Welcome to ‘1984’ – Populaarikulttuurin lähihistoriaa – Seminar on Current History of Popular Culture
//In English below//
Tervetuloa IIPC:n, musiikintutkimuksen ja mediatutkimuksen yhteiseen iltapäiväseminaarin 12. Joulukuuta (Janus-sali klo 12–18). Seminaarin lähtökohtana toimii Orwellin dystopia 1984, jonka kautta luodaan monipuolinen katsaus 1980-luvun populaarikulttuurin lähihistoriaan; musiikkiin, muotiin, elokuvaan ja pelikulttuuriin.
Seminaarin puhujavieraita ovat Clarissa Smith (Sunderland, UK), Freya Jarman (Liverpool, UK) ja Annamari Vänskä Aalto-yliopistosta. Lyhyemmät puheenvuorot esittävät Jaakko Suominen, Kimi Kärki, John Richardson, Laura Saarenmaa, Mari Pajala & Susanna Paasonen (ks. tarkempi ohjelma alla).
Seminaarilla on mahdollista suorittaa mediatutkimuksen opintopisteitä aina 5 op:een asti kohdista METU0146 (projektiopinnot), METU1051 (Media ja populaarikulttuuri) sekä musiikintutkimuksen opintopisteitä kohdista MUSI3004 (populaarimusiikki) ja MUSI3005 (laadulliset menetelmät). Seminaarilla voi sopimuksen mukaan myös täydentää aiempia osasuorituksia. 5 op:n suoritusmuotona on seminaarin esityksistä laadittu luentopäiväkirja (n. 6 sivua) sekä seminaarin teemoihin liittyvän, oma 1980-lukuun liittyvän aineistoesimerkin analyysi (n. 6 sivua). Kirjoitelmien tueksi on tarjolla räätälöity lista oheiskirjallisuutta. Ota yhteyttä email@example.com
//Seminar on 1980s Popular Culture
Welcome to 1984-seminar, organized by IIPC, Musicology and Media Studies, on 12th of Dec (Janus-Hall, 12-18).
In this seminar, Orwell’s dystopic novel 1984 is used as a blueprint through which speakers of explore the 1980s as an important decade related to the recent history of popular culture. The discussed topics include fashion, games, television and pop music. The invited guest speakers are Clarissa Smith (Sunderland, UK) Freya Jarman (Liverpool, UK) and Annamari Vänskä (Aalto-University, Helsinki).
Modes of Assessment: The students attending to seminar can collect 5 credits to be included in METU0146, METU1051, MUSI3004 and MUSI3005, or some other modul negotiated with the responsible teacher, and done by lecture-diary and independent essay based on analysis of the chosen material related to the themes of the seminar (6 pages). There will be additional list of references available from the responsible teacher. Please contact, firstname.lastname@example.org
12:15-13 Clarissa Smith: Keeping Up Appearances: British Sexual
Culture in the 1980s
13:00-13:45 Annamari Vänskä: Girls just wanna have fun: Fashion in 1984.
14:15-15:00 Freya Jarman: [title to be confirmed]
15:00-15:30 John Richardson 1984: Orwell, Bowie & Eurythmics
15:30-16:00 Kimi Kärki: ’Nothing clean, right?’ Dialogues with the Cyberdyne Systems Model 101
16:00-16:30 Jaakko Suominen: Miksi 1984 ei ole kuin 1984? Mikrotietokoneet ja pelit uutena kulttuurina.
16.30-17:00 Laura Saarenmaa: Pastori Silli ja rasvaisen tv-viihteen anatomia
17.30-18:00 Mari Pajala &/ Susanna Paasonen: Suomalainen pornolehdistö videon valtakaudella
IIPC Debate #102
Thu 1 Nov, 4-5 pm
Seminar room Hovi (V105), Artium, Kaivokatu 12, University of Turku
Listening Alone, Together: The Cinema as a Personal Stereo
Dr. Carlo Cenciarelli (Cardiff University)
The role that imagination plays in defining the cultural meaning of technology is an important insight of media scholarship. As recent work on media archaeology has shown, focusing on ‘media fantasies’ can reveal what thoughts are possible about a given technology during its emergence and at various points in its development, and thus is a way of moving beyond descriptive and deterministic accounts. In this talk I will discuss one particular fantasy about listening that is found in film, and that I believe can be productively explored through film: the notion of the personal stereo as a technology of interpersonal communication.
Dr Carlo Cenciarelli specialises in the intersection between music and visual culture in the late twentieth and early twenty-first centuries. His main publications have been on the cinematic afterlife of J. S. Bach, on opera and digital culture, and on the aesthetics of musical borrowing. He is currently writing a book on the representation of listening in film. Before joining Cardiff, he was a British Academy Postdoctoral Fellow at Royal Holloway, University of London. He holds a PhD in Musicology from King’s College London (2011).
CFP: EUPOP 2019
Mary Immaculate College, University of Limerick, July 16th – 18th, 2019
Deadline: 28th February, 2019
Individual paper and panel contributions are welcomed for the eighth annual international conference of the European Popular Culture Association (EPCA), to be held at Mary Immaculate College, Limerick), Ireland, July 16th – 18th, 2019.
EUPOP 2018 will explore European popular culture in all its various forms. This includes, but is by no means limited to, the following topics: European Film (past and present), Television, Music, Costume and Performance, Celebrity, The Body, Fashion, New Media, Popular Literature and Graphic Novels, Queer Studies, Sport, Curation, and Digital Culture. We also welcome abstracts which reflect the various ways of how the idea of relationship between Europe and popular culture could be formed and how the current turmoil in European identity, union, its borders and divisions are portrayed in popular cultural themes and contents.
Papers and complete panels for all strands will be subject to peer review. Proposals for individual presentations must not exceed 20 minutes in length, and those for panels limited to 90 minutes. In the latter case, please provide a short description of the panel along with individual abstracts. Poster presentations and video projections are also warmly welcomed.
There will be opportunities for networking and publishing within the EPCA. Presenters at EUPOP 2019 will be encouraged to develop their papers for publication in a number of Intellect journals, including the EPCA’s Journal of European Popular Culture. A full list of Intellect journals is available at:
Proposals comprising a 300-word abstract, your full name, affiliation, and contact details (as a Word-file attachment, not a PDF) should be submitted to Marcus Free (Marcus.Free@mic.ul.ie) by 28.02.2019. Receipt of proposals will be acknowledged via e-mail, and the decision of acceptance will be notified within two weeks of submission. Early submissions are welcome.
The conference draft program will be announced in May 2019, along with the conference registration and accommodation details. The likely conference fee will be 150 euros (student), and 200 euros (other). The fee includes coffees, lunches, evening dinner, wine reception, and EPCA Membership (includes subscription to the European Journal of Popular Culture, Intellect Press). Cheap student accommodation will be available.
The keynote speakers:
Dr Seán Crosson (Huston School of Film and Media, National University of Ireland, Galway)
Dr Debbie Ging (School of Communications, Dublin City University)
Professor Diane Negra (Film Studies and Screen Culture, University College Dublin)
The European Popular Culture Association
The European Popular Culture Association (EPCA) promotes the study of popular culture from, in, and about Europe. Popular culture involves a wide range of activities, material forms and audiences. EPCA aims to examine and discuss these different aspects as they relate both to Europe and to Europeans across the globe, whether contemporary or historical.
EUPOP 2019 is organised by:
European Popular Culture Association (EPCA): http://epcablog.wordpress.com/
International Institute for Popular Culture (IIPC): http://iipc.utu.fi/
EPCA President, Kari Kallioniemi, email@example.com
EPCA Vice-President, Pamela Church Gibson, firstname.lastname@example.org
EPCA Secretary, Kimi Kärki, email@example.com
EPCA Treasurer, Pekka Kolehmainen, firstname.lastname@example.org
EPCA Membership Secretary, Graham Roberts, email@example.com
Local Organiser Contact: Marcus Free, Marcus.Free@mic.ul.ie
IIPC Debate #101
Thu 25 Oct, 4-5 pm
Seminar Room Hovi (V105), Artium, Kaivokatu 12, University of Turku
Ramones and Hardcore – When Fast Is Bad
Dr. J. Mark Percival (Queen Margaret University)
Everett True in his 2005 biography of Ramones writes, “Speed was John’s craft, his trade. It was the one thing he felt he could do better than anyone else. No wonder he felt threatened by the new breed of hardcore bands”. Pioneering Los Angeles hardcore bands like Middle Class and Black Flag formed in the late 1970s, either directly or indirectly influenced by Ramones, but with ramped up BPM and aggression on stage (off stage though, often literate and intellectual). Guitarist Johnny Ramone’s sense that one of the core Ramones distinguishing characteristics – playing fast, stripped down rock and roll – was no longer unique even in punk rock, increased existing insecurities within the band. Even by the time Ramones had released their first two albums in 1976 and 1977 their live performances were getting faster. The studio recording of Ramones seminal debut single, ‘Blitzkrieg Bop’ (January 1976) is 2:10 – by 1991, the Loco Live version is a breathless 1:34. Ramones response to hard core is also evident on two studio albums, Too Tough To Die (1984) and Animal Boy (1986), yet it was Ramones’ unlikely longevity that meant that there was a response at all. This paper argues that the process of essentialising (hardcore) punk rock around speed was almost certainly about distancing hardcore from the ‘mainstream’, but that it also played squarely into mainstream rock authenticities that devalue ‘pop’, valorise technical skill and validates conventional masculine gendering of rock.
J. Mark Percival is Senior Lecturer in Media at Queen Margaret University, Edinburgh. His 2007 doctoral thesis at the University of Stirling, Making Music Radio, focused on the social dynamics of the relationship between record industry pluggers and music radio programmers in the UK. He has written about Scottish indie music production, popular music and identity, and mediation of popular music. Mark presented music shows for BBC Radio Scotland from 1988 to 2000, and was a Mercury Music Prize judging committee member in 1998 and 1999.
Study day at Åbo Akademi University, December 14, 2018
Organised by Dept of Musicology at Åbo Akademi University, the research project
“Digitaliseringens inverkan på minoritetsmusik” (DIMM) and IASPM Norden
Call for Papers
On Friday, December 14, 2018, the Department of Musicology at Åbo Akademi University
and the research project “Digitaliseringens inverkan på minoritetsmusik” (DIMM – “The
Impact of Digitalisation on Minority Music”) will host a study day at Åbo Akademi University in Turku, Finland.
The theme of the day is music, digitalisation and democracy. We invite papers that deal with the connections between digitalization and music, and issues surrounding the envisaged democratising potential of digital technology. Papers on other subjects that engage researchers of IASPM Norden are also welcome.
An introductory keynote presentation on the impact of digitalisation on music media will be given by Pelle Snickars, Professor of Media and Communication Studies at Umeå University. Snickars is director of the research project “Streaming Cultural Heritage: File Pursuit in Digital Music Distribution”. He has published several articles and co-authored books on digitalisation, music industry and media, e.g. Den svenska enhörningen: Storyn om Spotify [The Swedish Unicorn: The Spotify Story], Efter The Pirate Bay [After Pirate Bay] and The iPhone and My Media.
We invite proposals in the form of a short abstract of max. 200 words. Please send proposals as a doc/docx/pdf attachment to Juho Kaitajärvi-Tiekso: firstname.lastname@example.org
Deadline for proposal submissions is September 14, 2018. Successful participants will be
notified by October 1, 2018.
Paper presentations last 20 minutes, followed by discussion (10 minutes). The study day is provisionally planned to run from 9 am to 5 pm. There will be an optional social gathering in the evening for those who are staying in Turku overnight.
There will be no registration fee. Participants are responsible for their travel,
accommodation and food arrangements and expenses.
Please note that all participants must be members of the Nordic branch of the International Association for the Study of Popular Music (IASPM Norden). For details on how to become a member, please see: https://iaspmnorden.wordpress.com/how-to-join/
For more information:
Johannes Brusila (Åbo Akademi University, DIMM): email@example.com
Kim Ramstedt (Åbo Akademi University, DIMM): firstname.lastname@example.org
Juho Kaitajärvi-Tiekso (IASPM Norden): email@example.com
IIPC Debate #100
Wed the 19th September, 4-5 pm (four sharp!!!)
Janus Hall (Kaivokatu 12, Turku)
Movie Scenes and Social Scenes
Professor Will Straw, McGill University
Fiction films regularly give show images of crowds and families, couples and individuals. My talk is concerned with the ways in which the “cultural scene”, as a loosely structured group of people bound by shared interests, is characteristically shown in films. Drawing on examples from the cinemas of Brazil, France, the United States and Canada, I will examine ways in which films display cultural scenes and make them objects of understanding and fascination.
Will Straw is James McGill Professor of Urban Media Studies in the Department of Art History and Communications Studies at McGill University. He is the author of Cyanide and Sin : Visualizing Crime in 50s America (Andrew Roth Gallery, 2006) and co-editor of several volumes including Circulation and the City: Essays on Urban Culture (with Alexandra Boutros) and Formes Urbaines (with Anouk Bélanger and Annie Gérin) and The Oxford Handbook to Canadian Cinema (co-edited with Janine Marchessault). He has published widely on cultures of the urban night, and is the author of over 150 articles on music, cinema and urban culture.