MULTIMEDIA
HISTORIES
21-23 July 2003
From Magic Lantern to the Internet
University of Exeter
An international conference organised by the AHRB Centre for British Film and
Television Studies, and the Bill Douglas Centre, University of Exeter.
This conference is the culmination of an AHRB project investigating the continuities
between nineteenth-century optical recreations and subsequent screen technologies.
Professor William Boddy (CUNY) LIST OF SPEAKERS (as of 18/6/2003)
John Adams (University of Bristol) Kaveh Askari (University of Chicago) Dr Patrizia Di Bello (Birkbeck, University of London) Dr Wendy Bird (Independent Scholar) Dr Jonathan Bollen (University of New England, Australia) Mark Broughton (Birkbeck, University of London) Dr Richard Crangle (University of Exeter) Theresa Cronin (Goldsmiths, University of London) Ine Van Dooren (University of Brighton/SEFVA) Dr Jon Dovey (University of West of England) Paul St George (London Metropolitan University) Dr Charlie Gere (Birkbeck, University of London) Seth Giddings (University of West of England) Frank Gray (University of Brighton/SEFVA) Professor Alison Griffiths (CUNY) Chris Hales (Central Saint Martins College of Art and Design) Dr Imam Haman (University of Exeter) Dr Peter Hamilton (Open University) Dr Helen Hanson (University of Exeter) Dr Michelle Henning (University of West of England) Dr Sara Gwenllian Jones (Cardiff University) Jaeho Kang (University of Cambridge) Dr Alison Kavanagh (University of Leeds) Aimee Kendall (University of Texas at Austen) Yuna de Lannoy (Birkbeck, University of London) Professor Martin Lister (University of West of England) Davide Lombardo (European University, Institute of Florence) Katerina Loukopoulou (Birkbeck, University of London) Luke McKernan (BUFVC) Dr William Merrin (Leeds Metropolitan University) Dr Kit Messham-Muir (University of Sydney) Jeanette Monaco (University of Bristol) Dr Juergen E Mueller (University of Bayreuth) Hyon Joo Yoo Murphee (Syracuse University) Dan North (University of Exeter) Dr Mark Paterson (University of West of England) Dr Michael Punt (University of Wales, Newport) Lisa Purse (University of Reading) Professor Lauren Rabinovitz (University of Iowa) Dr Diane Railton & Dr Diane Nutt (Teeside University) Dr Tatiana Rapatzikou (University of East Anglia) Martin Rieser (Bath Spa University) Russell Richards (Southampton Institute) Dr Amy Sergeant (Birkbeck, University of London) Andrew Shail (University of Exeter) Sheila Skaff (University of Michigan) Dr Damian Sutton (Glasgow School of Art) Dr Peter Thomas (University of Luton) Dr Vanessa Toulmin (University of Sheffield/NFA) Dr Cathryn Vasseleu (University of Technology, Sydney) Christophe Wall-Romana (UC Berkeley) Dr Helen Wheatley (University of Reading) Dr Michael Williams (University of Southampton) Dr Jason Wilson (Griffith University) Andrea Zapp (Manchester Metropolitan University) Maxa Zoller (Birkbeck, University of London)
One
of the most dominant critical concerns of recent years has been the attempt to
understand the impact of a multimedia culture. The scope and limits of a multimedia
culture have become associated with issues of virtual reality; interactivity;
media convergence and hybridity; body/technology couplings, etc. These familiar
narratives, however, have a much more extended history than is often realised.
Multimedia Histories will examine the long genealogy of multimedia usage and discourse.
From the 19th C onwards, the proliferation of screen technologies and
optical recreations has been an important element of popular culture. Moreover,
the exhibition and consumption of these entertainments was often defined by their
interrelationship. The mid nineteenth-century drawing room, for example, typically
included stereoscopes and praxinoscopes alongside the magic lantern.
The conference is keen to pursue a comparative approach by focusing on specific
historical moments of convergence and hybridity. In so doing, it aims to locate
the aesthetics of the new media in relation to an intermedial tradition of public
and domestic forms of screen entertainment. The principal question it hopes to
address is this - to what extent do recent multimedia technologies extend established
features of cinema, television, and the panoply 19th C and 20th
C optical recreations?
OUTLINE PROGRAMME (draft):
21
JULY 2003
4:00-6:00pm
Registration
6:00-7:15pm
Introduction
and plenary speaker
7:15pm
on
Opening
reception and dinner
...
22
JULY 2003
9:30-11:00am
Panel
session
Panel
session
Panel
session
11:00-11:30am
Tea/coffee
break
11:30am-1:00pm
Panel
session
Panel
session
Panel
session
1:00-2:00pm
Lunch
2:00-3:00pm
Plenary
speaker
3:00-4:30pm
Panel
session
Panel
session
Panel
session
4:30-5:00pm
Tea/coffee
break
5:00-6:30pm
Panel
session
Panel
session
Panel
session
Evening
Dinner
- own arrangements
...
23
JULY 2003
9:30-10:30am
Plenary
speaker
10:30-10:45am
Tea/coffee
break
10:45am-12:15pm
Panel
session
Panel
session
12:15-1:00pm
Lunch
1:00-2:30pm
Panel
session
Panel
session
2:30-4:00pm
Plenary
speaker and closing remarks
KEYNOTE SPEAKERS:
Professor Ian Christie (Birkbeck, University of London)
Professor Richard Grusin (Wayne State)
Dr Roberta Pearson (Cardiff University)
'Hindsight: an account of a practice-based research exploration of
interactive aesthetics for a multi-screen cinema platform'
'Photographed Poses and Narrative Movement in Alexander Black's Picture Plays'
'From the album page to the computer screen: collecting photographs in the
home'
'Pre-cinematographic spaces and audiences: their audiences and control in
early 19th century Madrid'
'As Seen on TV: Social dance pedagogy, kinaesthetic cross-over and the animatic
imaginary'
'Intermedial Extensions: Brideshead Revisited and its Distribution History'
paper title tba
'The Limits of Cinema: Corporeal Spectatorship and the Desire for Sensation'
paper title TBA
'A Short History of the Ideology of Interactivity'
'Marey and Baron: Chronophotography and Multimedia'
'John Cage's Early Warning System'
'Frame by Frame Into the Future: an animated history of CGI'
'The 'Vision Scene''
'Woven Spectacles: Medieval Tapestry as Precursors to Imax'
'Kine-Automat Revisited'
'More shows and striptease at the lecture: early representations of the mummy'
'Wide: The Panoramic Photograph and Modern Visions of the World'
'Framing Portraits: Approaches to Art in 1940s' Holloywood Cinema'
'The Return of Curiosity: The World Wide Web as Curiosity Museum'
'Excavating Gameworlds'
'The Phantasmagoria of the Entertainment Industry: Walter Benjamin's account
of the Panorama as the Ur-Symbol of Cinema'
'Spaces of Film Consumption and Local Environment: A reconstruction of cinema-going
in West Yorkshire since the Twenties'
'Forensic Animation: Using Computer Simulation as Rhetorical Evidence'
'Benshi and Film: Japan’s Early Hybrid Art'
'Vanishing Points: virtual and visual culture'
'Arlecchino's magic lantern: Multimedia mental frames and the first Italian
newspapers'
'Aesthetics of Expandability and Internediality in Films on British Pop Art'
'The History and Manifestations of Colour Music'
'You've Been Maimed!: Bullet Time and the Hyperrealisation of Perception'
'Multimedia and the Museum: New Technologies and Spectator Experiences in
Contemporary Museums'
'Since The Sopranos is not a soap-opera: Debates over meaning in Sopranoland.com'
'Visions of an Intermedia History of Early Television'
''Signifying' the Digital Space: Contestations and Possibilities'
'From Android to Synthespian: the myth of mechanical life'
'The Sense of Immersion: Haptic and Optic technologies'
'Invisible histories: the hardware/software hybrids'
'Out of the Console, onto the Screen: Lara Croft and Action Cinema's Visual
Style'
'More than Movies: A History of Somatic Visual Culture through Hale's Tours,
IMAX and Motion Simulation Rides'
'From Paper Cut-Outs to 'Skins': Dressing and Undressing 'Play' Characters'
'Virtual Technologies and Interactive Communities'
'Spatialized interaction with New Video and Cinematic Forms'
'The Origins of a Digital Aesthetic: Hogarth and his Legacy'
'From 'The Wonders of Derbyshire' to Wookey Hole'
'A peep behind the scenes of the silent stage: The Film Fan Magazine Hits
London'
'The Transition from Silent to Sound Film in Poland, 1929-30'
'Rustling Leaves and Blimp-shots: CGI, Lumieres, and perception after photography'
'Art and Technology Then and Now, or, What Do Film and Video Artists From
the 1970s Find so Interesting About the Multimedia'
'Spectacular Realities: Early Film Programming and Mitchell and Kenyon'
'The light of the Praxinoscope'
'The Integration of Cinematic Devices in French Poetics: 1836-1905'
'The limits of television? Natural History programming and the transformation
of public services broadcasting'
'The Many Tales of The Rat: Intertextual History and the 1920s Film
Fan'
''Participation TV': Videogames, contemporary visual culture, feedback and
the 'problem of the player''
'Networked Narrative Environments'
'Expanded Cinema: A Phenomoenological History of Projection Art'
CALL FOR PAPERS
Contact: Registration:
Ann Jones,
Birkbeck, University of London
Conference Organiser:
Dr John Plunkett/Dr James Lyons,
University of Exeter