IIPC Debate 1 Nov

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).

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EUPOP 2019 (Limerick, Ireland)

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:

https://www.intellectbooks.co.uk/journals/index/

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/

Kind Regards,

EPCA President, Kari Kallioniemi, kakallio@utu.fi

EPCA Vice-President, Pamela Church Gibson, pamelachurchgibson@gmail.com

EPCA Secretary, Kimi Kärki, kierka@utu.fi

EPCA Treasurer, Pekka Kolehmainen, pmkole@utu.fi

EPCA Membership Secretary, Graham Roberts, grahamroberts83@gmail.com

Local Organiser Contact: Marcus Free, Marcus.Free@mic.ul.ie

IIPC Debate 25 Oct

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.

Warm welcome!