dimanche 28 août 2011

Conférence : 16ème Conférence annuelle de la SERCIA (Bath - du Jeudi 8 au Samedi 10 Septembre 2011)

16th International SERCIA Conference - University of Bath - 8/10 september 2011
Cinema and the crossing of frontiers / 
Le cinéma et le passage des frontières
11.00 – REGISTRATION and COFFEE (Student Centre Foyer level 2). We’ll put up SERCIA signs to guide you! Conference packs will include maps and room details for the rest of the conference.
12.00 – 13.00 BUFFET LUNCH (Foyer of 5West (5W) level 2)
13.00 BRIEF WELCOME (5W2.4)
13.30 – 15.00 SESSION 1

A. (5W 2.4)
Crossing the U.S./Mexico Border (i)
Chair: Brian Neve

Stephanie Fuller, ‘Borderline Identity: Crossing the U.S.-Mexico Border in Film’

Jeffrey Swartwood, ‘Hybridity and the Crossing of Borders in John Carlos Frey’s The Gatekeeper – An Insight into Representations and Identities Along the Mexican Border’

Rosa Urtiaga,
History and the Representation of the Chicana in John Sayles’s Lone Star

B. (8W 2.6)
Cinéma et errance
Chair: Yves Carlet

Daniela Ricci,
Le Passage des frontières identitaires dans les cinémas africains contemporains de la diaspora’

Isabelle Singer,
Fortunes et infortunes de la traversée des frontières chez Ayom Egoyan’

Cécile Tourneur,
La Perméabilité des frontières spatiales et temporelles dans les films-journaux de Jonas Mekas’

C. (8W 2.15)
Between Screen and Eye: the Dynamic Frontier
Chair: Raphaëlle Costa de Beauregard

Fabrice Lyczba,
‘‘Putting it Over’: Reaching Out to the audience in American Silent Cinema Publicity, Exhibition and Narrative Practices’

Céline Murillo, ‘Redefining Spectators and Screen Borders in Jarmusch’s Moving Images’

Hedwig Wagner,
Spatial Frontiers and the Screening of Techno-Political Power’

15.00 TEA

15.20 – 16.50 SESSION 2

A. (5W 2.4)
Crossing the U.S./Mexico Border (ii)
Chair: Melvyn Stokes

Juan Tarancón,
Aliens at the Gates : Representations of the U.S.-Mexico Border in Cinema’

Alain Cohen,
Orson Welles’s Touch of Evil (1958): Crossing Borders. Crossing Boundaries

Anne Crémieux,
The Cinematic Crossing of Borders in Babel

B. (8W 2.6)
The Cutting Edge: Cinema and Experimentation
Chair: Nina Parish

Yaël Ben Nun,
Beyond the gap between animation and live action films’

Kim Knowles,
Celluloid-Digital Dialogues: Old and New Technologies in Experimental Film’

Frank Mehring,
Prince Achmed in Harlem: German Silhouette Films and Primitivist Aesthetics
in the Harlem Renaissance’

C. (8W 2.15)
Alternative identities : Myth and Reality
Chair: Jean-François Baillon

Marianne Kac-Vergne,
A New Racial Frontier in Contemporary Science Fiction ?’

Virginia Luzón-Aguado, ‘Mr Ford Goes To Washington : Reality and Fantasy in Air Force One

Anne-Marie Paquet-Deyris,
Making it in J. Stahl & D.Sirk’s Imitation of Life [1934; 1959]. Passing and Trespassing’

16.50 – 17.50 SESSION 3

A. (5W 2.4)
Temporal, Spatial, Generic Borders
Chair: David Roche

Penny Starfield,
The Frontier Within: White Fawn’s Devotion and Frankenstein (1910)’

Raphaelle Costa de Beauregard,
Crossing Borders in Minelli’s Some Came Running (1958)’

B. (8W 2.6)
Movement, Metafiction, Metaphor
Chair: Nicole Cloarec

Denise Warren,
De Palma’s Dressed to Kill: Split Screen Boundary Crossing’

Ayla Yağmuroğlu,
The Question of Reality in Luigi Pirandello’s Six Characters in Search of an Author and Christopher Nolan’s Inception

C. (8W 2.15)
Frontières artistiques
Chair: Céline Murillo

Susana Dobal Jordan, ‘Trois Images pour relater des sculptures intangibles’

Hwa-Yeon Sin-Chaumier, ‘Ciném(a)rchitecture : Traversée des frontières entre les deux arts’

18.45 CIVIC RECEPTION offered by the Mayor of the City of Bath, GUILDHALL, High Street, Bath
(Green Park Brasserie, Green Park Station, Green Park Road, Bath)
09.00 – 10.30 SESSION 4

A. (5W 2.4)
Reinventing the Horror Genre
Chair: Celestino Deleyto

Andrea Grunert,
The Visualisation of Inner Feelings: Conor McPherson’s The Eclipse

Gilles Menegaldo,
Generic Hybridity in Contemporary Gothic/Horror Cinema’

David Roche,
Blurring the Border between Subject and Self in George A. Romero’s Living Dead Trilogy (1968-1985)’

B. (8W 2.6)
Cinéma et renouvellement
Chair: Gilles Menegaldo

Dominique Sipière,
Sherlock Holmes : Borders within Time and Space’

Barbara Le Maître,
Traverser les frontières du médium : Jeff Wall, tableau d’histoire et film de zombie’

Yola Le Caïnec
De l’autre côté du miroir – L’Américain Arnaud Desplechin’

C. (8W 2.15)
Crossing National Frontiers
Chair: Zeenat Saleh

James Aston,
The Place of No Place : Home in the Films of Jia Zhang-ke’

Annael Le Poullennec,
Over the South African rainbow: the crossing of frontiers in post-apartheid cinema’

Joanna Rydzewska,
Negotiated Identities: Regional and Transnational Crossings in Contemporary British Cinema’
10.30 – 11.00 COFFEE

11.00 – 12.30 SESSION 5

A. (5W 2.4)
Crossing the Atlantic
Chair: Frank Mehring

Robert Murphy,
Jules Dassin – An American Abroad’

Melvyn Stokes,
Charlot surréaliste?’

Nimrod Tal,
In the first place, it may be as well to point out that this picture is not a work of merely local interest’: The Birth of a Nation and Gone With the Wind in the Anglo-American World, 1915-1953’

B. (8W 2.6)
Cinema and Globalisation
Chair: Jackie Collins

Kristian Feigelson,

Elena Oliete-Aldea,
Money Never Sleeps in a Globalized World: The Awakening of Fear in the Crossing of Frontiers’

Julia Echeverría Domingo, ‘Infectious Globalisation: Border Porosity and Containment in Danny Boyles’s 28 Days Later

C. (8W 2.15)
Au-delà des frontières: images en mouvement
Chair: Dominique Sipière

Jessie Martin,
Réel-Virtuel : Métissage des images, permanence des frontières’

Jean-Baptiste Massuet,
De l'autre côté de la toile -Des Out of the Inkwell de Max Fleischer (1919-1929) aux Alice's Comedies de Walt Disney (1923-1927) : quand l'animation et la prise de vues réelles traversent leur frontière’

Pauline Gallinari,
Comment faire circuler les films européens en Europe ? L’impact des initiatives européennes’

12.30 – 13.30 LUNCH

(Wessex Restaurant)

13.30 – 15.00 SESSION 6

A. (5W 2.4)
Fiction and Documentary : Crossing the Boundary
Chair: Peter Wagstaff

Jean-François Baillon, ‘ “Undefended Frontiers” : Derridean “Hospitality” and Interstitial Chronotopes of Democracy in Powell & Pressburger’s Wartime Feature Films’

Charles Drazin, ‘Crossings and Connections : The Cinema of Alberto Cavalcanti’

Christophe Jean-Luc Gelly,
From Making Of to ‘Generic Oddity’: The Case of Lost in La Mancha (Keith Fulton and Louis Pepe, 2002)

B. (8W 2.6)
Political Frontiers and the Blacklist
Chair: Alain Cohen

Brian Neve,

Claire Dutriaux, ‘Negotiating Boundaries and Transgression in All the King’s Men and A Face in the Crowd

Yves Carlet, ‘Toeing/Crossing the Line : Elia Kazan’s Man on a Tightrope

C. (8W 2.15)
Re-imagining the Western
Chair: Penny Starfield

Clémentine Tholas-Disset,
On Board for a Singular Journey with Land Rushers: How Tumbleweeds (1925, William S. Hart Co.) Reinvents the Westward Expedition’

Zeenat Saleh,
On the Edge of Outside: John Schlesinger’s Midnight Cowboy, ‘a cinema without walls’’

Miriam Strube’
My Heroes Have Always Killed Cowboys’. Cinematic Subversion, Ethnic Identity, and the Rewriting of American History’

15.00 -15.30 TEA

15.30 – 17.15 SESSION 7

A. (5W 2.4)
New Shades of Noir
Chair: Anne-Marie Paquet-Deyris

João De Mancelos,
Detectives with pimples: How Teen Noir is Crossing the Frontiers of the Traditional Noir Movies’

Julie Assouly, ‘The Ambivalent Figure of the Barber in the Coen Brothers’ The Man Who Wasn’t There (2001) : Reinterpreting an American Icon’

Nicole Cloarec, ‘Metaleptic Vertigo : Temporal and Generic Crossovers in The Singing Detective

B. (8W 2.6)
Frontières technologiques
Chair: Isabelle Singer

Karleen Groupierre,
Le cross-média repousse-t'il les frontières du cinéma ?’

Pierre Floquet, ‘Double Crossing Boundaries. Could the Red Queen be Fictitious within Fiction?’

Ariane Gaudeaux, ‘The Vanishing Frontiers between Real and Virtual Worlds in eXistenZ

Jacline Moriceau,
Trangresser-Relier ou le cinéma de Teshigahara (1927-2001)
C. (8W 2.15)
Frontières atlantiques, frontières génériques
Chair: Isabelle Schmitt-Pitiot

Chloe Delaporte, ‘Frontière atlantique, frontière générique : la cas des réalisateurs européens à Hollywood’

Julien Péquignot,
Martin Scorsese et la Nouvelle Vague’

Yann Roblou
Politique de l'imaginaire: Dogville (2004) de Lars Von Trier’

Amanda Studniarek,
Lost Highway, la surface crevée de David Lynch.

17.30 – 18.30 RECEPTION (offered by the Department of European Studies and Modern Languages/POLIS)
18.30 – 19.30 (5W 2.4) 
09.00 – 11.00 (5W 2.4)
11.00 – 11.15 COFFEE
11.15 – 13.15 SESSION 8

A. (5W 2.4)
Migrating Narratives
Chair: Wendy Everett

Maria del Mar Azcona,
A View from the Bridge: Border narratives in Alejandro González Iñárritu’s Biutiful

Yun-Hua Chen,
Mosaic Space and Border Crossing’

Celestino Deleyto & Gemma López,
Catalan Beauty and the Transnational Beast: Barcelona on the Screen’

Maria Carmen Indurain Eraso,
‘‘Frozen Rivers’: Women’s Role in Recent US Border Films’

B. (8W 2.6)
Multiple Identities: Genre and Gender Crossings

Isabelle Schmitt-Pitiot,
Meeting Apart: Woody Allen’s Another Woman

Ana Moya,
Women, Borderlands,
Desire: Identity in Woody
Allen’s Vicky Cristina

Beatriz Oria,
Are Threesomes the New Sexual Frontier?’: Pushing the Boundaries of Sexual Decorum in Sex and the City

Elena von Kassell
David Lean: Crossing Borders with Summer Madness in 1955’

C. (8W 2.15)
Rêve et imagination: les frontières psychologiques
Chair: Robert Murphy

Amélie Ravaut,
Histoires de familles. Histoires de désirs : quand l’identité vacille’

Caroline Hermosilla, La mise en scène des expressions sociales à travers les frontières de l’utopie’

Julien Achemchame,
Territoires cinématographiques protéiformes selon David Lynch, ou l’art sans frontières’

13.15 – 13.30 (5W 2.4)

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