Conference
Poster.bmp

DOING WOMEN'S FILM HISTORY: REFRAMING CINEMA PAST & FUTURE

13-15 April 2011, University of Sunderland

For more details see Conference website: http://dwfh.wordpress.com/

Full timetable and on-line registration details will be posted shortly. Keep checking! In the meantime we post below outline timetable, list of key speakers, plenary panels and special events, together with a list of panels.

OUTLINE TIMETABLE

TUESDAY 12 APRIL

Pre-registration Desk open for early arrivals 4.00-800pm (To be confirmed)

Technical Consultation for early arrivals 4.00-8.00pm (To be confirmed)

WEDNESDAY 13 APRIL

8.45 – 9.50 Registration & Tea/Coffee

Technical Consultation

9.50 - 10.20 Welcome & Introduction

10.20 -11.20 Keynote 1

11.20- 11.40 Tea/Coffee

11.40 – 1.25 Panels 1: (4 strands x4 papers)

1.25 -2.30 Lunch

2.30-4.15 Panels 2: (4 strands x4 papers)

4.15-4.30 Tea/Coffee

4.30-5.45 Plenary Discussion 1

5.50-6.50 Special Event 1

6.50-7.30 Free

7.30- 8.45 Welcome drinks and buffet supper

9.00 – 10.00 Goodnight screenings

THURSDAY 14 APRIL

8.00 – 9.00 Technical consultation

9.00 – 10.45 Panels 3 (4 strands x 4 papers)

10.45 -11.10 Tea/Coffee

11.10- 12.10 Keynote 2

12.15 – 1.30 Plenary Discussion 2

1.30-2.30 Lunch

2.30-4.00 Panels 4 (4 strands x3 papers)

4.00-4.30 Tea/Coffee

4.30-5.30 Keynote 3

5.30-6.30 Special Event 2

6.30-7.00 Free

7.00- 7.30 Reception

7.30 – 10.00 Conference Dinner

FRIDAY 15 APRIL

9.00 – 10.00 Wake-Up Screenings

10.00-11.10 Plenary Panel Discussion 3

11.10-11.30 Tea/Coffee

11.30- 1.00 Panels 5 (4 strands x 3 papers)

1.00-2.00 Lunch

2.00-3.00 Keynote 4

3.00-3.45 Special Event 3

3.45-4.00 Tea

4.00- 5.30 Outcome of Conference and Discussion of Network Blueprint (circulated in advance)

5.30 CLOSE

DOING WOMEN’S FILM HISTORY: PLENARY SESSIONS

1) 4 X KEYNOTES

1. Debra Zimmerman (Executive Director, Women Make Movies, New York)

2. Margo Harkin (Producer/Director/Writer; Derry Film & Video; Besom Productions; Northern Ireland Film Commission)

3. Monica Dall’Asta (Associate Professor of Film, Photography & Television, University of Bologna; Author, Non solo dive. Pioniere del cinema italiano)
Jane Gaines (Professor of Film, Columbia University; Director Women Film Pioneers Project; Author, Fictioning Histories: Women Film Pioneers, forthcoming)

4. Neepa Majumdar (Pittsburgh University; Author, Wanted, Cultured Ladies Only: Female Stardom in India 1930s-1950s)

2) 3 X PLENARY PANELS

1) Looking Back, Looking Forward: Feminist Film Theory and Women’s Film Practice in
Britain, Then and Now

Christine Geraghty (Professor of Film & Television Studies, University of Glasgow; Author, Women and Soap Opera)
Laura Mulvey (Professor of Film Theory, Birkbeck College, London University, London University; feminist filmmaker & writer)
Felicity Sparrow (Founder of Circles; Researcher at Central St Martins College of Art & Design)

2) Thinking from Elsewhere: National Histories: Transnational Research

Sue Harper (Emeritus Professor, University of Portsmouth; author, Women in British Cinema)
Heide Schlüpmann (Emeritus Professor, Goethe Universität, Frankfurt; author, The Uncanny Gaze)

3) Filmmaking as Women's Work

Debbie Horsfield (Theatre/TV Writer & Producer)
Tessa Ross (Controller, Film4)
Kate Kinninmont (Chief Executive, WiFT (UK))

3) 3 x SPECIAL EVENTS

1. Film Curation: Screenings as History
Karola Gramman (Kinothek Asta Neilsen, Frankfurt)

2 Music Composition for Silent Film
TBA

3. Introducing SP-ARK: Interactive Archive
Clare Holden (Adventure Pictures/SP-ARK - Sally Potter Archive)

DOING WOMEN'S FILM HISTORY PANELS

(At 31 January 2011 – NB: not in timetable order)

1: RE-WRITING FILM HISTORIES

KIM TOMADJOGLOU (Independent Curator, Washington): Her Great Adventure - Alice Guy Blaché

ROSANNA MAULE (Concordia, Montreal): Female, Singular: Women in French Cinephilia

SHELLEY STAMP (UC, Santa Cruz): Women’s Labor, Creative Control, and “Independence” in Early Hollywood; or, the Price of a Good Time

2: WOMEN’S CULTURAL PRACTICES V. REPRESSIVE REGIMES

VERONICA PRAVADELLI (Rome): The Politics of Female Friendship in Contemporary Women's Cinema: The Case of “the Mediterranean”

ELIZABETH RAMIREZ (Warwick): Women Documentary Makers and the Narration of Pinochet dictatorship

ADELINA SANCHEZ-ESPINOSA (Granada): Reviewing the Neglected Past, Unveiling the Dubious Present, Visualizing Feminist Futures: Creative “Back Rooms” During the Spanish “Naked Years”

SUSANNE SKLEPEK (Nottingham): Vera Chytilova: A Woman's Take on the CSSR

3: CASTING, DIRECTION, STARDOM & PERFORMANCE

FEDERICO VITELLA (Florence): The Rise of a Modern Star: Monica Vitti in L’avventura (Antonioni, 1960)

JOHN AYRES (Manchester): Producing Outside the Box: Betty E. Box and Post-War British Cinema

CHRISTINE ETHERINGTON-WHITE (Portsmouth): Mike Leigh’s Female Protagonists: Exploring Agency and Performance in the Actor/Director Relationship

4: NEGOTIATING FEMINISM, FILM HISTORY, & HOLLYWOOD
ISABEL ARREDONDO (SUNY, Plattsburgh): “My Films Are not Feminist”: Relationships between Feminist History and Women’s History in the Case of Third-Wave Mexican Women Filmmakers”

EYLEM ATAKAV (East Anglia): Feminism and Women’s Film History in Turkey: the 1980s

DAWN HALL (Western Kentucky): Opening a Space for the Female Filmmaker: Risk-Taking in Deepa Mehta’s Fire and Sally Potter’s Yes

KATARZYNA PASZKIEWICZ (Barcelona): Hollywood Transgressor or Hollywood Transvestite: The Reception of Kathryn Bigelow’s The Hurt Locker (2008)

5: RESEARCHING AUDIENCES & MOVIE-GOING

LISA STEAD (Exeter): “Carried away from this workaday world and its troubles”: Working Girl Female Audiences of British Silent Cinema

LESLIE MIDKIFF DEBAUCHE (Wisconsin, Stevens Point): Why Bertha Glennon Went to the Strand

CHERYL ROBERTS (Brighton): Dispelling the Myth: The Influence of Cinema on the Fashion of Young, Working-class Women in the 1930s.

6: ADAPTATION, FEMALE AUTHORS & THE FUTURE OF THE WOMAN’S FILM

ALEXIS WEEDON (Bedfordshire): Adaptations: Examples from the Archive of Elinor Glyn

SHELLEY COBB (Southampton): Adapting Feminist Filmmaking: Women Directors, Literary Adaptations and the Postfeminist 1990s
SARAH-MAI DANG (Berlin): Emma, Elle & Elizabeth – The Contemporary ‘Woman’s Film’ as Aesthetic Modality of Experience

7: WOMEN & DOCUMENTARY: THE NEGLECTED FIELD

SARAH EASEN AND TOBY HAGGITH (ITN Source Television Archive/Imperial War Museum): British Women Filmmakers in the Non-Fiction Sector 1930-1960

BARBARA EVANS (York): Invisible Griersonians – Women in the British Documentary Film Movement of the 1930s

JO FOX (Durham, UK): Women in British and Canadian Non-Fiction Film Production, 1939-45

8: WOMEN’S FILM HISTORIOGRAPHY IN AND OUT OF THE ARCHIVES

ANNETTE FÖRSTER (Independent Scholar, Amsterdam): Rosa Porten and Feminist Film Historic Research
VICTORIA DUCKETT (Melbourne): The Corrick Collection: A Case Study for Feminist Film Historiography

NATHALIE MORRIS (BFI): Women in BFI Special Collections

DEBASHREE MUKHERJEE (New York): Notes on a Scandal: Writing Women's Film History Against an Absent Archive

9: AESTHETICS & WOMEN’S AVANT-GARDE PRACTICES

SU ANSELL (De Monfort): Mining Poetic Connection with Moving Image

CAMILLA PETERS (Falmouth): Margaret Tait (1918-1999)

ROSE HEPWORTH (Cambridge): Female and Filmic ‘Formlessness’

CECILE CHICH (Paris): Maria Klonaris & Katerina Thomadakis’ Cinema of The Body: a Critical Contribution to Cinema

10: RETHINKING CINEMA’S APPEALS FOR WOMEN

ESTHER SONNET (Portsmouth): Revisioning Hollywood Crime & Gangster Film History in the 1930s
HELEN HANSON (Exeter): ‘B’ for Blane and ‘B’ for Budget: Female Adventures and Industry Strategies in the Hollywood Series Film
SARAH STREET (Bristol): Women and Colour Cinema

11: RESTORING WOMEN FILMMAKERS TO NATIONAL CINEMA HISTORIES - 1

ANA CATARINA PEREIRA (Univ of Beira, Portugal): Female directors in the History of Portuguese Cinema

URSULA- HELEN KASSAVETI (Athens): Searching for Greek "Women's" Cinema in the 60s: the Case of Maria Plyta

SOMAYEH GHAZIZADEH (Iran): Post-Revolutionary Iranian Women Filmmakers and Feminism

KIRSTIE IMBER (Royal College of Art): Unveiling the Voice: The Use of Sound and Vocality in the Films of Shirin Neshat

12: FUTURE HISTORY OF WOMEN’S FILMS & CHALLENGE OF NEW TECHNOLOGIES

JULIA KNIGHT (Sunderland): The Challenges of Theatrical Releases: the Example of Cinema of Women
DRAKE STUTESMAN (Women’s Film Preservation Fund, New York): Strategies for Archiving, Preservation & Exhibition of Women’s Films

LEZLI-AN BARRETT (Curtin, Australia): Making an Exhibition of Ourselves: Charting Journeys through Feminist Cinema Exhibition and Distribution into the Digital Age

13: OUR PLACE, OUR SPACE: EXHIBITION SITES & CREATION OF NEW FORMS

KARINA AVEYARD (Griffith, Australia): “Our Place:” Women at the Cinema in Rural Australia

KAY ARMATAGE (Toronto, Canada): Making History: Directorial Authorship in the Met HD Broadcasts

EVELIN STERMITZ (Ljubljana, Slovenia): ArtFem.TV: Art and Feminism ITV

14: PERFORMING WOMEN: RE-ENVISIONING FILM HISTORY

ELISA UFFREDUZZI (Florence): Salome, Modern Dance and Liberation of the Female Body in Early Cinema

VERA RYSHIK (St Andrews): The Silent v. Sound Actress: Gloria Swanson (1928) and Joan Crawford (1932) perform W. Somerset Maugham’s Sadie Thompson

GILLIAN MURRAY (Leicester): Women’s ‘Dual Role’ in Post-War Britain: Work and Pleasure in Moving Images

15: QUESTIONS OF POWER: WOMEN SCREENWRITERS

GIULIANA MUSCIO (Padova, Italy): American Women Screenwriters of the Silent Period
MICHELE TORRE (Southern Illinois Univ.): Not Just the Wife of the Studio Head: Antonina Khanzhonkova, Writer, Editor and Decision-Maker

JILL NELMES (East London): Screenwriter - Muriel Box

JENNIFER SMYTH (Warwick): Producing Women’s Historical Fictions: Edna Ferber and Lillian Hellman in Hollywood

16: NEW WOMEN, CINEMA & MODERNITY

CANAN BALAN (Istanbul Sehir University): Ottoman Women as Movie-Goers in 1910s-1920s

ELIZA ANNA DELVEROUDI (Univ. Crete): Film Critics International: Women, Cinema and Modernity through the Eyes of a 1920s Greek Film Critic.

RANITA CHATTERJEE (Univ. Westminster): Distant Voices: Women and Film in 1920s and 1930s Calcutta

EMILIANA LOSMA (Turin, Italy) Women Directors In Italy: Indifference, Prejudice And Hostility

17: WOMEN/WRITING/CINEMA

CLARE WATSON (Independent Scholar): 'Our Correspondent:' British Women Writers and International Film Journalism
(1910s-1920s)

AMY SARGEANT (Queen Mary): Dorothy L. Sayers Before Dante

FIONA PHILIP (Leeds): Resisting the ‘tinned products of Hollywood’: Bryher’s Queer Feminist Film Criticism

PER VESTERLUND (Gavle, Sweden): Elsa Brita Marcussen and Gerd Osten - Two Leading Film Critics in Post-war Sweden

18: RESTORING WOMEN FILMMAKERS TO NATIONAL CINEMA HISTORIES - 2

SI DA (Peking): Changing the Images of Woman in Contemporary Chinese Cinema: An Analysis based on Li Yu’s Four Films

ANA KARINA AVELLANA COSIO (Philippines): The Filipino Woman in the Indie by Filipino Women Filmmakers from 2004-2007

MICHAEL SMITH (Leeds): Kinuyo Tanaka: Actress, Filmmaker

MONA MINGXIA LI (Western Scotland): A Female Filmmaker of the “Fifth Generation” in China: Li Shaohong’s Work and her Feminine Consciousness

19: WOMEN’S PRODUCTION ROLES IN CONTEXT

KERRIE WELSH (New York): Louise Tiranoff: The Women’s Movement, and the Archive in My Closet

VICKY BALL & MELANIE BELL (Sunderland/Newcastle): Women at Work in the British Film & Television Industries

MELANIE WILLIAMS (East Anglia): Considering Continuity: A Case Study of Barbara Cole and Maggie Unsworth's Work with David Lean

FRANCES TEMPEST (Bournemouth): The Status of Costume Design in the British Film and Television Industry

20: HYSTERIOGRAPHY

LUCY REYNOLDS (Independent filmmaker): Resistant Forms: Situating Women's Experimental Cinema

SARAH TURNER (Independent filmmaker): ‘Perestroika’

HELENA BLAKER (Independent filmmaker): Performance in Film: Life, Politics, Medium
PLUS 20 minute extract from Perestroika (d. Sarah Turner, 2009)

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