In the previous post, I wrote about presentations at the Society for Cinema and Media Studies conference from C3 staff and consulting researchers. Now, for a few other presentations that caught my eye from this conference, which will be March 6-9 in Philadelphia.
From 2 p.m. until 3:45 p.m. on Thursday, Mary Jeanne Wilson from the University of Southern California is making a presentation entitled "'Just the Good Parts': Fan Manipulation of the Soap Opera Narrative Structure through Elimination and Compilation of Storylines," as part of the panel "Storytelling: Narrative in Film and Television." Wilson is a contributor to the forthcoming collection on the current state and future of soap operas that I am co-editing.
Competing with Kevin Sandler's presentation mentioned in the previous post, Bob Rehak of Swarthmore College is presenting on a panel called "The Business of Science Fiction Television" from 4 p.m. until 5:45 p.m. on Thursday evening, with a presentation entitled "Strange New Worlds: The Incorporated Narratives of Science Fiction Transmedia." Bob and I are both slated to participate in a workshop for Console-ing Passions this year.
On Friday, I was interested in a panel called "High Anxiety: Television Networking in a Post-Network Era," from 8 a.m. until 9:45 a.m., which includes Amanda Lotz from the University of Michigan's presentation "Television's Industrial Practices in Crisis: Industry Lore and the Post-Network Era," as well as presentations from Northwestern University's Max Dawson, The University of California-Irvine's Victoria Johnson, and The University of Minnesota's Laurie Ouellette, all of whom I have had the pleasure of meeting at prior conferences.
From 10 a.m. until 11:45 a.m. on Friday, MIT's David Thorburn will be participating in a panel entitled "Aesthetics, Quality, Value and Judgment in Television Studies," making a presentation entitled "Aesthetic Interpretation: Return of the Repressed," alongside Roberta Perason from the University of Nottingham, Chrstine Geraghty of the University of Glasgow and John Caldwell of UCLA (panel chaired by Jonathan Nichols-Pethick of Depauw University).
From 1:15 p.m. until 3 p.m. on Friday, two members of the workshop I have been invited to participate in at the Console-ing Passions conference in April will be taking part in a panel called "Not your Average Couch Potato: Television Fandom." Suzanne Scott from the University of Southern California will make a presentation entitled "Authorized Resistance: Is Battlestar Galactica Fan Production Frakked?" Meanwhile, Julie Levin Russo from Brown University will make a presentation entitled "The Shape of Things to come: Online Promotions, Fan Videos, and Other Queer Technologies in the Progeny of Battlestar Galactica.'"
Finally, from 5:15 p.m. until 7 p.m. on Friday, Elana Levine from the University of Wisconsin, Milwaukee, will be chairing and participating in a panel called "Media Canada: Global, National, Local," making a presentation called "National Television, Global Market: Canada's Degrassi: The Next Generation." Levine is a contributor to the soap opera essay collection I am co-editing as well.
On Saturday, from 10 a.m. until 11:45 a.m., Columbia College Chicago's Abigail Derecho will be making a presentation entitled "License to Remix: Structuring a Creativity-Copyright Balance by Reviving Fair Pay Proposals for Fan Productions, Sampling, and Other Digital Remix Appropriations," as part of the "Copyright" panel. Derecho is my co-editor on the soaps project. Running in competition with Abigail's panel is a workshop chaired by Louise Spence from Kadir Has University in Istanbul and Vinicius Navarro from the College of Staten Island/Brooklyn College, entitled "Writing for Students: A Workshop on Textbook Publishing." The workshop includes a couple of folks I have crossed paths with in the past, such as Sean Griffin of Southern Methodist University and Jeremy Butler from the University of Alabama, as well as David Bordwell and Kristin Thompson from the University of Wisconsin-Madison. Spence is being interviewed for the soaps book I'm working on.
From noon until 1:45 p.m., running against the "Scholarly Writing in the Digital Age" workshop, Anna Van Someren, one of my colleagues here at the Program in Comparative Media Studies who serves as creative manager for Project: New Media Literacies, will be making a presentation entitled "Moby Dick Remixed: Appropriation as New Media Literacy," as part of a panel called "Cut, Paste, Learn: Educational Affordances of Remix Production."
In the 2 p.m. until 3:45 p.m. time slot on Saturday afternoon, two panels caught my eye. The first is a panel chaired by Philip Sewell from Washington University in St. Louis, who I am familiar with due to his writing on professional wrestling in the past. The panel, entitled "Adjusting the Rabbit Ears: Television Histories," includes a presentation from Sewell entitled "'Lean in Me Hearties': Adventures in U.S. Amateur Television During the Early Experimental Era," as well as a presentation from Allison Perlman from Pennsylvania State University-Erie entitled "Television Up in the Air: The Midwest Program on Airborne Television Instruction and the Significance of Educational Television." Running against this is a panel called "The 'Looks' of Television," which includes a presentation from The University of Oregon's Drew Beard called "'If These Walls Could Talk': Set Decoration and the Creation of 'Soap Opera Realism'."
Finally, from noon until 1:45 p.m. on Sunday, several of my co-presenters from Unboxing Television will be taking part in a panel called "Corporate Authorship: Then and Now." Avi Santo from Old Dominion University will make a presentation called "'Who’s That Little Chatterbox?': Radio Orphan Annie, Child Consumers and Authorial Moral Management," while Southern Methodist University's Derek Kompare makes a presentation entitled "Who Are You?: Following the Evidence of CSI's Corporate Authorship" and Derek Johnson from the University of Wisconsin-Madison presents "Licensing Brand X: Marvel Entertainment, Raven Software, and the Creative Constraints of Intellectual Property Tenancy."
If there are any panels that catch your eye, or you have any feedback, don't hesitate to contact me at email@example.com, as comments are still down at the moment.