Screen Studies Conference 2010 Programme
FRIDAY 2 JULY
16.30-18.00
Cinema
OPENING PLENARY
Chair: Karen Lury
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Andrew Klevan
Living meaning: the fluency of film performance
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Lesley Stern
I've got the blues, gonna pack my things and go:
improvising daily life in Charles Burnett's Killer of Sheep
18.00-20.00
Hunterian Art Gallery
Reception
SATURDAY 3 JULY
9.15-10.45
217a
TV performance
Chair: Karen Lury
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James Bennett
TV must train its own stars’: Televisual performance and the invention of the “Television
Personality”
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Frances Bonner
Frying tonight: Stephen Fry’s performance of self
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Leigh Goldstein
Special for Women: Performing the everyday
217b
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Let’s get physical: effort and the body in film
Chair: Elke Weissmann
Katharina Lindner
“I want to see the movement. Not the effort behind it”: Gendered (Dis-) Embodiments in the
Dance Film
Lisa Purse
‘Grunt-work’: decoding the politics of the performance of physical effort in contemporary
action/spectacle cinema
Robert Cavanagh
Athlete, Player, Star
408
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409
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Music and film
Chair: Tim Bergfelder
Michael Lawrence
European War Orphans and the Hollywood Musical: Performance, Professionalism and the
Politics of Pity
Phil Powrie
Contribution to a history of the French musical: Swing and Big-Bands in the cinema of the
40s and 50s
Fierce fighters
Chair: Colleen Montgomery
Liam Burke
How to Perform on Screen the “Marvel” Way
Derek Johnston
Sword for Hire, Son for Hire: Performances of Warrior Fatherhood in Film and Television
Adaptations of the Kozure Ōkami (Lone Wolf and Cub) Manga
Alison Peirse
“Yeo-hwa is not human. She is a scary fox”: Cheonnyeon ho (1969), the kumiho and Korean
Horror Film
Cinema Reel/real lives: history and the politics of performance in European cinemas
Chair: Virginia Bonner
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Tom Brown
Performing agency in La Marseillaise: Renoir, rhetoric and revolutionary historiography
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Raphaelle Moine
The Biopic as Defence, Endorsement and Rehabilitation of the Self: Sacha Guitry’s Films in
the French Postwar Years
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Belen Vidal
Sheen/Morgan: the Performance of Impersonation
PS
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Screen performance and age: older women and the changing negotiations of character,
star persona and viewing
Chair: Chris Holmlund
Josephine Dolan
Acting ‘old’: embodiment and performance in The Whales of August?
Ros Jennings
Intergenerational viewing reviewed: revisiting Tenko’s older women as an older woman.
Eva Krainitzki
‘Darling’ Judi’s transgressive performance of age and gender
10.45-11.15
Theatre Tea/coffee
11.15-12.45
217a
TV history and spectacle
Chair: Amy Holdsworth
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Max Dawson
Putting “the television” back in TV history: historiography, technology, and television studies
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Helen Wheatley
‘Beautiful images, spectacular clarity’: Spectacular television, ‘landscape porn’, and the
question of (tele)visual pleasure
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Mark Williams
Passing for History: Visuality, Humor, and Early Television Historiography
217b
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408
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409
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Defying gravity
Chair: Mary Desjardins
Adriano D’Aloia
Embodied empathy: Gravity as a cinematic involvement strategy
Katharina Loew
Cinema Magic and Demonic Technology: Special Effects in German Silent Film
Kristi McKim
‘It really was no miracle. What happened was just this…the wind began to switch’:
Weather, Cinematic Expression, and Narrative Change
Different bodies
Chair: Lisa Purse
E Anna Claydon
‘Performing Disability: Able-bodies Actors and Other-abled Roles’
Lucy Donaldson
The work of the body: thinking about effort in performance
Rosa Fong and Elke Weissmann
An Object Performing Life: The Body in Film Viewership
Sing up and speak out
Chair: Michael Lawrence
Rayna Denison
Bollywood Bodies: Spectacle, Performance and Stardom in Contemporary Hindi Language
Cinema
Wei Jiang
Fading Red: Rethinking the Revolutionary Model Opera Films of Mao’s Cultural Revolution
Cinema Interpreting performance
Chair: Martin Shingler
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Cynthia Baron
Teaching the Essential Concepts and Vocabulary for Analyzing Screen Performance
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Paul Flaig
Brecht, Chaplin and Epic Performance
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Katherine Limmer
“His most profound weakness as an actor”: Charlton Heston, evaluation and ekphrasis
PS
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Different screens
Chair: Chi-Sui Wang
Jenny Chamarette
Status Anxiety, or Missing the Pictures: Film Performativity in the Museum Space
Paul Grainge
A Song and Dance: Branded entertainment and mobile screen performance
Holly Lewis
The Gaze of War: Synoptic Pleasure and the Grammar of New Military Cinema
12.45-14.00
Theatre Lunchbreak
14.00-15.45
217a
Performing film criticism: 1945-1959
Chair: Elena Bonomo
Respondent: Christine Geraghty
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Melanie Bell
“That Feminine Angle”: writing feminist film criticism in post-war Britain
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Charles Drazin
Free Comment: From Sequence to Sight and Sound
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Melanie Selfe
Critics on the air: BBC policy and the performance of film critique
217b
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408
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409
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Other worlds, other times, other star performers
Chair: Rayna Denison
Katherine Groo
Unkillable Something: Josephine Baker and Ethnographic Stardom
Traci Reeves
Spiritualist Melodramas: Passing and Black Spirit Performance in Imitation of Life (1934,
1959) and Pinky (1949)
Iain Robert Smith
“You’re really a miniature Bond”: Weng Weng and the transnational dimensions of cult film
stardom
Acting in screen docudrama: representing the facts
Chair: Tanya Horeck
Jonathan Bignell
‘Talent for Fact: Performers and Performances in TV Docudrama’
Derek Paget
Documentary Impulses in the First-Person Century: a context for the 2007-2010
“Acting with Facts” research project
Heather Sutherland
Screen Performance: Actors, Cameras, and "Acting with Facts"
Investigating realism
Chair: Paul Flaig
Angelos Koutsourakis
Spectres of Brecht in Dogma 95: Are Brecht and Realism Necessarily Antithetical?
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Christopher Penfold
Theatrical Roots: Screen Performance in the Films of Sergei Eisenstein
Fabio Vericat
Read my Lips: Onscreen Visual Acoustics in Alfred Hitchcock’s Blackmail
Cinema Animals acting
Chair: Karen Lury
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André Dias
The animal as a cinematic problem
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Victor Perkins
“But are cattle actors, Mr Hitchcock?”
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Simon Welch
From Rescued by Rover to A Zed and Two Noughts: the articulation of animal signifiers in
British cinema.
PS
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Classic performers
Chair: Jackie Stacey
John Ayres
“I’m not a very emotional person, as you may well know”: the body, voice and emotion in
1950s British film performance.
Susan Smith
Elizabeth Taylor and the art of compassion
15.45-16.15
Theatre Tea/coffee break
16.15-18.00
217a
TV drama
Chair: James Bennett
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Susan Berridge
Sexual Violence and Revelations: Homophobic abuse as a catalyst for coming out in US teen
drama series
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Hugh Breton
Near Disasters and Fears: The Paranoid Style in Spooks and Survivors
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Jason Jacobs
Intentionality and achievement in recent US television drama: the case of David Milch
217b
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Poetics of sensibility: women auteurs
Chair: Annette Kuhn
Sarah Artt
Silence and Perfomance: appreciating Lynne Ramsay's Morvern Callar
Virginia Bonner
Sense and Responsibility in Sally Potter’s Yes
Liz Watkins
The Poetics of Memory in Play (Sally Potter, 1971)
408
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409
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A space for documentary
Chair: Mark Williams
Dan Leopard
Experts in the networked world: Presence, telepresence and the BBC documentary
Steve Mardy
Short programmes, shorter films, shorts: were Denis Mitchell's Impressions (1981) series
a watershed moment in British television?
Katie Model
The plasticity of the documentary interview space
Laurel Westrup
And the beat goes on: enlivening rock performance on screen
Experiment and archive
Chair: Jenny Chamarette
Alyson Hrynyk
“Marie Menken and Joyce Wieland: Camera-Dancers of the Avant-Garde”
Lisa Socrates
Deterritorialising the ‘nation’: Deleuzian time, space and narrative in the video art of Lia
Lapithi Shukuroglou
See Kam Tan
Queer Films from the Shaw Archive
Cinema Performing gender
Chair: Sarah Street
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Patricia Di Risio
Gender Performance is Positively Dangerous and Disturbing
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Elisabetta Girelli
Man and boy: Montgomery Clift as a queer star in Wild River
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Philip Lumby
Performing’ heterosexuality: the complexities and contradictions of Coronation Street’s
Hayley and Roy
PS
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3-D realism
Chair: Daniel North
David Hare
3-D Cinema: Australasian Cinematography
Miriam Ross
The new 3D cinema revolution: a challenge for film studies
Chi-Sui Wang
How much real can we take? The challenge of digital realism
20.30
Dinner (if previously booked)
Stravaigin, 28 Gibson Street
SUNDAY 4 JULY
9.30-11.00
217a
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217b
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408
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409
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PS
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Poses and Play-Acting
Chair: Cynthia Baron
Edward Gallafent
Standing up for Democracy: Expressive Postures in Mr Smith Goes to Washington
Kathrina Glitre
The eyes have it: Invisible screen acting and ‘effortless’ performance
Martin Shingler
Playacting to her heart’s histrionic content: Critical reactions to Bette Davis’ Performances in
the 1930s and 1940s
Disturbing performers
Chair: Michael Temple
Tanya Horeck
Dramatic Liberties: emotion, affect and the rise of the crime documentary
Victoria Lowe
“Performing Codes Unknown”: Michael Haneke and the ‘ethics of screen performance’.
Julia Vassilieva
My own Private Kazakhstan: the Body, Borders and Bio-Politics in Borat (2006)
Puppets not “on a string”
Chair: Miriam Ross
Mary Desjardins
Performance, Labor, and Stardom in the Era of the Synthespian
Colleen Montgomery
Etch-A-Sketching in 3D: Technological Optimization and Technophobia in Pixar’s Toy Story
and Monsters Inc.
Daniel North
The Cinema of Puppetry: An Exploded View of Performance
British performers
Chair: Christine Geraghty
Peter Jameson
Blind Date: When Joseph Met Stanley
Colin Sell
Frowning in furs: Rachel Roberts as paradigm from drama school to British New Wave
Jonathan Stubbs
Performance, Aging and Masculinity in the Very Late Films of John Gielgud
Screen performance, cult stardom and horror
Chair: Alison Peirse
Kate Egan
Exploring the cult appeal of Hammer’s ‘Queen of Horror’: Ingrid Pitt, Carmilla and
The Vampire Lovers
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Justin Smith
The Cult Confessor: Vincent Price’s performance as Matthew Hopkins, Witchfinder General
Sarah Thomas
Peter Lorre’s “Masks”: “Brechtian” performance and Hollywood horror.
11.00-11.30
Theatre Tea/coffee break
11.30-12.45
217a
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217b
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408
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PS
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Politics
Chair: Flavia Laviosa
Koksal Ozlem
Performing the Past, the Present and the Future: Ararat and Beyond
Laura McMahon
A politics to come: the Dardennes with Derrida
The “romantic” intellectual
Chair: John Caughie
Marc Furstenau
A Natural Performance: Romantic Transcendence in Werner Herzog’s Grizzly Man
Michael Temple
Being Jean-Luc Godard: actor, star, intellectual
Industry views behind the scenes
Chair: Paul Grainge
Phil Betts
On-screen and off: the dual performances of Edward Burns in Fox Searchlight’s The Brothers
McMullen
Elena Bonomo
“Loaded with Tomatoes”: The Domestic and International Success of Hecht-Lancaster’s
Marty (1955)
Reality TV revisited
Chair: Frances Bonner
Iris Kleinecke-Bates
The Great British Food Fight: Celebrity Chefs, the celebration of tradition, and the campaign
for British Food and Farming
Alexia Smit
Shameful Bodies: undressing and exposure on plastic surgery reality television
12.45-14.00
Theatre Lunchbreak
14.00-15.30
CLOSING PLENARY
Cinema
Chair: Karen Lury
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Christine Holmlund
Adventures in acting: Stallone the performer
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Jacob Smith
Mimetic moments: imitative performance and postwar media