Tag Archive | Conference

Sound at IASPM-US 2014

For the second weekend in March, the U.S. chapter of the International Association for the Study of Popular Music (IASPM-US) will be holding its annual meeting at the University of North Carolina, Chapel Hill. Like sound studies, popular music studies is fueled by an interdisciplinary spirit, and many of the questions that currently occupy the popular culture corner of sound studies have much in common with those of us who take the study of music seriously. This year’s conference offers a unique theme, “Music Flows,” that centers around questions of water, flows, and liquidity. The conference theme also offers more expansive ideas to flows, including mobility, embodiment, sonic materialities, and ecology. While the theme may strike some as unconventional, it ends up being an excellent metaphor for those of us who study musical flows in fields that prefer static works and communities over transient ones.

The James Taylor Bridge in his native city of Chapel Hill, North Carolina

The James Taylor Bridge over Morgan Creek in his native city of Chapel Hill, North Carolina

Since this is a popular music conference, many of the papers at this meeting take musical texts as their focus (including mine); however, there are still many panels and individual papers that might interest scholars from a sound studies perspective. After all, sound travels better in water than in air, and following that logic, water and sound both feature waves. Indeed, there are papers that take the water waves and sound waves as their inspiration. Compare, for example, SO! guest writer Mack Hagood’s discussion of an early popular recording of water waves against Robin James’s philosophical theorizing about sound waves and Neo-Liberalism in the music of Ludacris. Similarly, many papers take their inspiration from the sounds that come from water or are performed in it: Peter Schultz specifically tackles the sound-design of watery environments in video games, while SO! guest writer Josh Ottum investigates the sounds from the floating garbage island in the middle of the ocean. These papers offer attendees the opportunity to consider the large theoretical consequences of changes to the water and waves in recordings.

Some papers approach water from a perspective focused on materiality and mediation. Craig Eley’s paper offers a historically grounded study of the hydrophone and underwater recording. Peter McMurray’s paper analyzes the problem of making music for watery environments and the challenges of water’s sonic conduciveness. For an athletic perspective on hearing music in the water, Niko Higgins talks about the music that swimmers use in their athletic training. These perspectives on liquid mediation offer a tremendous opportunity to expand sound studies beyond its general dependence on sounds that happen in the open air.

Beyond the more literal takes on the water in music flows, a large portion of the papers have taken their inspiration from the metaphor of social mobility, liquidity, and trade. There are panels and papers that emphasize transnational sonic flows, such as the panel “In and Out of Africa,” and Jason Robinson’s work on recording challenges in a transatlantic jazz collaboration. Two papers in particular deal with the role of African Americans in U.S. diplomatic relations: Darren Mueller’s paper on Dizzy Gillespie as a jazz ambassador, and Kendra Salois’s work on hip-hop diplomacy. Along a similar vein, Yvonne Liao specifically considers ports and their relationship to musical trade in Shanghai’s jazz scene. There is also a paper on the role of music as a social lubricant by Luis-Manuel Garcia that promises to be a real treat.

Megafaun serenades a Chapel Hill, North Carolina crowd, Image by Flickr user  abbyladybug

Megafaun serenades a Chapel Hill, North Carolina crowd, Image by Flickr user abbyladybug

There are also numerous papers that tackle flow and water as a metaphor in music-making and mediation. They include SO! guest writer Mike D’Errico’s study of embodiment and interactivity in digital media, Rebecca Farrugia and Kelly Hay’s study of women’s flow in a Detroit hip-hop scene, and Jonathan Piper’s paper on “sludge” metal. “Anointing Sounds” is a roundtable on music’s materiality and the sounds of religious experience through the Christian metaphors of “anointing” and “healing waters.”  Finally, for those scholars seeking the rare paper on record eaters and collecting, check out SO! guest writer Shawn VanCour and Kyle Barnett’s paper.
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Other highlights include a keynote by Louise Meintjes, whose book Sounds of Africa! took the musical recording process in studios as a serious object of study, and one of the last papers of the conference, Matthew Somoroff’s study of James Baldwin as a listener and ethnographer..

Finally, it is worth mentioning how many papers address sound studies’ long-standing relationship with soundscapes, ecomusicology, and the environment. There is a panel called “Ecologies of Place” with papers on ecologically-minded music from places as far flung as India, Iceland, Appalachian Ohio, and Canadian parks. There is also a panel on “Urban Soundscapes,” including Robert Fry’s paper on sound, music, and branding at a hot spring resort and Mathew Robert Swiatlowski’s paper on the boom box and the Walkman in urban space.

Many in sound studies cite Jonathan Sterne’s critiques of ocularcentrism in cultural criticism. This conference encourages us to think beyond the air and stasis and shift our focus to the possibilities of liquid metaphors in cultural change.

Scroll down for Kariann’s handpicked panels and papers of interest for sound studies folks perusing IASPM-US.  

Featured Image: One of Chapel Hill’s many ponds, at the Outdoor Education Center, Image by Flickr User Kat St Kat

Kariann Goldschmitt is an Adjunct Assistant Professor at New College of Florida and Ringling College of Art and Design. She holds a Ph.D. in Musicology from UCLA (2009) and was the 2009-2011 Mellon Fellow of Non-Western Music at Colby College in Maine. Her scholarly work focuses on Brazilian music, modes of listening, and sonic branding in the global cultural industries. She has published in The Journal of Popular Music Studies, American Music, Yearbook for Traditional Music, and Luso-Brazilian Review and contributes to the South American cultural magazine, Sounds and Colours.

"Franklin Street, Chapel Hill" by Wikimedia user Caroline Culler, CC BY 3.0

“Franklin Street, Chapel Hill” by Wikimedia user Caroline Culler, CC BY 3.0

Friday, March 14

9:30
“The Fluid “Field”: Recording and Performance in Transatlantic Collaboration”–Jason Robinson, Amherst College
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“Swimming What You Hear: The Music of Distance Swimmers”– Niko Higgins, Columbia University
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10:15-11:45
“In and Out of Africa: From Biodiversity to Cultural Diversity: Negotiating Cultural Sustainability, Difference, and Nationhood through World Music in France,” Aleysia Whitmore, Brown University
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“American Afrobeat: Perception and Reception of Antibalas in Nigeria,” Stephanie Shonekan, University of Missouri
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“African Sounds in the American South: Community Radio, Pan-Africanism, and Historically Black Colleges, 1950-1986,” Joshua Clark Davis, Duke University
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“Thinking the Anthropocene Through Sound ‘Apeman’: The Kinks’ Romantic Expression of Environmental Politics and the Paradox of Human Evolution,”
Sara Gulgas, University of Pittsburgh
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“Coming of Age in the Post-3.11 Waterscape: Music and Silence in Japanese Animated Cinema and Children’s Art,” Kyle Harp, University of California, Riverside
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“Sounds Like Garbage: Paddling Through an Island of Trash Toward a New Sonic Ecology,” Josh Ottum, Ohio University
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“Watery Textualities: The Perceptual Flow of Metric (Re)evaluation in Radiohead’s ‘Bloom,'” Michael Lupo, CUNY Graduate Center
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“Splash, Bubble, and Clink: Topic and Timbre in Aquatic Video Game Environments,” Peter Shultz, University of Chicago
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“Just Ludacris Enough: Wave-Forms & Neoliberal Sophrosyne,” Robin James, University of North Carolina-Charlotte
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12:00-1:30
Keynote Lecture: Louise Meintjes, Duke University
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1:45-3:45
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“Embodiment and Mediation: Riding the ‘Sound of Here-and-Now’: Locating Groove in Japanese Garage Punk,” Jose Neglia, University of California, Berkeley
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“Air Flows: Breath, Voice, and Authenticity in Three Recordings,” Greg Weinstein, Columbia College Chicago
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“‘Them boys kin shore tromp on the strings’: Down-Home Virtuosity in Rural Variety Radio,” David VanderHamm, University of North Carolina at Chapel Hill
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“‘Less Work, More Flow’: Embodied Interactivity and the Ecology of Digital Media,” Mike D’Errico, University of California Los Angeles
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1:45
“Secret Sonic Weapon on Record: Dizzy Gillespie and the Ambassadorial Politics of Jazz,” Darren Mueller, Duke University
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“The Costs of Being Fluid: Popular Music and the Lubrication of Social Frictions,” Luis-Manuel Garcia, Max Planck Institute for Human Development
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2:15
“Soft Power in Hard Times: Affect, Labor, and Ethics in US ‘Hip Hop Diplomacy,'” Kendra Salois, University of Maryland, College Park
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2:45
“Listening with Your Face: The Neo-colonial Politics of Underwater Music,” Peter McMurray, Harvard University
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James Taylor Bridge, Public Domain

So nice we put it twice, The James Taylor Bridge, Public Domain

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Saturday, March 15

8:30
“Voices of Americas – The Sound of the Radio Programs About Folk Music in Brazil and the USA under the Pan American policy (1936-1945)”–
Rafael Velloso, UFRGS/Brazil & University of Maryland
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“The Sound of Sludge: Groove, Materiality and Bodily Experience in Sludge Metal”–Jonathan Piper, Independent Scholar
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8:30-10:00
Urban Soundscapes
“I Can’t Live Without My Radio”: The Sony Walkman & the Stereo Boombox in the Urban Soundscape of the 1980s”–Mathew Robert Swiatlowski, University of North Carolina at Chapel Hill
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“Sounding Hot Springs: Music and Branding in America’s Spa City”–Robert Fry, Vanderbilt University
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“Hip Hop Flows (through Detroit): Women’s “Legendary” Work Mapping Marginalization and Sustainability in Urban Sonic Spaces”–Rebekah Farrugia, Oakland University, Kellie Hay, Oakland University
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10:15-11:45
“Mediating ‘Natural’ Sounds Going Deep: The Hydrophone and the History of Underwater Recording”–Craig Eley, Penn State University
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“Early Digital Waves: Irv Teibel’s Environments and the Psychologically Ultimate Seashore”–Mack Hagood, Miami University
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“Sigur Rós and the Soundtrack to Selling Planet Earth”–Matt DelCiampo, Florida State University
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10:45
“Port sounds: Jazz(-scapes) in 1930s and 1940s Shanghai,” Yvonne Liao, King’s College London
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1:45-3:45
Ecologies of Place
“Music, Dance, Theater, Water:  Environmental Justice and Ananya Dance Theatre,” Allison Adrian, St. Catherine University
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“Stone and Ice: Resonant metaphors of Jón Leifs ecological music in Iceland’s soundscape,” Leslie C. Gay Jr., University of Tennessee
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“Sounds of Recovery and Protest in Appalachian Ohio,” Brian Harnetty, Ohio University
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“Mediated Ecomusicological Flows: The Nexus of Sonic Materiality and Ecotourism in the National Parks Project,” Kate Galloway, Memorial University of Newfoundland
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2:45
“Music, Mobility, and Streaming: A Multimedia Lecture by the Killer Apps, Iowa City’s Best All-Mobile-Phone Cover Band,”Kembrew McLeod, University of Iowa and Loren Glass, University of Iowa
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"Cheerleaders, UNC, 1989" by Flickr user North Carolina Digital Heritage Center, CC BY-NC-ND 2.0

“Cheerleaders, UNC, 1989” by Flickr user North Carolina Digital Heritage Center, CC BY-NC-ND 2.0

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Sunday, March 16

8:30
“Tracking Edible Phonography: Record Eating, Collecting, and Musical Taste,” Shawn VanCour, NYU and Kyle Barnett, Bellarmine University
8:30-10
“Anointing Sounds: Holy Ghost Reservoirs in an Age of Mass Media (Roundtable),”  James Bielo, Miami University, Anderson Blanton, University of North Carolina at Chapel Hill, and Rory Johnson, Miami University
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11:45
“Voices Above His Head: James Baldwin as Listener and Ethnographer,” Matthew Somoroff, Duke University
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Chapel Hill's finest, WUNC, image by Flickr user Keith Weston

Chapel Hill’s finest, WUNC, image by Flickr user Keith Weston

Sound at SCMS 2013

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SCMSlogo-roundFor the 2013 Society for Cinema and Media Studies meeting in Chicago, Sounding Out!  enlisted one of our favorite guest writers, radio scholar Neil Verma (whom you’ll remember from our excellent Tune Into the Past series from summer 2012).  When we heard the news that his recent book Theater of the Mind: Imagination, Aesthetics and Radio Drama (University of Chicago Press) won this year’s SCMS first book prize  we were ecstatic. . .and not surprised in the least. It’s brilliant–for a taste read Neil’s SO! blog post from June 2012, “Radio’s “Oblong Blur”: Notes on the Corwinesque”). So, please join us in congratulating Neil, and then,  join Neil for a thoughtful preview of sound studies at SCMS 2013.  He’s one of the reasons why it’s such a great year for the field. —Editor-in-Chief, Jennifer Stoever-Ackerman

For the Society for Cinema and Media Studies (SCMS), this year may mark the point at which sound studies became – likely temporarily, and perhaps distressingly – normal. That’s something to ponder at this year’s annual conference of the Society, which takes place from March 6th to the 10th at the Drake Hotel in Chicago.

SCMS last came to the Second City in 2007. A glance at the panels from that year highlights how quickly the conference has expanded. If you exclude ads, this year’s program is 80 pages longer than its counterpart six years ago. Back then, SCMS featured 323 panels and workshops. This year there are 456. And sound studies work has grown disproportionately. In 2007, by my count, there were just 13 panels with two or more papers featuring sound as an “analytical point of departure or arrival,” to borrow language that Jonathan Sterne has recently used to characterize the field. This time we have 31 such panels.

That’s a lot of foot traffic. And it’s extremely good news for the field. But if these trends continue, it is also true that visitors focused on sound may only be able to attend a fraction of all panels and papers on the subject. As a result, sound has transformed from one possible pathway through SCMS into a field of many possible itineraries. Not only is the durability of that situation tenuous, but its intellectual ramifications are as unclear as they are promising.

Sound Art Installation in Downtown Chicago, Image by Flickr user meironke

Sound Art Installation in Downtown Chicago, Image by Flickr user meironke

A Conference in Transition

As it grows, the SCMS conference is restructuring. In a move sure to stir controversy, for instance, the Society has taken the experimental step of dramatically scaling back its slate of screenings, citing poor attendance at such events during recent conferences in Boston and New Orleans. Seen in conjunction with other developments – a focus on social media (follow @SCMStudies on Twitter), expanded online video, and a marvelous new podcast sponsored by Cinema Journal – the reduction of screenings represents a small step away from the cinema as a privileged object of study and experience.

That idea is borne out by the offerings. This year’s conference features as much exciting work on Call of Duty as on The Clock, with more papers on Girls than on Godard, along with compelling offerings on topics ranging from Rancière to Revenge, from Warhol to Lego, and home movies to Grindr. The word “television” appears on 58 pages of the current catalog; back in 2007 it appeared on just 14. As Barbara Klinger points out in her introduction to the program, this year truly elevates the “M” for “Media” in “SCMS.”

Skeptics may see a conference drifting from its raison d’être, while optimists will see an increasingly capacious meeting that is willing to undertake the experimentation for which many members have long been calling. As the conference grows, both sides can expect perhaps less intimacy than in previous years, with more of the action localizing around Caucuses and Scholarly Interest Groups (SIGs).

Neil Verma's Theater of the Mind (University of Chicago Press)

Neil Verma’s Theater of the Mind (University of Chicago Press)

That’s true for sound. This year marks the debut of a new Radio Studies SIG, recognizing an area of scholarship that has been growing steadily for decades. Congratulations to Bill Kirkpatrick and Alex Russo, among others, for bringing this about. Readers interested in the radio SIG should hop over to Antenna to read Kirkpatrick’s terrific piece on the emergence of radio studies at SCMS this year (and be sure to catch his paper on disability and radio on Saturday at 1:00).  In conjunction with the Sound Studies SIG, which has been driving a sound agenda since Jay Beck and Tony Grajeda helped form it in 2007, the Radio SIG is sure to be a magnet for future presenters and an advocate within the institutional SCMS structure.

The Radio SIG’s inaugural workshop features leading scholars to explore critical approaches (9:00 – 10:45 on Saturday), and that should be at the top of the agenda for SO! readers. I’m pleased to report that the Radio SIG’s first official meeting (9:00-10:45 on Sunday) will feature special guest Johanna Zorn, founder and Executive Director of the Third Coast International Audio Festival. The Sound SIG, meanwhile, helmed by Norma Coates and Tim Anderson, will hold its annual meeting on Friday (12:15-2:00) with an exciting presentation by John Corbett and Terri Kapsalis, who will speak about Sun Ra and his place in the history of Chicago sound and visual culture. Beyond these marquee events, these two SIGs together will sponsor a total of 13 panels this year.

That’s already quite an itinerary. Now let’s look deeper.

Further Highlights

In her SCMS post last year, Jennifer Stoever-Ackerman called for an effort to reimagine sound studies in the larger architecture of SCMS. She wrote,

Very few panels engage with sound as a primary modality and there are far less individual papers threading sound into panel discussions not explicitly about sound.  We need more of both kinds of scholarly engagement […]

Image by Flicker user pbeens

Image by Flicker user pbeens

Indeed. While many problems persist, including an uneven focus on music – it’s odd to see so little on music in a city rich in its history, from Bronzeville to Bloodshot Records – this year’s offerings also show great progress. Panels that engage sound as a primary modality have fresh takes on established subjects (Hollywood film music, voice narration in documentary, archiving, etc.) but many also raise subjects that SCMS might have been wary of in previous years, such as earth-sensing, sound in film noir and video game sound. And there is tremendous creativity in individual papers, with scholars engaging topics from sound in Yiddish Cinema and Russian pop to the Black audio film archive and player pianos in education, all sprinkled among panels considering other issues. There are not one but two papers about sound in Terrence Malick’s films, in two separate panels, neither of which is about sound.

What other goodies can you find this year? I’m glad you asked. Here are some highlights

  • There are a couple of terrific panels on gender and sexuality this year. I’d recommend starting off your visit to SCMS by attending a panel on film music that Norma Coates is hosting on Wednesday (10:00-11:45), and following up with Jennifer Wang’s panel “Gender Trouble across the Dial” on Friday (9:00-10:45).
  • On Thursday (from 9:00 to 10:45) I’m pleased to be chairing a panel with Jacob Smith, Mary Ann Watson, Shawn VanCour, and Alex Russo considering radio writer Norman Corwin as a transmedia author, continuing a project that we started on this blog last summer. Those interested in sites of overlap between radio and other media institutions should also check out “Radio in Transition” (Friday, 11:00-12:45), chaired by Cynthia Meyers, and “Economies of Media Industries” (Saturday, 3:00-4:45), featuring Jim Lastra and Douglas Gomery.
  • The panel “Earth-Sensing” (Wednesday, 2:00-3:45) looks compelling, with work by Lisa Parks on broadcast infrastructure and Google Earth, as well as a presentation by Janet Walker on audiovisualizations of sea level rise. It might pair well with a panel on deep history later that day (4:00-5:45) which will feature, among other topics, Mack Hagood speaking on the work of Irv Teibel.
  • Another great pairing is available on Friday. Try attending “Sounding the Radio Archive” (12:15-2:00), with projects from junior scholars and a response from Debra Rae Cohen. Then check out “Live Sound in Film and Television” (2:15-4:00), featuring exciting work on rockumentary by Michael Baker and sound in situation comedy by Foley artist Vanessa Ament-Gjenvick. Together, these panels should give newcomers a good sense of the future of sound studies.
  • One theme that has emerged this year is a renewed interest in processes of adoption and incorporation of sound technology. For that, consider attending “Transitional Soundtracks” on early Hollywood film music (Thursday, 3:00-4:45), “Channeling Stereo Histories” (Saturday, 5:00-6:45), and “Rethinking Technologies of Audiovision” (Sunday, 9:00-10:45).
  • There are two panels on sound in the mass media in Japan, each in a different period: “Archeologies of Intermediality in Prewar Japanese Cinema” (Friday, 2:15-4:00) and “Japanese Celebrity Cultures” (Saturday, 5:00-6:45). Only one is sponsored by Sound Studies, so the appearance of both may be a fortuitous coincidence.
  • Another cluster of panels forms around issues of voice, talk, and orality. On Wednesday, there’s “Orality and Storytelling” (10:00-11:45), followed by “Speech, Music and the Sound of Film and Media” (12:00-145). On Thursday, there’s “Spectators: Sound and Talk” (1:00-2:45) and “Vocal Projections: The Disembodied Voice in Documentary” (5:00-6:45). Then on Saturday there is “The Actor’s Voice” (1:00-2:45) and “Cinema Sound, Music, and Voice” (3:00-4:45).
  • Don’t forget the workshops! There’s great stuff this year on platform studies, spreadable media, and close reading, as well as several meetings on teaching and job searching. Attending these will give you a chance to hear from Mary Ann Doane, Michele Hilmes, Henry Jenkins, Peter Krapp, Jason Loviglio, Jason Mittell, Elena Razlogova and Jonathan Sterne, to name just a few.

That’s a lot of material, and it’s not even everything, which is precisely my point. For maybe the first time, SCMS has far more sound studies material than you can feasibly attend.

So is it time to indulge the pernicious scholarly habit of naming a moment of change and uncertainty as one of emergence? Should we declare that sound has come of age at last, a cliché that, as Michele Hilmes has pointed out, sound studies has been using for a hundred years?

Let’s not and say we did. There’s much more to do in terms of diversifying objects and cultures for sonic exploration. And rather than seeing papers that study sound in new ways, I’d love to see future presenters using sound in innovative ways to think about objects and events well outside the perimeter of sound studies, drawing experimental modes of listening in to the conference experience and challenging how scholarship itself is fashioned and displayed.

Chicago-based artist Nick Cave's "sound suits," Image by Flickr User Jeremy Zilar

Chicago-based artist Nick Cave’s “sound suits,” Image by Flickr User Jeremy Zilar

As well as being a point of analytical departure and arrival, after all, sound is also a way of traveling between points. Sterne is right when, in the introduction to The Sound Studies Reader,  he argues that sound studies should be a place where sonic imaginations are “challenged, nurtured, refreshed and transformed” (10),  but sound studies can do that for other kinds of imaginaries, too. Sound is a medium to be studied, but it is also a way of doing media studies, and that is a property that should be highlighted in a scholarly society open to transition.

Or, to put it another way, as sound scholarship worms its way ever further into the mainstream of SCMS, let’s do our best to keep it weird.

Note: Below I’ve listed times for panels that I’m guessing will be of most interest to SO! readers, plus special events and a few sessions that touch on professional matters. This year, SCMS has not released the room assignments on the PDF circulated prior to the event, so attendees will have to find that information in the printed catalog. I’m sorry for any errors or omissions. If your panel is missing or I’ve made some other mistake, please email me at nkhverma@gmail.com and I’ll be happy to amend this post. 

Neil Verma is a Harper-Schmidt Postdoctoral Fellow at the University of Chicago, where he teaches media aesthetics. Verma works on radio and its intersection with other media, and has taught subjects including film studies, sound, art history, literature, critical theory and intellectual history. His book, Theater of the Mind: Imagination, Aesthetics, and American Radio Drama, is published by the University of Chicago Press and is the winner of the 2013 SCMS First Book Prize.

Chicago-based artist Nick Cave's "sound suits," Image by Flickr User Jeremy Zilar

Chicago-based artist Nick Cave’s “Sound Suits,” Image by Flickr User Jeremy Zilar

Jump to WEDNESDAY, March 6
Jump to THURSDAY, March 7
Jump to FRIDAY, March 8
Jump to SATURDAY, March 9
Jump to SUNDAY, March 10

WEDNESDAY, MARCH 6

Session A 10:00 – 11:45 a.m.

A19. Film Music: Gender, Sexuality, and Taste Formations

Chair: Norma Coates, UNIVERSITY OF WESTERN ONTARIO

Jack Curtis Dubowsky, ACADEMY OF ART UNIVERSITY,  “Louisiana Story, Homoeroticism, Hollywood, and Americana Music”

Landon Palmer, INDIANA UNIVERSITY, BLOOMINGTON, “Pre‐existing Film Music as Traveling Text: The Case of 2001: A Space Odyssey”

Zhichun Lin,  OHIO STATE UNIVERSITY,  “Presenting Her through Music: The Theme Music of the Chinese Film Version of Letter from an Unknown Woman”

Norma Coates, UNIVERSITY OF WESTERN ONTARIO , “‘5% of It Is Good’: Leonard Bernstein, CBS Reports, and the Cultural Accreditation of Rock Music”

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A22. Orality and Storytelling

Chair: Sheila Petty, UNIVERSITY OF REGINA

Kester Dyer,  CONCORDIA UNIVERSITY, “Storytelling and Testimony: Archiving Melancholia in Alanis Obomsawin’s Kanehsatake: 270 Years of Resistance”

Katherine Brewer Ball,  NEW YORK UNIVERSITY, “The ‘Brainwashing’ of Patty Hearst and Sharon Hayes: Forging Alliances and Forgetting the Lines”

Yifen Beus, BRIGHAM YOUNG UNIVERSITY, HAWAII,  “Deterritorializing Essentialism: Narrating Place and Space in Filming the South Seas”

Sheila Petty, UNIVERSITY OF REGINA,  “Spaces in‐Between: Zahra’s Mother Tongue as Performative Documentary”

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Session B 12:00 – 1:45 p.m.

B19. Speech, Music, and the Sound of Film and Media

Chair: Heather Warren‐Crow, UNIVERSITY OF WISCONSIN‐MILWAUKEE

Nishant Shahani, WASHINGTON STATE UNIVERSITY, PULLMAN,  “‘I Have a Voice’: Speech, Silence, and the Redemption of Empire”

Eric Dienstfrey, UNIVERSITY OF WISCONSIN‐MADISON, “New Methods of Multichannel Surround Sound Analysis and Contemporary Film Aesthetics”

Brian Fauteux, UNIVERSITY OF WISCONSIN‐MADISON, “Satellite Sounds and the Transnational Circulation of Music”

Heather Warren‐Crow, UNIVERSITY OF WISCONSIN‐MILWAUKEE, “The Phonetics of Early Video Art”

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B21. Workshop on Publishing on Digital Platforms

Chair: Christopher Hanson,  SYRACUSE UNIVERSITY

Co‐Chair: Joan Saab, UNIVERSITY OF ROCHESTER

Kim Akass, UNIVERSITY OF HERTFORDSHIRE

Norm Hirschy,  OXFORD UNIVERSITY PRESS

Jennifer Porst, UNIVERSITY OF CALIFORNIA, LOS ANGELES

John David Rhodes,  UNIVERSITY OF SUSSEX

Andrew Young,  UNIVERSITY OF CALIFORNIA, LOS ANGELES

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Session C 2:00 – 3:45 p.m.

C4. Character and Performance

Chair: Matthew Solomon, UNIVERSITY OF MICHIGAN

Ganga Rudraiah, INDEPENDENT SCHOLAR, “Singing and Dancing like an ‘Aravaani’: Emerging Articulations of Transgender Performances in Contemporary Tamil Cinema”

Kim Wilkins, UNIVERSITY OF SYDNEY, “Cast of Characters: The American Eccentrics and Pure Cinematic Characterization”

Elizabeth Alsop, WESTERN KENTUCKY UNIVERSITY, “The Imaginary Crowd: Neorealism and the Uses of Coralità”

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C20. Earth‐Sensing: Media Above and Below the Surface

Chair: Nicole Starosielski, NEW YORK UNIVERSITY

Co‐Chair: Janet Walker, UNIVERSITY OF CALIFORNIA, SANTA BARBARA

Janet Walker, UNIVERSITY OF CALIFORNIA,
SANTA BARBARA, “Moving to Higher Ground?: Documentary Film and (Other) Scientific Audiovisualizations of Sea Level Rise”

Lisa Parks, UNIVESITY OF CALIFORNIA, SANTA BARBARA, “Signal Territories: Studying US Broadcast Infrastructure Using Google Earth”

Eva Hayward, UNIVERSITY OF NEW MEXICO, “Technologies of Migration: Conservation Science and Whale Media”

Nicole Starosielski, NEW YORK UNIVERSITY, “Sensing the Seafloor: Undersea Observatories and the Contours of Media Distribution”

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C21.Workshop on Platform Studies: Debating the Future of a Field

Chair: Caetlin Benson‐Allott, GEORGETOWN UNIVERSITY

Ian Bogost, GEORGIA INSTITUTE OF TECHNOLOGY

Jonathan Sterne, MCGILL UNIVERSITY

Steven Jones, LOYOLA UNIVERSITY, CHICAGO

Peter Krapp, UNIVERSITY OF CALIFORNIA, IRVINE

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Session D 4:00 – 5:45 p.m.

D12. Deep History II Insight from Artifacts

Chair: Mack Hagood, INDIANA UNIVERSITY

Kyle Stine, UNIVERSITY OF IOWA, “Cybernetic Movie Machines: Norbert Wiener’s Cinema Integraph and Richard S. Morse’s Data Soundtracks”

Sindhu Zagoren, UNIVERSITY OF NORTH CAROLINA‐CHAPEL HILL, “We Want the Airwaves: Early Radio and the Struggle for Airspace”

Mack Hagood, INDIANA UNIVERSITY, “Nixon, Mobster, Bigfoot: The Performative Audio Media Forensics of Irv Teibel”

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WEDNESDAY INDIVIDUAL PAPERS OF INTEREST

A 12. Veronica Zavala, UNIVERSITY OF CALIFORNIA,
SANTA BARBARA, “The Role of Spanish Language Radio in the United States”

B7. Brian Gregory, COLUMBIA UNIVERSITY, “Packaging Sound for Schools: Selling the Player‐Piano and the Phonograph to American Education”

C12. Matthew Malsky, CLARK UNIVERSITY, “Early CinemaScope Sound Experiments”

D4. Lauhona Ganguly, AMERICAN UNIVERSITY “Production Cultures and Cultural Re‐Productions in a Global Television Industry: Rethinking Global Cultural Economy with Indian Idol”

D7. David Harvey, UNIVERSITY OF IOWA,  “Rethinking Voice in the Essay Film Form”

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Special Events Wednesday Evening

6:00 – 8:00 pm

Caucus/SIG special event

Remembering the Life & Legacy of Alexander Doty

Grand Ballroom, Lobby Level

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6:00 – 9:00 pm

Caucus/SIG special event

Public Media 2.0

A Conversation on the Future of Urban Documentary and Social Change

Museum of Contemporary Art, 220 E. Chicago Avenue

Crown Fountain, Millennium Park, Chigaco, Image by Flickr user blg002

Crown Fountain, Millennium Park, Chigaco, Image by Flickr user blg002

THURSDAY, MARCH 7

Session E 9:00 – 10:45 a.m.

E9. Sounds and Silences

Chair: Charles Kronengold, STANFORD UNIVERSITY

Chelsey Crawford, OKLAHOMA STATE UNIVERSITY, “Sound Off: Absolute Cinematic Silence and the Unconscious”

Manuel Garin, UNIVERSITY OF POMPEU FABRA, “Silent Film Gameplay: Keaton, Mario, and the Misadventures of Visual Freedom”

Charles Kronengold, STANFORD UNIVERSITY, “Puzzling Interfacing, Musical Thinking, and Multisensory Experience”

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E16. Workshop. Scholarly Social Media: Successes, Failures, and Future

Chair: Elizabeth Ellcessor, INDIANA UNIVERSITY

Gina Giotta, CALIFORNIA STATE UNIVERSITY, NORTHRIDGE

Dan Leopard, SAINT MARY’S COLLEGE OF CALIFORNIA

Jamie Poster, IRVINE VALLEY COLLEGE

Andrew Miller, SACRED HEART UNIVERSITY

Leah Shafer, HOBART AND WILLIAM SMITH COLLEGES

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Session F 11:00 – 12:45 p.m.

F22. Norman Corwin and Transmedia Authorship

Chair: Neil Verma, UNIVERSITY OF CHICAGO

Jacob Smith, NORTHWESTERN UNIVERSITY, “Norman Corwin’s Radio Realism”

Mary Ann Watson, EASTERN MICHIGAN UNIVERSITY, “Norman Corwin and the Big Screen: Artistic Differences”

Shawn VanCour, UNIVERSITY OF SOUTH CAROLINA, “Corwin on Television: A Transmedia Approach to Style Historiography”

Alexander Russo, THE CATHOLIC UNIVERSITY OF AMERICA, “Sonic Legacy: Exploring the ‘Corwinesque’ in Radiolab”

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Session G 1:00 – 2:45 p.m.

G13. Spectators: Sound and Talk

Chair: CarrieLynn Reinhard, DOMINICAN UNIVERSITY

Leo Rubinkowski, UNIVERSITY OF WISCONSIN‐MADISON, “‘When You Know the Words to Sing . . .’: Sing‐Along Exhibition and Participatory Audiences”

Annie Dell’ Aria, THE GRADUATE CENTER, CUNY, “Doug Aitken’s Song 1: Cinema‐in‐the‐Round”

Carter Moulton, UNIVERSITY OF WISCONSIN‐MILWAUKEE, “Reading Accents: Subtitles and Spectatorship in Multiplex Cinema”

CarrieLynn Reinhard,DOMINICAN UNIVERSITY, “Answering the Whats, Hows, and Whys of Film Spectatorship: An Empirical Investigation and Comparison of Film Reception”

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Session H 3:00 – 4:45 p.m.

H16. Transitional Soundtracks: The Vicissitudes of Hollywood Film Music, 1927–1933

Chair: Katherine Spring, WILFRID LAURIER UNIVERSITY

Lea Jacobs, UNIVERSITY OF WISCONSIN‐MADISON, “Words and Music: Dialogue Underscoring in the Early Musical”

Michael Slowik, KUTZTOWN UNIVERSITY, “From Presentational Aesthetics to Narrative Absorption: Film Music in Warner Bros. Part‐Talkies, 1927–1929”

Jeff Smith, UNIVERSITY OF WISCONSIN‐MADISON, “What Exactly Is a Partial Cue?: Jurisdictional Conflict in Warner Bros. Films of the Early Sound Era”

Katherine Spring, WILFRID LAURIER UNIVERSITY and Maggie Clark, WILFRID LAURIER UNIVERSITY, “Trading on Songs: The Emergence of the Musical Genre in the Trade Press”

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H23. Workshop on Spreadable Media: Creating Meaning and Value in a Networked Culture.

Chair: Henry Jenkins, UNIVERSITY OF SOUTHERN CALIFORNIA

Whitney Phillips, NEW YORK UNIVERSITY

Ethan Tussey, GEORGIA STATE UNIVERSITY

Kevin Driscoll, UNIVERSITY OF SOUTHERN CALIFORNIA

Sam Ford, PEPPERCOMM

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Session I 5:00 – 6:45 p.m.

I7. Vocal Projections The Disembodied Voice in Documentary

Chair: Maria Pramaggiore, NORTH CAROLINA STATE UNIVERSITY

Shilyh Warren, UNIVERSITY OF TEXAS AT DALLAS, “Documentary Attunement and Earthly Crisis”

Maria Pramaggiore, NORTH CAROLINA STATE UNIVERSITY, “‘You’re Gonna Miss Me’: The Disembodied Voice in Rock Documentary”

Jean Walton, UNIVERSITY OF RHODE ISLAND, “Animating Voices, Onscreen and Off, in Kathleen Shannon’s Working Mothers”

Respondent: Jason Middleton, UNIVERSITY OF ROCHESTER

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I22. Off Beat
Music/Film Mismatches

Chair: Krin Gabbard, STONY BROOK UNIVERSITY

Caryl Flinn, UNIVERSITY OF MICHIGAN, “Christopher Plummer Learns to Sing”

Kathryn Kalinak, RHODE ISLAND COLLEGE, “How the West Was Off‐Beat: Howard Hawks, Dimitri Tiomkin, and the Score for The Big Sky”

Krin Gabbard, STONY BROOK UNIVERSITY, “‘What Is This Music?’: Jimmy Knepper with Charles Mingus and Tom Cruise”

Respondent: Kay Dickinson, CONCORDIA UNIVERSITY

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I23. Workshop on Success and Survival in the 21st Century: Career Strategies for Under‐
or Unrepresented Graduate Students and Early Career Faculty in Film and Media Studies

Chair: Theresa L. Geller GRINNELL COLLEGE

Co‐chair: Jeffrey Masko, PENNSYLVANIA STATE UNIVERSITY

Bambi Haggins, ARIZONA STATE UNIVERSITY

Sarah Projansky, UNIVERSITY OF UTAH

Julie Russo, BROWN UNIVERSITY

Maria San Filippo, WELLESLEY COLLEGE/HARVARD COLLEGE

Rebecca Gordon, FULBRIGHT FELLOW, NICARAGUA

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THURSDAY INDIVIDUAL PAPERS OF INTEREST

E20. Mark Hain, INDIANA UNIVERSITY, “Visualizing the Great American Songbook: Queer Archiving, Class, and Memory”

F3. Joan McGettigan, TEXAS CHRISTIAN UNIVERSITY, “Play This Movie Loud: Sound and Silence in Terrence Malick Films”

F4. Michelle Cho, BROWN UNIVERSITY, “K‐pop, YouTube and ‘Pop Cosmopolitanism’ in the Digital Age”

F7. Diego Zavala, MONTERREY INSTITUTE OF TECHNOLOGY AND HIGHER EDUCATION, “Voice, Testimony, and Reflexivity in Werner Herzog ́s Documentary Films”

F11. Shannon Mattern, THE NEW SCHOOL, “Echoes and Entanglements: A Sonic Archaeology of the City”

F13. Colleen Montgomery, UNIVERSITY OF TEXAS AT AUSTIN, “Pixarticulation: Vocal Performance in the Toy Story and Monsters Inc. Franchises”

G5. Steven Rybin, GEORGIA GWINNETT COLLEGE, “Beyond the Voice: Patterns of Performance in Terrence Malick’s Films”

G11. Chunfeng Lin, UNIVERSITY OF ILLINOIS,
URBANA‐CHAMPAIGN, “Noise in Chinese Neorealist Cinema: A Temporary Reverse Hierarchy (TRH) Model and Political Statements”

G20. Hannah Hamad, KING’S COLLEGE LONDON, “Musical Moments of Women’s Work and Affective Labor on Contemporary British Television”

H4. Regina Arnold, STANFORD UNIVERSITY, “Hardly Strictly Utopia: Race, Space, and the American Rock Festival”

H22. Maura Edmond, UNIVERSITY OF MELBOURNE, “Here We Go Again: Making (and Remaking) Music Videos After YouTube”

I3. Melissa Click, UNIVERSITY OF MISSOURI, “Making Monsters: Lady Gaga, Social Media, and Fan Culture”

I9. Vanessa Chang, STANFORD UNIVERSITY, “Audiovisualizations: Musical Screens and the Sound Image”

I12. Rachel Haidu, UNIVERSITY OF ROCHESTER, “Triangulation and Transmission in the Works of Black Audio Film Collective, James Coleman, and Steve McQueen”

I17. Desiree Garcia, ARIZONA STATE UNIVERSITY, “Everything Old Is New Again: The Sing‐Along Musical Film”

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Special Events Thursday Evening

5:30 – 7:00 pm

Youth Film Festival—Competition

DePaul University, Downtown Campus, 14 E. Jackson

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8:00 pm

Remix‐It‐Right

Rediscoveries in the Phil Morton Archive

Gene Siskel Film Center, 164 N. State Street

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9:00 pm

Chicago Symphonies: Nontheatrical Shorts from the Chicago Film Archives

Cinema Borealis, 1550 N. Milwaukee Avenue, 4th floor

(Please note: there is no elevator)

Seating is extremely limited. (Reservations Martin Johnson (martin.johnson@nyu.edu)

Frank Gehry-designed sound system at the Pritzker Music Pavilion in Millennium Park, Chicago, Image by Flickr User anita 363

Frank Gehry-designed sound system at the Pritzker Music Pavilion in Millennium Park, Chicago, Image by Flickr User anita 363

 

FRIDAY, MARCH 8

Session J 9:00 – 10:45 a.m.

J12. Gender Trouble across the Dial: Disrupting Conventions of Women’s Mediated Representation in Radio and Television, 1930–1960

Chair: Jennifer Wang, INDEPENDENT SCHOLAR

Jennifer Wang, INDEPENDENT SCHOLAR, “‘Recipe for Laughs’: Comedy While Cleaning in Housekeeping Radio Programs”

Kathryn Fuller‐Seeley, GEORGIA STATE UNIVERSITY, “‘What Are You Laughing At, Mary?’: Transgressive Women and Gender Performance on the Jack Benny Radio Program”

Catherine Martin, BOSTON UNIVERSITY,  “Adventure’s Fun, but Wouldn’t You Rather Get Married?: Gender Roles and the Office Wife in Radio Detective Dramas”

Joanne Morreale, NORTHEASTERN UNIVERSITY, “Dreams and Disruption: The Fifties Sitcom”

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J18. Workshop on Surface Tension: The Stakes and Fates of Close Analysis

Chair: Elena Gorfinkel, UNIVERSITY OF WISCONSIN‐MILWAUKEE

Co-chair: Karl Schoonover, UNIVERSITY OF WARWICK

Victor Perkins, UNIVERSITY OF WARWICK

Lesley Stern, UNIVERSITY OF CALIFORNIA, SAN DIEGO

Jean Ma, STANFORD UNIVERSITY

Mary Ann Doane, UNIVERSITY OF CALIFORNIA, BERKELEY

..

J19. Sound in Video Games and Interactive Media

Chair: Lori Landay, BERKLEE COLLEGE OF MUSIC

Chris Russell, NORTHWESTERN UNIVERSITY, “The Atari VCS and the Making of Digital Sound”

Costantino Oliva, UNIVERSITY OF MALTA, “Soundmarks in Digital Games Soundscapes”

Lori Landay, BERKLEE COLLEGE OF MUSIC ,“Sound, Embodiment, and the Experience of Interactivity in Video Games and Virtual Environments”

Respondent: Benjamin Aslinger, BENTLEY UNIVERSITY

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J23. Workshop on Digital Humanities and Film and Media Studies: Staging an Encounter

Chair: Miriam Posner, UNIVERSITY OF CALIFORNIA, LOS ANGELES

Co-Chair: Jason Mittell, MIDDLEBURY COLLEGE

Hannah Goodwin, UNIVERSITY OF CALIFORNIA, SANTA BARBARA

Jasmijn Van Gorp, UTRECHT UNIVERSITY

Jason Rhody, NATIONAL ENDOWMENT FOR THE HUMANITIES

Eric Faden, BUCKNELL UNIVERSITY

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Session K 12:15 – 2:00 p.m.

K14. Sounding the Radio Archive

Chair: Ian Whittington, MCGILL UNIVERSITY

Katherine McLeod, UNIVERSITY OF TORONTO, “Acoustic Archives: Listening to the CBC Radio Archives of Anthology”

Melissa Dinsman, UNIVERSITY OF NOTRE DAME, “Clogged Networks: The Theoretical and Practical Difficulties of Radio Archivization”

Ian Whittington, MCGILL UNIVERSITY, “Tracing the Voice: Una Marson and the Ethics of the Radio Archive”

Respondent: Debra Rae Cohen, UNIVERSITY OF SOUTH CAROLINA

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* Meeting of the Sound Studies Schoarly Interest Group *

12:15 – 2:00 pm

The Club International Room, Lobby Level

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Session L 2:15 – 4:00 p.m.

L4. Live Sound in Film and Television

Chair Benjamin Wright, UNIVERSITY OF SOUTHERN CALIFORNIA

Co-chair: Randolph Jordan, SIMON FRASER UNIVERSITY

Benjamin Wright, UNIVERSITY OF SOUTHERN CALIFORNIA ,“We’ll Fix it in Post: The Professional and Creative Constraints of Production Sound Mixing”

Vanessa Ament‐Gjenvick, GEORGIA STATE UNIVERSITY,  “Mad About You: Production Sound Challenges in 
the Television Situation Comedy with Live Studio Audience”

Randolph Jordan, SIMON FRASER UNIVERSITY, “Hearing the Cinematic City: Location Film Sound and Soundscape Research in Acoustic Ecology”

Michael Baker, UNIVERSITY OF BRITISH COLUMBIA , 
“The Sound of Rockumentary: Location Recording and Documentary Sound Practice”

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L11. Archeologies of Intermediality in Prewar Japanese Cinema

Chair: Michael Raine, UNIVERSITY OF WESTERN ONTARIO

Keiko Sasagawa, KANSAI UNIVERSITY, “Silent Films with Popular Music: The Intermediality of Kouta Films, 1896–1929”

Michael Raine, UNIVERSITY OF WESTERN ONTARIO, “A Revolution in Film Accompaniment: Record Playback Systems in Japanese Silent Cinemas”

Chie Niita, WASEDA UNIVERSITY, “Japanese Cinema and the Radio”

Johan Nordström, WASEDA UNIVERSITY, “Songs that Bind: Connections between the Early Japanese Sound Cinema and the Record Industry”

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L14. Genre Studies: Variations on the Musical

Chair: Frances Smith, UNIVERSITY OF WARWICK

Paulina Suarez, NEW YORK UNIVERSITY, “Stage, Backstage, Everyday Life: Scenes of Transition in the Cabaret Picture”

Sean Griffin, SOUTHERN METHODIST UNIVERSITY, “‘And Then I Wrote . . .’: Enshrining the American Songbook in the Postwar Musical Biopic”

Amanda McQueen, UNIVERSITY OF WISCONSIN‐MADISON, “Songs and Shadows: The Question of the Classical Film Noir Musical, 1941–1958”

Frances Smith, UNIVERSITY OF WARWICK, “‘(I’ve Had) the Time of My Life’: The Afterlife of Dirty Dancing (Ardolino, 1987) in the Contemporary Romantic Comedy”

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L16. Workshop on Graduate Education in Film and Media Studies

Chair: Masha Salazkina, CONCORDIA UNIVERSITY

Neepa Majumdar, UNIVERSITY OF PITTSBURGH

Dana Polan, NEW YORK UNIVERSITY

Jennifer Holt, UNIVERSITY OF CALIFORNIA, SANTA BARBARA

Shelley Stamp, UNIVERSITY OF CALIFORNIA, SANTA CRUZ

Masha Salazkina, CONCORDIA UNIVERSITY

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FRIDAY INDIVIDUAL PAPERS OF INTEREST

J9. Anastasia Saverino, NEW YORK UNIVERSITY, “Liveness Ever After: Popular Music and the Aesthetics of Referentiality”

J14. Richard McCulloch, UNIVERSITY OF EAST ANGLIA, “‘When Camp Goes Mainstream?’: Eurovision Audiences, Ironic Appreciation, and the Production of Comedy”

L5. Martha Shearer, KING’S COLLEGE LONDON, “‘Don’t You Realize a Big City Like this Changes All the Time?’: The Hollywood Musical and the Rise of Cold War New York”

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Special Events Friday Evening

4:15 – 5:30 pm

Awards Ceremony

Grand Ballroom, Lobby Level

Noise Canceling Tunnel at the Illinois Institute for Technology, image by Flickr User Zol87

Noise Canceling Tunnel at the Illinois Institute for Technology, image by Flickr User Zol87


SATURDAY, MARCH 9

Session M 9:00 – 10:45 a.m.

M6. “Hot‐Jazz in Stone”: 
The Urban Landscapes and Soundscapes of Film Noir

Chair: Richard Ness, WESTERN ILLINOIS UNIVERSITY

Michael Dwyer, ARCADIA UNIVERSITY, “It Takes the Village: The Neighborhood outside Hitchcock’s Rear Window”

Jans Wager, UTAH VALLEY UNIVERSITY, “From Paris to Ishpeming: Miles Davis, Duke Ellington, and the Landscape of Noir”

Richard Ness, WESTERN ILLINOIS UNIVERSITY, “Killer Riffs: Music as Cultural Identifier in Contemporary Neo‐Noir”

Michele Schreiber, EMORY UNIVERSITY, “David Fincher1s San Francisco as Neo‐Noirscape”

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M17.  Workshop on Strategies for the Academic Job Market

Chair: Ashley Elaine, York UNIVERSITY OF ALBERTA

Maruta Vitols, EMERSON COLLEGE

Scott Richmond, WAYNE STATE UNIVERSITY

Homay King, BRYN MAWR COLLEGE

Aaron Baker, ARIZONA STATE UNIVERSITY

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M23. Workshop
 on Critical Approaches to Studying the Radio Industries

Chair: Eleanor Patterson, UNIVERSITY OF WISCONSIN‐MADISON

Brian Fauteux, UNIVERSITY OF WISCONSIN‐MADISON

Jason Loviglio, UNIVERSITY OF MARYLAND, BALTIMORE COUNTY

Jeremy Morris, UNIVERSITY OF WISCONSIN‐MADISON

Elena Razlogova, CONCORDIA UNIVERSITY

Alexander Russo, THE CATHOLIC UNIVERSITY OF AMERICA

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Session N 11:00 – 12:45 p.m.

N1. Networked Media

Chair: Patrick Jagoda, UNIVERSITY OF CHICAGO

Doron Galili, OBERLIN COLLEGE, “Networked Media Fantasies and the Project of Networking the World”

Max Dawson, NORTHWESTERN UNIVERSITY, “‘It’s the Network!’: Broadcasting, Cellular, and the Politics of Networks”

Patrick Jagoda, UNIVERSITY OF CHICAGO, “Between: Network Aesthetics and Networked Games”

Respondent: Wendy Chun, BROWN UNIVERSITY

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N4. Radio in Transition, Past and Present

Chair: Cynthia Meyers, COLLEGE OF MOUNT SAINT VINCENT

Kyle Barnett, BELLARMINE UNIVERSITY, “Rethinking Radio’s Rise through the Phonograph’s Fall”

Cynthia Meyers, COLLEGE OF MOUNT SAINT VINCENT, “Radio with Pictures: How the Ad Industry in the 1940s Debated the Transition from Radio to TV”

Andrew Bottomley, UNIVERSITY OF
WISCONSIN‐MADISON, “The Liveness of Internet Radio: Streaming, Sociability, and the Experience of Radio in the Convergence Era”

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Session O 1:00 – 2:45 p.m.

O15. The Actor’s Voice

Chair: Katherine Kinney, UNIVERSITY OF CALIFORNIA, RIVERSIDE

Kelly Kirshtner, UNIVERSITY OF WISCONSIN‐MILWAUKEE, “Actor/Microphone: Acoustic Presence in Sound Collection Practices”

Yiman Wang, UNIVERSITY OF CALIFORNIA, SANTA CRUZ, “Speaking in a ‘Forked Tongue’: Anna May Wong’s Linguistic Cosmopolitanism”

Katherine Kinney, UNIVERSITY OF CALIFORNIA, RIVERSIDE, “The Resonance of Brando’s Voice”

Katherine Fusco, UNIVERSITY OF NEVADA, RENO, “Voices from Beyond the Grave: Virtual Tupac’s Live Performance at Coachella”

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O23. Workshop on
Cinema and Media Studies in Higher Education: Perspectives from Administrators

Chair: Ted Hovet, WESTERN KENTUCKY UNIVERSITY

Co-Chair: Charles Wolfe, UNIVERSITY OF CALIFORNIA, SANTA BARBARA

Michele Hilmes, UNIVERSITY OF WISCONSIN‐MADISON

R. Barton Palmer, CLEMSON UNIVERSITY

Murat Akser, KADIR HAS UNIVERSITY

Deniz Bayrakdar, KADIR HAS UNIVERSITY

Mary Desjardins, DARTMOUTH COLLEGE

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Session P 3:00 – 4:45 p.m.

P11. Cinema Sound, Music, and Voice

Chair: Kate McQuiston,  UNIVERSITY OF HAWAII, MANOA

Babak Tabarraee,  UNIVERSITY OF BRITISH COLUMBIA “A Pragmatic Approach to the Metaphor of Silence in the Oeuvre of Abbas Kiarostami”

Paula Musegades, BRANDEIS UNIVERSITY, “I Don’t Think We’re in the Nineteenth Century Anymore: Copland’s Establishment of Atmosphere in Golden Age Hollywood Films”

Nilo Couret, UNIVERSITY OF IOWA, “The City Listened: Ethnography, Vernacular Speech, and Niní Marshall’s Vocal Stardom”

Kate McQuiston, UNIVERSITY OF HAWAII, MANOA, “Germanic Yearnings and Musical Dreams: Rehearing Stanley Kubrick”

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P12. Remixing Hip-Hop Film and Visual Culture

Chair: Michele Prettyman‐Beverly, MIDDLE GEORGIA COLLEGE

Lauren Cramer, GEORGIA STATE UNIVERSITY, “‘What Does Keepin’ It Real Look Like?’: Examining the Visual Language of Hip‐Hop Album Covers”

Charles Linscott, OHIO UNIVERSITY, “DJ Spooky’s Hip‐Hop Time Machine”

Michele Prettyman‐Beverly, MIDDLE GEORGIA COLLEGE, “Beautiful, Dark, and Twisted: Kanye West, Genius, and Madness in Hip‐Hop Film and Visual Culture”

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P18. Economies of Media Industries

Chair: Brett Gary, NEW YORK UNIVERSITY

Josh Shepperd, UNIVERSITY OF WISCONSIN‐MADISON, “The Emergence of the Non‐Monetary Economy of Public Broadcasting at the Allerton House Seminars, 1949–1950”

Colin Burnett, WASHINGTON UNIVERSITY, “Rethinking the Culture‐Style Conundrum in Film Studies: Marketplace, Language, Artistry”

James Lastra, UNIVERSITY OF CHICAGO, “The Economies of Modern Sound Design”

Douglas Gomery, UNIVERSITY OF MARYLAND/LIBRARY OF AMERICAN BROADCASTING, “Economies of Scale in Mass Media: The Case of Radio Broadcasting”

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Session Q 5:00 – 6:45 p.m.

Q11. Japanese Celebrity Cultures

Chair: Colleen Laird, UNIVERSITY OF OREGON

Junji Yoshida, OLD DOMINION UNIVERSITY, “The Works of Samurai Legend in the Age of Mechanical Reproduction: Restoring the Voice of Silent Humor in Horo Zanmai”

Kyoko Omori, HAMILTON COLLEGE, “In Occupied Japan, A Radio Star is Born: The Role of the Allied Powers in the Creation of an Anti‐governmental Political Satire Program”

Colleen Laird, UNIVERSITY OF OREGON, “AKB48’s Tears of Surprise: Teen Idol as Fetish and the Consumption of Star Image”

Forrest Greenwood, THE COLLEGE OF ST. SCHOLASTICA, “A Spectral Pop Star Takes the Stage: Hatsune Miku and the Materialization of the Ephemeral in Contemporary Otaku Culture”

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Q18. Channeling Stereo Histories The Shaping of Innovation in Film and Television Sound

Chair: Helen Hanson, UNIVERSITY OF EXETER

Helen Hanson, UNIVERSITY OF EXETER, “Invention, Innovation, and Compromise: The Shaping of Multi‐Channel and Multi‐Speaker Film Sound in Hollywood’s Studio Era”

Jay Beck,  CARLETON COLLEGE, “Theorizing Stereo: The Growth, Decline, and Rebirth of Multi‐Channel Film Sound”

Katherine Quanz, WILFRID LAURIER UNIVERSITY, “Canadian Films’ Slow Transition to Multi‐Channel Sound”

James Lyons, UNIVERSITY OF EXETER, “‘You Don’t Need Stereo TV for Laverne and Shirley’: The Development of American Stereo TV Broadcasting

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SATURDAY INDIVIDUAL PAPERS OF INTEREST

M15. Paul Reinsch, CHAPMAN UNIVERSITY, “Song(s) of the South: Country Music in/and Exploitation Cinema”

M16. Terri Francis, YALE UNIVERSITY, “Baker’s Burlesque: The Ironies and Erotics of Josephine Baker’s Celebrity”

M21. Jennifer Porst, UNIVERSITY OF CALIFORNIA, LOS ANGELES, “The Sound Track Ban: The American Federation
of Musicians’ Role in Excluding Feature Films from Television before 1955”

P13. Kristen Galvin, UNIVERSITY OF CALIFORNIA, IRVINE, “Jem: Girlhood, MTV, and Technological Transformation in the 1980s”

P19, Olufunmilayo Arewa, UNIVERSITY OF CALIFORNIA,
 IRVINE ,“Making Music: Copyright Law and Creative Processes”

O6. Akil Houston, OHIO UNIVERSITY, “Unrequited Love: Hip‐Hop Culture and 1970s Black Cinema”

O14. Bill Kirkpatrick, DENISON UNIVERSITY, “Voices Made for Print: Disabled Voices on the Radio”

O17. Barbara Klinger, INDIANA UNIVERSITY, “From Theaters to the Airwaves: Classic Hollywood Films and Transmedia in the 1940s”

Q9. Isabel Huacuja Alonso, UNIVERSITY OF TEXAS AT AUSTIN, “Censoring Film Music in All‐India Radio and the Case of a Failed Auditory Utopia”

Q15. Assem Nasr, INDIANA UNIVERSITY–PURDUE UNIVERSITY, FORT WAYNE, “Reliable Sources: Oral Cultures and News Media in Lebanon”

Q22. Sarah Kessler, UNIVERSITY OF CALIFORNIA, IRVINE, “I’m Your Puppet: Nina Conti’s Her Master’s Voice”

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Special Events Saturday Evening

8:00 – 11:00 pm

SCMS Screen Test

Live the Warholian Experience at a Multiple‐Projection Event

Featuring “Screen Tests” of attendees shot by legendary Chicago filmmaker Judy Hoffman

Gallery 400, University of Illinois at Chicago, 400 s. Peoria Street

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8:00 pm

With a Voice Like the Lake

New Experimental Media Work from Chicago

The Nightingale Theater, 1084 N. Milwaukee Avenue.

Signs designating public performance areas, downtown Chicago, Image by Flickr User romanaklee

Signs designating public performance areas, downtown Chicago, Image by Flickr User romanaklee

 

SUNDAY, MARCH 10

Session R 9:00 – 10:45 a.m.

RI. Meaning and Multiplicity in Game Environments

Chair: Nina Huntemann, SUFFOLK UNIVERSITY

Lyn Goeringer, OBERLIN CONSERVATORY OF MUSIC, “Beyond Guitar Hero: Sound Shapes, Sonic Inclusivity and Peer‐to‐Peer Musical Experience”

Ian Peters, GEORGIA STATE UNIVERSITY, “Peril Sensitive Sunglasses, Batarangs, and Dark Lords of the Sith
in Miniature: Videogame Feelies, Diegesis, and the Tangible Gaming Experience”

Benjamin Aslinger, BENTLEY UNIVERSITY, “Unlocking Kurt: Celebrity Likenesses and Ludic Music”

Nina Huntemann, SUFFOLK UNIVERSITY, “Foul Play v. Fair Use: Likeness Licensing Litigation in Sports Video Games”

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R20. Rethinking Technologies of Audiovision

Luke Stadel, NORTHWESTERN UNIVERSITY

Jonathan Crylen, UNIVERSITY OF IOWA, “The Whale Who Wanted to Sing at the Ciné: Humpback Whale Recordings and Film Sound”

Hannah Frank, UNIVERSITY OF CHICAGO, “Beyond Mickey‐Mousing: American Animated Cartoons Learn to Talk, 1926–1933”

Luke Stadel, NORTHWESTERN UNIVERSITY, “Two‐Way TV”

Respondent: Steve Wurtzler, COLBY COLLEGE

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* Meeting of the Radio Studies Scholarly Interest Group*

The Club International Room, Lobby Level

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SUNDAY INDIVIDUAL PAPERS OF INTEREST

R5. Kate Newbold, NORTHWESTERN UNIVERSITY, “Sounding TV History: Boundaries of the Archive, Memory, and Personal Media Histories in the Case of Phil Gries’s Archival Television Audio”

R12. Mika Turim‐Nygren, UNIVERSITY OF ILLINOIS, CHICAGO, “Tevye: Language, Sound, and the Resonance of Ritual in the Late Yiddish Cinema”

R19. Christopher Cwynar, UNIVERSITY OF WISCONSIN‐MADISON, “In a Town This Size: The Vinyl Café, the CBC, and the Nostalgic Mythos of Small‐Town Canada”

S1. Theodora Trimble, UNIVERSITY OF PITTSBURGH, “When All Boys Become Men: Russian Pop Music and the Global Ethnographic Idiom”

S4. Mark Lynn Anderson, UNIVERSITY OF PITTSBURGH, “Roads to Ruin; or, the Woman’s Voice in Late Silent Cinema”

S11. Sushmita Banerji, UNIVERSITY OF IOWA, “Band‐Baaja in the Background: Manmohan Desai’s Music”

Chicago Blues Festival, 2008, Image by Flickr User Janet and Phil

Chicago Blues Festival, 2008, Image by Flickr User Janet and Phil

Interested in checking out the last few years of “Sound at the SCMS”?  Peep  the following links:

“Sound at SCMS 2012,” 26 March 2012

“Sound at SCMS 2011,” 28 February 2011

Sound at AMS/SEM/SMT 2012

This week brings us #musicon12, the megaconference of the American Musicological Society (AMS), the Society for Ethnomusicology (SEM), and the Society for Music Theory (SMT). This will be the third joint conference of these societies, after Oakland in 1990 and Toronto in 2000. These roughly decennial gatherings of the three principal scholarly societies of music scholarship provide increased opportunities for cross-disciplinary conversations and amazing live performances. A fact augmented even more by the selection of New Orleans, a city known for its music, for this year’s meeting.

The conference takes place in the Sheraton and Astor Crowne Plaza hotels from this Wednesday, October 31st through Sunday, November 4th. It will be preceded by two events. The first, occurring Monday, October 29th and Tuesday, October 30th, at Tulane University’s Rogers Memorial Chapel, is Ecomusicologies2012, a pre-conference organized by the AMS Ecocriticism Study Group and the SEM Ecomusicology Special Interest Group. The second, all day Wednesday, October 31st, is the Preconference Symposium on Crisis and Creativity, held at the Lavin-Bernick Center for University Life at Tulane University.

The disciplines of musicology, ethnomusicology, and music theory have focused on sound for centuries. They are the disciplines that Michael Bull argues Sound Studies “goes beyond” in the upcoming anthology Sound Studies. While such a description could lead to the categorization of these disciplines as theoretically or methodologically antiquated, #musicon12 is too large and significant for Sound Studies to ignore, with over 600 individual presentations that all deal with sound or music somehow. The first eleven papers, in chronological order, should give some idea of the overall scope:

Dorcinda Knauth (State University of New York, Dutchess), “Composing the Future by Listening to the Musical Past: Islamic Exegesis in Javanese Folksongs”
Ruth Davis (University of Cambridge), “The Pilgrimage to ‘El-Ghriba’ and the Musical Aesthetics of a Muslim-Jewish Past”
Abigail Wood (University of Haifa, Israel), “Sound, Aesthetics, and the Narration of Religious Space in Jerusalem’s Old City”
Jonathan Dueck (Duke University), “Musical Lives and Aesthetics in the Worship Wars”
Kim Carter Muñoz (University of Washington), “‘¡Todos somos huastecos! ‘We are all Huastecan!’: Performance of the Democratization of Son Huasteco at El Festival de la huasteca (The Festival of the Huasteca)”
Raquel Paraíso (University of Wisconsin-Madison), “Festival Son Raíz: Building Community and Signifying Identity and Culture Ownership across Mexican Regions”
Ian Middleton (University of Illinois, Urbana-Champaign), “Identity, Peace, and Learning at Rural Music Festivals in Colombia’s Caribbean Coast”
Brenda M. Romero (University of Colorado, Boulder), “‘El Carnaval de Río Sucio No Es Festival’ / ‘The Carnival of Río Sucio is Not a Festival’”
Michael O’Toole (University of Chicago), “Rehearsing Publics in a ‘Turkish Art Music’ Ensemble in Berlin”
Suzanne Wint (University of Chicago), “Rehearsing the Social: Becoming a Performer in Kampala’s Classical Music Scene”
Gregory Weinstein (University of Chicago), “Recording Rehearsing: The Hidden ‘Process of the Classical Studio Session’”

But for the sake of argument, if Sound Studies is something more than simply the application of long-standing disciplinary approaches to sonic works and events, if, as Jonathan Sterne proposed this year in his introduction to The Sound Studies Reader, “the difference between sound studies and… other fields is that they don’t require engagement with alternative epistemologies, methods, or approaches” (4), then we are inclined to pay attention to that work that reaches beyond the limits of conventional music scholarship, namely the sort which strives for some sort of critical self-reflection or interdisciplinary ambition.

Lost Bayou Ramblers. Borrowed from phillipleroyer on Flickr.

This is not an easy task given the vast number of papers and performances at such a large conference and the scarcity of information found in brief titles and abstracts. We can assume that every presentation challenges these conventions to some extent, but for the sake of this preview, here are a few items that venture beyond the traditional limits of music scholarship. You can find the full #musicon12 program here.

Featured Image: Mardi Gras 2005, By Robert Garcia, The City Project

Bill Bahng Boyer is an adjunct professor of music, writing and rhetoric at Dartmouth College. He is also a doctoral candidate in music at New York University, completing a dissertation on public listening in the New York City subway system.

Jump to MONDAY, October 29
Jump to TUESDAY, October 30
Jump to WEDNESDAY, October 31
Jump to THURSDAY, November 1
Jump to FRIDAY, November 2
Jump to SATURDAY, November 3
Jump to SUNDAY, November 4

New Orleans Jazz National Historical Park, 2005, Borrowed From Robert Garcia, The City Project

MONDAY, October 29

Ecomusicologies2012

All events at Rogers Memorial Chapel, Tulane University

5-6pm Soundwalk

Tyler Kinnear (University of British Columbia), “Environmental Listening and the Tulane Soundscape” (meeting place outside the entrance of the Rogers Memorial Chapel, Tulane University)

7-9pm Paper Jam

Chair: Aaron S. Allen (University of North Carolina, Greensboro)

Joe Browning (School of Oriental and African Studies, University of London) (virtual presentation), “Crane Calls and Shakuhachi Sounds: Interconnections, Disjunctures and New Directions in the Tsuru no Sugomori Pieces”

Travis Stimeling (Millikin University) (virtual presentation), “Music, Television Advertising, and the Green Positioning of the Global Energy Industry in the United States”

Olga Sánchez-Kisielewska (Northwestern University) (virtual presentation), “Theorizing the Musical Landscapes of John Luther Adams”

Andrew Mark (York University) (virtual presentation), “Consciousness, Solidarity, and Musicking: Ecoethnographic Justice”

Leah G. Weinberg (University of Michigan), “Orchestrating Nature: Music, Manipulation, and 1950s America in Disney’s True- Life Adventure Films”

Settimio Fiorenzo Palermo (Middlesex University), “Sounds Heard: the Environmental Ethics & Aesthetics of Hugh Davies’s Music”

Sabine Feisst (Arizona State University), “Negotiating Nature & Music Through Technology: Ecological Reflections in the Works of Maggi Payne & Laurie Spiegel”

The Canal Street Line. Borrowed from Hmeriomx on Flickr.

TUESDAY, October 30

Ecomusicologies2012 (cont.)

All events at Rogers Memorial Chapel, Tulane University

8:30-10:30am Panel: Beyond Metaphor

Mark Pedelty (University of Minnesota), Chair

Marc Perlman (Brown University), “Instrument Builders As Environmental Activists: A Tale of Two Tonewoods”

Kevin Dawe (University of Leeds), “Small is Beautiful: Guitar Making, Sustainability and Community Building in Britain and Africa”

Jeff Todd Titon (Brown University), “Why Thoreau?”

Jennifer C. Post (New Zealand School of Music, Victoria University, Wellington), “Beyond Birds: (Ethno)musicologists, Environmental Scientists & the Evolution of Soundscape Ecology”

11am-1pm Panel: 20th & 21st-century Composers

Denise Von Glahn (Florida State University), Chair

Eric Drott (University of Texas at Austin), “The Peasant’s Voice and the Tourist’s Gaze:  Listening to Landscape in Luc Ferrari’sPetite symphonie intuitive pour un paysage de printemps”

You Nakai (New York University), “An Electronic Ecology:  The Natures of David Tudor’s Electronic Music”

Jacob A. Cohen (The Graduate Center, CUNY), “Carl Ruggles, Walt Whitman, and the Gendered Place of Men and Mountains”

Joseph Finkel (Arizona State University), “Searching for a Sonic Ecology:  John Luther Adams’s Dark Waves”

2-3:30pm, Panel: Contemporary Issues

Sabine Feisst (Arizona State University), Chair

Melissa J. de Graaf (University of Miami), “‘The Music of Nature Makes Me Dream and Sleep’: Intersections of Nature, Gender, and Ultramodernism”

Alexandra Hui (Mississippi State University), “Agency and Aural Rights: Negotiating the Soundscape, 1948 to the Present”

Tyler Kinnear (University of British Columbia), “Emergent Soundscapes: Uses of Nature and Technology in Two Electroacoustic Compositions”

4-6pm, Panel: Ethnographic Approaches

William Bares (University of North Carolina, Asheville), Chair

Dan Bendrups (Queensland Conservatorium Resarch Centre, Griffith University), “Mapping Outdoor Music Festival Engagement with Ecological and Environmental Issues in Australia”

Robin Ryan (Western Australian Academy of Performing Arts, Edith Cowan University), “Eucalyptus as Musical Resource: Some Ecological Considerations”

Michael Silvers (University of California, Los Angeles), “Birdsong, Popular Music, &Predicting Rain in Northeastern Brazil”

Charlotte D’Evelyn (University of Hawaii), “Sounds of the Grasslands: An Ecomusicological Crisis of Romanticism, Loss, & Inheritance in Inner Mongolia, China”

6:30-8pm, Panel: Canadian Perspectives

Ellen Waterman (Memorial University of Newfoundland), Chair

Kate Galloway (Memorial University of Newfoundland), “Sounding the Environmental Past and Present: Repurposing and Representing Soundscape in Contemporary Canadian Compositions”

Erin Scheffer (University of Toronto), “The Mis-imagined Native: Musically Constructing Nativeness in 1940s Canadian Radio and Film Docudramas”

Jeremy Strachan (University of Toronto), “Sounding Empire: Coloniality and Environment in Canadian Art Music”

8-9pm, Reception & Concert

James Harley (University of Guelph), computer, and Ellen Waterman (Memorial University of Newfoundland), amplified flutes, “Birding,” an eco-improvisational performance by ~spin~

Borrowed from mattbyrne on Flickr.

WEDNESDAY, October 31

SEM Pre-conference Symposium, Crisis and Creativity

All events at Lavin-Bernick Center for University Life, Tulane University

9:00-10:30am, Hurricane Katrina and New Orleans

Matt Sakakeeny (Tulane University), Chair

Nick Spitzer, Professor of Anthropology (Tulane University), Holly Hobbs, Director of the NOLA Hip-Hop Archive (Tulane University), Bennie Pete, leader of Hot 8 Brass Band

10:45-12:15pm New Realities: Haitian Performing Arts and the Built Environment

Joyce Jackson (Louisiana State University), Chair

Gage Averill, Dean of Arts (University of British Columbia)

Michael Largey, Professor of Ethnomusicology (Michigan State University)

Jean Montes, Director of Orchestral Studies (Loyola University New Orleans)

1:15-2:45pm, Environmental Crises in South Louisiana: Scientific, Sociological, and Ethnomusicological Perspectives

Mark DeWitt (University of Louisiana at Lafayette), Chair

Tommy Michot, Research Scientist (UL Lafayette), and member of Les Frères Michot

Robert Gramling, Professor of Sociology (UL Lafayette)

Mark DeWitt, Professor of Music (UL Lafayette)

3:00-5:00pm, Field Trip by Bus to Musician’s Village, New Orleans Area Habitat for Humanity (Upper Ninth Ward), House of Dance and Feathers (Lower Ninth Ward)

Milterngerger House. Borrowed from DavidPaulOhmer on Flickr.

THURSDAY, November 1

8:30-10:30am, The Beautiful, The Good, and The Story: Aesthetics and Narrative in Religious Music

Session 1-1 (SEM) A: Astor Ballroom 1

Jonathan Dueck (Duke University), Chair

Dorcinda Knauth (State University of New York, Dutchess), “Composing the Future by Listening to the Musical Past: Islamic Exegesis in Javanese Folksongs”

Ruth Davis (University of Cambridge), “The Pilgrimage to ‘El-Ghriba’ and the Musical Aesthetics of a Muslim-Jewish Past”

Abigail Wood (University of Haifa, Israel), “Sound, Aesthetics, and the Narration of Religious Space in Jerusalem’s Old City”

Jonathan Dueck (Duke University), “Musical Lives and Aesthetics in the Worship Wars”

12:30-1:30pm, SEM Sound Studies Special Interest Group Meeting

S: Oakley

3:30-5:00pm, On Bells, Bugs, and Disintegrating Tape: Listening for Metaphysics in Ambient Sound

Session 1-44 AMS/SEM S. Edgewood

Mitchell Morris (University of California, Los Angeles), Chair

Paul Chaikin (University of Southern California), “Clattering Bells as a Field of Experience and Cognition”

James Edwards (University of California, Los Angeles), “Nature and the Metaphysics of Voice in Edo Period Aesthetics”

Joanna Demers (University of Southern California), “The Ethics of Apocalypse”

4:00-5:30pm, Musically Meaningful Soundscapes

Session 1-52 SEM S: Maurepas

Tom Porcello (Vassar College), Chair

Alison Furlong (Ohio State University), “Sound, Space, and Social Practice in the Zionskirche”

Kate Galloway (Memorial University of Newfoundland), “Sounding and Composing the Harbour: Performing Landscape and Re-contextualizing the Soundscape of Place in the Harbour Symphony (St. John’s, Newfoundland)”

Jessamyn Doan (University of Pennsylvania), “‘Bringin’ Back the Roots’: Rearticulating a Creole Sound in Southern Louisiana”

5:30–6:30pm, SEM First-Time Attendees and New Members

Reception S: Sheraton Grand B

5:30–6:30pm, AMS Ecocriticism SG* and SEM Ecomusicology SIG Joint Business Meeting

S: Oak Alley

7:30–midnight, Zydeco Dance Lesson and Evening at Rock’n’Bowl

Organized by the SEM 2012 Local Arrangements Committee and the SEM Dance, Movement, and Gesture Section

Dance Lesson at Sheraton Grand E (no ticket required), 7:30–8:30 p.m.

Evening at Rock’n’Bowl. Bus Departs Sheraton: 8:45 p.m. Bus Departs Rock’n’Bowl for Sheraton: 12:00 midnight

8:00–11:00 AMS Music and Philosophy SG Session

A: Astor Ballroom III

8:00-11:00pm, Fantasy, Cinema, Sound, and Music

Session 1-58 AMS S: Oak Alley

Mark Brill (University of Texas at San Antonio)

James Deaville (Carleton University)

J. Drew Stephen (University of Texas at San Antonio)

Jamie Lynn Webster (Portland, Ore.)

8:00-11:00pm, Music and Nature: Relations, Awareness, Knowledge

Session 1-64 AMS S: Borgne
Sponsored by the AMS Ecocriticism SG

Aaron Allen (University of North Carolina, Greensboro), Chair

Kevin Dawe (University of Leeds), “RELATIONS—A Social and Environmental History of Small Guitar Workshops in England”

Sabine Feisst (Arizona State University), “AWARENESS—‘Hello, the Earth is Speaking’: Four Case Studies of Ecological Composition, Performance, and Listening”

David E. Cohen (Columbia University), “KNOWLEDGE—Nature, Culture, and the First Principle(s) of Music: Two Myths of Theoretical Revelation”

Borrowed from prayitno on Flickr.

FRIDAY, November 2

7:00–8:00am, SEM SIG for Voice Studies

S: Estherwood

7:00–8:30am, SMT Committee on the Status of Women

S: Roux Bistro Private

9:00-noon, The Ecomusicology Listening Room

Session 2-17 AMS/SEM S: Gallier
Co-Sponsored by the SEM Sound Studies Interest Group and the AMS Popular Music Study Group

Mark Pedelty (University of Minnesota), Chair

Robert Fallon (Carnegie Mellon University), Ellen Waterman (Memorial University of Newfoundland), Tyler Kinnear (University of British Columbia), Aaron Allen (University of North Carolina, Greensboro), Denise Von Glahn (Florida State University), Kate Galloway (Memorial University of Newfoundland), Naomi Perley (CUNY), William Bares (Harvard University), Rachel Mundy (Columbia University), Jeremy Woodruff (University of Pittsburgh), Justin D. Burton (Rider University), Michael Austin (University of Texas at Dallas), Michael B. Silvers (University of California, Los Angeles), Miki Kaneda (Museum of Modern Art), Zeynep Bulut (Berlin Institute for Cultural Inquiry)

10:30-noon, Beyond Hearing: Soundscapes and Ideoscape in Early Nineteenth-Century America

Session 2-25 AMS/SEM A: Iberville
Deane Root (University of Pittsburgh), Chair

Sarah Gerk (University of Michigan), “Love, Loyalty, and Fear: American Reception of Thomas Moore’s Irish Melodies”

Bonnie Gordon (University of Virginia), “Mr. Jefferson’s Ears”

12:00–2:00pm, AMS/SMT Music and Philosophy SG/IG

S: Sheraton Grand A

12:30–1:30pm, SEM Medical Ethnomusicology SIG

A: Astor Grand A

12:30–1:30pm, SEM Section on the Status of Women

S: Bayside C

2:00-5:00pm, Embodiment and Gesture

Session 2-38 AMS/SMT S: Oak Alley

Arnie Cox (Oberlin College), Chair

Margaret Britton (University of Texas at Austin), “Four Gestural Types in Chopin’s Mazurka in C-sharp Minor, Op. 50, no. 3”

Drew Massey (Binghamton University), “Thomas Adès’s Glossary”

Meghan Goodchild (CIRMMT / McGill University), “Towards a PerceptuallyBased Theory of Orchestral Gestures”

Zachary Wallmark, Marco Iacoboni (University of California, Los Angeles), “Embodied Listening and Musical Empathy: Perspectives from Mirror Neuron Research”

4:00-5:30pm, SEM Charles Seeger Lecture

Session 2-49 SEM S: Sheraton Grand C

Portia Maultsby (Indiana University), “‘Everybody Wanna Sing my Blues . . . Nobody Wanna Live My Blues’: Deconstructing Narratives of Race, Culture and Power in African American Music Scholarship”

Cheryl L. Keyes (University of California, Los Angeles), Introduction

6:00pm, Sound Studies Special Interest Group Soundwalk

Meet in front of the Sheraton Hotel on Canal Street

Matt Sakakeeny (Tulane University), organizer

8:00-11:00pm, Music and Video Games: History, Theory, Ethnography

Session 2-55 AMS S: Gallier

William Cheng (Harvard University), Moderator

Mark Katz (University of North Carolina, Chapel Hill), Respondent

Neil Lerner (Davidson College), “Musicological Contributions to Early Video Game Studies”

Roger Moseley (Cornell University), “Digital Analogies”

William Gibbons (Texas Christian University), “Framing Devices for Gaming Devices: Applying Film Music Theory to Video Games”

Elizabeth Medina-Gray (Yale University), “Modularity and Dynamic Play: Video Game Music and Its Avant-garde Antecedents”

Kiri Miller (Brown University), “Dance Central and the Listening Body”

Borrowed from squared2x on Flickr.

SATURDAY, November 3

7:00–8:30am, SMT Music and Disability IG

S: Salon 828

7:00–8:45am, AMS Committee on Women and Gender

S: Salon 825

8:30-10:30am, Emergent Forms of Music Tourism, I: Music Tourism in the Aftermath of Rupture in New Orleans, Berlin, Bali

Session 3-2 SEM S: Bayside B
Daniel Sharp (Tulane University), Chair

Elizabeth Macy (University of California, Los Angeles), “Music and Cultural Tourism in Post-Disaster Economies”

Luis-Manuel Garcia (Tulane University), “Consuming Atmospheres and Social Worlds: ‘Techno-Tourismus’ and Post-Tourist Tourism in Berlin’s Electronic Dance Music Scenes”

Daniel Sharp (Tulane University), “Dithyrambalina: A Shantytown Sound Installation in Post-Katrina New Orleans”

SherriLynn Colby-Bottel (University of Virginia), “Authenticity Seekers: Music Post-Tourists and the Shifting Sound-Scapes of New Orleans”

8:30-10:30am, Online Musical Communities

Session 3-7 AMS/SEM A: Astor Ballroom 1
Marc Gidal (Ramapo College of New Jersey), Chair

Tara Browner (University of California, Los Angeles), “Bach Culture: Performers, Scholars, and Bachfreunde in the Twenty-First Century”

Olga Panteleeva (University of California, Berkeley), “Für Kenner und Liebhaber 2.0: Modes of Expertise in Online File-Sharing Communities”

Tom Artiss (University of Cambridge), “Solitary Socialities: Music Surf-Sharing in Nain, Labrador”

Charles Hiroshi Garrett (University of Michigan), “Joking Matters: Music, Humor, and the Digital Revolution”

9:00-10:30am, Language and the Senses

Session 3-10 AMS/SMT S: Edgewood
Donald Boomgaarden (Loyola University New Orleans), Chair

Charles Dill (University of Wisconsin-Madison), “Le Cerf’s Epistemology of Music”

Amy M. Cimini (University of Pennsylvania), “René Descartes’ Unfinished Compendium of Music: Rethinking Music and the Politics of Sensation after the Thirty Years’ War

9:00-10:30am, Music and Gaming

Session 3-12 AMS A: Iberville
Kiri Miller (Brown University), Chair

Christopher Tonelli (Memorial University of Newfoundland), “The Chiptuning of the World”

Neil Lerner (Davidson College), “Investigating the Origins of Video Game Music Style, 1977–1983: The Early Cinema Hypothesis”

9:00-noon, Performing Music, Performing Disability

Session 3-19 AMS/SEM/SMT S: Bayside A
Joseph Straus (Graduate Center, CUNY), Chair

Michael Bakan (Florida State University), Michael Beckerman (New York University), Stefan Honisch (University of British Columbia), Blake Howe (Louisiana State University), Stephanie Jensen-Moulton (Brooklyn College, CUNY), Bruce Quaglia (University of Utah)

9:00-noon, Sound, Language, and Mysticism from Vienna to L.A.

Session 3-22 AMS S:Borgne
Brian Kane (Yale University), Chair

Clara Latham (New York University), “The Impact of Sound and Voice on the Invention of Psychoanalysis”

Sherry Lee (University of Toronto), “‘Still, o schweige’: Music, Language, OpernKrise (Schoenberg’s Die glückliche Hand )”

Nicholas Attfield (Edinburgh University), “A Medieval Model for the 1920s: Anton Bruckner as Mystic”

J. Daniel Jenkins (University of South Carolina), “I Care If You Listen: Schoenberg’s ‘School of Criticism’ and the Role of the Amateur”

10:30-noon, Twentieth-Century Music and Advertising

Session 3-28 AMS A: Iberville

Jason Hanley (Rock and Roll Hall of Fame and Museum), Chair

Paul Christiansen (University of Southern Maine), “‘It’s Morning Again in America’: How the Tuesday Team Revolutionized the Use of Music in Political Ads”

Jonathan Waxman (New York University), “I Went to the New York Philharmonic and Came Home with a Cadillac: The Alliance Between Business and the Arts in the Early Twentieth Century

12:00–2:00pm, SMT Committee on the Status of Women Brown Bag Open Lunch

S: Salon 828

12:30–1:30pm SEM Gender and Sexualities Taskforce

S: Bayside C

1:45-3:45pm, Acoustics and Experiences of the Limit

Session 3-39 SEM S: Maurepas

Louise Meintjes (Duke University), Chair

Louise Meintjes (Duke University), “Pushing at the Edge of the Social”

Jairo Moreno (University of Pennsylvania), “Signatures of the Audible”

Ana Maria Ochoa (Columbia University), “South American Acoustics: Amerindian Perspectivism and Non-Linear Musical Histories”

Gary Tomlinson (Yale University), “Singing at the Limit of the Human”

1:45-3:45pm, Emergent Forms of Music Tourism, II: Multimedia, Spectacles and Memorials

Session 3-43 SEM S: Grand Chenier
Sponsored by the Popular Music Section (PMSSEM)

Lynda Paul (Yale University), Chair

Elizabeth Whittenburg Ozment (University of Georgia), “Elvis Presley and the Reanimation of Robert E. Lee”

Lynda Paul (Yale University), “Las Vegas and Virtual Tourism: Sonic Shaping of Simulated Worlds”

Michael Heller (Harvard University), “Deployments of Deadness at the Louis Armstrong House Museum”

Nicol Hammond (New York University), “‘The History Is in the Music’? Music, Museums, and the Politics of Presence in Post-Apartheid Cultural Tourism”

8:00-11:00pm, Music and Disability: Works in Progress Seminar

AMS/SMT S: Bayside A
Sponsored by the AMS Disability SG and SMT Disability IG

Michael Bakan (Florida State University), James Deaville (Carleton University), Stefan Honisch (University of British Columbia), Jeanette Jones (Boston University), Anabel Maler (University of Chicago), Julie Saiki (Stanford University), Joseph Straus (Graduate Center, CUNY)

9:00pm, KNOCKABOUT: wandering beats from across urban America.

Handsome Willy’s at 218 South Robertson St. No cover. 21+

5 DJs converge on Handsome Willy’s for KNOCKABOUT, a dance party featuring every genre you’ve ever loved and fly beats that you neva eva heard before.

DJ Yamin (NOLA): Hip-hop, funk, reggae, Afrobeat www.nolamix.com

DJ Super Squirrel (Boston): Dancehall, global mashup www.djsupersquirrel.com

The Attic Bat (L.A.): Hip-hop and dubstep www.derricomusic.com

LMGM (Chicago, Berlin): House and disco www.thelusisgarcia.com

Shilo Bourne (L.A.) UK bass

Roger Lewis. Borrowed from fantailmedia at Fiickr.

SUNDAY, November 4

8:30-10:30am, Music and YouTube: Sound, Media, and Sociality

Session 4-5 SEM A: Astor Grand A
Sponsored by the Popular Music Section (PMSSEM)

Monique M. Ingalls (University of Cambridge), Chair

Fabian Holt (Roskilde University, Denmark), “Social Media Video and the Festivalization of Electronic Dance Music in Europe”

Monique M. Ingalls (University of Cambridge), “Worship on the Web: Building Online Religious Community through Christian Devotional Music Videos”

Patricia G. Lange (California College of the Arts), “In Synch with Lip-Synching: A Riff on Teen Sociality”

Trevor S. Harvey (University of Iowa), “Dulcimerica: Mediating a Musical Community through Video Podcasts”

8:30-10:30am, Musical Propertization in the Digital Age:

Session 4-7 SEM A: Astor Ballroom 1
From “Piracy” to Ontological Politics
Andrew Eisenberg (University of Oxford), Chair

Andrew Eisenberg (University of Oxford), “M-Commerce and the (Re)making of the Music Industry in Kenya”

Aditi Deo (University of Oxford), “Folk Music in the Digital Realm: Public Commons or Cultural Property?”

Alexandrine Boudreault-Fournier (University of Victoria), “Pirates of the Caribbean: Music Circulation in Late Socialist Cuba”

Henry Stobart (Royal Holloway, University of London), “Shifting Properties: Ownership, Informality, and the Digital Music Video in Bolivia”

9:00-noon, The City is a Medium

Session 4-16 AMS/SEM/SMT S: Edgewood
Alexander Rehding (Harvard University), Chair

Veit Erlmann (University of Texas at Austin), Respondent

Benjamin Tausig (New York University), “The City is Burning: Informal Musical Commerce at Urban Protest Movements”

Tiffany Ng (University of California, Berkeley), “An Instrument of Urban Planning: Bells and the Sonic Remediation of Community Space in the Southeastern United States”

John Melillo (University of Arizona), “Phatic Emphatic: Listening to New York City in Downtown Poetry and Punk”

Peter McMurray (Harvard University), “Heterophony of a Metropolis: Rites of Passage and Contestation Turkish Berlin”

10:45-12:15pm, Feminist Approaches to Music and Sound Technologies: History, Theory, and Practice

Session 4-29 SEM A: Astor Ballroom 1
Sponsored by the Section on the Status of Women (SSW)
Tara Rodgers (University of Maryland), Chair

Tara Rodgers (University of Maryland), “Feminist Approaches to Electronic Music and Sound Historiography”

Charity Marsh (University of Regina), “Reluctant Hip Hop Warriors”: Feminist Approaches to Hop Hop Community Projects”

10:45-12:15pm, Intersections of Ethnomusicology with Other Fields

Session 4-31 SEM S: Bayside B

Theresa Allison (University of California, San Francisco), Chair

Francesca R. Sborgi Lawson (Brigham Young University), “Has Ethnomusicology Met Its Calling? An Ethnomusicologist’s Response to Biomusicology”

Monique McGrath (University of Toronto), “What Does Ethnomusicology Have to Say to Music Therapy?”

Jeremy Day-O’Connell (Knox College), “‘Motherese’ and Universals of Musical Pitch

10:45-12:15pm, Sounds and Space in New Orleans

Session 4-35 SEM S: Maurepas
Marié Abe (Boston University), Chair

Danielle Adomaitis (Florida State University), “Sonic Fixtures and Drifting Buskers: Soundmarks of New Orleans and the Street Musicians Who Construct Them”

Zarah Ersoff (University of California, Los Angeles), “Treme’s Aural Verisimilitude”

Julie Raimondi (Tufts University), “Music, SEO Agency, and the Social Construction of Space in New Orleans

2:00–6:00pm, AMS Ecocriticism SG and SEM Ecomusicology SIG Outing:

Barataria Preserve Hike

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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