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| 17.00-17.15 (BST) | Welcome Sarah Culhane, Denis Condon, Clara Pafort-Overduin and Daniela Treveri Gennari |
| 17.15-18.00 (BST) | Discussion Keynotes “Selling Noir’s ‘Red Meat’ to the Female Market” Shelley Stamp, (Professor of Film + Digital Media at UC Santa Cruz) & “From The Grand History Of Cinema To The Stories Of Cinema A Translatina Competition In Rio, In The 1950s” Joao Luiz Vieira (Professor of the Film and Video Department at Universidade Federal Fluminense)
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| 18.00-19.00 (BST) | Drinks at Gather |
| 14.00- 14.45 (BST) | Discussion Session 1 – Zoom Account 1 New perspectives on Irish Cinema History Chair: Ian Goode | Discussion Session 2 – Zoom Account 2 Approaches: Exploring Cinemagoing Memories Chair: Pierluigi Ercole | Discussion Session 3 – Zoom Account 3 Integrating Traditions: Film in New Cinema History Chair: Talitha Ferraz |
| 1. “Clamouring for Anything Irish”: Irish Films on Irish Picture-House Screens of the 1910s. Denis Condon (Maynooth University).2. Fit Ups, Flea Pits and the Fascinations of Film: Exploring exhibition practices and cinema-going memories in rural Cork, 1930-1960. Gwenda Young (UCC). 3. Making sense of the Second World War through cinema: Irish Cinema Audiences (1950-1960) and the reception of war films. Sarah Culhane (Maynooth University). | 1. The Cinema, the town and ‘my films’: Generating particular ‘memoryscapes’ of local cinema-going. Stuart Hanson (De Montfort University) & Helen Wood (Lancaster University). 2. Materialization of the Memory and Historiography of Cinemagoing: Premises from the New and Local Cinema History of Adana. İlke Şanlıer Yüksel & Aydın Çam (Çukurova University). 3. Memories Beyond Borders and Proximity: A Qualitative Audience Research on Latin-American women in Spain and Italy. Dalila Missero (Oxford Brookes University). | 1. The place of film in cinema memory. Silvia Dibeltulo and Daniela Treveri Gennari (Oxford Brookes University) 2. Film Memories and Tourism Spaces: Ethnographic Reflections on The Quiet Man. Neil O’Boyle (Dublin City University). 3. Lina Kaminskaite Jancoriene (Lithuanian Culture Research Institute) and Juozapas Paškauskas (Lithuanian Academy of Music and Theatre), The Early Cinema in Lithuania: in Search of Traditions. 4. The Alchemy of Cinema Memory, Intergenerational Diasporas, and Popular Greek Cinema: The Role of Film for Post-War Audiences in Rural Australia. Niki McWilliams (Oxford Brookes University). 5. Cinema as Show Trial: The Place of People’s Justice and the Space of Cinematic Inquisition. Belinda Q. He (UC Berkeley). |
| 15.00-15.45 (BST) | Discussion Session 4 – Zoom Account 1 European Cinema Audiences: Defining a new typology of cinemas across Europe Chair: Philippe Meers | Discussion Session 5 – Zoom Account 2 Approaches: Analyzing Audience Experiences Chair: Maya Nedyalkova | Discussion Session 6 – Zoom Account 3 Reflections: The Role of Film Festivals in NCH Chair: Sam Manning |
1. When “multilayered data” requires a 2. Avoiding the risk of a cross-European 3. Cinema typologies and programming | 1. Beyond the Black Box: Approaching Audience Participation in Cinematic Experiences. Eduardo Pires (University of Greenwich). 2. “Odeon VR”: Archival Research and VR Storytelling in the 3D Reconstruction of the Odeon Cinema, Udine. Eleonora Roaro (University of Udine). | 1. Capturing the Moment: Festival Brochures from the Origin of Asian American International Film Festival, 1978-1987. Kaifan Wang (New York University). – Withdrawn 2. Film Festival Ephemera: Junk, Souvenirs and the Affect of “Event”. Katherine Van de Ven (York University). 3. International co-production as a broadening of horizons for contemporary Brazilian cinematography – The importance of film festivals. Hadija Chalupe da Silva (UFF / ESPM Rio). |
16.00-16.45 (BST) | Discussion Session 7 – Zoom Account 1 Approaches: Analyzing Exhibition Practices Chair: Åsa Jernudd | Discussion Session 8 – Zoom Account 2 Approaches: Memories & Cinemagoing Experiences Chair: Kathleen Lotze | |
1. Region Specific: How A Regional Analysis Explains Hollywood’s Exhibition Practices and Ownership in the Caribbean Between 1920-1950, Ross Melnick (University of California, Santa Barbara). 2. Dancers, Acrobats, Comedians, and Cross-Dresser Artists: stage attractions at Rio de Janeiro cinemas in the Early 20th, Sancler Ebert (Fluminense Federal University). 3. Following the traces of undisciplined cinema histories: The splendor and decay of Teatro Aristi in Cali, Colombia. Maria Luna (TecnoCampus Universitat Pompeu Fabra), Ramiro Arbeláez (Universidad del Valle), José-Carlos Lozano (Texas A&M International University). 4. The Ethereal Theatrics of Cinema Space. Stephen Putnam Hughes (SOAS, University of London) – Withdrawn 5. Circulation of foreign and national films in a neighborhood of Buenos Aires in the late 1930’s. Alejandro Kelly Hopfenblatt & Clara Kriger (Universidad de Buenos Aires). | 1. Tracing Shifts in Bulgarian Film Distribution and Exhibition through the Memories of Different Generations of Spectators. Maya Nedyalkova, Oxford Brookes University 2. Cinemagoing as a Modernization Experience and a Practice: Cinema Experiences in Audiences’ Memories in Turkey. Hasan Akbulut (Istanbul University & University of East London, MIRC). 3. Cinema-going experiences in Cold War Turkey. Guldeniz Kibris (Leiden University) |
| 14.00- 14.45 (BST) | Discussion Session 9 – Zoom Account 1 Interplay between media and socio-political dynamics during the birth of the Republic of Turkey Chair: Denis Condon | Discussion Session 10 – Zoom Account 2 Approaches: Analyzing Audience Preferences Chair: Clara Pafort-Overduin | Discussion Session 11 – Zoom Account 3 Approaches: Memory and Movie Experiences Chair: Daniela Treveri Gennari |
1. Wartime documentaries during the First World War (1914-1918). Özde Çeliktemel-Thomen (Istanbul Şehir University). 2. Missionaries’ use of film in Turkey: 1932-1952. Jülide Etem (Clark University & Emerson College). 3. Music Policy, Westernization and Cinema: Musical Scores of Early Turkish Talkies. Özge Özyılmaz (Ankara Science University). 4.“If a birdview were possible…” Cinematographic anticipations in literature in the late Ottoman period. Nezih Erdoğan (Istinye University, Istanbul). | 1. Exhibition of national and foreign films in six Mexican cities during the Golden Age of Mexican Cinema: The year of 1952. José-Carlos Lozano (Texas A&M International University) 2. Historical Spectacles and Social Dramas: The Popularity of European Silent Film in Australasia. Julie Allen (Brigham Young University) 3. Coming back home to Warsaw. Pola Negri’s films and their popularity in an East European multicultural city in the 1920s. Karina Pryt (Goethe University Frankfurt am Main). 4 .”Welcome to Hamburg, Pat and Patachon”. Advertising Danish Slapstick Stars in 1920s and early 1930s Germany. Jannie Dahl Astrup (University of Copenhagen & The Danish Film Institute). 5. Understanding leisure in the Soviet way: cinemas as kind of leisure in the 1920s. Nataliya Puchenkina (University of Caen) | 1. Movie experiences and memory: an approach to the oral history of Buenos Aires audiences during the classical period. Cecilia Gil Mariño (PBI, University of Cologne-AvH Fellow/UdeSA-CONICET) & Sonia Sasiai (Instituto de artes del Espectáculo, UBA). 2. High Noon and the Holocaust: Exploring Holocaust Memory and Changing Representations of Genocide in the Revisionist American Western. David Morton (University of Central Florida). 3. Remembering Bollywood – Trinidadian audiences and the reconfiguration of cinema-going memories. Hanna Klien-Thomas (Oxford Brookes University). 4. Remembering Films of the 1950s in Little Nassau. Monique Toppin (University of Stirling & University of The Bahamas). |
| 15.00-15.45 (BST) | Discussion Session 12 – Zoom Account 1 Approaches: Exploring Cinemagoing Experiences Chair: Sarah Culhane | Discussion Session 13 – Zoom Account 2 Cinema and Censorship Chair: Daniël Biltereyst | |
1.“At every station, there was a cinema”: railway, moviegoing and working class in the Leopoldina Zone, suburb of Rio de Janeiro. Talitha Ferraz (PPGCine-UFF & ESPM-Rio). 2. New Cinema History and Technology: Film on the Silver Screen, Edinburgh circa 1890s. Stephen McBurney (University of Glasgow). 3. Animating the Image: Film Appreciation and the Work of Spectatorship in Bangladeshi Film Societies. Lotte Hoek (University of Edinburgh). 4. From Soviet to “Bourgeois” Appreciation: Soviet Cinema in Search for Audience in the late 1920s, Elizaveta Zhdankova (European University at St. Petersburg). | 1. Pause and Rewind: Investigating Memories of Illegal Underage Film Viewing in 1980s Britain. Peter Turner (Oxford Brookes University). 2. ‘The “cinematograph evil”: Defending the cinema industry in Britain during the early twentieth century’. ‘Robert James (University of Portsmouth). 3. Film censorship in Chilean military dictatorship, 1973-1990: a quantitative depiction of movie examination. Jorge Iturriaga (Instituto de la Comunicación e Imagen, Universidad de Chile). |
16.00-16.45 (BST) | Discussion Session 14 – Zoom Account 1 Approaches: Comparative Research Chair: Jessica Whitehead | Discussion Session 15 – Zoom Account 2 Reflections: Old & New in New Cinema History Chair: Jeffrey Klenotic | |
1. Comparing Memories of Cinemagoing Before and After Television. Asa Jernudd, Orebro University & Jono Van Belle (Orebro University). 2. Going to the movies in German-occupied territory in World War II. Clara Pafort-Overduin (Utrecht University), Andrzej Dębski (University of Wroclaw), Thunnis van Oort (University of Amsterdam, & Radboud University Nijmegen); Terezia Porubcanska (ViDi University of Antwerp & Masaryk University, Brno), Karina Pryt (Goethe University Frankfurt am Main), Pavel Skopal (Masaryk University, Brno), Roel Vande Winkel (KU, Leuven). 3. Cinema Attendance and the Urban experience in Post-War Bari and Leicester. Sam Manning (Queen’s University Belfast). 4. The Film Text as Cultural Matrix in The New Cinema History. Lisa M Rabin (George Mason University, Virginia, United States). | 1. What is not new in “New Cinema History” from a non-European point of view? Rafael de Luna Freire (Federal Fluminense University). 2. Contemporary cinema-going: Conducting academic research in collaboration with an industrial partner, Tatiana Charikleia Styliari (University of Nottingham). 3. Transnational cinema history: Ufa’s expansion in Latin America. Wolfgang Fuhrmann (University of Zurich). 4. Newsreels or real news?: Integrating cinema newsreels into the history of visual news broadcasting. Grace E. Stephenson (Durham University). |
| 14.00- 14.45 (BST) | Discussion Session 16 – Zoom Account 1 Integrating Traditions: Cinema Memory and the Digital Archive Chair: Annette Kuhn | Discussion Session 17 – Zoom Account 2 New Historiographies: Film Circulation & Programming Chair: Silvia Dibeltulo | Discussion Session 18 – Zoom Account 3 Integrating Traditions: Paratextual Analysis and New Cinema History Chair: Lisa Rabin |
1. The bridge and the passport: thoughts on the remembered cinematic experience. Annette Kuhn (Queen Mary University of London) 2. Filmgoing or Cinemagoing? The role of the film text within rural Welsh cinema memories. Jamie Terrill (Lancaster University). 3. Audience Research: Questions for Film Theory. Richard Rushton (Lancaster University). 4. Cinema Memory, Sound and the Embodiment of Place. Sarah Neely (University of Glasgow). | 1. Nazi films in Buenos Aires (1936-1942). Distribution, Programming and Exhibition. Marina Moguillansky (CONICET UNSAM). 2. The release of Inconfidência Mineira and the commercial dispute between carioca exhibition circuits. Lívia Maria Gonçalves Cabrera (PPGCine/UFF,Brasil). 3. Migration and movie theaters in the suburbs of Paris: a programming analysis of the films that were screened in 1952. Ryan Brandão (Fluminense Federal U, Brazil)and Daniel Biltereyst (Ghent University, Belgium). 4. The Highlands and Islands Film Guild (1946-71): feature films, programming policy and non-theatrical cinema-going. Ian Goode (University of Glasgow). | 1. The Children’s Meeting, New Orleans, 1914: Film Programming As Paratextual Performance, Constance J Balides (Tulane University). 2. Fidelity’s Rainbow: The Artwork of Blank VHS Cassettes. Cormac Deane (Institute of Art, Design and Technology, Dublin). 3. Maps for Lost Officials: Understanding the Spatial Discourse of Colonial Cinema as a Cartography of the British Empire. Anushrut Ramakrishnan Agrwaal (University of St Andrews). 4. Adapting a Best Seller in the 1910s: Strategies of The Film Company of Ireland. Veronica Johnson (National University of Ireland, Galway). |
| 14.00- 14.45 (BST) | Discussion Session 16 – Zoom Account 1 Integrating Traditions: Cinema Memory and the Digital Archive Chair: Annette Kuhn | Discussion Session 17 – Zoom Account 2 New Historiographies: Film Circulation & Programming Chair: Silvia Dibeltulo | Discussion Session 18 – Zoom Account 3 Integrating Traditions: Paratextual Analysis and New Cinema History Chair: Lisa Rabin |
1. The bridge and the passport: thoughts on the remembered cinematic experience. Annette Kuhn (Queen Mary University of London) 2. Filmgoing or Cinemagoing? The role of the film text within rural Welsh cinema memories. Jamie Terrill (Lancaster University). 3. Audience Research: Questions for Film Theory. Richard Rushton (Lancaster University). 4. Cinema Memory, Sound and the Embodiment of Place. Sarah Neely (University of Glasgow). | 1. Nazi films in Buenos Aires (1936-1942). Distribution, Programming and Exhibition. Marina Moguillansky (CONICET UNSAM). 2. The release of Inconfidência Mineira and the commercial dispute between carioca exhibition circuits. Lívia Maria Gonçalves Cabrera (PPGCine/UFF,Brasil). 3. Migration and movie theaters in the suburbs of Paris: a programming analysis of the films that were screened in 1952. Ryan Brandão (Fluminense Federal U, Brazil)and Daniel Biltereyst (Ghent University, Belgium). 4. The Highlands and Islands Film Guild (1946-71): feature films, programming policy and non-theatrical cinema-going. Ian Goode (University of Glasgow). | 1. The Children’s Meeting, New Orleans, 1914: Film Programming As Paratextual Performance, Constance J Balides (Tulane University). 2. Fidelity’s Rainbow: The Artwork of Blank VHS Cassettes. Cormac Deane (Institute of Art, Design and Technology, Dublin). 3. Maps for Lost Officials: Understanding the Spatial Discourse of Colonial Cinema as a Cartography of the British Empire. Anushrut Ramakrishnan Agrwaal (University of St Andrews). 4. Adapting a Best Seller in the 1910s: Strategies of The Film Company of Ireland. Veronica Johnson (National University of Ireland, Galway). |
| 15.00-15.45 (BST) | Discussion Session 19 – Zoom Account 1 New Historiographies: Distribution & Exhibition Chair: Robert James | Discussion Session 20 – Zoom Account 2 Karel Dibbets Panel – Digital data, platforms and New Cinema History Chair: Lies Van de Vijver | |
1. A Backward Vertical Integration? Film Exhibitors as Financers and Enablers of 1950s and 1960s Italian Cinema. Francesco Di Chiara (Università eCampus, Novedrate, Italy), Paolo Noto (Università di Bologna, Italy). 2. ‘The Dramatic Tenses of Wordless Images’: Archie L. Shepard’s Moving Pictures and the Melodrama of Early Cinema Publicity in North America. Paul S Moore (Ryerson University, Toronto, Canada). 3 “It can and it will be kept under wraps as long as it is deemed to be necessary by the Council: Distribution of films from the West in People’s Republic of Poland, 1968-1980. Konrad Klejsa (University of Lodz, Poland). 4. From Soviet Film Programming to Audiences: Possibilities and Limitations. Oksana Maistat (Humboldt University of Berlin). 5. Cinema and the Intellectual Elite in Latin American: A Comparative Analysis of Film Criticism in Brazil, Mexico, and Argentina. Isabella Goulart (Centro Universitário FMU-FIAMFAAM). | 1. Linking Data, Languages, and Cultures: New Directions and Challenges for the Media History Digital Library. Eric Hoyt (University of Wisconsin-Madison). 2. CinEcoS, or developing a Belgian Cinema Context: Reflections on an open access data platform for Belgian cinema historiography. Daniel Biltereyst (Ghent University), Philippe Meers (University of Antwerp), and Vincent Ducateeuw (Ghent University). 3. Beyond The Reference Desk: A (Local Exhibition) Model For Librarian and Film Scholar Collaboration.Michael Aronson and Elizabeth Peterson (University of Oregon). 4. Cinema Context as Linked Open Data: A Conversion to RDF. Thunnis van Oort (University of Amsterdam & Radboud University Nijmegen) & Leon van Wissen (University of Amsterdam & Menno den Engelse, Islands of Meaning). |
| 16.00 – 17.00 (BST) | Annual General Meeting |
| 17.00 – 18.00 (BST) | Drinks at Gather Bar |
| 14.00- 14.45 (BST) | Discussion Session 21 – Zoom Account 1 New Historiographies: The Role of Women Chair: Dalila Missero | Discussion Session 22 – Zoom Account 2 Integrating Traditions : Mapping & Spatial Analysis Chair: Thunnis van Oort | Discussion Session 23 – Zoom Account 3 New Historiographies: Social Aspects of Cinema Cultures Chair: Sarah Neely |
1. Film and feminist network in the thirties through María Luz Morales’ work. Ainamar Clariana Rodagut (UOC, Open University of Catalonia). 2. French actresses and the formation of transnational film. Victoria Duckett (Deakin University). 3. Show-womanship of Female Movie Magazine Editors, 1914-1931. Jessica Whitehead (University of Toronto). 4. Female Projectionists on the Move: Women’s Experiences of Operating Filmic Technologies in Rural China (1949—1958). Yanping Guo (South China Normal University). 5. Ida Lupino, The Exhibitor Guarantee Plan, and How Exploitation Movies Trumped Her Art. Peter Labuza (University of Southern California). | 1. Theaters, tents and hotels: mapping film exhibition venues and audiences’ experience in Saltillo from municipal records in the context of the Mexican revolution. Brenda A. Muñoz (Universidad Autónoma de Coahuila); Antonio Corona (Universidad Autónoma de Coahuila), Philippe Meers (University of Antwerp), Sánchez Maldonado (Universidad Autónoma de Coahuila). 2.“If You Owned Quo Vadis, What Would You Do With It?” A Spatial Analysis of an Early Blockbuster Film. Jeffrey Klenotic (University of New Hampshire, USA). 3. Excavating Nontheatrical Networks: Mapping the Distribution of Joris Ivens’s The Spanish Earth (1937). Tanya Goldman (New York University). 4. Street-level cinema in Juiz de Fora and other audiences: mapping experiences in the city. Theresa Medeiros & Christina Ferraz Musse (Universidade Federal de Juiz de Fora, Brasil). 5. The Entangled Relationship Between Urban Transformation and the Disappearance of Open Air Cinemas in Istanbul. Sezen Kayhan (University of Antwerp & Koç University) | 1. Pop-up Cinematic Accessibility: The Film Bunch’s Integrative Potential for the Deaf and Hard of Hearing. Hannah Garibaldi (University of California, Santa Barbara). 2. Community Building at the Cinema. Morgan Corriou(Université Paris 8), Caroline Damiens( Université Paris 10) & Mélisande Leventopoulos (Université Paris 8). 3. Seeking Lettered Audiences: Film Contests in Bombay, 1930s. Shruti Narayanswamy (University of St Andrews). |
| 15.00-15.45 (BST) | Discussion Session 24 – Zoom Account 1 Integrating Traditions: Film and Space in New Cinema History Chair: Kata Szita | Discussion Session 25 – Zoom Account 2 New Historiographies: Modes of historical spectatorship Chair: Karina Aveyard | |
1. Rethinking Film Culture from the New Cinema History. Fernando Ramos (Universidad Complutense, Madrid). 2. Cinema on Film: New Hollywood and the no longer new drive-in, 1968-1976. Guy Barefoot (University of Leicester). 3. Films and authorship in memories, a case study of Ingmar Bergman. Jono Van Belle (Örebro University). 4. Integrating Film and (New) Cinema (History) Studies: A Research on Cinemagoing Experiences in Taurus Highland Villages and A Forgotten Sub-Genre, “Yörük Films”. Aydın Çam & İlke Şanlıer Yüksel (Çukurova University). 5. New Cinema History as Architectural History: The Case of Büyük Sinema, Ankara. Elif Kaymaz (Middle East Technical University). | 1. Black Girls and Cinemagoing in Harlem, 1907 – 1927. Agata Frymus (Monash University, Malaysia). 2. A History We Know Little About: Female Queerness in Early Hollywood Reception. Diana W. Anselmo (Georgia State University). 3. The Impact of Lois Weber’s _Where Are My Children?_ on Female Spectators in 1916: A Case Study. Martin F. Norden (University of Massachusetts Amherst, USA). 4. The Case of Japanese Cinema in Historical Contingency. Hideaki Fujiki (Nagoya University). |
| 16.00 – 18.00 (BST) | Workshop by Eric Hoyt Full Details |
