Conference programme

PGR Workshop: The essay film/video essay and its impact on research and industry practice

Organised by Ocean Xu and Matthew Bruce. Accessible via Zoom

Lucy Fife Donaldson
Ella Wright
Tillie Quattrone
Shanshan Wu

ECR Workshop: Job search support roundtable
Publishing your first monograph

Organised by Eve Benhamou. Accessible via Zoom. 

Guilherme Carréra
Michelle Houston
Dalila Missero
Kate Taylor-Jones
Jasmine Nadua-Trice

Conference Welcome

Accessible via Zoom

Keynote 1: Professor Shelley Cobb

Accessible via Zoom

A1: Gender, Labour, Affect

Chair: Despoina Mantziari

Liang Ge

Ambivalent Affective Labour: The Datafication of Qing and Danmei Writers in the Cultural Industry

Jiri Anger and Veronika Hanakova

Cycles of Labour: In the Metaverse, We Will Be Housewives

A2: Caution, Men at Work: Labour and Hegemonic Masculinity in Contemporary Anglo-American Screen Media 

Chair: Victoria K. Pistivsek

Odin O'Sullivan
Dwayne ‘The Rock’ Johnson, Body Work, and Somatic Hegemony

Dan Martin

After the Last Dance: The Decline of Northern Working-Class Community and the Structuring Absence of Labouring Masculinity in The Full Monty (Hulu, 2023)

Victoria K. Pistivsek

‘Chef, I Would Do Anything to Work at Noma!’: The Affective Entrapment of Masculinity and Labour in The Bear 

A3: Special and Visual Effects

Chair: Christopher Holliday

Tillie Quattrone

On the Structural Implications of Digital De-ageing: The Hierarchical Labour Configurations Furthered by Indiana Jones and the Dial of Destiny

Abigail Whittall

Who Is the Monster of the Week? Examining the Relationship between Performance and Special Effects in Horror Television

Laurence Kent

Blurring Work: From Chronophotography to Photo Unblur

A4: Film Exhibition

Chair: Adrian Smith

Damien Pollard

Showman/Exhibitor/Director: Luigi Cozzi, Composite Labour and Ad Hoc Film Production in Post-War Italy

Guy Barefoot

Cinema as Work: The View from the Drive-in

Maria Fernanda Miño Puga

From the Projection Room: Mellinton Casañas and the Shifting Landscape of Neighbourhood Film Exhibition in Guayaquil

A5: Open Positions: The Sites, Practices, and Possibilities of Work in Screen Studies 

Chair: Kate E. Taylor-Jones

Mark Fryers
Examining Creative Labour through the Ex-Military/Academic Machine

Rebecca Harrison
The Workers of Arts in the Age of Tyrannical Reproduction

A6: Aesthetics, Surveillance and Extraction

Chair: Alisa Lebow

Ziru Chen

Sensory Aesthetics and Collective Creation Beyond the Auteur in Contemporary East Asian Art Cinema

Hannah Spaulding

Ring TV: Labours and Leisure of Surveillance Media

B1: Representing the Working Classes

Chair: Louis Bayman

Lyndsay Townsend

What Lurks Beneath the Land? Uncovering the Ominous Effects of Rural Labour in Folk Horror Film

Parnika Agarwal (presenting online)

Labour Futures and Auteurs: Raj Kapoor and the Bombay Working Class

Jennifer Doveton

‘I Work in the Kitchens’ – Labour, Embodiment and Disposability in the Harry Potter Film Series and the His Dark Materials Television Series

B2: Animals and Labour

Chair: Michael Lawrence

Bin Yee Ang

Crafting CG Animals: The Bond Between an Artist and Animals

Lisa Holloway

Work Break? When Bees and Humans Meet in Debra Granik's Leave No Trace

Marta Stańczyk

Animals’ Work Is Never Done: Selig’s Zoo as a Matrix of Animal Labour in the Film Industry

B3: TV Plays Itself

Chair: Ocean Xu

E. Charlotte Stevens

Televising Cultural Heritage in iQiYI’s Hi Producer (2023)

Theresa Trimmel

The Representation of Women and Female Labour in Apple TV’s The Morning Show

Julia Stolyar

Labour of Love? Representation of TV Industry Professionals in Korean Dramas

B4: World War Two and its Impact on Studios’ Working Conditions 

Chair: Liz Watkins

Morgan Lefeuvre

WWII: A Specific Period in the History of French Studios’ Work Organization (1939–45) 

Carla Mereu Keating
Citizen of the Studio: The Enemy Alien Who Produced ‘Quintessentially English’ Films 

Catherine O’Rawe

Italy’s Ghost Studios: Re-examining Wartime Production in Venice (1944–45)  

B5: Deadwork and Outsourcing

Chair: Ben Tyrer

Ben Tyrer

‘What, Me Worry?’: The Libidinal Economies of Labour in Sorry to Bother You

Jacopo Francesco Mascoli

Absent Spaces and Dead Work: Outsourcing and Delocalisation in Contemporary Italian Fiction and Non-fiction Cinema

Andrés Buesa

Labour, Mobility, and the City in Ramin Bahrani’s Chop Shop

B6: Emotional Labour

Chair: Katherine Farrimond

Sarah Lahm

Split Selves in the Multiverse: Emotional Labour on US TV

Ellie Tomsett

‘I Don’t Want to Be a Hulk. I Just Got my Own Office!’: She-Hulk: Attorney at Law (2022) and Representations of Gendered Corporate Cultures

Cat Mahoney

The Matt Mercer Effect: Twitch Streaming, Critical Role and the Creative Labour of Playing Dungeons and Dragons

B7: Collaborative Creativity in Film and Television

Chair: Bella Honess Roe

Rosamund Davies

Time, Space and Collaborative Creativity in Film and Television: Collaborative Chronotopes

Lucy Brown
Not Just ‘CV Pushers’: The Unseen Collaborative Creative Labour of Television Talent Managers

Funke Oyebanjo
Unearthing New ‘Fluid’ Collaborative Digital Working Practices within Cinematic Virtual Reality

C1: Feminist Approaches to Screen Labour

Chair: Shreepali Patel

Yvonne Tasker

‘I Wasn’t Good Enough’: Cultural Value, Women’s Screen Labour and Jill Craigie in British Film Histories

Sharon Hooper
The Feminist Labour of Distribution: The Leeds Animation Workshop (LAW) in the 1980s and 1990s

Melanie Bell
‘We Might Only Be Women But, We Do a Valuable Job’: Women’s Screen Labour and Grade Equivalence Arguments in Post-war Britain

C2: Reassessing Hidden Labour

Chair: Matthew Bruce

Llewella Chapman

‘No-one had a Costume to Wear!’: The Labour of Costume and Wardrobe Workers in Constructing Darling (1965)

Molly Leeming

A Taste of Honey: Writing, Performing and Reading Northern Women

Helen Warner

Behind the Seams: Women’s Affective Labour in the Motion Picture Costumers’ Union

C3: Animal Labours: Fighting, Eating Suffering

Chair: Michael Lawrence

Michael Lawrence

Laborious, Carnivorous: How to Eat a Hamburger in Hollywood

Robert McKay

Animals, Labour and Political Aesthetics under the Blacklist: The Case of The Brave One (1956)

C4: The Labour of Age in European Film Representations and Productions 

Chair: Belén Vidal

Gloria Dagnino

What is Screen Age? Theoretical and Empirical Insights from Italian Screen Production.

Alexandre Moussa
‘La Vie en Gris’: French Female Stars and the Labour of (Un)performing Age
 
Boglárka Angéla Farkas

The Status of the Elderly in the Romanian Healthcare System: Revisiting The Death of Mr. Lăzărescu and Best Intentions

C5: Hollywood Stardom and Labour

Chair: Gábor Gergely

Ann (Sihui) Luo

In-between the Backstage Musical and the Rock Documentary: Singer-Actor Identity and the Ideology of Authenticity in A Star is Born (1976)

David Sorfa

Firing Marilyn Monroe: Something’s Got to Give

Lies Lanckman

The Twelve Labours of Mrs Thalberg: The Hollywood Star as Society Matron

C6: Animation and Labour

Chair: Eve Benhamou

Dario Lolli

The Ghost in the Archive: Anime Intermediate Materials and the Spectre of Dead Labour

Carleigh Morgan

Abject Labour: Enduring the Execrable in Phil Tippet’s Mad God

C7: Labour and Documentary I

Chair: Luke Robinson

Lorena Cervera Ferrer

The Construction of Women Workers’ Voices in Latin American Documentary Cinema

Vladimir Rosas-Salazar

Whose Work Is This, Anyway? Archival Reworkings and the Changing Value of Creative Labor in Documentary Filmmaking

Dalila Missero

Showcasing Women’s (Media) Labour as Global Empowerment: Two Documentaries about Women’s Work in the UN Decade of Women (1975–85)

D1: Screening: (Dis)Appear

Piotr Cieplak, University of Sussex

(Dis)Appear follows Gabriel and Ana as they return to their hometown and explore what role photography can play when faced with personal and collective traumas of the past. It is a documentary about the powerful relationship between photography, memory and the forced disappearances and systematic murderer perpetrated by Argentina’s most recent civic-military dictatorship (1976-1983). (Dis)Appear is a film about the personal becoming political and about the important part private, family photography can play in the ongoing memory work related to survival, grief and the search for justice. 

The film was made as part of the British Academy-funded project: 'Intimate moments, public acts: photographs of the disappeared and memory politics in Argentina.'

The screening will be followed by a Q&A with Dr. Piotr Cieplak

D2: Perspectives on Production and Exhibition

Chair: Kate E. Taylor-Jones

MaoHui Deng and Sophie Everest

Applied Film: Making Films Post-Retirement

Corinna Downing

Doing it All: Single Screen Spaces, Community Building and Labour, 1900s and Today

Nelson Correia

From Film Bang to Filming Boom: Fifty Years of Career Development Strategies in the Scottish Screen Production Sector

D3: Screen Performance: Stars, Extras and Actors

Chair: Dolores Tierney

Luodeng Ouyang

Tibetan Non-professional Child Actors in Contemporary Tibetan cinema, a Case Study of Pema Tseden’s The Silent Holy Stones (2005)

Clara Garavelli

Stars on Demand: The Argentine Star System in the Age of Social Media Proximity

Dolores Tierney

Theorizing Labour on the Margins: Extras of Colour in Late Silent and Early Sound Era Hollywood

Miguel Gaggiotti

Work in Gestures: The Manual Labourer as Non-professional Actor

D4: Labour in Rural Landscapes

Chair: Liz Watkins

Tim Lindemann

Return of the Rural – Deindustrialised Landscapes and Precarious Bodies in Recent US Indie Cinema

Gregory Frame

Romanticising Ranch Labour in Yellowstone

Charles McAllister, Jr

Surviving the American Dream, Capitalism, and Labor In Kelly Reichardt’s Wendy and Lucy and Chloé Zhao’s Nomadland

Alan Watt

Working Heroes of the Western: Do They Work?

D5: Labour, Space and Location

Chair: Lawrence Webb

Rosemary Alexander-Jones

Spaces of Creative Labour: The Class Division in Heritage Filming Locations

Danielle Rae Childs

Murderous Managers and Migrant Maids: Representations of Motel Labour in American Cinema

Bethan Jones

‘The Fans Can Do an Amazing Promotion Job’: Fanfluencers, Unpaid Labour and Exploitation in Media Tourism

Jules O'Dwyer

Hotel Labour in the Service of the Cinematic Image

D6: Perspectives on International Stardom

Chair: Gábor Gergely

Samar Abdel-Rahman

Labour, Female Stardom, and Ethical Dilemmas in the Wake of Islamic Conservatism in Egyptian Cinema

Christine Geraghty

The Labour of the Actor: ‘So Much attention to “The Look”. What About “The Content”?’

Jade Evans

Fashioning Valerie — Uncovering the Hidden Labour of Valerie Hobson in Fan Magazine Picturegoer

D7: Representing Workers on Screen

Chair: Johnny Walker

Hannah Hamad

Frontline NHS Workers and Covid-19 in the ‘Very Special’ Return of Casualty

Polina Zelmanova

For Her Pleasure: The Labour Politics of Male Sex Work on Screen after #MeToo

Louise Coopey

Representing Working Women in Complex Television: The Experiences of Sex Workers in Game of Thrones (2011–2019)

Katerina Loukopoulou

The Artist at Work: ‘Tacit Knowledge’ on Screen 

E1: Working Through Adaptation (Adaptation SIG)

Chair: Christina Wilkins

Phyll Smith

Who Was That Masked Woman? Women’s Labour, Agency, and Credit in Republic’s Zorro’s Black Whip (1944)

Victoria Lowe
Adapting Manchester: Brideshead Revisited (1981) and the ‘Performance’ of Place

Christina Wilkins

The Work of Adaptation

Andrew Watts
Adaptation, Authenticity, and the Work of Memory in Adventures of Huckleberry Finn (1986)

E2: From Off-Screen Labour to On-Screen Performance: Stardom and Labour in Context

(Performance and Stardom SIG)

Chair: Eleonora Sammartino

Katharina Glitre

Working Night and Day (1946): Cary Grant, Star Labour and Performance

Yixuan Feng
Sinicising Girl Power: Jing Tian’s Transnational Labour in the Sino-Hollywood Coproduction The Great Wall (2016)

Eleonora Sammartino

Williams/Verdon: ‘Correcting the Record’ on Women’s Creative Labour and Equal Pay in Post-#MeToo Television

E3: The Environment and Film - Filming Extractivism and Labour in Screen Industries (Media and Environment SIG) 

Chair: James Staunton-Price

Jesse Barker
Filming Green Extractivism: As bestas (2022) and Alcarràs (2022)

Jack Shelbourn
A Cinematographer and their Crew’s Role In Tackling Climate Change

Leora Hadas
Doing Sustainability Work in the Screen Industries: Practitioners at the Crossroads

E4: Transnational Labour Perspectives: Exploring Narratives from Eastern Europe, Japan, and Bollywood (Transnational Screens SIG)  

Chair: Yael Friedman

Julia Szivak

Foreigners’ Bollywood

Karolina Kosińska
Polish Social Realism and the Cinematic Narrativization of Labour Migration

Zoe Crombie (presenting online)

Women of the Bathhouse: The Intersection of Women's Labour in Spirited Away and Studio Ghibli 

E5: Labour and Screen Media in French and Francophone Screen Studies

(French and Francophone Screen Studies SIG)

Chair: Ginette Vincendeau

Matthew Bruce

Monsieur Hulot and His ‘Travails’: The Portrayal of Labour in the Films of Jacques Tati

Martin O'Shaughnessy
Narratives of Precarity and Precarious Narratives: The Decentring of the Male Fordist Worker and the Loss of the Future

Muriel Tinel-Temple
Representation of Cinema as Work: Between Labour and Creation in Cinéma Cinémas

Thomas Pillard

Educational Work and Social Struggle in the Face of Precariousness: It All Starts Today (Bertrand Tavernier, 1999) 

E6: Hidden Horror Histories: Women's labour in genre production, performance and programming (Horror Studies SIG) 

Chair: Bethan Jones

Nia Edwards-Behi

Horror Film Festivals: Unseen Labour

Shellie McMurdo

Monsters, She Made: The Hidden Labour of Women in Horror’s Special Effects History

E7: Roundtable: Women in Focus – a collaboration between archivists and researchers to bring to the fore women’s amateur filmmaking (Archives and Archival Methods SIG; British Cinema and Television SIG) 

Chair: Llewella Chapman

Carolann Madden

Sarah Arnold

Zoe Burgess

Keynote 2: Dr Kay Dickinson

Jubilee Lecture Theatre. Accessible via Zoom

F1: Film Collectives and Collectivism

Chair: Christopher Nunn

Danai Anagnostou

Work, Reach, and Continuity in Feminist Film Collectives

Iris Luppa

‘Realist Means ..’: The Collectivist Principle in Weimar Germany’s Proletarian Film Art:  Mother Krause’s Journey to Happiness (Piel Jutzi, 1929) and Bertolt Brecht and Slatan Dudow’s Kuhle Wampe (Germany, 1931)

F2: American Cinema

Chair: Adrian Smith

Vladimir Rizov

Body is Reality: The Policing of Labour in Popular Cinema

Joseph Bitney

Conceptualising Climate Change in the Hollywood Blockbuster

Kyle Steven Kern (presenting online)
Hell Turned Loose: Class Violence and Modifying the Productive Body in Harlan County, USA

F3: Labour and Documentary II

Chair: Alisa Lebow

Thomas Austin

Race and Labour in Two Documentaries by Alice Diop

Beth Capper (presenting online)

‘I Couldn’t Get Any Anger Out of Her’: The Reproductive Worker as Political Subject in Fronza Woods’ Fannie’s Film

Rhiannon Harries

Schoolwork: New Perspectives on Teaching in Contemporary Documentary

F4: Labour in British Feminist Filmmaking of the 1970s: Practices, Representations and Debates 

Chair: Despoina Mantziari

Nicolas Helm-Grovas
Social Reproduction, Psychoanalysis and the Politics of the Unconscious in Riddles of the Sphinx (Laura Mulvey and Peter Wollen, 1977)

Lauren Houlton

Reproducing Labour, Understanding Sisters

Oliver J. L. Dixon
Cleaners’ Dreams of the 1970s: Revisiting, Retranscribing and Reinvigorating Struggles of Gendered Labour in Nightcleaners (1975) and ’36 to ‘77 (1978)

F5: Labour and the Global South

Chair: Piotr Cieplak

Malavika Ajikumar (presenting online)

Asanghadithar and Women in Cinema Collective: The Spectacle of Women as Workers in Malayalam Cinema

Joseph Garrard

Labouring Towards a Philippine Autohistory in the Films of Raya Martin

F6: Unions, On and Offscreen

Chair: Rebecca Harrison

Fay Winfield

‘The Union is a Great Power. It is Our Only Power’: Deconstructing Attitudes to Labour in Television Adaptations of North and South

Harrison Whitaker

Norma Rae and Hollywood’s Representation of the Union Woman

BAFTSS AGM and Awards Ceremony

Jubilee Lecture Theatre. Accessible via Zoom

Conference Dinner

Bill's Restaurant, 100 North Road, Brighton

Conference Dinner must be booked when you register. 

G1: The Work of Light Entertainment

Chair: Michael Lawrence

Robert Williamson

The Impact of Music Hall Performers and their Characters in British Feature Films During World War 2

Melanie Selfe

Between Hollywood and Manhattan: Bi-coastal Working and Cross-country Thinking in the 1930s Film Industry

G2: Leisure, Time and Wellbeing in the Studio

Chair: Lawrence Webb

Richard Farmer

All Work and No Play? Sports and Social Clubs in British Film Studios

Eleanor Halsall

Green Leaves and Clapperboards: Staff Magazines in Occupied Dutch Studios

Sarah Street

This Studio is Dangerous! Hazards of Working in British Film Studios

G3: Labour in Several Shots (German Screen Studies SIG)

Chair: Dolores Tierney

Andrew J. Webber and Stephan Hilpert

Labour in Several Shots: Christian Petzold & Co.

Lawrence Alexander

Workers Leaving the Chapel: Analogues of Film Work in Harun Farocki’s The Silver and the Cross (2010)

G4: Labour Behind the Screen

Chair: Christopher Nunn

James Cateridge

Tackling Precarity and Disadvantage: An Analysis of Mentoring Provision within the UK's Screen Industries

Milosz Stelmach

On the Peripheries: World-System of Cinema and the Division of Labour in Central Europe and New Zealand

Teale Failla

Tuning In: Sustainable Solutions for the Wellbeing Crisis UK Television Production

G5: Performance and AI

Chair: Louis Bayman

Hannah Andrews

Labouring under the Impression: The Work of Impersonation

Daniel O'Brien

The Computer on Screen: Invisible Labour and Digital Hoarding

Sarah Thomas

Generative Artificial Intelligence and Performer Labour

G6: Anti-Semitism, Fascism and Trafficking

Chair: Lizzie Thynne

Wesley Kirkpatrick

United Artistes: Fascism, Trade Unionism, and the Struggle for Fair Labour Conditions in the 1930s British Film Industry

Gábor Gergely

Forced Labour and Antisemitism on the Hungarian Screen

Joanne Butcher

Labour Trafficking in Film: Underreported, Unspectacular and Unrepresented

H1: LGBTQQIA+ Screen Studies Panel (LGBTQIA+ SIG) 

Chair: Robyn Ollett

Matt Weaver
Radicalism, Activism and Representations of Queerness and AIDS: from New Queer Cinema to Now

Mrunal Chavda (presenting online)
Colours of Love in Gujarati Cinematic Policy: A Study of Meghdhanushya’s Journey to the Supreme Court of India

Yvonne Zhao
Against Women: Analyzing the Dissolution of Lesbian Images in Adolescent Narratives within Sinophone Lesbian Cinema

Robyn Ollett

Queer Currency, Community, and the Carnivalesque in What We Do in the Shadows (2019– Present) 

H2: Essay Film and Labour: Issues in the Making of the Essayistic as Independent Filmmakers (Essay Film SIG)  

Chair: Lorena Cervera 

Romana Turina

Three Sisters in a Sketchbook, the Years in the Making as an Independent Filmmaker

Kayla Parker and Stuart Moore

Talking Tides: Where Words Flow

Ming-Yu Lee

Suzuki Shiroyasu, Extremely Private Core, Diary Film, Labour, Self-Portrait

H3: Labour and the Craft of Animation (Animation Studies SIG) 

Chair: Bella Honess Roe

Jacqueline Ristola

A Studio of One’s Own: The Feminised Labour of Colour Design

Jennifer Nightingale
Knitting Frames: The Making of the Knitting Pattern Film Series

Eve Benhamou
‘Made with Love Here in Kilkenny’: Cartoon Saloon and the Reframing of Traditional Labour Practices in the Era of Digital Animation

H4: Consumption, Production, Circulation: Indian Cinema and Labour Outside the Industry Circuits' (Euro-Bollywood SIG) 

Chair: Julia Szivak

Rajinder Dudrah (presenting online)

The Dancing, Joyful Audiences in the Cinema Auditoriums of the Bollywood Film Pathaan

Souraj Dutta (presenting online)

Consumption through Production: Networked Digital Media Labour at the Peripheries

Dharmesh Rajput (presenting  online)
Film Festivals – Creative Labour, Community and Culture

H5: Labour in Science Fiction and Fantasy (Science Fiction and Fantasy SIG) 

Chair: Alexander Sergeant 

Alexander Sergeant
The Labour of Fantasy Film Production: Tracing the Origins of Hollywood’s Most Lucrative Genre

Yidan Hu
Affective Labour Beyond the Human: Prosthetics, Countersexuality, and Post-Cinema in Her (2013)

Christopher Holliday
Hollywood’s Ghost Protocol: Anti-VFX Fantasies in the Era(sure) of Digital Labour

H6: Histories of Labour, Gender Politics, and Environmental Exploitation in Twentieth Century Amateur Films (Amateur Cinema SIG) 

Chair: Annamaria Motrescu-Mayes

Sarah Arnold

‘When the Archive Accepted the Films I Had, I Didn't Think That They'd Be Bothered’: Challenges of Value and Obscurity in Women’s Amateur Film Histories

Pietro Agnoletto

‘Among Those Who Stay and Those Who Depart, the Happiest are Still the Tunas Sailing the Oceans’: Amateur Cinema as a Vernacular Source for Ecocritical Thought

Zoë Viney Burgess

‘Taken by My Wife’: The Problem with Polarising Amateur Film Practice, Gender and Seriousness

I1: Industry and Labour: Hollywood and South Korea

Chair: Lawrence Webb

Paul Kerr

Some Like it Freelance: Precarity as Industrial Strategy and Cinematic Homology

Julia Michelle Dessauer (presenting online)

Sousveillance Work and Patrimonial Relations in Hollywood

Judy Suh (presenting online)

Precarious Creativity in South Korea

I2: Are We All Working Class? Transformation and Destiny of a Notion in Contemporary Cinematic Discourses   

Chair: Louis Bayman

Francesco Sticchi

Becoming-Class at the Movies: Between Negative Solidarity and Collective Insurrection

Su Kepsutlu
Affective Labour and Spaces of Precarity in Migrant Women’s Cinema

Tina Kandiashvili

The Labours of the Knight of Faith: Kierkegaard and Marx Meet Dancer in the Dark (2000)

I3: Teen Media  

Chair: Frances Smith

Alice Pember

‘Get Off Your Ass and Slam!’: Aspirational Anthems as Critique of the Gig Economy in Andrea Arnold’s American Honey (2016)

Frances Smith

Sparkle and Negative Affect in Contemporary Teen Media

Matthew Bosica

The Summer Job: The Representation of Post-High School Labour in HBO’s 1980s Sleepers

I4: Working Queerly in Film History

Chair: Luke Robinson

Michael Williams
‘The Finest Epigrammist of the Present Day’: Fan Magazines and the Queer Craft of Herbert Howe

Lucy Fife Donaldson

Friends in High Places: Social Networks and Creative Labour in Queer Hollywood

Chris O’Rourke
Dream Worlds: The Film Designs of Oliver Messel

I5: Special Screening and Talk: AI Jetée

Breaking the Fourth Dimension: A Generative Re-imagining of La Jetée 

In this talk Adrian Goycoolea navigates the complexities of replicating a classic film using generative AI. Rather than an exact reproduction, 'AI Jetée' emerges as a new narrative entity that challenges traditional ideas of authenticity, reproduction, and cultural memory. Drawing on theories of hyperreality and simulacra, the talk argues that the film's AI-driven , components, born out of the technology's inherent limitations, inadvertently propel the original's time-travel narrative into a sprawling multiverse. By doing so, it complicates our understandings of mediated cultural memories and authenticity. The talk invites audiences to explore contemporary questions of using AI in contemporary film and media.

J1: Creative Labour in British Film and Television

Chair: Matthew Bruce

Laura Minor

Creator/Craft/Context: Conceptualising Televisual Labour in (Semi)Autobiographical Comedies

Melanie Williams

Odd Woman Out in the Sixties: Muriel Box’s Late-career Generic Reinventions

J2: Post/Socialist Labour in Chinese Media

Chair: Ocean Xu

Mingkun Li

Remembering and Re-remembering Socialist-era Labour through Remediating Socialist Film Archives

Yuda Feng

A Life Worth of 30,000 Yuan: Labour Meets Money on the Postsocialist Chinese Screen

Nick Stember

In Sleep What Dreams May Come: Envisioning the Transformation of Labor and Social Class from Chinese Socialism to Glocal Postsocialism in The Long Season (2022)

J3: Reality TV

Chair: Katherine Farrimond

Michael N. Goddard

Labours of Mediated Love: Affective Labour on New Netflix Reality Shows

Helen Wood 

From ‘Duty of Care’ to Working Protections: Analysing the Labour Processes of Reality TV 

Evan Pugh

Peeking Behind the Curtain, Labour Practices in Reality TV and How they Effected Ethical Decision Making on Big Brother (2000–2018, UK)

J4: Maternal and Domestic Labour

Chair: Michael Lawrence

Min-Kyoo Kim

Labour in the Nuclear Apocalypse – Motherhood in Testament (1983) and Threads (1984)

Giulia Rho

The Altar of The Housewife: The Kitchen Table and Cinematic Expression

Tamsin Graves

Secrets and Silences: The Hidden Labour of Caring for Other People’s Children in the Irish Context with a Case Study of An Cailin Ciuin (Colm Bairéad, 2022)

J5: Risk Taking, Radical, Reflexive – Educating Filmmakers of the Future (Film/making Education SIG) 

Chair: Christopher Nunn

Rod Stoneman
Film – Work – Training

Lee-Jane Bennion-Nixon
Everything’s Coming Together as Everything’s Falling Apart: Radical Hope for Filmmaking Educators

Andrew Vallance
Title: Future Proofed!?

Closing Remarks

Jubilee Lecture Theatre.