top of page
  • gemtechconcordia

Preliminary Conference Program for SCMS 2015 Revealed

In part thanks to the hard work of those at the Mel Hoppenheim School of Cinema, the continent’s première moving image studies conference held by the Society of Cinema and Media Studies will be hosted this year in Montréal from March 25th to 29th.

The preliminary 2015 program has just been revealed today. As with previous years, the massive program features a number of Concordia students and faculty, both at the MA and PhD level. Congratulations to those who have been selected to present, and keep an eye on Grad/Aperture for more SCMS coverage as the conference approaches.

You can look forward to the following presentations:

Brandon Arroyo, “Chris Crocker and the Making of a Transindividual Celebrity” Fulvia Massimi, “‘Why here?’: Predatory Femininity and ‘Alien’ Nationalism in Jonathan Glazer’s Under the Skin (2013)” Beatriz Bartolome Herrera, “A Kinaesthetic Pedagogy: José Val del Omar and the Modern Ethos of Educational Film” Papagena Robbins, “Luc Bourdon and the NFB’s La Mémoire des anges (2008): Nostalgia and Historical Consciousness through the Individual, the Institutional, and the National” Katarina Mihailovic, “Rhythm with Light: Belgrade Postwar Film Club Experimentalism and the Legacy of the Avant-garde” Joshua Neves, “Southern Effects” Kay Dickinson, “At What Cost Theory? An Economics and Poetics of Citation” Philippe Bedard, “Techno-aesthetic Study of ‘Third-Person Fixed Perception Shots’” Viviane Saglier, “In the Interstices of Film’s Political Economies: ‘Palestine’ at the Oscars” Adam Szymanski, “Composing Peace through the Ecosophic Aesthetic of Apichatpong Weerasethakul’s Uncle Boonmee Who Can Recall His Past Lives Theo Stojanov, “Manufactured Soundscapes: Recycled Media, Sound Archives, Materiality” Rachel Jekanowski, “Excavating the Territorial Archive in Fort McMoney (2013)” Masha Salazkina, “The Geography of Third World Cinema at International Film Festivals in the 1960s” Zach Melzer, “Moving Image Real Estate: The Case of New York City’s Times Square and Montréal’s Quartier des spectacles” Rosanna Maule, “Women’s Cinema on the Web: A New Platform for Feminist Discourse” Matthew Ogonoski, “‘You’ll Like This [Paratext] Because You’re in It’: Sweding, Fan Cultures, and the Remaking of Trailer Aesthetics.” Thomas Waugh, “The Confessional Contract: ‘Jerkoff’ Porn/Art, 1970s, 2010s” Philipp Dominik Keidl, “‘Public Media Archaeology’ and the Production of Historical Knowledge in the Museum” Haidee Wasson, “Small Screen Experiments at Mid-Century” Catherine Russell, “Walter Benjamin, Archiveology, and Critical Film Practice” Anthony Kinik, “Gordon Sparling’s City Symphonies: Metropolitan Modernism in 1930s Canadian Cinema” Irene Rozsa, “Transnational Networks and Film Exhibition: Screening ‘Cine de Arte’ in Cuba (1949-1959)” Meredith Slifkin, “A Method of Contradiction: Egyptian Melodrama of the Nasser Era” Antoine Damiens, “(Queer) Festival Programming as Translation: Negotiating Queer Cinema in Image+Nation’s Catalogues” Tess McClernon, “Discarded, Outworn, and Passé: Theorizing Obsolescence and Its Aesthetic in Outer and Inner Space (1966)” Martin Lefebvre, “A New Look at Christian Metz: Semiology and Aesthetics” William Fech, “Jon Jost: An Online Auteur” Jordan Gowanlock, “Computer Simulationin Visual Effects and Debates over Realism” Kester Dyer, “Kim Nguyen, Accented Cinema, and the Supernatural in Québec Film” Patrick Smith, “Structured Precarity in Liu Jiayin’s Oxhide II Marc Steinberg, “Platform Dominance, Contents Strategies: Japanese Media Industries and the Future of Transmedia” Kaia Scott, “To Observe the Unobservable: Visualizing Trauma with Deconditioning Films, Narcosynthesis, and Hypnotic Interviews in Therapeutic Treatment of World War II Soldiers”

The rest of the program, including the Concordia presence from other faculties and alumni, can be found on the SCMS website.

2 views0 comments

Recent Posts

See All


bottom of page