Research Events in Media at Edge Hill University
The Media Department has a vibrant research culture that combines research into the theory and practice of media. Our events reflect both traditional academic research and the Department’s interest in practice as research. Below is a list of speakers and symposia organised by the Media Department. For further information, please contact Owen Evans firstname.lastname@example.org.
Conferences and Symposiums
CFP: Critical Studies in Television Conference
State of Play: Television Scholarship in ‘TVIV’
5-7 September 2018, Edge Hill University, Ormskirk, UK.
Keynote Speakers: Derek Kompare, Meadows School of the Arts, SMU, USA and Karen Lury, University of Glasgow, UK.
Television is and always has been changing. The recent shifts, connected to new, online providers creating their own content and offering new forms of distribution, have led to some scholars (Jenners 2016) questioning if the age of TVIV has arrived. While Mareike Jenners remains unconvinced that the transformations are significant enough to warrant such a description, it is nevertheless noticeable that the recent changes affecting television have also had an impact on our subject of television studies. For example, Catherine Johnson’s work (2007, 2012) points to how even the transformations brought about by the deregulation and commercialisation of public service broadcasting require us to investigate more strongly aspects of television that pertain to marketing and PR. As others (e.g. Born 2011, Johnson, Kompare and Santo 2014) have shown, these shifts also impact on how television operates as a workplace. In relation to consumption, shifts towards 360-degree commissioning (Mittell 2014) mean that we need to be more aware of the transmedia experiences of audiences (Evans 2011) and their roles as fan-ancers (Hills 2015). Looking at the development of new media and its use, Evans et al. (2017) have shown that our conceptualisations of audiences’ television consumption might be helpful to make sense of their second screen use as well. Outside and inside of national borders, television is morphing into a transnational entity that requires complex negotiations by the different stakeholders involved (Kuipers 2011, 2015). In addition to these industry-led changes, there are those that come from cognisant fields of research: the shift towards high-end drama production, particularly in America, for example, has attracted the attention of a number of film scholars who bring with them different terminologies, while other aspects of television – be that the representation of violence, law, disability, etc. etc. – have a longer history of attracting scholars from other disciplines.
In this first bi-annual conference, we are inviting papers that pertain to all aspects of television, but are particularly interested in abstracts that engage with the question of what television scholarship might be or become as a result of these shifts. As a journal, we are interested in all kinds of presentations, including traditional research papers, workshops, roundtable discussions, screenings and posters. Abstracts for individual papers, panels or other forms of communication are welcome on any theme connected to television and television scholarship, though we will give priority to papers engaging with the themes highlighted above. Collaborations and interdisciplinary projects are also of particular interest.
Derek Kompare is Associate Professor and Chair of Film and Media Arts in the Meadows School of the Arts at Southern Methodist University. His work on television forms and systems includes the books Rerun Nation: How Repeats Invented American Television (2005) and CSI (2010), as well as many journal and anthology articles. He is also a co-editor of the collection Making Media Work: Cultures of Management in the Entertainment Industries (2014). His current interests focus on the fate of past media systems, objects, and forms in the digital era.
Karen Lury is Professor in Film and Television Studies at the University of Glasgow, Scotland. She is Dean of Research in the Faculty and has worked in areas of screen performance, children’s film and television and amateur film and television. Her publications include British Youth Television (2001) and Interpreting Television (2005) as well as the edited collections The Zoo and Screen Media: Images of Exhibition and Encounter (2016) and The Child in Cinema (2018). Her current work on Collections: An Enlightenment Pedagogy for the 21st Century won a Leverhulme Award.
The conference will take place at Edge Hill University, in Ormskirk, north of Liverpool, UK. It is a residential conference, i.e. accommodation is available on campus.
Please send abstracts of no more than 500 words by 12pm GMT on Friday 2nd March 2018 to CSTconference@edgehill.ac.uk.
The conference is a collaboration between Edge Hill University, Critical Studies in Television and the Television Studies Section of the European Communication Research and Education Association (ECREA).
Research Seminars Archive
Research Seminars – Autumn 2017
CE229 (unless otherwise stated)
Dr. Aimee Mollaghan (EHU)
“Lost in the Landscape: Barbara Loden’s Influence on the Contemporary American Female Road Movie”
The late 1960s and early 1970s proved a fertile period for creativity and innovation in American Cinema. Moving film production from the confines of the film studio to the highways and byways of America, a number of now iconic road movies such as Two Lane Blacktop (1971), Five Easy Pieces(1970), Badlands (1973), Vanishing Point (1973), Scarecrow (1973) and Easy Rider (1973) were produced which directly engage with the topographical specificity of the American landscape. This body of work is associated almost exclusively with male directors. Yet, in 1970 Barbara Loden, perhaps better known at the time for her work as an actress and her marriage to Elia Kazan wrote and directed her erstwhile road movieWanda (1970). Although Wanda was awarded the Critic’s Prize at the Venice Film Festival and lauded by European intellectuals such as Marguerite Duras, it enjoyed release at only a single cinema in New York and was arguably for a time written out of the history of American Independent Cinema until its limited rerelease in 2007.
Unlike the male protagonists in many of the road movies of the early 1970s, the road in Loden’s film does not signal an open road to freedom nor conversely does it signal the manifestation of a psychological crisis, rather Wanda is imprisoned wandering within the landscape with nowhere to go. This paper will investigate the legacy of Loden’s film in the work of contemporary female directors such as Reichardt, exploring the manner in which the landscape in these erstwhile ‘road’ movies is representing and interrogating the aesthetic and existential representation of female figures stranded within the topography of the American landscape.
November 8th – 4.00pm
Dr Andrea Wright (EHU)
“Outside Inside: Nature, gender and the altered domestic space in Possum (1997) and Nature’s Way (2006)”
The landscape and nature are central to New Zealand cinema and the duel conception of landscape, observed by Claudia Bell as both beautiful and dangerous and beautifully cultivated, has variously influenced screen representations. In particular, it is pivotal to the rural Kiwi Gothic and its unsettling imaginings of the natural environment.
Short films Possum and Nature’s Way come from this tradition and present a troubling vision of human interaction with the natural. As Ian Conrich has observed, “[t]he binary opposition of domestic/wild is central to many examples of Kiwi Gothic in which the home of the settler offers shelter against the forces of the wilderness”.
Cinematically the films, although stylistically different, visually and aurally capture the strangeness of a natural environment that remains outside human control. The soundscapes are especially pronounced and render the environment eerie and threatening. The films also situate men in a particularly uneasy association with the natural that disrupts settler mythologies of man’s mastery of nature.
Nature, aligned with the feminine, cannot be contained by masculine action and the domestic spaces, which are, unusually, masculinised, are susceptible to its strange power. This paper will explore how these films dramatize the theme of outside inside and the relationships between nature, gender and the domestic space.
Research Seminars – Spring 2017
3.30pm, CE229 (unless otherwise stated)
January 25th – Dr Paddy Hoey (EHU)
“Arthur Daley, Minder and the fallacy of the working class Thatcherite entrepreneur.” (co-authored with Dr Steve Baker, Ulster University)
February 8th – Emily Baker (University of Liverpool)
“In the age of Autotune: the (re)construction of Aretha Franklin.”
February 22nd – Connor Jackson (EHU)
“This Place. It’s Never Gonna Accept People Like Us. Never Ever”: (Queer) Horror, Hatred, and Heteronormativity in the British Zombie-Drama In The Flesh.”
March 1st Dr Yannis Tzioumakis (University of Liverpool)
“American independent cinema in the age of speciality media content”
March 8th – Prof Anahid Kassabian (Royal Holloway)
‘”You mean I can make a tv show?”: Web series, assertive music, and African-American women producers’
March 22nd – Mita Lad (EHU)
“Representations of punishment on prime time Hindi serials.”
April 5th – Prof Jody Berland (York University, Canada)
May 3rd – Prof Owen Evans (EHU)
“No Place like Heimat: The Representation of Space in the Cinema of Christian Petzold.”
MA/ MRes presentations
Research Seminars – Autumn 2016
Wednesday, October 13. 3.30pm. CE229
‘Getting Your Fan Base In’: The Value of the Web Series to the Creative Economy.’
Prof. Sue Turnbull, (University of Wollongong).
Wednesday, October 19. 3.30pm. CE229
‘Distorted Recognition: On the Pleasures of Televisual Caricature.’
Dr Hannah Andrews, (Edge Hill University).
Tuesday, October 25. 1pm. CE015
‘Lean Back: Songza, Ubiquitous Listening, and Internet Music Radio for the Masses.’
Dr Christina Baade, (McMaster University).
Wednesday, November 2, 3.30pm, CE229
‘Acoustic Ghosts and Haunted Landscapes: the sonic invention of place in British landscape cinema.’
Dr Aimee Mollaghan, (Edge Hill University).
Wednesday, November 16, 3.30pm. CE 229
‘Vorsprung durch Technik – Kraftwerk and modernity.’.
Dr Richard Witts, (Edge Hill University).
Wednesday, November 30. 3.30pm. CE229
‘Queer Characters in British and the US Soap Operas.’
Dr Ahmet Atay, (College of Wooster).
Wednesday, December 14. 3.30pm. CE229
‘Peter Capaldi and the anxieties/authenticities of being a life-long Doctor Who fan: ‘Enduring fandom’ embodied by an ageing TV celebrity.’
Prof Matt Hills , (University of Huddersfield).
Research Seminars – Spring 2016
January 20th Rosa Fong (EHU)
Becoming Zoe – Documentary screening plus Q&A
February 3rd Mita Lad (EHU)
The Gaze, The Glance and Darshan: developing a new critical perspective of the look
February 17th Dr Anne Cronin (Lancaster University)
Media, mediation and ‘reputational and capital’: the case of UK universities
February 24th Dr Karen Shepherdson (Canterbury Christchurch University)
March 2nd Dr Kate Egan (Aberyswyth University)
The Film that was Banned in Harrogate: Local Newspapers, Monty Python and the Expression of an Alternative Local Community
March 16th Dr Lee Broughton (University of Leeds)
The Italian Western & the American Civil War
April 20th Dr Paddy Hoey (EHU)
Football fan podcasting: Fandom in the age of convergence and globalisation
May 4th Dr Nessa Johnson (EHU)
Hearing ‘DV Realism’: the sounds of Dogma 95, Blair Witch, and beyond
Research Seminars – Autumn 2015
October 21st Anthony Killick (EHU)
Building Small cinemas: modernity and the neoliberal city
November 4th Dr Andrea Wright (EHU)
“Vampires don’t do dishes”: Old myths, the modern world, the fantastic and the mundane in Taika Waititi and Jemaine Clements’ What We Do in the Shadows (2014)
Doing Research with Arts/Media/Cultural Organisations; Their Plans, Your Opportunities
December 2nd Sally Pearce
For further information on the Media Department Research Seminars please contact: Paddy Hoey. Tel: x4862. E: email@example.com
Research Seminars – 2014
Re-imaging Regional Television Drama: Women as Agents of Cultural Change
Edge Hill University with the University of Liverpool
11 September 2014
In recent years, female writers, producers and directors have emerged as central innovators of television fictions. Dramas and dramadocs by Kay Mellor, Sally Wainwright and Heidi Thomas belong to some of the most-watched programmes on British screens, and they also celebrate significant success across the pond and elsewhere. At the same time, new production houses, such as Red Productions, contribute significantly to the vibrancy of British (and international) television. In America, Ann Biderman has taken the realist aesthetics of NYPD Blue to new extremesin Southland and more recently Ray Donovan. And in Germany, Claudia Matschulla has developed scripts focused on spaces that are embodied, lived spaces rather than offering the touristic views of so many other German television dramas. Many of these female writers/producers/directors have ventured into new territories in terms of representation such as the non-ageist depiction of a romance between two widows in Last Tango in Halifax, substance abuse in response to domestic violence in The Syndicate, or the friendship between a widower and a young woman suffering from Downs Syndrome in Moving On. Additionally, they connect these new representations to specific conceptualisations of space and place, invariably making the most of their regional locations. Unlike the first wave of regional drama in the 1960s and 70s, these women do not use regional space as ‘liminal ground on which to criticize its own values, to challenge the “acceptable” way of life with other attitudes’ (Newcombe 1979: 158). Rather, they imagine these spaces as mundane, lived space, and thereby imagine an embodied experience of regional identity that has its own rich patterns of speech and everyday life. This crucially impacts on the conceptualisation of the regions as touristic spaces (Blandford 2005), redefining them not only as places with their own histories, cultures and identities where life is lived in and through local identities but as new centres of creative and cultural production that are situating these identities centre stage in national life.
Cutting Edge Postgraduate Conference
CULTURE, IDENTITY, REPRESENTATION
Saturday, 22 March 2014
We live in an age of growing globalisation and expanding engagement with new media such as on-demand entertainment and social networking. The question of culture, identity and representation therefore becomes ever more pertinent to academic enquiry in the 21stcentury. How is identity and culture represented through visual image, sound, literature or performance, and conversely, how do these representations reflect or perform identity and culture?
Visiting Speaker: Toby Miller “Greening the Media”
Wednesday, 26 March 2014
Professor Toby Miller will be visiting Edge Hill University on Wednesday 26th March 2014 to deliver his lecture ‘Greening The Media’.
You may not look at your cell phone, TV, or computer the same way after rethinking the media from a green point of view. That perspective can reveal secrets lurking within electronic devices. Marshalling economic, environmental, and historical facts, Toby Miller will examine the environmental, safety, and health record of these technologies to show how making, consuming, and discarding such gadgets is rife with toxic ingredients, poisonous working conditions, and hazardous waste. But all is not lost: we can think creatively about ways to solve these problems as green workers, consumers, and citizens.
“Transnational Productions for Film and Television”
Visiting Speaker: Lothar Mikos
CE225, Creative Edge
Thursday, 27 March 2014, 11am
In times of audience fragmentation and diversification of media outlets the budgets for the production of audiovisual products such as films and fictional TV formats are decreasing. One of the strategies to cope with this situation is the support of international co-productions and transnational productions. Regulations for film and TV are different. There are EU regulations for co-productions of films. The TV market is much more deregulized and is integrated in the economic impact of global television flows. But not all co-productions work. They have to be adjusted to local cultural contexts, and to local laws, local policy and local economy. There’s a complex field of interdependancies that inform international co-productions and transnational productions.
Free Screening: The Stuart Hall Project, in tribute to Stuart Hall
Tuesday, 1 April 2014
As a tribute to cultural theorist Stuart Hall, Edge Hill University will be screening ‘The Stuart Hall Project’ the recent, highly acclaimed documentary about his life and his cultural and political passions, in Creative Edge on April 1st.
‘A founding figure of contemporary cultural studies – and one of the most inspiring voices of the post-war Left – Stuart Hall’s resounding and ongoing influence on British intellectual life commenced soon after he emigrated from Jamaica in 1951. Combining extensive archival imagery – television excerpts, home movies, family photos – with specially filmed material and a personally mixed Miles Davis soundtrack, Akomfrah’s filmmaking approach matches the agility of Hall’s intellect, its intimate play with memory, identity and scholarly impulse traversing the changing historical landscape of the second half of the 20th century.’
Free. All welcome. No booking – just turn up. Light refreshments available from 17:30.
Beyond Benefits Street Symposium
Wednesday, 2 April 2014
The ‘Beyond Benefits Street’ symposium responds to current debates on welfare, ‘poverty porn’ and the demonization of working classes by popular media. This symposium aims to explore alternatives to current commissioned television programming, to critique journalistic practices and the framing of working class culture, and to discuss the role and obligations of HE media departments, taking as our starting point Owen Jones’ recent comment: “As unpaid internships and expensive Masters’ qualifications become gateways to TV careers, it is the privileged who are commissioning the shows” (Independent, 21.1.14).
‘Beyond Benefits Street’ will include speakers from the film and media industries as well as contributions from academics in the fields of journalism, communications and media studies. This public event includes screenings of Condition of the Working Class (2012); Giro: Is This the Modern World? (1985) and a selection of short films. ‘Beyond Benefits Street’ aims to stimulate discussion and debate.
The event will take place in the University’s new Creative Edge building on Wednesday 2nd April 2014. The symposium is from 12- 5pm. Screenings are from 5-7pm. All welcome.
Registration for the event is now open. If you wish to attend, please visit: http://surveys.edgehill.ac.uk/beyond_benefits_street
European Cinema Research Forum
The European Cinema Research Forum (ECRF) is the international forum for the discussion of all things relating to European film and European film culture.
The ECRF was founded in 2000 as a means to create a network for scholars working across Film Studies and Modern Languages, to identify common issues of interest or concern, and increasingly to bring theory and practice into closer, and more meaningful, dialogue. Others soon showed considerable enthusiasm for the Forum and it engaged in its first international discussions later that year. Other activities followed and the Forum held its first conference, video-linked mini-conference and seminar series in 2001. As the ECRF enters its twelfth year, it has become a very vibrant interdisciplinary, international forum of colleagues and friends who actively welcome new participants in the ECRF and its activities. We are especially proud that many postgraduate students have presented their first academic papers at our conferences, and we celebrate this developmental role. The organisation is based at no one university and is seen to be ‘owned’ by all its participants, wherever they might be based.
The ECRF holds a highly successful annual international conference, organized by those interested in European film and European film culture and held at different universities throughout the world, as well as developing other activities, including visiting film speaker events, video linked conferences, public screenings and talks, web-linked discussions, and a range of research projects and publications. This year we are delighted that Edge Hill University will be hosting our twelfth conference in Ormskirk.
For more information on the ECRF and its history, please visit: http://www.ecrf.org.uk/