tag:blogger.com,1999:blog-46578102043476991352024-03-05T05:38:10.754-08:00Salford University School of Arts and Media PGR HubMorrissey once sang "There's more to life than books, you know / but not much more..." ---
In an attempt to investigate this provocative hypothesis, I give you the unofficial blog for PGRs in the School of Arts and Media, University of Salford, and beyond.
News / updates / images etc... please get in touch!BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.comBlogger521125tag:blogger.com,1999:blog-4657810204347699135.post-30992467657245946132015-11-15T06:22:00.001-08:002015-11-15T06:22:26.569-08:00The Last PostDear Colleagues,<br />
<br />
Your Blog editor is moving to pastures new and it therefore seems timely to close down this blog.<br />
<br />
I'll leave it up online as an archive, and note that we have had 56,156 pages views in total, clocking in at 1-3,000 month across its lifetime --- and hits from around the world! <br />
<br />
All news about PGR related and research events in the Great Manchester area is now via the SAMPGR Facebook page, so please do join and keep an eye on the many exciting things that continue to happen.<br />
<br />
best -<br />
<br />
BH<br />
<br />
<br />
<span class="DY0BBXD-q-n"></span>BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-56162642001896262112015-11-03T11:26:00.001-08:002015-11-03T11:26:46.129-08:00NWCDTP PhD scholarships in Media/Communication<!--[if gte mso 9]><xml>
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<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">We warmly invite expressions of
interest further to applications for PhD studentships (full and part-time)
from the Arts and Humanities Research Council’s North West Consortium Doctoral
Training Partnership, in the Media and Communications and Cultural Studies
Pathways.</span></span></div>
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<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">The
Studentship covers all PhD fees, provides an annual stipend for the duration of
your study (£14,057 for the coming academic year for full-time students),
and access to addition funding for field research and further
training.<br />
<br />
Deadline for Expression of Interest: Friday 4th December 2015<br />
<br />
The University of Salford is a member of the North West Consortium Doctoral
Training Partnership (NWC DTP), which includes non-HE institutions such as the
BBC, Home/Cornerhouse, Tate Liverpool, Opera North, FutureEverything, and FACT
(Liverpool). In 2014, the Partnership was awarded £14 million of funding
from the Arts and Humanities Research Council (AHRC) to deliver postgraduate
supervision, training and skills development. </span></span></div>
<span style="color: white;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="http://www.findaphd.com/bespoke-pages/custom-pages/bpid360/img20141113588.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.findaphd.com/bespoke-pages/custom-pages/bpid360/img20141113588.jpg" height="140" width="640" /></a></div>
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<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">The School of Arts and Media at the University of
Salford has an international reputation for cutting edge research, both
theoretical and practice-based, and is especially strong in the area of Media
and Communications, as demonstrated by its performance in the 2008 RAE and 2014
REF in the Communication, Cultural and Media Studies, Library and Information
Management area of assessment (ranked 21<sup>st</sup> nationally,
according to the power ranking).</span></span></div>
<span style="color: white;">
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<br /></div>
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<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">Our media research environment is based at the
heart of MediaCityUK, allowing for a unique access and engagement with media
institutions like the BBC and ITV, reinforced by a rich programme of research
events with both an industry and academic focus. NWC PhD students will be
invited to work with our non-HE partners, so as to engage in research,
placements and internships. We particularly welcome applications that seek
to engage with our non-HEI partners in research / industry / showcase /
training capacities (see </span><a href="https://uos-portal.salford.ac.uk/owa/redir.aspx?C=bVZ3k0zoekK4hMb2BcjwoowrX97-6dIIt6Kdp7S8QUeNSBNh5xAbpNdWJIKsbUX-Z8hcGF3qC_0.&URL=http%3a%2f%2fwww.nwcdtp.ac.uk%2f" target="_blank"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">http://www.nwcdtp.ac.uk</span></a><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">)</span></span></div>
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<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">Media research within the School of Arts and Media
is diverse, interdisciplinary and collaborative and has seen numerous
internationally recognised outputs from academics as well as successful PhD
completions and publication outputs.</span></span></div>
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<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">Areas of expertise of our academic staff include:
Film practice; Film history and theory; Media policy; Journalism studies;
Celebrity studies; Media theory; Digital culture; Social media; Radical and
alternative media; Internet regulation and governance; Television studies;
Media politics; Transnational media; Urban cultures; Creative industries;
noise; Celebrity studies; Cultural studies; Popular culture; Popular music
and media; media and cultural theory. </span></span></div>
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<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">Notable Salford media academics include: Prof
Seamus Simpson, Professor Garry Crawford, Dr Michael Goddard, Dr Andy Willis,
Dr Kirsty Fairclough-Isaacs, Dr Lloyd Peters, Dr Carole O’Reilly, Dr Sharon
Coen, Dr Steve Ward, Dr Anthony Smith and Dr Richard Hewett.</span></span></div>
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<br />
How to Apply:</span></span></div>
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<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">Prospective applicants who are interested in
applying and eligible for funding will need to submit a draft PhD proposal by
Friday the 4th December, 2014. Please send this directly to the
Salford NWC media pathway rep Dr Michael Goddard (</span><a href="https://uos-portal.salford.ac.uk/owa/redir.aspx?C=bVZ3k0zoekK4hMb2BcjwoowrX97-6dIIt6Kdp7S8QUeNSBNh5xAbpNdWJIKsbUX-Z8hcGF3qC_0.&URL=mailto%3am.n.goddard%40salford.ac.uk" target="_blank"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">m.n.goddard@salford.ac.uk</span></a><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">) and
to</span><a href="https://uos-portal.salford.ac.uk/owa/redir.aspx?C=bVZ3k0zoekK4hMb2BcjwoowrX97-6dIIt6Kdp7S8QUeNSBNh5xAbpNdWJIKsbUX-Z8hcGF3qC_0.&URL=mailto%3aPGR-SupportSAM%40salford.ac.uk" target="_blank"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">PGR-SupportSAM@salford.ac.uk</span></a><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;"></span></span></div>
<span style="color: white;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">We would expect you to have a first degree, and a
completed or current MA, or equivalent professional experience.</span></span></div>
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<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">Following that it will be necessary to complete a
formal application for PhD study at the University of Salford by the 22<sup>nd</sup> of
January, 2016, which is available here:</span><a href="https://uos-portal.salford.ac.uk/owa/redir.aspx?C=bVZ3k0zoekK4hMb2BcjwoowrX97-6dIIt6Kdp7S8QUeNSBNh5xAbpNdWJIKsbUX-Z8hcGF3qC_0.&URL=http%3a%2f%2fwww.salford.ac.uk%2fstudy%2fpostgraduate%2fapplying%2fapplying-for-research" target="_blank"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">http://www.salford.ac.uk/study/postgraduate/applying/applying-for-research</span></a><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;"> and
ultimately an application to the Northwest Consortium before 5PM, on the 12<sup>th</sup> of
February.</span></span></div>
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</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
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<span style="color: white;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">For further information, please see our AHRC
funding page:<a href="https://uos-portal.salford.ac.uk/owa/redir.aspx?C=bVZ3k0zoekK4hMb2BcjwoowrX97-6dIIt6Kdp7S8QUeNSBNh5xAbpNdWJIKsbUX-Z8hcGF3qC_0.&URL=http%3a%2f%2fwww.salford.ac.uk%2fstudy%2fpostgraduate%2ffees-and-funding%2fresearch-degree-fees-and-funding" target="_blank">http://www.salford.ac.uk/study/postgraduate/fees-and-funding/research-degree-fees-and-funding</a></span></span></div>
<span style="color: white;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">and further information is available, including
eligibility criteria and scholarship stipend rates, at NWC DTP site: </span><a href="https://uos-portal.salford.ac.uk/owa/redir.aspx?C=bVZ3k0zoekK4hMb2BcjwoowrX97-6dIIt6Kdp7S8QUeNSBNh5xAbpNdWJIKsbUX-Z8hcGF3qC_0.&URL=http%3a%2f%2fwww.nwcdtp.ac.uk%2f" target="_blank"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">http://www.nwcdtp.ac.uk/</span></a><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;"></span></span></div>
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<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;"> <br />
If you have further queries about the research specialisms in media or
cultural studies in the School of Arts and Media, and the potentials
for working with our non-HE partners, please contact the media pathway leader
Dr Michael Goddard: </span><a href="https://uos-portal.salford.ac.uk/owa/redir.aspx?C=bVZ3k0zoekK4hMb2BcjwoowrX97-6dIIt6Kdp7S8QUeNSBNh5xAbpNdWJIKsbUX-Z8hcGF3qC_0.&URL=mailto%3am.n.goddard%40salford.ac.uk" target="_blank"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">m.n.goddard@salford.ac.uk</span></a><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;"></span></span></div>
<span style="color: white;">
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<br /></div>
<span style="color: white;">
</span><div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="color: white;"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">If you have any questions regarding the formal
application procedure please contact </span><a href="https://uos-portal.salford.ac.uk/owa/redir.aspx?C=bVZ3k0zoekK4hMb2BcjwoowrX97-6dIIt6Kdp7S8QUeNSBNh5xAbpNdWJIKsbUX-Z8hcGF3qC_0.&URL=mailto%3aPGR-SupportSAM%40salford.ac.uk" target="_blank"><span style="font-family: "Tahoma","sans-serif"; font-size: 10pt;">PGR-SupportSAM@salford.ac.uk</span></a></span><span style="color: black; font-family: "Tahoma","sans-serif"; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-themecolor: text1;"></span></div>
BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-1711135772862458012015-10-19T11:33:00.003-07:002015-10-19T11:36:31.479-07:00Full Graduate Programme for 2015/2016<div align="center" class="MsoBodyText" style="background: white; text-align: center;">
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<span style="font-size: 12pt; line-height: 107%;">Our Facebook
group: SAMPGR </span><span style="font-size: 12.0pt; line-height: 107%;"><v:shape id="_x0000_i1026" style="height: 27pt; width: 27pt;" type="#_x0000_t75">
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</v:imagedata></v:shape><o:p></o:p></span></div>
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<b><span style="background-color: black; color: white; font-family: Calibri, sans-serif;">Locations:
<o:p></o:p></span></b></div>
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<b><span style="background-color: black; color: white; font-family: Calibri, sans-serif;">MCUK
Room 2.19 or 2.20, University of Salford
campus at MediaCityUK. <o:p></o:p></span></b></div>
<div class="MsoBodyText" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">
<b><span style="background-color: black; color: white; font-family: Calibri, sans-serif;">http://www.salford.ac.uk/__data/assets/pdf_file/0011/42500/MediaCity-map.pdf<o:p></o:p></span></b></div>
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<b><span style="background-color: black; color: white; font-family: Calibri, sans-serif;">Times:
<o:p></o:p></span></b></div>
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<b><span style="background-color: black; color: white; font-size: 12pt; line-height: 107%;">Internal speakers, 3.30-4.25pm; External speakers, 4.30-5.45pm.<o:p></o:p></span></b></div>
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<span style="background-color: black;"><span style="color: white;"><span dir="RTL"></span><span dir="RTL"></span><b><span dir="RTL" lang="HE"><span dir="RTL"></span><span dir="RTL"></span>₪</span></b></span></span><b style="background-color: white;"><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Calibri, sans-serif;">26<sup>th</sup>
of October, 12 to 2PM, PGR room, Adelphi Building<o:p></o:p></span></div>
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<u><span lang="EN-US" style="font-family: Calibri, sans-serif;">PGR
Welcome Event<o:p></o:p></span></u></div>
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<span lang="EN-US" style="font-family: Calibri, sans-serif;">Prior to
the start of the Graduate Programme we are holding a special welcome event to
welcome all new PGRs who registered this year. This event will be held in the postgraduate
room in Adelphi building from 12pm. Lunch is provided.<o:p></o:p></span></div>
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<span dir="RTL"></span><span dir="RTL"></span><b><span dir="RTL" lang="HE"><span dir="RTL"></span><span dir="RTL"></span>₪</span></b><b><span style="font-family: Calibri, sans-serif;"><o:p></o:p></span></b></div>
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<span style="font-size: 12.0pt; line-height: 107%;">28th of October, Room 2.19 MediaCity<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Internal Speaker: Dr Ben Halligan (Performance/CCM)<o:p></o:p></span></div>
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<u><span style="font-size: 12.0pt; line-height: 107%;">Progression Points, Regulations, Submissions and Vivas<o:p></o:p></span></u></div>
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<span style="font-size: 12.0pt; line-height: 107%;">This session with review paperwork
required by all PGRs across the course of the year, offer tips for successful
completion and registration, and offer guidance on the “before and after” of
the Viva experience.<o:p></o:p></span></div>
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<span style="background-color: black; color: white; font-size: 12pt; line-height: 107%;">External Speaker: Dr Brad Evans (University of Bristol)<o:p></o:p></span></div>
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<u><span style="background-color: black; color: white; font-size: 12pt; line-height: 107%;">Dead in the Waters<o:p></o:p></span></u></div>
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<span style="background-color: black; color: white; font-size: 12pt; line-height: 107%;">Continental Europe is
currently facing the most challenging refugee crises since the Second World
War. As many fleeing the conflict raging in Syria and elsewhere, set out onto
the treacherous Mediterranean seas, images of dead bodies- including children-
now appear in widespread circulation. While such images have, on occasions,
notably shifted the political debates, evidencing in the process the power of
social media, they are nevertheless still framed and mediated in order to
regulate their effects. Indeed, as the images provide an intimate portrait of
the encounter with contemporary violence, speaking directly to the questions of
human sacrifice, the status of the victim, notions of militaristic valor, onto
the aesthetic mediation of suffering – including political expediency, cultural
and theological resonance, and beautification, so they point to the complex
relationship between sacrificial violence, which is central to its continuum.</span><span style="font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Brad Evans is a Senior Lecturer in International Relations.
He is also founder/director of the Histories of Violence project. His
co-directed movie <i>Ten Years of Terror</i>
received international acclaim, screening in the Solomon K. Guggenheim museum,
New York during September 2011. Brad has recently been a visiting fellow at the
Committee on Global Thought at Columbia University, New York (2013-14). He
regularly writes for prominent news sources such as <i>The Guardian, Independent, LA Review of Books, World Financial Review,
Al Jazeera, TruthOut, Counter-Punch</i> and <i>Social
Europe</i>. His projects have been featured in various outlets including the <i>New York Times, CBS news, El Pais</i>, and <i>Art Forum</i> to name a few. Brad sits on
the editorial boards for a number of reputable international academic journals
in the fields of political philosophy. He also serves as a consultant on
violence to a number of cultural organisations.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">11<sup>th</sup> of November, Room 2.19, MediaCity<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Internal Speaker: Professor Seamus Simpson <o:p></o:p></span></div>
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<u><span style="font-size: 12.0pt; line-height: 107%;">Making Your Way in Academia<o:p></o:p></span></u></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Academic careers have always been
challenging to develop. Securing a PhD is often only the start of a long
process presenting many exciting opportunities, but also challenges. Given the
level of competition, many young scholars are now plotting a career strategy
whilst they are in the throes of a PhD. In this session Michael Goddard and
Seamus Simpson give a perspective on what to do, and what to avoid, in the
development of an academic career. In this session, intended to be informal and
interactive, we will focus on:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">• Deciding
whether or not an academic career is for you<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">• Development
of a publication portfolio<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">• Participation
in professional academic communities of interest<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">• The
relationship between teaching and research<o:p></o:p></span></div>
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<br /></div>
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<span style="background-color: black; color: white; font-size: 12pt; line-height: 107%;">External Speaker: Professor Felicity Colman, (MMU)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="background-color: black; color: white; font-size: 12pt; line-height: 107%;">Punk Prayers: The Feminist Manifesto in Algorithmic Times<o:p></o:p></span></u></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="background: white; color: white; font-size: 12.0pt; line-height: 107%; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman";"><span style="background-color: black;"><span style="color: white;">Manifestos of the
twentieth century modernists were used as signals of a time, a place and an
attitude. They are historically event situated. This talk will address the
“punk prayers” of the 21<sup>st</sup> century feminist manifesto as manifesto
actions – taking the examples of Pussy Riot and #FEMEN – to critically question
can and how have forms of manifesto actions signal and enable epistemic change?
Can a pronouncement of an event within algorithmic environment capture its
dynamism in the positioning of a radical sentiment or attitude, or call for
action? What forms of inscription have digital manifestos created? For the
feminist, the activation of time in the manifesto offers a break from the
machinic subjectivity of patriarchal systems, and this regendered temporal mode
can manifest the motive power required to move communities into different
collective feminisms. Digital art manifestos reflect on a range of topics –
from sexuality, to gaming cultures, to the manifesto form itself. As a word,
object, and performative action (occupation, demonstration, social media
movement) the manifesto presents a material record of an eventual aesthetic and
politic of the philosophy of Feminicity, as a new twenty-first century
movement.</span></span><o:p></o:p></span></div>
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<span style="background-color: black;"><span style="color: white;"><br /></span></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;"><span style="background-color: black;"><span style="color: white;">Felicity Colman is Professor of Film and Media Arts at the
Manchester School of Art, Manchester Metropolitan University. She is the author
of <i>Film Theory: Creating a Cinematic
Grammar</i> (Columbia University Press, 2014), <i>Deleuze and Cinema</i> (Berg, 2011), and editor of <i>Film, Theory and Philosophy: The Key Thinkers</i> (Acumen, 2009), and
co-editor of <i>Global Arts & Local
Knowledge</i> (Lexington, 2015), and <i>Sensorium:
Aesthetics, Art, Life</i> (Cambridge Scholars, 2007). Felicity is Vice-Chair of
the Horizon 2020 COST [European Cooperation in Science and Technology] Network
Grant Action IS1307 on <i>New Materialism:
Networking European Scholarship on 'How Matter Comes to Matter</i> [2014-2018].
Her two current book projects are: “Digital Feminicity” and “Materialist Film”.</span></span><o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">16<sup>th</sup> of November, MCUK<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Challenging Media Landscapes Conference/Salford International
Media Festival<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Cultures and Industries of Creativity in Contemporary Media
Landscapes<o:p></o:p></span></u></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">The terms ‘creative’ and ‘cultural’
industries are now part of common parlance and discourse in academia, the media
and related industries, and urban and transnational policy circles. Academic
analysis of questions of creativity tends to centre on the media and cultural
industries as the key sites for its incubation, production, marketing and
exploitation. For academics, to engage with creativity in media and cultural
contexts raises critical questions of autonomy and control, creative labour and
its exploitation, the development and functioning of urban and virtual
environments, as well as artistry and expression within constantly evolving
conditions where the formerly clear boundaries between related industries are
increasingly blurry. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">This one day conference will be
followed by an evening wine reception<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Keynote Speakers<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Professor David Hesmondhalgh<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Professor Angela McRobbie<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">27<sup>th</sup> of November<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Special event with Brazilian Media Theorist Professor Erick
Felinto (UERJ, Rio de Janeiro) in cooperation with MMU<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Venue: 70 Oxford Rd (former Cornerhouse)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 4; text-align: justify;">
<u><span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Vilém Flusser’s “Philosophical Fiction”: Science,
Creativity and the Encounter with Radical Otherness.<o:p></o:p></span></u></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 18.0pt; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 36.0pt; margin-right: 0cm; margin-top: 0cm; mso-outline-level: 4; text-align: justify;">
<span style="font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Czech philosopher and media theorist Vilém Flusser is probably one of
the most overlooked prophets of the “digital revolution”, having achieved only
moderate international fame because of his popular 1984 book on
photography, <i>Towards a Philosophy of Photography</i>. However, along
with the rise of so-called German media theory, Flusser’s work has been
recently garnering a great deal of attention. The author, who lived in Brazil
for over 30 years and left a prolific work composed in 4 different languages
(Portuguese, German, English and French), is now a significant reference for
several monographs in fields as diverse as art studies, media theory, ecology
and cultural studies. The aim of this talk is to introduce one of Flusser’s
most ingenuous theoretical constructs, the notion of “philosophical fiction”,
developed since the 1960s and central to many of his most experimental
writings, such as <i>Vampyroteuthis Infernalis</i> (1989) and <i>The
History of the Devil </i>(1965). Closely related with much later
philosophical musings – for instance, Nick Land’s “hyperstition” or Peter
Szendy’s “philosophiction” –, Flusser’s philosophical fiction proposes to fray
the borders between fiction and reality in order to achieve novel and creative
ways to perceive and describe reality. By means of his philosophical fiction,
Flusser elaborates an intriguing form of “creative epistemology” that proves to
be immensely useful for artistic explorations and cultural theory – especially
under the conditions of life in the digital age. After a detailed presentation
of Flusser’s notion and its resonances with contemporary theoretical practices,
we will focus on the fruitfulness of philosophical fiction for a
perspectivization of thinking and the creation of new models of subjectivity.<o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 83.25pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="tab-stops: 83.25pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Professor Erick Felinto has been a
Professor in the Department of Media Studies at the State University of Rio de
Janeiro (UERJ) since 1999. He is the author of five books (in Portuguese) on
film studies, literary theory and cyberculture. He was President of the
Brazilian Association of Graduate Programs in Communications (Compos) from 2007
to 2009. He holds a PhD in Comparative Literature from UERJ/UCLA and is
currently a researcher for CNPq (the Brazilian National Council for Research
and Development). He also worked for the Flusser Archive on the production of
the DVD “We Shall Survive in the Memory of Others” (translation and
transcription of Portuguese subtitles). His last book, <i>Avatar: the Future of Cinema and the Ecology of Digital Images</i>
(with Ivana Bentes) was published in 2009. He is currently the Scientific
Director of the Brazilian Association of Researchers in Cyberculture (Abciber). <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">9<sup>th</sup> of December, MediaCity, Room 2.19<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Internal Speaker: Dr Pal Vik, Sociology/Politics<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Recruiting interviewees - practical, theoretical and
methodological considerations<o:p></o:p></span></u></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">The qualitative research interview is
one of the most common methods in academic research and maybe especially for
postgraduate research. It is feasible to conduct on a small budget and can
generate rich insights into various phenomena. This session will cover both
practical and academic aspects of recruiting research interviewees, including
who to interview, why and how many, where to find and how to recruit
interviewees, and the link between research framework and recruiting
interviewees.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-GB; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br clear="all" style="mso-special-character: line-break; page-break-before: always;" />
</span>
<br />
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">External Speaker: Professor Garin Dowd<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Dislocations: framing and agency between cinema and
architecture<o:p></o:p></span></u></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-size: 12pt; line-height: 107%;"><br />
This paper will explore the framing qualities of architecture in conjunction
with the framing operations of cinema. In doing so it will refer to
philosophical inquiry into architecture and to architectural philosophy as well
as to attempts to think film and the architectural together. In what sense or
senses can architecture be considered ‘primary’ in relation to cinema? This
first question will be explored by considering the inscription or encompassment
of the architectural (which term here encompasses generic buildings,
specifically located, named buildings, architectural styles, the built
environment as well as set decor and set construction) as a foundational gesture
in cinema. Even if film does not necessarily figure the built environment, even
if it need not be dependent on the presence or generative force of buildings,
film will always participate in its own version of architecture’s modelling
into a form of territory.</span><span style="font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 132.0pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;"> <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Professor Garin Dowd is Professor of Film, Literature and
Media at the University of West London, UK. He is the author of <i>Abstract Machines: Samuel Beckett and
Philosophy after Deleuze and Guattari</i> (Rodopi 2007), co-author (with Fergus
Daly) of <i>Leos Carax</i> (Manchester
University Press, 2003), co-editor (with Lesley Stevenson and Jeremy Strong) of
<i>Genre Matters: Essays in Theory and
Criticism</i> (Intellect Books, 2006). His most recent publications include a
co-edited volume (with Natalia Rulyova) entitled <i>Genre Trajectories: Identifying, Mapping, Projecting</i> (Palgrave
Macmillan 2015) and book chapters in Ardoin, Gontarksi and Mattison (eds) <i>Understanding Deleuze, Understanding
Modernism</i> (Bloomsbury 2014), Buchanan, Matts and Tynan (eds), <i>Deleuze and the Schizoanalysis of Literature</i>
(Bloomsbury 2015) and Wilmer and Zukauskaite (eds), <i>Deleuze
and Beckett</i> (Palgrave Macmillan 2015). His work has been published in the
journals Angelaki, Australian Journal of French Studies, Deleuze Studies, Forum
for Modern Language Studies, The Journal of Beckett Studies, New Review of Film
and Television Studies and Samuel Beckett Today/Aujourd’hui.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<b><span style="font-size: 12.0pt; line-height: 107%;">This will be followed
by the SAM PGR Festive End of Year Party in MediaCity from 6PM<o:p></o:p></span></b></div>
<div class="MsoNormal" style="tab-stops: 170.25pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="tab-stops: 170.25pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">25-29 January <o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 170.25pt; text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Graduate Week</span></u><span style="font-size: 12.0pt; line-height: 107%;">, MCUK room 2.36 <o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 170.25pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">This is a week of training activities
and research presentations covering practice led research, key research
methods, progression points from enrolment to Vivas, making the best use of
supervision, PhD by published works, building academic and publication profiles
and post-study employability, among other topics.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">10<sup>th</sup> of February, MediaCity room 2.20<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Internal Speaker: Dr Chris Murphy (Politics)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Using Freedom of Information for academic research<o:p></o:p></span></u></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-size: 12pt; line-height: 107%;">Freedom of Information (FOI) legislation came into force in the UK
on 1 January 2005. While it has been used extensively by both the general
public and the press, its use by the academy has been far less pronounced. The
purpose of this session is to outline possible uses of FOI as part of a
successful research strategy, along with some practical do's and dont's about
making an FOI request.</span><span style="font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
<div class="MsoBodyText" style="text-align: justify;">
<br /></div>
<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US" style="font-family: Calibri, sans-serif;">External
Speaker: Dr Athina Karatzogianni (University of Leicester)<o:p></o:p></span></div>
<div class="MsoBodyText" style="text-align: justify;">
<u><span lang="EN-US" style="font-family: Calibri, sans-serif;">Hack or
Be Hacked: The Quasi-Totalitarianism of Global Trusted Networks<o:p></o:p></span></u></div>
<div class="MsoBodyText" style="margin-left: 36.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Calibri, sans-serif;">This talk
focuses on digital surveillance ideology by examining specific empirical
examples drawn from media reports of the Snowden affair, in order to nuance the
politics, ethics, values and affects mobilized by governments and corporate
elites to justify the collect-it-all practices by a ménage à trois of “trusted”
global networks. It charts this political space as a sphere of action emerging
against the backdrop of what we call ‘quasi-totalitarian’ mechanisms, which are
fostered by alignment, collusion and imbrication of the three trusted
authoritative networks. This approach accounts for a particular vexing problem
in the articulation of digital politics. That is, the process of political
disenfranchisement by corporations looking to profit, governments looking to
regulate information flows, and coopted groups in civil society looking to
appropriate the legitimate concerns of users for their own political and
financial subsistence. The distinct features of this quasi-totalitarianism
include: <o:p></o:p></span></div>
<div class="MsoBodyText" style="margin-left: 36.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Calibri, sans-serif;">a. the
monopoly of digital planning on surveillance resting on back-channel and secret
communication between government, tech corporate elites and, sometimes, NGOs; <o:p></o:p></span></div>
<div class="MsoBodyText" style="margin-left: 36.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Calibri, sans-serif;">b. the
role of civil society NGOs as mechanisms for circumventing democratic processes
<o:p></o:p></span></div>
<div class="MsoBodyText" style="margin-left: 36.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Calibri, sans-serif;">c.
enterprise association politics that ensures that the dual goal of state
(security) and capital (profit) continues unabated and unaccounted; <o:p></o:p></span></div>
<div class="MsoBodyText" style="margin-left: 36.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Calibri, sans-serif;">d. the
unprecedented scope in the form of total structural data acquisition by western
intelligence matrixes; <o:p></o:p></span></div>
<div class="MsoBodyText" style="margin-left: 36.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Calibri, sans-serif;">e. the
persecution and prosecution of journalists, whistle-blowers and transparency
actors outside the scope of civil society groups and <o:p></o:p></span></div>
<div class="MsoBodyText" style="margin-left: 36.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: Calibri, sans-serif;">f. the
significant if insufficient contestation by members of the public concerning
the infringement on civil liberties. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Dr Athina Karatzogianni’s research has focused on the
intersections between new media theory, resistance networks and global
politics, for the study of cyberconflict and the use of digital technologies by
social movements, protest, and insurgency groups. Her research revolves around
different aspects of cyberconflict theory, which I developed and applied to
non-state actors and their use of Information Communication Technologies
(ICTs). She is passionate about researching what is a period of intense
encounters of the cyber with the global political arena: the proliferation of
sociopolitical activist networks, as well as ethnoreligious, insurgent and
terrorist networks; social-media enabled political protests and mobilizations
leading to social or political change; increased resistance to surveillance and
censorship of global communications, including leaks from government employees
and new media organizations, uncovering significant tensions in the use of ICTs
both by states and corporations<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">24<sup>th</sup> of February, room 2.19<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Internal Speaker: Professor Steve Davismoon <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Traversing the Creative Musical Search Space Constellations<o:p></o:p></span></u></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">This presentation will discuss the
enormous creative search space that opens up to composers through digital
technologies; it will outline methodologies for how computing techniques can
assist practice-led research compositional work in terms of music modelling,
interaction and production; bringing new design dimensions to the role of the
composer; at times bringing into question traditional notions of
authorship. It will discuss the
dialectic relationship that should exist when working creatively with digital
technologies - celebrating the enormous advantages as well as recognising the
profound limitations that such technologies bring to the creative act.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">External Speaker: Dr Paolo Gerbaudo (King’s College, London)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">The Mask and the Flag: The Rise of Anarchopopulism in Gobal
Protest<o:p></o:p></span></u></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">From Tahrir Square, to the indignados
of Southern Europe, Occupy Wall Street, the Gezi protest in Turkey and Brazil's
June Movement, contemporary protest bears the mark of anarcho-populism, a
hybrid political culture in which the Guy Fawkes mask of anarchism is overlaid
by the national flag of democratic populism. Emboldened by popular calls to
mobilise citizens against economic and political oligarchies, these movements
have broadened participatory practices previously confined to neo-anarchist
countercultures. They have built assemblies, protest camps, and used social
media as platforms for mass mobilisation, often winning widespread support.
This talk argues that the populist turn has allowed protestors to break out of
the activist ghetto and to tackle the fragmentation of identity politics.
Paradoxically, an obsession with flat and acephalous organisational models has
made them incapable of integrating those they first mobilised in mass protest,
ultimately condemning them to defeat by state repression and internal
exhaustion. Despite its evanescence, this protest wave has propagated an
inclusive spirit of popular solidarity and led to the foundation of new
initiatives and organisations which will shape politics for years to come.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Dr Paolo Gerbaudo is Lecturer in Digital Culture and Society
at King’s College London. Previously he had been an Associate Lecturer in
Journalism and Communication, at the Media Department at Middlesex University,
and an Adjunct Professor of Sociology at the American University in Cairo
(AUC). Apart from his academic work Paolo has also acted as a journalist
covering social movements, political affairs and environmental issues, and as a
new media artist exhibiting at art festivals and shows. He holds a PhD in Media
and Communications from Goldsmiths College.<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="tab-stops: 128.25pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">16<sup>th</sup> of March, room 2.19<o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 128.25pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Internal Speaker: Professor Robin
Bargar (Director of Salford International Innovation Studio (SIIS))<o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 128.25pt; text-align: justify;">
<u><span style="font-size: 12pt; line-height: 107%;">Computational models as a canvas for cross-media composition<o:p></o:p></span></u></div>
<div class="MsoNormal" style="tab-stops: 128.25pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="tab-stops: 128.25pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">External Speaker: Dr Debra Ramsay
(Univeristy of Exeter)<o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 128.25pt; text-align: justify;">
<u>The Archive
and the War Diary</u><u><span style="font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></u></div>
<div class="MsoNormal" style="margin-left: 36.0pt; tab-stops: 128.25pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">This paper investigates the pressures
and possibilities created by digital change on the preservation practices of
The National Archives (TNA) in Kew as part of the AHRC’s ‘Technologies of
memory and Archival Regimes project’ (ref:AH/L004232/1). It does so by examining TNA’s curatorship of
War Diaries – daily reports kept by every unit in the British Army of their
experiences from World War I through to current conflicts in Iraq and
Afghanistan. The Diaries are analysed to
demonstrate how technologies of media shape the reporting and the memory of
war, with the goal of understanding the changing nature of warfare itself.<o:p></o:p></span></div>
<div class="MsoNormal" style="tab-stops: 128.25pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Dr Debra Ramsay lectures in Film
Studies at the University of Exeter. She
is the author of the monograph <i>American
Media and the Memory of World War II</i> (Routledge, 2015) and has published
articles on the impact of digital technology in various forms on the
relationships between war, history, memory and media, including an article on
the First Person Shooter and the memory of World War II (<i>Cinema Journal, </i> 54:2,
February 2015). Most recent research
includes work on the AHRC funded project, Technologies of Memory and Archival
Regimes, which investigates the impact of digital change on the history and
memory of warfare in the British Army. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">20<sup>th</sup> of April<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Internal Speakers: Dr Annabelle Waller and Dr Lloyd Peters<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Practice led research in Media Industries<o:p></o:p></span></u></div>
<div class="MsoNormal" style="margin-left: 35.45pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;"> This
talk from two Salford academics who successfully passed their PhD by Published
Works recently, will present some of the issues surrounding practice based and
led research in contemporary media industries<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">External Speaker: <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Dr Winston Mano<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Does China’s Increased Media and Soft Power in Africa Matter?<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Winston Mano is a Senior Lecturer and Course Leader for the
Graduate Diploma in Media and Communication Studies at the University of
Wesminster. He studied English and Economic History at the University of
Zimbabwe (1989-1991) before receiving a scholarship to go to Norway where he
studied Media and Communications at the Institute for Media and Communication
at the University of Oslo from 1995-1997. He briefly worked as an editor for
Africa, Film & TV but later decided to teach Communication Media courses at
the University of Zimbabwe from 1997-2000. Winston Manos research mainly
focuses on African Radio, Music, Audiences, Globalisation, Media Democracy and
Development. Since 2004, Mano has helped organise the CAMRI Africa Media
Series: <i>Reporting Zimbabwe: Before and
After 2000</i> (2005); <i>Media and Social
Change in Africa</i> (2006); <i>Media and
Democracy in Africa</i> (2007) and the <i>Media
and Development in Africa</i> (2008). He is currently researching on African
Radio and Modernisation in a Global Context. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; line-height: 107%;">4<sup>th</sup>
of May, MediaCity, room 2.20 <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">Internal Speaker: Dr Richard Hewett<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">Methods for Researching Media Historically<o:p></o:p></span></u></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">External Speaker: Dr Deborah Jermyn (Roehampton)<o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify;">
<u><span style="font-size: 12.0pt; line-height: 107%;">The Wrong Kind of Woman Filmmaker: Nancy Meyers, Romantic
Comedy and Cultural Value<o:p></o:p></span></u></div>
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<span style="font-size: 12.0pt; line-height: 107%;"> Nancy Meyers is the most commercially
successful woman filmmaker of all time (Wiggers, 2010). Yet despite this Meyers
remains marginal in accounts both of contemporary Hollywood cinema, and
feminism and film. Her exclusion seems less odd, however, when one reflects on
her oeuvre. Described as Hollywood’s ‘romcom queen’ (Babb, 2010), Meyers has
been positioned as sovereign of a genre which, in the hierarchies of critical
esteem and academic gravitas, is the cinematic bottom-feeder lurking somewhere
beneath the action movie. This paper will explore how Meyers’ association with
the most critically derided of genres has worked to debar her from the various
canons of Hollywood cinema and Film Studies she might lay claim to. Her work
has held little interest for scholarship, since romcom is still widely assumed
to be what one might call, to paraphrase Bordwell, Thompson and Staiger’s
description of Hollywood cinema (1988), ‘an excessively obvious genre’. The
derision directed at it is intrinsically bound up in the cultural, critical and
industrial gendering of the genre; often used interchangeably with the term
‘chick-flick’, the presumed audience, address and perspectives of the genre are
positioned as peculiarly female. My discussion will explore how this landscape
has delimited proper recognition of Meyers’ work and, and argue for a more
nuanced approach to her oeuvre which recognises the culturally observant and
critical perspectives sometimes at work in it. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Dr Deborah Jermyn is Reader in Film and TV at the University
of Roehampton. Her books include Sex and the City (2008) and Prime Suspect
(2010), and most recently she was co-editor (with Su Holmes) of Women,
Celebrity and Cultures of Ageing: Freeze Frame (2015). She is currently writing
a monograph about Nancy Meyers for Bloomsbury.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">18<sup>th</sup> of May, MediaCity room 2.20<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Internal Speaker: Dr Jo Scott <o:p></o:p></span></div>
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<u><span style="font-size: 12.0pt; line-height: 107%;">Practice as Research and Emergent Methodologies</span></u><span style="font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<span style="font-size: 12.0pt; line-height: 107%;">This talk presents my PaR project in
live intermedial practice, focusing on the particular methodologies which
emerged from this research, as well as how they were reflected in the
presentation of the project. As part of this discussion, I will address the
role and positioning of an ‘insider account’ (Nelson 2013) and how writing
around and in response to practice can weave together reflections, analysis and
documentation towards a clear formulation of the emergent insights and
knowledge.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">External Speaker: Dr Raphael Cohen-Almagor (University of
Hull)<o:p></o:p></span></div>
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<u><span style="font-size: 12.0pt; line-height: 107%;">Book celebration: Confronting the Internet's Dark Side --
Moral and Social Responsibility on the Free Highway</span></u><span style="font-size: 12.0pt; line-height: 107%;">.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-align: justify;">
<i><span style="font-size: 12.0pt; line-height: 107%;">Confronting the Internet’s Dark Side</span></i><span style="font-size: 12.0pt; line-height: 107%;"> is the first comprehensive book on social
responsibility on the Internet. The book aims to strike a balance between the
free speech principle and the responsibilities of the individual, corporation,
state, and the international community. This book brings a global perspective
to the analysis of some of the most troubling uses of the Internet:
cyberbullying, cybercrime, terrorism, child pornography, hate and bigotry. It
urges net users, Internet service providers, and liberal democracies to weigh
freedom and security, finding the golden mean between unlimited license and
moral responsibility. This judgement is necessary to uphold the very liberal
democratic values that gave rise to the Internet and that are threatened by an
unbridled use of technology.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Dr Raphael Cohen-Almagor received his DPhil in political
theory from Oxford University. He is Professor and Chair in Politics, and
Founder and Director of the Middle East Study Group, University of Hull, United
Kingdom. In Israel, he was Founder and Director of the Center for Democratic
Studies, University of Haifa; Co-Founder and Chairperson of "The Second
Generation to the Holocaust and Heroism Remembrance" Organization; Founder
and Director of the Medical Ethics Think-tank at the Van Leer Jerusalem
Institute. In the United States, Raphael was The Fulbright-Yitzhak Rabin
Visiting Professor at UCLA School of Law, Visiting Professor at Johns Hopkins
University, Fellow at the Hastings Center, New York, and Fellow at the Woodrow
Wilson International Center for Scholars. In The Netherlands, he was Visiting
Scholar, Department of Metamedica, Faculty of Medicine, Vrije Universiteit,
Amsterdam. Among his more recent books are <i>The
Right to Die with Dignity</i> (2001), <i>Speech,
Media and Ethics</i> (2001, 2005), <i>The
Scope of Tolerance</i> (2006, 2007), <i>The
Democratic Catch</i> (2007, Hebrew), <i>Voyages</i>
(poetry 2007, Hebrew), and <i>Confronting
the Internet's Dark Side: Moral and Social Responsibility on the Free Highway</i>
(2015). <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">1<sup>st</sup> of June, MediaCity, room 2.20<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Internal Speaker: Dr Michael Goddard: <o:p></o:p></span></div>
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<u><span style="font-size: 12.0pt; line-height: 107%;">From Conference to Publication<o:p></o:p></span></u></div>
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<span style="font-size: 12.0pt; line-height: 107%;">This session will examine one of the
most productive and straightforward ways of publishing your research--via
conference participation. Many academic conferences have specific publication
outcomes (sometimes already mentioned in the call for papers), and even when
they don't there are frequently opportunities for disseminating and publishing
your work that emerge from conference participation. This session will cover
such issues as selecting the best conference to present your work (subject
specific, postgraduate or not, connected to an association), preparing
conference abstracts, conference networking, conference organisation, revising
your abstract for publication, and the publication process. As it is impossible
to generalise, a range of examples will be presented but there will also be the
opportunity to present your own experiences and issues regarding both
conference participation and the publication process.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 107%;">External Speaker: Professor Roberta Pearson <o:p></o:p></span></div>
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<u><span style="font-size: 12.0pt; line-height: 107%;">Intertextuality and the Sherlock Holmes Franchise<o:p></o:p></span></u></div>
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<span style="font-size: 12.0pt; line-height: 107%;">Sherlock Holmes has been a ubiquitous
figure in popular culture for more than a century, appearing in all media
forms. Over 200 films and television
programmes have featured the Great Detective as have countless books, comic
books, advertisements and so forth. This
talk considers the implications of this dense layering of text upon text for
current Holmes adaptation such as the BBC's Sherlock. How do producers and writers navigate this
dense intertextual web in order to produce something that is both recognisably
Holmes whilst simultaneously distinguishing themselves from their predecessors?<o:p></o:p></span></div>
<br />
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<span style="font-size: 12.0pt; line-height: 107%;">Roberta Pearson is Professor of Film and Television Studies
at the University of Nottingham. Among her most recent publications are the
co-authored <i>Star Trek and American
Television </i>(Berkely: University of California Press, 2014), and the
co-edited </span><i><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;">Many More
Lives of the Batman</span></i><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US;"> (London: BFI, 2015) and </span><i><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: SimSun; mso-fareast-theme-font: minor-fareast;">Storytelling in the Media Convergence Age: Exploring
Screen Narratives</span></i><span lang="EN-US" style="font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-fareast-font-family: SimSun; mso-fareast-theme-font: minor-fareast;"> (Basingstoke: Palgrave Macmillan, 2015). She is in
total </span><span style="background: white; color: #222222; font-size: 12.0pt; line-height: 107%; mso-highlight: white;">the author, co-author, editor or
co-editor of thirteen books, and author or co-author of over eighty journal
articles and book chapters.</span><span style="font-size: 12.0pt; line-height: 107%;"><o:p></o:p></span></div>
BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-14714078524284510292015-06-21T14:36:00.000-07:002015-06-21T18:06:30.726-07:00Salford Postgraduate Annual Research Conference, at MediaCityUK: 2014/2015<div class="separator" style="clear: both; text-align: center;">
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<br />BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-71186425879570802292015-06-02T05:06:00.000-07:002015-06-02T05:06:11.707-07:00GradProg talks Weds 3 June: Manchester & Porto Alegre Music Scenes // Metaphysics of the Drone's Eye in the SkyWednesday 3rd June 2015<br />
<br />Room 3.17 MCUK. All welcome!<br />
External Speaker: Dr Fabricio Silveira (International Visiting Researcher from Unisinos, Brazil); (3.30-4.30)<br />
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Mapping Underground Popular Music Scenes in Manchester and Porto Alegre <br />
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Drawing on fieldwork conducted as part of the CAPES/Science without Borders project, “Creative Industries, Cities and Popular Music Scenes,” as well as his own sabbatical project in Manchester, Dr. Silveira will present his research into mapping underground music scenes, primarily in Manchester, and how cartographic and media archaeological methodologies can be used to enhance popular music and creative industries research.<br /><br />Dr Fabricio Silveira is a Brazilian researcher into popular music and contemporary media based at Unisinos, Rio Grande do Sul, Brazil. He has numerous publications on popular music scenes including the recent monograph Instantaneous Ruptures: Entering and Leaving Pop Music. He is one of the leading researchers on the Science without Borders Special Visiting Researcher project in collaboration with Dr. Michael Goddard.<br /><br /> <br />External Speakers: Dr Dean Lockwood and Dr Rob Coley (4.30-5.30)<br />
<br />
Dream of the Drone<br />
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Our illustrated talk begins by diagramming an oneiric Lincolnshire in which puzzle pieces of the drone enigma are gathered and condensed. In preparation for World War 3, we commence with a flying lesson in Kirton-on-Lindsey before journeying on to RAF Tealby Moor, in the quantum environs of which we will map a confluence of magic, mediation, flight and warfare. We are constructing our own ‘Perturbative Adjacent Field’, but it will not be complete until we conclude the expedition four miles south of Lincoln, at RAF Waddington. Finally, in Waddington’s drone room, we can at last be ‘diverted’ into new realms of desire. The drone is the ‘signature device of the present moment’ (Noys) and a metaphysics of the drone, foregrounding divine powers of search and destroy, has captured the imaginations of many. What is at stake in the dream of the drone? Through what vectors is the drone exerting its transformative impact upon philosophy, media, aesthetics, social and cultural theory and how might these disciplines exploit the fabulatory function of the drone? BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-10657056904495957502015-06-02T04:57:00.002-07:002015-06-02T04:57:55.737-07:00Cahal McLaughlin and Catherine Wheatley talks<div class="separator" style="clear: both; text-align: center;">
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Archiving voices from the Troubles, prisons as sites for recollection and re-enactment; moral retribution and the bind of the confessional, landscapes as imprisonning. Our thanks to Cahal McLaughlin and Catherine Wheatley for their fantatsic talks on media matters Irish.BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-6422310442334731062015-05-17T17:01:00.000-07:002015-05-17T17:01:29.528-07:00GradProg talks this Weds (20/5): Prison as Conflict Memory Archive / "Calvary", Faith and DoubtExternal Speaker: Prof Cahal McLaughlin (Creative Arts, Queens University of Belfast)<br />
3.30-4.30, Room 2.20. MediaCityUK, University of Salford campus.<br />
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The Prisons Memory Archive: Representing Memories from a Conflict<br />
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<a href="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2011/12/30/1325261140724/The-Maze-prison-007.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://static.guim.co.uk/sys-images/Guardian/Pix/pictures/2011/12/30/1325261140724/The-Maze-prison-007.jpg" height="240" width="400" /></a>The Prisons Memory Archive is investigating ways that narratives of a conflicted past are negotiated in a contested present in Ireland. The Haas (2013), Eames-Bradley (2009), and the Bloomfield (1998) Reports all recommended storytelling as a way of engaging with this issue that is both politically and psychically sensitive. Given the government’s failed attempts at established an official process for addressing the legacy of the past, there are a number of community and academic initiatives that have taken up this task. The Prisons Memory Archive is one such project, whose aim is to research the possibilities of engaging with the story of the ‘other’ in a society that is emerging from decades of political violence. The Prisons Memory Archive (PMA) filmed interviews back inside the prisons with those who passed through the Maze and Long Kesh Prison and Armagh Gaol, which were both touchstone and tinderbox during the 30 years of violent conflict in the North of Ireland. Using protocols of co-ownership, inclusivity and life-story telling, we filmed a range of participants including prison staff, prisoners, visitors, teachers, chaplains and probation officers.<br /><br />Cahal McLaughlin is chair of Film Studies at Queens University Belfast. He is a documentary filmmaker and director of the Prisons Memory Archive. His latest films are We Were There (2014) on the role of women in the Maze and Long Kesh Prison, and We Never Give Up II (2012) on reparations in South Africa. His publications include Recording Memories from Political Conflict: a filmmakers journey (2010: Intellect).<br /> <br />
<br />External Speaker: Catherine Wheatley (Kings College London)<br />
4.35-5.30, Room 2.20. MediaCityUK, University of Salford campus.<br />
<br />
John McDonagh's 'Calvary' a Place Between Faith and Uncertainty<br />
<a href="http://www.kcl.ac.uk/ImportedImages/Schools/Artshums/staffprofiles/NewstaffprofilesSep11/CatherineWheatleyKCL7049.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://www.kcl.ac.uk/ImportedImages/Schools/Artshums/staffprofiles/NewstaffprofilesSep11/CatherineWheatleyKCL7049.jpg" height="200" width="155" /></a>Following the last days of Catholic priest Father James (Brendan Gleeson), John Michael McDonagh’sCalvary contemplates the place of religion in contemporary Ireland, a country hit badly by the economic collapse and struggling with revelations of sexual abuse by priests and its institutional covering-up. McDonagh describes the film thus: “The mise en scène indebted to Andrew Wyeth. The philosophy to Jean Améry. The transcendental style inspired by Robert Bresson.” Yet while the film’s style and subject matter place it firmly in a cinematic tradition which starts with Carl Dreyer and moves through Bresson to, in different ways, Lars von Trier and Terrence Malick, the inclusion of dark humour reframes its consideration of faith and uncertainty. In my talk, I want to pay particular attention to how the director negotiates between satire and the serious possibility of grace in order to create a gap in which a genuine ambivalence towards the film’s subject matter can arise. We can connect this gap, this space which is inhabited by both Father James and by the film’s spectators to Gillian Rose’s concept of “the broken middle”, a place suspended between immanence and transcendence (Rose, 1992). This is precisely the position in which Father James finds himself. But this, says Rose, is where the sacred is to be found: in the space between religion and secularity; the personal and the institutional; faith and cynicism. Finally, I will briefly consider the film’s reception amongst critics and audiences, with whom Calvary has seen surprising success. I want to ask whether this critical success comes in spite or because of the fact that the film is, to quote Guardian critic Peter Bradshaw, “far less anti-clerical than one might expect” (Bradshaw, 2014).<br /><br />Catherine Wheatley is Lecturer in Film Studies at King’s College London. She has published books on the films of Michael Haneke, Film and Ethics, and French Film in transit. Catherine is a regular contributor to Sight and Sound Magazine, and is currently writing a monograph on iterations of Christianity in contemporary European Cinema. BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-19518759871120292112015-05-13T17:28:00.001-07:002015-05-13T17:28:35.670-07:00"Awake in your Dreams"<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTl_ys291w1KxrkJaYMaM5H7MZDpf9qjx_lvFsahX63z-5EcGQOiRtL7ZNP_aJ9SuwzB31nxpS8wXgOpt6T0MqzW3jGntKPJgd9GkhC6aQp2z6LzYGXgkL1CWswFK3OUv3FiNfXzmJ8Bso/s1600/shemin.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="480" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTl_ys291w1KxrkJaYMaM5H7MZDpf9qjx_lvFsahX63z-5EcGQOiRtL7ZNP_aJ9SuwzB31nxpS8wXgOpt6T0MqzW3jGntKPJgd9GkhC6aQp2z6LzYGXgkL1CWswFK3OUv3FiNfXzmJ8Bso/s640/shemin.JPG" width="640" /></a></div>
<br />
Our thanks to Shemin B Nair for presenting his most recent (and award-winning) short film to the Graduate Programme. We look forward to a screening of the next one!BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com1tag:blogger.com,1999:blog-4657810204347699135.post-5510866117475877572015-05-11T17:46:00.001-07:002015-05-11T17:46:37.491-07:00Grad Prog (13 May): Public Broadcasting to Internet Protocol / Screening "Awake In Your Dreams"<div class="MsoNormal" style="line-height: 150%;">
MedicCity UK, Room 3.17/3.18</div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
</div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
3.30-4.30pm</div>
<br />
<br />
<div class="MsoNormal" style="line-height: 150%;">
Dr Marko Ala-Fossi (University of
Tampere, Finland)</div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
</div>
<div class="MsoNormal" style="line-height: 150%;">
‘The Short Future of Public
Broadcasting: Replacing Digital Terrestrial TV with Internet Protocol?’</div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
According to recent European
estimates, the life expectancy of broadcasting as a free-to-air television
platform may not be more than 15 years. Both the BBC and YLE, the public service
media companies in the UK and Finland – as well as the UK regulator Ofcom – have
independently reached this conclusion in recent reports about the future of
news, media distribution and digital terrestrial television (DTT). Although
broadcasting is expected to be necessary at least until 2030, all three
organizations assume that after that time DTT can be switched off and – under
certain conditions – completely replaced with IP-based solutions for PSM
delivery.</div>
<br />
<br />
<div class="MsoNormal" style="line-height: 150%;">
This is not the first time a new
distribution technology has been expected to replace earlier one(s). Television
was expected to replace radio, FM to replace AM, DAB to replace FM, etc. But so
far the telegraph is the only communication technology that has been completely
displaced by newer systems. In the light of retrospective analysis in this
paper, the idea of IPTV taking over DTT is a more sophisticated version of this
“black box fallacy”. Predictions of the early demise of the DTT are also
contradictory. For example, in the UK Ofcom continues to support DAB digital
radio broadcasting. The Finnish case is perhaps more straightforward as the
spectrum for digital radio is used in clearing the 700 MHz band from DTT for
mobile broadband use. But it is evident that in both countries the expectations
of the growth of the mobile media ecosystem and economic profits are part of the
force driving the latest version of an old idea.</div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
</div>
<div class="MsoNormal" style="line-height: 150%;">
Using a theoretical perspective
combining new institutionalism and political economy of communication, this
paper examines potential and existing problems in replacing one sort of
socio-technological system, i.e. broadcasting, with a completely different one.
There are crucial technical difficulties and normative questions also arise.
Would it be possible to secure universal access to public service content on a
common platform? Would new gatekeepers emerge with access to IP-related data on
users’ identities and locations? How might data flows be tracked and managed?
And how secure might such data remain?</div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
</div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
430-530pm, Shemin Nair (Salford PhD
sutdent)</div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
</div>
<div class="MsoNormal" style="line-height: 150%;">
Film screening and Q and A</div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-IN"></span><br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-IN">Awake in Your
Dreams</span></div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-IN">Laura needs a
redemption from her haunting dreams.</span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.thehindu.com/multimedia/dynamic/01479/08tvm_awake_1479590g.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://www.thehindu.com/multimedia/dynamic/01479/08tvm_awake_1479590g.jpg" height="335" width="400" /></a></div>
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-IN">Synopsis</span></div>
<br />
<div class="MsoNormal" style="line-height: 150%;">
<span lang="EN-IN">Laura experiences
her kid’s death in her dreams at the very same time it happens. But she can’t
respond as she is in a state called as <i>sleep paralysis. </i>And she
experiences a series of hallucinations and dreams. Louis tries to rescue her.
The film has a surreal form and is non descriptive and non narrative.
</span></div>
BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-54528504238315086492015-05-07T18:36:00.001-07:002015-05-07T18:36:42.221-07:00Alexei Penzin<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6LYDDPh4xJltRFyCMABvRDtMFwXfbj-VZKsU_qoFQxL1pVHPLMQ2cqgPjrgINsrG0-eLvu6Rv1MJ9yux39A9vlIZKJT300DoWoSpJlrh1f1PrlQ7S_a1nHlBU9pOjRj8062YzlNp2iVsL/s1600/alexei.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6LYDDPh4xJltRFyCMABvRDtMFwXfbj-VZKsU_qoFQxL1pVHPLMQ2cqgPjrgINsrG0-eLvu6Rv1MJ9yux39A9vlIZKJT300DoWoSpJlrh1f1PrlQ7S_a1nHlBU9pOjRj8062YzlNp2iVsL/s320/alexei.JPG" width="239" /></a></div>
<br />
Our thanks to Alexei Penzin for his talk on sleep: new territories of capitalist real subsumption, sleep as interrupted continuum, the Grundrisse re-read for Neo-Liberal timesBLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-36001312375886054092015-05-05T04:25:00.001-07:002015-05-05T04:25:05.748-07:00Grad Prog 6/5: Social Media and PGR Profiles / "Sleep, Vigilance and Modern Power"Wednesday 6th May 2015<br />
<br />Room 2.20 MediaCityUK (University of Salford building; please sign in at reception for the Graduate Programme)<br />
<br />
<br />3.30 PM - 4.30PM<br />
Internal Speaker: <strong>Dr Gillian James</strong> (University of Salford)<br />
<br />
Making the Most of Social Media to Aid Your Research Profile<br />
You may be used to using social media to stay in touch with friends. However, it is also a very powerful tool for making connections with others researching in your field, whether your research is academic or practice-based. This session looks at optimising the use of:<br />Twitter<br />Facebook<br />Linkedin<br />We explore the most useful aspect of each of these platforms and look at several scenarios and establish which platform is the most appropriate tool for each one. In addition we look at setting up a blog and maintaining it in an effective way, possibly converting it into a full-blown web site. Most people would probably not want to use all of these tools, at least at first. The session will help you establish what is right for you.<br /> <br />4.30PM - 5.30PM<br />
<br />
External Speaker: <strong>Dr Alexei Penzin</strong> (What is to be done? Collective/Univerity of Wolverhampton)<br />
<strong>The Capitalist Continuum: Sleep, Vigilance and Modern Power</strong><br />
<br />
Departing from criticisms addressed to the Jonathan Crary’s recent book 24/7: Late Capitalism and the Ends of Sleep (Verso, 2013) and referring to some other works in emergent field of critical sleep studies, I would like to present my own research project, suggesting an account of sleep in the contemporary or “terminal” capitalism. Its essential feature, in my view, is the uninterrupted or permanently “wakeful” continuity of production, exchange, consumption, communication and control. Marx stated already in Capital, vol. 1: “Capitalist production … drives, by its inherent nature, towards the appropriation of labor throughout the whole of the 24 hours in the day”. Maybe, instead of asking desperate though understandable question “when and how, finally, will capitalism end? The Left critique would better investigate this monstrous continuity itself. So the key questions for this account would be: what would be a genealogy of this obsessive continuity of contemporary capitalism? Is sleep just the last “natural barrier”–the term Marx used in theGrundrisse–in front of complete colonization of society by the incessant forms of life, shaped by 24/7 drive of capitalist production? How can the figure of sleeper be related to the constitution of a resisting subjectivity? Do we need a specific ontology to conceptualize and crack the oppressive continuity?<br /><br />Alexei Penzin is Reader at the Faculty of Arts of the University of Wolverhampton (UK), and Research Fellow at the Institute of Philosophy, Russian Academy of Sciences, Moscow. His major <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://msl.org.pl/static/upload/newsy/1171.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://msl.org.pl/static/upload/newsy/1171.jpg" height="300" width="400" /></a></div>
fields of interest are philosophical anthropology, Marxism, Soviet and post-Soviet studies, and the philosophy of art. He lectures widely on these topics and has participated in many international research projects, seminars, and symposia. Penzin has written numerous articles including the essay Rex Exsomnis: Sleep and Subjectivity in Capitalist Modernity (Hatje Cantz Verlag, 2012). Alexei is a member of the group Chto Delat (What is to Be Done?), which works in the space between theory, art, and political activism. Penzin is also a member of editorial boards of the journal Stasis (Saint-Petersburg) and the Moscow Art Magazine. He currently lives and works between London and Moscow. BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com1tag:blogger.com,1999:blog-4657810204347699135.post-55100887726130476272015-04-28T07:15:00.001-07:002015-04-28T10:26:55.014-07:00PGR Research via Monday's Scrapbook event (6 May)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOe0KEgbJwuJTdb5K8t44_64ItKsBlS7kvTkS4DAyZ_ziTrNi6sqXc3WEzHorHtFd-CogV7SSfDdrhWz0Hu2ZjMIPhvx2UJkifDo0GwQmVtE21-3GH6L1RniO3zxz6BJkpZg4WVCb8roiY/s1600/monday's%2Bposter.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOe0KEgbJwuJTdb5K8t44_64ItKsBlS7kvTkS4DAyZ_ziTrNi6sqXc3WEzHorHtFd-CogV7SSfDdrhWz0Hu2ZjMIPhvx2UJkifDo0GwQmVtE21-3GH6L1RniO3zxz6BJkpZg4WVCb8roiY/s1600/monday's%2Bposter.png" height="448" width="640" /></a></div>
<br />
<br />
<div>
<span style="font-size: 12pt;">A installation performance taking place on
Wednesday 6th May at Media City between 7-9pm</span></div>
<br />
<div>
<br /></div>
<br />
<div>
The installation performance is a work in progress, opening up 20 weeks of
laboratory work, during which we have been looking at how everyday objects, such
as paper and string, can be reformed, reimagined and recreated through physical
tasks. The work itself is devised from a ensemble practice creating
contemporary, physical, task-based performance. I have attached the publicity
document for more information. </div>
BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-13018088778502639602015-03-13T09:13:00.000-07:002015-03-13T09:13:59.093-07:00GradProg talks Weds 18/3: Google Glasses / BBC and Popular MusicTwo talks on the Graduate Programme this coming Weds (18 March): <br />
<br />
<br />
Salford's Prof Andy Miah on <strong>Wearable Technology</strong>. 3.30-4.30,
MediaCity, Salford University Campus Room 3.17.<br />
<br />
<br />
and Prof Tim Wall (Birmingham City University) on <strong>the history of the
BBC's engagement with popular music</strong>. 4.35 - 5.35, MediaCity, Salford
University Campus Room 3.17.<br />
<br />
All welcome, and drinks in the Dock Bar afterwards!<br />
<br />
<br />
<br />
<br />
Internal Speaker: Prof Andy Miah (Chair in Science Communication and Digital
media, University of Salford)<br />
<br />
<br />
OK Glass? The Aspirations and Anxieties of the Google Glass Generation<br />
<br />
<br />
<a href="http://petapixel.com/assets/uploads/2013/02/googleglass-6.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://petapixel.com/assets/uploads/2013/02/googleglass-6.jpg" height="180" width="320" /></a>This discussion explores online discourses about Google Glass, over a period
where the devices were not yet available. It examines the aspirations and
anxieties of the developers and the perspectives of (potential) user groups, so
as to develop an understanding of how people imagine the impact of wearable
technologies on society. The research draws on videos made by various parties,
which show Google Glass in use, but which also parody the discourse surround its
transformative potential. It also the content within the Google Glass lens
itself - the lens within the lens - providing an additional layer of content and
narrative about Glass. Analyses also take place on content related to the Google
Glass promotional campaign #ifihadglass, teasing out the ways in which the use
of Glass was imagined. The conclusions speak to the imagined, transformative
potential of Glass specifically and wearable technologies generally, which may
set a new research agenda for the next ten years in studies of digital
culture.<br />
<br />
<br />
<br />
External Speaker: Prof Tim Wall (Professor of Radio and Popular Music
Studies, Birmingham City University)<br />
<br />
Popular Music and the BBC<br />
<br />
<a href="http://991.com/NewGallery/Top-Of-The-Pops-The-Best-Of-Top-O-466375.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://991.com/NewGallery/Top-Of-The-Pops-The-Best-Of-Top-O-466375.jpg" height="320" width="318" /></a><br />This presentation will focus on three moments in the history of the BBC’s
relationship with popular music. I’ll examine the way that jazz entered
broadcasts of the early BBC in the 1920s and 30s, and especially the way the new
corporation struggled to deal with the idea that jazz was a sophisticated
metropolitan form of entertainment, while others saw it as a radical new form of
music that provided a strong sense of a new cultural identity to its listeners.
It is interesting to note that the BBC was still struggling with these ideas in
the late 1960s when the BBC completely reorganised its radio broadcasting into
Radios One to Four. This is often seen as the moment in which the BBC accepted
the challenge of the sea-based pilots but, as I will show, it is far more
complex than this, and these endeavours resulted in a radical, if compromised,
attempt to rethink popular music. I’ll complete the analysis with a discussion
of the Later…. and X Factor. As twenty-first century popular music television,
these programmes represent very different institutional takes on discourses of
popular music and the way it can be mediated for domestic consumption. Rather
ambitiously, I’ll use very different approaches to understand each of these
moments, framing the 1920s by focusing on the (then) new wired and wireless
technologies, grappling with the 1960s through ideas of institutionalised
culture, and opening up today’s BBC using Barthesian ideas of mythology. Here
I’m consciously seeking to study each period using a framework that is usually
used to study other moments. In doing so I hope to open up some fundamental
questions about what we think we know about music and the BBC, and about method
and insight. This should be an interesting intellectual provocation for anyone
studying media and/or music culture.<br />
<br />
<br />
<br />
<br />
Tim Wall is Professor of Radio and Popular Music Studies and Associate Dean
for Research in the Faculty of Arts, Design and Media at Birmingham City
University. He researches into the production and consumption cultures around
popular music and radio, and work on knowledge exchange projects with music and
radio organisations and the wider creative industries. Most recently he has been
applying insights from music to activism and citizen journalism in the Arab
region. His recent publications have included the second edition of his book
Studying Popular Music Culture, and articles on music radio online, punk
fanzines, the transistor radio, personal music listening, popular music on
television, television music histories, jazz collectives, Duke Ellington on the
radio, The X Factor and jazz on the BBC 1922 to 1955. BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com1tag:blogger.com,1999:blog-4657810204347699135.post-84554239384103211292015-03-09T11:38:00.003-07:002015-03-09T11:38:36.143-07:00Salford symposium: Melancholy Empire (16/4)Salford symposium on contemporary British and Irish literature
at Salford, you may register here:<span class="rwRRO" id="spnR" title="G.James1@salford.ac.uk"> <a href="https://uos-portal.salford.ac.uk/owa/redir.aspx?C=vdyqdQE1ik2GCVTjOdej862THcQsLtIIa1XzJKsgGF2dvqtursKqV6pfXrcfX35XYvg67bmI4Nk.&URL=https%3a%2f%2fwww.eventbrite.co.uk%2fe%2fmelancholy-empire-tickets-15873282415" target="_blank">https://www.eventbrite.co.uk/e/melancholy-empire-tickets-15873282415</a>
<br /><br />The programme will be posted on this event page two weeks before the
conference, which is on 16th April. Current confirmed paper titles, including
the keynote lectures, can be found here: <a href="https://www.academia.edu/10241383/Melancholy_Empire" target="_blank">https://www.academia.edu/10241383/Melancholy_Empire</a> </span><br />
<span class="rwRRO" title="G.James1@salford.ac.uk"></span><br />
<span class="rwRRO" title="G.James1@salford.ac.uk"></span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://fbcdn-sphotos-g-a.akamaihd.net/hphotos-ak-xfa1/t31.0-8/c0.168.851.315/p851x315/10560409_801454943246110_1956459610700776223_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://fbcdn-sphotos-g-a.akamaihd.net/hphotos-ak-xfa1/t31.0-8/c0.168.851.315/p851x315/10560409_801454943246110_1956459610700776223_o.jpg" width="640" /></a></div>
<span class="rwRRO" title="G.James1@salford.ac.uk"></span>BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-32930543767455567142015-03-09T11:30:00.000-07:002015-03-09T11:30:05.249-07:00GradProg talks 11/3: Qs of Practice-Based Research // Zero Budget Film-making<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US">11th of March,
MediaCityUK, University of Salford Campus, Room: 3.17</span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US">Internal
Speakers: Rosie Miller and Jonathan Carson (3.30-4.30)</span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<u><span lang="EN-US">Combining
practice based and non-practice based research</span></u></div>
<br />
<div class="MsoBodyText" style="margin-left: 36pt; text-align: justify;">
<span lang="EN-US">This session examines strategies for students interested in combining
practiced based and non-practice based research. It will also discuss the value
of this combining especially in relation to reflexive thinking and the
development of research work and a research profile. The session will be led by
collaborative artists Carson & Miller.</span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US"> </span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US">External
Speaker: Dr William Brown (Surrey Roehampton) (4.30 - 5.30)</span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<u><span lang="EN-US">Zero Budget
Filmmaking: Why It Matters (and Why I Do It)</span></u></div>
<br />
<div class="MsoBodyText" style="margin-left: 36pt; text-align: justify;">
<span lang="EN-US">In this talk, I will discuss various forms of zero- to low-budget
filmmaking from across the globe, including Uruguay, China, Iran, the
Philippines, South Africa and the USA. I shall contend that zero budget
filmmaking is, in the contemporary era, enabled by digital technology – and that
the technology, in conjunction with the low budget, often leads to formal
innovation that makes of this kind of filmmaking a vibrant and important form.
Nonetheless, distribution remains a key issue for such films and filmmakers, in
spite of the utopian promise of online distribution and exhibition sites such as
YouTube and Vimeo. What is more, while often supportive of such films, film
festivals are forced increasingly to be risk-averse in their film choices.
Perhaps this means that academia is the realm where zero-budget filmmaking might
thrive. Indeed, I query that the academic sphere is the best hope for
zero-budget filmmakers, among whom I include myself: cheap enough to be formally
adventurous, too cheap for festivals to risk losing an audience for.</span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US"> </span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<a href="https://i.vimeocdn.com/video/238491200_640.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="180" src="https://i.vimeocdn.com/video/238491200_640.jpg" width="320" /></a><span lang="EN-US">William Brown
is Senior Lecturer in Film at the University of Roehampton, London. He is the
author of <i>Supercinema: Film-Philosophy for the Digital Age</i> (Berghahn,
2013) and <i>Global Digital Cinema: Cinema and the Multitude</i> (Berghahn,
forthcoming). He is the co-author, with Dina Iordanova and Leshu Torchin, of
<i>Moving People, Moving Images: Cinema and Trafficking in the New Europe
</i>(St Andrews Film Studies, 2010) and the co-editor, with David Martin-Jones,
of <i>Deleuze and Film</i> (Edinburgh University Press, 2012). He has also
directed several zero- to low-budget films, including <i>En Attendant Godard</i>
(2009), <i>Afterimages</i> (2010) and <i>Common Ground</i> (2012). He hopefully
will also finish <i>Ur: The End of Civilization in 90 Tableaux</i> (2013) by the
time he gives this talk.</span></div>
BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-27875953239839748712015-03-02T17:05:00.002-08:002015-03-02T17:05:31.529-08:00Graduation DayOne of our recent PhD graduates (now lecturing at Bournemouth) reflects on the big day, and the essential support and friendship, when it comes to getting there, from fellow PhD students:<br />
<br />
<a href="http://blackbritishacademics.co.uk/2014/07/18/academic-success-against-the-odds-the-amazing-dr-ndlovu/">http://blackbritishacademics.co.uk/2014/07/18/academic-success-against-the-odds-the-amazing-dr-ndlovu/</a><br />
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BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-10344135582096569812015-03-02T16:59:00.002-08:002015-03-02T16:59:39.686-08:00"The academics tackling everyday sexism in university life"Guardian article on Oxford-centred initiative: <a href="http://www.theguardian.com/education/2015/feb/24/sexism-women-in-university-academics-feminism">http://www.theguardian.com/education/2015/feb/24/sexism-women-in-university-academics-feminism</a><br />
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BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-91563505393867986662015-02-25T13:27:00.000-08:002015-02-25T13:30:07.399-08:00"The Raven on the Jetty" screeningOur thanks to Erik for screening his new film, The Raven on the Jetty, this afternoon, and for the compelling introduction and rich discussion: Bressonian aesthetics in the Lake District, the intimacy of soundscapes, narrative after causality, snow and sunshine and psychological change, and learning from child actors.<br />
<br />BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-62438737125276226672015-02-20T05:40:00.004-08:002015-02-20T05:40:40.257-08:00Times Higher: "Me and my PhD supervisor: tales of love and loathing"When a PhD supervision session constitutes just another blocked-out hour in a besieged diary, it can be all too easy to forget that it could make an impression that stays with the student for the rest of their research career.<br />
<br />
We asked five academics for their recollections of the PhD supervision they received, and the way it had informed their own approach to tutoring. Three had enjoyed excellent supervision that had deeply influenced their own practice. But two had not. One recalls exchanges with their tutor characterised by yawns and silences, while another was treated with a “cutting harshness”, valuable only as an exemplar of how not to conduct yourself.<br />
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Full: <a href="http://www.timeshighereducation.co.uk/story.aspx?storyCode=2012205">http://www.timeshighereducation.co.uk/story.aspx?storyCode=2012205</a>BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-20431788255412187142015-02-20T05:36:00.000-08:002015-02-20T05:36:57.332-08:00Grad Prog at MediaCity 25/2: "The Raven on the Jetty"<div>
Professor Erik Knudsen will be presenting his film <em>The Raven on the
Jetty </em>(which won the 2014 Madrid International Film Festival Jury Award)<em> </em>and discussing perspectives on cinematic narrative.</div>
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<br />The session will last from 3.30-5.30 in The Egg, MediaCityUK, University of Salford campus.<br />
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<div class="Body_0020Text" style="font-family: "Times New Roman",Arial; font-size: medium; margin: 0pt 0pt 6pt; text-align: justify;">
<span class="Body_0020Text__Char" style="font-size: 12pt; text-decoration: underline;">Perspectives on Cinematic Narrative: <span class="Body_0020Text__Char" style="font-size: 12pt; font-style: italic;">The Raven
on the Jetty</span></span></div>
<div class="Body_0020Text" style="font-family: "Times New Roman",Arial; font-size: medium; margin: 0pt 0pt 6pt 36pt; text-align: justify;">
Professor Erik Knudsen, will give a presentation entitled
“Perspectives on Cinematic Narrative: exploring through creative practice the
transcendental narrative as an alternative to dominant narrative structures in
film”. Erik will screen and discuss his latest feature film, <span class="Body_0020Text__Char" style="font-size: 12pt; font-style: italic;">The Raven
on the Jetty</span>, in the context of its research aims and objectives. The
format for this meeting will be a brief introduction highlighting some of the
questions and problems Erik is exploring around cinematic narrative, screening
of <span class="Body_0020Text__Char" style="font-size: 12pt; font-style: italic;">The Raven on the Jetty</span> concluding with a short
Q & A session.</div>
</div>
</div>
BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-62614749113306795082015-02-12T09:57:00.000-08:002015-02-12T09:57:01.061-08:00PGR ProgrammeOur thanks to Prof Noha Mellor for her very well attended talk the other day: new paradigms of news gatekeeping, the "social space", and the challenges and conceits of non-aligned editorial positions.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCITlg1Ui9aalBVmtotAYZ0w1aN-U0oe1nvzhoI2TGYEhpv3Dz3JKptE8p_Sh0EQhyphenhyphenIF3OWaFLUg2VtdY5bAr1Q-7HevYaqG3VXt97eD_mOllzy6Uztp0zILZj1LSB4mLkZhHHPyE1qrKv/s1600/noha.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCITlg1Ui9aalBVmtotAYZ0w1aN-U0oe1nvzhoI2TGYEhpv3Dz3JKptE8p_Sh0EQhyphenhyphenIF3OWaFLUg2VtdY5bAr1Q-7HevYaqG3VXt97eD_mOllzy6Uztp0zILZj1LSB4mLkZhHHPyE1qrKv/s1600/noha.JPG" height="480" width="640" /></a></div>
<br />BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-89635747135893716962015-02-07T09:11:00.002-08:002015-02-07T09:11:25.696-08:00Salford GradProg talk this Weds: "The Egyptian Dream: On Egyptian National Identity and the Uprisings"<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US">11th February, Room 2.19, MediaCityUK</span></div>
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<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US">External
Speaker: Prof Noha Mellor (3.30-4.30)</span></div>
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<div class="MsoBodyText" style="text-align: justify;">
<u><span lang="EN-US">The
Egyptian Dream: On Egyptian national identity and the uprisings</span></u></div>
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<div class="MsoBodyText" style="margin-left: 36pt; text-align: justify;">
<span lang="EN-US">After being celebrated by Barack Obama as “the power of human
dignity”, the 2011-Egyptian revolution later turned into violent outbreaks and
ongoing socio-ideological fragmentation. In this lecture, I discuss one of the
central problems in Egypt in post-independence era, namely the inability of its
leaders to construct a coherent and solid ideology that could appeal and unite
the majority of Egyptians. Indeed, there exist rhetorical and social strategies
of inclusion and exclusion, thereby dividing society into those who are regarded
as true representatives of Egypt versus others who may constitute an economic,
political or social burden. I’ll discuss the role of religion, education,
language and culture in constructing this sense of Egyptian-ness and how the
issue of identity has been used in political discourse. </span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US"> </span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<a href="http://www.beds.ac.uk/__data/assets/image/0007/457072/noha-mellor400.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.beds.ac.uk/__data/assets/image/0007/457072/noha-mellor400.jpg" height="200" width="200" /></a><span lang="EN-US">Professor Noha
Mellor’s main research interests are Arab journalism, mediated religion and
media and gender. Besides her academic experience, she has previous professional
experience in journalism as News Producer both for the Danish Broadcasting and
the BBC World Service, and contributed to international media outlets such as
the <i>New York Times</i> and <i>Financial Times</i>. She contributes her
expertise in Arab journalism to current trans-national initiatives to promote
peace such as the UN Alliance of Civilizations, and was also the EUROMED and
Media representative at the EU Ministerial Meeting on Culture, 30 May 2008,
Athens. Books include <i>Modern Arab Journalism</i> (Edinburgh), <i>Arab Media
Industries</i> (Polity) and, forthcoming, <i>Cyber Islam and Social Media and
the Pan-Arab Newsroom</i>. </span></div>
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<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US"> </span></div>
<br />
<div class="MsoBodyText" style="text-align: justify;">
<span lang="EN-US">Internal
Speaker: Dr Benjamin Halligan (4.45-5.45)</span></div>
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<div class="MsoBodyText" style="text-align: justify;">
<u><span lang="EN-US">Viva
Survival Guide</span></u></div>
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<div class="MsoNormal" style="margin-left: 36pt;">
<span style="font-family: "Times New Roman",serif; font-size: 12pt;">This session will
deal in detail with the Viva: what to expect, how to prepare, how to defend your
work, and the possible outcomes from the Viva.</span></div>
BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-85951811574981902822015-02-07T08:53:00.002-08:002015-02-07T08:53:24.478-08:00Salford conference: Social Media and Feminism at MediaCityUKAll info and booking (free), available here: <a href="http://www.salford.ac.uk/news/social-media-and-feminism">http://www.salford.ac.uk/news/social-media-and-feminism</a><br />
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BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-77532665089989610922015-01-20T09:33:00.002-08:002015-01-20T09:33:17.794-08:00Yuri Landman DIY Instrument Building Workshops<br />
6th-8th February 2015<br />
<br />
Experimental inventor of musical instruments, Yuri Landman, is visiting Islington Mill to deliver a series of workshops demonstrating his fascinating craft. Attendees will have the opportunity to build an instrument and participate in a performance using it. This is a fantastic opportunity to gain insight into the work of one of the most creative minds in instrument design.
The day after the workshops Yuri Landman will play his musical compositions with the group of builders and create an ensemble performance. The participants play two musical compositions, starting in a minimal structure one by one, with each introduction creating more sonic complexity and volume, resulting in a “wall of sound” crescendo comparable with the drone works of Sonic Youth or the symphonic guitar compositions of Rhys Chatham and Glenn Branca.
-Fri FEB 6th - 19.00-23.00 - Electric Kalimba workshop, costs 75 Pounds.<br />
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<br />
-Sat FEB 7th - 12.00-16.00 - Home Swinger & Triochord workshop. HS costs 110 Pounds, Trio 45 Pounds.<br />
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-Sat FEB 7th - 19.00-23.00 - Wood on Foam workshop, costs 35 euro.<br />
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-Sun Feb 8th - Lecture, Solo performance, and Orchestra performance with the participants of the workshops.<br />
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People can register by mailing strateraser@gmail.com. 50% of the amounts must be paid in advance to get a confirmation for participation.
More information can be found at <a class="_553k" href="http://www.islingtonmill.com/events.php" rel="nofollow" target="_blank">http://www.islingtonmill.com/events.php</a>BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0tag:blogger.com,1999:blog-4657810204347699135.post-37021961474559491662015-01-17T17:56:00.001-08:002015-01-17T17:56:25.320-08:00Sick! Festival at ManchesterProgramme here: <a href="http://www.sickfestival.com/programme/channel/manchester/">http://www.sickfestival.com/programme/channel/manchester/</a><br />
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BLHhttp://www.blogger.com/profile/04949931446994549999noreply@blogger.com0