NECS 2011 Conference

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)
Location: KCL – room tba
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)
Location: KCL – room tba
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)
Location: KCL – room tba
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)
Location: KCL – room tba
Ana Isabel Soares (Algarve)
Short-Circuiting Meaning Through Experimentation in Sound: A strange Case
Daniel Ribas (Aveiro)
Sound in Portuguese Film of the 2000s
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