1. PGR Workshop

Chairs: Billy Errington and Emma Morton (BAFTSS EC PGR reps)

Submitting papers to academic conferences in the field of Film, Television and Screen Studies

2. Social and networking event

1. Hollywood stardom

Chair: Michael Williams (University of Southampton)

• Agata Frymus (Monash University Malaysia): Evelyn Preer and Black stardom in the silent film era

• Tsz Lam Ngai (University of Michigan): Capturing cuteness in the cinema during the Great Depression (1934-1940)

• Gillian Kelly (Independent Scholar): Power Over Time: The star image, performance skills and ageing body of Tyrone Power in Classical Hollywood cinema

• Will DiGravio (Independent Scholar): Princess [GRACE] Kelly: Manipulating the Body and the Body of Work through Audiovisual Criticism. (video essay)

2. Pain and feminist thought

Chair: Dalila Missero (Oxford Brookes University)

• Tugce Kutlu (University College London): I am not Carrie: Rebellious female bodies of horror cinema’s new era

• Oliver Kenny (Institute of Communication Studies (ISTC Lille)): The violence of gender construction: bodily transformations in Raw (Ducournau, 2016)

• Bianca Jasmina Rauch (Film Academy Vienna): Depictions of female un-controlled bodies as counter-narratives to postfeminist images

• Hazal Bayar (Izmir University of Economics): Slicing Up the Divided Self: Oscillation Between Pleasure and Suffering in Cutting Moments (1997) and In My Skin (2002)

3. Installation art

Chairs: Audrey Samson and Francisco Gallardo (FRAUD)

• Michael Holly (University College Cork): Commensal: The politics of engagement and spectatorship of the installation space in Véréna Paravel and Lucien Castaing-Taylor’s portrait of a cannibal

• Isabel Rocamora (Pompeu Fabra University): Falling out of Time: Gesture, Community, the Open in Aernout Mik’s Training Ground and Double Bind (a reading with Heidegger and Esposito)

• Maximilian Lehner (Institute of Contemporary Arts and Media, KU Linz, Austria): Situating ‘Eastern-ness’ within the artist; not in the past, not in the future

• Carla Gabri (University of Zurich) : Touching skin, touching time: DOING AND UNDOING. POEMS FROM WITHIN

4. Embodied Performance as Geo-cultural Marker in Popular French Transnational Fictions since 2000

Chairs: Mary Harrod (University of Warwick) and Ginette Vincendeau (Kings College, London)

Producing the Post-national Popular AHRC Network panel

• Mary Harrod (University of Warwick): French masculinity as postmodern anachronism in Plan cœur (Netflix, 2018-19)

• Belén Vidal (King’s College London) : Affect and performance in the post-national French biopic

• Raphaëlle Moine (Université Sorbonne Nouvelle): La Belle Époque (Nicolas Bedos, 2019): the ageing man, the ageless Star and their “Second Coming of-age”

1. Disability

Chair: Ethan Lyon (University of Southampton)

• Forum Mithani (SOAS, University of London): Breaking barriers in Japanese film: Sex, gender and non-normative bodies in 37 Seconds

• Ethan Lyon (University of Southampton): Working it all out: David Cronenberg and the somatic dangers of therapeutic practice

• Alison Wilde (Independent Scholar): Temporal drag, radical negativity and the re articulation of disabled identities in American Horror Story

2. Slow cinema theory and practice

Chair: Tiago de Luca (University of Warwick)

• Jakob Boer (University of Groningen): Sensing slowness: A phenomenology of slow cinema spectatorship

• Emre Çağlayan (New York University in London): Dead time and affective (in)action in slow cinema

• Su Ansell (Nottingham Trent University): ‘Feeling our existence’ – Slow cinema in practice: revealing embodied cultural histories on the screen

3. Transnational SIG: Beyond the transnational body: legacies, practices and audiences

Chair: Maryam Ghorbankarimi (Lancaster University)

• Yael Friedman and Maryam Ghorbankarimi (University of Portsmouth and Lancaster University): The transnational body of a female spy: negotiating alternatives in Tehran (Kan 11, 2020 - )

• Walid Benkhaled (University of Portsmouth): Algerian contemporary cinema: between transnational funding bodies and decolonial aspirations

• Dalila Missero (Oxford Brookes University): Rethinking bodily and affective distance: Transnational experiences of cinema-going of Latin American women

• Tom Carter (Lancaster University): Transcultural Screenwriting Considerations in South Korea

1. Female labour in national contexts

Chair: Charlotte Crofts (UWE Bristol)

• Julia Erhart (Flinders University) and Kath Dooley (Curtin University): “#metoo, now what? Women in Australian post-production, 2000-2020”

• Melanie Bell (University of Leeds): Movie workers: Women’s labouring bodies in Britain’s film studios’

• Elizabeth Miller (King’s College London): Working women as working girls in long 1960s French cinema

• Caitriona Noonan (Cardiff University): Screen agencies as agents of change? Interrogating interventions for gender equality

2. Conceptualising non-linearity

Chair: Alex Marlow-Mann (University of Kent)

• Mattia Cinquegrani (Università degli Studi di Cagliari): Memory and prediction: On the nature of non-linear temporality in cinema

• Dominic Topp (University of Kent): Moments of Truth: Temporal Reordering in Post-War French Cinema, 1945–58

• Dominic Lash (University of Bristol): Obscure security: Causes and reasons in Kiyoshi Kurosawa's Cure (1997)

• Michael N. Goddard (University of Westminster): Dark and the reinvention of time travel television: Parallel worlds, multiple embodiments and quantum entanglement

3. Border crossing

Chair: Lucy Mazdon (University of Hull)

• Anat Tzom Ayalon (The Steve Tisch School of Television and Cinema, Tel Aviv University): Bodiless traumatic voices, suspended in time

• Yael Gordon (University of Southampton): Humor as a cinematic tool for mediating the presence of the other in the German refugee crisis

• Martin Bartelmus (Heinrich-Heine-University Düsseldorf): Future, fragmented, free: The relation of “poor images” and fragmented bodies in Meriem Bennani’s Party on the CAPS

• Rhea Maria Dehn Tutosaus (Technical University of Darmstadt): Everyday negotiations of body and space in Randa Maroufi’s film Bab Sebta

4. The relationship of mind to body

Chair: Bella Honess-Roe (University of Surrey)

• Shaina Paggett (Keele University): When the body and mind don’t align: Growing up too fast in 13 Going on 30

• Ben Tyrer (Middlesex University): The shudder-image: Screen-mind-body-symptom in Bryan Fuller’s Hannibal

• Mario Slugan (Queen Mary University of London): Mirror Neurons and Embodiment in Film Cognition

1. Foregrounding the female

Chair: Kate Ince (University of Birmingham)

• Georgia Brown (Queen Mary University of London): “525,600 Minutes” is one way to measure a year, 1,050 Appointments is another: A detailed analysis of Vivien Leigh’s appointment diaries 1948 – 1953

• James Fenwick (Sheffield Hallam University): Kubrick, women’s bodies, and casting in A Clockwork Orange: Questions for film history research

• Zeynep Merve Uygun (Özyeğin University): The visual representation of gender-segregated holidays in documentary film

• Chiara Quaranta, (The University of Edinburgh): Desiring Bodies: Céline Sciamma’s Sensuous Cinema

2. Politics beyond the human

Chair: Megen De Bruin-Mole (Winchester School of Art)

• James Harvey (University of the Arts London): The black body outside time: The Last Angel of History

• Kayla Parker (University of Plymouth): Flow and cadence: Landscape film-making in the Laira Estuary

• William Brown (independent scholar): Appropriating the Black Blues: Watchmen as chthulumedia

• Mariana Cunha (Federal University of Pernambuco/UFPE/CAPES): Affect and the temporality of nature in Amazonian films

3. Success, failure and the male body

Chair: Sofia Bull (University of Southampton)

• Merlin Seller (University of Edinburgh): ‘Repeated failure: Diachronic/synchronic/comic timing in Joker (2019)’

• Rinaldo Vignati (University of Bologna/Istituto Cattaneo): Body and wounds as metaphors. World War II, McCarthysm and American democracy in Dalton Trumbo’s films

• Barbara Sadler (University of Sunderland): The bodies of Poldark: Time, masculinity and medicine

4. Psychoanalysis and Film SIG: The Shadow and the Object: Rethinking Film Theory though Object Relations Psychoanalysis

Chair: Alice Haylett Bryan (KCL)

• Carla Ambrosio Garcia (British University in Egypt): Porous, disrupted, transgressed: boundaries of space-time in Arena (João Salaviza, 2009)

• Kelli Fuery (Chapman University): A psychoanalytic theory of emotion for film experience

• Allister Mactaggart (Independent Researcher): Love against the grain: Watching Carol (Haynes, 2015) with Winnicott