Tag Archives: media

Event: End of Cinema & Future of Cinema Studies Conference

The End of Cinema and the Future of Cinema Studies

When: Friday, April 12, 2013 – 9:30am – 5:30 pm

The First Annual Dick Wolf Penn Cinema Studies Conference

In a day long conference on the future of cinema studies, Penn Cinema Studies Program will bring together scholars, film critics, and film industry practitioners who have stood at the cutting edge of the critical and scholarly debates about the technological and institutional transformations in film and media. On the one hand, the disappearance of the celluloid, the redefinition of the image by the digital technology, and the transformation of theatrical viewing onto heterogeneous spaces and devices has put at stake the very existence of the field’s object of study, and has resulted in a kind of cultural pessimism and an obsessive discourse on the mortality of cinema. On the other hand, these developments were accompanied by a renewed and unprecedented vitality and vigor in cinema, the cinema’s widening sphere of influence, and the rebirth of cinephilia. The disciplinary shifts brought a new understanding of the nature of the moving image, its relationship with the real, as well as a new understanding of the history of the medium. Through a dialogue between acclaimed film scholars, critics, and practitioners, we want to think about the significance of film and media studies today and address the ways in which the convergence that defines the landscape of film and media also coincides with a convergence that is institutional and disciplinary.


Participants include:

  • Keynote Francesco Casetti is Professor at Yale University in the Humanities and in the Film Program. He is the author of Inside the Gaze. The Fiction Film and its Spectator (Indiana University Press, 1999), Theories of Cinema, 1945-1995 (U Texas Press, 1999), and Eye of the Century. Film, Experience, Modernity (Columbia University Press, 2008). Visiting professor at University of Paris 3, Iowa, and Berkeley. Co-founder (with Jane Gaines) of the Permanent Seminar On Histories of Film Theories. General Editor of the series “Spettacolo e comunicazione” for the publishing house Bompiani, Milano. Prior to his arrival at Yale, he taught for thirty years in Italy, where he served as President of the Society for Film and Media Studies.
  • Dudley Andrew is the R. Selden Rose Professor of Film and Comparative Literature at Yale. He began his career with three books commenting on film theory, including the biography of André Bazin, whose thought he continues to explore in the recent What Cinema Is! and the edited volume, Opening Bazin. His interest in aesthetics and hermeneutics led to Film in the Aura of Art (1984), and his fascination with French film and culture resulted in Mists of Regret (1995) Popular Front Paris (2005), and the co-edited Companion to Francois Truffaut.
  • John Belton is Professor of English and Film at Rutgers University. He is the author of five books, including Widescreen Cinema (Harvard, 1992), winner of the 1993 Kraszna Krausz prize for books on the moving image, and American Cinema/American Culture (McGraw Hill, 1994, 2004, 2008, 2013), a textbook written to accompany the PBS series American Cinema. He has edited three books and edits a series of books on film and culture for Columbia University Press. In 2005-2006, he received a Guggenheim Fellowship to research a book on digital cinema. In 2008, he received an Academy Fellows grant to research a book on motion picture color.
  • Mark Betz is a Reader in Film Studies at King’s College, University of London, UK. He is the author of Beyond the Subtitle: Remapping European Art Cinema(Minnesota University Press, 2009) as well as several articles and book chapters on postwar art cinema and film culture, the history of film studies, and the problems (and pleasures) of film categories and concepts.
  • Francesca Coppa is Professor of English and film studies at Muhlenberg College and the Visiting Wolf Professor of Television Studies at the University of Pennsylvania. She is also a founding member of the Organization For Transformative Works, a nonprofit advocacy organization established by fans to provide access to and preserve the history of fanworks and culture. She recently co-edited the Fan/Remix Video issue of Transformative Works and Cultures and is currently writing a history of fan vidding for the University of Iowa press.
  • Geoff Gilmore is a world expert of independent filmmaking and distribution. He began his career as head of the UCLA Film & Television Archive’s and served as director of the Sundance Film Festival for nineteen years. Geoffrey is currently Chief Creative Officer of Tribeca Enterprises, responsible for the overall direction of the Tribeca Film Festival as well as Tribeca Film, Tribeca’s distribution platform which last year distributed 28 films to 50 million homes across an array of platforms including theatrical, VOD and digital.
  • Barbara Klinger is President-Elect of the Society for Cinema and Media Studies and Interim Chair and Professor in the Department of Communication and Culture at Indiana University in Bloomington. She teaches and writes on cinema and new media, fan and reception studies, and film and media history and historiography. She is author of Melodrama and Meaning: History, Culture, and the Films of Douglas Sirk (Indiana University Press, 1994) and Beyond the Multiplex: Cinema, New Technologies, and the Home (University of California Press, 2006). She has published numerous book chapters and articles in journals, including Film Quarterly,Screen, and Cinema Journal.
  • Lev Manovich is the author of Software Takes Command (Bloomsbury Academic, 2013), Soft Cinema: Navigating the Database (The MIT Press, 2005), and The Language of New Media (The MIT Press, 2001) which is described as “the most suggestive and broad ranging media history since Marshall McLuhan.” Manovich is a Professor at The Graduate Center, CUNY, a Director of the Software Studies Initiative, and a Visiting Professor at European Graduate School (EGS).
  • Jonathan Rosenbaum is the author or coauthor of a dozen books, the most recent of which is Goodbye Cinema, Hello Cinephilia (Chicago, 2010). He maintains a blog and web site at jonathanrosenbaum.com
  • Lynn Spigel is the Frances E. Willard Professor of Screen Cultures at Northwestern University. Her books and anthologies include TV By Design: Modern Art and the Rise of Network Television (University of Chicago Press, 2009); Television after TV: Essays On a Medium in Transition (Duke University Press, 2004, co-edited with Jan Olsson); and Make Room for TV: TV and the Family Ideal in Postwar America (University of Chicago Press, 1992). She is currently a John Simon Guggenheim fellow.

Conference Schedule | Friday, April 12

9:30-10:00am | Opening Remarks | Meta Mazaj 

10:00-11:30am | Deaths and Re-Births of Cinema | Moderated by Karen Beckman

Barbara KlingerCinema and Immortality

  • Countering the ideas that cinema is ‘dead’ and the field in peril, this paper explores the multiple means by which film as a medium continues to thrive in circumstances that appear to challenge its very existence and the nature of its study. In my view, cinema has historically been resurrected and reincarnated through definitive affiliations with other media, from radio and television to the digital. The contemporary climate of convergence, transmedia, and the ‘digital revolution’ has simply made this state of affairs especially visible. Film’s fellow media have long acted as its life support systems and agents of active dissemination (e.g., the TV rerun), while also transforming the experience of the medium itself (e.g., through different delivery systems and different screening locales). Focusing on Hollywood film, I will examine both the protean nature of cinema, given its constant reformulations by other media, and its endurance through these reformulations, developing a notion of cinema and film studies that is less ‘pure’ and more encompassing.

Mark BetzRecalling the Active Spectator

  • This paper will examine, in historical as well as practical terms, the construct of the active spectator as it has been manifest in academic film studies. The active spectator makes its first appearance in the 1970s: particular narrative formal strategies (countercinema) were privileged as enabling such a viewing subject , and being an active spectator was considered an essential component of (and in some instances equivalent to) political activism. Active spectatorship underwent considerable rethinking, refraction, and revision in the wake of the cognitive turn of the 1990s, which in certain respects democratized the construct by making it a feature of all film viewing (and thinking) as a conscious and routine activity of the brain. But in relating the film experience to everyday routines of mental processing, the activity of such a spectator can be argued to be a conventionalizing and thus normalizing one. Other types of spectators (emancipated, pensive) have more recently been formulated in the work of Jacques Rancière and Laura Mulvey as well as in the “slow cinema” movement and its adherents. But to what degree have these developments led to the privileging of a cinema of inaction and of a cellularization of the viewing experience? Can recalling the active spectator of the past lead to the instantiation of a different kind of one in the present, one who may answer the call of being an actor in the world outside the film and the cinema?

Jonathan RosenbaumThe Future of Cinema and the End of Cinema Studies

  • How do we define and discriminate between ends, continuations, and transformations? And how much is cinema studies dependent on or independent from cinema itself? I’ll be discussing diverse practices, institutions, ideals, developments, and hopes. 

11:30am-1:00pm | The Expansion of Cinema | Moderated by Peter Decherney

Lev ManovichVisualizing Cinema

  • I will present visualization analysis of the two films by Dziga Vertov: The Eleventh Year (1928) and Man with a Movie Camera (1929). This project is a part of a larger research program to develop techniques for the exploration of massive image and video collections by Software Studies Initiative, the lab which I established in 2007. In this project, I explore how new “media visualization” techniques help us see films in new ways, adding to already well-developed methods and tools in film and media studies.

Lynn SpigelEames TV: Media Convergence at Midcentury

  • This paper recovers the visual field of media convergence in the 1950s-1960s, focusing on the case of Charles and Ray Eames’ productions for television. While media convergence has largely been considered as a recent trend involving TV, digital media, and “post-cinema” there was a flurry of interest in the intermedial and multimedia possibilities of commercial TV in its first decades. The Eames were among the pioneers in this regard, merging TV with experiments in film montage, slide presentations, graphic design, animation, and video tape. While their films and multimedia exhibitions are now well documented, their work in TV is virtually unknown. I look at their TV productions for CBS and other broadcast venues, and I place their work in the larger context of midcentury visual environments for business displays, advertising, and eventually more countercultural ideals of expanded cinema and video art. I consider the digital logic of their approach to analog media, a logic that was in line with their interest in computers. And I consider their experiments with regard to larger midcentury ideas about perception, attention, persuasion, and new ways of seeing made possible by the (then) new media. 

Francesca Coppa“It’s Life, Jim, But Not As We Know It”: Monstrous and Alien Life

  • This talk will look at cinematic forms emerging from within fan subcultures and social networks, with particular emphasis on those developed by women, including filmic mashups, fanvids, fan films, and .gif sets. 

2:30-4:00pm | Screens, Digital Histories, Future Trajectories | Moderated by Timothy Corrigan

Dudley AndrewCinema Studies in Three Dimensions: Pi in the Sky

  • If cinema is dying, we can take solace and wisdom from its death and transfiguration around 1929 and again around 1953.  André Bazin was public witness to this latter ordeal.  Never apocalyptic, his reactions to TV, 3D, Scope, and Cinerama brought the kind of clarity to this “new media” landscape that we should emulate as we think about the cinema’s past and future from the space of some new dimension we may have entered.

Geoff GilmoreThe Transformed Landscape of Media and the Future of Film and Film Festivals

  • The transformation of media from a corporate dominated universe to a one in which a great proliferation of possibilities, choices and opportunities now exist. Geoff will also touch upon the future of film and film festivals. 

John BeltonBigger than Life: the Future of the Cinema in an Era of Small-Screen

  • If motion pictures began as tiny, 1 1/2 inch images on the screen of a peep-show device (the Kinetoscope) that accommodated one viewer at a time, the cinema began when those same images were projected “life-size” on a screen for a mass audience. What does it mean that contemporary motion pictures are now regularly consumed privately or semi-privately on small video screens ranging from domestic television sets to hand-held mobile devices? From the perspective of Rick Altman’s “‘crisis historiographythe cinema'” identity is always in crisis; it must continually redefine itself in an ever-changing landscape of new imaging technologies.  But does it not then run the risk of continually redefine itself out of existence?  Should there be a point where one must acknowledge that this or that particular platform of motion picture consumption is no longer cinema? The cinema is more than just an object; it is the experience of an object. This paper argues that the experience of a motion picture is different on different size screens and that we must begin to explore the difference among those experiences. The cinema is projection on a screen, life size‚Äîor bigger than life size–images and an audience; everything else is movies.

4:00-5:30pm | Keynote | Francesco CasettiCinema, beyond

  • The so called “death of cinema” is a contradictory process. If on the one hand the dark theatre no longer represents the main venue for enjoying cinema, on the other hand the film experience is very often re-enacted in new spaces, thanks to new devices. Cinema relocates itself in a larger territory. The paper will discuss the ways in which film tries to keep its identity safe, and at the same time it faces the inevitability of change. Through a re-reading of Youngblood, MacLuhan and Rancière, the paper will unfold cinema’s strategies in the digital landscape.


This conference is made possible thanks to the generous support of Mr. Dick Wolf to the Cinema Studies Program at the University of Pennsylvania. We also acknowledge the collaboration of Slought Foundation.

Organized by Meta Mazaj, with Peter Decherney and Nicola M. Gentili.


Extra Credit Opportunity: Philadelphia Queer Media Activism Series

Announcing an opportunity to earn some extra credit points to boost your course grade while participating in a great Philadelphia community arts project: the Philadelphia Queer Media Activism Series.

To earn 2 percentage points added to your course grade:

  • Attend ONE of the four events in the Philadelphia Queer Media Activism series
  • Sign in at the event to let me know you were there
  • Write a 600-word (min.) analysis of the event, connecting it to AT LEAST ONE of our course readings or films.
  • Post your analysis to our course blog by April 23 (11 pm).

To earn additional points:

  • For every additional event you attend, you can earn 1 percentage point
  • Sign in at the event to let me know you were there
  • Incorporate your observations of the additional events into your analysis

Encourage your friends, colleagues, professors, neighbors, classmates, and anyone else to attend the events! They are all free and open to the public. You can find out more information about the series here:

PQMAS 2013

Events: Philadelphia Queer Media Activism Series!

I’m excited to announce the Philadelphia Queer Media Activism Series!

PQMAS LogoPlease spread the word, follow us on Twitter, “like” us on Facebook, tell all your friends, and most of all come to the events!


Series description:

  • What is the relationship between queer media and queer activism? How have queers, trans* folks, feminists, people of color, poor people, and people with disabilities harnessed media production practices in the service of social justice activism? How have local Philadelphia artists, activists, and academics mobilized to create films, video artworks, performances, training workshops, and courses that stretch beyond the local context and into the transnational public sphere? The Queer Media Activism Series examines the relationship between queer activism and queer media production through film screenings, lectures by transnational video artists, roundtables on social justice media making, live performances, and discussions about oral history media projects. The Philadelphia Queer Media Activism series explores these questions through a multimedia, multidisciplinary, and multi-sited series of events around Philadelphia during March and April 2013.


Drag Activism: Performing the Revolution!

  • March 30, 2013. 6-9 pm
  • William Way LGBT Community Center (1315 Spruce Street)
  • Come hear from and watch some of Philadelphia’s Icon Ebony Fierce 3most fabulous drag performers! Exploring how live performance and gender-bending play can enable social bonds and contribute to political transformation, the performers will discuss how activism is at play in their work and the important work that drag communities and cultures do in Philadelphia.
  • After the discussion, stick around for a performance by: THE DUMPSTA PLAYERS, ICON EBONY FIERCE, CHARLES COHEN, and THE LIBERTY CITY KINGSDumpsta Players 4Liberty City Kings logo

Social Justice Media Making: A Conversation with Aishah Shahidah Simmons & Mónica Enríquez-Enríquez

  • April 1, 2013. 12-2 pm. Temple University, 812 Anderson Hall (Women’s Studies Lounge)
  • This event brings together two contemporary activist-artists whose multimedia and multifaceted work demonstrates the best that social justice media making can embody: Mónica Enríquez-Enríquez and Aishah Shahidah Simmons. These two vibrant artist-activists will discuss their own multimedia work as well as the importance of media production for marginalized communities, examining how marginalized communities have and can mobilize media making tools in the service of social justice.Aishah & Moni
  • AISHAH SHAHIDAH SIMMONS (@Afrolez) is an AfroLez®femcentric Cultural Worker who for over twenty years has been both motivated and engaged as a cultural worker because she believes each one of us has the birth right to live in a world where oppression and exploitation based on gender, race/ethnicity, national origin/citizenship, sexual orientation, class, and/or religion of anyone is non-existent. Aishah is the director of the award-winning, internationally-acclaimed documentary film NO!: The Rape Documentary, which explores the international reality of rape and other forms of sexual assault through the first person testimonies, scholarship, spirituality, activism and cultural work of African-Americans.
  • MÓNICA ENRÍQUEZ-ENRÍQUEZ is a queer Latina, born and raised in Colombia, who migrated to the U.S. in 2001. She received her M.F.A in Digital Arts and New Media from the University of California Santa Cruz, where her work Fragments of Migration explored queer asylum and constructions of citizenship in the U.S. She is currently based in New York, and her artistic and activist projects focus on the deportation, detention, and criminalization of communities of color. Mónica’s video art installations include Escrito, Un/binding Desires, Intimate Margins, and Reclaiming Spaces. Mónica’s political and ethical commitment to making her art relevant and accessible to the communities she is in conversation with guides her production and exhibition practices.

Mónica Enríquez-Enríquez: Film Screening & Director’s Talk

  • Monday, April 1 from 6-8pm
  • The Rotunda (4014 Walnut Street)MonicaEnriquezEnriquezPic
  • Queer Latina, Colombian-American video artist MÓNICA ENRÍQUEZ-ENRÍQUEZ will be screening several of her recent multimedia works that focus on queer asylum, migration, and citizenship, as well as giving a lecture on the issues her work raises in relationship to queer media activism in a transnational frame.
  • Screenings will include:
  • escrito, 2007, 2 min: poetically gestures to the contradictions of what it means to be a queer immigrant in the U.S.bodyrope1
  • entre nos, 2012: queer migrants survivors of violence speak amongst themselves (“entre nos”) about what being undocumented in the U.S. means and the devastating impact of law enforcement and immigration enforcement collaboration.
  • un/binding desires, 2011: develops the idea of “marginal desires” and displays images of bondage as an expression of queer difference. These images accompany the audio based conversations with queer migrants and queers who explore their parents’ histories of migration while speaking about their own desires. By destabilizing the accessibility of U.S. history of migration through making a space for these marginal desires and literally re-reading such history, this piece invites you to question the ways in which migration and desire are usually represented
  • fragments of migration installation, 2008: This piece interrogates the institution of asylum in the U.S. based on sexual identity and gender identity.
  • intimate margins installation, 2007: By interweaving intimate conversations among undocumented lesbians, we reclaim political spaces in the margins.
  • work in progress: fragments of conversations with a queer migrant as she journeys back “home” horizontally juxtaposed with the words of a queer young person of color speaking about homelessness, criminalization and sex work.

Archives, Affects, & Activism: Preserving Queer & Trans Histories

  • April 20, 2013. 7-9 pm
  • Giovanni’s Room Bookstore (345 S. 12th Street)
  • Come learn how Philly bookstores, libraries, zine fests, archives, and media artists are creating and preserving Philly queer and transgender histories, and making them available to the public in creative ways. Presenters include:
  • HELYX CHASE, Director of the Philadelphia Trans Oral History Project. Hailing from Philadelphia, Helyx is a gender queer dyke video artist, activist and media literacy educator. Ze is a Hampshire College graduate with a degree in Video,

    Trans Oral History Project logo

    Social Justice, Youth Empowerment and Global Power Dynamics. Hir work focuses on extending tools and promoting media creation, specifically for those who are systematically excluded from methods of media production.

  • SARAH ROSE, Co-Director of the Philly Feminist Zine PFZF LogoFest. The Zine Fest showcases some of the awesome zines Philly folks are making, and explores how zine making and DIY media in relation to social justice.
  • CHE GOSSETT, writer and activist who is a contributor to Captive Genders: Trans Embodiment and the Prison Industrial Complex (eds. Eric A. Stanley and Nat Smith), Trans Studies Reader Volume II (eds. Susan Stryker and Aren Aziura) and the forthcoming anthology Queer Necropolitics (eds. Jin Haritaworn, Adi Kuntsman, Silvia Posocco).  Che is currently working on a biography of AIDS activist Kiyoshi Kuromiya.
  • BOB SKIBA, Archivist at the William Way LGBT Community Center. The William Way Archives are Philadelphia’s most extensive collection of rare books, periodicals, video and audio tapes, periodicals, personal correspondence, and other ephemera documenting the rich history of our LGBT communities.

This series is generously supported by Giovanni’s Room Bookstore; the Rotunda; the William Way LGBT Community Center; Temple University’s Film and Media ArtsLatin American Studies, Tyler Visual Studies, and Women’s Studies departments; Temple University’s Queer Student Union and General Activity Fees; and the University of Pennsylvania’s Alice Paul Center, Art HistoryCinema Studies, Gender, Sexuality, & Women’s StudiesHistory, Latin American & Latino Studies, and Visual Studies departments as well as the Penn Humanities Forum.

Want to get involved with the series? Have a question? Want fliers to help publicize events? Check out our website (phillyqueermedia.com), or email the Director Cathy Hannabach at phillyqueermedia@gmail.com.

You can also find us on Facebook and Twitter.

Event: Social Justice Media Making with Aishah Shahidah Simmons & Mónica Enríquez-Enríquez

Social Justice Media Making:

A Conversation with Mónica Enríquez-Enríquez and Aishah Shahidah Simmons

When: Monday, April 1, 2013 – 12:00pm – 2:00pm

Where: Temple University, 812 Anderson Hall (Women’s Studies Lounge)

This event brings together two contemporary activist-artists whose multimedia and multifaceted work demonstrates the best that social justice media making can embody: Mónica Enríquez-Enríquez, a Queer Latin@, Columbian-American video artist with a long history of work in the community arts movement, and Aishah Shahidah Simmons, an award-winning African-American feminist lesbian independent documentary filmmaker, television and radio producer, published writer, international lecturer, and activist.

These two vibrant artist-activists will discuss the importance of media production for marginalized communities, examining how marginalized communities have and can mobilize media making tools in the service of social justice. Each speaker will also discuss their own media making practices as well as tactics for using media to fight violences of capitalism, racism, homophobia, transphobia, misogyny, sexual assault, and the prison industrial complex.

Enríquez-Enríquez has made a number of award-winning multimedia video installations including Un/binding Desires, Escrito, Intimate Margins, and Reclaiming Spaces, and Simmons is the director of the award-winning film NO!: The Rape Documentary.