Tag Archive | Radio Studies Special Interest Group

Sound at SCMS 2015

Each March one brave Sounding Out! author takes on the task of wading through the catalog of the annual conference of the Society for Cinema & Media Studies (SCMS), to produce a curated guide for scholars interested in sound and its intersection with media. For several years now, SCMS has been both widening its intellectual scope and becoming one of the primary venues for scholars working in sound, and so making sense of the rich and noisy expansion of the field in this context takes a pretty keen ear.

This year we are extremely happy that that ear belongs to Alyxandra Vesey of the University of Wisconsin, Madison. Vesey is not only a leading feminist sound theorist, a radio host, and an editor at our peer website Antenna, but she is also one of the people behind the recent special issue of Velvet Light Trap on Sound, which is sure to become a landmark in the field in years to come.

We asked her to begin with some thoughts on what this year’s offerings at the Montreal conference (held March 25 to 29) tell us about sound scholarship these days. Some food for thought for conference attendees as they contemplate the best place for an oven-warm Montreal bagel on a cold winter morning, or work up the courage to try out some rusty French in la belle province

— Special Editor Neil Verma

In a recent essay for this site, Robin James situated Dove’s #SpeakBeautiful Twitter campaign within larger histories of patriarchal conventions that moderate “women’s literal and metaphoric voices to control their participation in and affect on society, ensuring that these voices don’t disrupt a so-called harmoniously-ordered society” (2015).

That line came back to me as I began assembling a list of relevant panels, workshops, presentations, and events for sound studies scholars at this year’s SCMS Conference. Of course, the field of film and media studies has been concerned about the voice since the works of Michel Chion, Kaja Silverman, Michele Hilmes and Roland Barthes, many of whose ideas have been revived in recent years, including in a recent issue of Velvet Light Trap, which pursued the voice through a variety of contexts.

VLTBut that legacy alone can’t explain the diversity of interest in the subject at SCMS this year; Montreal’s conference might signal the year of the voice in media studies.

Wednesday’s itinerary features “Hearing Voices, Songs, and Speech.” The panel is chaired by Kyle Stevens, who will also present research on the functions of voice-over in representations of suicide and women’s sexuality. Dolores McElroy’s research on Judy Garland, Patrik Sjoberg’s exploration of documentaries’ dubbing and lip sync practices, and Liz Greene’s work on pop music’s signification of middle-aged nostalgia rounds out the proceedings. On Saturday, “The Voice in Transition” includes presentations from chair Jennifer Fleeger, Sarah Wright, Tom Whittaker, and Christine Ehrick on opera in Italian film, silent cinema, dubbing in Spanish film, and Niní Marshall’s film comedies. “Hear and There: The Politics of Sound” include two compelling presentations: Cassie Blake and Tessa Idlewine’s work on female voiceover in theatrical trailers and Allison McCracken’s discussion on auditions and essentialism on NBC’s The Voice.

Heightened interest in podcasting also appears to be symptomatic of interest in the voice. The first day of the conference includes an entire panel on the subject. Chaired by Andrew Bottomley, “Podcasting: A Decade into the Life of a ‘New’ Medium” includes presentations from Brian Fauteux on podcast aesthetics and satellite radio, Andrew Salvati on historiography in Dan Carlin’s Hardcore History, and Kelli Marshall on WTF host Marc Maron.

However, scholarly inquiry around podcasts may have as much to do with the interest in radio and the medium’s extensions online. On Thursday, Doron Galili and Gabriel Paletz will chair “A Paragon of Intermedial Adaptation: The War of the Worlds in Radio, Film, and Social Media,” exploring the program’s long afterlife alongside a co-authored paper by Neil Verma and Jennifer Stoever and respondent Timothy Corrigan. This event occurs simultaneously with a workshop on radio production cultures chaired by Bottomley and featuring participants Shawn VanCour, Tom McCourt, and David Uskovich. Friday afternoon winds down with a workshop chaired by Jason Loviglio entitled “The Problem of the Radio Canon” that includes Debra Rae Cohen, Bill Kirkpatrick, Kate Lacey, and Elena Razlogova. And on Saturday Jennifer Wang will chair “Fringe Time: Gender and Crossover Programming in the U.S. Radio-TV Transition” with presentations on soap opera’s transitional moment, ethnicity and diet-oriented programming, and discourses around liveness in wrestling from Elana Levine, Jennifer Lynn Jones, and Kate Newbold.

Saturday’s radio studies panels also touch on three other areas of interest for sound studies scholars: technological affordances, historical interventions, and identity politics. To that first point, Wednesday includes Tim Anderson’s presentation on musicians and the professional economies of social networking and Andrew deWaard’s discussion on big data’s influence over ownership in the recording industries. Saturday evening’s “Stream Engines: Streaming Services and Media Distribution” promises to deliver some compelling original research as well. Jeremy Morris and panel chair Devon Powers will co-present a paper on curation and digital music services. Eric Harvey will explore how streaming services become sites of commerce, an extension of his and Maura Johnston’s “Loose Change” series for Pitchfork.

In terms of historiography, Wednesday’s “Music Screens, Music Stars, Music Scenes” is at the top of my list. Chaired by Charlotte Howell, who will also present original research on Atlanta’s public access program The American Show, the panel includes Kristen Alfaro’s work on the Fales Library’s nightclubbing collection, Matt Stahl’s research on royalty reform for R&B artists in the mid-1980s, and Brad Stiffler’s study on TV Party and cable access in the 1970s.

Saturday afternoon includes “Historicizing Music and Transmedia” with presentations from Kyle Barnett, Kevin John Bozelka, chair Landon Palmer, and myself on Jazz Age-era media convergence, post-war publishing and recording practices, The Beatles’ relationship with United Artists, and playlist production as extensions of feminist activism. During that time, Morgan Sea of Tranzister Radio will also participate in a panel with Alexandra Juhasz on trans women’s AIDS media activism. If I could be at two places at once, I would.

scms1

This brings us back to questions of identity and how sound signifies larger representational strategies. On Thursday, Jack Curtis Dubowsky chairs “Sound Tracks,” which features presentations from Monique Bourdage, Carl Laamanen, and Rembert Hueser about gender and taste on Playboy after Dark, Her and acousmêtre, the music of La Chinoise, and queer musical signification. I’m also looking forward to seeing Ryan Powell’s presentation on “Queer Aurality in Seventies Gay Art Porn.” Thursday’s panels conclude with “Screening Instability: Genders, Genres, and Soundscapes of Cinematic Modernization in 1960s Mexico,” which includes Brian L. Price’s work on rock ‘n’ roll films in the country, chair Francisco Flores-Cuante’s analysis of masculinities in Viento Negro, and Carolyn Fornoff’s discussions on musical interludes. And on Friday, I plan to attend “She Bop on Screen: Girls, Popular Music, and Visual Media” with original research from Mary Kearney, Norma Coates, Morgan Blue, and Diane Pecknold on the gendering of post-war teen media, the Disney Channel and pop girlhood, and tween pop in the public sphere.

Finally, there are a number of special events for sound scholars to enjoy. Those interested in sound’s immersive potential should take time out on Friday night to visit the Satosphere Dome, which harnesses the potential of 360-degree screen projections, complex speaker system, and environmental sound to place visitors within a large-scale work of art.  The official meeting of the Sound Studies Special Interest group (SSSIG) is Wednesday, 3/25, from 2-3:45pm in Les Voyageurs, Lobby Level.  The official meeting of the Radio Studies Scholarly Interest Group (RSSIG) will be Saturday, 3/28, from 9:00-10:45 pm, in Les Voyageurs 2, Lobby Level.  In addition to SIG business, the RSSIG will also share an update from the Radio Preservation Task Force and will host award-Winning WireTap producer Mira Burt-Wintonick, who will present ideas on storytelling and sound design in the golden age of podcasting. How do you make your stories stand out in a sea of audio content? What’s different about producing for radio vs. podcasts? How do you create a signature sound? Part listening party, part discussion, this session aims to explore a variety of new sonic trends and possibilities in radio production.

mtBut considerations for the voice also lead us to listen for silences and absences. In that regard, I’m reminded of Neil Verma’s desire “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” at the end of his “Sound at SCMS 2013” post. This appeal brings to mind Pauline Oliveros’ concept of deep listening, which describes how the music heard in a live or recorded context cannot be reduced to composition without critical attention toward the intersection of producers, listeners, and their shared environment (Rodgers 2010). Such interests seem to influence certain panels’ and participants’ work, particularly “Historicizing Technical Standards and Practices in Film Sound,” “Sounding the Interactive Documentary: Non-fiction, New Media, and the Problem of Immersion,” and James Deaville’s “Music and Sound in Film Trailers: A Preliminary Ethnographic Study of Producers and Consumers.”

Yet I wonder how we could harness sound as a resource for developing pre-existing scholarly approaches and fields. How might we “use sound” in production and industry studies research not only of radio, but in scholarship around other areas and sectors where the image still has primacy? What can sound teach us about precarity and other bedrock concepts within those discourses?

Furthermore, how can we “use sound” as a political intervention? As a field, we know how to analyze sound for the purposes of academic critique. But sound’s relationship to activism is underrepresented at this conference. I’m heartened by Morgan Sea and Jonathan Sterne’s participation in workshops on trans women’s media activism and disability studies. But I want consideration for how to use sound as resources to challenge institutions and ideologies that advance the violent force of intersectional discrimination, civil rights violations, widening class division, surveillance, eroding labor rights, and geopolitical conflict.

In addition, how can we “use sound” to teach? Wednesday concludes with “Participatory Pedagogy” a workshop and networking event about issues related to teaching gender and media. How can we use sound not only to enter into discussions amongst ourselves, but as a resource in the classroom?

Nick Couldry argues that the role of the voice hinges upon the cultural and political value assigned to it, which “involves particular conditions under which voice as a process is effective, and how broader forms of organization may subtly undermine or devalue voice as a process” (2). A number of presentations, panels, and workshops take up the voice as a resource for inquiry. Others will be raising them to ask questions of sound, music, and aurality’s influence in shaping media technologies, texts, representational strategies, and reception practices. And, as always, there are silences and absences we must recognize and address.

Let’s listen. Let’s raise our voices as well.

Alyxandra Vesey is a feminist media scholar who uses industry and production studies approaches to explore the relationship(s) between gender, labor, and music. Her dissertation analyzes identity and music-based intermediary practices in post-network television. Her work has appeared in Antenna, Flow, In Media Res, The Moving Image, Cinema Journal, Studies in French Cinema, and Saturday Night Live and American TV. She is also an editor for Antenna and The Velvet Light Trap. As an extension of her scholarship, she is also a contributor to Bitch Magazine, a volunteer for Girls Rock Camp Madison, and the host of WSUM 91.7 FM’s “Feminist Music Geek Presents…”

Featured image: “Feux d’artifice au port du vieux Montréal” by Flickr user Emmanuel Huybrechts, CC BY 2.0

"Queen Elizabeth" by Flickr user Robert Anthony Provost, CC BY 2.0

“Queen Elizabeth” by Flickr user Robert Anthony Provost, CC BY 2.0

Jump to WEDNESDAY, MARCH 25, 2015
Jump to THURSDAY, MARCH 26, 2015
Jump to FRIDAY, MARCH 27, 2015
Jump to SATURDAY, MARCH 28, 2015
Jump to SUNDAY, MARCH 29, 2015

WEDNESDAY, March 25

Session A 10 – 11:45 a.m.

A11. Sound and Music
Chair: Michael Baumgartner, CLEVELAND STATE UNIVERSITY
Ian Kennedy, WAYNE STATE UNIVERSITY, “Visual Music and the Enactive Theory of Musical Perception”
Mark Durrand, SUNY-UNIVERSITY AT BUFFALO, “On Seeing and Hearing in Sergio Leone’s Once Upon a Time in the West (1969)”
Summer Kim Lee, NEW YORK UNIVERSITY, “‘Too Much Exposure’: The Paranoia of Race in Gothic Orientalism”
Michael Baumgartner, CLEVELAND STATE UNIVERSITY, “Expanding the Horizon on Film Music Studies: Jean-Luc Godard’s Use of Music in His Films as a Counter-model to the Music in the Mainstream Film Tradition”

Session C 2:00 – 3:45 p.m.

C1. The Spoilage of America Garbage, Junk, and Audiovisual Noise in US Film and TV
Chair: Allison Rittmayer, NORTHWESTERN STATE UNIVERSITY OF LOUISIANA
Michael Rowin, UNIVERSITY OF FLORIDA, “Noise and Spectatorship in Lynch’s Films”
Tania Darlington, SANTA FE COLLEGE, “From Hill Street to Farmington: The Station House as Symbol of Urban Neglect in Television Police Procedurals”
Jacob Agner, UNIVERSITY OF MISSISSIPPI, “Salvaging The Counselor: Watching Cormac McCarthy’s Really Trashy Movie”
Allison Rittmayer, NORTHWESTERN STATE UNIVERSITY OF LOUISIANA, “‘Deswamped and Denuded, and Derivered’: Some Aspects of the Southern Gothic in Rural Noir Landscapes”

C11. Hearing Voices, Songs, and Speech
Chair: Kyle Stevens, BRANDEIS UNIVERSITY
Dolores McElroy, UNIVERSITY OF CALIFORNIA-BERKELEY, “In Extremis: An Inspirational Reading of Judy Garland and The Man That Got Away
Patrik Sjoberg, KARLSTAD UNIVERSITY, “Your Tongue in My Mouth: Lip Synch, Dubbing, Ventriloquism, and the Othering of Voice in Documentary Media”
Liz Greene, DUBLIN CITY UNIVERSITY, “Listening, Singing, and Dancing to Pop Songs in Film: The Sound of Middle-aged Nostalgia”
Kyle Stevens, BRANDEIS UNIVERSITY, “‘I Had No Thoughts at All’: Voice-over, Suicide, and Women’s Sexuality”

Session D 4:00 – 5:45 p.m.

D11. Music Screens, Music Stars, Music Scenes
Chair: Charlotte Howell, UNIVERSITY OF TEXAS AT AUSTIN
Kristen Alfaro, NEW YORK UNIVERSITY, “Screens of Punk, Punks of Screen: Video History and the Nightclubbing Collection at the Fales Library, New York University”
Matt Stahl, UNIVERSITY OF WESTERN ONTARIO, “We Have Paid a Price to Sing This Music: Aging R&B Stars’ Struggle for Reparations and Royalty Reform in the US Recording Industry, 1984–2004”
Brad Stiffler, UNIVERSITY OF MINNESOTA, “Anti-antinetwork TV: TV Party and the (Un)popular Avantgarde on 1970s Cable Access”
Charlotte Howell, UNIVERSITY OF TEXAS AT AUSTIN, “Symbolic Capital and Cable Access: Production Discourse of The American Music Show
Sponsor: Sound Studies Scholarly Interest Group

D18. Podcasting: A Decade into the Life of a “New” Medium
Chair: Andrew Bottomley, UNIVERSITY OF WISCONSIN-MADISON
Brian Fauteux, WILFRID LAURIER UNIVERSITY, “Blog Radio: Satellite Radio and the Aesthetics of Podcasting”
Andrew Salvati, RUTGERS UNIVERSITY, “Podcasting the Past: Historiography and Interactivity in Dan Carlin’s Hardcore History
Kelli Marshall, DEPAUL UNIVERSITY, “Transmedia Storytime with Your Host Marc Maron”
Sponsor: Radio Studies Scholarly Interest Group

Session E 6:00 – 7:45 p.m.

E11. Hear and There: The Politics of Sound
Chair: Allison McCracken, DEPAUL UNIVERSITY
Jim Knippling, UNIVERSITY OF CINCINNATI, “Vicissitudes of Normativity in Non-diegetic Film Music: 1940–1975”
Tim Bell, INDIANA UNIVERSITY, “White Jazz: Music and Fantasies of English Modernity in The Avengers (1961–69)”
Cassie Blake and Tessa Idlewine, ACADEMY FILM ARCHIVE, “Better Seen than Heard: The Anomaly of Female Voiceover in Theatrical Trailers”
Allison McCracken, DEPAUL UNIVERSITY, “Blind Auditions and Vocal Politics: Enacting and Exposing Vocal Essentialism on NBC’s The Voice
Sponsor: Sound Studies Scholarly Interest Group

Wednesday Individual Papers of Interest

A5. Asha Tamirisa, BROWN UNIVERSITY, “Aurality, Virtuality, and the Feminization of Technological Space in Her

A10. Lindsay Affleck, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “‘100 Dollars a Day Plus Expenses’: Richard Diamond as Radio Shamus and Hollywood Telefilm Production”

A17. Anna Dimitrova, UNIVERSITY OF PITTSBURGH, “Polyphonic Soundscape in the Dardenne Brothers’ Film Lorna’s Silence

A18. Tim Anderson, OLD DOMINION UNIVERSITY, “Time for Brand Practice: Networking Finances and the ‘Social Musician’”

C6. Kara Fagan, UNIVERSITY OF IOWA, “Dancing on Ice, Falling out of the Gender Script: Sonja Henie’s 20th Century Fox Musicals and the Feminization of Figure Skating”

Spring-Serenity Duvall, SALEM COLLEGE, “When Gen X Icons Grow Up: Celebrity, Aging, and (Trans) national Canadian Identity in the Careers of Alanis Morissette and Sarah McLachlan”

D5. Veronica Fitzpatrick, UNIVERSITY OF PITTSBURGH, “The Also at Work in Every Intended Something: Belief, Belonging, Sound of My Voice, the East

D12. Joseph Pfender, NEW YORK UNIVERSITY, “The Lifespan of Circuits: Cinematic Experimentalism in the Chaotic Music of Louis and Bebe Barron”

D16. Rachel Kahn and Marc Rose, SOLOMON R. GUGGENHEIM MUSEUM AND UNIVERSITY OF PORTSMOUTH, “Music Video Art House: An Auteurist Study of the Music Video Production Company”

E12. Jing (Jamie) Zhao, CHINESE UNIVERSITY OF HONG KONG, “Problematizing a ‘Desirable’ Queer Media Culture: A Study of the Chinese Reality Talent Shows Super Girls, The Voice of China, and Your Face Sounds Familiar

E20. Andrew deWaard, University of California-Los Angeles: “New Gatekeeper Same as the Old Gatekeeper: Big Data, Big Content, and the Continued Concentration of Ownership in the Music Industry”

"MetrOoo Montréal" by Flickr user Éole Wind, CC BY-NC-SA 2.0

“MetrOoo Montréal” by Flickr user Éole Wind, CC BY-NC-SA 2.0


THURSDAY, March 26

Session F 9:00 – 10:45 a.m.

F11. Composing Narratives: The Role of Music in Film and Television
Chair: Paula Musegades, BRANDEIS UNIVERSITY
Paula Musegades, BRANDEIS UNIVERSITY, “The Sounds of Shangri-La: Romantic Exoticism in Lost Horizon
Sheri Chinen Biesen, ROWAN UNIVERSITY, “Blues, Smoke, and Shadows: Jazz in ‘Musical’ Noir Films”
Reba Wissner, MONTCLAIR STATE UNIVERSITY, “‘I Am Big—It’s the Pictures that Got Small’: Franz Waxman’s Scores for the Big and Small Screens: Sunset Boulevard (1950) and The Twilight Zone’s ‘The Sixteen Millimeter Shrine’ (1959)”
Georgia Luikens, BRANDEIS UNIVERSITY, “Singing Suburbia, Seeing Suburbia: Leonard Bernstein’s Trouble in Tahiti and the Operatic Teleplay”

Session G 11:00 a.m. – 12:45 p.m.

G7. A Paragon of Intermedial Adaptation: The War of the Worlds in Radio, Film, and Social Media
Chair: Doron Galili, STOCKHOLM UNIVERSITY
Co-Chair: Gabriel Paletz, PRAGUE FILM SCHOOL
Gabriel Paletz, PRAGUE FILM SCHOOL, “Book to Broadcast and across Media: Orson Welles’s Strategies of Adaptation”
Doron Galili, STOCKHOLM UNIVERSITY, “War of the Worlds, Mass Media Panic, and the Coming of Television”
Jennifer Stoever-Ackerman, SUNY-UNIVERSITY AT BINGHAMTON, “Invading Auditory Practice: On the War of the Worlds and #WOTW75”
Respondent: Timothy Corrigan, UNIVERSITY OF PENNSYLVANIA
Sponsor: Radio Studies Scholarly Interest Group

G12. Sound Tracks
Chair: Jack Curtis Dubowsky, ACADEMY OF ART UNIVERSITY
Monique Bourdage, UNIVERSITY OF MICHIGAN, “‘You Don’t Appreciate True Musical Genius’: Negotiating Gender and Musical Taste on Playboy after Dark
Carl Laamanen, OHIO STATE UNIVERSITY, “Her and the Technological Acousmêtre”
Rembert Hueser, GOETHE UNIVERSITY FRANKFURT, “Easy Listening in Godard’s La Chinoise
Jack Curtis Dubowsky, ACADEMY OF ART UNIVERSITY, “Queer Monster Music”
Sponsor: Sound Studies Scholarly Interest Group

G21. Workshop: Sound Work Radio Production Cultures
Chair: Andrew Bottomley, UNIVERSITY OF WISCONSIN-MADISON
Workshop Participants:
Shawn VanCour, NEW YORK UNIVERSITY
Tom McCourt, FORDHAM UNIVERSITY
David Uskovich, ST. EDWARD’S UNIVERSITY
Sponsor: Radio Studies Scholarly Interest Group

Session H 1:00 – 2:45 p.m.

H12. Historicizing Cinema’s Sounds and Color
Chair: Andrew Horton, UNIVERSITY OF OKLAHOMA
Benjamin Wright, UNIVERSITY OF TORONTO, “The House that Zimmer Built: Romantic Minimalism and Group Style in Contemporary Film Music”
Julie Hubbert, UNIVERSITY OF SOUTH CAROLINA, “Records, Repertoire, and Rollerball (1975): The Hi-Fi Movement and the New Hollywood Soundtrack”
John Belton, RUTGERS UNIVERSITY, “Man, God, and Kodachrome: The Beginnings of a Color Vernacular”

Session I 3:00 – 4:45 p.m.

I11. Historicizing Technical Standards and Practices in Film Sound
Chair: Katherine Quanz, WILFRID LAURIER UNIVERSITY
Michael Slowik, SAN DIEGO STATE UNIVERSITY, “The Curious Case of Myrna Loy: Voice, Ethnicity, Impersonation, and Early Synchronized Sound Technology”
Eric Dienstfrey, UNIVERSITY OF WISCONSIN-MADISON, “Prints and the New Power Regulations: New Data on the 1938 Academy Curve”
Katherine Quanz, WILFRID LAURIER UNIVERSITY, “The Aesthetic Impact of the National Film Board’s Sound Technology After 1956”
Kevin Donnelly, UNIVERSITY OF SOUTHAMPTON, “Progressive Rock, Technology, and Film in the 1970s”
Sponsor: Sound Studies Scholarly Interest Group

Session J 5:00 – 6:45 p.m.

J11. Screening Instability Genders, Genres, and Soundscapes of Cinematic Modernization in 1960s Mexico
Chair: Francisco Flores-Cuautle, WICHITA STATE UNIVERSITY
Brian L. Price, BRIGHAM YOUNG UNIVERSITY, “Rock and Roll Films and the Development of Mexican Counterculture”
Francisco Flores-Cuautle, WICHITA STATE UNIVERSITY, “Hyperbolic Masculinity and Effeminacy in Viento Negro (Dark Wind)”
Carolyn Fornoff, UNIVERSITY OF PENNSYLVANIA, “Musical Interludes in Mexican Melodrama: Crafting a Sonic Space of Exclusion”
Ignacio Sanchez Prado, WASHINGTON UNIVERSITY IN ST. LOUIS, “A Hero and the Monsters of Modernity: Wrestler Cinema as Popular Cosmopolitanism”
Respondent: Sergio de la Mora, UNIVERSITY OF CALIFORNIA-DAVIS

Special Event 7:30 p.m.

Wind from the Middle East: An Evening of Music and Film
Location: La Vitrola, 4602 Boulevard Saint-Laurent
The Middle East Caucus presents an evening of entertainment and discussion, featuring a performance by local Montreal musicians Sam Shalabi (playing oud) and Stefan Christoff (on electric guitar). Following the musical performance, there will be a presentation by Negar Mottahedeh, Associate Professor of Literature at Duke University, and author of Displaced Allegories: Post-Revolutionary Iranian Cinema. Professor Mottahedeh’s talk is titled “Le Vent Nous Portera: of lovers possessed, times entangled, and bodies carried away,” and will be accompanied by a video projection.
Metro: Station Laurier or a short taxi ride from the conference hotel.
Sponsored By: Middle East Caucus and supported by SCMS

Thursday Individual Papers of Interest

F6. Zachary Campbell, NORTHWESTERN UNIVERSITY, “The Audiovisual Otherwise: Valences of Media as Political Figurations”

F7. Denise Mok, UNIVERSITY OF BRITISH COLUMBIA, “Transnational Agencies and Auras: Performance and Star Power in Transatlantic Film Performances in Early Sound Cinema”

F8. Theo Stojanov, CONCORDIA UNIVERSITY, “Manufactured Soundscapes: Recycled Media, Sound Archives, Materiality”

G10. Anupama Kapse, QUEENS COLLEGE-CUNY, “Autobiographies of Dissent: Memories of Screen Acting in the Early Sound Film”

G11. Colin Burnett, WASHINGTON UNIVERSITY IN ST. LOUIS, “The Vernacular of Rhythm: How the Language of Postwar Film Culture Elaborated on a Musical Analogy”

H8. Jane Stadler, UNIVERSITY OF QUEENSLAND, “Sonic Disturbance: Film, Phenomenology, and the Threshold of Acoustic Experience”

H11. Anne Jerslev, UNIVERSITY OF COPENHAGEN, “David Lynch and Haptic Audio-Visuality in Crazy Clown Time”

H18. Ryan Powell, INDIANA UNIVERSITY, “Queer Aurality in Seventies Gay Art Porn”

I4. James Deaville, CARLETON UNIVERSITY, “Music and Sound in Film Trailers: A Preliminary Ethnographic Study of Producers and Consumers”

J7. Katherine Spring, WILFRID LAURIER UNIVERSITY, “Film Music and Moral Rights in Hollywood’s Early Sound Era”

"Place des Arts" by Flickr user Logan Charlot, CC BY-NC-SA 2.0

“Place des Arts” by Flickr user Logan Charlot, CC BY-NC-SA 2.0


FRIDAY, March 27

Session K 9:00 – 10:45 a.m.

K22. Dis-locating Sound
Chair: Lutz Koepnick, VANDERBILT UNIVERSITY
Co-Chair: Nora M. Alter, TEMPLE UNIVERSITY
Nora M. Alter, TEMPLE UNIVERSITY, “Shocking Sounds: Surrealism, Songs, and the Essay Film”
Jennie Hirsh, MARYLAND INSTITUTE COLLEGE OF ART, “Transmissions of Fascism: Advertising Architecture through the Ente Radio Rurale Poster Campaign”
Kenneth White, STANFORD UNIVERSITY, “Reason and Passion: Joyce Wieland, Pierre Vallières, and Cold War North American Avant-garde Cinema”
Lutz Koepnick, VANDERBILT UNIVERSITY, “Sounds without Frontiers, Cinemas without Screens”
Sponsor: Sound Studies Scholarly Interest Group

Session M 2:15 – 4:00 p.m.

M2. She Bop on Screen Girls, Popular Music, and Visual Media
Chair: Diane Pecknold, UNIVERSITY OF LOUISVILLE
Mary Kearney, UNIVERSITY OF NOTRE DAME, “Getting Girls to Rock: Gendering Rock ‘n’ Roll in US Teen Media, 1956–1966”
Norma Coates, UNIVERSITY OF WESTERN ONTARIO, “Dangerous Representations: Empowered Teen Girls, the Monkees, and ‘The’ Monkees”
Morgan Blue, UNIVERSITY OF TEXAS AT AUSTIN, “Disney Channel’s Pop Girlhood”
Diane Pecknold, UNIVERSITY OF LOUISVILLE, “Spectral Cityscapes and the Tween Pop Public Sphere”
Sponsor: Sound Studies Scholarly Interest Group

M8. Workshop: The Problem of the Radio Canon
Chair: Jason Loviglio, UNIVERSITY OF MARYLAND
Workshop Participants:
Debra Rae Cohen, UNIVERSITY OF SOUTH CAROLINA
Bill Kirkpatrick, DENISON UNIVERSITY
Kate Lacey, UNIVERSITY OF SUSSEX
Jason Loviglio, UNIVERSITY OF MARYLAND
Elena Razlogova, CONCORDIA UNIVERSITY
Sponsor: Radio Studies Scholarly Interest Group

Special Event 9:00 – 9:30 p.m.

Satosphere: 360-Degree Spherical Screen with 157 Speakers
Location: Société des Arts et Technologies, 1201 Boulevard Saint Laurent, 3rd Floor
Channeling the techno-utopianism of Expo 67, the Satosphere Dome is a state-sponsored, permanent environment dedicated to large-scale moving image and sound experimentation. With a screen that is eighteen meters in diameter (that’s 60 feet!), you can sit back—or literally lie down—on the couches and ponder a distinct mode of spectatorship, immersion, and art. An experience of audio-visual envelopment not to be missed!
Metro: St Laurent
Directions: From conference hotel—a 15 minute walk from the hotel. Walk east on René-Lévesque and turn left (north) onto Boulevard Saint Laurent.
Sponsor: Concordia University

Friday Individual Papers of Interest

K13. Alan Pike, EMORY UNIVERSITY, “The Genrefication of Prison Films in the Early Sound Era”

K14. Thomas Dorey, YORK UNIVERSITY, “Pop-up Paratext: Film Directors, Music Videos, and Paramediality”

L9. Eileen Rositzka, UNIVERSITY OF ST. ANDREWS, “Corpographic Coordinates: Zero Dark Thirty, United 93, and the Sound of Vision”

L12. Lilya Kaganovsky, UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN, “Socialist Realist Sound”

M6. Vanessa Chang, STANFORD UNIVERSITY, “From Playback to Play: Gestural Invention and Digital Music”

M7. Michael B. Gillespie, OHIO UNIVERSITY, “‘Ne me quitte pas’: 9/11, Civic Pop, and Sonic Historiography”

"18/07/12" by Flickr user Thien, CC BY-NC-ND 2.0

“18/07/12” by Flickr user Thien, CC BY-NC-ND 2.0


SATURDAY, March 28

Session N 9:00 – 10:45 a.m.

Meeting
Radio Studies Scholarly Interest Group
Room: Les Voyageurs 2, Lobby Level

N8. The Voice in Translation
Chair: Jennifer Fleeger, URSINUS COLLEGE
Sarah Wright, ROYAL HOLLOWAY-UNIVERSITY OF LONDON, “Locating the Voice in Silent Cinema: Pablo Berger’s Blancanieves
Jennifer Fleeger, URSINUS COLLEGE, “Tito Schipa, Italian Film Sound, and Opera’s Legacy on Screen”
Tom Whittaker, UNIVERSITY OF LIVERPOOL, “‘Being’ Woody Allen: Dubbing, Vocal Performance, and Stardom in Spanish Film”
Christine Ehrick, UNIVERSITY OF LOUISVILLE, “Voice, Gender, and the Soundscapes of Buenos Aires in the Comedy of Niní Marshall, 1937–1947”

Session O 11:00 a.m. – 12:45 p.m.

O6. The Public Good Goes to Market: North American Public Service Media and the Marketplace in the Digital Convergence Era
Chair: Christopher Cwynar, UNIVERSITY OF WISCONSIN-MADISON
Jason Loviglio, UNIVERSITY OF MARYLAND, “NPR Listens: Psychographics, Audience Measurement, and the Privatization of Public Service Radio”
Kyle Conway, UNIVERSITY OF OTTAWA, “Policy beyond the Nation-State; or, Why the French Didn’t Watch Canada’s Little Mosque on the Prairie
Christopher Cwynar, UNIVERSITY OF WISCONSIN-MADISON, “Social Service Media?: Assessing the CBC and NPR’s Engagement with Social Media Platforms”
Respondent: Laurie Ouellette, UNIVERSITY OF MINNESOTA
Sponsor: Radio Studies Scholarly Interest Group

O11. The Sonic Impact of Scale Local and National Radio in “the 1960s”
Chair: Darrell Newton, SALISBURY UNIVERSITY
Josh Glick, YALE UNIVERSITY, “Soundscapes of South Los Angeles: Radio and the Voices of Resistance”
Darrell Newton, SALISBURY UNIVERSITY, “Being of Color in Britain: Identity, 1960s Radio, and West Indian Immigration”
Eleanor Patterson, UNIVERSITY OF WISCONSIN-MADISON, “We Are Not Reviving a Ghost: Reconfiguring Radio Drama in Post-network Era United States”
Alexander Russo, THE CATHOLIC UNIVERSITY OF AMERICA, “Musical Storytelling to a Fragmented Nation: American Top 40 and Cultural Conflict”
Sponsor: Radio Studies Scholarly Interest Group

Session P 1:00 – 2:45 p.m.

P7. Fringe Time: Gender and Crossover Programming in the US Radio-TV Transition
Chair: Jennifer Wang, INDEPENDENT SCHOLAR
Elana Levine, UNIVERSITY OF WISCONSIN-MILWAUKEE, “Picturing Soap Opera: Daytime Serials and the Transition from Radio to Television”
Jennifer Wang, INDEPENDENT SCHOLAR, “Resuscitating the Wife Saver: Gender, Genre, and Commercialism in Postwar Broadcasting”
Jennifer Lynn Jones, INDIANA UNIVERSITY, “Signal Size: Gender, Ethnicity, and Diet Episodes in the Radio-TV Transition”
Kate Newbold, NORTHWESTERN UNIVERSITY, “‘Now the Booing Is Done in Soprano’: Wrestling, Female Audiences, and Discourses of Liveness in the Radio-to-TV Transition in America, 1940–1953”
Sponsor: Radio Studies Scholarly Interest Group

P10. Historicizing Music and Transmedia
Chair: Landon Palmer, INDIANA UNIVERSITY
Kyle Barnett, BELLARMINE UNIVERSITY, “Popular Music Celebrity, Jazz-age Media Convergence, and Depression-era Transmedia”
Kevin John Bozelka, AUSTIN COLLEGE, “Everything on the Pig but the Squeal: Artist/ Publishers and Recordings in the Post-WWII American Entertainment Industry”
Landon Palmer, INDIANA UNIVERSITY, “All Together Now: The Beatles, United Artists, and Transmedia Conglomeration”
Alyxandra Vesey, UNIVERSITY OF WISCONSIN-MADISON, “Mixing in Feminism: Playlists, Networks, and Counterpublics”
Sponsors: Radio Studies and Sound Studies Scholarly Interest Groups

P12. Workshop: Trans Women’s Media Activism Digital Interventions and HIV/AIDS
Chair: Marty Fink, GEORGIA INSTITUTE OF TECHNOLOGY
Workshop Participants:
Morgan Page, MCGILL UNIVERSITY
Morgan Sea, TRANZISTER RADIO
Bryn Kelly, INDEPENDENT SCHOLAR
Alexandra Juhasz, PITZER COLLEGE
Sponsor: Media Literacy & Pedagogical Outreach Scholarly Interest Group

Session Q 3:00 – 4:45 p.m.

Q18. Workshop: Something Good? The Sound of Music at Fifty
Chair: Desirée Garcia, Arizona State University
Workshop Participants:
Steven Cohan, SYRACUSE UNIVERSITY
Caryl Flinn, UNIVERSITY OF MICHIGAN
Sean Griffin, SOUTHERN METHODIST UNIVERSITY
Adrienne L. McLean, UNIVERSITY OF TEXAS AT DALLAS
Desirée Garcia, ARIZONA STATE UNIVERSITY

Q22. New Approaches to Music and Film Theory and History
Chair: Lea Jacobs, UNIVERSITY OF WISCONSIN-MADISON
James Buhler, UNIVERSITY OF TEXAS AT AUSTIN, “Toward a Theory of the Part-talkie”
Lea Jacobs, UNIVERSITY OF WISCONSIN-MADISON, “Rethinking the Sync: Adorno, Eisler, and Eisenstein”
Jeff Smith, UNIVERSITY OF WISCONSIN-MADISON, “Paying the Piper at Paramount: Budgets, Shooting Schedules, and the Score for Midnight (1939)”
Andrew Johnston, NORTH CAROLINA STATE UNIVERSITY, “Chromatic Rhythms and Display Memories”

Q23. Stream Engines: Streaming Services and Media Distribution
Chair: Devon Powers, DREXEL UNIVERSITY
Jeremy Morris and Devon Powers, UNIVERSITY OF WISCONSIN-MADISON AND DREXEL UNIVERSITY, “Now Streaming: Control, Content, and Curation in Digital Music Services”
Blake Hallinan, INDIANA UNIVERSITY, “‘My Context Is My Query’: Algorithmic Flow as Emergent Entertainment Paradigm”
Eric Harvey, WEBER STATE UNIVERSITY, “Listening Like a Platform: The Reorganization and Intensification of Streaming Music Commerce”
Chris Baumann, STOCKHOLM UNIVERSITY, “It’s Not TV, It’s Netflix: On Streaming Netflix, Technological Obsolescence, and the Cultural Status of a Medium”

Session R 5:00 – 6:45 p.m.

R11. The Acoustic 1930s: Global Film Sound Technique and Aesthetic from Silent to Sound
Chair: Ling Zhang, UNIVERSITY OF CHICAGO
Kathryn Kalinak, RHODE ISLAND COLLEGE, “New Means of Enormous Power: Soviet Film Music in the 1930s”
Charles O’Brien, CARLETON UNIVERSITY, “Film Sound and Dubbing Technique”
Jeremy Barham, UNIVERSITY OF SURREY, “When Is a Musical Film Not a Film Musical?: Diegetic and Generic Complexity in Germany’s First Sound Films”
Ling Zhang, UNIVERSITY OF CHICAGO, “The Comic Soundscape and Audiovisual Heterogeneity: Yuan Muzhi’s Scenes of City Life (1935) and Street Angel (1937)”
Respondent: James Lastra, UNIVERSITY OF CHICAGO

R12. Sounding the Interactive Documentary: Non-fiction, New Media, and the Problem of Immersion
Chair: Michael Baker, SHERIDAN COLLEGE
Co-Chair: Randolph Jordan, SIMON FRASER UNIVERSITY
Michael Baker, SHERIDAN COLLEGE, “Bear 71, Popular Music, and the Problem of Immersion”
Randolph Jordan, SIMON FRASER UNIVERSITY, “The Soundscapes of Mobile Periodization in Stan Douglas’s iOS app, Circa 1948
Milena Droumeva, SIMON FRASER UNIVERSITY, “Curating Everyday Life: Smartphones and Interactive Documentary as Daily Practice”
Respondent: Andrew Utterson, ITHACA COLLEGE
Sponsor: Documentary Studies Scholarly Interest Group

Special Event 8:00 – 9:30 p.m.

Experiments in 3D: Norman McLaren
Location: Henry F. Hall Building, Concordia University, 1455 boulevard de Maisonneuve Ouest, Room H-110
Please refer to Montreal vicinity map on page 32 for location. Join us for a screening of four recently restored stereoscopic and stereophonic shorts by renowned Scottish-Canadian animator and experimental filmmaker Norman McLaren. The evening will also feature a new documentary about McLaren’s musical compositions entitled Norman McLaren: Animated Musician, with its director Donald McWilliams in attendance. A brief question period will follow the screening with the National Film Board filmmakers, researchers, and McLaren collaborators who formed the restoration team.

Films to be screened in 3D:
Around Is Around, directed by Norman McLaren, 1951 (3D animation)
Now Is the Time, directed by Norman McLaren, 1951 (3D animation)
O Canada, directed by Evelyn Lambart, 1952 (3D animation)
Twirligig, directed by Gretta Ekman, 1952 (3D animation)
Norman McLaren: Animated Musician, directed by Donald McWilliams, 2014 (documentary live action)

Metro: Guy-Concordia
Directions: From the conference hotel—15 minute walk from the hotel. Walk west on René-Lévesque and then turn right on MacKay St. until you come to boulevard de Maisonneuve. The Hall Building will be on the north and west side of de Maisonneuve and MacKay.
Sponsors: Concordia University, McGill Institute for the Study of Canada, and the National Film Board

Saturday Individual Papers of Interest

N7. Yeidy Rivero, UNIVERSITY OF MICHIGAN, “The Original Miami Sound Machine: The Emergence of Miami as a Production Center for the US and Latin America”

Christopher Westgate, JOHNSON & WALES UNIVERSITY, “Passion Points for Latin@ Pop Music: Heat, Hits, and the Emotion of Economics”

P17. Ioana Uricaru, MIDDLEBURY COLLEGE, “No Melo—Music and Minimalism in Recent Romanian Cinema”

Q4. Andrew Ritchey, UNIVERSITY OF IOWA, “Trompe l’oreille: Dislocations of Sound and Sense in a Partly Québécoise Family of Recorded Sound Works by Michael Snow”

R7. Kathy Fuller-Seeley, UNIVERSITY OF TEXAS AT AUSTIN, “Becoming Benny: Jack Benny’s Production of a Radio Comedy Persona, 1932–1936”

Lauren Sklaroff, UNIVERSITY OF SOUTH CAROLINA, “The Hilarious Sophie Tucker: Humor, Womanhood, and the Dynamics of Delivery”

R20. Victoria Simon, MCGILL UNIVERSITY, “Anybody Can Be a Musician: Transparency and the Discursive Construction of Touch in Interfaces for Music Composition”

"Montreal skyline from McGill University" by Flickr user slack12, CC BY-NC-ND 2.0

“Montreal skyline from McGill University” by Flickr user slack12, CC BY-NC-ND 2.0


SUNDAY, March 29

Session S 9:00 – 10:45 a.m.

S16. Speaking of Sound: Historical Studies in Sound Practices and Technologies
Chair: Matthew Perkins, UNIVERSITY OF CALIFORNIA-LOS ANGELES
Meredith Ward, NORTHWESTERN UNIVERSITY, “The Sound Industry Lays the Golden Egg: Noise, Electroacoustical Research, and the Adjustment to Film Sound”
Casey Long, UNIVERSITY OF WISCONSIN-MADISON, “First Thing I Learned . . . Is When to Say Ain’t: Dialect in 1930s Hollywood”
Jennifer Psujek, WASHINGTON UNIVERSITY IN ST. LOUIS, “‘Free to Do Anything’: Fight Club (1999), Indiewood, and the Composite Score at the Turn of the Twenty-first Century”
Matthew Perkins, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “Sound Work: The Acquisition of Sound Labor and Division Thereof at Vitaphone and Warner Bros., 1925–1931”
Sponsor: Sound Studies Scholarly Interest Group

Session T 11:00 a.m. – 12:45 p.m.

T11. Sound, Technology, and Auditory Knowledge
Chair: Alejandra Bronfman, UNIVERSITY OF BRITISH COLUMBIA
Workshop Participants:
Axel Volmar, MCGILL UNIVERSITY
Carolyn Birdsall, UNIVERSITY OF AMSTERDAM
Anthony Enns, DALHOUSIE UNIVERSITY
Alejandra Bronfman, UNIVERSITY OF BRITISH COLUMBIA

Session U 1:00 – 2:45 p.m.

U3. Workshop: What Can Disability Studies Do for Media Studies?
Chair: Bill Kirkpatrick, DENISON UNIVERSITY
Workshop Participants:
Elizabeth Ellcessor, INDIANA UNIVERSITY
Mara Mills, NEW YORK UNIVERSITY
Tasha Oren, UNIVERSITY OF WISCONSIN-MILWAUKEE
Jonathan Sterne, MCGILL UNIVERSITY

U12. Music Structures and Affect
Chair: Britta Hanson, UNIVERSITY OF SOUTHERN CALIFORNIA
Katherine Reed, UNIVERSITY OF FLORIDA, “Between Grace and Nature: The Tree of Life’s Musical Dialogic Process and Formal Structure”
Phoebe Macrossan, UNIVERSITY OF NEW SOUTH WALES, “Constructing Glee’s Sung-through Musical Narrative through Spontaneity and Verisimilitude”
Christopher Culp, SUNY-UNIVERSITY AT BUFFALO, “‘This Isn’t Real, but I Just Wanna Feel’: Musicals, Television, and the Queer Ineffable Passage of Time”
Britta Hanson, UNIVERSITY OF SOUTHERN CALIFORNIA, “Music as Rhetoric in Contemporary Documentaries”

U18. Discontinuous Colonial Modernities of Media Film and Radio in British Malaya and Portuguese Southern Africa
Chair: Peter Bloom, UNIVERSITY OF CALIFORNIA-SANTA BARBARA
Co-Chair: Nadine Chan, UNIVERSITY OF SOUTHERN CALIFORNIA
Ines Cordeiro Dias, UNIVERSITY OF CALIFORNIA-LOS ANGELES, “Discourses of Urban Modernity in Portuguese Colonial Cinema”
Nadine Chan, UNIVERSITY OF SOUTHERN CALIFORNIA, “Cinematic Afterlives: Films of the Malayan Emergency at the Transition from Empire to Independence”
Peter Bloom, UNIVERSITY OF CALIFORNIA-SANTA BARBARA, “Learning the Speech of Counterinsurgency as National Allegory: BBC Radio and Instructional Propaganda Film during the Malayan Emergency”
Respondent: Peter Limbrick, UNIVERSITY OF CALIFORNIA-SANTA CRUZ
Sponsor: Middle East Caucus and Radio Studies Scholarly Interest Group

Sunday Individual Papers of Interest

T7. Keir Keightley, UNIVERSITY OF WESTERN ONTARIO, “Tin Pan Alley Goes Silent: Two Films about the Music Industry in 1919”

T13. Roger Almendarez, NORTHWESTERN UNIVERSITY, “Radio Arte—The Formation of a Mediated, Local Latina/o Identity in Chicago’s Pilsen Neighborhood”

"Youppi ! (31 / 365)" by Flickr user Jacques Fournier, CC BY-NC-ND 2.0

“Youppi ! (31 / 365)” by Flickr user Jacques Fournier, CC BY-NC-ND 2.0

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”

.

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”

.

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”

.

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

.

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”

.

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”

.

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”

.

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

.

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”

.

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

.

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”

.

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

.

* 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”

.

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”

.

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

.

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”

.

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”

.

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

.

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

.

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

.

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”

.

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”

.

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

.

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”

.

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”

.

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”

.

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”

.

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

.

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”

.

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

.

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”

.

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

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