NECS 2011 Conference

NECS – The London Conference 

Sonic Futures: Soundscapes and the Languages of 

Screen Media 

University of London, June 23-26, 2011 

King‟s College London, Birkbeck, Regent‟s College, Senate House 

Pre-Conference: WEDNESDAY 22 nd June 2011 

NECS Graduate Workshop 2011: “Of Other Languages”, time/place: tba 

Please send any requests concerning the workshop to graduates@necs-initiative.org 

Preliminary Conference Programme (May 11, 2011) 

Please send any requests to conference@necs-initiative.org 

DAY 1: THURSDAY 23rd June 2011 

King‟s College London (Strand campus)/Regent‟s College (Regent‟s Park) 

9.00 – Registration (KCL Strand campus) 

11.00 – 12.45 – PANELS A1-A8 (KCL Strand campus – room tba) 

A1. NEW THEORETICAL PERSPECTIVES ON SOUND 

Chair: tba 

Location: KCL Strand campus – room tba 

Mark Bartlett (Canterbury) 

A Theory of the Voice 

Luke Robinson (London) 

The Noise that is Silence: Framing the Moving-Image Sonically 

Martine Huvenne (Ghent) 

“Spatial Montage” in the Audiovisual Composition of a Film 

Simone Hashiguti (Uberlândia) 

A Discursive Perspective on Sound and Image Studies 

A2. SOUND, LANGUAGE AND HISTORY 

Chair: tba 


Jacob Leigh (London) 

A Murky Affair: Eric Rohmer‟s Triple Agent 

Lin Yiping (Hong Kong) 

Summer Palace: A Soundscape of Heterotopia 

Nikolaus Perneczky (Berlin) 

Expletives and Exploitation: On the Language of Historical Change in Deadwood 

Anneli Lehtisalo (Tampere) 

A Battle over Soundscape Spectacular Sounds and Ambiguous Meanings in Härmästä poikia 

kymmenen (Finland 1950) 

1

A3. THE SOUNDSCAPES OF CHILDREN AND YOUTH FILMS 

Chair: Philipp Schmerheim (Amsterdam) 


Tobias Kurwinkel (Düsseldorf) and Philipp Schmerheim (Amsterdam) 

The Primacy of Film Experience: An Approach for the Analysis of Aural Structures in 

Children and Youth Films 

Alina Gierke (Düsseldorf) 

Aural Structures in Göran Graffmann‟s Lindgren Adaptation Madita 

Christiane Eveline Lingen (Düsseldorf) 

From Polymodality to Synaesthesia: 

Film Acoustics and Aurality as a Narrative Element in Children Films 

Paola Valentini (Florence) 

Soundscapes and Sonic Artefacts in Two Youth Films Series: High School Musical and Glee 

A4. SOUND UNDERGROUND: AMERICAN AUDIOVISUAL SUBCULTURES OF THE 

1960s AND 1980s 

Chair: Homay King (Bryn Mawr) 


Homay King (Bryn Mawr) 

Moving On: Andy Warhol and the Exploding Plastic Inevitable 

Tim Lawrence (London) 

Sound, Light and Queerness in New York Clubs in the Early 1980s 

Karen Tongson (Los Angeles) 

Behind the Orange Curtain 

Ricardo Montez (Princeton) 

Christina from the Chelsea: Nelson Sullivan‟s Archival Memorial 

A5. OF SUMS AND PARTS – NARRATIVE COMPLEXITY IN CONTEMPORARY FILM 

AND TELEVISION 

Chairs: Gabriele Weyand (Mainz) and Kathrin Rothemund (Lüneburg) 


Kathrin Rothemund (Lüneburg) 

Building Worlds - Narrative Complexity in Television Serials 

Nadine Dablé (Lüneburg) 

Is there Sound on Mars? Narrative Complexity in Life on Mars 

Gabriele Weyand (Mainz) 

On the Viability of Truth – A Radical Constructivist Reading of Inception 

Maria Poulaki (Amsterdam) 

Complex Narratives as Complex Systems: From Sequential Reasoning to Pattern-Making 

A6. ENGAGING THE IMPOSSIBLE SPACES OF FILM SOUND 

Chair: tba 


K.J.Donnelly (Southampton) 

Copyright/Censorship and Confrontational Music in Film 

Beth Carroll (Southampton) 

Traversing into Song 

Daniel O‟Brien (Southampton) 

Hercules or Ercole? Aural disjuncture in the English and Italian versions of Hercules in the 

Centre of the Earth 

2

A7. SHIFTING PATTERNS OF CRIME ON BRITISH TELEVISION 

Chair: Lindsay Steenberg (Oxford) 


Sofia Bull (Stockholm) 

A Sort of Lab, a Doctor Wife and Sixties Tailoring: Forensic Science and Bodily Identity in 

The Expert 

Sarah Godfrey (Norwich) 

“Blimey, If That Skirt Was Hitched Any Higher I Could See What You‟d Had For 

Breakfast!” Nostalgia and Post-Feminism in Ashes to Ashes 

Lindsay Steenberg (Oxford) 

Education and Sensation: The Autopsy on British Lifestyle Television 

A8. ENGAGING AUDIENCES 

Chair: Mark Allinson (London) 

Location: Birkbeck, room tba 

Mark Allinson (London) 

The Return of the Actresses: Almodóvar's Volver 

David Hanson (London) 

The Animus and Anima Effect within Emotional Drama 

Tristan Tull (London) 

Making History in Hollywood: How audiences understand themselves 

Lunch 

13.45 – 15.30 – PANELS B1 – B8 (KCL Strand campus) 

B1. EUROPEANNESS, LANGUAGE AND GLOBALISATION 

Chair: tba 


Jaap Verheul (New York) 

Language, National Identity, and „Europeanness‟ in Inglourious Basterds 

Mary Harrod (London) 

„Zat ees so funny‟: Franglais, Anglais and French Comedy 

Chi-Yun Shin (Sheffield) 

Trajectories of Omnibus: Memories, Journeys and Migration in Tickets 

Marit Knollmueller (Washington) 

The Sound of Silence: Mute Characters in Babel, Valhalla Rising and Centurion 

B2. TRAUMA, VIOLENCE AND SOUND 

Chair: tba 


Zsolt Gyori (Eger) 

Sound, Image and the Violence In-Between: 

An Analytical Look at the Films of Nicolas Winding Refn 

Renata Šukaityte (Vilnius) 

Aural Apparitions in the Cinematic Worlds of Šarunas Bartas: 

The Drift Along A Traumatic Past 

Andrea Virginás (Cluj-Napoca) 

Displaced Soundtracks and Wandering Women in Recent Eastern European Film Imaginaries 

3

Annette Brauerhoch (Paderborn) 

The Mise-en-scène of Authenticity in Barbara Loden‟s Wanda 

B3. THE SOUND(S) OF SILENCE 

Chair: tba 


Alice Bardan (Los Angeles) 

Economies of Gesture, Affect and Speech in the Works of Martin Arnold, Candice Breitz, and 

Irina Botea 

Mariana Cunha (Oxford) 

Silence and Desert Landscapes: The Aesthetic Construction of the Sertão in Brazilian Cinema 

Daniel Torras i Segura (Mataró) 

The Use of Silence As Interaction Stimulus. The Case of New Television Animation Series 

for Children 

Katja Schumann (Hamburg) 

The Wrinkled Voice? Voice and Old Age in Marlene 

B4. SOUNDTRACK, POPULAR MUSIC AND IDENTITY IN SPANISH CINEMA FROM 

THE 1960s TO TODAY 

Chairs: Santiago Fouz-Hernández (Durham) and Teresa Fraile (Extremadura) 


Teresa Fraile (Extremadura) 

Aesthetic Debates on Spanish Film Music During the “Pop Age” 

Elena Boschi (Liverpool) 

„No Hay Sitio Para Ti‟: Rock Songs and Identities in Historias del Kronen 

Santiago Fouz-Hernández (Durham) 

Drag and Popular Music in Spanish Cinema of the 2000s 

Alejandro Melero Salvador (Madrid) 

Sounds and Body Landscapes in the Sexploitation Cinemas of post-Franco Spain 

B5. QUEER THEORY/POLITICS OF LANGUAGE IN DIGITAL MEDIA PRACTICES & 

MEDIA STUDIES 

Chair: Susanne Lummerding (Vienna) 


Michele Aaron (Birmingham) 

Deathly Silence: The Queer Ethics of Spectatorship and the Disavowal of Race 

Irmi Karl (Brighton) 

Developing Queer Ethics in Media Research: Critique, Activism and Other Dilemmas 

Jan Pinseler (Magdeburg) 

Not so queer images. Queer Theory and everyday media constructions of sexuality 

Discussant: Susanne Lummerding (Vienna) 

B6. THE SOUND OF GENRE 

Chair: tba 


Matthias Grotkopp (Berlin) 

“It‟s Quiet”– “Yeah, Too Quiet. I Don‟t Like It:” What the War Film Knows About the 

Human Ear 

Daniel Illger (Berlin) 

The Sound of Cosmic Disorder: The Grotesque in Italian Horror Film 

Michael Lück (Berlin) 

4

Home Is Where The Song Is. Sonic Proceedings in German Cinema 

David Gaertner (Berlin) 

Overture – Intermission – Exit-Music: Strategies of Aesthetic Experience of the Roadshow 

Film 

B7. WHEN MUSIC SOARS HIGH, THE IMAGES FLOP LOW? IN PURSUIT OF THE 

KITSCH OF WESTERN CLASSICAL MUSIC REPRESENTATIONS IN SCREEN MEDIA 

Chairs: Burcu Koray 


Burcu Koray (Istanbul) 

Classical Music and Screen Media - A Quest of Identity in Three Parts 

Selim Eyuboglu (Istanbul) 

Pain & Glory: Uneasy Encounters with the Genius 

Chris Padraig (Istanbul) 

Nature Creates Music, Music Craves Nature… On Screen 

Isabel Villanueva (Barcelona) 

Opera in Cinemas? Exploring the Televisual Futures of Opera 

B8. TEACHING ECOLOGICAL MOVIES 

Chair: Peter Krämer 


Peter Krämer (Norwich) 

Teaching Hollywood‟s Biggest Hits 

Eithne Quinn (Manchester) 

Teaching The Day After Tomorrow and Avatar and Communicating Risk about Climate 

Change 

Rupert Read (Norwich) 

Viewing and Teaching Avatar as a Transformative Experience 

17.30 – 19.00 – Keynote 1: Raphaëlle Moine (Paris 3) 

Location: Tuke Hall, Regent‟s College 

19.00 – 21.00 – Reception 

Location: Regent‟s College grounds 

DAY 2: FRIDAY 24th June 2011 

King‟s College London (Strand campus)/Regent‟s College (Regent‟s Park) 

8.30 – 10.15 PANELS C1-C8 [KCL Strand] 

C1. DESTABILIZED SOUNDS, FRAGMENTED SOCIETIES & FRACTURED MINDS (I) 

Chair: tba 


Julia Echeverría Domingo (Zaragoza) 

Humanity‟s Swansong: Music and Death in Alfonso Cuarón‟s Children of Men 

Sanja Garic-Komnenic (Vancouver) 

5

The Functional Interplay of the Key-Signs in On the Path by Jasmila Zbanic 

Liz Greene (Belfast) 

Being Swamped in Argentina: Sound Design in Lucrecia Martel‟s Salta Trilogy 

Thomas Schick (Potsdam-Babelsberg) 

Sound Design, Schizophrenia and Emotional Experience: Hans Weingartner‟s “The White 

Sound” 

C2. STARDOM AND FILM CULTURE: IMAGE, PROMOTION, RECEPTION 

Chair: tba 


Elisabetta Girelli (St. Andrews) 

Boy-Man Love: Montgomery Clift Queers Americanness in The Search (1948) 

Virginia Luzón-Aguado (Zaragoza) 

Sounds Familiar? The Mosquito Coast, Harrison Ford and the Discourse on Adventure 

Helle Kannik Haastrup (Roskilde) 

The Master Narrative of Celebrity Culture: A New Look at the Film Star Interview 

Erica Carter (London) 

Broken English: Language Performance and the 1930s Exile Audience 

C3. PERSPECTIVES ON „MINORITY‟ LANGUAGES (I) 

Chair: tba 


Burçe Çelik (Istanbul) 

Cell Phone and the Kurds of Turkey: The Appropriation of a Container Technology of Sound 

Joanna Espinosa (Paris) 

Tupi Or Not Tupi, That Is The Question? 

Yifen Beus (Laie, HI) 

The Minor‟s Tongue: The Staging of Silence and Voice in The Land Has Eyes and The Whale 

Rider 

Nevena Dakovic (Belgrade) 

Kustendorf: Balkaness, Europeanness and (anti) Hollywoodism 

C4. THE COMING OF SOUND AND FILM HISTORY 

Chair: tba 


Mohsen Nasrin (Ottawa) 

Sound Technology and Sound Direction in Monte Carlo 

Claus Tieber (Salzburg) 

Music Films of the Transitional Period and their Role for the Development of Film Music of 

the Silent Era: The Case of Vienna 

Tore Helseth (Lillehammer) 

The Conversion To Sound Cinema in Norway, 1927-32 

Annie van den Oever (Groningen) 

The “Birth” of Sound in the Cinema. Excavating the New Viewing / Hearing Experience as a 

Contribution to a New Film History 

C5. THE TRANS-NATIONAL USES OF DUBBING, SOUND AND VOICE-OVER IN FILM 

AND TELEVISION 

Chair: Tommy Gustafsson (Växjö) 


Rosalía Guerrero (Uppsala) 

6

Sound as an Element of a Conceptual History Analysis: A Study of Gender, Work and 

Affection in Swedish and Mexican Cinema 1930-1960 

Ingrid Stigsdotter (Gothenburg) 

Visconti, European Art Cinema and the Myth of the „Authentic Voice‟ 

Tommy Gustafsson (Växjö) 

Once Upon a Time… The Use of Sound and Voice-Over to Teach History in Children‟s 

Television Programs 

Vicente Rodríguez Ortega (Madrid) 

“Fags”, Rock‟n‟Roll & Performance: Spanish TV in the Transition to Democracy 

C6. SOUND, MEMORY AND THE HOLOCAUST 

Chair: tba 


Natascha Drubek-Meyer (Regensburg) 

A Voiceover for Theresienstadt. Mixing Sound for a Concentration Camp Film in 1945 

Åsa Bergström (Lund) 

Sonic Pasts – Soundscapes in Swedish Representations of the Holocaust 

Barry Langford (London) 

Speaking the Unseeable: Soundscapes of Holocaust Film 

Malgorzata Radkiewicz (Krakow) 

Filming Oral Memory: Re-Construction of Jewish Stetls and Cities In Polish Cinema 

C7. INTERMEDIA SOUNDSCAPES: AESTHETICS AND ART PRACTICES 

Chair: Antonio Somaini (Genoa) and Yvonne Spielmann (West Scotland) 


Antonio Somaini (Genoa) 

Soundscape and Intermediality in Eisenstein‟s Theory of Vertical Montage 

Duncan White (London) 

Sonic Visions 

Yvonne Spielmann (West Scotland) 

Soundscapes in Expanded Screen Media 

Ágnes Pethő (Cluj-Napoca) 

Intermediality as Polyphony: 

“Waves” of Words, Images and Sounds in Jean-Luc Godard‟s Cinema 

Marco Federici (West Scotland) 

Synaesthesia and Abstract Film 

C8. ADORNO, THE MEDIA AND MUSIC 

Chair: Devi Dumbadze (Bochum) 


Sonja Witte (Bremen) 

On Loosing One‟s Mind between Image and Sound – Looking from Adorno‟s Critique of 

Culture Industry at Meaning of Sound in Psychoanalytic Film Theory 

Christoph Hesse (Mainz) 

Adorno‟s Foray into the Orchestra Pit of Cinema 

Imme Klages (Bochum) 

OKLAHOMA! Why the Todd-AO Process Did Not Revolutionize Cinema Sound: A Film 

Historical Case-Study On Innovations in Film Industry 

Devi Dumbadze (Bochum) 

Image Quality of Radio Music, Consumption of Music‟s Own Time. On the Depletion of 

Experience in Technical Media 

7

10.45 – 12.30 PANELS D1-D8 (KCL Strand campus) 

D1. DESTABILIZED SOUNDS, FRAGMENTED SOCIETIES & FRACTURED MINDS (II) 

Chair: tba 


Erik Hedling (Lund) 

Sounds of Modernity: Bergman and Jazz 

Bo Florin (Stockholm) 

The Forgotten Dimension: A Case Study of Sound in Roy Andersson‟s Advertising Films 

Virginia Bonner (Morrow, GA) 

A Tale of Sound and Fury: Jonathan Caouette‟s Tarnation 

Patricia Sequeira Brás (London) 

Sound as Duration and Repetition 

D2. THE POLITICS OF SUB-TITLING 

Chair: tba 


Samuel Bréan (Paris) 

Godard English Cannes: the Reception of Film Socialisme‟s “Navajo English” subtitles 

Özlem Köksal (London) 

Uses, Abuses and Politics of Subtitles in Film 

Adrian Martin (Victoria, Australia) 

Words Versus Music: Paradoxes in the Subtitling (or Lack Thereof) of Songs in Film 

Roger Macy (Canterbury) 

Languages “Unknown To Civilised Man” 

D3. PERSPECTIVES ON „MINORITY‟ LANGUAGES (II) 

Chair: tba 


Anu Koivunen (Stockholm) 

Memory Machine in Minority Language? The Strategies of Swedish-Language Drama in 

Finnish Television 

Abigail Keating (Cork) 

On the Non/fluency of a Transnational Generation: Performing Identity in Contemporary 

Irish-language Media 

Kate Woodward (Aberystwyth) 

„Sleeping with the Enemy‟: The Welsh Language and Film 

Elena Panican (Budapest) 

Framing the Inarticulate Other. The Politics of Laughter, Language and Soundtrack in 

Contemporary Romanian Television 

D4. SYNCHRONICITY, ASYNCHRONICITY AND AUDIO-VISION IN EARLY SOVIET 

FILM 

Chair: Barbara Wurm (Berlin) 


Anke Hennig (Berlin) 

Pudovkin and the Asynchrony of Sound 

Jana Klenhova (Berlin) 

(Re-)Producing Synchronicity 

8

Sabine Hänsgen (Berlin) 

Audio-Vision Revisited 

Barbara Wurm (Berlin) 

Cinematic Audio-Vision On Paper 

D5. AUDIOVISUAL LANGUAGE: ON THE INTERACTION OF SOUND AND IMAGE IN 

FICTION FILMS 

Chair: Chris Wahl (Potsdam-Babelsberg) 


Chris Wahl (Potsdam-Babelsberg) 

Slow Motion – Slowed Sound 

Michael Wedel (Potsdam-Babelsberg) 

Magic Resonances. Contemporary Fantasy Cinema and the Aesthetics of Audiovisual 

Confluence 

Jesko Jockenhövel (Potsdam-Babelsberg) 

From Spatial Sound to Spatial Images – Multi-Channel Sound and Stereoscopic Images as 

Stylistic and Aesthetic Devices 

Martin Schlesinger (Bochum) 

São Paulo A/V 

D6. LIGHTS! KAMERA! AZIONE! THE LANGUAGES OF INTERNATIONAL 

PRODUCTIONS 

Chairs: Daniel Steinhart (Los Angeles) and Petr Szczepanik (Brno) 


Valeria Camporesi (Madrid) and Natalia Meneses (Madrid) 

Cooperative Moves: Italian-Spanish Co-Productions of the Early 1940s in Broader Contexts 

Daniel Steinhart (Los Angeles, CA) 

“Quiet on the Set!” Navigating the Languages and Logistics of Postwar Hollywood Foreign 

Productions 

Petr Szczepanik (Brno) 

The Soviet “Globalization”: Russians in East-European Studios after World War II 

Anna Zoellner (Leeds) 

The World Speaks English: Producing TV for the Global Marketplace 

D7. INTERMEDIA SOUNDSCAPES: POLITICS AND MEMORY 

Chair: Asunción López-Varela (Complutense Madrid) 


Ruggero Eugeni (Milan) 

Distant Voices, Still Live. The Intermedia Network and the Voices of the Medium Within the 

XX Century Soundscape 

Maria Grazia Fanchi (Milan) 

“I Like Movies That Have Loud Music Noise”: Cinema and Soundscape in Child Film 

Experience 

Rocio von Jungenfeld (Edinburgh) 

Artistic Practices and Media in the Outdoor Environment 

Maria Mencia (Kingston) 

Word Circuit 

Asunción López-Varela (Madrid) 

From Ear to …Where? The Sound of Empathy in Multimodal Communication 

D8. FILM THEORY, TECHNOLOGY AND SOUND 

Chair: tba 

9


Barbara Flueckiger (Zurich) 

Wave Field Synthesis and Cinematic Space 

Mark Gallagher (Nottingham) 

“You Cannot Feel the Sound”: Dolby in Discourse and Practice 

Bruno Toussaint (Paris) 

Transfiguration of Voicescape: Beyond the Word 

Lunch 

13.15 – 15.00 – PANELS E1-E8 (KCL Strand campus) 

E1. WORKSHOP: OPEN ACCESS PUBLISHING – THE WAY OF THE FUTURE? 

Chair: tba 


Vinzenz Hediger (Johann Wolfgang Goethe University, Frankfurt am Main) 

Patricia Pisters (Amsterdam University) 

Jeroen Sondervan (Amsterdam University Press) 

N.N. 

E2. ARTICULATING NATIONAL IDENTITY 

Chair: tba 


Tijana Mamula (Rome) 

The Cinema of Chaos: Pier Paolo Pasolini and the „Question of Language‟ in Postwar Italy 

Kevin Johnson (Appleton, MN) 

Sounds of the Sudeten Heimat: Projections of National Identity in German and Czech films 

from the 1930s 

Nicholas Baer (Berkeley) 

Promises and Projections: Terms and Coordinates of Messianic Realizability in Works by 

Kafka and Kreisler (Nicholas Baer asked to have his title change) 

Martyna Olszowska (Krakow) 

Listening to Australia. Sound and National Identity In Australian Cinema 

E3. SONIC CITIES 

Chair: tba 


Lawrence Webb (London) 

Acoustic Urbanism: Cinematic Sound and the Post-Industrial City 

Elena Biserna (Udine) 

Audio Walks. Mobile Acoustic Experiences in Urban Space 

Jasper Aalbers (Maastricht) 

The Soundscape of Hitchcock‟s London 

Philippe Meers and Kathleen Lotze (Antwerp) 

Experiencing Languages in the Cinema: A Programming and Oral History Analysis on Screen 

Languages in the City of Antwerp 

E4. THE POLITICS AND AESTHETICS OF THE VOICE-OVER 

Chair: tba 

10


Ulrich Meurer (Vienna) 

The „Voice of God‟, Movie Trailers and the 2 nd Commandment 

Antonio Savorelli (Imola) 

Voice-over and Subjective Dissociation in Contemporary American Television 

Susan Ericsson (Chicago, IL) 

Conflicting Sounds: Queer Appropriation and Historical Accuracies in Damned If You Don’t 

Lidia Merás (Barcelona) 

Soundscapes of Alphaville: Voice-Over, Music and Other Sounds in Godard‟s Technocratic 

City 

E5. VOICES IN THE WIRE 

Chair: Margrethe Bruun Vaage (Trondheim/Canterbury) 


Audun Engelstad (Lillehammer) 

Exposition and Confession – The Talk of Television and The Wire 

Jørgen Bruhn (Växjö) and Anne Gjelsvik (Trondheim) 

A Hetoroglot World View 

Margrethe Bruun Vaage (Trondheim/Canterbury) 

The Limits of Sympathy: Missing Voices in The Wire 

Lindsey Campbell (Montreal) 

All in the Game: Representations of Post 9/11 Urban Experiences in HBO‟s The Wire 

E6. ACTING AND SCREEN MEDIA: REFLECTIONS ON IMAGE, SOUND, MOVEMENT 

AND GESTURE 

Chair: Malte Hagener (Marburg) 


Lisa Åkervall (Berlin) 

Acting and Agency: Professional Non-Actors in Gus Van Sant‟s Elephant 

Tarja Laine (Amsterdam) 

Counterfeit Affection: Love as Theatre, Cinema as Seduction 

Mirjam Schaub (Berlin) 

A Face Convincing As A Lie. Facial Verism in Lars von Trier‟s film DOGVILLE 

Jörg Sternagel (Potsdam) 

Interfering Presences, Transient Encounters: Acting and the Film Experience 

E7. EMPTY SPACES – (IN)VISIBLE STRUCTURES 

Chair: Pepita Hesselberth (Amsterdam) 


Emre Çağlayan (Canterbury) 

The Invisible Catastrophe: Space and Time in Werckmeister Harmonies 

Agata Lisek (Gdańsk) 

There - The Significance of Empty Space in Nuri Bilge Ceylan‟s Movies 

Greg DeCuir (Belgrade) 

Trajectories and Traps: The Visualization of Urban Landscapes in Hip-Hop Films 

Blandine Joret (Amsterdam) 

Vertiginous Cinema: On History Now-Here 

E8. THE SOUNDS OF ANIMATION 

Chair: tba 

Location: KCL – room tba 

11

Jaume Radigales (Barcelona) 

Operatic Sound in Cartoons: A Case Study 

Malcolm Cook (London) 

A Silent Language: British Animated Cartoons, Sound and Text 

Paul Taberham (Canterbury) 

Sound-Image Synchronization in Disney Cartoons and Visual Music 

Peter Sillet (Canterbury) 

„This Story Has Never Ended‟: Narrative Excess And Comprehension In Mind Game and 

Dimension Bomb 

15.30 – 17.15 – PANELS F1-F8 [KCL Strand] 

F1. SOUNDS OF HORROR AND FEAR 

Chair: tba 


Paul Newland (Aberystwyth) 

Full of (Dolby Optical Stereo) Sound and Fury, Signifying Nothing: The Horrific Soundscape 

of The Shout (1978) 

Alain Boillat (Lausanne) 

Audiovisual Media and “Medium-ness”: the Voice Let Loose in the Horror Film (Drag Me to 

Hell) 

Martin Barnier (Lyon) and Carlos Henrique Silveira (Lyon) 

Hammer Productions: How the Horror Sounds 

Lucio Spaziante (Bologna) 

Sound Figures of Fear 

F2. DUBBING PRACTICES: IN AND OUT OF SYNC 

Chair: tba 


Simone Knox (Reading) 

Tony Blair isn‟t speaking English: Dubbing, Docudrama, and The Queen 

Sarah Wright (London) 

Dubbing the Child Star in Spanish Francoist Film 

Neepa Majumdar (Pittsburgh, PA) 

“Banana Oil!” Reflections on Overdubbing, Synchronicity, and Sound Theory in J-Men 

Forever 

Stefano Baschiera (Belfast) 

Shooting in Sync: The Question of Sound Recording in Early Bertolucci‟s Cinema 

F3. CITIES AND SCAPES 

Chair: Christoph Lindner (Amsterdam) 


Christoph Lindner (Amsterdam) 

Space and Scape Debates: Soja, Lyotard, Deleuze and Guattari 

Daan Wesselman (Leiden) 

“In the Parlance of our Times”: L.A. and the Repetition of Language in The Big Lebowski 

Dan Hassler‐Forest (Amsterdam) 

The Cityscape as Artistic Reflection in Synecdoche, New York 

Pedram Dibazar (Amsterdam) 

12

The Transcendental, the Silent and the Space of Resistance: 

The Sonic Presence of the Iranian City 

F4. WOMEN, NEW THEORY, AND CONTEMPORARY HORROR 

Chair: Rikke Schubart (Odense) 


Malin Isaksson (Umeå) 

Girls Who Like It Rough: True Blood Women in Fan Fiction 

Rikke Schubart (Odense) 

Mastering Disgust: Horror as Feminine Experience 

Lisa Coulthard (Vancouver, BC) 

Sound in French „New Extremist‟ Films 

Luis Garcia-Mainar (Zaragoza) 

Language in Transnational Crime Dramas 

F5. ACOUSTIC SENSES. EXPERIENCING CINEMATIC MEANING IN AUDIOVISUAL 

CONFIGURATIONS 

Chair: Sarah-Mai Dang (Berlin) 


Jan-Hendrik Bakels (Berlin) 

Transcultural Soundscapes. Sound Design and the Staging of Community in Transnational 

Thrillers 

Sarah-Mai Dang (Berlin) 

A Match Well Made – A Job Well Done: Gossip as Aesthetic Perception Modality of 

Sociality 

Sarah Greifenstein (Berlin) 

Multimodal Intonations. How Timbre, Pitch and Rhythm of Vocal Tones Structure the Film 

Aesthetics of Screwball Comedies 

Sylvia Müller (Berlin) 

Displaced Voices – Leaks of Representation in Banksy – Exit Through the Gift Shop 

F6. THE VERISIMILITUDE OF SOUND IN CINEMA 

Chair: Selim Eyuboglu (Istanbul) 


Isabelle Delmotte (Lismore, Australia) 

Living in Sound but Listening to the Screen: Sensory Gaps, Narrative Expectations and Sonic 

Creation in Cinema Sound Design 

Nur Özgenalp (Amsterdam) 

Vocal Shadows in Psychological Thrillers 

Z. Tu Akbal Sualp (Istanbul) 

Murmuring, Mourning and Liminal Soundscapes of Turkey‟s Cinema 

Asbjørn Tiller (Trondheim) 

Reverberation and Resonance – Visual Imagination through Cinematic Soundscapes 

F7. MUSIC AND OTHER SOUNDS IN PORTUGUESE FILM 

Chair: Ana Isabel Soares (Algarve) 


Ana Isabel Soares (Algarve) 

Short-Circuiting Meaning Through Experimentation in Sound: A strange Case 

Daniel Ribas (Aveiro) 

Sound in Portuguese Film of the 2000s 

13

Paulo Cunha (Coimbra) 

Musicals in Portuguese Cinema: The Singular Case of Fernando Lopes 

Paulo Granja (Coimbra) 

The French New Wave and the New Portuguese Cinema – From Film Criticism to Film 

Practice 

F8. RHYTHMIC STRUCTURES OF MEANING IN NATIONAL MEDIA CULTURES 

Chair: Maria N. Corrigan (Santa Barbara) 


Maria N. Corrigan (Santa Barbara) 

Mixing Metaphors: The Rhythm of Soviet Film Language 

Anikó Imre (Los Angeles) 

The Regional Sound of Nationalism: Socialist Historical Film and Television 

Herbert Schwaab (Regensburg) 

Slow Motion Song Sequences in Contemporary Television Series 

Respondent: Malte Hagener (Marburg) 

18.15 – 19.45 – Keynote 2: John Urry (Lancaster) 


19.45-20.15 – Break 

20.15-22.00 – NECS Membership Meeting 


DAY 3: SATURDAY 25th June 2011 – time/place: tba 

Thinking Theory: 1st Annual Workshop 2011 - Lacan/Deleuze: Seeing Sound 

Please send any requests concerning this workshop to jana.zilova@gmail.com 

and/or larathompson@hotmail.co.uk 

DAY 3: SATURDAY 25th June 2011 – Birkbeck/Senate House 

8.30 – 10.15 – PANELS G1-G8 (Birkbeck) 

G1. CULTURAL APPROACHES TO FILM 

Chair: tba 


Sofia Sampaio (Lisbon) 

Tourism in Film: Beyond the „Tourist Gaze‟ 

Banu Pekol (Istanbul) 

Dancing with Space: The Role of Architecture in Choreographic Films 

Rahoul Masrani (London) 

Cinema and the Global City: Moving Images and Symbolic Identities 

Nadi Tofighian (Stockholm) 

Writing Film History: Language of Southeast Asian Archives 

14

G2. NEW DIMENSIONS OF SOUND IN ADAPTATIONS 

Chair: tba 


Joseba Bonaut & Héctor Oliva (Zaragoza) 

Building A New Sound Dimension in Comic Books, Film and Television: Scott Pilgrim vs. 

The World and The Walking Dead 

Jo Tyler (Bournemouth) 

From Pictures to Sound: The Sonic Potentiality of Radio in the Adaptation of the Graphic 

Novel 

Laura Sava (Warwick) 

Listening Demands and Aural Perspectives in Je rentre à la maison 

Florian Mundhenke (Leipzig) 

Resourceful Frames and Sensory Functions – Sound Transformations from Game to Film in Silent 

Hill 

G3. FILM INDUSTRIES: CONTEMPORARY PRACTICES IN PRODUCTION AND 

DISTRIBUTION 

Chair: Paul McDonald (Portsmouth) 


Geoff King (London) 

Indie 2.0: The Use of Online Resources in Contemporary Low-Budget American Indie Film 

Olof Hedling (Lund) 

Some Perils in the Making of a Film Town: A Brief European Case Study 

Patrick Vonderau (Stockholm) 

„At the End of the Day, It‟s All About Time‟: 

Studying Production from a Prop Maker‟s Perspective 

Nolwenn Mingant (Paris) 

Foreign Languages and Actors in Contemporary Hollywood Films 

G4. MIGRANT AUDIBILITY 

Chair: Katarzyna Marciniak (Athens, OH) 


Imogen Tyler (Lancaster) and Rosalind Gill (London) 

Postcolonial Girl: Migrant Audibility and Intimate Activism 

Bruce Bennett (Lancaster) 

Can the Alien Speak? Migrant Audibility in Recent Science Fiction Cinema 

Katarzyna Marciniak (Athens, OH) 

Migrant In/Visibility and In/Audibility: Krzysztof Wodiczko‟s Guests 

Áine O‟Healy (Los Angeles) 

Liminal Spaces, Uncanny Encounters, and Acousmatic Voices in Claudio Noce‟s Good 

Morning Aman 

G5. “HASSE & TAGE” AS TRADEMARK: FILM AS PART OF A CULTURAL BRANDING 

ENTERPRISE 

Chair: Åsa Jernudd (Örebro) 


Boel Ulfsdotter (Skövde) 

The Museum as Source for the Construction of Memory 

Johan Nilsson (Örebro) 

15

Constructing Popular Topical Humor 

Cecilia Mörner (Örebro) 

“Änglamark”: The Construction of Place and Ecocriticism 

Åsa Jernudd (Örebro) 

Is the Appeal of Hasse & Tage Strictly National? A Case Study of The Adventures of Picasso 

G6. REGIONAL AND CULTURAL POLITICS AT FILM FESTIVALS 

Chair: Ger Zielinski (Trent) 


SooJeong Ahn (Seoul) 

Making a Hub of Asian Cinema: PIFF (Pusan FF)‟s Regionalization Strategy 

Jindřiška Bláhová (Prague/Norwich) 

The Political Significance of the Butcher in Love: The Role of Marty in the Process of the 

Restoration of Contact between Hollywood and Czechoslovakia in the 1950s 

Ger Zielinski (Trent) 

From LGBT to Queer Film Festivals: On Negotiating the Global within the Local, and Vice- 

Versa 

Lindiwe Dovey (London) 

The Poetics and Politics of Jury Work at International Film Festivals in Africa 

G7. NEW DIMENSIONS IN FILM THEORY 

Chair: tba 


Thomas Morsch (Berlin) 

What Film Does: Notes on Film‟s Performative Dimension 

Mats Björkin (Gothenburg) 

Reconfiguring the Eccentric(s): Sherlock, L, and Other Strange Objects 

Bradford Owen (Los Angeles, CA) 

Viewing Pleasure: Transportation, Affective Disposition, and Need for Cognition as Factors 

in Enjoyment of Film Narratives 

G8. HOW TO BE HEARD: SOUND, LANGUAGE AND ORAL WITNESS IN AMATEUR 

FILMS 

Chair: Winfried Pauleit (Bremen) 


Ryan Shand (Glasgow) 

Obstacle or Opportunity for Amateur Film Art? Divided Opinion on Sound in the 1960s 

Karin Fest (Vienna) 

Mute Voids: Conceptual Strategies of Sound and Language Creation within Silent Amateur 

Films 

Karianne Fiorini (Bologna) 

The Sound of Contemporary Witnesses. The Importance of Gathering Testimonies in the 

Amateur Film Archival Process 

Siegfried Mattl (Vienna) 

Unfriendly Take‐Over. A Case Study on Sound Technology‟s Impact on Amateur Film 

10.45 – 12.30 – PANELS H1-H8 (Birkbeck) 

H1. EXHIBITION, DISTRIBUTION, CENSORSHIP 

Chair: tba 


16

David Newman (Burnaby, BC) 

Comparative Censorship Regimes in Hong Kong, the Straits Settlements and Shanghai 

International Settlement, 1916-1941 

Mariah Larsson (Malmö) 

The Use of Sexually Explicit Material in Medical Sex Research 

Özde Çeliktemel-Thomen (London) 

Regulation and Censorship of Early Cinema in the late Ottoman Empire: The Case of the 

Censorship of Films Act of 1915 

Pavel Skopal (Brno) 

Cinema Culture in GDR from the Local Perspective: The Case of Saxony in the 1950s 

H2. LOST IN TRANSLATION? MULTIPLE LANGUAGES IN FILM 

Chair: tba 


Kaya Özkaracalar (Istanbul) 

A Comparison of the English- and Turkish-Language Versions of Euro-Turkish Co- 

Productions of the 1970s 

Malcolm Edwards (London) 

A Confusion of Tongues: Multilingualism, Identity and Power in István Szabó‟s Colonel Redl 

Carol O‟Sullivan (Portsmouth) 

Allo Berlin! Ici Paris/Hallo Paris! Hier spricht Berlin: Language Management Strategies In 

1930s Film 

Tamara Antona & Juan Martin (Madrid) 

Lost in the Globalization World: Broken Language Borders 

H3. SOUND AND FILM DESIGN 

Chair: tba 


Iona Pelovska (York) 

Hearing Images: Editing and the Musicality of the Moving Image 

Gustavo Peña y Lillo (Monterey, Mexico) 

A „Sound Design‟ Definition 

Annelies van Noortwijk (Groningen) 

The Scene of Empathy in Contemporary Documentary: A Synesthetic Experience 

Trond Lundemo (Stockholm) 

Parallel Tracks: The Hybridity of Sound in the Age of the Digital 

H4. WORKSHOP: TEACHING MEDIA ARCHEOLOGY 

Chair: Alexandra Schneider (Amsterdam) and Wanda Strauven (Amsterdam) 


Edwin Carels (Ghent) 

Jussi Parikka (Cambridge) 

Michael Wedel (Potsdam-Babelsberg) 

H5. THE SOUNDSCAPES OF MUSIC VIDEOS 

Chair: tba 


Jaap Kooijman (Amsterdam) 

I Want My MTV on DVD: Analyzing Music Videos in a Post Music Television Era 

17

Kelemen Zsolt (Szeged) 

Arcade Fire 2.0 and the Database Logic 

Allan Cameron (Auckland, New Zealand) 

Instrumental Landscapes: Electronica, Music Video and the Environmental Interface 

Laura Frahm (Weimar) 

Sounding Spaces. Designing the Soundscapes of Music Video 

H6. TASTE MAKERS: FILM FESTIVALS AND THEIR RELATION TO FILM 

AESTHETICS AND PROGRAMMING 

Chair: Skadi Loist (Hamburg) 


Kirsten Stevens (Victoria) 

The Rise of the Curator‐Star: Celebrity Festival Directors and the Marketing of Taste 

Niels Niessen (Minneapolis, MN) 

A New, North Wind: the Cinéma du Nord at Cannes 

Lalehan Öcal (Istanbul/Marmara) 

The Gate between the Film Festivals and Narrative: Prerequisites of Success and Visibility 

Considering Abbas Kiarostami‟s Certified Copy 

Ryan Noelle Bowles (Santa Barbara, CA) 

Rights in Translation: Language and Testimony at the International Human Rights Film 

Festival 

H7. THE RISING APPEAL OF DOCUDRAMA IN CONTINENTAL EUROPE 

Chair: Victoria Pastor-González (London) 


Derek Paget (Reading) 

Docudrama: an Overview 

Tobias Ebbrecht (Weimar) 

Translation and Transformation – Accessing the Past in German TV Docudrama 

Georges Fournier (Lyon) 

The Fictional Treatment of Sensitive Issues on French TV Channels 

Victoria Pastor-González (London) 

Docudrama on Spanish Television: The Current Situation and Future Developments 

H8. SPEAKING ABOUT SOUND 

Chair: Holger Schulze (Berlin) 


Michael Bull (Brighton) 

These Boots are Made For Walking: Audio-Visual Narratives in the Life of Popular Song 

Anke Eckardt (independent scholar) 

Verticality and Power. Listen! 

Georg Spehr (Berlin) 

Play the Sound: the Sound of Computer Games 

Frauke Behrendt (Cambridge) 

Mobile Sound Art: How Do Participants Verbalise Their Experiences? 

Holger Schulze (Berlin) 

Adventures into Sound: Sonic Fiction As Heuristic 

Lunch 

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13.30 – 15.15 – PANELS I1-I8 (Birkbeck) 

I1. GENDER, GENRE AND AUTHORSHIP 

Chair: tba 


Klaus Rieser (Graz) 

Father of the Bride vs. 35 rhums: Father-daughter Relations and Marriage in Film 

Diana Popa (Budapest) 

Working to Obtain the Opposite Effect: De-Composing Rhythm in Police, Adjective 

Györgyi Vajdovich (Budapest) 

The Use of Sound in Jacques Tati‟s Burlesques 

Hiu M. Chan (London) 

Fetishism Through Voice: Seiyū in Japanese Anime 

I2. MUSICAL GENRES IN EUROPEAN AND WORLD CINEMA 

Chair: tba 


Melis Behlil (Istanbul) 

“Kuzu Kuzu” vs “Tikhi tikhi”: Negotiations Between Indian and Turkish Film Music 

Phil Powrie (Guildford) 

Recuperating the French Musical: Tino Rossi and Luis Mariano in the Post-war Period 

Anthony De Melo (London) 

The Mise-En-Scene of Voice and Gesture in Fado in the Portuguese Cinema 

Marcin Wisniewski (Montreal) 

Whatever Happens in a Dance Sequence Stays in the Dance Sequence: Bhansali‟s Devdas & 

the Presentation of Queer Sexualities 

I3. SOUND AND IMAGE: THE SPACES IN BETWEEN? 

Chair: Shekhar Deshpande (Glenside, PA) 


Anna Backman Rogers (Groningen) 

On the Deleuzian Relationship Between the Sound and Visual Tracks in Gus Van Sant‟s 

Elephant (2003) and Last Days (2004) 

Laura Rascaroli (Cork) 

Sonic Interstices: Essay Film, Voice-over, and Spectatorial Space in Robert Cambrinus‟s 

Commentary (2009) 

Paul Dobryden (Berkeley, CA) 

“Things We can't Untie”? Sound and Vision in Werner Herzog's Fata Morgana 

Shekhar Deshpande (Glenside, PA) 

Sound and Image in Musical Documentaries: Marina Andree‟s Sevdah (2009) 

I4. TALES OF THREE CITIES 

Chair: Ian Christie (London) 


Ranita Chatterjee (London) 

Cinema and the Colonial City: Catering for Calcutta‟s Multiple Audiences 

Eleni Liarou (London) 

From Docklands to Notting Hill: Cinematic mappings of imperial and post-imperial London 

Peter Walsh (Sheffield) 

Sheffield: An Un/Recognisable Cinematic City? 

19

Ian Christie (London) 

Nice Times: What is urban screen history trying to study? 

I5. AUDIO DIMENSIONS OF WEB 2.0 

Chair: Eggo Müller (Utrecht) 


Tiago Baptista (London) 

YouTube, Attractions and Narrative Integration 

Iris Cseke (München) 

Theatre Trailers: Advertising Films of German Theatres on YouTube 

Rainer Hillrichs (Bonn/Santa Barbara, CA) 

Audio Aesthetics of Early YouTube Videos 

Karin van Es (Utrecht) 

Constructing Liveness on eJAMMING 

I6. THE SOUNDS OF COMMERCE 

Chair: Patrick Vonderau (Stockholm) 


Lydia Nsiah (Vienna) 

Avant-gardistic Advertising Films: More than Music in the Eye 

Sema Colpan & Joachim Schaetz (Vienna) 

When the Plumbers Start Singing: Employing the “Sound of Vienna” in 1930s Advertising 

Films 

Mats Jönsson (Lund) 

Political Branding: Uses of Sound in Swedish Election Films from the 1940s 

Lucie Cesalkova (Brno) 

Secretive Agitation. Sounds, Words and Silence as Means of Persuasion in Czechoslovak 

Advertising Film of the 1950s 

Talvani Lange (Curitiba) 

Is This the End of Conventional Advertising in TV Broadcasting? 

I7. THE POWER OF THE CIRCUIT: FILM FESTIVALS BETWEEN DISTINCTION, 

ACTIVISM AND INDUSTRY 

Chair: Marijke de Valck (Amsterdam) 


Saër Maty Bâ (Portsmouth) 

Power/Knowledge and the Turntable: Film Festival Circuit(ing) Matters 

Skadi Loist (Hamburg) 

From Activism to Industry? The Role of Queer Film Festivals in the Larger Film Festival 

Circuit 

Aida Vallejo Vallejo (Madrid) 

Festival Feedback: Interactions between Creative Documentary and its Distribution Network 

in the Context of Europe 

Marijke de Valck (Amsterdam) 

Film Training and Festivals 

I8. SOUND, NARRATION AND ATMOSPHERE 

Chair: tba 


Ana Barroso (Lisbon) 

20

The Redemption of Banality: an aesthetic depiction of ordinary teenage life. Audio-visual 

dissonances in Gus Van Sant‟s Elephant and Paranoid Park. 

Nicola Dusi (Modena) 

Narrating by Sound Figures 

Suzanne Barnard (Pittsburgh) 

Rhythm in Pedro Costa‟s Colossal Youth 

Sermin Ildırar & Mehmet Sarı (Istanbul) 

Hypnotic Atmospheres in the Movies of Reha Erdem Created by the Drone-Like Use of 

Sound 

15.45 – 17.15 – PANELS J1-J6 (Birkbeck) 

J1. THE LANGUAGES AND PRACTICES OF INTERNATIONAL FILM CULTURES 

Chair: tba 


Mar Diestro-Dópido (London) 

Latin-American Filmmakers of the 1960s and 1970s and Film Festivals 

Per Vesterlund (Gävle) 

Dear Harry/Dear Paul – Selling the Concept of European Art Cinema in the 1960s 

Mattias Frey (Cantenbury) 

Postwar British Film Criticism‟s Reaction to Cahiers du cinéma: Sight and Sound and the 

Establishment of Middlebrow Taste 

Özge Özyılmaz (Istanbul) 

Creating Citizens, Creating Audiences: Film Magazines in the Early Republican Period of 

Turkey 

J2. THE SOUNDS (AND SIGHTS) OF MUSIC 

Chair: tba 


Sarah Artt (Edinburgh) 

The Future Sound of Retro: Daft Punk, Tron: Legacy and the Sound of Science Fiction 

Anton Fuxjäger (Vienna) 

Translation, Emphasis, Counterpoint – On the Function of Music in Visual Music 

Chih-Ting Chen (Hong Kong) 

The Extra-Territorial Space of Music in Wong Kar-Wai‟s In the Mood for Love 

Luca Barra & Massimo Scaglioni (Milan) 

Hits from the Box: Music Business and Italian Contemporary Television 

J3. DOCUMENTARY PRACTICES 

Chair: tba 


Debra Beattie (Nathan, Australia) 

Soundscape Studies and Documentary Practice 

Terry Austrin and John Farnsworth (Christchurch, New Zealand) 

Cursed Memories: Sound, Ethnographic Documentary and the Reconstitution of Cultural 

Identity 

Stefano Odorico (Cork) 

Communicative Structures in Interactive Non-fiction Production 

Ihab Saloul (Maastricht) 

The “Anti-linear Sound-Image”: Exile Beyond Fiction and Documentary Divide 

21

J4. EXPERIMENTAL FILM SOUND-TECHNICS 

Chair: Felicity Colman (Manchester) 


Felicity Colman (Manchester) 

Sound Affect: The Political Economy of Women on Screen 

Colin Gardner (Santa Barbara) 

Canadian Gothic and the Return of the Repressed: Stan Douglas‟s Nu‟tka & the Postcolonial 

Sound-Image 

Michael Goddard (Salford) 

No Wave Soundscapes Between Film and Music 

J5. FILM INDUSTRIES: INTERMEDIALITY, LANGUAGE, TRANSNATIONAL 

EXCHANGES IN EUROPEAN CONTEXTS 

Chair: Olof Hedling (Lund) 


Alejandro Pardo and Patricia Diego (Pamplona) 

From Financial Allies to Leading Co-producers: The Changing Role of TV Networks in the 

Spanish Film Industry 

Francesco Di Chiara (Ferrara) 

Intermediality in the 1950s Italian Film Industry: The Case of the Titanus‟ Film-canzone 

Sophie Rudolph (St. Gallen) 

Mapping Swiss Cinema 

Bruce Williams (Wayne, NJ) 

Redshift: Reconceptualizing Eastern European National Cinemas 

J6. PUBLISHERS PANEL 

Chairs: Dorota Ostrowska & Ginette Vincendeau 


With: 

Yoram Allom (Wallflower) 

Philippa Brewster (IB Tauris) 

Jeroen Sondervan (Amsterdam University Press) 

18.15 – 19:45 - Keynote 3: Richard Dyer (KCL) 

Location: Beveridge Hall, Senate House 

19:45 – 22:00 Screen drinks reception 

Location: Macmillan Hall, Senate House 

DAY 4: SUNDAY 26th June 2011 – Birkbeck 

9.00 – 10.45 – PANELS K1-K7 (Birkbeck) 

K1. THE INTERMEDIA ARCHIVE: SOUND, WRITING AND MOVING IMAGES IN THE 

FILM ARCHIVE 

Chair: Anna Sofia Rossholm (Växjö) 


Anne Bachmann (Stockholm) 

Do We Have the Job Cut Out For Us? Assessing the Potential of Press Cutting Collections for 

Film Historiography 

22

Dagmar Brunow (Hamburg/Halmstad) 

Archival Practice as Counter Memory: Preserving the Cultural Heritage of Independent Video 

Workshops 

Jan Holmberg (Stockholm) 

The Voice and the Phenomenon: Some (written) Notes on Acoustic Archival Objects 

Christopher Natzén (Stockholm) 

Voices from the Archive: Subtitling and Language Barriers During the Conversion to Sound 

Film 

K2. FILMING THE VOICE: EMOTION AND ENJOYMENT 

Chair: tba 


Eef Masson (Utrecht) 

Whose Master‟s Voice? Sound and Speech in Classroom Teaching Films of the 1950s 

Katalin Bálint and Márta Csabai (Budapest) 

Listening, Reading or Watching A Dialogue: Emotional and Empathic Responses Elicited by 

Different Representation Forms 

Gerwin van der Pol (Amsterdam) 

The Impact of Someone Seen Speaking 

Lemi Baruh (Istanbul) 

They Had It Coming! Negotiation of Privacy Values and Voyeuristic Enjoyment of Reality 

Television 

K3. EXPERIMENTAL SOUNDS 

Chair: tba 


Aija Laura Zivitere (Riga) 

Sound and „Twilight‟ in the Films of Anri Sala 

Natalia Samutina (Moscow) 

Utopia Across Media and Beyond: Where is the Plastic Beach Located? 

Judit Pieldner (Miercurea Ciuc) 

Unfolding Sound in András Jeles‟s Film Art 

Suzanne Buchan (London) 

Metaphysical „Voices‟: Dialectics of Music, Sound and Resident Noise in the Quay Brothers‟ 

Short Films 

K4. VOICES WITHOUT BODIES AND BODIES WITHOUT VOICES IN 

CONTEMPORARY AUDIOVISUAL MEDIA 

Chair: Sophie Einwächter (Bochum) 

Birkbeck, room tba 

Bernd Leiendecker (Bochum) 

Lying and Cheating: the Relationship Between Voice-Over and Unreliable Narration in Film 

Christine Piepiorka (Bochum) and Daniela Olek (Bochum) 

Disembodied Gender – Female Voice-Over in Contemporary American Television Series 

Julia Eckel (Bochum) 

„AniMuted‟ Characters – Voicelessness in the Digital Universe 

Sophie Einwächter (Bochum) 

Fans Taking Over: Stars Speechless – The Peculiar Productivity of Fandubs 

K5. ANIMAL SOUNDS: HYBRIDS BETWEEN HUMAN, NATURE, AND TECHNOLOGY 

Chair: Christine Hanke (Braunschweig) 

23


Ute Holl (Basel) 

Bioacoustics: Animal Voices Between Language, Sound and Music 

Sabine Nessel (Berlin) 

Animal Images - Human Sounds. On Ways of Presenting Animals in Zoos and the Cinema 

Christine Hanke (Braunschweig) 

The Hybrid Lives of the Filmic Dinosaur 

K6. WHAT WE HEAR IN HORROR: THEORIZING UNCANNY SOUNDS IN FILM 

Chair: Michael Wedel (Potsdam-Babelsberg) 


Drehli Robnik (Vienna) 

The Droning Community: Sounding the Political Aesthetics of Horror Movies´ Atmospheric 

Noises 

Sulgi Lie (Berlin) 

Acoustic Mimicry 

Michaela Wünsch (Berlin) 

The Sound of Breathing in Horror Films 

Sermin Ildırar (Istanbul) and Mehmet Sarı (Istanbul) 

Hypnotic Atmospheres in the Movies of Reha Erdem created by the Drone-Like Use of 

Sound 

K7. LOCATING THE VOICE IN AUTOBIOGRAPHICAL DOCUMENTARY 

Chair: Angelica Fenner (Toronto) 


Susan Aasman (Groningen) 

Voices Leaking Through the Image: Home Video and the Multiplication of Meaning In 

(Auto)Biographical Documentary 

Petra Löffler (Vienna) 

The Sound of Memory: Robert Frank‟s Autobiographical Films 

Angelica Fenner (Toronto) 

Heard but not Seen: The Invisible Autobiographer in Thomas Arslan‟s From Afar (2005) 

Ilona Hongisto (Turku) 

Documentary Fabulation and the Creation of Collectivity 

11.00 – 12.45 – PANELS L1-L7 (Birkbeck) 

L1. THE SOUND OF ITALIAN CINEMA (1943-1968): PHENOMENOLOGY AND 

AESTHETICS 

Chair: Francesco Pitassio (Udine) 


Massimo Locatelli (Milan) 

Italian Cinema (1943-1963): Between High Fidelity and Stereophony 

Francesco Pitassio (Udine) 

“You Know How To Whistle, Don‟t You?" Popular Tradition, American Madness and some 

Opera. Music and Songs in Neorealism 

Elena Mosconi (Milan) 

Mad for Opera. Italian Identity in Musical Films of the Fifties 

Mauro Buzzi (Milan) 

24

When Cinema Spun You Around. Conservative and Innovative Aspects in Italian Music 

Cinema During the 60‟s Noom 

L2. GENRE AND AESTHETICS IN NEW TURKISH CINEMA 

Chair: tba 


Zeynep Merve Uygun (Istanbul) 

The Transformation of Sound in New Turkish Cinema: 

Sound as Actor in Reha Erdem‟s Films 

Nezih Erdogan (Istanbul) 

Sound Design in New Turkish Cinema - Alibi Caught Red-Handed? 

Deniz Bayrakdar (Istanbul) 

Sound of Silence/ Silence of Sound 

Murat Akser (Istanbul) 

Green Pine Resurrected: Parody and Citizenship in Turkish Cinema 

L3. TUNING IN: WHAT IS/WAS TELEVISION SOUND? 

Chair: Senta Siewert (Bochum) 


Anthony Enns (Halifax, Nova Scotia) 

The Acoustic Space of Television 

Carolyn Birdsall (Amsterdam) 

Sound, Television Theory and Sports Broadcasting 

Svein Høier (Trondheim) 

Point of Audition in Television Documentaries 

David Sedman (Dallas, TX) 

MTS in the United States (1984-2009): The Life and Death of Multichannel TV Sound 

L4. LETTERS, DIARIES AND NOTEBOOKS: EXPLORING CINEMATIC VOICES 

Chair: Christian Quendler (Innsbruck) 


Anna Sofia Rossholm (Växjö) 

The Intimate Writings of Ingmar Bergman: Tracing the Voice of the Auteur through Letters, 

Diaries and Notebooks 

Christian Quendler (Innsbruck) 

Literary Detours: The Cinematic Diary Across Fiction, Stage and Screen 

Eirik Frisvold Hanssen (Trondheim) 

Auteur Gazing: Notions of Spectatorship and Auteurism in Fan Mail to Film Directors 

Christina Ljungberg (Zürich) 

Constructing Paul Auster‟s Cinematic Voice 

L5. LOCATING THE SONG 

Chair: Tom Whittaker (Kingston) 


Tom Whittaker (Kingston) 

Soundscapes of Resistance in the Spanish quinqui Film 

Andrea Rinke (Kingston) 

The Pain and the Pleasure: Songs and Spaces in Trainspotting and Human Traffic 

Catherine O‟Brien (Kingston) 

“Ave Maria”: sacred spaces in Lourdes and 28 Days Later 

25

L6. SOUNDSCAPE AND THE VISUAL ARTS 

Chair: tba 


Lars Diurling (Lund) 

Peter Kylberg: The Unveiling of a Swedish Filmmaker Held In Obscurity 

Katerina Loukopoulou (London) 

The Sound of Sculpture on Film 

Monika Keska (Granada) 

The Shout by Jerzy Skolimowski: A Duel for Three Voices 

Angelos Koutsourakis (Brighton) 

Europe in a State of Crisis: The Dialectics of Landscape and Soundscape in Lars von Trier‟s 

The Element of Crime (1984) 

L7. FRENCH-CANADIAN IDENTITY IN THE INTERSTICES 

Chair: Louis Pelletier (Montreal) 


Louis Pelletier (Montreal) 

Quebec Moving Picture Theatres and the Rise of a French-Canadian Public Sphere (1935- 

1955) 

Hubert Sabino (Montreal) 

Dubbing and National Identity in Quebec 

Gwenn Scheppler (Québec, CA) 

Caught Between Two Kinds of Nationalism: The Work of the National Film Board of 

Canada‟s Field Representatives (1942-1952) 

13.00 – 13.30 – CLOSING REMARKS 

Location: Birkbeck, room MAL-B34 

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NECS 2011 Conference

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