Saige Walton
»» University of South Australia
Asbjorn Gronstad
»» University of Bergen
Cinema’s Gestural Connectivity
Katarzyna Paszkiewicz
»» University of Barcelona
Containment and Connectivity: The Cinema of Isabel Coixet
Lucio Crispino
»» Universities of Melbourne/Adelaide/SA
ROCOCO NOIR: On the Gestural Signature of Roy
Andersson’s “Living” Trilogy
6
S16
Coproduction Policies: Connecting,
Misconnecting, Disconnecting
Chair: Jaap Verheul
Petar Mitric
The European Co-production Treaties and Tri-fold Crisis
Gertjan Willems
»» University of Ghent
The Evolution of Belgian-Dutch Coproduction Policies:
Cultural and Economic Dimensions
Ben Harris
»» University of California Los Angeles
Of Labyrinths and Ghosts: Neue Constantin, the EU, and the
Making of The Name of the Rose (1986) and The House of the
Spirits (1993)
Julia Hammett-Jamart
»» CinEcoSA
Influence and Interference: Official Coproduction as a Site of
Connection and Disconnection in the European Audiovisual
Landscape
32
Saturday 30th » 11.00-13.00
11:00-12:45
th
th
7
S17
8
Visual Arts”
Chair: Vinzenz Hediger
»» Goethe University Frankfurt
Chair: Greg de Cuir Jr.
»» University of Arts Belgrade
Alexandra Schneider
»» Johannes Gutenberg-University Mainz
Small-Gauge and Reduction Prints as Compression Formats?
Susanne Ø. Saether
»» University of Oslo
Sampling Connectivity in Recent Video Art
Vladimir Lukin
Datamoshing as Digital Photogénie and the Political Economy of
the MPEG Video Codec
Zsolt Gyenge
»» Moholy-Nagy University of Art and Design Budapest
Lost in Projection: Kutlug Ataman and the Redesigned
Spectatorship of Video Art
Marek Jancovic
Disconnecting History: Lossless Compression and the Future of
Memory
Marina Hassapopoulou
Digital Aesthetics as Cultural Cartographies of an in/between
Europe
Nicole Braida
Ephemeral Reality: The Case of Interactive Documentary
Practices
Synne Tollerud Bull
»» University of Oslo
Processing Aerial Volumes: From Land Art to Earth Listening
in the Age of the Anthropocene
S19
S21
Chair: Aida Vallejo
»» University of the Basque Country UPV / EHU
Chair: Michael Wedel
Markus Kuhn
»» University of Southern Denmark
Connecting Characters, Audiences, and Media Environments:
Interpolated Narration in Pseudo-Authentic Web Series
Andreas Veits
Connecting Storyworlds: Problems and Potentials of
Interactive Storytelling in Telltale Games Series
Ger Zielinski
»» Trent University
Buffer: A YouTube Festival in situ
Elena Pollacchi
»» Ca’ Foscari University of Venice/ Stockholm University
The Beijing International Film Festival as a ‘Reputational
Festival’
David Archibald
Engaging Radical Film Cultures in Scotland
Sebastian Armbrust
Sequence vs. Storyworld: Connecting Events in Serial
Television Drama
HoMER Workshop
10
Innovating Film Festivals along the Circuits
Connecting Events, Worlds, and Media
Environments: Serial Storytelling Strategies
in Contemporary Media Culture
11
S18
New Cartographies of Video and Digital Arts
Audiovisual Compression: Politics of
Coding and Decoding
9
G
Monia Acciari
The Age of Debates: Innovation of Festival Spaces Between
Musealisation and Modernity
S22
Mapping Movies Workshop
Jeffrey Klenotic
»» University of New Hampshire
33
Saturday 30th » 14.00-16.00
th
th
1
Political Activism
S12
2
Globalization and Aesthetics
Chair: Juliana Froehlich
»» University of Antwerp / CAPES-Ministry of Education of
Brazil
Peter Kramer
»» University of East Anglia
Connectivity in and around Avatar: From Film Analysis to
Political Activism
Karol Jóźwiak
Rhetoric as a Means of Connectivity in Cinema
Sirin Erensoy
»» Istanbul Kültür University
Surviving Censorship: The Rise of Citizen Journalism during
the Gezi Park Protests
Katixa Agirre
»» University of the Basque Country
Identity Struggles in the New Basque Cinema:
Opening the Doors of the ‘baserri’
Emil Stjernholm
Monoform vs. Subversion: The Swedish Peace Movement and
the Transnational Production of Peter Watkins’
The Journey (1987)
Mads Anders Baggesgaard
»» Aarhus University
The Jungle and the Desert – Two Images of a Globalized
World
May Adadol Ingawanij
»» University of Westminster
Animistic Cinema: Movement, Dispositif, Ritual
Documentary and Animation
S14
4
Transnationalism in European Film
Sponsored by the Workgroup “Documentary Film”
Huw Jones
Connecting Europe through Cinema: Audience Engagement
with European Film
Florian Mundhenke
»» University of Leipzig
The Web Documentary as a Medium of Connectivity –
Challenges and Practices of Researching Non-Fictional
Websites
Jaap Verheul
‘Out of Many, One’: The Transnationalism of Europe’s National
Cinemas
Anna Wiehl
»» University of the West of England
Dancing in the Korsakow Dispositive: Complexity, Connectivity,
and Interactive Correlationalism
Hauke Lehmann and Nazli Kilerci
Creating Communities of Taste: Tactical Appropriation and
Turkish German Cinema
Rebecca Sheehan
»» California State University
Undocumented: Documentary Animation’s Unsettled Borders
Festivals as Teaching Sites: A Round Table
on the Future of Film Festival Pedagogy
Workshop
Brendan Kredell
»» Oakland University
Diane Burgess
»» University of British Columbia
S16
Domitilla Olivieri
Diasporic Proximities: Spaces of Home in European
Documentary
6
Spain Plays Itself: Mediating Spain beyond
Its Borders
S17
Chair: Dean Allbritton
»» Colby College
Dean Allbritton
»» Colby College
Viral Connections: The Early Years of AIDS in Spain
Marijke de Valck
»» University of Utrecht
Antonio Caballero Gálvez
»» Rovira i Virgili University
The Fall of Spanish Stereotypes: New cultural Identities in
‘Pluri-national’ Spain
Skadi Loist
Mary Kate Donovan
»» SUNY Stony Brook
Spanish Chinatowns: Global Myths, Local Communities
Dorota Ostrowska
»» Birkbeck College, University of London
Ger Zielinski
»» Trent University
34
S15
Chair: Constantin Parvulescu
»» University of Navarra
Chair: Nicole Braida
5
S13
Chair: Mark Gallagher
Wouter Oomen
Cosmopolitanism and Humanitarianism in the ‘Hope for Haiti
Now’-Campaign
3
H
Saturday 30th » 14.00-16.00
14:00-15:45
th
th
7
Alone, together? Modes of Sociality in
Networked AR/VR Environments
S18
H
8
Transcultural Connectivity, Mobility, and
Contact Zones in Contemporary East
European Cinemas
Chair: Philipp Sack
S19
Chair: Katalin Sándor
»» Sapientia University, Babes-Bolyai University, Cluj-Napoca
Carolin Anda
Go Catch Them in the Real World: Layers of Connectivity in
the Location-based Mobile Games Pokémon go and Ingress
Cheryl Dueck
»» University of Calgary
White God as Transcultural Migration Allegory
Philippé Bédard
»» University of Montreal
Virtual Reality’s “in/betweens”
Mónika Dánél
Surrogate Landscapes: Figures of (Self-)Historicization
and (Self-)Colonialisation in Contemporary Hungarian and
Romanian Films
Isabelle Lefebvre
»» University of Montreal
Creative Potential and Social Norms in Video Games:
Revisiting the Device/Apparatus Divide through
Super Mario Maker
Balázs Varga
Slaves beyond Borders: Liminal Zones, Figurations of Space,
and Otherness in Recent Romanian and Hungarian Films
László Strausz
Journeying in/between – Mobility and Social Institutions in the
New Romanian Cinema
9
Small-gauge Practices as Overlooked
Networks of Film Circulation
S21
10
Participatory Art Practices across net.art,
DIY and Screen Media
Visual Arts”
Chair: Enrique Fibla Gutierrez
Chair: Patricia Nogueira da Silva
»» University of Porto / University of Texas, Austin
Enrique Fibla Gutierrez
Establishing Friendship Bonds: 1930s Transnational Amateur
Cinema
Maria Madalena Túbal Miranda
»» FCSH - New University of Lisbon
I-docs and Collective Portrait
Andrea Mariani
Nomadic Connectivity: Tracing the Italian Experimental
Cinema (1934-1943)
Karla Tobar Abarca
On Originality and Planned Obsolescence: The net.art-Case
Pablo La Parra Pérez
An Image Is Haunting the World: Circulation and Appropriation
of Militant Film Practices in the Long Sixties (the Spanish
Case)
Christian Villavicencio
»» and
Agata Mergler
»» York University Toronto
Haptic/Visual Identities
Diego Cavallotti
Shifting Diastratic and Diatopic Boundaries: The Use of
Consumer Video Technology in Pantera’s Counter-cultural
Movement
11
S23
12
Parallel Markets
S24
Chair: Julia Bohlmann
Chair: Virginia Crisp
»» Coventry University
Annie Fee
»» University College London
Mapping Cinema Activism in Interwar Paris
Emre Çağlayan
»» University of Brighton and University for the Creative Arts
Reflections on the Repertory Cinema
Karel Dibbets
Nationalism and the Marketing of Emotions in fin-the-siècle
Netherlands
Kirby Pringle
»» Independent
The Last Confederate Picture Show: Silent Film and the Lost
Cause in the South
HoMER
HoMER
Cinema Audiences and Social Division
S22
Isak Thorsen
The Wild West of XXX-rated Porn? Connections between Porn
and Danish Mainstream Cinemas
Elodie Valkauskas
The Reception of ‘New German Cinema’ in France During the
1960s and the 1970s: A Market Study
35
Round Table / General Meetings
NECS and HoMER
»
NECS 10th Anniversary Round Table
»» July 28th, 16.00 - 18.00, University of Potsdam, Campus Griebnitzsee, House 6, H05
A round table with the members of the first NECS Steering Committee Malte Hagener, Vinzenz Hediger,
Alexandra Schneider, and Patrick Vonderau. Together with these founding members we will discuss defining
moments – past and present – of media studies in Europe.
NECS General Meeting
»» July 29th, 18.00 - 20.00, University of Potsdam, Campus Griebnitzsee, House 6, H05
HoMER General Meeting
»» July 28th, 18.00 - 20.00, University of Potsdam, Campus Griebnitzsee, House 6, S15
36
Project Forums / Workgroups
July 28 and 30 2016, University of Potsdam
th
th
»
Project Forum 1
Project Forum 2
»» July 28th, 18.00 - 20.00, University of Potsdam, Campus
Griebnitzsee, House 6, H01
»» July 30th, 18.00 - 20.00, University of Potsdam, Campus
Griebnitzsee, House 6, H01
Miklós Kiss and Thomas van den Berg
Rainer Hillrichs
Film Studies in Motion: From Audiovisual Essay to Academic Research
Video
Poetics of Early YouTube: Production, Performance, Success
»» by Miklós Kiss and Thomas van den Berg, a Scalar e-book,
forthcoming
Antonio Somaini
Notes for a General History of Cinema
»» by Sergei M. Eisenstein, ed. by Antonio Somaini and Naum Kleiman,
Amsterdam UP, 2016
Annie van den Oever
1.) Exposing the Film Apparatus: The Film Archive as a Research
Laboratory
»» ed. by Giovanna Fossati and Annie van den Oever (Framing Film
Series), Amsterdam UP, 2016
2.) The Key Debates: Mutations and Appropriations in European Film
Studies.
»» Amsterdam UP, 2010-2016, specif. Vol 1. Ostrannenie ed. by Annie
van den Oever, Vol. 5, Feminisms, ed. by Laura Mulvey and Anna
Backman Rogers, Vol. 6, Screens, ed. by Dominique Chateau and José
Moure
»» by Rainer Hillrichs, e-book, 2016
Ewa Ciszewska
Film Literacy in Poland: The Practices and the Prospects of Film
Education
»» ed. by Ewa Ciszewska and Jadwiga Mostowska, forthcoming
Terezie Kriskovka and Adela Mrazova
NaFilM: Interactive Exhibitions as a Means of Informal Film Education
for the Public
»» a student-led project in the Film Studies Department at Charles
University, Prague
Andrea Virginás
Spaces, Bodies, Memories: Cultural Studies Approaches in the Study
of Eastern European Cinema
»» ed. by Andrea Virginás, Cambridge Scholars Publishers,
forthcoming
Gabriela Whitehead
Corporate Global Nomadism: The Role of the Transnational
Professional as Consumer of Popular Management Discourses
»» by Gabriela Whitehead and Robert Halsall, forthcoming
Workgroup Meetings 1
Workgroup Meetings 2
»» July 28 2016, 18.00 - 20.00, University of Potsdam,
Campus Griebnitzsee, House 6
»» July 30th 2016, 18.00 - 20.00, University of Potsdam,
Campus Griebnitzsee, House 6
th
Cinema and Contemporary Visual Arts (Miriam De Rosa) Room S12
Film Festival Research (Marijke de Valck) Room S13
Sound and Music in Media (Nessa Johnston) Room S14
New Media (Rainer Hillrichs) Room S12
Cultural Memory & Media (Dagmar Brunow) Room S13
Documentary Film (Aida Vallejo) Room S14
37
Publishers Forum
July 28 -30 2016, University of Potsdam
th
th
»
Feel free to visit the stands of renowned publishers, presenting their current books and journals in the field of film
and media studies. There will also be a joint stand by various publishers. The Publishers Forum is located in the Foyer
of the main conference venue (House 6, Campus Griebnitzsee, University of Potsdam) and is open throughout the
entire conference.
LIST OF THE PUBLISHER STANDS IN ALPHABETIC ORDER
Organiser: Anna Luise Kiss
38
Special Events
German-Italian Film Night: Screening and Reception
»» July 27th, 19.00, Filmmuseum Potsdam
The Filmmuseum Potsdam in cooperation with the Istituto Italiano di Cultura, Berlino, are proud to open
this year’s NECS conference with a reception and film screening. The film screening is free of charge, and
afterwards you are invited to a complimentary drink at the film museum’s cafe, Genusswerkstatt.
Please note that the seating capacity of the cinema is limited to 144, and that the film programme will be
shown in German without subtitles.
SCAMPOLO
(Film in German without subtitles!)
Dir: Alfred Weidenmann
Cast: Romy Schneider, Paul Hubschmid,
Georg Thomalla
BRD 1958, 89 min
The fun-loving, 17-year-old Scampolo lives on a house boat in Ischia. She makes a living showing tourists
her little town. On one tour, she meets architect Costa. He is notoriously broke and in his attempt to win a
regional architectural competition, plenty of things go awry. When Scampolo falls in love with Costa, she
decides to help him with his project.
With young Romy Schneider and the gorgeous island setting, director Alfred Weidemann’s romantic
comedy catered to German cinematic audiences’ cultural fascination with Italy in the 1950s.
NECS 10th Anniversary Party
»» July 30th, 20.00, University of Potsdam, Campus Griebnitzsee, House 6, Cafeteria
All participants of the conference are cordially invited to celebrate the 10th anniversary of the European
Network for Cinema and Media Studies.
We will welcome you with a complimentary drink, accompanied by soul jazz in the style of the 1960s,
performed live by the local band Soul Dressing: Richard Steinert (sax), Richard Oeckel (hammond), Oliver
Fröhlich (guitar), Marcus Lewyn (bass) and Matti Thölert (drums) will make this the grooviest NECS party
ever! Finger food will be available at your own expense.
Tours
For booking tours of the Filmmuseum Potsdam and the Media City Babelsberg, please inquire at the
reception (Foyer of the University of Potsdam, Campus Griebnitzsee, House 6).
39
Practical Information
i
WELCOME TO POTSDAM
Potsdam is a city of UNESCO World Heritage, a city of parks and palaces on the idyllic lakes of the Havel, a grand and historical city
of culture, a center of film, education and science, characterised by a 1000-year-old history as a royal capital and state capital near
Berlin. You can discover countless monuments in and around the historical city center.
International influences from France, Switzerland, the Netherlands, Russia and many other countries stimulated development and
left their mark on architecture, the trades and way of life. Today you can see this in particular in the Dutch Quarter, in Weaver’s
Square in Babelsberg or in the Russian Colony Alexandrovka.
The unique buildings and landscapes were royal residences of kings and have been ideal settings for filmmakers since 1911.
The tradition as a media center has a long history, and to this day internationally renowned films are produced in the Studio
Babelsberg. Films like The Blue Angel, The Pianist, Around the World in Eighty Days and Inglourious Basterds were made here.
Theatre, art exhibitions, museums and music in the House of the Brandenburg-Prussian History, in the Nikolai Concert Hall, in the
Schiffbauergasse with the Hans Otto Theatre, the Musical Festival Sanssouci and the Schlössernacht Potsdam are only a part of the
cultural range in Potsdam.
Science, in combination with commercial enterprises and non-university institutions, defines the future development of the state
capital. The ratio of scientists to the population is one of the highest in Germany. More than 40 scientific institutions operate in
Potsdam and its environs. World-famous companies like Oracle and VW have established branches in the Schiffbauergasse at the
lake Tiefer See.
ENTRY FORMALITIES
TELEPHONE
European nationals traveling to Germany do not need a passport or
national ID card. It is, however, highly recommended to bring some
form of identification, especially when arriving by plane.
COUNTRY CODE: +49
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.
TRUNK PFREFIX: NONE
Non-European citizens traveling to the Schengen Area need to apply for a short-term Schengen visa under “tourist” specification. 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 allows the holder to travel
freely within the borders with a valid identity card or passport.
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).
CURRENCY
Germany is part of the Euro (€) zone. It is also possible to use credit
cards to cover our day-to-day expenses, usually without additional
fees. It is recommended, however, to make a cash withdrawal as
smaller shops and public transit occasionally will not accept credit
cards or electronic payment.
TIME ZONE
Germany 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 Germany, where the time is shifted forward by 1 hour;
2 hours ahead of Greenwich Mean Time (GMT+2). Note: this does
not affect the 1 hour time difference to London, which changes to
BST in summer).
CLIMATE
Potsdam 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.
40
INTERNATIONAL CALL PREFIX: 00
To call German telephone numbers from outside Germany, either
from a landline or a mobile phone, you will need to add the
international dialing code, which is 0049 (or +49), followed by the
telephone number you require (but excluding the regular first 0 of
German numbers). To make calls within Germany, dial the number
you require without adding the international country dialing code.
Before travelling to Germany you should contact your telephone
service provider to activate the international roaming service (if it is
not already activated automatically), otherwise especially Northern
American travelers might not be able to phone or receive calls.
INTERNET
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 Germany
you will find Wi-Fi access available at many airports, hotels, train
stations, and other public places where travelers pass through or
stop off.
TECHNICAL INFORMATION
The voltage in Germany is 230 V, which is the same voltage used in
France and the United Kingdom. The plugs used in Germany, 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.
Germany 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.
Germany uses Blu-ray Region B. Blu-ray Region B is used across
Europe, the Middle East, Africa, Australia and New Zealand.
INSURANCE
The organisers 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. Hospitals and doctors in Germany are obliged to treat you
regardless of your health insurance status, so review your health
insurance plan to determine what medical services it would cover
during your trip. Especially non-European nationals will need to pay
– although usually a reasonable sum – for any health services.
i
Practical Information
TRAVEL
The state capital Potsdam in the heart of Brandenburg is easy-toreach from all directions by car or train. Located inside the circle of
the autobahn Berliner Ring, Potsdam is connected with all highways
leading to Berlin.
TICKET PRICES
You can buy tickets for three fare zones if you are flying in via Berlin or
commute from there. To get to Potsdam from Berlin you need an “ABC”ticket (3.30 Euro / one journey). If you stay in Potsdam, you can travel to
all conference venues with a local “AB”-ticket (which, however, is not the
same as the one you can purchase in Berlin – you cannot buy it in Berlin
or use it there later!). The Potsdam “AB”-ticket costs 1,90 Euro for 60
minutes or 4,00 Euro for a day ticket.
From Berlin, where all long-distance trains stop, you can quickly get
to Potsdam by S-Bahn and regional train. Because of the proximity
of the two airports Schönefeld and Tegel, you can arrive comfortably by plane. In Potsdam itself, trams, buses and ferries run day
and night.
TAXIS
ARRIVING BY PUBLIC TRANSPORTATION
Taxi central dispatch (+49) 331 / 29 29 29.
You can reach Potsdam from all directions with public transportation using trains, the S-Bahn (city trains) and buses. From Berlin
the city trains S 7 and S 1 as well as regional trains go to the state
capital of Brandenburg. The buses from the Havelbus transportation
company mainly connect the surrounding region to Potsdam. Buses
and trams of the Potsdam public transportation service take you to
the city center.
ARRIVING BY TRAIN
Potsdam is connected to the intercity and regional transportation
network of the Deutsche Bahn. Long-distance trains stop at Berlin’s
main station Hauptbahnhof. From here you can reach Potsdam’s
main station in 45 minutes by regional train or the S-Bahn. The
regional express trains going in the direction of Magdeburg or
Brandenburg/Havel also stop at the Potsdam main station (Hauptbahnhof) and are considerably faster.
TOURIST INFORMATION
Tourist Information Center at Potsdam Main Station
Babelsberger Straße 16
14473 Potsdam
tel.: (+49) 331 / 27 55 88 99
Inside the station next to platform 6
Tourist Information Center at Luisenplatz
Luisenplatz 3
14471 Potsdam
tel.: (+49) 331 / 27 55 88 99
ARRIVING BY CAR
North: If you come from the north via expressway A24, you should
turn onto the Berliner Ring (A10) in the direction of Potsdam at the
expressway junction Havelland. Then you should leave the expressway at the Potsdam Nord exit and continue your journey on road
B273 directly towards Potsdam’s city center.
West: If you come from the west via expressway A2, you should
turn at the Werder junction onto the expressway Berliner Ring (A10)
in the direction of Frankfurt/Oder. Then leave the expressway at exit
17 Michendorf and follow the road B2 to Potsdam’s city center.
EMERGENCY PHONE NUMBERS
South: If you come from the south via expressway A9, turn onto the
expressway Berliner Ring (A10) Potsdam junction. Then leave the
expressway at exit 17 Michendorf and follow road B2 to Potsdam.
GENERAL EMERGENCY NUMBER FOR MOBILE PHONES: 110 / 112
East: If you come from the east via expressway A13, you should
turn onto the expressway Berliner Ring (A10) in the direction of
Potsdam/Hannover at the Schönefeld junction. Then leave the expressway at the Michendorf exit and take road B2 towards Potsdam.
Fire Brigade: 112
From Berlin: You should take expressway A115 to Potsdam. Either
you leave the expressway at the Babelsberg exit and take the road
Nuthestraße into Potsdam’s city center, or you leave the expressway at the exit Berlin-Wannsee to go directly to Potsdam via road
B1 and the Glienicke Bridge.
Police: 110
Ambulance: 112
Local police station:
Polizeiwache Potsdam-Mitte
Henning-von-Tresckow-Straße 9 – 13
14467 Potsdam
+49 331 / 5508-0
ARRIVING BY PLANE
From Berlin-Tegel and the airport Schönefeld in Brandenburg, you
can easily reach Potsdam. From Schönefeld, regional trains or
buses take you directly to Potsdam. From Tegel, you can take the
airport shuttle to the train station Berlin Zoologischer Garten and
then the S-Bahn or regional train to Potsdam’s main station.
LOCAL TRANSPORT
Tickets are available at ticket vending machines at all train stations
as well as bus/tram stops or through the apps mentioned above,
they allow restricted travel and are usually valid for one journey
up to two hours. If you cannot find a vending machine, it is also possible to buy tickets from bus drivers.
41
Notes
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42
Notes
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43
Notes
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44
Notes
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45
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Here - NECS - European Network for Cinema and Media Studies

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