SCMS Conference 2022

SCMS Conference 2022
March 31-April 3: Virtual Conference

At this year’s SCMS conference 2022, there are three preconstituted panels on film festivals, sponsored by the Film and Media Festival SIG:

Saturday, April 2;
Session N – 3:00 PM Central Time

N11: At the Intersection of Art and Industry: Historical Case Studies of Festival Circuits

Chair: Chelsea McCracken, SUNY Oneonta Respondent: Roya Rastegar

  • Betsy Walters, Boston University, “Festival Diplomacy: CINE, American Nontheatrical Cinema, and the Film Festival Network, 1957–1977”
  • Chelsea McCracken, SUNY Oneonta, “‘A Pragmatic Move’: Festival Programming and LGBTQ Content”
  • Matt St. John, University of Wisconsin, Madison, “Movie-Made Utah: The Utah/US Film Festival, Regional Programming, and the Origins of the Sundance Film Festival”

Sunday, April 3;
Session P – 9:00 AM Central Time

P11: Empirical Approaches to Film Festivals: Theory/Method/Practice

Chair: Antoine Damiens, York University

Co-chair: Skadi Loist, Film University Babelsberg Konrad Wolf, Potsdam Respondent: Tamara Falicov, University of Kansas

  • Skadi Loist, Film University Babelsberg Konrad Wolf, Potsdam and Katharina Burgdorf, University of Mannheim, “Analyzing the Film Festival Network: Methodological Challenges”
  • Ritesh Mehta, Indian Film Festival of Los Angeles, “Diasporic filmmakers and curators on the shift to hybrid festivals: The example of South Asian festivals in the US”
  • Brad Limov, University of Texas at Austin, “Film Festivals and Community Activism: On the Potential for Affective Mobilizations”

Sunday, April 3;
Session S – 3:15 PM Central Time

S5: Critical Approaches to Online Film Festivals

Chair: Jonathan Petrychyn, Ryerson University

  • Ger Zielinski, Ryerson University, ”Pandemic Streaming: On COVID–19, Virtualized Film Festivals, and the Environmentalist Turn”
  • Laura U. Marks, Simon Fraser University, “The Small File Media Festival”
  • Jonathan Petrychyn, Ryerson University, “Streaming Censorship: Social Media Platforms and Content Moderation at the Toronto Queer Film Festival”
  • Antonio Peláez-Barceló, CEU San Pablo University, “Online vs offline cultural diversity in film festivals: Toronto and San Sebastian”


And there are five panels with festival papers:

Thursday, March 31;
Session D – 3:00 PM Central Time

D18 Interrogating the “Virtual”: Case Studies of VR

Chair: Ivy Roberts, University of Maryland, College Park

  • Ivy Roberts, University of Maryland, College Park, “‘Virtual’ Realities: Reclaiming VR for the cinema, a history to 1990”
  • Da Ye Kim, New York University, “Capitalizing on the Potential of Virtual Reality?: Film Festivals and the Rhetoric of VR as the ‘New Cinematic Medium’”
  • Caroline Klimek, York University, “Artist-Run Centres and XR Media: How Canadian Artists are Making Tech Accessible”

Friday, April 1;
Session F – 9:00 AM Central Time

F20 Beyond the Movie Theater: Questions of Cultural Legitimacy

Chair: Anthony Enns, Dalhousie University

  • Tom Fallows, University of Maryland Global Campus, “‘Netflix for Lunatics’: Full Moon Features and the Non-Theatrical Business Model, from Video Store to Streaming Service”
  • Eren Odabasi, Western Washington University, “Institutionalized Cultural Capital in Film Festivals: The Cannes 2020 ‘Label’”
  • Anthony Enns, Dalhousie University, “The Half-Life of Ubik: Philip K. Dick’s Unmade Film”
  • Kaya Turan, Stony Brook University, “Ambivalent Light: Spectatorial Models in Thomas Wilfred’s Lumia Suite, Opus 158”

Saturday, April 2;
Session K – 9:00 AM Central Time

K15 Asian/Pacific American Activism Deconstucting Naturalized Tropes

Chair: Heshen Xie, University of Nottingham

  • Heshen Xie, University of Nottingham, “Reimagining Queer Asia and Rurality in Hong Kong: Examining Asia Pacific Queer Film Festival Alliance Shorts”
  • Woori Han, University of Pennsylvania, “Sticky queer collectivity: Attachment and detachment in social media activism for LGBTQ rights in Korea”
  • Hang Wu, University of Chicago, “From Techno-Orientalism to Information Processing: On Asian Cyberscapes in the Cyberpunk New Wave”

Saturday, April 2;
Session M – 1:00 PM Central Time

M2 Speculative Methods of Feminist Film History

Chair: Catherine Russell, Concordia University

  • Jane Gaines, Columbia University, “Counterfactual Speculation: What if Antonia Dickson Had Invented the Kinetoscope?”
  • Hayley O’Malley, University of Iowa, “A Speculative History of the First Black Women’s Film Festival”
  • Aurore Spiers, University of Chicago, “‘My Name Is Alice Guy:’ Role-Playing and Women’s Film History
  • Catherine Russell, Concordia University, “The File on Theresa Harris, Black Star of the Archive”

Sunday, April 3;
Session R – 1:15 PM Central Time

R18 Politics of Film Circuits International Production, Distribution and Festivals

Chair: Sangjoon Lee, Nanyang Technological University

  • Kajsa Niehusen, University of California, Santa Barbara, “Vying for Access: German films in Turkey during World War II”
  • Carol Chih-Ju Lin, Indiana University, Bloomington, “Representing China in Taiwan: Hollywood Negotiating Locations and Cold War Politics in The Sand Pebbles and The Chairman”
  • Sangjoon Lee, Nanyang Technological University, “Destination Hawaii: Projecting Southeast Asian Cinema to the World”
  • Jeff Solomon, Wake Forest University and Heather Barnes, Wake Forest University, “The Queer Repertory Project: Initial Findings”

Sunday, April 3;
Session S – 3:15 PM Central Time

S6 Global Voices of Women Auteurs

Chair: Yifen Beus, Brigham Young University-Hawaii

  • Yifen Beus, Brigham Young University-Hawaii, “Fragmented Solidarity: Filming Oceanian Women in Waru (2017) and Vai (2019)”
  • Carolyn Bailey, Harvard University, “Self-Circulation: Repetition and Reproduction in Julie Dash’s Daughters of the Dust
  • Raha Shojaei, San Jose State University, “The Absence of Her Voice”
    • Aga Skrodzka, Clemson University, “Feminist Worlding in World Cinema: The Case of Malgorzata Szumowska”

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