Through an Indigenous Lens

by Josie Atkinson

This podcast is of a seminar presented by Josie Atkinson at UNSW Sydney for SSSN on 28th August 2018. Josie’s paper is followed by a question and answer session facilitated by Evelyn Araluen Corr and involving the audience present on the day.

JOSIE ATKINSON is an Indigenous woman from the Gumbaynggirr Nation from the Mid-North Cost of New South Wales and a currently enrolled in a Master of Philosophy majoring in Creative Arts at the University of Wollongong. She is a trained actress and passionate supporter of education and higher degree academia.

This research focuses on an analysis of the representation of Indigenous people through three major case studies of Australian televised media dramas. In addition, these case studies examine the ways in which Indigenous Australians have been constructed for Australian audiences with an in-depth focus on gender representations; presence and absence and Indigenous-specific and Indigenous non-specific characterization as an expression of Indigeneity as a commodity.

There is a gap of academic research by Indigenous researchers on the representations of Indigenous people in this area. However, there is an abundance of research on and about Indigenous people both historically and currently conducted by non-Indigenous researchers on representations of Indigenous people. It is important for Indigenous people to represent academic discourses through an Indigenous intersectional lens

Three major case studies of television drama series will be utilized: Boney (1971-2; 1992) Neighbours (1985-), The Secret Life of Us (2001-5). Through this investigation it has been revealed that certain problems still exist in the representation of Indigenous people in televised media dramas but there have been some groundbreaking developments in the representation of Indigenous people.

A Good Man with a Gun

by Rodney Wallis

e: Rodney.bwallis@gmail.com

This podcast is of a seminar presented by Dr Rodney Wallis at UNSW Sydney for SSSN on 3rd October 2018. Rodney’s paper is followed by a question and answer session facilitated by Ben Eldridge and involving the audience present on the day.

Following the Sandy Hook Elementary school massacre in December 2012 that claimed the lives of 28 people, including 20 young children, CEO of the National Rifle Association Wayne LaPierre famously declared, “the only thing that can stop a bad guy with a gun is a good guy with a gun.” In the years since Sandy Hook the NRA and its Republican clients have reliably spewed forth similar rhetoric as a way of combating calls for increased gun control, usually in the wake of yet another mass shooting. While this can rightly be seen as a cynical appeal to the anxieties of a terrified populous (terrified, it must be said, of both violent criminals and government regulation of firearms), it nonetheless speaks to the peculiar resonance of the idea of an armed savior in American culture. In this paper I will explore the ways in which Hollywood has contributed to this ideal through a close examination of the classic, self-consciously mythic western Shane (George Stevens, 1953). Through my examination of Shane I will demonstrate how Westerns throughout this period bound together the image of the gun with notions of heroism, individualism, masculinity, justice, and democratic process, in turn making significant contributions to the promotion and circulation of gun culture throughout the United States.

Icons and Politics in Spanish Cinema

Landismo-ozorismo-y-otros-ismos

by Váleri Codesido

e: valeri@ucm.es

This podcast is of a seminar presented by Váleri Codesido at UNSW Sydney for SSSN on 31st July 2018. Váleri’s paper is followed by a question and answer session facilitated by Assoc. Prof. Anne Rutherford and involving the audience present on the day.

VÁLERI CODESIDO has a degree in Audiovisual Communication and Masters in Audiovisual Communication of the Digital Era, both at the Complutense University of Madrid. She has also undertaken Performing Arts studies at Westminster Kingsway College in London. She is a tutor in the Delegation in Spain of Foreign Foundation Institute for the International Education of Students in the subjects of Communication Psychology, Audiovisual Digital Technology and Spanish Film History. She has also directed short films and documentaries and is currently developing a doctoral thesis focused on the History of Spanish cinema.

What cultural and social value can be found in 1970s exploitation cinema? Doctoral candidate Váleri Codesido explores 1970s Spanish exploitation cinema to question what it can tell us about Spain in both a pre- and post- Franco era, and Spain’s relationship with the world, through its explicit portrayal of sex and violence. Váleri also proposes that aesthetic parallels can be found in the Ozploitation films of the 1970s, opening up further questions around the stark differences in Australia’s and Spain’s political and cultural histories.

The Female Hero: The Research-led Screenplay

by Sophia Riley Kobacker

e: sophia.kobacker@hdr.mq.edu.au

This podcast is of a seminar presented by Sophia Riley Kobacker at UNSW Sydney for SSSN on 1st May 2018. Sophia’s paper is followed by a question and answer session facilitated by Dr Natalie Krikowa and involving the audience present on the day.

SOPHIA RILEY KOBACKER, Media Researcher and Creative Practice PhD Candidate, earned a BA-Media (2014) and Master of Research (2016) in Macquarie University’s Media Dept. (MMCCS), where she is a proud member of the Walanga Muru Indigenous community. Sophia has studied writing for film and television at NIDA and AFTRS in Sydney, published several short stories and directed short films. Her feature-length screenplay, Little Bit Long Way, is set in Western Australia’s remote Kimberley region: A lost orphan, hunted by brutal and corrupt miners, sets out on a thrilling adventure across the Australian desert in search of her new home

The three stages in mythologist Joseph Campbell’s Hero’s Journey narrative model have proven highly adaptable to the three-act screenplay structure, and, like Vladimir Propp’s character functions, are widely referenced in the humanities. Yet, filmmakers have applied the unique narrative model generated by Campbell’s work almost exclusively to masculine heroes in blockbuster films. Theorists have yet to agree upon a settled Female Hero narrative model which embraces Joseph Campbell’s mythological emphasis. My research addresses this gap by creating and demonstrating a socially constructive, culturally resonant narrative model for the contemporary, mythologically-based Female Hero’s Journey in screen narrative.

By engaging with existing knowledge in experimental development, my research constructs a new narrative template that can be applied by screenwriters in the writing of feature-length fictional screenplays that feature a Female Hero as protagonist. This valuable new narrative template is designed to support the box office success of future female-protagonist-led films. Using the screenplay for Little Bit Long Way as an example, this paper discusses how the new narrative model, devised through my research, can be overlayed upon the structure of an original screenplay to tell the story of a more authentic Female Hero’s Journey.

Fassbinder: As He Appears to Us

by Zach Karpinellison

e: zach.karpinellison@gmail.com

This podcast is of a seminar presented by Dr Zach Karpinellison at UNSW Sydney for SSSN on 17th April 2018. Zach’s paper is followed by a question and answer session facilitated by Dr Michelle Langford and involving the audience present on the day.

ZACH KARPINELLISON is completing a Bachelor of Arts majoring in Film Studies at UNSW and working as a projectionist at Golden Age Cinema & Bar. In 2016 he was a guest speaker at the Sydney Film Festival on the ‘Refugees on Film – Cinema without Borders’ panel, and is a current member of the festival’s Film Advisory Panel. He has also worked on the 2017 Persian Film Festival supervising marketing and social media.

This paper argues that Rainer Werner Fassbinder’s appearances in his own films are an important and meaningful part of his filmmaking practice. Fassbinder’s appearances can be organised into three consecutive stages, which I have termed insertion, assertion, and direction. Each of these stages will be explored in this paper to show how they allow Fassbinder to enact a form of creative control. In this way, Fassbinder extends the figure of director by incorporating into the position, the role of author and performer. In this extended capacity Fassbinder exerts a greater control over the moral and political reception of his work. Having presented this analytical framework for understanding his appearances, I then examine his unique involvement in his own films through the lens of critical work and theory about authorship, auteurs and performance. I argue that Fassbinder’s appearances have important implications for the study of authorship and demand a re-examination of the fragile distinctions drawn between the terms director, performer and author. Further, a consideration of Fassbinder’s specific cultural value in the context of the New German Cinema opens other lines of inquiry about his value.

SSSN Semester Two Program 2018 CFP

SSSN Semester Two Program 2018 CFP

Sydney Screen Studies Network is currently seeking proposals for the Semester One seminar program for 2018. We invite scholars working across film, television, video, and internet media to present research on contemporary screen studies and screen culture from a variety of perspectives. SSSN is a research-led academic community based in Sydney and surrounds, working in all aspects of film, television, and screen-based media. The network aims to provide a casual networking and collegial relationship-building space for screen studies in Sydney. Some suggested perspectives for seminar topics include:

  • Early cinemas, classic cinemas and contemporary cinemas
  • Television, traditional and new
  • Screen history
  • Spectatorship and the role of the viewer
  • New media forms
  • Mass media and social media
  • Screen theory/screen philosophy
  • Interdisciplinary approaches to the screen
  • The screen as text
  • The screen as art
  • Gender, sexuality, race and class in screen media
  • Cognitive Theories/ Methodologies
  • History/theory of performance on screen

Special Focus Topic

We especially invite seminar proposals on Intersections in academic research and creative practice. Artistic practice in screen media can be viewed as the production of knowledge or philosophy in action. Likewise, theoretical approaches to cinema and screen studies can offer valuable resources for the creative practitioner. We would like to explore potential meeting points between creative practice and academic research. We encourage papers, and/or examples of creative work, that examine the possibilities of these collaborations from either point of origin: theory’s contact with creative practice, or creative practice’s engagement with theory.

Potential seminar topics could respond to the following questions:

  • How can we articulate differences in practice-based or practice-led research, research-led practice or practice-as-research? How do their outcomes differ?
  • What are the potential links between creativity and research in screen works and screen studies?
  • What are the benefits of understanding a practitioner’s journey through their practice?
  • How can we better understand the relationship between screen production in the academy and the broader screen production industries?
  • How do artists/academics negotiate their roles as researchers/educators with their roles as creatives?
  • How do specific theoretical or philosophical approaches to creative practice manifest in produced works?
  • How can screen theory or screen-based philosophy be a creative practice of screen thought? What methodologies enable a creative practice of screen-based thinking?

All seminar presentations on Intersections in academic research and creative practice will be considered for an edited special journal issue, pending editorial approval. We particularly encourage collaborative seminars, pre-constituted panels, as well as postgraduate and early career researchers to apply.

Seminars can take a range of formats. We can also host an SSSN seminar at your home university.

Deadline Extended: Please send proposals including a title, an abstract (200 words), and a short biography to sydneyscreenstudies at gmail.com by Tuesday 17th July 2018.

Call For Papers: Dial S for Screen Studies – A Symposium Presented by the Sydney Screen Studies Network

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Call For Papers: Dial S for Screen Studies – A Symposium Presented by the Sydney Screen Studies Network

Sydney Screen Studies Network is currently seeking proposals for our 2018 symposium, Dial S for Screen Studies held 12th to 13th of November 2018 at UNSW, Sydney. The symposium will be composed of two streams: (1) current approaches to screen theory and (2) intersections in academic research and creative practices.

Current Approach to Screen Theory

We invite scholars working across film, television, video, and internet media to present a twenty-minute paper of research on contemporary screen studies and screen culture from a variety of perspectives. Some suggested perspectives for this stream include:

  • Early cinemas, classic cinemas and contemporary cinemas
  • Television, traditional and new
  • Screen history
  • Spectatorship and the role of the viewer
  • New media forms
  • Mass media and social media
  • Screen theory/screen philosophy
  • Interdisciplinary approaches to the screen
  • The screen as text
  • The screen as art
  • Gender, sexuality, race and class in screen media
  • Cognitive Theories/ Methodologies
  • History/theory of performance on screen

Intersections in Academic Research and Creative Practices

This stream invites scholars who would like to explore potential meeting points between creative practice and academic research. We encourage papers, and/or examples of creative work that explore the possibilities of theory’s contact with creative practice, or creative practice’s engagement with theory.

Papers for this stream could be a traditional seminar paper or a combination of a shorter paper with a short screening of a work or work in progress.  Please note the total time of the presentation should not be more than twenty minutes.

Workshop Proposals

We are also seeking workshop proposals for one-hour workshops that will be held on the second day of the symposium. Potential workshop topics could include: screen practice, screen theory (including reading groups), screen teaching pedagogy, and article writing.

Please send your CFP/proposals including a title, an abstract (200 words), and a short biography to dialsforscreenstudies@gmail.com by Wednesday 12th of September 2018. Please make note of your preferred stream. If your proposal is a workshop, or if you will present a screening, please reference this in your title.

All seminar presentations on the intersections in academic research and creative practice will be considered for an edited special journal issue, pending editorial approval. We encourage collaborative seminars, pre-constituted panels, as well as postgraduate and early career researchers to apply for Dial S for Screen Studies.

The SSSN is supported by the School of Arts and Media, UNSW

Intersections of Media Effects Research: Developing Socially Responsible Media Production

by Danya Braunstein

e: danya.braunstein@hdr.mq.edu.au

This podcast is of a seminar presented by Danya Braunstein at Macquarie University for SSSN on 20th March 2018. Danya’s paper is followed by a question and answer session facilitated by Chanelle Tarabay and involving the audience present on the day.

DANYA BRAUNSTEIN is a Registered Psychologist (Assoc. MAPS), Researcher, and Media Consultant. In private practice, Danya provides psychological counselling, coaching, and assessments for adults and adolescents. She holds a Master’s degree in Media Psychology, and is currently undertaking a PhD in Psychology. Danya’s doctoral research explores the influence of the cultural and social environment on narrative identity.

Extensive research has demonstrated that exposure to media narratives can affect the individuals who view them by altering thoughts, attitudes, and beliefs. Over time these media effects become reinforced and strengthened, consistent with cultivation theories (Potter, 2012). Examples of this research evidence include:

  • Wishful identification with fictional characters influences individuals to become more similar to the idealised characters (Markus & Nurius, 1986; Hoffner, 2011; McAdams, 2013).
  • Representations of media characters and their behaviours are significant influences for young people, often as a consequence of negative portrayals of race, class, sexuality, and gender (Greenberg & Mastro, 2011; Hust & Brown, 2011; Scharrer, 2013).
  • Individuals idiosyncratically adopt, negotiate, or reject the social norms, scripts and schemas, goals, and values communicated through media narratives (Thwaites, Davis, & Mules, 2002).
  • Individuals are entertained by and experience transportation into media narratives, which contributes to narrative persuasion (Green & Dill, 2013).
  • Media producers can embed positive social and health messages within their narratives to educate about important issues, to encourage favourable attitudes, and to change behaviours (Nabi & Moyer-Gusè, 2013).

In this presentation, I discuss how socially responsible media producers can utilise and apply this academic research in their work. Short video clips will be shown to demonstrate the concepts.

Ways of Seeing and Feeling: Rhythm and Pulse

by Sharon Mee

e: mee.sharonjane@gmail.com

This podcast is of a seminar presented by Dr Sharon Mee at UNSW Sydney for SSSN on 6th March 2018. Sharon’s paper is followed by a question and answer session facilitated by Dr Richard Smith and involving the audience present on the day.

DR SHARON JANE MEE completed her PhD in 2017 through the School of the Arts and Media at the University of New South Wales. Her dissertation conceptualises the cinematic pulse in horror cinema using theorists Jean-François Lyotard, Gilles Deleuze and Georges Bataille. She has presented her work at national and international academic conferences.

DR RICHARD SMITH teaches film studies in the Department of Art History and The University of Sydney. His principle research interest is the temporality and form of the cinematic image, the place of technology and thought in generic and formal change and the range of theories useful for considering these aspects of cinema.

This paper analyses various prototypes of the pulse in cinematic rhythm, namely in the work of American avant-garde filmmaker Stan Brakhage, Structuralist/Materialist filmmaker Peter Kubelka, French Impressionist filmmakers and theorists Jean Epstein and Germaine Dulac, Dadaist filmmakers and artists Hans Richter and Marcel Duchamp. In these prototypes we find that rhythm is concerned with “perceived” movement, and the pulse, by contrast, is concerned with a response to the experience of a “felt” time. Exploring an economy of the pulse in an analysis of George A. Romero’s Dawn of the Dead (1978), this paper shows how “splatter” images have the force of “felt” intensities insofar as the pulse is a flexible and momentary intensity that suggests the flow and flexibility of a “felt,” but unseen, operation. The pulse is the force of the intensities that are libidinally invested and which energetically open out the body in the arrangement, set-up, or dispositif. The dispositif is vital for thinking about the spectator as a component in the energetic system of cinema. Thus for cinema, I argue that it is by attending to the investment in libidinal energies that make up the forces of intensity that we find the pulse in the image.

Call For Papers: Semester One Program 2018

Sydney Screen Studies Network is currently seeking proposals for the Semester One seminar program for 2018. We invite scholars working across film, television, video, and internet media to present research on contemporary screen studies and screen culture from a variety of perspectives. SSSN is a research-led academic community based in Sydney and surrounds, working in all aspects of film, television, and screen-based media. The network aims to provide a casual networking and collegial relationship-building space for screen studies in Sydney. Some suggested perspectives for seminar topics include:

  • Early cinemas, classic cinemas and contemporary cinemas
  • Television, traditional and new
  • Screen history
  • Spectatorship and the role of the viewer
  • New media forms
  • Mass media and social media
  • Screen theory/screen philosophy
  • Interdisciplinary approaches to the screen
  • The screen as text
  • The screen as art
  • Gender, sexuality, race and class in screen media
  • Cognitive Theories/ Methodologies
  • History/theory of performance on screen

Special Focus Topic

We especially invite seminar proposals on Intersections in academic research and creative practice. Artistic practice in screen media can be viewed as the production of knowledge or philosophy in action. Likewise, theoretical approaches to cinema and screen studies can offer valuable resources for the creative practitioner. We would like to explore potential meeting points between creative practice and academic research. We encourage papers, and/or examples of creative work, that examine the possibilities of these collaborations from either point of origin: theory’s contact with creative practice, or creative practice’s engagement with theory.

Potential seminar topics could respond to the following questions:

  • How can we articulate differences in practice-based or practice-led research, research-led practice or practice-as-research? How do their outcomes differ?
  • What are the potential links between creativity and research in screen works and screen studies?
  • What are the benefits of understanding a practitioner’s journey through their practice?
  • How can we better understand the relationship between screen production in the academy and the broader screen production industries?
  • How do artists/academics negotiate their roles as researchers/educators with their roles as creatives?
  • How do specific theoretical or philosophical approaches to creative practice manifest in produced works?
  • How can screen theory or screen-based philosophy be a creative practice of screen thought? What methodologies enable a creative practice of screen-based thinking?

All seminar presentations on Intersections in academic research and creative practice will be considered for an edited special journal issue, pending editorial approval. We particularly encourage collaborative seminars, pre-constituted panels, as well as postgraduate and early career researchers to apply.

Seminars can take a range of formats. We can also host an SSSN seminar at your home university. Please see the Seminar Outline document for suggestions:  https://sydneyscreenstudies.files.wordpress.com/2016/01/sssn-seminar-cfp-2016.pdf<http://wordpress.us10.list-manage.com/track/click?u=874f88bf15b1c1cd4ee175472&id=638aa964a0&e=bd521d017c>

Please send proposals including a title, an abstract (200 words), and a short biography to sydneyscreenstudies at gmail.com<mailto:sydneyscreenstudies at gmail.com> by Thursday 22nd February 2018.