On October 13th, 2021 at 1.00-2.30pm EEST (at 11 am in London, 12 am in Paris, 1pm in Moscow, and 9pm in Sydney) we will celebrate Yves Montand’s 100th birthday by organizing an online seminar. The event is based on the book Yves Montand in the USSR. Cultural Diplomacy and Mixed Messages (Palgrave-Macmillan, 2021).
IIPC Debate 112, Mon 11 Oct, 2:15 pm (online, zoom-info below)
‘Youthification’ of television through online drama and real-time storytelling?
Dr Vilde Schanke Sundet (University of Oslo)
Short abstract: For television producers aiming to reconnect with younger audiences, online drama published in real time has become an attractive new format. This is especially true for the Nordic countries, where several successful real-time online drama series have already been developed and produced. In short, playing with time and platforms has become an essential strategy for many storytellers trying to reintroduce a sense of liveness and realness. What are the pros and cons of this way of producing and publishing online drama? What can these digital-first, youth-targeted productions teach us about television as an always-changing medium that constantly has to ‘youthify’ itself to stay relevant? This talk positions online drama and real-time storytelling within a larger frame of how streaming is changing the television industry and its production cultures, publishing models and industry-audience relations. It builds on an in-depth study of the Norwegian public service broadcaster (NRK) and some of its game-changing drama productions (Lilyhammer, SKAM, blank). The analysis draws on more than a hundred interviews with television experts and fans, hundreds of hours of observations, and unique access to industry conferences, meetings, working documents, and ratings. It combines perspectives from production studies, media industry studies, and fan studies.
This talk is based on Sundet’s book, Television Drama in the Age of streaming: Transnational Strategies and Digital Production Cultures at the NRK: https://www.palgrave.com/gp/book/9783030664176
Short bio: Vilde Schanke Sundet (PhD) is a researcher at the Department of Media and Communication, University of Oslo. She has published extensively on topics of television production, media industries, media policy and audiences/fans. Her work is published in journals such as New Media & Society, Media, Culture & Society, European Journal of Communication, Poetics, Television & New Media, Critical Studies in Television, Media History, International Journal of Cultural Policy, and Journal of Fandom Studies. Her recent book is Television Drama in the Age of Streaming (Palgrave, 2021). See more: www.vildessundet.org
IIPC Debate with Vilde Schanke Sundet
Time: Oct 11, 2021 02:00 PM Europe/Riga
Meeting ID: 675 7479 2516
Turns and Revolutions in Popular Music. Proceedings from the XX Biennial Conference of IASPM, Canberra, Australia, 24th – 28th June 2019 e-book has now been published.
Here is the direct link: https://iipc.utu.fi/iaspm2019/
(as part of IIPC Online series here, as vol. 8: https://iipcblog.wordpress.com/publications/).
Hope you enjoy!
Join us at
A free European Popular Culture Association (EPCA) zoom event
July 16, 2021, 4-7 pm Finnish time (GMT +3)
Sarah Gilligan (Northumbria University, UK):
Fashioning the Strange: Tilda Swinton, Film and Photography
Laura Saarenmaa (University of Turku, Finland):
Taming the nasty (nazi) past. Popular recollection of American, Swedish and Finnish men’s magazines
Maria Shteynman (HSE University, Russia):
The Transmedial Witcher: Political History, Race Diversity and Feminism Issues
Register to EPCA Secretary, Dr Kimi Kärki [ kimi . karki ( at ) utu . fi ] by July 15, 2021, to receive the zoom-link for the event.
Follow the info at EPCA Facebook and
IIPC Debate 111, Wed 21 April, 5:15 pm (online, zoom-info below)
Dependent, distracted, bored: Affective formations in networked media
Professor Susanna Paasonen (University of Turku)
According to a dominant narrative repeated in journalistic and academic accounts for more than a decade, we are addicted to the digital devices, apps, and sites designed to distract us, which drive us to boredom and harm our capacities to focus, relate, remember, and be. Focusing on three affective formations — dependence, distraction, and boredom — as key to understanding both the landscape of contemporary networked media and the concerns connected to it, this talk challenges the dominant narrative and argues for the centrality of accounting for complexity and ambiguity instead. Dependence and agency, distraction and attention, boredom and excitement can be seen as dynamics that enmesh, oscillate, enable, and depend on one another — and, in some instances, cannot be told apart.
The debate is based on the book, Dependent, Distracted, Bored, out on April 20 with MIT Press. https://mitpress.mit.edu/books/dependent-distracted-bored
Susanna Paasonen is a Finnish feminist scholar. She is a Professor of Media Studies at the University of Turku, and was a visiting scholar at MIT in 2016. She gained her PhD from the University of Turku in 2002; her dissertation was on gender and the popularization of the internet, which was later published through Peter Lang. After holding positions at the universities of Tampere, Jyväskylä and Helsinki, Paasonen was appointed Professor of Media Studies at the University of Turku on 1 August 2011, and publishes on internet research, media theory, sexuality, pornography and affect.
Topic: IIPC Debate
Time: Apr 21, 2021 05:15 PM Helsinki
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IIPC Debate 110, ke 24.3. klo 16:15 (online, Zoom-tiedot tapahtumatiedotteen lopussa)
Leevi & the Leavingsin pitkä kulttuurihistoria
Dosentti Janne Mäkelä (Vapaa tutkija / Taideyliopisto)
Leevi & the Leavings oli vuosituhannen vaihteen tunnetuimpia musiikkinimiä Suomessa. Yhtyeen suosio oli poikkeuksellista, sillä kokoonpano ei toiminta-aikanaan 1978–2003 esiintynyt keikkalavoilla ja loppuvaiheessa myös sen johtaja Gösta Sundqvist vältteli antamasta haastatteluja medialle. Tässä luennossa menestystarinaa valotetaan musiikin tekemisen, jakamisen ja kokemisen näkökulmista ja väitetään, että tragikoomisista kappaleistaan tunnettu yhtye oli “kulttuurihistoriallinen projekti”, joka oli sysätty liikkeelle vuosikymmeniä aiemmin ja jonka jäljet näkyvät selkeänä vielä 2020-luvullakin.
FT, dosentti Janne Mäkelä toimii vapaana kirjoittajana ja Taideyliopiston Sibelius-Akatemian vierailevana tutkijana. Hän on Turun yliopiston populaarikulttuurin historian dosentti. Hänen julkaisujaan ovat muun muassa John Lennon Imagined: Cultural History of a Rock Star (2004), Kansainvälisen populaarimusiikin historiaa (2011, e-versio Pophistoria: kuinka musiikki muutti maailman) ja Nubbenin levyt: taiteilija Lars-Gunnar Nordström jazzkeräilijänä (2019). Parhaillaan Mäkelä kirjoittaa Pop & Jazz Konservatorion historiaa.
Topic: IIPC Debate
Time: Mar 24, 2021 04:00 PM Helsinki
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Music Research, Now! will be arranged the 10th time already. Part of the day will be conducted in English.
Info (in Finnish): https://www.utu.fi/fi/ajankohtaista/mediatiedote/musiikintutkimus-nyt-seminaari-tuo-turkulaiset-musiikintutkijat?fbclid=IwAR2gnCqQ9hpz5lrFOjr9ndmzbn93QY-vckV8C9tIFhXO_UbfjaHsRsPGKKc
Programme (in English): https://m.facebook.com/permalink.php?story_fbid=3987747317954682&id=191364224259696
IIPC debate: Tuesday 8.12., 16:15
Female Metal Vocal Expression. Jinjer: Progressive Metal and Alternative Femininity
Lori Burns, University of Ottawa
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Lori Burns is Professor and Director of the School of Music at the University of Ottawa. Her interdisciplinary research (funded by the Social Sciences and Humanities Council of Canada) merges cultural theory and musical analysis to explore representations of gender in the lyrical, musical and visual texts of popular music. She has published articles in edited collections published by Ashgate, Bloomsbury, Cambridge, Garland, Oxford, Routledge, and the University of Michigan Press, as well as in leading journals (Popular Music, Popular Music and Society, The Journal for Music, Sound, and Moving Image, Studies in Music, Music Theory Spectrum, Music Theory Online and The Journal for Music Theory). Her book on popular music, Disruptive Divas: Critical and Analytical Essays on Feminism, Identity, and Popular Music (Routledge Press, 2002) won the Pauline Alderman Award from the International Alliance for Women in Music (2005). She was a founding co-editor of the Tracking Pop Series of the University of Michigan Press and is now serving as co-editor of the Ashgate Popular and Folk Music Series. She is also Associate Editor of the journal Music Theory Spectrum.
In the context of female performance in heavy metal bands—globally at the level of 3% (Berkers & Schaap 2018, 103-104)—my recent work examines the contributions of female vocalists to the metal subgenres. Using case studies, I realize two research objectives: 1) to analyze multimodal performance expression of female vocalists in metal music; and 2) to complicate the conventional understanding of extreme gender subjectivities (hypermasculinity and hyperfemininity) in metal subgenres. Heavy metal scholarship affirms the genre to be dominated by male performers (Walser 1993; Weinstein 2000) and points to the preponderance of patriarchal values and hypermasculinity, with the performance content contributing to an aesthetic production of misogyny, power, and intensity (Barron 2007; Kummer 2016; Overell 2013, 2014; Rafalovich 2006; Walser 1993; Weinstein 1991, 2009). The notion of heavy metal as a hegemonic discourse exhibiting “fantasies of masculine virtuosity and control” (Walser 1993, 108-109) has been queried by recent scholars who reveal metal to support a range of gendered and sexualized subjectivities (Clifford-Napoleone 2015; Kahn-Harris 2007). I examine how extreme vocalists navigate the hypermasculine discourse of death metal to express an alternative gendered subjectivity. Recognizing the dearth of music analysis for extreme vocal expression (Smialek 2015), and a recent appeal for scholars to “ground a constructed perspective of masculinity from examples in heavy metal itself” (Scott 2016, 122), this study analyzes the work of a female extreme metal vocalist within the subgenre of progressive metal. I adopt a rigorous analytic model for words, music, and images and illustrate how the expressive strategies of Tatiana Shmailyuk (of the band Jinjer) challenges the hegemonic norms of metal.
IIPC debate: Monday 7.12., 16:15
Spatial Imagination in Contemporary Music Video
Mathias Bonde Korsgaard, Aarhus University
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When compared to other audiovisual media, music video has occasionally been credited with opting for “a different articulation of space and time” (Shaviro 2017, 58). Scholars have noted how music videos “expand and transcend our conceptions of temporality and spatiality” (Frahm, 2010, 155), maintaining that music video space is often “fragmented and unstable” (Vernallis 2004, 116) or “hybrid” (Willis 2005; Korsgaard 2017ff). This spatial hybridity can be taken to mean two different things. Firstly, on a general level any music video represents space on two planes at once: an auditory/musical space alongside a visual/cinematic space, with the interrelation between these two creating a distinctly composite “audiovisual space” (Lexmann 2008, 49). Secondly, the notion of spatial hybridity also more specifically implies that music videos are visually discontinuous and fragmented with different spaces and image-planes frequently intermingling and colliding. This hybrid and composite nature of music video necessarily calls for an equally hybrid and composite theoretical and methodological approach to the analysis of music video spaces. Departing from an interdisciplinary theoretical framework, this lecture will engage with spatial imagination in contemporary music video, detailing how music video spaces are characterized by having become increasingly heterogeneous in the digital age.
Frahm, Laura (2010), “Liquid Cosmos. Movement and Mediality in Music Video”, in Rewind. Play. Fast Forward. The Past, Present and Future of the Music Video. Bielefeld: Transcript Verlag, 155-178.
Korsgaard, Mathias Bonde (2017), Music Video After MTV: Audiovisual Studies, New Media, and Popular Music. London & New York: Routledge.
Lexmann, Juraj (2008), Audiovisual Media and Music Culture. Frankfurt am Main: Peter Lang.
Shaviro, Steven (2017), Digital Music Videos. New Brunswick: Rutgers University Press.
Vernallis, Carol (2004), Experiencing Music Video: Aesthetics and Cultural Context. New York: Columbia University Press.
Willis, Holly (2005), New Digital Cinema. London & New York: Wallflower.
Mathias Bonde Korsgaard is assistant professor of film and media at School of Communication and Culture, Aarhus University, Denmark. He is the author of Music Video After MTV (Routledge, 2017) and has published widely on music video, film, and audiovisual studies. He is editor in chief of the Danish online film journal 16:9.
IIPC debate: Wednesday 2.12., 16:15
Gender and Taste in 1970s Rock Criticism
Sarah Hill, Cardiff University
Progressive rock is a genre primarily populated by men, whether as musicians, producers, or audience members. As a genre marketed less for bodily engagement than for cerebral pleasure, it is worth noting that the early years of prog rock coincided with both the rise of rock journalism – another field populated largely by men, who valorised the ‘authentic’ over the ‘pretentious’ – and the nascent Women’s Liberation Movement. In this paper I will explore these intersections in the reception of two canonical recordings from the mid-1970s, chronicle the critical language used to describe prog rock in the UK and US music press, and chart the ways in which women’s musical tastes were alternately defined and stereotyped in the early-1970s. I will then turn to reviews of prog rock written by women critics, with a view toward understanding the role of second-wave feminism in the expressions of women’s critical thoughts in mainstream music magazines, and the curation of taste in women’s magazines of the early 1970s.
Dr Sarah Hill is currently Senior Lecturer in Music at Cardiff University and Co-ordinating Editor of the journal Popular Music. She has published on issues of popular music historiography, popular music and politics, and popular music and cultural identity, particularly as it relates to the Welsh language. Her most recent monograph was San Francisco and the Long 60s (Bloomsbury, 2016), and she is currently editing a collection of essays on one-hit wonders and, with Professor Allan Moore, the Oxford Handbook of Progressive Rock. In April she will take a new post as Associate Professor of Popular Music and Fellow of St Peter’s College, Oxford.
Time: Dec 2, 2020 04:00 PM Helsinki
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Meeting ID: 675 1369 6680