Tag Archive | Technology

Revising the Future of Music Technology

671px-Sblive!

Sound and TechThis is the opening salvo in Sounding Out!‘s April  Forum on “Sound and Technology.”  Every Monday this month, you’ll be hearing new insights on this age-old pairing from the likes of Sounding Out! veterano Primus Luta, along with new voices Andrew Salvati and Owen Marshall.  These fast-forward folks will share their thinking about everything from Auto-tune to productivity algorithms. So, program your presets for Sounding Out! and enjoy today’s exhilarating opening think piece from SO! Multimedia Editor Aaron Trammell.  –JS, Editor-in-Chief

We drafted a manifesto.

Microsoft Research’s New England Division, a collective of top researchers working in and around new media, hosted a one-day symposium on music technology. Organizers Nancy Baym and Jonathan Sterne invited top scholars from a plethora of interdisciplinary fields to discuss the value, affordances, problems, joys, curiosities, pasts, presents, and futures of Music Technology. It was a formal debrief of the weekend’s Music Tech Fest, a celebration of innovative technology in music. Our hosts christened the day, “What’s Music Tech For?” and told us to make bold, brave statements. A kaleidoscope of kinetic energy and ideas followed. And, at 6PM we crumpled into exhausted chatter over sangria, cocktails, and imported beer at a local tapas restaurant.

The day began with Annette Markham, our timekeeper, offering us some tips on how to best think through what a manifesto is. She went down the list: manifestos are primal, they terminate the past, create new worlds, trigger communities, define us, antagonize others, inspire being, provoke action, crave presence. In short, manifestos are a sort of intellectual world building. They provide a road map toward an imagined future, but in doing so they also work to produce this very future. Annette’s list made manifestos seem to be a very focused thing, and perhaps they usually are. But, having now worked through the process of creating a manifesto with a collective, I would add one more point – manifestos are sloppy.

Our draft manifesto is a collective vision about what the blind-spots of music technology are, at present, and what we want the future of music technology to look like. And although there is general synergy around all of the points within it, that synergy is somewhat addled by the polyphonic nature of the contributors. There were a number of discussions over the course of the day that were squelched by the incommensurable perspectives of one or two of the participants. For instance, two scholars argued about whether or not technical platforms have politics. These moments of disagreement, however, only added a brilliant contour to our group jam. Like the distortion cooked into a Replacements single, it only serves to highlight how superb the moments of harmony and agreement are in contrast. This brilliant and ambivalent fuzziness speaks perfectly to the value of radical interdisciplinarity.

These disagreements were exactly the point. Why else would twenty academics from a variety of interdisciplinary fields have been invited to participate? Like a political summit, there were delegates from Biology, Anthropology, Computer Science, Musicology, Science and Technology Studies, and more. Rotating through the room, we did our introductions (see the complete list of participants at the bottom of this paper). Our interests were genuine and stated with earnestness. Nancy Baym declared emphatically that music is, “a productive site for radical interdisciplinarity,” while Andrew Dubber, the director of Music Tech Fest, noted the centrality of culture to the dialogue. Both music and technology are culture, he argued. The precarity of musical occupations, the gender divide, and the relationship between algorithm and consumer, all had to take a central role in our conversation, an inspired Georgina Born demanded. Bryan Pardo, a computer scientist, announced that he was listening with an open mind for tips on how to best design the platforms of tomorrow. Though collegial, our introductory remarks were all political, loaded with our ambitions and biases.

The day was an amazing, free-form, brainstorm. An hour and a half long each, the sessions challenged us to answer a big question – first, what are the problems of music technology, then what are some actions and possibilities for its future. Every fifteen or twenty minutes an alarm would ring and tables would exchange members, the new member sharing ideas from the table they came from. At one point I came to a new table telling stories about how music had the power to sculpt social relations, and was immediately confronted with a dialogue about problems of integration in the STEM fields.

In short, the brainstorms were a hodgepodge of ideas. Some spoke about the centrality of music to many cultural practices. Noting the ways in which humans respond to their environments through music, they questioned if tonal schema were ultimately a rationalization of the world. Though music was theorized as a means of social control many questions remained about whether it could or should be operationalized as such. Others considered different conversations entirely. Jocking sustainability and transduction as key factors in an ideal interdisciplinarity and shunning models that either tried to put one discipline in service of another, or simply tried to stack and combine ideas.

Borrowed from Margaret Atwater.

Borrowed from Margaret Atwater.

Some of the most productive debates centered around the nature of “open” technology. Engineers were challenged on their claim that “open source technology” was an unproblematic good, by Cultural Studies scholars who argued that the barriers to access were still fraught by the invisible lines of race, class, and gender. If open source technology is to be the future of music technology, they argued, much work must still be done to foster a dialogue where many voices can take part in that space.

We also did our best to think up actionable solutions to these problems, but for many it was difficult to dream big when their means were small in comparison. One group wrote, “we demand money,” on a whiteboard in capital letters and blue marker. Funding is a recurrent and difficult problem for many scholars in the United States and other, similar, locations, where funding for the arts is particularly scarce. On points like this, we all agreed.

We even considered what new spaces of interactivity should look like. Fostering spaces of interaction with public works of art, music, performance and more, could go a long way in convincing policy makers that these fields are, in fact, worthy of greater funding. Could a university be designed so as to prioritize this public mode of performance and interactivity? Would it have to abandon the cloistered office systems, which often prohibit the serendipitous occasion of interdisciplinary discussion around the arts?

Borrowed from bfishadow @Flickr.

Borrowed from bfishadow @Flickr.

 

There are still many problems with the dream of our manifesto. To start, although we shared many ideas, the vision of the manifesto is, if anything, disheveled and uneven. And though the radical interdisciplinarity we epitomized as a group led to a million excellent conversations, it is difficult, still, to get a sense of who “we” really are. If anything, our manifesto will be the embodiment of a collective that existed only for a moment and then disbursed, complete with jagged edges and inconsistencies. This gumbo of ideas, for me, is beautiful. Each and every voice included adds a little extra to the overall idea.

Ultimately, “What’s Music Tech For?” really got me thinking. Although I remain skeptical about the United States seeing funding for the arts as a worthy endeavor anytime soon, I left the event with a number of provocative questions. Am I, as a scholar, too critical about the value of technology, and blind to the ways it does often function to provoke a social good? How can technological development be set apart from the demands of the market, and then used to kindle social progress? How is music itself a technology, and when is it used as a tool of social coercion? And finally, what should a radical mode of listening be? And how can future listeners be empowered to see themselves in new and exciting ways?

What do you think?

Our team, by order of introduction:
Mary Gray (Microsoft Research), Blake Durham (University of Oxford), Mack Hagood (Miami University), Nick Seaver (University of California – Irvine), Tarleton Gillespie (Cornell University), Trevor Pinch (Cornell University), Jeremy Morris (University of Wisconsin-Madison), Diedre Loughridge (University of California – Berkley), Georgina Born (Oxford University), Aaron Trammell (Rutgers University), Jessa Lingel (Microsoft Research), Victoria Simon (McGill University), Aram Sinnreich (Rutgers University), Andrew Dubber (Birmingham City University), Norbert Schnell (IRCAM – Centre Pompidou), Bryan Pardo (Northwestern University), Josh McDermitt (MIT), Jonathan Sterne (McGill University), Matt Stahl (Western University), Nancy Baym (Microsoft Research), Annette Markham (Aarhus University), and Michela Magas (Music Tech Fest Founder).

Aaron Trammell is co-founder and Multimedia Editor of Sounding Out! He is also a Media Studies PhD candidate at Rutgers University. His dissertation explores the fanzines and politics of underground wargame communities in Cold War America. You can learn more about his work at aarontrammell.com.

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“I’m on my New York s**t”: Jean Grae’s Sonic Claims on the City– Liana Silva-Ford

Sounding Out! Podcast Episode #2: Building Intimate Performance Venues on the Internet

Sounding Out! microphoneThe podcast is (or, can be) an intimate performance venue on the internet because it allows you to whisper into the ears of your fans. It allows you to grow close to communities of listeners. And podcasts also do one last thing, to be revealed at the end of this piece, after we’ve seen how far I can take you. For now, I will quote podcasters I admire to help explain these ideas in their own words. I also quote these podcasters in an audio format. I have recorded this essay as an episode of the Sounding Out! podcast. You can listen right here, and I suggest you do. Go ahead, press play:


The podcast is what’s happening if you’re listening to these words. Are you? Because remember: my central claim is that a podcast is an intimate performance venue on the internet. Keep that in mind.

I am a podcaster, musician, and assistant professor of Economics. I have released six episodes of my own podcast, The Lion in Tweed.

This is what I look like.

Me. (Photo by Hadassah Head)

This is the Lion in Tweed.  He's a lion who teaches economics.

The Lion in Tweed. (Drawing by Winston Rowntree)

My podcast is primarily a narrative, with music and sound effects interwoven. It is about a character, The Lion in Tweed, and his experiences as a musician and professor of economics. He is also a lion. The second half of each podcast episode is a references section where I cite my sources and leave the fictional Tweedoverse canon to discuss real things.

I am not the first podcaster to remark on the ability of podcasts to traffic in intimacy. Chris Hardwick, of the Nerdist podcast, has claimed that, due to their intimacy, podcasts are the best medium going. He stressed: “you’re talking directly into the ears of your listeners.” There is no doubt that Hardwick was referring to those white iPod earbuds, which are a primary method of listening to podcasts. Part of a podcast’s intimacy comes from the closeness of the earbud to the membrane in the ear. Listening to earbuds evokes the intimate, and physical, closeness of someone whispering in your ear. Hardwick’s style of podcast is also intimate: vocal storytelling, mostly three comedians talking about the funniest things that have happened recently. The fact that it is not visual accentuates the intimacy of “whispering in your ears.” Although I would like to argue that the visual always reduces a sense of intimacy, I may simply prefer the sonic over the visual. Nevertheless, I believe that, the intimacy to which Hardwick is refers, is tied to the fact it is only sonic.

Chris Hardwick

Chris Hardwick.

The Nerdist Podcast

The Nerdist Podcast.

COMMUNITY

Podcasts as performance have a strange kind of liveness, episode-to-episode interactivity. By this I mean that they are not immediate; they lack the urgency of a theater-goer’s applause, or a heckler’s retort. Though not immediate, they are still dynamic, with their episodic pacing. And, unlike heckling, almost completely positive. This sense of long-term interactivity provides a foundation for understanding a second way that podcasts are intimate: they can cultivate intimate and interconnected communities of listeners.

They [Stop Podcasting Yourself, hosted by Graham Clark and Dave Shumka] have a really good community of people, community interaction: people send them stuff, sometimes people send them stuff unprompted. And they have a phone number [for people to call in messages that they play].

To illustrate how interconnected this community is, let me describe to you where this quote came from. It is a clip of Dan Sai, recorded by Davin Pavlas at MaxFunCon (the annual convention of the MaximumFun.org podcast label). I know Davin because of our mutual love of MaxFun podcasts. When I brought The Lion in Tweed into the world, I advertised it on podcasts in the MaxFun network. When Davin heard the description, he began to listen to my podcast. Now we are collaborating on an episode of The Lion in Tweed, which will quote these very words when it comes out two weeks from now. Similarly, UK resident Will Owens and I exchanged tweets after he started listening to my podcast and I found out he reviewed various narrative media on his website, and now he has written a review of my podcast, which we both promote. Ours is a community in which a feeling of value comes with a sense of connectedness. The podcasts give a shared culture.

SO IN PODCASTS, WE FIND A MEDIUM that is both sonic and vocal. They provide a platform for intimate and interconnected communities, which are rooted in an alternative kind of interactivity (long-term liveness), to grow. The whisper-in-the-ear quality of podcasts, as well as the feeling of community, all but completely explain why podcasts are so intimate.

AUTHENTICITY

Podcasts may be hip and modern, but they are not ironic. Podcasts represent a distillation of what the podcasters genuinely love, and in that they find their authenticity. According to Paul F. Tompkins, a comedian and podcaster:

It’s very freeing to be able to say: “Here are all the things that I like; I’m going to put them all into this [podcast].”

That was at minute 50:32 of Nerdist podcast ep 33 hosted by Chris Hardwick, with Paul F. Tompkins as a guest.

Paul F. Tompkins

Paul F. Tompkins

The Pod F. Tompkast

The Pod F. Tompkast

Here is Jesse Thorn, mastermind behind the aforementioned MaximumFun.org, in an interview by Neiman Labs:

I can mostly just do things that I am interested in, and so I don’t have to do something that is false to me, and I can let my guiding light be, “Do I like this and think it’s worth doing?”

Jesse Thorn

Jesse Thorn.

The Sound of Young America

The Sound of Young America.

And we see that authenticity completes the puzzle: podcasts are intimate because they feel so real. In podcasts it feels like you are listening to a real person because you are listening to the things that a real person loves…and interacting with real people is much more intimate than feeling like you are interacting with a marketing department (as you may when listening to a CD, or radio-show).

This is how I construct intimate performance venues: Audio-only, voice/storytelling focused, in which I try to build and exploit supportive, interconnected communities of fans with a shared culture (the podcasts). And, in doing so, I try to remain true to what I truly love. This authenticity, I believe, deepens the intimacy.

.

In the background of this podcast episode, Andreas plays an instrumental cover of “Bound for Hell” by Love and Rockets.

Play it Again (and Again), Sam: The Tape Recorder in Film (Part One on Noir)

Being a teacher, I can’t resist giving out a summer reading list. Being a researcher, I can’t help but want to share the projects that I am working on–which right now includes excavating the cultural history of the magnetic tape recorder in the United States. So, in honor of the Summer Solstice tomorrow (marking the official start of the season) I compiled a three-part summer series for Sounding Out! that does both: “Play it Again (and Again) Sam: The Tape Recorder in Film.”

My summer sound studies A-V list encourages you to fill your idle hours watching the “top 6″ featured appearances of the magnetic tape recorder in film, in chronological order (2 each month, with a bonus “supporting role” nod rounding out each post). Not only will “Play it Again (And Again) Sam” help you beef up your cinema buff credentials, but it will trace a little-known history, asking you to consider how the recorder tangled its thin brown plastic tape so effectively into the warp and weft of our twentieth-century lives. You’ll find that my “top 6″ list reveals much more human desire than technological determinism; the representations I examine express a complex mixture of fear and fascination, optimism and regret, change and stasis. Often a tool of the powerful, sometimes a weapon of the weak, the tape recorder was a cold war domestic product that could never truly be domesticated. As you will see in this spoiler-free three part series, interactions with the tape recorder remixed America’s workplaces, schools, homes, public spaces and private moments, ultimately shifting how the world was heard (and heard again and again).

Memento (Soul II Soul) 2008 by Christian Marclay, Photo by Nathan Bowers

So, load up your Netflix queue, shake up your Jiffy Pop, and take a much-needed couch-break from the heat and humidity with these oh-so-cool black-and-whites from the 1940s and 1950s. Of course, we can’t start our films without some “Coming Attractions”: look for part two on July 18th (spotlight on Walter Murch) and part three (the 1980s) on August 15th.

1. Double Indemnity (Paramount, 1944, Directed by Billy Wilder)

Walter Neff (Fred MacMurray) speaks his sordid tale into the dictaphone

Okay, so it is actually a dictaphone that appears in this film and the tormented insurance salesman Walter Neff (Fred MacMurry) is “putting it on wax” rather than magnetic tape, but this once ubiquitous, now long forgotten recording device has such a haunting presence and a structuring role in this grim noir confessional that, like Neff himself, I am suddenly willing to break my own rules. Outside of femme fatale Phyllis Dietrichson’s (Barbara Stanwyck) elaborately sculptured coiffure, the key image of Double Indemnity is Neff’s lips murmuring his murderous late night confessions into the dictaphone’s horn, a physical and metaphorical stand in for the ear of his hardnosed boss (and the true object of his desire) claims investigator Barton Keyes (Edward G. Robinson).

The dictaphone was Billy Wilder (director/screenwriter) and Raymond Chandler’s (screenwriter) deliberate addition to the filmscript; James M. Cain’s 1943 novella was essentially Neff’s scrawled confession to the reader of his almost-perfect plot to kill Phyllis’s husband and reap double insurance rewards. The introduction of the dictaphone transformed the standard noir flashback voiceover into an even-more intimate exchange of anxious aspiration, guilty pleasure, and homosocial desire channeled through Neff’s tense vocal grain and fierce grip on the machine’s cord. A familiar office machine made strange by Neff’s late-night admissions, the dictaphone mediates the entire film, transforming the audience into eavesdroppers, listening in to an act of recording made for Keyes’s ears only. After stumbling into his office and jamming a cylinder into the machine, Neff begins, sternly: “Office memorandum. ‘Walter Neff to Barton Keyes, Claims Manager, Los Angeles, July 16, 1938. Dear Keyes: I suppose you’ll call this a confession when you hear it. Well, I don’t like the word ‘confession.’ I just want to set you right about something you couldn’t see because it was smack up against your nose.” Sound, in the form of Neff’s heated breath pressed through the dictaphone’s curves and into our waiting ears, is the perfect device to exorcise the unseen desire in a film that tests the boundaries of darkness.

..

2. Blackboard Jungle (MGM, 1955, Directed by Richard Brooks)

Screen Capture by JSA

Most people remember Blackboard Jungle for its seductive visual representations of juvenile delinquency, stoked by the sound of Bill Haley and the Comet’s “Rock Around the Clock,” the 1952 song that opened and closed the film (and became a smash hit as a result, as I discussed in a previous archival blog post here). I’d like to add an often-overlooked image to the film’s legacy, that of teacher Mr. Dadier (Glenn Ford) plunking a bulky case down on his desk and triumphantly announcing “This is a tape recorder!” A cutting edge device at the time—magnetic tape was only introduced in the states after World War II, largely through the efforts of Bing Crosby and Les Paul—Dadier’s recorder is part and parcel of the technological milieu of the 1950s, which evoked positivistic fascination with “progress” even as it was shaped by existent fears and inequalities.

At the point of almost giving up on his surly working class, ethnic, inner-city students to seek a cushy job in the segregated suburbs, Dadier brings in the reel-to-reel as a Hail Mary attempt to quell his students’ noise and remake them into good Cold War citizens once and for all. As he tells them, “We all talk, but nobody listens.” From the moment he enters the classroom, the students continue to defy the white male authority embodied in Dadier and housed in his machine—“Did you bring your cosmetics to school, Chief?” taunts one student (Gregory Miller, played by Sydney Poitier)—and they undermine his assignment by selecting the “noisiest” student in the class to make a recording: Puerto Rican Student Pete Morales. As I have discussed on this blog and in print, the concept of “noise” has a racialized edge, particularly in the 1950s, when Cold War cosmologies of colorblindness and “enemies within” ruled the day. Sound was an efficient way to separate “Us” from “them”—the noisy dissident from the quiet citizen—without making explicit reference to visual markers of race. And, let me tell you, Morales’s obscene, heavily-accented speech—peppered with “stinkin’”s, 14 of them in total—really makes Dadier’s spools spin. To hear more on the tape recorder in 1950’s American life and this film, see my essay “Reproducing U.S. Citizenship in a Blackboard Jungle: Race, Cold War Liberalism and the Tape Recorder” forthcoming in the American Quarterly special issue on sound (September 2011).

[youtube=http://www.youtube.com/watch?v=tr7n9Wxmcf4]..

And. . .in a supporting role:

Kiss Me Deadly (Parklane Pictures, 1955, Directed by Robert Aldrich)

Hammer Screens His Calls: Screen Capture by Michael Leddy

The byzantine stairwalks and gingerbread Victorians of Los Angeles’s defunct Bunker Hill neighborhood are not the only ghosts you will encounter in the noir classic Kiss Me Deadly. Our first glimpse of Mike Hammer’s (Ralph Meeker) space-age Wilshire Boulevard bachelor pad includes a shot of his wall mounted, reel-to-reel answering machine, quite a technological marvel in 1955; it would be over 15 years before Phone Mate introduced the first commercially viable home model in 1971. His recorder manages to look both ridiculously large yet streamlined–and to twenty-first century audiences, old yet futuristic. However, it also allows the hunted, haunted private detective to take just a little more control of his tailspin of a life. After the jarring ring of a telephone call, the spools spin, and a sultry female voice intones: “This is Crestview 5-4124. Mister Hammer, whom you are calling, is not available at present. If you wish to leave a record of your call, please state your message at the sound of the tone.” His back inevitably against the wall, Hammer brings a suave tension to an act that has now become mundane: call screening. Removing the small surprise of who’s on the line, Hammer uses his recorder to listen just a step ahead, pacing an increasingly mysterious world given over to the dangerous riddle of the “whatsit” that leaves so many in the morgue by the film’s end. For a more general take on sound in this film (with a brief mention of Mike Hammer’s tape recorder), see Noira-Blanchè-Rougi’s November 2009 blog post, “The Use of Sound in Kiss Me Deadly.”

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Sound at SCMS 2011

“Sound is always the ingenue at the media party”–Charles Bernstein, “Sounding the Word,” in Harper’s March 2011

The Society for Cinema and Media Studies Annual Conference is especially exciting for Sound Studies peeps in that it has an official Sound Studies Special Interest Group, established in 2008, that sponsors panels and meets regularly every year.  In the upcoming 2011 meeting in New Orleans, Louisiana, Co-Chairs Norma Coates and Jay Beck will convene the SSSIG confab at 8:00 a.m. on Saturday, March 12th.  We are proud here at Sounding Out! to be officially sponsored by the SSSIG–you can catch yours truly‘s panel “J6: Listening and the Sounds of Belonging: Signification, Practice, and Politics” along with co-SO! Aaron Trammell (PhD. Student, Rutgers),  Priscilla Peña Ovalle (Asst. Prof at UO as well as SO! guest writer: See “Aurally Other”), and Dolores Inés Casillas, (Asst. Prof at UCSB and slated to be a guest writer for SO! in March).

While sound studies has had a challenging battle for recognition in an arena so committed to the notion of “the screen” (see Norma Coates’ 2008 Cinema Journal piece, “Sound Studies: Missing the (Popular) Music for the Screens?” for a compelling story of the institutional turf wars between sound studies, media studies, and popular music study writ large), this year’s slate shows a hard-fought diffusion of sound study across different fields: some traditionally with screens–film, television, music video, youtube–and some without–radio, music, DJ culture, surveillance technology, and legal discourse.  I have highlighted the SSSIG sponsored panels throughout our SCMS round-up both to big-up their work but also to show the many other sites where sound has emerged, both in full panels and in individual papers.

If I have missed you, please drop me a line at jstoever@gmail.com!  We look forward to seeing you in NOLA (and Twittering you @soundingoutblog if we won’t).

3.1.11 Addendum: Due to simultaneous and unfortunate family emergencies, our SO! panel at SCMS has been canceled. We urge you to check out the many other excellent SSSIG papers this year.


 

Portrait of Kaiser Marshall, Art Hodes, Sandy Williams, Cecil (Xavier) Scott, and Henry (Clay) Goodwin, Times Square, New York, N.Y., ca. July 1947

 

THURSDAY MARCH 10, 2011

NOON – 1:45 PM

A11: Hollywood On The Air: Rehistoricizing Cinema and Radio

ROOM Salon 1A, Level Two

CHAIR Scott Balcerzak, Northern Illinois University

Sara Levavy, Stanford University, “The Newsreel and the Framing of Media”

Scott Balcerzak, Northern Illinois University, “Jack Benny’s Voice and Body: Queered Radio and the Screen Comedian”

Neil Verma,  University of Chicago, Watching Eavesdroppers: Film, Radio, and Meta-Commentary in Classic American Noir”

Michael Dwyer, Arcadia University, “‘The Same Old Songs?’: The Invention of Oldies on Film and Radio”

SPONSOR: Sound Studies Scholarly Interest Group


A19: WORKSHOP: The DJ in Electronic Dance Music: Media Citizenship, Appropriation, and Cultural Hybridity

ROOM Acadia, Level Two

CHAIR Bernardo Attias, CaliforniaState University, Northridge

WORKSHOP PARTICIPANTS

Fred Church, Tangy Citrus Records

Mark Gunderson, Evolution Control Committee

Shane Martin, Middle Tennessee State University

Bernardo Attias, California State University, Northridge

Individual papers of Interest:

Bobby Simmons, University of Southern California, “We’ve Only Just Begun: Popular Music and Aging Boomers in Advertising” in  A23 Media and Senior Citizenship Age and Generational Issues In Film, Television, and New MediaROOM Mercier Terrace, Level Fourteen


2:00 PM – 3:45 PM

B2: Early Soviet Film Sound: Theory, Technology, Ideology, Practice

ROOM Algiers, Level One

CHAIR Lilya Kaganovsky, University of Illinois, Urbana-Champaign

Lilya Kaganovsky, University of Illinois, Urbana-Champaign, “Ideological State Apparatuses: Soviet Cinema’s Conversion to Sound (1928-1935)”

Joshua Malitsky, Indiana University, “The Movement of Energy”

Vincent Bohlinger, Rhode Island College, “The Transition to Sound in the Soviet Union: Technological Developments and Industry Practices”

RESPONDENT Masha Salazkina, Concordia University

Individual Papers of Interest:

Curran Nault , University of Texas, Austin, “When Punk Meets Porn: The Convergence of Music and Sex inCourtney Trouble’s Queer Punk Pornography,” in B4 Visualizing Sexuality, ROOM Esplanade, Level One

Felan Parker, York University, “Millions of Voices: Star Wars, Digital Games, Fictional Worlds and Franchise Canon,” B6 Video Game Worlds, ROOM Fountainbleu, Level One

4:00 PM – 5:45 PM

C18 Sound Studies

ROOM Evangeline, Level Two

CHAIR Jennifer Fleeger, The Catholic University of America

Andrew deWaard,  University of British Columbia, “Mise-en-Synergy”

Jennifer Fleeger, The Catholic University of America, “Selling Jazz Short: Warner Bros. Makes Film Sound American”

Kevin John Bozelka, DePaul University, “The Development of the Music Cue Sheet in American Cinema”

Kelly Kessler, DePaul University, “When Evita Meets Little Mary Sunshine: Rewriting the Hero Through Visual and Narrative Adaptation in the Millennial Movie Musical”

SPONSOR Sound Studies Scholarly Interest Group


 

Downtown Joy Theatre, Canal St., New Orleans (Since Closed)

FRIDAY MARCH 11, 2011

 

8:00 AM – 9:45 AM

D4: Secrecy, Surveillance, and Media History

ROOM Esplanade, Level One

CHAIR Lisa Lynch, Concordia University

David Suisman, University of Delaware, “Listening Like a State: Wiretapping, Electronic Eavesdropping, and the History of American Surveillance”

Elena Razlogova, Concordia University, “‘This System of Secret Informers’: Snitching as a Key Aspect of Modern Surveillance Societies”

Lisa Lynch, Concordia University , “‘As I Photograph the Night Sky, the Other Night Sky Photographs Back’: Surveillance, Transparency, and the Frenzy of Disclosure”

RESPONDENT Alexander Russo, Catholic University of America

D18 Popular Music and Media Convergence

ROOM Evangeline, Level Two

CHAIR Norma Coates, University of Western Ontario

Benjamin Aslinger, Bentley University, “The Price is Right: Licensing Tracks and Artists for the Rock BankGuitar Hero, and DJ Hero Franchises”

Elissa Nelson, University of Texas, Austin, “Indie Music and Mainstream TV at a Crossroads: The Soundtrack to The O.C.”

Joseph Tompkins, University of Minnesota, “Do Anything for Dethklok: How Extreme Metal Culture Found Its Niche with Post-Network TV”

Andrew Bottomley, University of Wisconsin, Madison,“De-Convergence: The Revival of the Audio Cassette Format in the Digital Era”

SPONSOR Sound Studies Scholarly Interest Group

Individual Papers of Interest:

Justin Horton, Georgia State University , “The Limits of Vision: Sound and Subjectivity in Gus Van Sant’s Paranoid Park,” in D8 Locating Queer Subjectivity, ROOM Carrollton, Level One

Sarah Kessler, University of California, Irvine, “The Voice of Traumas Past: Ventriloquizing Victimology in Contemporary Israeli Cinema,” D21 The “Afterlife” of Media, ROOM Union Terrace C, Level Three

10:00 AM – 11:45 AM

E5 Contemporary Racial Performances

ROOM Broadmoor, Level One

CHAIR Sylvia Chong, University of Virginia

Sylvia Chong, University of Virginia, “Being, Acting, Passing, Mocking: The Many Faces of Performativity in Tropic Thunder (2008)”

Sean Metzger, Duke University, “Asian/American Mediatization and That Emcee Jin”

Eng-Beng Lim, Brown University, “Dancing with Margaret Cho”

SPONSOR Asian/Pacific American Caucus

E6 WORKSHOP New Media Futures: The Digital (the Academy)

ROOM Fountainbleu, Level One

CHAIR Nicholas Mirzoeff, New York University

WORKSHOP PARTICIPANTS

Kathleen Fitzpatrick, Pomona College

Alexandra Juhasz, Pitzer College

Wendy Chun, Brown University

Nicholas Mirzoeff, New York University

Tara McPherson, University of Southern California

E14 Silent Film Aesthetics and Audiences

ROOM Salon III, Level Two

CHAIR Richard Abel, University of Michigan

Paul Moore, Ryerson University,  “Telegraphing Cinema: The Vitascope’s Advance Newspaper Publicity In April 1896”

Katherine Fusco, Vanderbilt University, “Time Made Visible: Taylorism, the Gilbreths, and the Early Cinema’s Efficiency Aesthetics”

Nicholas Baer, University of California, Berkeley , “Messianic Musclemen: Early German Cinema as Zionist Allegory”

Richard Abel, University of Michigan, “Going to the Movies in Detroit: Weekly Film News, 1916-1919”

E15 Intertitles, Talking, and Singing: The American Vernacular and Transitions in Cinematic Sound

ROOM LaSalle, Level Two

CHAIR Cynthia Lucia, Rider University

Paul Young, Vanderbilt University, “The Talking Fool: Broadcasting Intimacy in Jolson’s Vitaphone Films”

Desiree Garcia, Brown University, “There’s No Place Like Home: Modernity, Social Belonging, and the Hollywood Folk Musical”

RESPONDENT Krin Gabbard, Stony Brook University


Individual Papers of Interest:

Josh Glick, Yale University, “Filming Urban Roots: Wattstax, Black Identity, and the Cultural Geography of Los Angeles,”  E10 Shooting City Spaces: Location Filmmaking During the “Urban Crisis,” ROOM St. Charles, Level Two

Christopher Natzén, National Library of Sweden, “‘All That Jazz’—Foreign Musicians in Sweden during the Conversion to Sound Film,” E23 Cinematic Mobilities, ROOM Mercier Terrace, Level Fourteen

1:15 PM – 3:00 PM

F2: Off Screen Noise: Sound and Avant-Garde Cinema

ROOM Algiers, Level One

CHAIR Michelle Puetz, University of Chicago

Andrew Ritchey, University of Iowa, “Two Turntables and an Avant-Garde Film: The Phonograph as Musical Accompaniment”

Michelle Puetz, University of Chicago, “Feedback, Graphic Scores and Improvisation in Richard Lerman’s Films and Sound Experiments”

Juan Suarez, Universidad de Murcia, “Noise, Body, Landscape: Jack Smith, Hélio Oiticica, and Terry Fox”

Melissa Ragona, Carnegie Mellon University, “Sonic Warhol: From Tape-Recorder to Film”

SPONSOR Experimental Film and Media Scholarly Interest Group


F12: The Cry of Jazz: Voicing Black Citizenship Onscreen

ROOM Salon 1B, Level Two

CHAIR Nicholas Sammond, University of Toronto

Anna McCarthy, New York University, “The Cry of Jazz and the Uses of Film”

Charles McGovern, College of William and Mary, “‘To the Ends of the Earth’: The Television World of Nat Cole”

Nicholas Sammond, University of Toronto, “Citizen Crow: The Contradictory America of Stormy Weather

RESPONDENT Arthur Knight, College of William and Mary

SPONSOR Oscar Micheaux Society

Individual Papers of Interest:

Leah Shafer, Hobart and William Smith Colleges, “‘Tik Tock on the Clock, but the Party Don’t Stop, No’: Parodic Military Dance Videos on YouTube,” F19 Whose War is it Anyway?: Contemporary Images of Combat, ROOM Acadia, Level Two

Elena Bonomo, University of Southern California, “Living Punk: The D.C. Punk Scene, Fugazi, and Jem Cohen’s Instrument (1999),” F23: Media Consumers: Mainstream/Alternative/State, ROOM Mercier Terrace, Level

3:15 PM – 5:00 PM

G1 Generations of Media Studies

ROOM: Audubon, Level One

CHAIR Diane Negra, University College Dublin

WORKSHOP PARTICIPANTS

E. Ann Kaplan, Stony Brook University

Patrice Petro, University of Wisconsin, Milwaukee

Derek Kompare, Southern Methodist University

F. Hollis Griffin, Colby College

G6 Contested Spaces of Educational Media

ROOM Fountainbleu, Level One

CHAIR Amanda Keeler, Indiana University

Michele Hilmes, University of Wisconsin, Madison, “Radio Rockefeller: The Rockefeller Foundation’s Transnational Vision of Radio in the 1930s”

Josh Shepperd, University of Wisconsin, Madison, “Pressing On: Program Transcription and the ‘Networking’ of Educational Radio, 1935-1942”

Amanda Keeler, Indiana University, “Media in Flux: Educational Discourse from Radio to Television”

RESPONDENT Paddy Scannell, University of Michigan

SPONSOR Television and New Media Scholarly Interest Group

G16 Affective Media, Embodied Spectators

ROOM Orleans, Level Two

CHAIR Dana Luciano, Georgetown University

CO-CHAIR Karen Tongson, University of Southern California

Robert McRuer, George Washington University, “Live (Crip) Sex Acts: Neoliberalism, Affect, Intensity”

Dana Luciano, Georgetown University, “Uneventful Grief”

Mel Chen, University of California, Berkeley, “Masked Media”

Jasbir Puar,  Rutgers University, “Lifelogging: Digital Archives of Affect, Memory, and Intimacy”

G20 Sound Design

ROOM Union Terrace A, Level Three

CHAIR Jeff Smith, University of Wisconsin, Madison

Michael Slowik, University of Iowa, “Collection or Construction? Sound Effects and Sonic Depth in the Early Sound Western”

Katherine Quanz, Wilfrid Laurier University, “Canadian Soundscapes: The Transition to Dolby Sound in the Cinema of David Cronenberg”

Amanda McQueen, University of Wisconsin, Madison, “Bring the Noise: Intensified Continuity in the Sound Design of the Works of Edgar Wright”

Jeff Smith, University of Wisconsin, Madison, “Some Tales Told By Hiccupping Monkeys: Intensified Continuity and The Soundtracks of Contemporary Hollywood Films”

SPONSOR Sound Studies Scholarly Interest Group


 

The Stones of Congo Square, New Orleans, LA

SATURDAY MARCH 12, 2011

 

8:00 AM – 9:45 AM

MEETING: Sound Studies Scholarly Interest Group

ROOM Orleans, Level Two


10:00 AM – 11:45 AM

I5 WORKSHOP: Blogging, Tweeting, and Posting: Online Media Community Building and Scholarly Promotion

ROOM Broadmoor, Level One

CHAIR Miranda Banks, Emerson College

CO-CHAIR Ryan Bowles, University of California, Santa Barbara

WORKSHOP PARTICIPANTS

Alisa Perren, Georgia State University

Anne Helen Petersen, University of Texas

Julie Russo, Stanford University

Patty Ahn, University of Southern California

Inna Arzumanova, University of Southern California

SPONSOR Women’s Caucus


I8 Building Environments: Sound Design and Auditory Ambiences in Film

ROOM Carrollton, Level One

CHAIR Randolph Jordan, Concordia University

CO-CHAIR Benjamin Wright, Carleton University

Lisa Coulthard, University of British Columbia, “New and Old Worlds: The Acoustic Ecology of the Period Film”

Benjamin Wright, Carleton University, “Designing the Sound of New Orleans: Ren Klyce’s Use of Ambiences in The Curious Case of Benjamin Button

Randolph Jordan, Concordia University, “Hearing the Guggenheim in the Cinema: Modernist Acoustic Design and the Conventions of Film Sound”

Vanessa Ament, Georgia State University, “The Wallpaper Speaks: Aural Representations of Confinement in Barton Fink

SPONSOR Sound Studies Scholarly Interest Group

I10 The Cultural Phenomenon of Michael Jackson

ROOM St. Charles, Level Two

CHAIR Sylvia Martin, Babson College

Mark Anthony Neal, Duke University, “Sampling Michael: Rhythm, Masculinity and Intellectual Property in the ‘Body’ of Michael Jackson”

Todd Gray, California State University, Long Beach, “Caliban In The Mirror”

Dj Lynnee Denise, WildSeed Music & Exalt Youth, “The King of Pop Drag: Michael Jackson’s Performance of Heterosexuality and Hyper Masculinity”

Sylvia Martin, Babson College, “Mediating Messages: A Choreography of Contradiction”

Individual papers of Interest:

Charles Musser, Yale University, “Audio-Visual Media in The Presidential Campaigns of 1892 and 1896: Shifting the Historical Paradigm from Film Studies to Media Studies,” I2 Nonfiction Citizenship and the Margins of Documentary Form, ROOM Audubon, Level One

Susana Duarte, Universidade Nova de Lisboa, “Between Seeing and Saying: Cinematographic Readings of the Archive,” I4,  Mining the Archive: Discoveries, Compositions, Disjunctions, ROOM Esplanade, Level One

Andrea Kelley, Indiana University, “Mobilizing the Mulatto: Dorothy Dandridge’s Cross-Racial Constructions in 1940s Soundies,” I20 African American Stars and Auteurs, ROOM Union Terrace A, Level Three

11:00 am – 12 noon

ROOM Boardroom, Level Two

Media Literacy and Outreach Scholarly Interest Group Meeting

12:00 NOON – 1:45 PM

J6: Listening and the Sounds of Belonging: Signification, Practice, and Politics

ROOM Fountainbleu, Level One

CHAIR Jennifer Stoever-Ackerman, State University of New York, Binghamton

CO-CHAIR Priscilla Ovalle, University of Oregon

Jennifer Stoever-Ackerman, State University of New York, Binghamton,“The Noise of SB 1070: or Do I Sound Illegal to You?”

Dolores Inés Casillas, University of California, Santa Barbara, “‘¡Puuurrrooo MÉXICO,’: Listening to Transnationalism on U.S. Spanish-Language Radio”

Aaron Trammell, Rutgers University, “‘What We Do Is Secret (For a Reason)’: Identity and Resistance in Underground Music”

3.1.11 Addendum: Due to simultaneous and unfortunate family emergencies, this panel has been canceled. We will keep you posted on the rescheduling of Aaron Trammell’s paper.

SPONSOR Sound Studies Scholarly Interest Group

MEETING: Video Games Studies Scholarly Interest Group

ROOM Boardroom, Level Two


Individual Papers of Interest:

Norma Coates, University of Western Ontario , “The Persistence of Infamy: ‘Tween and Teen Girl Taste and Narratives of the Decline of Popular Culture,” J10 Complete Control?: Tween/Teen Girl Consumers, Media,and Cultural Power, ROOM St. Charles, Level Two

2:00 PM – 3:45 PM

K5 Place and Representation in HBO’s Treme

ROOM Broadmoor, Level One

CHAIR Julia Leyda, Sophia University

Joy Fuqua, Queens College, “‘In New Orleans We Might Say it Like This…’: Autochthonic Discourses and Expert Outsiders in HBO’s Treme

Julia Leyda, Sophia University, “What a Character, Creighton and Excess in HBO’s Treme

Courtney George, Columbus State University, “‘We’re All Goin’ Crazy Buck Jumpin’ and Havin’ Fun’: The Carnivalesque in the Music of HBO’s Treme

Lynnell Thomas, University of Massachusetts, Boston, “Televisual Tourism: HBO’s Treme and the Racial Remapping of Post-Katrina New Orleans”


K8 Sound and Music

ROOM Carrollton, Level One

CHAIR Deane Williams, Monash University, Melbourne

Thomas Cohen, University of Tampa, “Jazz, Film, and Videotape: Shirley Clarke’s Ornette: Made in America

Morgan Woolsey, University of California, Los Angeles, “Time Change: Oppositional Scoring and Sound Design in the Films of the L.A. School”

Amy Corbin, Muhlenberg College, “Interrogating Racial and Geographic Boundaries Through Direct Address in The Corner and Just Another Girl on the I.R.T.

Sean Griffin, Southern Methodist University, “I’ve Grown Accustomed to Her Voice: Fetishizing the Female Voice in My Fair Lady

2:00  PM

K10: Studies in Distinction: Authorship, Style, and Meaning
Mack Hagood, Indiana University, “Unpacking Punches: Synchresis and Schizophonia in the Combat Foley of Fight Club” It’s at 2pm on Saturday in K10. The panel is called “.”

4:00 PM – 5:45 PM

L7: Animating Blackness: Race, Citizenship, and Satire in Aaron McGruder’s The Boondocks

ROOM Gentilly, Level One

CHAIR TreaAndrea Russworm, University of Massachusetts Amherst

CO-CHAIR Michael Forbes, DePauw University

Paul Mahaffey, University of Montevallo, “The Boondocks and the Neo-Slave Narrative: The Story of Catcher Freeman”

Racquel Gates, The New School, “Caught at the Crossroads: The Ambivalent Politics of The Boondocks

Mark James, University of West Florida, “Huey’s Awesome Hairdo: Consuming the Black Intellectual”

Sarah Florini, Indiana University, “Is this “Boondocks or ‘Coondocks’?: Interpreting ‘The Story of Jimmy Rebel’ in 140 Characters on Twitter”

SPONSORS African/African American Caucus and Oscar Micheaux Society

L20: Song and Film:Soundscapes, Landscapes, and Manscapes

ROOM Union Terrace A, Level Three

CHAIR Kathryn Kalinak, Rhode Island College

Corey Creekmur, University of Iowa, “The Cowboy Chorus: Narrative and Cultural Functions of the Western Theme Song”

Caryl Flinn, University of Arizona, “Musicals: Affect and Afterlife”

Krin Gabbard, Stony Brook University, “Isn’t It Bromantic?: Rock Music and Male Bonding”

Kathryn Kalinak, Rhode Island College, “Song and Authenticity in the Western”

L21 Cultural Logics of Replay

ROOM Union Terrace C, Level Three

CHAIR Christopher Hanson, Syracuse University

Laurel Westrup, University of California, Los Angeles, “Re-Mastering MTV: Intermedial Mastery and the Literal Video Phenomenon”

Steve Anderson, University of Southern California, “Repetition, Cultural Memory, and the Construction of History”

Robert Cavanagh, Northwestern University, “Instant Replay and the Impossibility of Decision”

Christopher Hanson, Syracuse University, “Similarity and Difference: Replay in the Digital”

Individual Papers of Interest

Cynthia Chris, College of Staten Island-CUNY, “Bleeping Policy: The FCC, the Courts and the Future of Decency Regulation” and Elizabeth Ellcessor, University of Wisconsin, Madison, “Case Closed:Closed-Captioning, US Law and Assumptions about Audience,” L2: Courtroom Drama: Media Industries and the Law, ROOM Algiers, Level One

Selmin Kara, Wayne State University, “The Sonic Summons: Meditations on Nature and Anempathetic Sound in Digital Documentaries,” L17, On the Margins of Documentary: Divergent Practices in the Digital Era, ROOM Vermilion, Level Two


 

Capitol Theater, New Orleans, 2005 (Since burned down)

SUNDAY MARCH 13, 2011

 

8:00 AM – 9:45 AM

M1: Do You Know What It Means to Represent New Orleans? David Simon’s Treme and Mediated Citizenship

ROOM Audubon, Level One

CHAIR Jeffrey Jones, Old Dominion University

Kristina Busse, Independent Scholar, and John Dudley, University of South Dakota, “Second Lining as Suffering and Solidarity: Absence and Authenticity in David Simon’s Post-Katrina New Orleans”

Christopher Cwynar, University of Wisconsin, Madison, “‘I Have Roamed the Whole World Over, but New Orleans is Still My Home’: Cultural Citizenship, Authenticity, and the Limits of Representation on HBO’s Treme

Nicholas Marx, University of Wisconsin, Madison, “Branding the Band: Mediating Viewer Engagement through Music in HBO’s Treme

RESPONDENT Vicki Mayer, Tulane University

SPONSOR Television and New Media Scholarly Interest Group


M5: Sampling Towards a New Civic Body :Music Videos and Political “Future Texts”

ROOM Broadmoor, Level One

CHAIR Rachel Raimist, University of Alabama

Virginia Kuhn, University of Southern California, “Resistant Discourse: Jay Z’s Swagger and the Rhetoric of Gesture”

Shelleen Greene, University of Wisconsin, Milwaukee, “The New ‘Material Girls’: Madonna, Millennial Pop Divas,and the Politics of Race and Gender”

Vicki Callahan, University of Wisconsin, Milwaukee, “A ‘Window Seat’ to History: Erykah Badu’s Dealey Plaza Remix”

Janina Cartier, Northwestern University, “Pimp-hop: Rethinking Blaxploitation’s Connection to Hip-hop Videos”

M20 WORKSHOP: Teaching “Media Industries”: Pedagogical Strategies for a Complex and Ever-Changing Object

ROOM Union Terrace A, Level Two

CHAIR Michael Curtin, University of California, Santa Barbara

WORKSHOP PARTICIPANTS

Denise Mann, University of California, Los Angeles

Jennifer Holt, University of California, Santa Barbara

Ross Melnick, University of California, Los Angeles

Deron Overpeck, Auburn University

Eddy Mueller, Emory University

Independent Papers of Interest

Maria Boyd, Georgia State University, “American Idol’s Containment and Unleashing of a ‘Glam Rock, Sex God,’” M9:Who Counts?: Proper Citizens/Popular Media, ROOM Carondelet, Level Two


10:00 AM – 11:45 AM

N6: WORKSHOP: Remix, Media Stylos and 21st Century Pedagogy

ROOM Fountainbleu, Level One

CHAIR Nina Cartier, Northwestern University

WORKSHOP PARTICIPANTS

Eric Faden, Bucknell University

Shelleen Greene, University of Wisconsin, Milwaukee

Rachel Raimist, University of Alabama

Vicki Callahan, University of Wisconsin, Milwaukee

Virginia Kuhn, University of Southern California

N11WORKSHOP: The Bachelor’s Ball: Videogames and the Need for Feminist Game Studies

ROOM Salon 1A, Level Two

CHAIR Mia Consalvo, Massachusetts Institute of Technology

CO-CHAIR Nina Huntemann, Suffolk University

WORKSHOP PARTICIPANTS

Shira Chess, Miami University

Nina Huntemann, Suffolk University

Hye Jin Lee, University of Iowa

Carol Stabile, University of Oregon

Staci Tucker, University of Oregon

SPONSORS Video Game Studies Scholarly Interest Group, Women’s Film History Project, and Women’s Caucus

N13 Placing Sound

ROOM Salon II, Level Two

CHAIR Kyle Barnett, Bellarmine University

Jacob Smith, Northwestern University, “Problems of Unscreened Media”

Patrick Feaster,  FirstSounds.org, “He Was the Edison Phonograph: Len Spencer, an Old New Media Pioneer”

Kyle Barnett, Bellarmine University, “Souvenir Sounds: The Historical Role of Sound Recordings in Film Fandom”

Shawn VanCour, University of South Carolina, “Ambient Radio: Aural Spectacle, Secondary Listening, and Acoustic Flanerie in Early Twentieth Century American Broadcasting”

SPONSOR Sound Studies Scholarly Interest Group

Independent Papers of Interest:

Mary Beltran, University of Wisconsin, Madison, “Hip Hop Hearts Ballet: Cultural Hybridity and ‘Post-Racial’ Cultural Capital in the Step Up Dance Films,” N1 How Does It Feel To Be a Trend?: Interrogating the Politics of Racial Representation in Contemporary Hollywood Cinema, ROOM Audubon, Level One

Ian Kennedy, “Wayne State University , “High-Definition Audio and the 1990s Internet Film,” N9 Filming the Internet, ROOM Carondelet, Level Two,

Anthony Bleach, Kutztown University , “Screwing the Soundtrack: DVD Fan Commentaries as Cinephilic Practice and Citizen’s Paratext,” N18 Cinephilia and New Media Fandom, ROOM Evangeline, Level Two

Lorien Hunter, University of Southern California, “Conversations in Hip Hop: The Question of Black Identity in Post 9/11 America,” N22 Media and Identities, ROOM Crescent View, Level Twelve

12:00 NOON – 1:45 PM

O2: Unsung Laughter : Women Comics of the Silent Screen

ROOM Algiers, Level One

CHAIR Kristine Karnick, Indiana University-Purdue University Indianapolis

Margaret Hennefeld, Brown University , “Women and Slapstick in Silent Cinema: the Comedyfication of Domestic Space”

Kristen Anderson Wagner, University of Southern California, “Polly Moran, ‘The Wild, Wild Woman of the Screen’”

Joanna E. Rapf, University of Oklahoma, “‘The Girl o- the Stripes’: The Comic World of Fay Tincher”

RESPONDENT Rob King, University of Toronto

SPONSOR Women’s Film History Project


O6 Song-and-Dance Routines: Hollywood, Bollywood, and Beyond

ROOM Fountainbleu, Level One

CHAIR Fernanda Zullo-Ruiz, Hanover College

Usha Iyer, University of Pittsburgh , “Finding the Past in Pastiche: Intertextuality in Bollywood Song-and-Dance Sequences”

Jenny Oyallon-Koloski, University of Wisconsin, Madison , “Versions of “Cool”: Filming Dance in West Side Story

Tracy Cox-Stanton, Savannah College of Art and Design , “Busby Berkeley and Primitivism: Exploring how Dance Delineates the Boundary between Savagery and Civilization”

Laura Gutierrez, University of Arizona , “Masochistic Desire and Pleasure in Alberto Gout’s Rumbera Films”

O11: Teaching Media Studies: Through Video Games

ROOM Salon 1A, Level Two

CHAIR Matthew Payne, University of Texas, Austin

WORKSHOP PARTICIPANTS

Mia Consalvo, Massachusetts Institute of Technology

Aaron Delwiche, Trinity University

Sheila Murphy, University of Michigan

Judd Ruggill, Arizona State University

Zach Whalen, University of Mary Washington

O15 Personal Space and Mediated Bodies

ROOM LaSalle, Level Two

CHAIR Dean Allbritton,  Stony Brook University

Adrienne Brown, Princeton University, “No Laughing Matter: Charlie Chaplin, W.E.B. Du Bois, and the Exclusionary Space of Mass Media”

Joseph Clarke, Yale University, “Retuning the ‘Office Wife’: Mediating Acoustics and Gender in the Postwar Corporate Interior”

James Steichen, Princeton University, “From Members-Only to the City’s Ballet: Institutional Mediation and Democratized Patronage at Ballet Society and the New York City Center Ballet, 1946-63”

Dean Allbritton, Stony Brook University, “Shoes and Wheels: The Prosthetics of Citizenship in Quid Pro Quo

Independent Papers of Interest

Peter McMurray, Harvard University , “YouTube Music—Haptic or Optic?,” O1 You Tube, ROOM Audubon, Level One


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