EIFAC 2014: Programme

Conference Schedule

EIFAC 2014 is being held over two days in the Filmhouse Cinema, Edinburgh.

Click here for the detailed conference schedule, with times and locations.

Invited speakers

Our two keynote speakers are:

Philippe Meers

Philippe Meers is professor in film and media studies at the University of Antwerp, Belgium, where he is head of Department, deputy director of the Visual Studies and Media Culture research group and chair of the Centre for Mexican Studies. He has published widely on film culture and contemporary, historical and ethnic film audiences. Recent publications appeared in:  Screen (2010), 'The handbook of political economy of communication' (Wiley-Blackwell, 2011), Participations (2012); Global media journal Mexico (2012);'Meanings of audiences : comparative discourses' (Routledge, 2013) Critical Studies in Media Communication (2013). With Richard Maltby and Daniel Biltereyst, he edited 'Explorations in New Cinema History. Approaches and Case Studies' (Wiley-Blackwell, 2011) and 'Audiences, Cinema and Modernity: New Perspectives on European Cinema History' (Routledge, 2012). He is co-editor of a book series 'Film & TV Studies' with Academia Press (editor Daniël Biltereyst, Ghent University).

Meers has been promoter of several large scale research projects on cinema culture (e.g. The Enlightened City, Cinema and Diaspora, Antwerp Cinema City),and is currently leading a four year study 'Screen(ing) Audiences' (SRC 2013-2017)  as well as an international comparative study 'Cultura de la Pantalla' on the history of cinema culture in collaboration with research teams in the US (Laredo, TX), Mexico (Monterrey, Mexico City, Tampico, Torreon), Colombia (Baranquilla) and Spain (Barcelona).Until 2012 he was chair of the Film Studies section of the European Communication Research and Education Association (ECREA), he is a founding member of European Network for Cinema and Media Studies (NECS) and of Network on History of Movie-going, Exhibition, and Reception Project (HoMER).

 

Andrew Ormston

Andrew Ormston is the founder and director of Drew Wylie Ltd.  He is a senior creative manager and consultant with extensive experience in project development / delivery across the cultural and creative industries.  Andrew is currently a Cultural Expert for the Education, Audiovisual & Culture Executive Agency of the European Union,  Policy Expert for the Compendium cultural policy framework of the Council of Europe,  Associate Consultant with Henslowe Irving (New Zealand), co-founder of Sustainable Community Energy  Network,  Associate Director for Berwick Film & Media Arts Festival,  and guest lecturer at University of Edinburgh.

Prior to establishing Drew Wylie Ltd. his roles included directing Culture for the City of Birmingham, where he established the city’s first screen agency, FILM Birmingham and directed Urban Fusion, the Capital of Culture legacy programme.  His operational experience includes directing and managing a range of festivals, theatres, arts centres, concert halls, public art and arts development programmes. Current research interests include evaluation in the cultural and creative industries, the contribution of arts and culture to science engagement, and culture as a driver for urban regeneration.

Industry Panel

An industry panel chaired by Jonathan Melville on the second day will debate various topics around screen audiences.

The panellists are:

 

  • Jennifer Armitage (Creative Scotland Development Officer, working in film and audience development)
  • Andrew Ormston (Cultural and Policy Expert)
  • Shona Thomson (Film Festival Producer, including Bo'ness Hippodrome Festival of Silent Film)
Questions to be debated include:
  • Is the way industry is identifying, investigating and analysing audiences changing?
  • What challenges are seen when undertaking research on audiences?
  • What are the links between audiences, communities and policy?
  • How are contemporary screen audiences changing? Do new forms of exhibition (e.g. online) and new media (e.g. interactive series, social media) change the concept of screen audiences?
  • What's the role of film programming / film exhibition in the construction of audience?

 

Accepted presentations

 

Tomas Axelson (Högskolan Dalarna University)

Thick Viewing. Empirical examples of condensed moments of narrative impact in fiction film developing theoretical concepts for intensified engagement

 

Martin Barker (Aberystwyth University and University of East Anglia)

"Which one is Keyser Soze?”: or, how do perceptions of performance shape audiences’ engagement with a film?

 

Daniël Biltereyst (Ghent University). Aleit Veenstra (University of Antwerp), Philippe Meers (University of Antwerp)

Film Audiences: Revisiting the structure/agency debate

 

Keith Hennessey Brown (University of Edinburgh)

Testing Olney’s Performative Spectatorship Theory of Eurohorror

 

Claire Burdfield (University of Nottingham)

Finding the Accidental Audience

 

Fatima Chinita (Polytechnic Institute of Lisbon)

The cinephile, the film user, the fan and their cults: metafilmic viewers across culture

 

Maria Elisabet Cabeza Gute (Autonomous University of Barcelona) and Àngel Custodio Gómez (Autonomous University of Barcelona)

The social role of Film Exhibition and film consumption of audiences in Spain: The logic behind the spread of film theatres in Barcelona (1897-1930)

 

Lesley Ann Dickson (University of Glasgow)

Ah! Other Bodies! Film festivals as spaces of embodied pleasure – an empirical study of audience experience at Glasgow Film Festival

 

Josu Martinez-Martinez (University of the Basque Country), Miriam Frances-Garcia (University of the Basque Country), Katixa Agirre-Miguelez (University of the Basque Country), Miren Manias-Muñoz (University of the Basque Country)

Zinegin Basque film festival: a non-existent audience revealed

 

Ozge Ozduzen (Edge Hill University)

The Politicisation and ‘Occupy’isation of the New Film Festival Audience in Istanbul

 

Magdalena Saryusz-Wolska (Polish Academy of Sciences in Berlin / University of Lodz)

Cinema programs as a source for research on film audiences. The case of Berlin 1945-1949

 

Daniela Treveri Gennari (Oxford Brookes University) and John Sedgwick (University of Portsmouth)

Film popularity, Programming Patterns and Film Audience Choices in 1950s Rome

 

Lies Van de Vijver (Ghent University)

Understanding the social in a post-moviegoing age. An empirical research

 

Martin Zeller-Jacques (Queen Margaret University)

Serial Television Storytelling and Audience Desire

 

Anthony Reynolds (University of Glasgow)

Gamers: Cultural Memory, Identity and Social Practice

 

 

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