Day 3:
Friday 22 April
9.00 - 10.15 Session G
1.Water, Heat, Earth: Film and the Natural World
Chair: Patrick Adamson (University of St Andrews)
Nina Halton-Hernandez (University of Southampton): Imagining and imaging coastal change - communicating the climate crisis through documentary style
Kseniia Bespalova (University of Amsterdam): Caucasian Encounters: The Planetary Consciousness in Balagov’s Closeness
Yue Su (University of Warwick & Nagoya University): The Thermal Spaces of Kinship in Shoplifters (Kore-eda Hirokazu, 2018)
2. “Marvel Women Then and Now: Reflections on Gender in Marvel Superhero Films from the 2000s to the Present”
Chair: Becky Bartlett (University of St Andrews)
Lucy Cargill (King’s College London): “The only natural resource that the world has too much of - girls”: Black Widow and the fatal complacency of #NotAllMen
Miriam Kent (University of Leeds): From Elektra to Captain Marvel: Contextualising Marvel’s Pre- and Post-MCU Superheroines
Christopher Holliday (King’s College London): Marvel’s Recessionary Superheroes and the Unruly Women 2.0
3. Queer Aesthetics
Chair: Liz Greene (University of Reading)
Polina Zelmanova (University of Warwick): Queering cinema’s visual politics through musicology: the queer potential of music in Vita and Virginia and Portrait of a Lady on Fire
AJ Bravo (University of Kent): “Bonding” vs “CAM”: The co-opting of sex working narratives across non-pornographic media
Temmuz Süreyya Gürbüz (National University of Ireland, Galway): Cross-media Interactions in Punk Aesthetics on Screen
4. Collaboration and Constraint: Set Design practices in French, Italian and British studios in the 1940s
Chair: Kirsty Sinclair Dootson (University of St Andrews)
Sue Harris (Queen Mary University of London): The logistics of set building at Joinville studios during wartime occupation: Nous les Gosses (Louis Daquin, 1941)
Carla Mereu Keating (University of Bristol): ’Wizards of illusion’ in times of realism: Spectacular sets and costumes in post-war Italy
Sarah Street (University of Bristol): Collaborative Ingenuity: Sets in British Studios in the 1940s
5. Crafting and grafting images: Collaboration between visual artists and documentary filmmakers
Chair: Sanghita Sen (University of St Andrews)
Rossella Schillaci (University of Manchester): Animation and VR documentary: grafts of imaginary on (virtual) reality
Valentina Bonifacio (Ca' Foscari University, Venice): Crafting images: a collaboration between an artist and an anthropologist
Alexandra D’Onofrio (University of Manchester): Animating the possible as part of collaborative ethnographic documentaries on migration
10.45 - 12.00 Session H
1. Practice Research SIG in association with Screenworks: Accessible Filmmaking
Chair: Charlotte Crofts (UWE Bristol)
Kate Dangerfield & Pablo Romero Fresco (University of Roehampton, London & Universidade di Vigo, Spain): ‘From the Universal to the Self in Media Accessibility: Accessibility as a Conversation’
Shweta Ghosh & Priyanka Pal (University of Reading): We Make Film: Accessibility and Inclusion in Film Practice Research Projects
2. Horror Studies SIG: Children’s culture and the horror genre
Chair: Kate Egan (Northumbria University)
Victoria Mullins (University of Cambridge): Cat Flu and Mousekeeping: The symbiotic abjection and sanitization of Escape from Tomorrow (2013)
Jay Bamber (University of Roehampton): Unmother Lands: The Evil Queen and Her Villainous (Not Quite) Daughters
Catherine Lester (University of Birmingham): The Kids Are All White?: race, identity and privilege in children’s horror cinema
3. Archives and Archival Methods SIG: Collaboration and Cross-Pollination in the Archives
Chair: Llewella Chapman (University of East Anglia)
Wendy Russell (British Film Institute)
Gil Toffell (British Universities Film and Video Council)
Toby Haggith (Imperial War Museum)
Georgina Orgill (Stanley Kubrick Archive, University of the Arts London)
4. Euro-Bollywood SIG: Forms of Cultural Hybridity in Indo-European Collaborations
Chair: Kirsty Sinclair Dootson (University of St Andrews)
Bernhard Fuchs (University of Vienna): Swiss Bollywood
Györgyi Vajdovich (Eötvös Loránd University, Hungary): Hungary created through the fantasies of Bollywood
Dorottya Fejes-Jancsó (Eötvös Loránd University, Hungary): Hungary Goes to Bollywood – Cross-cultural references of Liza, the Fox Fairy (2015) and Aafat-e-Ishq (2021)
5. Post-Media: Recombining, Remediating, and Reappropriating Screen Cultures
Chair: Patrick Adamson (University of St Andrews)
Jenna Ng (University of York): The Post-Screen
Nick Jones (University of York): Screen Mirroring: The Intermedial Graphic User Interface
Karim Townsend (University of Cambridge): “The revolution starts here”: HBO’s Enlightened and ecological realignment in the age of social media
6. Cross-Pollination between Film and Television
Chair: Zoë Shacklock (University of St Andrews)
Louise Coopey (University of Birmingham): Collaborative direction in complex TV: Interrogating Game of Thrones’ (2011-2019) multiple director model
Freyja McCreery (University of York): The Genderfication of the MCU
Damien Pollard (University of Cambridge): Hybridising Voices: 1980s Italian Horror Films, American Television and Formal Cross-Pollination
12.00 - 12.30 SIG meetings
1.30 - 2.30 Plenary
Practice as Research Award Viewing
You can watch the Practice as Research Award submissions here: https://www.baftss.org/practice-research-awards-2022.html
2.30 - 3.45 Session I
1. Images of Childhood
Chair: Jasmine Nadua Trice (UCLA)
Andrés Buesa (University of Zaragoza, Spain): Children Film Themselves: Agency, Mobility, and Inequality in A Dramatic Film (2019)
Jane Batkin (University of Lincoln): Childhood and its Cross-Pollination in Cinema: Animated Actualities in Elsewhere Worlds
Rebecca Rowe & Madeleine Hunter (University of Texas Rio Grande Valley & University of Cambridge): “Only [Adults] in Theatres”: Redefining the Place of Family and Kidult Films During the Pandemic
2. Collaboration and Cross-Pollination in the Works of Claire Denis
Chair: Dominic Lash (University of Bristol)
Douglas Morrey (University of Warwick): Stars and Acting in Claire Denis’s Films since 2010
Elif Sendur (Rutgers University): Claire Denis, Corporeality and New Weird
Peter Sloane (University of Lincoln): ‘A lover's hand? A breath, An abyss’: Tindersticks and The Sound of Loneliness in Claire Denis
3. Documentary Collaboration and Creativity
Chair: Philippa Lovatt (University of St Andrews)
Aida Vallejo (University of Edinburgh & University of the Basque Country): Institutes of the documentary film: networking and collaborative practices in the creative industries
Alexandra Colta (University of Glasgow): Film Festivals: Between activitism and cinephilia
Andrew Moore (University of Edinburgh): The fruits of the in-between: Creativity, Cross-polination and institutional critique in the Sensory Ethnography Lab's Expedition Content (2020)
4. The women behind James Bond
Chair: Becky Bartlett (University of St Andrews)
Llewella Chapman (University of East Anglia): The Mistress of Bond: Eileen Sullivan and cutting the cloth of James Bond’s wardrobe
James Chapman (University of Leicester): The Invisible Bond Girl: Nikki Van Der Zyl
Claire Hines (University of East Anglia): Bond Beauties: Gender, Agency and the Role of Women in the Publicity and Promotion of the 1980s Bond films
5. Theatre/cinema cross-pollination: acting audiences, acting selves, acting times
Chair: Paul Flaig (University of St Andrews)
Richard Rushton (Lancaster University): Theatricality and Participation: on Rancière’s Emancipated Spectator
Laura Sava (Xi’an Jiaotong-Liverpool University): ‘You can’t get innocent twice’: The Performance of ‘Real’ and ‘Acted’ Feeling in Clouds of Sils Maria
Ilia Ryzhenko (University of Warwick): Theatricality of the Non-Stop: Theatrical Temporality of the Continuous Take in Victoria
4.15 - 5.30 Plenary
BAFTSS AGM and Awards
The winning publications and practice research awards will be announced at the Annual General Meeting (AGM)