NECS Workshop: "The Toxicity of European Archives" in Lodz

PRECONFERENCES Tuesday 16th Thursday 18th Wednesday 17th Friday 19th Saturday 20th GRADUATE WORKSHOP TRANSMEDIALITY WORKSHOP CONFERENCE REGISTRATION, June 17-20, h 9-17.30 E1-E7 I pp. 28-29 pp. 36-37 pp. 44-45 B1-B8 F1-F11 pp. 30-31 pp. 38-39 pp. 46-47 C1-C8 G1-G10 K1-K10 pp. 32-33 pp. 40-41 pp. 48-49 D1-D10 GRADUATE WORKSHOP p. 20 A1-A6 p. 20 J1-J10 H1-H9 L1-L10 pp. 34-35 pp. 42-43 pp. 50-51 18.00-19.30 Keynote 3 Keynote 4 p. 26 p. 27 pp. 18-19 18.00-19.30 19.00-20.30 Keynote 1 p. 24 Keynote 2 p. 25 18.00-19.30 NECS Conference 7 Partners NECS Conference General Partner: Supported by: Partners: Honorary Patronage Media Patronage Organising Team NECS Conference The NECS Steering Committee The NECS Conference Committee Sophie Einwächter » University of Mannheim Ruggero Eugeni » Catholic University of the Sacred Heart Jaap Kooijman » University of Amsterdam James Harvey-Davitt » Anglia Ruskin University Trond Lundemo » Stockholm University Daniel Kulle » University of Hamburg Patricia Pisters » University of Amsterdam Michał Pabiś-Orzeszyna » University of Lodz Petr Szczepanik » Masaryk University, Brno Rikke Schubart » University of Southern Denmark Alena Strohmaier » Philipp University of Marburg Petr Szczepanik » Masaryk University, Brno Malin Wahlberg » Stockholm University Conference Key Contacts Conference Manager Ewa Ciszewska [email protected] Programme and Panel Coordination Michał Pabiś-Orzeszyna [email protected] Media and Public Relations Natalia Szeligowska [email protected] Agnieszka Walewska [email protected] Special Events Mikołaj Góralik [email protected] Publishers Forum Karol Jóźwiak [email protected] Logistics Kamil Jędrasiak [email protected] Communication Design Krzysztof Jajko [email protected] Monika Rawska [email protected] Graduate Workshop Alex Casper Cline [email protected] Karol Jóźwiak [email protected] Project Forum and Transmediality Workshop Łukasz Biskupski [email protected] Participants administration Marta Kasprzak [email protected] Translations Olga Łabendowicz [email protected] General Inquires [email protected] NECS Conference WELCOME TO ŁÓDŹ! Łódź, the former textile industry empire, today is a city of unique palaces, villas and nineteenthcentury textile factories. The city of art festivals, openings, exhibitions, and exciting music events. This post-industrial city is known all over the world for its interests in art of all kinds and most of all for its huge engagement in the world of cinema. ENTRY FORMALITIES CLIMATE UK nationals with a passport endorsed British Citizen do 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. Łódź has a humid continental climate with warm summers and no dry season. Over the course of a year, the temperature typically varies from -6°C to 25°C and is rarely below -15°C or above 31°C. The warm season lasts from May 27 to September 6 with an average daily high temperature above 20°C. The cold season lasts from December 2 to March 6 with an average daily high temperature below 5°C. Canadian nationals do not require a visa for stays of up to 90 days. Passports must be valid for three months beyond period of intended stay. Australians require a passport valid for at least three months beyond period of intended stay to enter Poland and may stay for up to 90 days without a visa. South African passport holders require a visa for travel to Poland. Passports must be valid for at least three months after period of intended stay. New Zealand nationals require a passport valid for at least three months beyond the period of intended stay. A visa is not needed for up to 90 days. Irish nationals require a passport valid on arrival, but no visa is necessary. A passport valid for at least three months after period of intended stay is needed for those who require a visa. Generally, visa exempt nationals must have a passport valid for period of intended stay (other than EEA nationals). The borderless region known as the Schengen area includes the following countries: Austria, Belgium, Czech Republic, Denmark, Estonia, Finland, France, Germany, Greece, Hungary, Iceland, Italy, Latvia, Lithuania, Luxembourg, Malta, The Netherlands, Norway, Poland, Portugal, Slovakia, Slovenia, Spain and Sweden. All these countries issue a standard Schengen visa that has a multiple entry option that allows the holder to travel freely within the borders of all with nothing more than a valid identity card or passport. TIME ZONE Poland is in the Central European Time Zone. Central European Standard Time (CET) is 1 hour ahead of Greenwich Mean Time (GMT+1). Like most states in Europe, Summer (Daylight-Saving) Time is observed in Poland, where the time is shifted forward by 1 hour; 2 hours ahead of Greenwich Mean Time (GMT+2). CURRENCY Poland does not use the euro as its currency. The złoty (sign: zł; code: PLN) is the currency of Poland. The modern złoty is subdivided into 100 groszy (singular: grosz). When shopping in Poland you will need to pay in the local currency. You will need to exchange your currency for PLN because no other currency will be accepted. You can change money in banks, where you will be charged commission for the transaction. You can also go to a “kantor” (exchange office) which usually provides services without commission and usually offers better exchange rates than banks. You can also pay for your shopping by using your bank card (many types are accepted). Travelers' cheques are the safest way of carrying money. However, they are only accepted by main banks and hotels. They are not accepted by exchange offices. TELEPHONE To call Polish telephone number from outside Poland, either from a landline or a mobile phone, you will need to add the international dialing code for Poland, which is 0048 (+48), followed by the telephone number you require. To call another country from Poland, you will need to add the international dialing code for the country you are calling, followed by the telephone number you require. To make calls within Poland, dial the number you require without adding the international country dialing code. Before travelling to Poland you should contact your telephone service provider to activate the international roaming service (if it is not already activated automatically). COUNTRY CODE: +48 INTERNATIONAL CALL PREFIX: 00 TRUNK PFREFIX: NONE NECS Conference INTERNET TRAVEL A free access to Wi-Fi network will be provided to conference participants. An excellent geographical location is the main advantage of Łódź. The city is situated in the center of Poland, at the junction of two motorways: A1 (north - south) and A2 (east - west) and main railway lines. Our city is located only 130 km (80 miles) from the capital city of Poland Warsaw, the journey takes around 2 hours. There are numerous Internet points and cafés offering Internet access. In many hotels (especially highercategory ones) a direct Internet connection is provided in the rooms. In addition, in Poland you will find Wi-Fi access available in many airports, hotels, train stations, and other public places where travelers pass through or stop off. WiFi Internet Access at NECS 2015 Conference Venue A free access to Wi-Fi network will be provided. No username or password necessary. All network traffic is archived. TECHNICAL INFORMATION The voltage in Poland is 230 V which is the same voltage used in France, Germany, and the United Kingdom. The electrical frequency in Poland is 50 Hz. Note that most household and electrical/electronic equipment nowadays support multiple frequencies, so generally, electrical frequency is not an issue compatibility wise. The plugs used in Poland are C or E. Plugs/sockets are usually an issue when it comes to traveling, so always make sure you travel with a universal plug adapter. Poland uses DVD Region 2. DVD Region 2 is used in Europe, the Middle East, and Japan. Note that a region 2 DVD cannot play on a DVD player supporting another region. There are, however, some region free DVD players available that can be used to overcome this. Poland uses Blu-ray Region B. Blu-ray Region B is used across Europe, the Middle East, Africa, Australia and New Zealand. Poland uses the following GSM frequencies: GSM 900 / GSM 1800. When travelling, make sure that your phone supports the GSM frequency of the country you're traveling to. Usually the supported GSM frequencies are printed on the box of your phone as well as its manual. INSURANCE The organizers do not accept responsibility for individual medical, travel or personal insurance. All participants are strongly advised to take out their own personal insurance before travelling to the conference. Air travel enables you to get to the largest Polish cities quickly and comfortably. Airports are situated in the vicinity of most of the largest cities in Poland. Many low budget airlines fly into Poland. There are two international airports in Warsaw (Warsaw Modlin Airport and Warsaw Chopin Airport) and one in Łódź (Łódź Reymont Airport). WARSAW AIRPORTS Arriving from abroad, you will probably enter Poland at Warsaw Chopin Airport. From there, you may either take a direct bus to Łódź or get to the Central Railway Station (Dworzec Centralny) in Warsaw and take a train to Łódź from there (it also applies to Modlin Airport). Please be advised that the express buses have limited passenger capacity and are often booked up. There is also a railway connecton with Warsaw Chopin Airport leading through the center of Warsaw. The line is operated by two railway carriers. Warsaw Chopin Airport can be reached by Urban Rapid Rail (SKM) line S2 and it is also operated by Masovian Railways which are launching KML airport trains. The best way to get from central Warsaw to the Warsaw airports is to travel by ModlinBus. Tickets may be purchased online, at airport sales kiosk or directly on the bus in cash or with credit/debit card. You can also easily get from Łódź directly to the Warsaw airports using ModlinBus. ŁÓDŹ AIRPORT There are direct flights from Łódź to Amsterdam, Dublin, East Midlands, London, Stansted, Munich and Oslo Rygge. A taxi stand and a municipal transport stop (service 55, 65) is in the direct neighborhood of Łódź Reymont Airport. There is also line L which connects airport with train stations. To get to the univeristy campus you have to take a bus (55) and then at the bus stop called POLITECHNIKI change the bus to the tram (15, 15A). You have to get off the tram at the stop called POMORSKAKONSTYTUCYJNA, final destination is 80 meters away. POLISH STATE RAILWAYS The railway network in Poland is well developed. You can reach most places in the country by train. Intercity trains (express) run between the larger cities and you can get to other localities taking the regional or fast trains. Timetables are available at railway stations and on the Internet. Intercity TLK (Low Cost Train) trains run between Warsaw and Łódź They stop at 2 stations: Łódź Widzew and the final destination – Łódź Kaliska. BUS You can travel to Poland by bus using one of the many international firms, such as PolskiBus, Eurolines, Eurobus, Orbis Transport, Euro-Trans and many others. NECS Conference LOCAL TRANSPORT Tickets are available at newsstands, they allow unrestricted travel around the city and are valid for journeys. TICKET PRICES: You can buy tickets for: TOURIST INFORMATION Tourist Information Center: 87 Piotrkowska St., 90-423 Łódź tel.: (+48) 42 638 59 55, (+48) 42 638 59 56 Tourist Information Point at Manufaktura tel.: (+48) 695 131 113 Tourist Information Point at Old Market: 1 Stary Rynek , 90-001 Łódź tel.: (+48) 42 661 46 66, (+48) 42 656 82 84 20 minutes – 2,60 zł 40 minutes – 3,40 zł 60 minutes – 4,40 zł You can also buy 24-hours ticket and it costs 12 zł. Tourist Information Point at PKP Lodz Kaliska: 55 Karolewska St., 94-023 Łódź tel.: (+48) 42 205 42 00 Tourist Information Point at Władysław Reymont Łódź Airport: 35 Gen. Maczka St., 94-328 Łódź tel.: (+ 48) 42 253 14 03 TAXIS MPT Tele-Taxi 400-400 s.c. tel.: (+48) 800 400 400 EMERGENCY PHONE NUMBERS download mobile app: http://800400400.pl/aplikacje GENERAL EMERGENCY NUMBER FOR MOBILE PHONES: 112 Police: 997 CAR RENTING Fire Brigade: 998 Avis: 35 Gen. S. Maczka St. , 94-328 Łódź, tel.: (+48) 607 036 308 Ambulance: 999 Express (C.H Manufaktura): 5 Karskiego St., 92-103 Łódź, tel.: (+48) 42 632 80 44 Municipal Police: 986 Hertz (Centrum): 68 Kościuszki St., 90-432 Łódź, tel.: (+48) 605 150 420 Police Helpline: (+48) 42 651 50 07 Hertz (Lublinek): 35 Gen. S. Maczka St., Łódź, tel.: (+48) 42 686 60 01 Traffic police: (+48) 42 665 25 00 12 NECS Conference RESTAURANTS Polka Ogrodowa 91a, 91-065 Lodz http://lodz.restauracjapolka.pl/ Monday–Saturday 11:00–23:00 Sunday 11:00–22:00 Soups, salads, main dishes, traditional Polish cuisine Kamari Piotrkowska 122, Lodz http://www.restauracjakamari.pl/pl Thursday–Sunday 11:00–22:00 Friday–Saturday 11:00–23:00 Starters, salads, Greek dishes, Greek pastas, beers, alcohols, wines Bawełna Ogrodowa 91A/46, Lodz http://www.bawelna-lodz.pl/ Monday–Thursday 11:00–00:00 Friday–Saturday 09:00–23:00 Sunday 09:00–23:00 Main dishes, soups, pizzas, desserts Ato Sushi 6 sierpnia 1/3, Lodz http://www.atosushi.pl/ Monday–Thursday 12:00–23:00 Friday–Saturday 12:00–24:00 Sunday 12:00–22:00 Nienażarty Japanese cuisine Andrzeja Struga 4, Lodz http://nienazarty.com.pl/ Sunday–Thursday 12:00–21:00 Friday–Saturday 12:00–23:00 Hot Spoon Traditional polish food, beers Drewnowska 58, Lodz http://www.hotspoon.pl/ Sunday–Thursday 11:00–22:00 Friday–Saturday 11:00–23:00 La Strada Thai cuisine Piotrkowska 25, Lodz http://www.la-strada.pl/ Monday–Thursday 11:00–22:00 Friday 11:00–23:00 Saturday 12:00–23:00 Sunday 12:00–21:00 Otwarte drzwi Lunch (daily offers), pastas, salads, desserts, pizzas, Italian cuisine Affogato Piotrkowska 90, Lodz http://www.affogato.pl/ Monday–Thursday 12:00–23:00 (kitchen till 21:30) Friday 12:00–24:00 (kitchen till 23:00) Saturday 12:00–24:00 (kitchen till 23:00) Lunch (Monday–Friday 12:00–17:00), Main dishes, starters, salads, desserts, tea and coffee, alcohols, drinks Manekin 6 sierpnia 1, Lodz http://manekin.pl/lodz.html Sunday–Thursday 10:00–22:30 Friday–Saturday 10:00–23:30 Pancakes, crêpes, soups, salads, desserts, alcohols, wines Servantka Piotrkowska 55, Lodz http://www.servantka.pl/ Monday–Thursday 12.00–22.00 Friday–Saturday 12.00–23.00 Sunday 12.00–22.00 Traditional Russian dishes, Ukrainian cuisine, traditional Polish meals, Byelorussian dishes Piotrkowska 120, Lodz http://otwarte-drzwi.com/ Tuesday–Thursday 12:00–22:00 Friday–Saturday 12:00–23:00 Sunday 14:00–22:00 Italian cuisine Już wróciłem Piotrkowska 101, Lodz http://www.juzwrocilem.pl/ Daily 12:00–22:00 Tarts, coffee, tea, regional beers, regional cuisine. Anatewka 6 sierpnia 2/4, Lodz http://www.anatewka.pl/ Daily 12:00–22:00 Main dishes, starters, salads, desserts Mitmi Piotrkowska 138/140 (OFF Piotrkowska), Lodz http://offpiotrkowska.com/portfolio-items/mitmirestobar/ Monday–Thursday 09:00–23:00 Friday 09:00–02:00 Saturday 11:00–02:00 Sunday 11:00–23:00 Main dishes, pastas, salads and vegetarian food, soups, desserts NECS Conference RESTAURANTS COFFEE SHOPS Drukarnia Skład wina i chleba Szwalnia smaków Piotrkowska 217, Lodz Monday–Friday 09:00–21:00 Saturday–Sunday 10:00–22:00 Piotrkowska 138/140 (OFF Piotrkowska), Lodz http://www.drukarniaoff.pl/# Monaday–Wednesday 07:00–22:00 Thursday 07:00–24:00 Friday 07:00–until last guest Saturday 11:00–until last guest Sunday 11:00–22:00 Café Verte Breakfast, main dishes, pastas, fish, starters, sandwiches, salads, wines Piotrkowska 113/115, Lodz Sunday–Thursday 10:00–22:00 Friday–Saturday 10:00–24:00 Spółdzielnia Cakes, beers Piotrkowska 138/140 (OFF Piotrkowska), Lodz http://spoldzielnia-lodz.pl/ Monday–Thursday 09:00–22:00 Friday–Saturday 09:00–02:00 Sunday 10:00–22:00 Piotrkowska 107, Lodz Monday–Friday 08:00–20:00 Saturday 08:00–16:00 Breakfast, main dishes, starters, pastas, salads, cakes Montag Breakfast, sandwiches, salads, starters, soups, main dishes, lunch, pastas, cocktails Bakery MEG MU Traugutta 9, Lodz http://www.owoceiwarzywa.com/ Monday–Friday 10:00–00:00 Saturday 10:00–until last guest Sunday 12:00–00:00 Piotrkowska 138/140 (OFF Piotrkowska), Lodz http://offpiotrkowska.com/portfolio-items/meg-muafrican-cook/ Monday–Tuesday 12:00–21:00 Wednesday–Thursday 12:00–22:00 Friday–Saturday 12:00–00:00 Sunday 13:00–20:00 Main dishes, starters, soups, desserts, African cuisine VEGETARIAN RESTAURANTS Korzenie Piotrkowska 217, Lodz Tuesday–Saturday 11:00–21:00 Sunday 13:00–20:00 Main dishes, salads, soups, desserts GreenWay Piotrkowska 80, Lodz Monday-Saturday: 9:00 – 21:00 Sunday: 10:00 – 21:0 Main dishes, salads, soups, desserts GreenWay Drewnowska 58 (Manufaktura), Lodz Monday–Saturday 10:00–22:00 Sunday 11:00–22:00 Main dishes, salads, soups, desserts Granda Rewolucji 1905 r. 48, Lodz http://klubokawiarnia-granda.pl/ Monaday–Saturday 10:00–until last guest Sunday 15:00–until last guest Meals, coffee, tea, regional beers, drinks Owoce i Warzywa Events, food, cocktails, beers, drinks, tea, coffee Lodziarnia Cukiernia Wasiakowie Traugutta 2, Lodz http://www.cukiernia.eu/ Monday–Saturday 10:00–21:00 Sunday 12:00–20:00 Cakes, Ice creams, coffee, chocolates Mebloteka Yellow Piotrkowska 138/140 (OFF Piotrkowska), Lodz http://meblotekayellow.pl/ Monday–Thursday 13:00–22:30 or 00:00 Friday–Saturday 13:00–02:00 or 03:00 Sunday 13:00–22:30 or 00:00 Food, desserts, drinks, events Daleko Blisko Piotrkowska 138/140 (OFF Piotrkowska), Lodz http://dalekoblisko.com/ Tuesday–Thursday 12:00–23:00 Friday 12:00–until last guest Saturday 1100–until last guest Sunday 11:00–23:00 Tea, coffee, cakes Cafe Wiedeńska Plac Wolności 6, Lodzi http://www.restauracja-cafe-wiedenska.pl/index2.html Daily 08:00–22:00 Main dishes, desserts, alcohols, drinks NECS Conference DESSERTS BARS, CLUBS, NIGHT LIFE Cafe Wiedeńska Spaleni słońcem Plac Wolności 6, Lodzi http://www.restauracja-cafe-wiedenska.pl/index2.html Daily 08:00–22:00 Piotrkowska 138/140 (OFF Piotrkowska), Lodz Daily 14:00–minimum 00:00 Drinks, alcohols, cocktails Main dishes, desserts, alcohols, drinks Fabryka babeczek Narutowicza 45, Lodz http://www.fabrykababeczek.pl/ Monday–Friday 10:00–19:00 Saturday 10:00–17:00 Cupcakes, cakes Niebieskie Migdały Sienkiewicza 40, Lodz http://www.niebieskie-migdaly.pl/ Monday–Thursday 11:00–21:00 Friday–Saturday 11:00–22:00 Sunday and holidays 13:00–21:00 TEA HOUSE Ms café Więckowskiego 36, Lodz http://www.mscafe.com.pl/index.html Tuesday–Thursday 11:00–22:00 Friday 11:00–until last guest Saturday 17:00–until last guest Tea house, coffee, desserts, cocktails, alcohols Vinda Zgierska 69, Lodz http://www.vinda.pl/ Monday–Saturday 11:00–22:00 Sunday 11:00–20:00 Coffee, lunch, cocktails Caffe przy ulicy Łagiewnicka 120, Lodz http://www.caffeprzyulicy.pl/# Monday–Saturday 09:00–20:00 Sunday 12:00–20:00 Meals, sandwiches, coffee, ice creams DOM Piotrkowska 138/140 (OFF Piotrkowska), Lodz Daily 16:00–until last guest Events, drinks, alcohols, cocktails Łódź kaliska Piotrkowska 102, Lodz http://www.lodzkaliska.eu/ Monday–Thursday 16:00–02:00 Friday–Saturday: 16:00–06:00 Sunday 16:00–02:00 Arts, entertainment, cocktails, beers, alcohols Café Foto 102 Piotrkowska 102, Lodz http://www.fotocafe102.pl/ Monday–Wednesday 10:00–02:00 Thursday–Friday 10:00–until last guest Saturday 11:00–until last guest Sunday 13:00–01:00 Exhibitions, concerts, events, cocktails, beers, alcohols Z innej beczki Moniuszki 6, Lodz Sunday–Thursday 15:00–24:00 Friday–Saturday 15:00–02:00 Regional beers, events Piwoteka Narodowa 6 sierpnia 1/3, Lodz http://piwotekanarodowa.pl/ Monday – Thursday: 15:00-00:00 Friday and Saturday: 15:00-02:00 Sunday: 17:00-00:00 Regional beer, events Café wolność Plac Wolności 7, Lodz http://www.cafewolnosc.pl/ Monday – Friday: 10:00 – until last guest Saturday and Sunday: 11:00 – until last guest Beer, cocktails, alcohol, coffee Food Trucks NECS Conference On June 18–20, 2015, the student car park of the Faculty of Philology (171/173 Pomorska St.) will be transformed into a gastronomy zone with delicious food, snacks and beverages served by local restaurants and food trucks. Casseroles Vegan oriental food Beef burgers Quesadillas, burgers, ciabattas Vegan burgers with homemade sauces Empanadas, mini pizzas, hot sandwiches Coffee, hot chocolate, round waffles, smoothies Ice cream, waffles, beverages Disclaimer: all entities will provide services for individual purchase. Panel Chairs Duties Audio Visual Policy Panel chairs have three primary duties: » » » introducing the presenters in a session, keeping time during the session facilitating the Q & A at the end of the session. Arrive at your presentation room at least 10 minutes early so that you can meet the other panelists and make sure you know how to pronounce their names, titles, etc. Introduce each presenter right before s/he speaks to help audience members joining the session late to easily understand which presentation is underway at a given time. Introductions should be short and include presenter name, position, affiliation, and paper title but they may also include very brief statements regarding the presenter's research/teaching interests, major publications, etc. Please keep panel presentations to 20 minutes, respondentsʼ presentations to 8 minutes. Panels with more than three presenters will need to reduce presentation times to fit the 105-minute sessions. Please have the panelists check their technology in advance, and check that audio and video facilities are working before your session begins. The conference staff will be available to help with any technical issues. We prefer if presenters stick to the printed order of presentations in a given panel. This allows individuals moving between panels to have a better idea of when a given presentation will occur in the session. Chairs should remind panelists when there are five minutes and two minutes remaining, and when the 20-minute mark has been reached and speakers should bring their presentation to a close. Please convey to presenters how and when you will give them time signals before the panel starts. If you have indicated to the presenter that her/his time has expired but s/he has not concluded the presentation within a minute or so of that advice, you should intervene verbally to request s/he finish promptly so that the other panelists will have time for their presentations. Chairs who are presenting papers should designate one of the panelists to time their paper when they are presenting. The Q & A should occur at the end of the session. Please ask the audience to hold all questions until all panelists have presented. Please end your panel or workshop on time to allow participants and audience members sufficient time to get to the next panel or workshop. NECS 2015 Audio Visual Policy Please, bring your presentation stored on a flash drive with a back-up copy sent to your e-mail address. » Standard equipment in all conference rooms: PC-Based Computer workstation with CD-R/DVD Drive (region 2 – standard for Europe), internet and USB Connection, LCD Projector (with sound). » Supported file formats: PPT and PPTX (alternatively: PDF) » If your file requires an Apple computer, you are responsible for your own equipment and connectors to the PC available in the room. » If you wish to use your own laptops: please make sure your equipment has a standard VGA output, or bring a well-tested connector (especially for Apple) and a power adapter for continental Europe. » We are NOT able to accommodate changes or requests for A/V equipment on-site. Thank you for your cooperation! Workshop Transmediality in modern popular culture Wednesday 17th, Art_Inkubator, Tymienieckiego 3 In reference to one of the conference's sub-themes “The archive of popular culture” a workshop on the history of transmediality in modern popular culture will be held. It will focus on the exploration of cross-media business synergies in the entertainment industry and on the history of media convergence in the 19th and the first half of the 20th century popular culture (before 1939). SCOPE Media convergence is one of the widely debated concepts in contemporary media research. As conceptualised by Henry Jenkins, convergence manifests itself i.e. in transmedia storytelling (Jenkins, 2006: 334). The investigation of transmediality, however, most often concentrates on contemporary networked digital media. As concerns the historical research of popular culture, the exploration of transmediality has been limited (although not entirely unexamined). Yet that kind of cross-textual practices can be traced as early as the modern culture industry came into existence. For example, according to Matthew Freeman, at the beginning of the 20th century in the USA we can find examples of "cross-textual self-promotion and cross-media branding (...), grounded in such cultural factors as turn-of-the-century immigration, new forms of mass media - such as, most notably, newspapers, comic strips, and magazines and consumerism and other related textual activities" (Freeman, 2014: 2). Therefore, we would like to explore the transmedial dimension of pop culture in the 19th and the first half of the 20th century. » How did motives, characters, narratives circulate between various media platforms and cultural circuits? » What was the transmedial dimension of the emerging global culture industry? » How did mediatization processes impact on local practices (especially in the peripheral media environments)? References: Jenkins, Henry, “Convergence Culture: where old and new media collide”, NYU Press, 2006. Freeman Matthew, “Branding consumerism: Cross-media characters and story-worlds at the turn of the 20th century”, International Journal of Cultural Studies, Published online before print January 21, 2014, DOI: 10.1177/1367877913515868. Workshop organizers: Łukasz Biskupski, University of Social Sciences and Humanities SWPS Mirosław Filiciak, University of Social Sciences and Humanities SWPS Michał Pabiś-Orzeszyna, University of Lodz The organization of the workshop is supported by the Polish National Center for Science under Grant DEC-2012/07/E/HS2/03878. Workshop Transmediality in modern popular culture Wednesday 17th, Art_Inkubator, Tymienieckiego 3 Room A_120 Registration and Welcome Coffee Coffee Break 9:00–9:15 15:30–15:50 Welcome and Opening Remarks Session 3 9:15–9:20 15:50–18:00 Introductory lecture Pamela Gionco » Universidad de Buenos Aires High and Popular Culture on a 19th Century Satirical Publication from Argentina 9:20–11:00 Matthew Freeman » Birmingham City University The Historical Rise of Transmedia Storytelling Respondent: Mirosław Filiciak » University of Social Sciences and Humanities SWPS Coffee break 11:00–11:15 Session 1 11:15–12:45 Paola Valentini » University of Florence, Italy Transmediality in Italy in the Fascist Era: Soundscape and Transmedia Resonances Federico Pagello » Queen's University Belfast Transmedial Crime Narratives in Early Twentieth-Century Film and Print Culture Michał Pabiś-Orzeszyna » University of Lodz Traveling Sound. Radio, Gramophone and Sound Film in the Interwar Poland Lunch Break 12:45–14:00 Session 2 14:00–15:30 Gert Jan Harkema » Stockholm University The New within the Old, the Old within the New: Transmediality and the Introduction of the Kinematograph Benjamin Eugster » University of Zürich Affirmative Neurasthenia: Aesthetic Excess and the Dilemma of Expressionist Transmediality Šárka Gmiterková » Masaryk University, Brno Multiple Charms, Multiple Media Presence. Oldřich Nový 1936-1945 Witold Filar » Nicolaus Copernicus University The Influence of the Local Media on Development of popular culture in Second Polish Republic Beatriz Bartolome Herrera » Concordia University Movie-themed Exhibitions: Interrogating Transmedia Practices in Spatial Terms Mirosław Filiciak » University of Social Sciences and Humanities SWPS The Other Kind of Media. Problematizing the Media Concept in the Polish Lands Before World War II Summaries and discussion Opening Keynote » 19:00 at the University of Lodz, Faculty of Philology Krzysztof Wodiczko Graduate Workshop Art_Inkubator in Fabryka Sztuki, Tymienieckiego 3, Lodz Tuesday, 16.06 Wednesday, 17.06 Welcome Coffee Break » 9:00–09:30 » 16:15–16:45 Introductions Biomechanics » 9:30–10:00 » 16:45–18:00 Networked Fictions Giuseppe Gatti » Roma Tre University The Mecha that therefore I am (not): Notes on the Becoming-animal in the Age of Robot Genesis Evangelion » 10:00–11:15 Tim Yaczo » University of Amsterdam, Amsterdam School for Cultural Analysis Thinking, Reading, Tweeting: Neuronarratives and Jennifer Egan's Black Box Petrina Vasileiou » Lund University, Department of Arts and Cultural Sciences “An Online Ideal World Which Reality Can No Longer Meet?”: Technology, Fiction and Identity in The Era of Social Media Genesis Evangelion Sophia Satchell-Baeza » King's College, University of London, Department of Film Studies The Boyle Family's Son et Lumière for Insects, Reptiles, and Water Creatures (1966) and the Biological Aesthetic of Light Shows Closing Remarks » 18:00–18:15 Break » 11:15–11:45 Embodied Fiction » 11:45–13:00 Opening Keynote » 19:00 at the University of Lodz, Faculty of Philology Krzysztof Wodiczko Lunch » 13:00–15:00 The Media Artefact » 15:00–16:15 Marta Wasik » University of Warwick, Department of Film and Television Studies Slouching Towards Obsolescence: Cinematic Depictions of Home Movies as “Old Media” Rudi Knoops » KU Leuven, LUCA School of Arts/Re-Visionary research group, University of Antwerp, Research Centre for Visual Poetics The Imaginary in Cylindrical Anamorphosis Publishers Forum Feel free to visit stands of the renowned publishers presenting their studies series, books and journals on film, media and culture. The Publishers Forum is located on the first floor corridor at the Faculty of Philology building and is open throughout the entire conference. LIST OF THE PUBLISHER STANDS Amsterdam University Press Bloomsbury Publishing Edinburgh University Press Muzeum Sztuki Routledge, Taylor and Francis Wallflower Press / Columbia University Press National Audiovisual Institute Lodz University Press Publishers Forum coordinator: Karol Jóźwiak Enthusiasts Screening “Enthusiasts” is a collaborative work by Marysia Lewandowska and Neil Cummings (Great Britain), two exceptional artists who have been working together since 1995. In their previous projects Lewandowska and Cummings focused on the various complications and dependencies that arise between art institutions and the social, economic and political spheres as well as identification of the space within which art pieces are created. The project entitled “Enthusiasts” was first hosted by the Centre for Contemporary Art Ujazdowski Castle in Warsaw in 2004, where the exhibition referred to a similar experiment – it presented not only works of Polish Amateur Film Clubs (known in Poland as AKFs) but also the whole aparatus related to this phenomenon: 16mm cameras, fictional amateur club lounge, posters, trophies and paraphenalia from film festivals. The popularity of AKFs, which initially were affiliated to employing establishments, existed in between of the “effective” working time and the “unproductive”, idle, free time. According to the communist ideology, work and leisure existed as a binary opposition akin to conscious production and a hobby. Film clubs reversed this correlation – many enthusiasts of cinema were actively involved in following their passion despite rigorous professional duties. Many amateur filmmakers experienced the sense of operating outside of the “official” culture. Thanks to the collective cooperation they have created extremely diverse works that still amaze. Members of film clubs had as their main objective the creation of films for wider audiences (not only for private use). This is why the productions are characterized by the eponymous enthusiasm, passion and joy accompanying the production process. After 1989 in Poland, both film clubs with their members and their artistic accomplishments were forgotten about– due not only to the former political system, but also to the amateur nature of the works produced.. The authors of this project rediscover those short films in order to present the practical aspects of the productions of the then working class, to reflect on the position of an amateur filmmaker and to emphasize the meaning of art in the process of changing the contemporary reality. The project “Enthusiasts” divides the amateur works into three thematic categories: “Love”, “Longing” and “Labour” Featured films: Due to the technical constraints of amateur filmmaking, the films do not contain dialogues – in some instances they do, however, include a voice-over. Their power stems from a universal language of images with just a hint of a characteristic “whirr” of the film projector in the background. We will find here documentary etudes as well as experimental animated films. Thanks to a personal approach of the filmmakers who portrayed their working environment, everyday routine has been raised almost to the level of craftmanship. The physical effort of the modern Sisyphuses appears as an astonishing ritual – music enhances the rhythm of the activities, ingenuous framing makes each work exceptional. All the presented productions have a common denominator: in a same way as in a famous scene from “Amator” by Krzysztof Kieślowski (1979), the filmmakers/artists focus the camera on themselves and their surroundings trying to record what they deem the most important. SERIES #1 SERIES #2 (22 minutes) SERIES #3 #2 TĘSKNOTA/LONGING (22 minutes) Friday, June 19, session G (13:45) Saturday, June 20, session J (11:00) Friday, June 19, session H (15:45) We would like to thank InterDoc (www.interdoc.it) – International Institute for Documentary Film (Bologna, Italy) for providing the copies of the listed productions. Marysia Lewandowska and Neil Cummings share the productions of the Amateur Film Clubs under the Creative Commons license. 22 Productions from The Educational Film Studio in Lodz Screening, Saturday, June 20, session L (15:45) Władysław Strzemiński (11'22'') A study of the life of the remarkable painter and art theoretician, Władysław Strzemiński – the patron of the Strzemiński Academy of Fine Arts in Lodz. The artist was a pioneer of the constructivist avant-garde of the 1920s and 1930s. His works are creative interpretations of geometric forms. Strzemiński was also the creator of the theory of Unism, which he formed in 1927. Abakany/The Abakans (13'00'') A short film about one of the world renowned Polish artists, Magdalena Abakanowicz, and the first of her significant works: created in the early 1960s textile sculptures named "abakans" after their author. Kierunki i style: Konstruktywizm w Polsce Cz. II – Awangarda rzeczywista /Movements and Styles: Polish Constructivism, part II – The Real Avant-Garde (18'45'') A film from the “Movements and Styles” series is a study of the works of artists from the "a.r." group, including Strzemiński, Kobro, Stażewski, Przyboś or Brzękowski and their bold, original and mature works representing Polish constructivism. The production includes plastic models and animation techniques. Trzy wnętrza/Three Interiors (17'00'') Three different interiors and three artists – Jan Dobkowski, Ryszard Winiarski and Edward Krasiński. Each of them is faced with the exact same task: to create a work based on a white cube designed for the occasion. The object of the experiment was to confront the artistic styles of three contemporary Polish artists and to analyze the concepts behind the different approaches used to produce their final works. The featured films are a curatorial selection by Daniel Muzyczuk from Muzeum Sztuki in Lodz. The films are presented by courtesy of the Educational Film Studio in Lodz. Thursday, 18th 9:00-10:45 Panels 2.50 2.57 Digital Games Workgroup Meeting Project Forum Organizer: Maria B. Garda » University of Lodz Cati Alice » Catholic University of the Sacred Heart, Milan Alice Cati, Vicente Sanchez-Biosca (eds.), Archives in human pain. Circulation, persistence, migration, “Cinema & Cie. International Film Studies Journal”, no.24, forthcoming 2.51 Medical Film Workgroup Meeting Organizer: Bregt Lameris » Utrecht University, the Netherlands 2.53 Media Archeology Workgroup Meeting Organizer: Alex Casper Cline » Anglia Ruskin University 2.54 Sound and Music in Media Workgroup Meeting Organizer: Nessa Johnston » Glasgow School of Art 2.55 Graduates Workgroup Meeting Organizer: Carlos Roos » Ghent University Zofia Rzeznik » University of Wrocław Gąszcz/Thicket. The Atlas of Histories of Wrocław's Art in the 1970s Marta Brzezińska » University of Warsaw Iconography of everyday life in GDR in German film after 1989 Chris Wahl » Film University Babelsberg Konrad Wolf “Film-Erbe”: New German-language book series on issues of Film Heritage Carolina Sourdis » Pompeu Fabra University Colombian Found Footage: Mapping the archive of silence Agata Kołacz » National Audiovisual Institute NInA - institution for online and offline audience Notes 28 Thursday, 18th 9:00-10:45 Panels Notes Thursday, 18th 11:00-12:45 Panels 2.20 2.21 From Archival Truth to Narrative Historiography: The Filmic Work of Thomas Harlan Sound and Archives Chair: Chris Wahl » Film University Babelsberg Konrad Wolf Colin Black » The International Radio Art (and Creative Audio for Trans-media) Research Group Audio Archives as Content and Metaphor Chair: Leo Murray » Murdoch University Leonie Geisinberg » Film University Babelsberg Konrad Wolf The Fiction of Historiography in Thomas Harlan's Life Narrative Jesko Jockenhoevel » Film University Babelsberg Konrad Wolf The Excess of Archival Footage in “Verrat an Deutschland” (”The Case of Dr. Sorge”) Kaspars Steinbergs » Alberta College Strategy of Latvian Audiovisual Sector Cluster: Balanced Scorecard Approach Eva Flügel » Film University Babelsberg Konrad Wolf (Re)Enactment – Writing History in the Present through Reflecting the Past in “The Act of Killing“ and “Gun Wound“ 2.33 Digitation and Computation in Film Studies Michael Wedel » Film University Babelsberg Konrad Wolf Material Ghosts: Time, Memory, and the Political in “Myself and No Angel“,“Torre Bella“and “Souvenance“ Respondent: Tobias Ebbrecht-Hartmann » Hebrew University Jerusalem 2.22 The Uses of Archival Footage from WWII Chair: Marta Brzezińska » University of Warsaw Trond Lundemo » Stockholm University Films as Maps: History as Propagation and Modulation Annemone Ligensa » Film University Babelsberg Konrad Wolf Audience Archives: Digital Tools for Studying Historical Audiences Murat Akser » Ulster University From Analog to Digital Cinema Archive: Some Challenges and Opportunities for a New Life of Celluloid Adriana Martins » Catholic University of Portugal João Canijo's Fantasia Lusitana and the Rewriting of WWII from the Margins 2.50 Practices of Collecting - Case Studies 2.43 Anarchiving Practices Across Media Forms Chair: Michael Cowan » University of St. Andrews Alanna Thain » English and World Cinemas / McGill University Contagious Corporealities: The When and Then of Performance's Long Arc Toni Pape » University of Amsterdam Resurrecting Television: Anarchiving Media Pasts in Contemporary Television Ilona Hongisto » University of Turku The Soviets and Sue Ellen: American Popular Culture as an Archive for Eastern European Documentary Chair: Michał Pabiś-Orzeszyna » University of Lodz Helen Doherty » National Film School/IADT, Dublin Projections from the Archive: a Corpus Analysis of Film Studies Henrik Gustafsson » University of Tromsø – The Arctic University of Norway “From the Archive of Everyday Observations”: Daniel Eisenberg's Postwar Films Bodil Marie Stavning Thomsen » Aarhus University Digitally Remastered and Anarchived - Evoking or Creating Memory by Animating Photographs from Maoist Cristina Formenti » University of Milan (Re)Animating Archival Sound Recordings: The "StoryCrops" and "Blank on Blank" Projects Chair: Eef Masson » University of Amsterdam Ralf Forster » Film University Babelsberg Konrad Wolf / Potsdam Film Museum Film Collections of German Federal States History, Common Practises and Concepts for the Future - the Case of the Filmmuseum Potsdam Joanna Walewska » Nicolaus Copernicus University in Toruń “And What About the Quality?”: Oral History and Technology in the Historical Research on Technology in the People's Republic of Poland Sofia Sampaio » University Institute of Lisbon / Centre for Research in Anthropology The Archive's Ghosts: Looking for the Invisible in the Visible: a Practices-Based Approach to the Moving Image Archive Thursday, 18th 11:00-12:45 Panels 2.53 2.51 Beyond the Subalterns' Archives. How to share Colonized and Migrant Memories Chair: Rosanna Maule » Concordia University Ilaria A. De Pascalis » Roma Tre University Archiving the Empire: The Ghost of Nostalgia in "Remember Me" Massimiliano Coviello » University of Siena The Liquid Traces of Migrations through the Mediterranean Sea Alice Cati and Maria Francesca Piredda » Catholic University of the Sacred Heart in Milan Trawl (Media)Nets. How to Search for Fragments of Migrant Memories in Lampedusa Archives of the Present and Derrida Chair: Tomasz Majewski » Jagiellonian University Aija Laura Zivitere » Information Systems Management Institute, Riga Francia 2013: The Archive of the Present Andrew Burke » University of Winnipeg The Time of Zidane Daniela Agostinho » Catholic University of Portugal Spectral Images: Archival Effects in Daniel Blaufuk's Terezín Thursday, 18th 13:45-15:30 Panels 2.21 Chair: Michael Wedel » Film University Babelsberg Konrad Wolf Tobias Ebbrecht-Hartmann » The Hebrew University in Jerusalem Trophy, Evidence, Document: A Journey from Atrocity to Archive Brad Prager » University of Missouri The Unseen Image: Archival Photography and Forensics in Contemporary Holocaust Documentaries Chris Wahl » Film University Babelsberg Konrad Wolf The Triumph of Which Will? Repurposing Leni Riefenstahl's Images Institutions for Archives Sponsor: National Audiovisual Institute NInA Sponsor: The Marek Edelman Dialogue Center in Łódź 2.20 Reviewing and Reusing the Past: The Appropriation of Archival Images from the Holocaust and the Third Reich Chair: Kaspars Steinbergs » Alberta College Grazia Ingravalle » University of St Andrews Remixing Silent Cinema: Historical Explorations at the EYE Film Institute Netherlands Indrek Ibrus » Tallinn University / Baltic Film and Media School The Effects of Power in the Evolution of AV-Heritage Metadata Standards and Heritage Recycling: Estonian Perspective Aidan Power » University of Bremen Eurimages and the Archiving of Utopia 2.33 GIF me more. Archives of Affect and Motion Victoria Grace Walden » Queen Mary, University of London An Experience with Holocaust Memory: Re-appropriating the Archive Chair: André Wendler » Bauhaus University, Weimar 2.22 Archiving Labour, Researching Production André Wendler » Bauhaus University, Weimar Moving Bodies on Screen Chair: Shane O'Sullivan » Kingston University, London Daniela Wentz » Bauhaus University, Weimar The Infinite Gesture Frédéric Vidal » Centre for Research in Anthropology, Lisbon Do You Remember the Struggle of Applied Magnetics Workers (Portugal, 1974-1975)? An Analysis of Social Memories Through Cinematography Aileen Pinkert » University of Hamburg GIF me more depth: 3D GIFs David Archibald » University of Glasgow Archiving Loach: Recording Ken Loach's Cinematic Working Practices Aaron Hunter » Queen’s University, Belfast Getting a Guy to Walk on Water: Archives and the Question of Authorship in “Being There“ (1979) 2.43 Amateur Materials as Archives Chair: Piotr Sitarski » University of Lodz Diego Cavallotti » University of Udine “Amateur video must not be overlooked”: Analog Amateur Video as New Archival Object Paulina Haratyk » Jagiellonian University Home Movies – Images of Everyday Life? Found Footage Film Projects from Archives of Archeology of Photography Foundation Francesca Scotto Lavina » La Sapienza University of Rome The Memory Circuit: Refiguring Collective and Autobiographical Memories through Amateur Materials Re-mediated by Digital Archive Christiane Lewe » Bauhaus University Weimar “My face when…” Why Facebook Hates Reaction GIFs 2.50 Gendering Cinema Archives Chair: Monika Talarczyk-Gubała » University of Szczecin Małgorzata Radkiewicz » Jagiellonian University Re-Writing History of Women Pioneers of Photography and Cinema in Former Polish Galicia 1896-1939 Robin Steedman » University of London Gendering Contemporary Kenyan Film Production: A Contextual Analysis of “Dangerous Affair“ (2002) and “Pumzi” (2009) Adriana Margareta Dancus » University of Agder Kristiansand Archives of Vulnerability in Scandinavian Reality-Based Films of the 2010s Rosanna Maule » Concordia University Archiving Women's Films in the Age of Digital Culture Thursday, 18th 13:45-15:30 Panels 2.51 Politics of Archiving and the Writing of Transnational Cultural History Chair: Petr Szczepanik » Masaryk University, Brno Rosa Olmos » Bibliothèque de Documentation Internationale Contemporaine Library The Living Memories. Audio-Visual Archives of the BDIC Library, Research Material on International Conflicts Caroline Moine » University of Versailles Saint-Quentin-en-Yvelines Transnational History of Solidarity Movements in Europe during the Cold War: New Sources, New Archives 2.53 Archives Shaping Canons Chair: Piotr Kulesza » Museum of Cinematography in Lodz Anne Ciecko » University of Massachusetts-Amherst Contemporary World Cinema Canons and/as Discursive Archives Johann Mahlknecht » University of Innsbruck The Influence of Film Archives on Canon Formation Kim Louise Walden » University of Hertfordshire Site Excavations: An Archaeology of Film Transmedia Award Archives Viviane Saglier » Concordia University Diasporic Film Festivals and Trans-Historical Film Economies Dunja Jelenkovic » University of Versailles Saint-Quentin-en-Yvelines The Politics of Archiving – The Politics and Archiving: The Case of Yugoslav Documentary and Short Film Festival (1954-today) Screening of "Ida" with an introduction by producer, Ewa Puszczyńska room 0.38 Thursday, 18th 15:45-17:30 Panels 2.21 Workshop 2.20 The Toxicity of European Archives Opening/Re-Opening of Archives Natascha Drubek » Freie University Berlin Chair: Anna Nacher » Jagiellonian University Tomasz Łysak » University of Warsaw Dietmar Kammerer » Philipps-University Marburg The Second Best Thing? Creating a Weblog as Open-Access Archive for Film Studies Gudrun Heidemann » University of Lodz Talitha G. Ferraz » Capes Foundation (Brazil)/University of Ghent Under the Cultural Projects of Reopening Cinemas: Rebirthing of the Ex-Movie Theaters and Its Sociabilities in the City? Ewa Ciszewska » University of Lodz Tomasz Majewski » Jagiellonian University Pamela Gionco » University of Buenos Aires/National Library Digitizing Sources for Media Studies in Argentina 2.22 Sounding Out the Archive: Sonic (Re)Presentations of the Past 2.33 Doing Archival Research on the Socialist Past Chair: Nessa Johnston » Glasgow School of Art Alice Bardan » Loughborough University Workshop Kate Bolgar Smith » SOAS, University of London 'Ghosts of Songs': The Haunting Soundtracks of the BAFC Leo Murray » Murdoch University Clues in the Library: Fiction Techniques in the Non-Fiction Film Soundtrack Archive Sabina Mihelj » Loughborough University Cristina Preutu » Alexandru Ioan Cuza University of Iassy Andrew Hill » University of Greenwich Historic Soundscapes: Authenticity vs. Experience Sylwia Szostak » Loughborough University Lizzie Thynne » University of Sussex Voices in Movement: Dramatizing Oral Histories Personal Archives, Personal Archiving 2.50 2.43 Archiving and Archives in Online Media Research Rainer Hillrichs » University of Bonn Workshop Dana Mustata » University of Groningen Murat Akser » University of Ulster Sophie G. Einwächter » University of Mannheim Benjamin Eugster » University of Zurich Kim Louise Walden » University of Hertfordshire Chair: Shane O'Sullivan » Kingston University, London Tom Cuthbertson » University of Oxford Archive Varda: Archival Impulses in Agnès Varda's “Agnès de ci de là Varda“ (2011) Agnieszka Dytman-Stasieńko » University of Lower Silesia Personal Archive as an Example of Historical Responsibility Deniz Bayrkdar » Kadir Has University Museum of Innocence: Archiving of/for the Future by Orhan Pamuk Catarina Mourao » University of Edinburgh - ECA My Grandfather and His Revolver: Dreams and Fragmented Memories Connected to Personal Archives Thursday, 18th 15:45-17:30 Panels 2.53 2.51 Gender in Audiovisual Arts Pedagogical Futures and Cinematic Histories: Teaching World Cinema Workshop Dagmara Rode » University of Lodz Appropriated Images, Appropriated Bodies: On Two Feminist Video Works Martina Panelli » University of Paris 8 Vincennes/Saint-Denis / University of Udine Archiving Gender: (Bio)Technologies of the Self in Found Footage Films and Contemporary Audiovisual Art Workshop Chair: Greg de Cuir, Jr » University of Arts, Belgrade Bruce Bennett » Lancaster University Nick Hodgin » Lancaster University Alex Lykidis » Montclair State University Katarzyna Marciniak » Ohio University Victoria Pastors-Gonzáles » Regent´s University London Docudrama as Visual Archive: Tracing the Origin of Women's Rights Movement in Spain in the Biopics of Clara Campoamor and Concept 2.54 Áine O'Healy » Loyola Marymount University Celluloid, Digital and Wax Archives Video Games Chair: Karol Jóźwiak » University of Lodz Chair: Maria B. Garda » University of Lodz Vito Adriaensens » University of Antwerp / VU University Amsterdam / School of Arts (KASK) Ghent Waxing Poetic, from the Museum to the Screen Surbhi Goel » Panjab University, Chandigarh After Amnesia, Carving Archive as a Current Creative Collaboration: Kamal Swaroop's Phalke Files Akshaya Kumar » University of Glasgow Archiving the Self Laurence Raw » Baskent University 2.55 Biljana Mitrovic » University of Art, Belgrade The New Media Recording and Archiving – By/In the New Media: The Video Game Playing Experience Paweł Frelik » Maria Curie-Sklodowska University “Where Is That Beam, Scotty?”: Towards a Science Fiction Video Game Archive Mateusz Felczak » Jagiellonian University Gather, Manage, Play – The Case of the Steam Platform and Its Influence on the PC Video Games "Ida": production and promotion 2.56 Discussion Panel with: Ewa Puszczyńska (Opus Film), Marzena Bomanowska (Museum of Cinematography) Interlocutor: Marcin Adamczak (Adam Mickiewicz University in Poznan) Friday, 19th 9:00-10:45 Panels 2.50 2.57 Screen Industries Workgroup Meeting Project Forum Organizer: Petr Szczepanik » Masaryk University, Brno Sabina Mihelj » Loughborough University Screening Socialism: Popular Television and Everyday Life in Socialist Eastern Europe (2013-16) 2.51 Documentary Workgroup Meeting Organizer: Aida Vallejo » University of the Basque Country (UPV/EHU) 2.53 Cinema and Contemporary Visual Arts Workgroup Meeting Monika Talarczyk-Gubała » University of Szczecin Wanda Jakubowska. Staring anew (work in progress) Organizer: Miriam De Rosa » Catholic University of the Sacred Heart, Milan 2.54 New Media Workgroup Meeting Organizer: Rainer Hillrichs » University of Bonn Carolyn Birdsall » University of Amsterdam Sound Preservation Studies: How to Critically Imagine a New Research Agenda? Paweł Polit » Muzeum Sztuki in Lodz DADA Impuls. Egidio Marzoni Collection 2.55 Sponsor: NECSUS European Journal of Media Studies Open Access Workshop Organizer: Greg De Cuir, Jr. » University of Arts, Belgrade 2.56 Dead Media in Central-Eastern Europe Workgroup Meeting Organizer: Michał Pabiś-Orzeszyna » University of Lodz Sylwia Szostak » Loughborough University Archives and the Uncovering of Missing Histories of Television Aida Vallejo » University of the Basque Country (UPV/EHU) Documentary and Film Festivals Adriano D'Aloia and Ruggero Eugeni » Catholic University of the Sacred Heart, Milan Neurofilmology. Audiovisual Studies and the Challenge of Neuroscience. Cinéma&Cie. International Film Studies Journal, Special Issue no. 22–23, edited by Adriano D'Aloia and Ruggero Eugeni Notes Friday, 19th 9:00-10:45 Panels Notes Friday, 19th 11:00-12:45 Panels 2.20 2.21 Italian Connections: Politics, History and Identity Queer Cinema Chair: Dagmara Rode » University of Lodz Chair: Diana Dąbrowska » University of Lodz Katharina Lindner » University of Stirling Intangible Archives? Queer Embodiment and Affect in Cinema Antoine Damiens » Concordia University The Festivals that Did Not Matter: Queer Film Festivals and their Scattered Archives Nanna Heidenreich » Braunschweig University of Art “Once upon a Future”. Traversing the Archive Giancarlo Lombardi » College of Staten Island and Graduate Center/CUNY DoubleSpeak as Boomerang Language, Politics, and Consensus in „Viva la libertà” Cosetta Gaudenzi » University of Memphis Rewriting Italy: Language and Family in Alice Rohrwacher's “Le meraviglie” Áine O'Healy » Loyola Marymount University Chinese Immigration in the Italian Mediascape 2.33 2.22 Memory Matters Spotlights on Television Business Chair: Trond Lundemo » Stockholm University Chair: Philipp Drake » Edge Hill University Katharina Rein » Bauhaus University, Weimar / Humboldt University of Berlin Archives of Horror. Memory in “Buffy the Vampire Slayer” Luca Barra and Massimo Scaglioni » Catholic University of the Sacred Heart, Milan History Repeating. Archives as a Connection between Television and Media History Kateřina Svatoňová » Charles University, Prague The Memory of the Experiment: Multimedia Installations and Experimental Film Based on the Recyling of Archive Material Petr Szczepanik » Masaryk University, Brno An Uneasy Transfer of “Quality”: HBO Europe's Original Content Production Katharina Włoszczynska » International Research Institute for Cultural Techniques and Media Philosophy, Bauhaus University, Weimar “Archival Remakes” and Re-Making as Archive Susanne Eichner » Aarhus University Television Series as Containers of Imagined Communities Kateřina Krtilová » Bauhaus University, Weimar In Praise of Forgetting 2.43 Remediating the “Real”, Refiguring the Past in (Post-)Communist Central and Eastern European Cinema Chair: Katalin Sándor » Sapientia Hungarian University of Transylvania Judit Pieldner » Sapientia Hungarian University of Transylvania Remediating the Unspeakable. The Memory of the Holocaust in András Jeles's “Parallel Lives” Laszlo Strausz » Eötvös Loránd University Modernism under Construction – Films on Filmmaking in the Ceausescu Era Katalin Sándor » Sapientia Hungarian University of Transylvania (Re)making the Past in Lucian Pintilie's “Reenactment” (1969) and “Niki and Flo” (2003) Melinda Blos-Jáni » Sapientia Hungarian University of Transylvania Unreliable Images. Mediating the "Real" in East European Compilation Documentaries about the Communist Past 2.50 Film Policy Research and Archives: Methods, Challenges and Case Studies Chair: Baschiera Stefano » Queen's University, Belfast Gertjan Willems » Ghent University Archival Film Policy Research: Methodological Opportunities Marco Cucco » University of Lugano What is Film (From a Film Policy Perspective)? A Case Study on “The Great Beauty” Olof Hedling » Lund University Between Art, Economics, Commerce, and Nationalism. Notes on the Interaction Between Different Perspectives in Swedish Film Policy Lorraine Blakemore » University of Leeds Cultural Intervention, Institutional Politics and the Archive: Challenges in Researching the British Film Institute's Museum of the Moving Image Friday, 19th 11:00-12:45 Panels 2.53 2.51 Carnal Archives Media Archives and the (Re-)Production of Memories Chair: Magdalena Zdrodowska » Jagiellonian University Chair: Sophie G. Einwächter » University of Mannheim Jan Stasieńko » University of Lower Silesia Beautiful Agony: Between Humanism of an Archive and Non-Human Erotism of a Data Base Giancarlo Grossi » Catholic University of the Sacred Heart, Milan Charcot and the Canon of the Moving Body – The Photographic Archive of the Nouvelle Iconographie de la Salpêtrière (1888-1918) Mirjam Kappes » a.r.t.e.s. Graduate School for the Humanities, Cologne Mediacultural Archives and Nostalgic Remembering in the Digital Age Tobias Steiner » University of Hamburg Blockbuster Tales of Days Past! Renegotiation of History in Fictional U.S. TV Drama from the 1940s up to Today Stefan Udelhofen » a.r.t.e.s. Graduate School for the Humanities, Cologne Obsolescence, Persistence and Alternative Archives in the Media History of Internet Cafés Hung-Han Chen » Aalto University Archaeology of Face Expressions: From Empirical Studies to Algorithm Design 2.55 2.54 Experiencing the Space Collective Memories of Mediatized Identities Chair: Talitha G. Ferraz » Capes Foundation, Brazil / University of Ghent Chair: Alena Stohmaier » Philipps University of Marburg Giorgio Avezzu » Catholic University of the Sacred Heart, Milan Memories of a Lost Dispositif: Historicizing the Cave as a Metaphor of a Spectacular Geometry Agata Pospieszyńska » University of Lodz Cinema Beur as Archive of Colonialism Maria Luna » InCom Autonomous University of Barcelona On Mapping Heterotopias: A Location Based Archive of Documentary Films Kamil Lipiński » Adam Mickiewicz University, Poznan The Archival Hauntings in the National Documentaries of Péter Forgács Irina Schulzki » University of Munich Archive and Gesture: Spatial Structures in Kira Muratova's Films 2.57 Performance and Materiality of the Moving Image through Tape, Theater and Videoart Chair: Miriam De Rosa » Catholic University of the Sacred Heart, Milan Greg de Cuir, Jr » University of Arts, Belgrade The Motovun Meetings: Video – 1976 – Identity Patricia Nogueira » UT Austin – Portugal International Program Participative Interactive Documentary as a Fragmented and “Deterritorialized” Archive James Harvey-Davitt » Anglia Ruskin University Akomfrah's Art Histories Andrea Meuzelaar » University of Utrecht Compiling Islam: The Politics of Archival Compilation Oemer Alkin » Heinrich Heine University, Duesseldorf Tradierung in Turkish-German Cinema: Turkish Emigration Cinema Re-Loaded Catarina Laranjeiro » University of Coimbra Confronting Vague Ideas with Clear Images: Ghosts and Memories in the Liberation War in Guinea-Bissau Friday, 19th 13:45-15:30 Panels 2.20 Multicultural, Transcultural, Universal: Politics, Ethics and Aesthetics of Images Migrations Chair: Philipp Sack » Braunschweig University of Art 2.21 Digital Archiving Across Books, Food, and Adult Films: Possibilities and Challenges Chair; Murat Akser » University of Ulster, Londonerry Jorge Flores Velasco » The New Sorbonne University Inti Raymi Uprising: Video, Identity and Multiculturalism Beste Atvur » Goethe University, Frankfurt How to Find Adult Films? Digital Archives as a Potential Source for Academic Research on Erotic and Porn Film Industries Marcela Canavarro » University of Porto Audiovisual as a Technopolitical Resource to Mobilize People and Generate Memory Seda Aktaş » Marmara University, Istanbul Digital Libraries as Digital Archives; The Gutenberg Project as an Example of Crowdsourcing Anna Mrozewicz » Adam Mickiewicz University, Poznan Affective Remediation and Transnational Shared Space in Pirjo Honkasalo's Documentary Film “The 3 Rooms of Melancholia” Sedef Erdoğan Giovanelli » Istanbul Bilgi University Digital Food Archives: Black Sea Cuisine as an Intangible Cultural Heritage Asbjorn Gronstad » University of Bergen Archival Migrations: The Organic Image in John Akomfrah's “The Nine Muses” Fandoms, Margins, Minorities and the Issues of Technological Emancipations 2.22 Memory Televisualized Chair: Kamila Żyto » University of Lodz Enrique Fibla Gutierrez » Concordia University NO-DO: Public Audiovisual Archives and the Kidnapping of Imagination Vicente Rodriguez Ortega » The Charles III University of Madrid 1980s Spanish History through Contemporary Television: The Case of “Cuéntame cómo pasó” Cecilia Penati » Catholic University of the Sacred Heart, Milan Unconventional Archives: Popular Media and Personal Memories as Sources for Early TV History Georgia Aitaki » University of Gothenburg TV Fiction as an Archive of Crises: National and European Imaginaries in Greek Television Fiction 2.43 The Use of Archival Footage in Contemporary South American Films Chair: Caroline Moine » University of Versailles Saint-Quentin-en-Yvelines Clara Garavelli » University of Leicester Re-Using Found Footage Film in Experimental Argentine Video Documentaries Beatriz Tadeo-Fuica » University of the Republic, Montevideo / University of St Andrews Using Archival Footage in Contemporary Uruguayan Film Elizabeth Ramírez Soto » University of Valparaíso / University of Warwick The Afterlife of a Train: Archive Footage from Pinochet's Dictatorship and its Uses 2.33 Chair: Anders Marklund » Lund University Anders Marklund » Lund University Emerging Memes, Canonization and Marginalized Identity Groups: Two Spanish Lesbian-Themed Pop Songs and their YouTube Fanvids Veronica Paredes » The New School, New York Networked Collaborations and Feminist Pedagogies with Wikipedia Peter Rehberg » The University of Texas at Austin The Archive of Post-Pornography: Queer Genealogies and Remediations in the Queer Fanzine Butt 2.50 Between Institution and Grassroots? Archiving Struggles and Methods Chair: Marcin Składanek » University of Lodz Kamil Jędrasiak » University of Lodz Wiki Encyclopedias as Archives and Important Tools in Convergence Culture Alexandra Kapka » Queen's University, Belfast Perpetual Archivists: Grassroots Conservation in a Digital Age Anna Nacher » Jagiellonian University Should We Trust the Corporation to Do the Archivist's Job? A Datafied Practices, Collective Memory and Dynamic Communication Magdalena Zdrodowska » Jagiellonian University NAD Signed Films: Between Archiving and Temporariness Friday, 19th 13:45-15:30 Panels 2.53 2.51 Documentary Film and Indexicality Archives Montage: Film Essays, Newsreels, Documentaries Chair: Aida Vallejo » University of the Basque Country (UPV/EHU) Chair: Patricia Pisters » University of Amsterdam Aleksandra Milovanović » Faculty of Dramatic Arts, Belgrade Historical Documentary Programs and (Mis)Use of Archive Footage Terri Ginsberg » The American University, Cairo Vanessa Redgrave's “The Palestinian”: Star Vehicle or Political Praxis? Belinda Smaill » Monash University The Problem of the Archive: Life, Documentary and Extinction Juliana Froehlich » University of Antwerp “Les statues meurent aussi”: Seen and Being Seen Through Art and Archive Alan Wright » University of Canterbury Storming the Citadel of Time: The Use of the Archive in “Blockade” (Loznitsa, 2006) and “Mirror” (Tarkovsky, 1985) Umberto Famulari » Royal Holloway, University of London The Ability to Communicate Propaganda Messages in the Newsreels of Instituto Luce: The Case of Republican Spain Martin Štoll » Charles University, Prague Documentary Film as an Archive Data Source 2.54 Images of History and Representations of the Future Chair: Agata Pospieszyńska » University of Lodz Dominic Leppla » Concordia University The Radicalism of Negative Community in Krzysztof Kieślowski's 1970s work Ana Balona de Oliveira » University of Lisbon / New University of Lisbon / Courtauld Institute Archival Past Futures of Revolution and Decolonization in Contemporary Artistic Practice from and about 'Lusophone' Africa Esin Paça Cengiz » Kadir Has University, Istanbul Exploring Un-Preserved Pasts in Films 2.55 Experiments in the Aesthetics of the Archive Chair: Erika Balsom » King's College, London Susanne Sæther » University of Oslo Sampling the Digital in Recent Video Art Malte Hagener » Philipp University of Marburg Rembrance of Films Past: Film History in Art and in Cinema Miriam De Rosa » Catholic University of the Sacred Heart, Milan Spatializing the Archive: From Tabletop Performance to Desktop Cinema Hyunseon Lee » SOAS, University of London South-Korean Blockbuster as Historical Archive Enthusiasts Screening: SERIES #1 (60 minutes) 1.Anatomia/Anatomy (1974), Tadeusz Wudzki, Pegaz Amateur Film Club, Warsaw, Poland, 5'55” 2.Współczesna Symfonia/Contemporary Symphony (1971), Maciej Korus and Jerzy Ridan, Nowa Huta Amateur Film Club, Kraków, Poland, 6'20” 3.Homo (1975), Krzysztof Janicki, Grunwald Amateur Film Club, Olsztyn, Poland, 2'45” 4.bez tytułu/untitled, Sawa Amateur Film Club, Warsaw, Poland, 11'0” 5.Syzyfowie/Sisyphuses (1971), Tadeusz Wudzki, Wiedza Amateur Film Club, Warsaw, Poland, 5' 30” 6.Przez lustro/Through the Looking Glass, Franciszek Dzida, Klaps Amateur Film Club, Chybie, Poland, 15'30” 7.Razem/Together (1977), Krzysztof Janicki and Marek Barański, Grunwald Amateur Film Club, Olsztyn, Poland, 3'30” 8.Dotknąć Dźwięku/Touching the Sound (1981), Darek Skubel and Zdzisław Zinczuk, Awa Amateur Film Club, Poznań, Poland, 6'13” 9.Karuzela/Carousel (1984), Krzysztof Szafraniec, Nowa Huta Amateur Film Club, Kraków, Poland, 2'20” Friday, 19th 15:45-17:30 Panels 2.20 2.21 Editions, Remakes, History Revivals Presenting Archival Utility Films Chair: Katharina Włoszczynska » International Research Institute for Cultural Techniques and Media Philosophy, Bauhaus University, Weimar Chair: Bregt Lameris » Utrecht University Casper Tybjerg » University of Copenhagen The Case for Film Ecdotics Bregt Lameris » Utrecht University Science on Display: On Presentation Strategies for Neurological Film Collections Kathleen Loock » Free University of Berlin The Remake as Archive Eef Masson » University of Amsterdam Utility Films in the Contemporary Heritage Museum Agnieszka Rasmus » University of Lodz Hollywood Remakes of British Films as Popular Archives for the Future Claudy Op den Kamp » University of Zurich The Film Archive as a Birthplace: Found Footage, Legal Provenance and the “Aesthetics of Access” Con Verevis » Monash University New Millennial Remakes Anke Mebold » German Film Institute Presenting the Films of William Held MD Online 2.22 2.33 Insights into Digital Archives: Youtube, Video-On-Demand Body Trouble: Gender, Sexuality, Minorities and the Politics of the Archive Chair: Kamil Jędrasiak » University of Lodz Chair: Nanna Heidenreich » University of Fine Arts, Hamburg Naomi Rolef » Free University of Berlin Online Resurrection: Two Biographies of Rare Archival Material from Israel on YouTube Darshana Sreedhar Mini » Free University of Berlin Cabaret in Malayalam Cinema: Obscenity Debates and Gender Trouble Philip Drake » Edge Hill University Digital Archives and VOD Platforms: Establishing a New Role for the Digital Archive in the Disrupted Independent Film Industry Alejandro Melero » The Charles III University of Madrid Researching the Representation of Homosexuality in the Archives of Franco's Dictatorship Terez Vincze » ELTE University Representation of Historical Memory through Sport in Hungarian Cinema Valentina Re » Link Campus University of Rome Formal and Informal VOD Platforms as Archives: Changes and Continuity Philipp Sack » Braunschweig University of Art Of engines and photographs. archiving contingent futures in the visual content industry 2.43 Transformations of Found Footage and Interactive Documentaries Chair: Andrew Burke » University of Winnipeg Sabrina Tenório Luna da Silva » Federal University of Pernambuco The Guests – Found Footage and the Archive Leo Goldsmith » New York University Memories of the Future: Found Footage and the Digital Archive Stefano Odorico » University of Bremen / Leeds Trinity University The Interactive Documentary Form Between Aesthetics and Complexity Mark Paul Meyer » Eye Film Institute, Amsterdam Artistic Research at the Edges of the Film Archive 2.50 Remembrance and Oblivion in Media Commemorative Practices Chair: Magdalena Saryusz-Wolska » University of Lodz Nike Jung » University of Warwick Truth, Bones, and Fiction: Chile's Los Archivos del Cardenal Lydia Nsiah » Academy of Fine Arts, Vienna To Forget: Memory and Oblivion in Contemporary Archival Practice Adriano D'Aloia » Catholic University of the Sacred Heart, Milan Forget It! Politics of Disarchiving Dorota Głowacka » University of Lodz / Helsinki Foundation for Human Rights Forgetting the Dark Side of Newspapers' Online Archives Friday, 19th 15:45-17:30 Panels 2.53 Sponsor: Documentary Workgroup 2.51 Personal Archives and Documentary Practice Rethinking Archive, Memory and History in Contemporary Portuguese Cinema Chair: Andrea Pócsik » Pázmány Péter Catholic University, Budapest Chair: Sofia Sampaio » University Institute of Lisbon / Centre for Research in Anthropology Efrén Cuevas » University of Navarra The Archive Effect in the Appropriation of Home Movies in Documentary Films. The Case of "Stories We Tell" Daniel Ribas » The Polytechnic Institute of Bragança Archive as Material for Cultural Discourse: The Case of “Lusitanian Illusion” by João Canijo Debra Beattie » Griffith University The New Woman and Gender Disruption: On Researching the Archives of Daphne Mayo Paulo Cunha » The Coimbra's University Centre for 20th Century Interdisciplinary Studies "Luta ca caba inda": The Work of Filipa César with the Film Archive of Guinea-Bissau Andrea Pócsik » Pázmány Péter Catholic University, Budapest Installing, "Inscening" Found Footages Raquel Schefer » The New Sorbonne University / Rennes 2 University The Archives of Connection: Rethinking Colonial Categories in Portuguese Contemporary Cinema Aida Vallejo » University of the Basque Country (UPV/EHU) Film Festivals and the Documentary Archive 2.54 Post-Internet-Archives in Digital Aesthetics Glòria Salvadó and Fran Benavente » Pompeu Fabra University Make History, Build the Document: Archive in Fiction and Fiction as Archive Chair: James Harvey-Davitt » Anglia Ruskin University Kamila Kuc » Goldsmiths College / University of London Photomediations: An Open Book: Writing About and Curating Visual Arts Online Paula Albuquerque » UvA – Gerrit Rietveld Academy Webcams as Realtime Archive: 24/7 Production /Archival of Cinematic Traces and Deixis Lisa Åkervall » Bauhaus University, Weimar Auto-Tune the Archive! YouTube's Modulated Sounds Enthusiasts Screening: SERIES #3 (55 minutes), TĘSKNOTA/LONGING 1.Motyle/Butterflies (1971) Franciszek Dzika, Klaps Amateur Film Club, Chybie, Poland, 12'55” 2.Karuzela/Carousel (1984), Krzysztof Szafraniec, Nowa Huta Amateur Film Club, Kraków, Poland, 2'20” 3.Plakaciarz/A Man Who Puts Up Posters, Henryk Urbańczyk, Bielsko Amateur Film Club, Bielsko-Biała, Poland, 9'0” 4.Humbug (1970), Gerard Piszczek and Michał Kuczminski, IKS Amateur Film Club, Mikołów, Poland, 3'40” 5.A czy my to jacy my/And We, Who Are We, Egelbert Kral, Alchemik Amateur Film Club, Kędzierzyn, Poland, 7'20” 6.Gwiazdą być/To Be a Star, Henryk Urbańczyk, Bolesław Białek, Bielsko Amateur Film Club, Bielsko-Biała, Poland, 7'15” 7.Przed zmierzchem/Before the Twilight, Leszek Boguszewski, Sawa Amateur Film Club, Warsaw, Poland, 6'30” 8.Dotknąć dźwięku/Touching the Sound (1981) Darek Skubel i Zdzisław Zinczuk, Awa Amateur Film Club, Poznań, Poland, 6'13” Saturday, 20th 9:00-10:45 Auditorium A5 The Future of NECS Workshop This year, in addition to the formal general meeting, we will also organize a workshop meeting to discuss in a more general way the future of NECS as a community. Notes Saturday, 20th 9:00-10:45 Auditorium A5 Notes Saturday, 20th 11:00-12:45 Panels 2.20 The Archive and the Testimony 2.21 Archivists of the Present: Dispatches from the Repository Chair: Ewa Ciszewska » University of Lodz Tomasz Majewski » Jagiellonian University Modes of Representation of Lodz Ghetto: Forbidden vs. Official Photography In Postwar Documentary Film Maurizio Cinquegrani » University of Kent The Łódź Ghetto: On Location and at the Archive Ben Gook » The University of Melbourne Optical Unconscious and the Blind Recording of History: Thomas Heise and Harun Farocki 2.22 Film Sound Practice: Processing Archives, Archiving Processes Chair: Aaron Hunter » Queen's University, Belfast Helen Hanson » University of Exeter Below the Line, In the Gaps: Tracing Sound Craft in the Hollywood Archives Chair: Philip Drake » Edge Hill University Phil Wickham » University of Exeter Presenting the Audience: The Bill Douglas Cinema Museum Karl Magee » University of Stirling From Card Catalogue to Crowdsourcing: An Archival Journey Wendy Russell » British Film Institute The Materiality of the Archive: Some Considerations in the Wake of Digitisation Sarah Atkinson » University of Brighton Deep Film Access: Laying the Foundations for Digital Film Archives of the Future 2.33 Flows, Contingencies and Remixes of the Archive Chair: Nike Jung » University of Warwick Ilario Meandri » University of Turin Italian Foley Sound Archives: A Restoration Project Patricia Pisters » University of Amsterdam The Filmmaker as Metallurgist: The Archive and Radical Contingency Nessa Johnston » Glasgow School of Art Sound Practice in Brazil: Towards a Transnational Study of Film Sound Production 2.43 Trawling the Archive: Testing the Limits of Polish Cinematic Representation in the 1960s and 1970s Shane O'Sullivan » Kingston University, London Hidden in the Rushes, Lost in the Feed Chair: Petr Szczepanik » Masaryk University, Brno Sanja Garic-Komnenic » British Columbia Institute of Technology, Vancouver Creative Appropriation of Television Archived Footage in Documentary Films Made During the War in Sarajevo 2.50 Mikołaj Kunicki » University of Oxford Poland's Wild West and East: Polish Westerns of the 1960s Chair: Joanna Walewska » Nicolaus Copernicus University, Toruń Piotr Zwierzchowski » Kazimierz Wielki University, Bydgoszcz The Sheriff of the County Committee: Cinematic Representations of Polish Communist Officials in the 1970s Ilana Miller » University of Chicago Beyond the Brutal Image Hid Metaphors of Racism: Persecution of Jews in 1960s Polish Films on Nazi Occupation Rohan Crickmar » University of St Andrews “Ręce do góry” Resurrected: Using the Archive to Complicate the Production History of Jerzy Skolimowski's 'Polish' Farewell Surveillance and Superintending Devices Jeff Scheible » State University of New York Purchase What Does Indexed Archive? On Material History, Indexicality and New Media Giuseppe Gatti » Roma Tre University Raiders of the Archives: Notes for a Social Media Archaeology Synne Tollerud Bull » University of Oslo Volumteric (H)Overview: The Progressive Geography of Aerial View in Motion Carina Lesky » Ludwig Boltzmann Institute for History and Society Chronicles of the Ordinary – The Filmic Apparatus Interfering with the Street Saturday, 20th 11:00-12:45 Panels 2.53 2.51 The Art of Memory: The Atlas and the Archive Chair: Elena Vogman » Free University of Berlin Larisa Dryansky » Paris-Sorbonne University, National Institute for Art History, Paris Woody Vasulka's Atlas of War and Memory: An Archive Between Past and Future Riccardo Venturi » National Institute for Art History, Paris Recovering from History. Photography and Moving Images in Fabio Mauri Angela Mengoni » University IUAV of Venice From the Media 'Image-Event' to the Atlas: September by Gerhard Richter Antonio Somaini » The New Sorbonne University The Temporality of the Raster Image: Siegfried Kracauer, Sigmar Polke 2.54 The Living Archives of Art The Dilemmas of Use: Humans and Other Animals in the Archive Chair: Paweł Frelik » Jagiellonian University Richard Martin » King's College London, Middlesex University Listening to Andrea Fraser: A Psychoanalytic Archive in the Gallery Justyna Włodarczyk » University of Warsaw Transcending Animality/Performing Animality in Late 19th Century Animal Training Displays Zuzanna Ładyga » University of Warsaw The Affect of Waning: Uses of the Human Archive in Contemporary Film 2.57 Project Forum Adéla Mrázová, Jakub Jiřiště, Terezie Křížkovská » NaFilM, Faculty of Arts, Charles University, Prague NaFilM: The National Film Museum project Tomasz Załuski » University of Lodz Has the Future Come Yet? KwieKulik and the Archive of Possibilities Valentina Re » Link Campus University of Rome / Ca' Foscari University of Venice Research project: FRAMING DIGITAL 'PIRACY'. Piracy and anti-piracy in Italy from 1988 to the present: discursive strategies, forms of consumption and cultural policies Karol Jóźwiak » University of Lodz Inventorying as an Art Practice Maria B. Garda, Paweł Grabarczyk » University of Lodz “Replay: The Polish Journal of Game Studies” Zofia Reznik » University of Wrocław Archiving and Mapping the Non-Existent in Art Wright Alan » University of Canterbury Film on the Faultline Anja Ellenberger » University of Hamburg Bildwechsel Hamburg as Living Archive Łukasz Biskupski » Warsaw University of Social Sciences and Humanities SWPS Digital Humanities Project: “The Culture of attractions: early cinema and popular culture in Russian Poland before 1918” (www.kultura-atrakcji.swps.edu.pl) Chair: Ryszard W. Kluszczyński » University of Lodz Enthusiasts Screening: SERIES #2 (22 minutes) 1.Anatomia/Anatomy (1974) Tadeusz Wudzki, Pegaz Amateur Film Club, Warsaw, Poland, 5'55” 2.Funkcja/Function (1981), Zdzisław Zinczuk, Awa Amateur Film Club, Poznań, Poland,1'7” 3.Przez lustro/Through the Looking Glass, Franciszek Dzida, Klaps Amateur Film Club, Chybie, Poland, 15'30” Saturday, 20th 13:45-15:30 Panels Sponsor: “Panoptikum” 2.20 2.21 Rhetorics and Technologies of the Testimony Cinephiliac Online Film Archives Chair: Tomasz Majewski » Jagiellonian University Chair: Malte Hagener » University of Marburg Maria Zalewska » USC School of Cinematic Arts Holography, Historical Indexicality, and the Holocaust Guido Kirsten » Stockholm University Everything for Everyone, and for Free? The Utopian Moment of Cinephiliac Online Archives Grażyna Świętochowska » University of Gdansk “Warsaw Uprising” (2014) as lieux de mémoire. Digital and Affective Dimension of Contemporary Uses of Archives Alexander Karpisek » Braunschweig University of Art Thoughts on Spectatorship 2.33 Reworking and Remixing Found Footage Tomasz Łysak » University of Warsaw Genealogies of Holocaust Testimony in Polish Documentary Film Chair: Andrew Burke » University of Winnipeg 2.22 Audio History of/and/from Film Chair: Michael Wedel » Film University Babelsberg Konrad Wolf Winfried Pauleit » The University of Bremen Acoustic Space as Communal Space: Filmic Interventions in the Visual and Narrative Constructions of History Rasmus Greiner » The University of Bremen Sonic Histospheres: The Auditory Shaping of Time and Space in Historical Films Mattias Frey » University of Kent, The University of Bremen The Acoustic Conventions of Historical Films: Dialect in "Requiem", "Robin Hood" and Beyond Carolyn Birdsall » University of Amsterdam Sounds that Work: Production Films, Sound Archiving and Audio History 2.43 Popular Cinemas in Central Europe: Film Cultures and Histories Chair: Zsuzsanna Varga » Glasgow University Dorota Ostrowska » Birkbeck, University of London Foreign Popular Cinema in Socialist Poland Andrea Virginas » Sapientia University, Cluj A Kind of 'Hollywood' in Post-1989 Popular Hungarian Film Production: Translating Mainstream into Small Cinema Francesco Pitassio » University of Udine Serial Nostalgia: Alternative Modes of Popular Cinema in Contemporary Czech Production Jan Hanzlík » University of Economics, Prague "A Good Cinema Manager Can Save Kids from Drugs": Media Discourse, Film Distribution and Programming of Cinemas in the Czech Republic before and after Digitalization Monise Nicodemos » The New Sorbonne University Paolo Gioli – In the Shadow of Anonymous Katarzyna Ruchel-Stockmans » Free University of Brussels Between Fact and Fiction: Revisiting Histories of the Cold War Through Television and Cinema Archives Adam Freeman » University of Kent Space Place and the Archive in the Films of Jem Cohen and Chris Petit 2.50 The Archives of the Self Chair: Alex Casper Cline » Anglia Ruskin University Tamara Skalska » University of Lodz New Media and Archives of Self as a Tool for Future Memories Design Carolin Anda » HBK Braunschweig DFG Graduate College "The Photographic Dispositif" Hybrid Datachives of the Self: Memory and Network Dynamics on Facebook Philippe Bédard » Concordia University Be a Hero: The Aesthetic of Self-Representation in GoPro Videos Saturday, 20th 13:45-15:30 Panels 2.53 2.51 Re-Collection: Museums and Means of Memory-Making Divergent Narratives of the Archive Chair: Olof Hedling » Lund University Chair: Christian Lewe » Bauhaus University, Weimar Simona Arillotta » Catholic University of the Sacred Heart, Milan From Autarky to Métissage: Archives of Contamination in the Photographic Representation of Italian Childhood in Second Postwar Sarah Czerney » Herder Institute, Marburg National Museums as Archives of Forgetting Jana Mangold » University of Erfurt Archives for the Future of the Past Belén Vidal » King's College, London Radical Politics, Consensual Cinema: Remembering the Long 60s in Contemporary European Films Ulrike Hanstein » Bauhaus University, Weimar Obsolete and Contemporary: Film as objet retrouvé Marta Brzezińska » University of Warsaw Film Representations of the German Democratic Republic After 1989 – A Counter-Archive? Nicole Kandioler » Bauhaus University, Weimar Marcela, René, Katka, Hitler, Stalin and I: Archival Versions of Ourselves 2.54 Spaces, Bodies, and Things: On Archives of Emotions Chair: Skadi Loist » University of Rostock Tomasz Basiuk » University of Warsaw Body's Archive: Karol Radziszewski's Homage to Andy Warhol Saige Walton » University of South Australia Coppola's Versailles: Archives of Luxury in “Marie Antoinette” (2006) and “The Bling Ring” (2013) Ger Zielinski » Trent University On Queer Film Festivals as Archives of Feelings Magdalena Saryusz-Wolska » University of Lodz “I hereby complain about the scandalous film…” Opinions on 'Inappropriate' Films in 1950s West-Berlin 2.55 Living Archives of Sergei Eisenstein: Correspondence, Library, Diary Chair: Antonio Somaini » The New Sorbonne University Natalie Ryabchikova » University of Pittsburgh Eisenstein's Archive: Tracing the Journey/Traces of the Journey Ada Ackerman » The French National Centre for Scientific Research On Sergey Eisenstein's Books and Readings: What Kind of Archival Legacy? Marie Rebecchi » The New Sorbonne University 1929-1932: Eisenstein and Painlevé. A Correspondence for the Future Elena Vogman » University of Potsdam / Free University of Berlin Beyond the Personal Archive: Eisenstein's Diary Working with the Past 2.56 A conversation with representatives of Muzeum Sztuki in Lodz. Interlocutor: Karol Jóźwiak (University of Lodz) Saturday, 20th 15:45-17:30 Panels 2.20 Archives of Genocide Chair: Natascha Drubek » Free University, Berlin Chair: Berber Hagedoorn » Utrecht University Michael Cowan » McGill University Nazi Ghost in the Machine: Contemporary Cinema Envisions the Origins of Computing Eleonora Maria Mazzoli, Berber Hagedoorn, Willemien Sanders, Eggo Müller » Utrecht University The Online Audiovisual Essay: Using and Contextualizing Audiovisual Sources in Digital Media Studies Vesna Lukic » University of Bristol Performativity of the Archive in the Contemporary Holocaust Representations Mariana Salgado » Aalto University Creative Reuse of Audiovisual Archives: Formats for Supporting Amateur Practices Suncem Kocer » Kadir Has University The Meta-Culture of Fatih Akın's „The Cut” (2014): Discourses of Armenian Genocide 2.22 Cinematic Memory Embodied. Young Audiences and (Digital) Cinema Experience Dana Mustata » University of Groningen Enriching Access to Socialist Television Archives Online 2.33 Critical Film Festival Studies Chair: Konrad Klejsa » University of Lodz Alexandra Schneider » Johannes Gutenberg University, Mainz “The Film is Thinking” – Some Preliminary Thoughts on the Research of Children's Movie-Going Experiences Mariagrazia Fanchi, Giovanna Mascheroni » Catholic University of the Sacred Heart, Milan At the Sunrise of the Digital Revolution: Young Cinema Audiences in Italy Between Resilience and Changes Wanda Strauven » University of Amsterdam Mediated Childhood Memories Ian Christie » Birkbeck College Cinema Is What and How We Make It 2.21 Perspectives on the Contextualization of Audiovisual Online Archives: Access and Publication Formats Chair: Liz Czach » University of Alberta Skadi Loist » University of Rostock Mapping the Circuit: Methodological Considerations of New Empiricism and the Spatial Turn Kirsten Stevens » Monash University Clutching at Ephemera: Archives, Big Data and Methodological Challenges in Multi-Event Film Festival Research Liz Czach » University of Alberta Affective Labour and the Work of Film Festival Programming 2.43 Popular Cinemas in Central Europe: Film Cultures and Histories II Chair: Francesco Pitassio » University of Udine Tess Van Hemert » Queensland University of Technology Farewelling the Regent: Considering 'Festival Memory' in the Face of Change and Innovation 2.50 YouTube as an Archive Zsuzsanna Varga » Glasgow University Starlets and Heartthrobs: Popular Cinema in Hungary in the 1930s Chair: Tamara Skalska » University of Lodz Balazs Varga » Eötvös Loránd University Budapest, Crime Film and Socialism: A Mission Impossible? Jihoon Kim » Chung-ang University Archiving Networked Subjectivity: Documentaries Remixing YouTube Clara Orban » DePaul University, Chicago When Walls Fall: Families in Hungarian Films of the New Europe Sheenagh Pietrobruno » St. Paul University / University of Ottawa YouTube, Intangible Heritage and the Politics of Archiving Elżbieta Ostrowska » University of Alberta, Edmonton Power of Love: Polish Postcommunist Popular Cinema Lande Pratt » Kingston University, London Future Archive: Visualising the Flow of IP Use in UGC Platforms Saturday, 20th 15:45-17:30 Panels 2.53 2.51 Archives of Spaces, Images of Transition An Archeology of Nostalgic Futures Chair: Tomasz Załuski » University of Lodz Chair: Mirosław Filiciak » University of Social Sciences and Humanities Zsolt Győri » University of Debrecen Archives of Utopian Modernity: Housing Films in Socialist Hungarian Cinema Marta Wasik » University of Warwick Horrific Home Movies: Analog Nostalgia, Monstrosity and the Family Film Débora Gauziski » Rio de Janeiro State University Fausto Amaro » Rio de Janeiro State University Images of a City Under Construction: Cesar Barreto's Photographs of the Olympic City Michał Pabiś-Orzeszyna » University of Lodz Tapes of Nostalgia: Contemporary VHS Screenings and Prosthetic Memory Sara Rundgren Yazdani » University of Oslo Neue Welt: Inkjet, Life and Machines Beja Margithazi » Eötvös Loránd University Digitally Monochrome: Reflective Nostalgia and TimeShift in Contemporary Silent Cinema Piotr Sitarski » University of Lodz Between Future and Eternity: SF Clubs and the Catholic Church as Video Distribution and Exhibition Networks in Poland in the 1980s Defne Tuzun » Kadir Has University, Istanbul Archival Fantasies: The Question of Fiction as a Necessity for Archival Preservation 2.54 2.55 Visual Archives Beyond the Discourse Experimental Archives Chair: Irina Schulzki » University of Munich Chair: Antonio Somaini » The New Sorbonne University Ivan Pintor » Pompeu Fabra University Archive and Film Gestures Erika Balsom » King's College A Cinematic Bayreuth: Gregory Markopoulos and the Temenos Roberta Agnese » University Paris Est Créteil Altering the Archive, Registering Amnesia: The Atlas Group and the Fiction of What Escaped History Senaldi Marco » The New Sorbonne University L'empreinte en mémoire / The Memory Imprint – Duchamp's Cinema as Self-Recycling Archive Enrico Camporesi » The New Sorbonne University, University of Bologna Une Histoire du cinéma: An Archival Research Lydie Delahaye » University Paris VIII The Inherent Artistic Potential of the Archive Jonathan Pouthier » Centre Pompidou Screening Room: Acknowledging Independent Film Through Mass Media SCHOOL OF MEDIA AND AUDIOVISUAL CULTURE The School of Media and Audiovisual Culture is a part of the Institute of Contemporary Culture, established in 1945. The school, founded in 1997, emerged from the Department of Film Studies which was originally created in 1959 by Professor Bolesław W. Lewicki as the first Polish academic centre devoted to the research in moving pictures. The faculty of the School is currently engaged in a wide range of research projects and topic areas which have at its core the creation of a nurturing environment where the students will be provided with an opportunity to gain expertise in one of three departments: Department of History and Theory of Film addresses the topics of historical poetics of European and American cinema, issues of film narration, aesthetics of non-fiction film, transformations of contemporary cinema, production studies, screenplay theory and audience research Department of Electronic Media focuses mainly on theory and history of media and new media, communication practices and media institutions connected with them, new media art and design, theory, history and critique of computer games, issues of interactive narration Culture Theory Department explores the topics of history and theory of modern culture with the critical intent to the phenomenon of mass and popular culture, Polish avant-garde, modern French philosophy and the philosophy of culture, issues of identity and memory, urban studies The School of Media and Audiovisual Culture regularly organizes international conferences which attract attention of renowned scholars – the most recent were devoted to History of Central-European Cinema and History of New Media. All three departments offer international student exchange programs in cooperation with many universities abroad, e.g. in Germany, Scotland, Italy, Turkey or Sweden. Situated in the heart of the city of Lodz, the School is located close to other institutions connected with film industry, such as the Polish National Film, Television and Theatre School in Lodz, the Film Museum in Lodz or Opus Film production company, what creates an inspiring ambiance for studying film, new media and contemporary culture. Visit us: Address: Pomorska 171/173 Street, Faculty of Philology, 90-236 Łódź, Poland Website: www.filmoznawstwo.uni.lodz.pl, www.media.uni.lodz.pl