Conference Booking Details – BAFTSS 2015

 

Booking for the conference is now open. Registration fees (excl. accommodation) are:

 

  • 3 Days (full conference): £110 / £55 (full price / unwaged)
  • Thurs 16th (day ticket): £30 / £15 (full price / unwaged)
  • Friday 17th (day ticket): £70 / £35 (full price / unwaged)
  • Sat 18th (day ticket): £30 / £15 (full price / unwaged)

 

‘Unwaged’ denotes someone who is not on a contract, such as hourly paid part-time staff as well as research students.

 

Our booking is handled for us by Quay Tickets. Follow this link, and please note:

 

  • You will need an account (free) with Quay Tickets to complete the purchase (this requires an email and password).
  • Choose either the ‘3 Day Conference Offer’ or book for an individual day (you will be able to add a second day if you wish).
  • Quay Tickets booking system will NOT mail out a ticket. We will have a note of all bookings.
  • Please check the boxes to indicate any dietary requirements and to opt for the conference dinner on Friday 17th (payment at restaurant).

 

 

 

 

Accommodation: Not included in the Conference registration fee.

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We are delighted to be able to offer a specially negotiated deal of £110 B&B per night with Macdonald Hotels in Manchester. To take up the offer delegates have to call or email – and the deal is for the Spa hotel (next to Piccadilly train station), not the Town House (which is more central).

The details are: Macdonald Spa Hotel, Piccadilly, 16th / 17th April deal: £110 B&B:

To book accommodation call: + 44 (0) 161 272 3200 or email reservations.manchester@macdonald-hotels.co.uk

Piccadilly Train Station is the station closest to the conference venue, which is about a 10 minute easy walk. There are, of course, many other hotels in the city if you wish to shop around.

 

 

Joining BAFTSS: You must be a member of BAFTSS to present your research at the conference. To join, please go to http://www.baftss.org/join/ (£20 salaried, £10 unsalaried).

 

Highlights of the conference include:

 

  • Question and Answer Event with Nicola Shindler, Television Producer, Executive and founder of Red Production Company (Thursday 16th April)

 

  • Screening of Professor Christine Geraghty’s ‘Desert Island Movie’: Dance Hall (UK, 1950, Dir. Charles Crichton, Ealing) Thursday 16th April

 

 

  • Presentation of Lifetime Achievement Award to Professor Geraghty (Honorary Professorial Fellow, University of Glasgow) & presentation of BAFTSS Essay & Book awards: Sat 18th

 

  • Closing Plenary Talk from Professor Geraghty

 

  • We are currently organising a ‘pre-conference’ session aimed specifically at post-graduates and targeted at professional development, 11:00am – 1:00am on Thursday 16th

 

  • Post-Conference suggestion: A tour down the Cobbles!!! While in Manchester, we thought you might like to do the Coronation Street Tour in the old Granada Studios in the city centre. We can’t administer this ourselves, but – if you are interested – tours depart every 10 minutes. Individual tickets for mid-afternoon slots via this link.

 

 

Provisional Conference Programme – BAFTSS 2015

 This draft programme may be updated and will be labelled so if a new edition is issued.

you can download the pdf version of the programme from this link

 

All main events (unless it says location to be confirmed) are in the Geoffrey Manton Building, Manchester Metropolitan University. More information about conference booking and registration is available here 

 

Thursday 16 April 2015

 

11.00     Pre-Conference Events

Lecture Theatre 4: PG/Early Career Development Session: In the process of being confirmed regarding content. Email Anna at eac14@le.ac.uk if you’d like to know more about what we’re aiming to get set up. We will confirm specifics asap.

                  Room GM223: BAFTSS Executive Committee Meeting

For BAFTSS Executive Committee Members Only

 

13:00     Registration       

Refreshments will be available during Registration

Upper Atrium

 

13.30     Lecture Theatre 3: Welcome to Manchester Metropolitan University.

Professor Phil Powrie, Chair of BAFTSS    

Dr. Andy Moor, Reader in Film, Manchester Metropolitan University.

 

13:45     Parallel Sessions 1

 

1A            Misfits and Popular Kids

                  Chair: Jane Dipple (University of Winchester)

Location: GM223

1: Martha Shearer (King’s College, London) ‘Dancing in the Suburbs: The Girl Next Door,

Young at Heart and the Suburban Musical’

2: Tim McNelis (University of Liverpool) ‘High School Fidelity: Popular Music, Teen Film

Adaptations, and Participatory Culture’

3: Frances Smith (University of Warwick) ‘Don’t You Forget About Me: Molly Ringwald, Nostalgia and Teen Girl Stardom’

 

1B            Politics in Film and TV

Chair: Joe Andrew (Keele University)

                  Location: GM224

1: Kristin Gorton (University of York) ‘Performing the political; questioning the everyday: self-help and melodrama in Enlightened

2: Siao Yuong Fong (Royal Holloway, University of London) ‘Censorship as performance’ – a case of Singapore media production’

3: Verena von Eicken (University of York) ‘Negotiating Gender Roles, Performing Social Critique: Nina Hoss and the Berlin School Period Films’

 

1C            Genre, Gender and Transforming Concepts

                  Chair: Alex Marlow-Mann (University of Birmingham)

Location: GM225

1: Mareike Jenner (Independent Scholar) ‘Gender, Genre and No More Double Entendre: Battles of the Sexes in Detective Dramas of the 1990s’

2: Vahdani, Alireza (Oxford Brookes University) The Hero’s Death and the Race of the Villains in John Ford’s Fort Apache (1948’)

3: Elena Boschi (Liverpool Hope University) ‘What’s a rock star like you doing in a film like

this? Gianna Nannini’s Queer Stardom, Music, and Voice in Sea Purple’

 

1D            Hollywood Male Idols in the 1920s and 30s: Performance and Reception.

                  Chair: Tim Bergfelder (University of Southampton)

Location: Lecture Theatre 4

1: Martin Shingler (University of Sunderland) ‘John Barrymore in The Sea Beast (1926)’

2: Mark Glancy (Queen Mary, University of London) ‘Cary Grant in the 1930s: Americanizing the Gentleman Star’.

3: Elisabetta Girelli (University of St. Andrews) ‘Just Plain Danilo Petrovich’: John Gilbert’s Performance as Negotiation in The Merry Widow (1925).’

4: Michael Williams (University of Southampton) ‘Performing Perfection: Measuring up Buster Crabbe and the 1930s Olympian Body.’

 

1E             Lecture Theatre 3 is available at this time.

 

15.35     ‘High Tea’ Refreshment Break

Upper Atrium

Food and drink as appropriate.

 

16.35     Lecture Theatre 3: Q&A with Nicola Shindler (Red Production Company, the studio behind Happy Valley, Clocking Off, Last Tango in Halifax, Cucumber, Banana and Tofu and Scott and Bailey)

 

17.35     There will be a short break of 15 minutes before film screening.

 

17.55     Screening of Christine Geraghty’s ‘Desert Island Film’: Dance Hall (Charles Crichton, GB 1950) 80mins

Location: Lecture Theatre 3.

 

19.45     BAFTSS Awards Ceremony: Reception with Wine and Canapés

Location tbc

 

Friday 17 April 2015

 

09:00     Parallel Session 2

 

2A            Debating Gender

Chair: Rajinder Dudrah (University of Manchester)

                  Location: Lecture Theatre 4

1: Elena Caoduro (University of Southampton/Queen’s University, Belfast) ‘Women’s

Tales: Postfeminist Adventures in Consumerville? ‘

2: Peter Deakin (University of Salford) “Selling masculinity” in the movies: the paradox of anti-consumerist consumerism in Fight Club (1999), American Psycho (2000) and fin de millennial men in crisis Hollywood cinema”‘

3: J.E. Smyth (University of Warwick) ‘The Organisation Woman: Barbara McLean and the Editor as Auteur’

 

2B            Lecture Theatre 4 is available at this time.

 

2C            Being the Audience

                  Chair: tbc

Location: GM224

1: Lesley-Ann Dickson (University of West of Scotland and Stirling University) Performing the Film Festival: An empirical study of audience experience, etiquette and performance at Glasgow Film Festival’

2: Melanie Selfe (University of Glasgow) ‘The Limiting Imagination of the National Cinema Audience: British Film Policy and Audience Instrumentalism’

3: Fay Woods (University of Reading) ‘The Squaddies of BBC Three: Televising Conflict for the

Youth Audience in Our War’

 

2D            Representations and performances of masculinity in contemporary comedy films

Chair: tbc

Location: GM225

1: Claire Jenkins (University of Leicester) ‘Parenting, paternity and male anxiety in the

contemporary mom-com.’

2: Lauren Jade Thompson (University of Warwick) ‘Hard’ and ‘soft’ masculinity in Crazy

Stupid, Love (Ficarra & Requa, 2011)’.

3: E. Anna Claydon (University of Leicester) ‘Hypermasculinity, homosociality

performativity and a cinema of insults: Tropic Thunder (Stiller, 2008) and Anchorman (McKay, 2005)’

 

2E             French Film and TV: Questions of French Identity

                  Chair: Phil Powrie (University of Surrey)

Location: Lecture Theatre 3

1: Muriel Tinel-Temple (Birbeck College/University of Westminster) ‘Jean Eustache on TV: everyday life and the “dispositif” of storytelling’

2: Douglas Morrey (University of Warwick) ‘The intimate everyday in French cinema: Arnaud

Desplechin between the Nouvelle Vague and the jeune cinéma français.’

3: Sue Harris (Queen Mary, University of London) ‘Gérard Depardieu: Performing Pariahdom’

 

10.20     Refreshment Break

Upper Atrium

                 

10.35     Parallel Session 3

 

3A            Hinterland/Y Gwyll

                  Chair: tbc

                  Location: Lecture Theatre 4

1:

2:

 

3B            The Marvel-Ous Body: The Biopolitics of Marvel’s Cinematic Superheroes

Chair: E. Anna Claydon (University of Leicester)

Location: GM223

1: John Carter McKnight (Lancaster University) ‘Regimes fall every day: The politics of the Russian body in the Marvel Cinematic Universe’

2: Eva Hayles Gledhill (University of Reading) ‘Logan’s Run: the Wolverine diet, masculinity and the (in)vulnerable body’

3: Katrin Tildenberg (Tallinn University, Estonia) ‘ All the broccoli and still no dessert. #superherofitness on Instagram’.

 

3C            Feminine Transformation and Spaces in Cinema

                  Chair: Lúcia Nagib (University of Reading)

Location: GM224

1: Eleonora Sammartino (King’s College London), “’Show Me How You Burlesque':

Queering the Showgirl Narrative in Contemporary American Film Musicals”

2: Jen Wallace (King’s College London), “Agnès Varda, Paris and the Flâneuse”

3: Alice Guilluy (King’s College London), “‘I Just Hope I Haven’t Internalized Any of

That Shit’: Watching Romcoms as a Feminist”

 

3D            Everyday ‘Humdrum’

                  Chair: Melanie Williams (University of East Anglia)

                  Location: GM225

1: Sue Harper (University of Portsmouth) ‘The Shock of the Known: A Critique of Everyday Life’

2: Hollie Price (Queen Mary, University of London) ‘‘Tea Table Politics’:

Mapping Domestic Respectability, Ritual and Reform in British Realist Films of the 1940s’

3: Adam O’Brien (University of Reading/University of Bristol) ‘Normal / Chaos / Everyday /

Adventure: The Man Who Knew Too Much

4: Kate Woodward (Aberystwyth University) ‘’This is not a Police Station’: noiring the

ordinary and extraordinary of Aberystwyth in Hinterland/ Y Gwyll

 

3E             Lecture Theatre 3 is available at this time.

 

12.00     Lecture Theatre 3 Screening of The Stuart Hall Project (Akonfrah, 2013) preceded by short testimonials to Stuart Hall and the Stuart Hall Memorial Award

 

14.00     Lunch

Upper Atrium

                 

14.50     Parallel Session 4

 

4A            Performing Woman/Women: Visual Representations of Body, Voice, and Space

Chair: Paul McDonald (University of Nottingham)

Location: Lecture Theatre 4

1: Fiona Noble (University of Aberdeen)Silencing Snow White: Blancanieves (Pablo Berger, 2012)’

2: Francisca Sánchez Ortiz (Manchester Metropolitan University), ‘Adaptation and the Problems of Representation: Dead Female Bodies and Human Waste in The Bridge

3: Paula Blair (Newcastle University) ‘Mediated Women in Post/Conflict Northern Ireland’

4: Lorna Muir (University of Aberdeen) ‘Hearing Her: Voice, Gender and Performing Surveillance Systems’

 

4B            Transgressing Lines

                  Chair: Stefano Baschiera (Queen’s University, Belfast)

                  Location: GM223

1: Matthew G O’Neill (Queen’s University Belfast) ‘A “glock with a cock”: Urban Rural forms of (Trans*) Gender Space in Hit and Miss’.

2: Irene Gonzales (SOAS, University of London) ‘The Prostitute in Post-Occupation Japanese Melodrama (1952-1964’)

3: Adam Jacob Burgess (University of Manchester) ‘Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen’ (Tootsie)

 

4C            British Stars and Sensibilities

Chair: Andy Moor (Manchester Metropolitan University)

Location: GM224

1: James Leggott (Northumbria University) ‘From Newcastle to Nashville: The Troubled Northern Soul of Jimmy Nail’.

2: Melanie Williams (University of East Anglia) ‘Rita Tushingham and Sixties’ Film

Stardom’

3: Neil Archer (Keele University) ‘Fan du cinéma: mimesis, mimicry and The Trip to Italy’

4: Jennifer Barnes (University of Dundee) ‘Offscreen: Laurence Olivier’s unmade Macbeth and the National-Cultural Function of the Shakespearean Star’

 

4D            Media Intersections – Changing Perspectives

Chair: tbc

Location: GM225

1: James Walters (University of Birmingham) ‘The Word in the Frame: The Aesthetics of

Online Video Poetry’

2: Jeffrey Geiger (University of Essex) ‘Drone Vision: Interventions and Reinventions’

3: Lucy Bolton (Queen Mary, University of London) ‘New Media and Iris Murdoch: fandom,

misogyny, and posthumous encounters’

 

4E             Televisual Misogynies

Chair: Beth Johnson (Keele University)

Location: GM224

1: Cornelia Klecker (University of Innsbruck) ‘The “Gemma-Dilemma”: A Case Study’ (Sons of Anarchy).

2: Rachel Velody (London College of Fashion) ‘Scandal and the Body Politic: Black/White: A case of Good Porn’

3: Gregory Frame (University of Warwick) ‘It’s a man’s world: The difficulties of visualising a female presidency in US television drama’

 

16:20     Refreshments

Upper Atrium

                 

16.35     Lecture Theatre 3: Professional Plenary Open Access (and its implications for REF2020)

(Martin Eve, University of Lincoln)

Chair: Phil Powrie (University of Surrey and Chair of BAFTSS)

 

17.45     Break/Bar at your leisure

 

20.15     Conference Dinner

                  When you book your place you can indicate if you are interested in attending. This will be an informal event at Croma off Albert Square and individuals pay at the restaurant.

 

Saturday 18th April 2015

 

09:00     Parallel Session 5

 

5A            Challenging Women

                  Chair: tbc

Location: GM223

1: Katherine Farrimond (University of Sussex) ‘Body Horror? Selfhood, Agency and the Pregnant Virgin in Contemporary Popular Culture’

2: Barbara Plotz                 (King’s College, London) ‘Female Fatness as Non-Normative Femininity’

3: Claire Mortimer (University of East Anglia) ‘Gag and grimace, song and sally:   Wartime Comedy and the Cockney Matriarch in Gert and Daisy’s Weekend

4: Wallis Seaton (Keele University) ‘The greatest voice of her generation’: Lena Dunham and

the Politics of the Personal’.

 

5B            Questions of Childhood

Chair: tbc

Location: GM223

1: Eve Benhamou (University of Bristol) ‘?Are You a Monster, Too?” Genre, Gender, and Hybridity in Disney’s Frozen’

2: Maohui Deng (University of Manchester) ‘The Acting Child?: Representing and

Presenting Children in the Cinema of Kore-eda’

3: Karrie Ann Grobben (University of Exeter) ‘“Drink Me, Eat Me”: Consuming and

Performing Girlhood in Filmic Fantasy Worlds’.

 

5C            Aesthetics in Cinema and Television

Chair: tbc

Location: Lecture Theatre 3

1: Samantha Colling (Manchester Institute for Research Innovation in Art and Design) ‘Hairspray and the Aesthetic Pleasures of Hair’

2: Patrick Baxter (Manchester Institute for Research Innovation in Art and Design) ‘The Aesthetics of ‘Ghost Developments’ as Spaces, and ‘Intense Film Geography’ as Experimental Film Practice’

3: Molly Niu (University of Bristol) ‘Rethinking Digital Compositing in Contemporary

Hollywood Cinema Aesthetics, Network and Transnational Practice’

4: Paul Newland (Aberystwyth University) ‘Sounding out: Music and rural landscape in

Hinterland/Y Gwyll

 

5D            Scaring People

Chair: tbc

Location: GM225

1: Jane Dipple (University of Winchester) ‘A Representation of the Undead in British Culture:

Hammer’s Plague of the Zombies (1966).

2: Vivien Leanne Saunders (Lancaster University/LICA) ‘Playing Between Conventional

Notes’: Narrative Conflict in Hannibal’s Soundscape’

 

5E             Directors

                  Chair: Brian Winston (University of Lincoln)

Location: Lecture Theatre 3

1: Thomas Wardak (University of Sheffield) ‘Branded Auteurs and the Paratextual Primacy

Effect’

2: Henry K Miller (University of Cambridge)’ CAL [C.A. Lejeune] and Hitch’

3: Michael Smith (University of Leeds) ‘Kinuyo Tanaka and Ida Lupino: Gender and Filmmaking in the Early Postwar Era’

                 

10.20     Refreshment Break

Upper Atrium

 

10.35     Lecture Theatre 3: Plenary – BAFTSS Annual General Meeting and Q&A with the Executive

                  Committee

 

Including the election of new Executive Committee Members

 

11:35     Lecture Theatre 3: Lifetime Achievement Award Keynote ‘Title to be confirmed’

Professor Christine Geraghty, University of Glasgow

                 

13:00     Farewell and Conference End

The Conference Organisers

 

A final lunch is provided in the Atrium

 

*Deadline Approaching*  Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen

Submissions are invited for the third annual BAFTSS conference at Manchester Metropolitan University, 16-18 April 2015. The title of the conference is “Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen”. We are delighted to announce that the recipient of the Lifetime Achievement Award for 2015 is Professor Christine Geraghty. In addition, the 2015 conference will see BAFTSS present a Memorial Award honouring the work of Professor Stuart Hall. With these awards in mind, we would like to invite papers and/or panels on all areas of television, film and screen studies. Where not proposing a full paper, PG students are welcome to submit proposals for poster presentations. Proposals for papers, panels and poster presentations should focus on one or more of the following:

 

Quality and value

Aesthetics and style

Genre

Gender

Performance

Media specificity and convergence

Audience studies

Patterns of production, distribution and reception

Screen Practice

Rhythms and representations of the ordinary and the everyday

Race

Sexuality

The conference will host Christine Geraghty’s ‘Desert Island’ screening event and a screening of John Akomfrah’s documentary The Stuart Hall Project (2013), two keynote talks (one by the Lifetime Achievement Award recipient, one by a television practitioner), a Memorial Award, the BAFTSS Awards Ceremony, a Postgraduate/Early Career development session, conference dinner and publishers’ stands.

Proposals for individual papers (with or without a panel proposal) should be 250 words long, plus a brief biography (100 words) including affiliation details. Proposals for poster presentations should be 150 words, plus a brief biography. Proposals for panels should be submitted to the conference committee (at j.m.andrew@keele.ac.uk)by Monday, 20 October 2014Proposals for individual papers and poster presentations should be submitted to the conference committee (at b.l.johnson@keele.ac.uk) by Monday, 10 November 2014. Please state in the title of your email if you are proposing a paper, a panel or a poster presentation. You must be a member of BAFTSS to present your research at the conference. To join, please go to http://www.baftss.org/join/ (£20 salaried, £10 unsalaried). Free places will be awarded to a very limited number of volunteer PG helpers and notice of these will be made available after papers have been reviewed. All proposers will be notified by 1 February 2015.

Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen

Submissions are invited for the third annual BAFTSS conference at Manchester Metropolitan University, 16-18 April 2015. The title of the conference is “Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen”. We are delighted to announce that the recipient of the Lifetime Achievement Award for 2015 is Professor Christine Geraghty. In addition, the 2015 conference will see BAFTSS present a Memorial Award honouring the work of Professor Stuart Hall. With these awards in mind, we would like to invite papers and/or panels on all areas of television, film and screen studies. Where not proposing a full paper, PG students are welcome to submit proposals for poster presentations. Proposals for papers, panels and poster presentations should focus on one or more of the following:

 

Quality and value

Aesthetics and style

Genre

Gender

Performance

Media specificity and convergence

Audience studies

Patterns of production, distribution and reception

Screen Practice

Rhythms and representations of the ordinary and the everyday

Race

Sexuality

The conference will host Christine Geraghty’s ‘Desert Island’ screening event and a screening of John Akomfrah’s documentary The Stuart Hall Project (2013), two keynote talks (one by the Lifetime Achievement Award recipient, one by a television practitioner), a Memorial Award, the BAFTSS Awards Ceremony, a Postgraduate/Early Career development session, conference dinner and publishers’ stands.

Proposals for individual papers (with or without a panel proposal) should be 250 words long, plus a brief biography (100 words) including affiliation details. Proposals for poster presentations should be 150 words, plus a brief biography. Proposals for panels should be submitted to the conference committee (at j.m.andrew@keele.ac.uk)by Monday, 20 October 2014. Proposals for individual papers and poster presentations should be submitted to the conference committee (at b.l.johnson@keele.ac.uk) by Monday, 10 November 2014. Please state in the title of your email if you are proposing a paper, a panel or a poster presentation. You must be a member of BAFTSS to present your research at the conference. To join, please go to http://www.baftss.org/join/ (£20 salaried, £10 unsalaried). Free places will be awarded to a very limited number of volunteer PG helpers and notice of these will be made available after papers have been reviewed. All proposers will be notified by 1 February 2015.

 

BAFTSS 3rd Annual Conference 2015 – Manchester Metropolitan University, April 16-18 2015

Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen

Submissions are invited for the third annual BAFTSS conference at Manchester Metropolitan University, 16-18 April 2015. The title of the conference is “Genre, Gender and the Politics of the Everyday: Performing Tensions On and Off Screen”. We are delighted to announce that the recipient of the Lifetime Achievement Award for 2015 is Professor Christine Geraghty. In addition, the 2015 conference will see BAFTSS present a Memorial Award honouring the work of Professor Stuart Hall. With these awards in mind, we would like to invite papers and/or panels on all areas of television, film and screen studies but with particular foci on:

 

Quality and value

Aesthetics and style

Genre

Gender

Performance

Media specificity and convergence

Audience studies

Patterns of production, distribution and reception

Screen Practice

Rhythms and representations of the ordinary and the everyday

Race

Sexuality

 

There will be Christine Geraghty’s ‘Desert Island’ screening event and a screening of John Akomfrah’s documentary The Stuart Hall Project (2013), two keynote talks (one by the Lifetime Achievement Award recipient, one by a television practitioner), a Memorial Award, the BAFTSS Awards Ceremony, a Postgraduate/Early Career development session, BAFTSS book and essay prize winners (awarded in September 2014), best Postgraduate paper prize of a place for the 2016 conference, conference dinner and publishers’ stands.

Proposals for individual papers (with or without a panel proposal) should be 250 words long, plus a brief biography (100 words) including affiliation details. Proposals for panels should be submitted to the conference committee (at j.m.andrew@keele.ac.uk)by Monday, 20 October 2014. Proposals for individual papers should be submitted to the conference committee (at b.l.johnson@keele.ac.uk) by Monday, 10 November 2014. You must be a member of BAFTSS to present your research at the conference.

 

To join, please go to Join (£20 salaried, £10 unsalaried). Free places will be awarded to a very limited number of volunteer PG helpers and notice of these will be made available after papers have been reviewed. All proposers will be notified by 1 February 2015.

 

BAFTSS Award Ceremony – 2014

 

BAFTSS Prize-giving 2014

Sarah Street was awarded First Prize in the 2014 British Association for Film, Television and Screen Studies Best Book Prize for Colour Films in Britain: The Negotiation of Innovation 1900-55 (BFI/Palgrave Macmillan, 2012).

 

 P1050842

 

Comments by judges:

 

 

This book boasts a wealth of original research and embraces the technological, aesthetic, cultural and industrial nexus of ideas around colour on film. The British historical context is particularly illuminated. Street teases out the nationalistic discourses around the UK’s use of Technicolor and its innovations ably and persuasively. What this amounts to is a gripping story about how cultures deal with change. The book is quite brilliant and admirably lucid in the way it describes the sensibilities of colour perception. A breath-taking level of archival work underpins the writing here, and Street vitally incorporates a commentary about all of the difficulties of dealing with fragile, faded material; hence she takes care to be tentative in her analysis. This feels like a book which is destined to make us all more colour conscious.

 

 P1050841

 

Additional reviews from the Palgrave website:

 

In addition to the quality of the research, the book is also beautifully-designed. It features numerous colour illustrations – primarily frame enlargements – which are very helpful in comprehending Street’s many detailed analyses of individual films. The book also features two appendices that enhance its value as a reference work: a list of the colour films distributed in Britain between 1938 and 1955 (based on Kinematograph Weekly), and a concise and very useful description of the colour film processes and technologies discussed in the book (compiled by Simon Brown). Colour Films in Britain succeeds both as a comprehensive national film history and as a reflection on colour in cinema, and will be a valuable and lasting contribution to the field of film studies. European Journal of Media Studies.

‘Sarah Street’s groundbreaking study is that rare film history text which is at once absolutely authoritative, and pitched at a very high level in terms of discourse, but still readily accessible to the general reader. In addition, the volume is richly — and I mean intensely – illustrated with numerous, exquisitely printed frame blowups from the many films it examines, all in full color, and Street’s analysis of the development of color, not only in the commercial British cinema, but also in the the experimental work of artists such as Len Lye, is meticulous and detailed.’ – Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, USA, ‘Frame by Frame’, University of Nebraska-Lincoln’s Film Blog.

 

 

 

 

 

Ian Christie was awarded Runner-Up Prize in the 2014 British Association for Film, Television and Screen Studies Best Book Prize for Audiences: Defining and Researching Screen Entertainment Reception (Amsterdam University Press, 2012).

 

 P1050839

 

Comments by judges:

 

 

This volume is more than the sum of its parts. It is a test case in what an edited collection can be. It benefits from the many voices and the many perspectives, and throughout there is a keen sense that what’s here has been intelligently curated by Ian Christie. Where ‘audience studies’, for all its insights, has emerged from qualitative and quantitative statistics with a sociological impetus (and has necessarily had to reflect at length on its own methodology), this volume is wider-ranging. It is an energetic (and jargon free) exploration of how and where films have been and continue to be seen. The set of interests here is very impressive: cinema design, stage aesthetics, address to audience, cinema-going, the use of statistics, emerging technologies, and bio-cultural understandings of how we respond to film. Cinephilia in the digital age is explored; a fascinating piece on mobile phones is included; there is back to basics and refreshed consideration of cognitive psychology, as well as a defence of the merits of what the discipline of ‘audience studies’ can bring. As a whole, this is a serious, broad-ranging and immensely readable volume, a genuine contribution to scholarship, and it asks us to think again about what watching a movie actually entails.

 

 

 

 

 

Belén Vidal was awarded an Honourable Mention in the 2014 British Association for Film, Television and Screen Studies Best Book Competition for Figuring the Past: Period Film and the Mannerist Aesthetic (Amsterdam University Press, 2012)

 

P1050838 

 

Comments by judges:

 

 

A finely observed, minutely detailed exploration of style in the period drama, productively borrowing from art history to expound on the rhetoric of mannerism (a painterly self-consciousness) in recent examples of the genre. This is written with relish. Choice phrases leap out at the reader, and the acute attention to detail allows for the basic premise to be finessed. Scorsese’s Age of Innocence is quite brilliantly attended to, the book capturing precisely the way it lures the spectator into its world while at the same time rendering it’s pastness strange. Enriched rather than hamstrung by its post-structural theoretical foundations, Vidal is deft in explaining the way matters of form and style mobilise senses of fantasy, of desire and of fidelity. This reads like a labour of love.

 

 

 P1050836

 

 

 

 

 

 

 

Lee Grieveson was awarded First Prize in the 2014 British Association for Film, Television and Screen Studies Best Article Prize for ‘The Work of Film in the Age of Fordist Mechanization’ in Cinema Journal 51: 3 (Spring 2012).

 

 

P1050834

 

Comments by judges:

 

 

Lee Grieveson’s essay is notable for its attempt to broaden the focus of film studies through an examination of the under-studied area of industrial and educational film and for its sophisticated exploration of the relationship between film and political economies. It is a rigorously scholarly piece of research making extensive use of archival sources and it significantly expands our understanding of filmmaking practices of the 1910s and 1920s.

 

 

 

 

 

 

Catherine Fowler was awarded Runner-Up Prize in the 2014 British Association for Film, Television and Screen Studies Best Article Prize for  ‘Remembering Cinema “elsewhere”: From Retrospection to Introspection in the Gallery Film’ in Cinema Journal 51: 2 (Winter 2012)

 

 

Comments by judges:

 

 

Catherine Fowler’s essay also broadens the discipline of film studies, through its focus on gallery films often consigned to the field of visual studies. Her insightful analysis of moving image installations that utilise and reflect on sequences from existing films suggests new ways of thinking about our engagement with cinema history, and provides an interesting intervention into contemporary debates around the notion of cinephilia.







BAFTSS Conference 2014 – Registration

We are very happy to announce that BAFTSS 2014 conference registration is now open to the speakers. Please book your tickets over the next month. At the beginning of March, the registration details will be publicised more widely to non-speakers. It looks like it could be a really exiting event and there are lots of great papers. A draft schedule and abstracts document is attached. We will try to accommodate changes IF we can but I am sure you will realise that the bigger the event the more complex that can get. However, we have reflected any requests that came to us. To book your place, follow the link through. There is more information on this site. There are limited places available, though, so do get your booking in soon (if all speakers book, there will be about 15-20 spare places for non-speakers only: the limit is because of physical needs only).

https://www.quaytickets.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=97B860F1-B36C-4328-9BD5-A73A36D497BF

 

The fees are under £100 for the three days and under £50 for concessionary places, as we hoped. There are options of booking days separately and this might look a little complicated but Quay Tickets are running the site for us and assure us everything should run smoothly for you. If you have any problems, do contact them, they have been very helpful to us. You will note that we ask you to indicate if you would like to attend a conference dinner. Senate House are currently trying to find a venue which can accommodate us and we will be looking at a per capita price of around £25 but all this will be confirmed in due course. There is also a cap in place for the screening on Thursday evening of Pakeezah, you are asked to indicate your plan to attend this too – the cap is because of size limits in Birkbeck’s Institute of Moving Image Cinema.

 

Lastly, it is our pleasure to announce that we are able to offer ONE place free to any PG student who would be willing help out with Registration and Conference Pack preparation before (on the 24th) and during the conference. We already have one other person in place but if you would like to help out (this would necessitate you missing the PG/Early Career Event however), please email Anna at eac14@le.ac.uk<mailto:eac14@le.ac.uk>

 

BAFTSS 2014 is taking place at the Institute for Advanced Legal Studies on Russell Square in London. We would like to thanks Birkbeck College and BIMI (and especially Laura Mulvey and Ian Christie who invited us), Senate House and the Screen Studies Group (particularly Dorota Ostrokowska) at the University of London for their support and sponsorship of BAFTSS 2014,.