Tag Archive | New Orleans

(Re)Locating Soundscapes of Schooling: Learning to Listen to Children’s Lifeworlds

Here at Sounding Out! we like to celebrate World Listening Day (July 18) with a blog series that focuses on the importance of listening. This year, we bring your attention to the role of listening when it comes to the sounds of the K-12 classroom, and by extension, the school.

Any day in a K-12 school involves movement and sounds day in and day out: the shuffling of desks, the conversations among classmates, the fire drill alarm, the pencils on paper, the picking up of trays of food. However, in many conversations about schools, teaching, and learning, sound is absent.

This month’s series will have readers thinking about the sounds in classrooms in different ways. They will consider race, class, and gender, and how those aspects intersect how we listen to the classrooms of our past and our present. More importantly, the posts will all inspire assignments that educators at all stages can use in their classrooms. Our first post came from Shakira Holt, a playlist of her black girl students’ songs as philogynoir. Our second post was penned by Caroline Pinkston, and in it she questions common classroom management strategies for quieting a classroom instead of listening to students. Today’s post comes from the point of view of a student, teacher, and now researcher, who reflects upon how we listen to the sounds (and students!) in our classrooms.

Time’s up, pencils down, let’s take our notebooks outside to the playground and listen along with Cassie J. Brownell. –Liana Silva, Managing Editor

“Franklin High School, Seattle WA: Representative Hallway” by Flickr user Joe Wolf, CC BY-ND 2.0

I have spent much of my life listening in schools. I essentially grew up in the public elementary school in Montana where my mother taught for over 40 years. The sounds of my childhood are those of feet squeaking on the tile floor of the hallways, the bounce of a kickball in the gym, and the slam of desks opening and closing throughout the day.

Across my elementary school years, I spent many early mornings attempting to write my name in cursive with a squeaky dry erase marker on the whiteboard in her classroom. Other mornings, I rapidly clicked the keyboard as I played Oregon Trail alongside two friends whose guardians also worked at the school. After school, I chased these same friends across the schoolyard, shot hoops with them in the gym, or discovered new worlds in the stacks of the library. The whipping Montana winds on the open playground later gave way to new sonic experiences, as I transitioned from elementary student to classroom teacher and, eventually, educational researcher.

“School Supplies 02” by Flickr user Derek K. Miller, CC BY-NC 2.0

When I later became a teacher at an elementary school in post-Katrina New Orleans, Louisiana, the chorus of sounds from my childhood reverberated around me. The delightful shrieks of children on the playground and the sounds of trays being stacked after lunch were familiar. So, too, was the daily stacking of chairs. The frequencies of childhood, both my own and that of my students, informed my entrée into teaching. The familiar rhythms of pencil sharpeners and stapled butcher paper were welcoming waves as I settled into not only my new role, but my new school community in the neighborhood of Algiers Point. Yet, with the opening bells of the school year at this New Orleans elementary school, I began to hear schooling in new registers.

 

***

On my first day of teaching, I was acutely attuned to the “noise” the second-grade children in my classroom made—sounds I had not been aware of as a student. I quickly tried to “correct” their behavior with promises of external rewards if they could only make better “choices,” including quieting themselves to listen to me. Yet, few of the classroom management “tricks” I had learned in my educational training seemed to work. After the last child walked away from the schoolyard, I crumbled in the classroom of my mentor teacher. Crying, I told her I was not cut out for such work. She laughed as she told me that to be a teacher I must (re)learn to listen to the sounds of my classroom.

In time, I learned to listen. The day-to-day sounds of teacher-directed schooling, or what I now know as the banking model of education, quickly gave way to my listening to children. I slowly learned the value of listening to the whispers of children as they read, the scuffle of their feet as they sought a different color crayon from a child at another table, and the wise words they shared with one another about how they used an alternative route to solve a given math problem. I listened to them too when they found my hand to hold during recess and the high-fives before they departed each day. Rather than hearing their sounds as unruly chatter, I opened my ears to the excitement and learning children were sharing with one another.

“Reading%20Fun%20Day%202013%20Jun%2014,%202013%2010-20%20AM” by Flickr user K.W. Barrett, CC BY 2.0

That semester Hurricane Gustav appeared in the Gulf Coast. The impending arrival of the storm coincided with the three-year anniversary of Hurricane Katrina. As the whole city of New Orleans was encouraged to evacuate, I felt the resonances from Katrina’s devastating impact in the stories and questions of my second-grade students. As Gustav approached, many of the children shared In the final days before we evacuated, we commemorated Katrina and shared hopes for protection during Gustav.

While I listened to their words, I also learned to listen to their bodies. I could hear their worries about the storm in their hugs, the intonation of their voices, and in their reactions to thunderstorms shaking our classroom windows. As a bodily experience, multimodal listening quite literally moves beyond just what our ears can hear to how sound moves across/through/with bodies, materials, and contexts. Through multimodal listening, listeners can develop their skills as both critical consumers and producers of sound. Listeners are thus better positioned to reflect on and identify how sound informs other sensations and feelings. Although I have only recently put words to what it means to engage in multimodal listening, my body was already experienced with it.

“Gustav 038” by Flickr user Jim Hobbs, CC BY-NC 2.0

I returned to the city almost two weeks later, after the Gulf Coast suffered the one-two-punch of Hurricanes Gustav and Ike. Whispers of wind rustled art supplies by sneaking through fresh cracks in the windows. As my colleagues and I hurriedly re-vamped our classrooms, the traditional staccato sounds of schooling slowly echoed in my ears. In the quiet clean-up of the storm, new frequencies of the school soundscape could be heard. This soundscape was not new in and of itself, but rather it was the absence of the consistent beat that harmonized the everyday sounds to which I had become attuned. Without the slap of a jump rope on the ground or the cheers of children playing kickball to punctuate the silence, waves of emotion—despair, hope, and uncertainty—underlying the soundscape of schooling I thought I knew became apparent to me for the first time.

 

***

As an educational researcher in an urban, elementary classroom in the Midwest, I now find myself hearing other frequencies of schooling that remained unheard even in my early teaching. In my new role, my job is to engage in multimodal listening at all times as I participate in elementary classrooms. As a teacher in New Orleans, I was only just beginning to engage in the task of multimodal listening that Ceraso describes. Still today, I am often still attempting to hear and feel all the vibrations happening around me. Yet, as a researcher, I can attend more fully to the task of listening.

Unlike when I was teaching, I do not need to adhere to strict policies regarding the learning of a group of students, but I can instead take an exploratory approach to learning alongside children. Specifically, in collaboration with a culturally and linguistically diverse group of 3rd-grade children in Mr. Holiday’s classroom this past year, I started to earwitness the ambient soundscapes of children’s life spaces. Although I first began listening with the children at Community School J three years earlier, I entered in to Mr. Holiday’s class this year interested in considering the ways children were engaging with and drawing upon various cultural, linguistic, and modal experiences to communicate. I did so aware that, for many historically marginalized children, such communicative practices are often overlooked or unheard in standardized curricular materials.

Mr. Holiday challenged his students to think—and hear—beyond the standardized curriculum by considering how sound can be a tool to write with and through.

“You’re writing, but you can use words, pictures, you can sketch…anything you want to,” Mr. Holiday shared with his class of diverse 3rd graders one day. “Just remember to listen. When we come back inside, we will all share what we heard and then we will talk about how we could use this in our stories about our school.”

Photo courtesy of author

Outdoors, a low-flying plane could be heard. With little bodies quietly kicking them back-and-forth, swings creaked. On the playground, we listened to the whipping wind and felt the cool fall weather on our skin. From the slide, one child sounded out for his peers the word chilly, stretching the ls as long as he could. The mulch of the dry ground was kicked by one child as another, with her stomach on the seat of a swing, pushed the ground under her feet to glide back-and-forth.

Some children imagined the empty playground to be filled with the familiar sounds of their daily recesses. Others began to set strict boundaries for how they and their peers might begin to listen. In an attempt to control the bodies of her peers, one girl sent away her friend, suggesting that they could not hear together. Almost simultaneously, another child silently waved from the highest playground tower to the three boys from her class seated closely next to each other on a bench.

As Mr. Holiday called for all children to make a line outside his classroom door, a cacophony of cheers and groans lurched from the children as they sprinted from their observation sites.

“Look at how much I noticed!” one little boy shouted as he handed his notebook to me with a list of sounds. He included sounds heard in the moments we were outdoors like the airplane, but he also included imagined shrieks of children at play.

 

***

The sounds of elementary schooling have shown me that much of classroom teaching and learning needs to be grounded in listening. From the structured directions—like those presented by Mr. Holiday—to the daily screams of children racing across the school grounds. In other words, we must listen to children, to their experiences, and to their emotions in order to critically consider how schooling, as a space, informs and is informed by children’s bodies and sounds.

“Teachers” by Flickr user Jane Selomulyo, CC BY-NC-ND 2.0

I sometimes wonder what frequencies and rhythms are unheard. With each passing observation in a school, I question whether Western schooled notions of listening contaminate the uniquely trained ears of children. As I observed in the listening exercise with Mr. Holiday’s class, children were capable of engaging in multimodal listening: they not only heard, but felt the wind; they created and felt the vibrations of the swings. They imagined the movement of bodies across the playground and cacophony of sounds and emotions that accompanied them. All of these were embodied sounds I missed as an adult and classroom teacher.

At the same time, I remain hopeful. I am hopeful because the children I came to know in Mr. Holiday’s classroom took the task of listening seriously. They understood hearing as more than simply about the cars passing by or the birds in the nearby trees, but instead engaged in listening with their bodies. Throughout the year, I noticed they were acutely aware of the sniffles or the slow shuffle of feet of a peer who was having a rough day. Their eyes grew large as they danced along with their friends on brain breaks and they often cheered with the whir of a fidget spinner balanced on their teacher’s thumb.

This hope is also based in my various sonic experiences, across spaces and places that visually appear quite different. Teachers interested in learning to listen with their students might consider how they, like Mr. Holiday, might foreground sound as a mode of primacy within the perceived constraints of the mandated curriculum. Engaging in a multi-sensory experience may be as simple as Mr. Holiday’s listening task on the familiar grounds of the schoolyard. Or, perhaps, it is starting your curriculum with the children’s stories of their lived experiences as I did in New Orleans. As others have discussed, when it comes to listening, there is not a clearly defined beginning or end as there does not exist a “blink of an ear.” I am slowly becoming more attuned to the sonic possibilities of how children’s stories and experiences of schooling may be amplified if we, as Mr. Holiday shared, “Just remember to listen.”

Featured image: “listen” by Flickr user Ren:), CC BY-ND 2.0

Cassie J. Brownell is a doctoral candidate and Marianne Amarel Teaching and Teacher Education Fellow in the Department of Teacher Education at Michigan State University. A corecipient of a 2015 NCTE-CEE Research Initiative Grant, Cassie’s most recent collaborative project#hearmyhome—explores how writing with and through sound might help students and teachers attune toward literacies and communities of difference.

REWIND!…If you liked this post, you may also dig:

SO! Amplifies: #hearmyhome and the Soundscapes of the Everyday–Cassie J. Brownell and Jon M. Wargo

(Sound)Walking Through Smithfield Square in Dublin— Linda O’Keeffe

A Listening Mind: Sound Learning in a Literature Classroom–Nicole Furlonge

Machinic Ballads: Alan Lomax’s Global Jukebox and the Categorization of Sound Culture

100 Years of Lomax4

Today, SO! continues its series reconsidering the life and work of Alan Lomax in his centenary year, edited by Tanya Clement of The University of Texas at Austin. We started out with Mark Davidson‘s reflections on what it means to raise questions about the politics behind Lomax’s efforts to record and collect folk music, and continued a few weeks later with Parker Fishel‘s consideration of Lomax’s famous “Southern Journey” and how it has been appropriated by musicians more recently.

With Clement’s own article below, the series begins to rethink Lomax as a touchstone in current and continuing drives to collect, measure and compute sonic cultures, something that seems hot all of a sudden (see, for instance, coverage of recent digital analysis of trends in pop music at Queen Mary University of London). In her thoughtful, illuminating and inspiring article below, Clement challenges us to consider the politics behind these efforts to search, retrieve and analyze audio, something that the case of Lomax throws into stark relief.

— Special Editor Neil Verma

When the Association for Cultural Equity, an organization that Alan Lomax founded in 1983, announced the release of 17,000 music tracks from Lomax’s fieldwork collections, the New York Times heralded the release as a manifestation of Lomax’s Global Jukebox project, a computational experiment for accessing and studying his vast multimedia collection of the world’s culture. The Times piece likens Lomax’s project to Pandora, which allows the listener to search for music “like” music she has already found. Lomax’s biographer, John Szwed, also makes this comparison but modifies his description by proclaiming that unlike Pandora’s recommendations which are “based on personal taste” and “tend to lead sideways . . . to production style,” Lomax’s Global Jukebox idea held the potential to point a listener to “deeper principles of cultural and musical organization” (The Man Who Recorded the World 391).

Gobsmacked by whizbang possibilities, neither the Times nor Szwed discuss the deeper principles behind Lomax’s attempt to represent culture as a global search engine. In the context of the powerful work being accomplished in the Music Information Retrieval (MIR) community and my own project (HiPSTAS) to develop software for making sound collections searchable and accessible, In this article I will argue that how we build systems for searching and retrieving and browsing cultural artifacts as data is a profoundly political act. Recognizing such politics suggests that Lomax’s Global Jukebox project serves as a cautionary tale for how social and cultural contexts — or what Donna Haraway calls our “ways of being” — are reflected in the systems we develop.

John A. Lomax Collection in UT Folklore Center Archives, Small Multiples. Instrumental sections are in red, spoken sections are in green, and sung sections are in blue. Click to see the full-size image. John A. Lomax Collection in UT Folklore Center Archives, Small Multiples. Instrumental sections are in red, spoken sections are in green, and sung sections are in blue. Click to see a full-size version.

John A. Lomax Collection in UT Folklore Center Archives, Small Multiples. Instrumental sections are in red, spoken sections are in green, and sung sections are in blue. Click to see a full-size version.

The Singer with the Song

The year that Alan Lomax was born (1915), his father John Alan Lomax published a landmark piece heralding seven new types of American ballads for study. American ballads, he argues “reveal the mode of thinking, the character of life, and the point of view, of the vigorous, red-blooded, restless Americans, who could no more live life contented shut in by four walls than could Beowulf and his clan, who sailed the seas around the coasts of Norway and Sweden” (“Some Types of American Folk-Song”, 3). Unlike any other collection of ballads, John’s “American ballad” included the ballads of the miner, the lumbermen, the inland sailor, the soldier, the railroader, “the ballads of the negro; and the ballads of the cowboy . . . [and] the songs of the down-and-out classes, — the outcast girl, the dope fiend, the convict, the jail-bird, and the tramp” (3). Governed by a laudable goal to record the songs of folk cultures at the fringes of mainstream society, the senior Lomax’s view of the communities where he would collect his songs (including jails and state farms), was complex, and can fairly be called both progressive as well as racist (Porterfield 170).

John and Alan went on seven collecting trips together between 1934 and 1936 and co-authored five books on their return. On these trips, they collected songs from people on the street in cities like New Orleans and people in the country, from both church-goers and prisoners. While John held romanticized views of the “noble” southern black man, Alan, on the other hand, indicated a more nuanced understanding of the complexities inherent to his father’s attempt to generalize patterns of “folk” for study. Alan linked “the singer with the song” and was interested in the politics behind prisoners made to sing with guns at their backs and in the cultural lives of people that were so poor in means but so rich in “beautiful harmony, with enormous volume, with total affection” (Szwed 49). While Alan maintained that he was interested in the individual’s story, John believed that “a genuine ballad has no one author. It is therefore the expression of no one mind: it is the product of the folk . . . It might have been written by any one” (“Some Types of American Folk-Song”, 1).

John A. Lomax Collection in UT Folklore Center Archives, Small Multiples. Instrumental sections are in red, spoken sections are in green, and sung sections are in blue. Click to see the full-size image.

John A. Lomax Collection in UT Folklore Center Archives, Small Multiples. Instrumental sections are in red, spoken sections are in green, and sung sections are in blue. Click to see a full-size version.

Taxonomies

The Global Jukebox project demonstrates an almost complete reversal in Alan’s concerns. The studies behind the Global Jukebox include Alan’s Cantometrics and Choreometrics, in which he produces taxonomies for studying song and dance and his Parlametrics project, an “experiment in metalinguistics,” which Alan and his collaborators describe as a taxonomy of “patterns of style” in speech based on dynamic changes in pitch, loudness, speed, spacing, rhythm, and timbre (“A stylistic analysis of speaking”). These taxonomies show that Alan’s early consideration for the individual performer gave way to a desire to make folk study more scientific as a cultural mapping like what his father espoused rather than what Szwed and others have seen as Alan’s concerns with the situated politics of individuals.

Alan’s Parlametric study serves as good example. Approaching delegates from the United Nations and soliciting mail-in samples from regions not covered by the U.N. volunteers, Alan and his team collected representative recordings of 114 languages. Then, in order to study the “generally neglected meta-communicational level” in these recordings, the team designed a rating system including 50 codes that (1) “described the distinctive features of each recording,” and (2) “tended to cluster the recordings into sets of similars” that Alan maintains anyone could “readily use” to record “salient differences in conversation style” (19). These clusters pointed to 14 factors that Alan and his team would use to categorize the cultures from which they received samples:

  1. Repetitiveness
  2. Timing
  3. Speech length
  4. Upglides
  5. Descending cadence
  6. Syllabification
  7. Drawl
  8. Empathy
  9. Space
  10. Dominance/Sharing
  11. Relaxed/Tense
  12. Noise
  13. Breathy
  14. Forceful

Using these factors, Alan makes some broad assertions. The association of clear syllabification” (the degree to which syllables run together) “is most strongly predicted among gardeners with domesticated animals” and “[t]he association of clear syllabification to feminine autonomy is suggested by the discovery that this mode of speaking predicts and is predicted by permissive rather than restrictive premarital sexual mores” (27). Further, “Dominance vs. Sharing of conversation space” is strongly correlated with settlement size and severity of sexual sanctions,” a statement that Alan immediately rationalizes by noting that “this relation between a more crowded social space, high sexual tension and increased rate of interaction seems to make good sense, even if it does not account for every possibility” (31).

These spurious and broad generalizations were what Lomax hoped to facilitate for all with his Global Jukebox as the access point for “the first numerical models of the full range of global cultural variation in holistic form” for “the scientist, the layman, and the student to explore, experience, and manipulate the broad universe of culture and creativity in a systematic fashion, with audio-visual illustrations at every turn of the road” (“The Global Jukebox,” 318). By leveraging his taxonomies of song, dance, and speech in the computer age, Alan could suddenly associate and differentiate cultures holistically and en masse.

A visualization of a song in ARLO

A visualization of a song in ARLO. Click to see a full-size version.

Machinic Methods / Humanistic Questions

As someone who works in the liminal spaces between the humanities and technology, between cultural studies and critique and the machines that increasingly function both as access points and barriers to our cultural artifacts, I see Alan’s switch to generalizable taxonomies as par for the course in the digital age. My own >HiPSTAS project’s primary objective is to develop a virtual research environment in which users can better access and analyze spoken word collections of interest to humanists. We understand that in order for us to search digital sound artifacts, we have to create taxonomies, metadata, keywords and other generalizable frameworks that facilitate discovery.

At the same time that we are using machinic methods, however, we can still ask humanistic questions that open up rather than close down debates and dialogues. In a recent test for the HiPSTAS project, for example, we used machine learning to analyze the recordings in the UT Folklore Center Archives, which comprises 219 hours of field recordings collected by John and Alan Lomax, Américo Paredes, and Owen Wilson, among others (UT Folklore Center Archives, ca. 1928-1981, Dolph Briscoe Center for American History, University of Texas at Austin, Box 2.325/R). In our attempt to predict the presence of different sonic patterns including instrumental music, singing, and speech, the results of our analysis are noteworthy as the visualization shown in this brief movie demonstrates.


from Tanya Clement on Vimeo

Within the results, we see a visualization of how many seconds comprise each file (in blue) and how many of those seconds for each file our software has predicted the presence of instruments (green), speech (red), and song (purple). A subtle yet striking difference emerges in the comparison between the Lomax recordings (created 1926-1941), which are the oldest in the collection, and the others, which were created up until 1968. The Lomax recordings (primarily created by John Lomax) consistently contain the least amount of speech in comparison to what the other files contain.

Of course, there are a number of ways you can read these results. Given the conversation above, one could hypothesize that perhaps the Lomaxes were primarily interested in their participants’ songs rather than their stories. One could also think about it in terms of recording capabilities across time. When the Lomaxes were first recording, John Lomax writes, “The amplifier weighed more than one hundred pounds; the turntable case weighed another one hundred; two Edison batteries weighed seventy-five pounds each. The microphone, cable, the tools, etc., accounted for sufficient weight to make the total five hundred pounds. . . . In order to carry them in the car I tore out the back seat . . .” Even in 1967, forty years later, good recorders still weighed 70 pounds and required a car battery, but tapes were longer and costs were less. More tape and more time at less cost both financially and physically had a big impact on what researchers recorded. At the same time, the data shows that the later recordings are not much longer, but do seem to have more seconds of speech.

There is a danger in these kinds of machine-generated generalities. We employed taxonomies (instrumental, sung, speech) to teach the machine to categorize these patterns, but why these patterns? Are there others? Or did I choose these based on what I already wanted to say about the Lomaxes’ practices? And, I haven’t even mentioned here the subjective practices inherent to choosing algorithms for such work.

These kinds of questions require more research, and more contextualization than this aggregated data set can show. Just as the ballads that John and Alan Lomax once collected were written and sung by someone, so were the communities that Alan interpreted through his Parlametrics made up of individuals, not types. Perhaps Alan’s desire “to record the world” was just and Google, the collector, categorizer, and interface for all things on the Internet, isn’t evil. But the Global Jukebox Project serves as a cautionary tale about the politics behind the speed and efficiency that machinic methods seem to promise, a politics that needs to be far less opaque about its deeper principles and problems.

Tanya Clement is an Assistant Professor in the School of Information at the University of Texas at Austin. She has a PhD in English Literature and Language and an MFA in fiction. Her primary area of research is scholarly information infrastructure. She has published widely on digital humanities and digital literacies as well as scholarly editing, modernist literature, and sound studies. Her current research projects include High Performance Sound Technologies in Access and Scholarship (HiPSTAS).

Featured image: “Day 21 – Waveform” by Flickr user evil_mel, CC BY-NC 2.0

tape reelREWIND! . . .If you liked this post, you may also dig:

Revising the Future of Music Technology — Aaron Trammell

SO! Amplifies: Carleton Gholz and the Detroit Sound Conservancy — Carleton Gholz

Sounds of Science: The Mystique of Sonification — Margaret Anne Schedel

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


Add to FacebookAdd to DiggAdd to Del.icio.usAdd to StumbleuponAdd to RedditAdd to BlinklistAdd to TwitterAdd to TechnoratiAdd to Yahoo BuzzAdd to Newsvine

Like This!

%d bloggers like this: