Classical Hollywood SIG at SCMS Atlanta
This year will be the first for a new scholarly interest group (SIG) devoted to Classical Hollywood studies in SCMS. The following is information on the activities and meeting planned for the upcoming 2016 SMCS Conference in Atlanta.
I. SIG MEETING
The Atlanta conference will be the occasion of our first SIG meeting, on Saturday, April 2, 5:00pm, currently planned for Room 410. Given the packed schedule, it was impossible to avoid conflicts, but I tried to pick a day and time that most members would be able to make. The meeting will give a chance for members to meet in person and discuss the group's key business:
- Election of Co-chairs and a graduate student representative
- SIG priorities for 2016-17
- Social media presence
- Professional alliances
- Classical Hollywood scholarship news and announcements
After our annual meeting (6pm-ish), will have an informal happy hour gathering for those interested in sticking around. Gibney's Pub should be a convenient option, a block west of the Hilton:
II. SIG ELECTIONS
The bylaws specify two Co-Chairs and a volunteer Graduate Representative. The Co-Chairs serve staggered terms of three years each, but since the Co-Chairs are to be elected at the Group’s first meeting, the initial Co-Chair terms will stagger, and one member will run for a three-year term and the second will run for a two-year term. All subsequent terms will be for three years.
The Graduate Representative position is filled by self-nomination at the Group’s conference meeting, for a term of 2 to 3 years. If more than one graduate student member is interested in serving, the group will choose the representative by vote.
Please feel free to submit self-nominations for these positions to me at ccagle@temple.edu. Nominations will also be accepted at the meeting. I should stress that while I have been acting as chair on a temporary basis, I encourage anyone interested to step forward.
III. AFFILIATE EVENT
On Thursday night, the Classical Hollywood SIG is co-sponsoring a screening of Thom Anderson's latest film, The Thoughts That Once We Had (2015, NR, Documentary, 108m). I'm sure many of you are familiar with Andersen's work — his essay film style blends an exploration of film history with political and theoretical reflection. Andersen will be in attendance for a Q&A discussion with D.N. Rodowick.
The screening takes place at the Plaza Theatre on Ponce De Leon Ave. (not downtown) on Thursday, March 31, at 7:30pm. Tickets can be reserved ahead of time at the SCMS conference on-site registration desk, and will be available on a first-come, first-served basis at the theatre, with SCMS conference badge.
We are cosponsoring the affiliate event with the Film Philosophy SIG, The Atlanta Film Festival and the Host Committee.
IV. SPONSORED PANELS AND RELATED PAPERS AND WORKSHOPS
The Classical Hollywood SIG is sponsoring eight panels, the maximum we are able to sponsor. This is in addition to a good number of other panels and papers related to classical Hollywood studies at the conference.
SIG-SPONSORED PANELS
J19 Women Working behind the Scenes in World War II and Postwar Hollywood
CHAIR Therese Grisham (Oakton Community College)
Sheri Chinen Biesen (Rowan University), “Virginia Van Upp and Women behind the Scenes in ‘Musical’ Jazz Film Noir”
Christina Lane (University of Miami), “Producing Joan Harrison: Work, Feminism, Politics, and the Postwar Era”
Therese Grisham (Oakton Community College (and Julie Grossman (Le Moyne College), “Ida
Lupino’s Creative Diplomacy and Off-screen Roleplaying”
Helen Hanson (University of Exeter), “Behind the Scenes, Below the Line: Female Sound Technicians, Creative Labor, and Constraints in Hollywood’s Studio System”
K4 Hollywood Stardom and Transnationalism, 1920–1960
CHAIR Scott Balcerzak (Northern Illinois University)
Lucy Fischer (University of Pittsburgh), “Nazimova: Art Film Star of the 1920s”
Maureen Turim (Universiy of Florida), “From Bara to Garbo: The Pose and Timing of Female Desire”
Mark Gallagher (University of Nottingham), “Beyond Caligari and Casablanca: Conrad Veidt’s Global
Performances”
Scott Balcerzak (Northern Illinois University), “Kowalski via Stanislavski: Marlon Brando, Stella Adler, and Soviet Performance”
L5 Hollywood Confidential: Gossip, Politics, and Lifestyle, 1945–1967
CHAIR Jon Lewis (Oregon State University)
Nora Gilbert (University of North Texas), “Hedda Hopper’s Housewives: A Conservative Defense of a Progressive Cause”
Catherine Russell (Concordia University), “Barbara Stanwyck as the Bad Mother”
Jon Lewis (Oregon State University), “Fly Straight and Live Right (Fly Right and Live Straight): Westbrook Pegler and the Politics of Gossip”
Ken Feil (Emerson College), “Jacqueline Susann’s Gossip Girls: Valley of the Dolls, Star Scandal Narratives, and New Hollywood”
RESPONDENT Thomas Doherty (Brandeis University)
M5 Magazines about the Movies: Fans, Trades, and More
CHAIR Tamar Jeffers McDonald (University of Kent)
Gregory Waller (Indiana University), “Beyond Fan Magazines and Trade Journals: Motion Picture Discourse in Periodicals of the 1910s”
Michael Cowan (St Andrews University), “Trade Journals and the Logic of Professions”
Tamar Jeffers McDonald (University of Kent), “Reviewing ‘Reviewing the Fan Mags’”
Eric Hoyt (University of Wisconsin-Madison), “Martin Quigley’s Failed Monopoly and the Triumph of American Cinema’s Trade Press”
P5 The System beyond the Studios: The Industrial Geography of Hollywood
CHAIR Luci Marzola (University of Southern California)
Luci Marzola (University of Southern California), “‘Maintained Solely for Your Benefit’: Building the Hollywood Service Corridor”
Charlie Keil (University of Toronto (and Denise McKenna (University of Southern California), “Building a Unique Industry: The Discourses of Early Hollywood”
Paul Monticone (University of Texas at Austin), “The Hollywood Office of the MPPDA and the Bicoastal Geography of the Film Industry”
RESPONDENT Brian Jacobson (University of Toronto
Q5 The Politics of the Blacklist
CHAIR Chuck Maland (University of Tennessee)
Thomas Doherty (Brandeis University), “The Hollywood Eleventh and Twelfth: Bertolt Brecht and
Emmett Lavery before the House Committee on Un- American Activities”
Chuck Maland (University of Tennessee), “‘I Am What You Call a Peacemonger:’ Chaplin, Government Investigation, and the Blacklist 1947–1952”
Cynthia Meyers (College of Mount Saint Vincent), “Blacklisting as an Advertising Strategy: J. Walter Thompson, Television Sponsors, and Anticommunist Activists, 1951–1955”
RESPONDENT Brian Neve (University of Bath)
T3 Chasing Paper: Studio Planning, Support Departments, and Hollywood Production
CHAIR Erin Hill (University of California, Los Angeles)
Aaron Rich (University of Southern California), “Bible Building, World Building: Studio Research Libraries and the Creation of Realism”
Erin Hill (University of California, Los Angeles), “Weeders, Readers, and ‘D-Girls’: Feminized Labor in the Story Department”
Dawn Fratini (Chapman University), “Tracing Technological Transformation in the 1950s: The Long and Wide Paper Trail of the Motion Picture Research Council”
Daniel Steinhart (University of Oregon), “The Learning Curves and Trade Knowledge of Hollywood’s Postwar ‘Runaway’ Productions”
U3 Tracking Sound: On Film Music, Aesthetics, and Narrative
CHAIR Paula Musegades (Brandeis University)
Paula Musegades (Brandeis University), “Communism, Propaganda, and Music: Aaron Copland’s Film Score for Lewis Milestone’s The North Star (1943)”
Kevin John Bozelka (Bronx Community College), “Music Is Heard, Not Seen: Grand Rights and the Visualization of Song in Hollywood Cinema”
Hannah Lewis (University of Texas at Austin), “Love Me Tonight (1932) and the Development of the Integrated Film Musical”
Matthew McDonald (Northeastern University), “Behind the Whirring Machinery: Narrative Levels in the Coen Brothers’ Films”
OTHER RELATED PANELS
D8 How Does Lubitsch Do It?: Reconsidering the Vital Importance of (Being) Ernst Lubitsch
CHAIR Kathryn Wardell (University of North Alabama)
Richard McCormick (University of Minnesota), “‘Sophistication,’ Screwball, and Censorship: Lubitsch in the 1930s”
Noa Merkin (University of Chicago), “Lubitsch and the Objects of Love”
Kathryn Wardell (University of North Alabama), “Jazz Up Your Lingerie, Just like a Melody: Sensuality and Sound in the Ernst Lubitsch Musical”
E7 Cultural Critique in Classical Hollywood
CHAIR Michael Slowik (San Diego State University)
Michael Slowik (San Diego State University), “‘What’s the Matter with Bigamy?’: Evading the Production Code in The Miracle of Morgan’s Creek”
Lauren Davine (Ryerson University), “Motherly Love: Maternal Lovers and Childish Men in Postwar Malecentered Melodrama”
Kathaleen Boche (Independent Scholar), “‘I Like Myself’: Dance and Cold War Self-affirmations in Hollywood Musicals, 1955–1957”
G9 Star Maps: Publicity, Authorship, and Hollywood Stars
CHAIR Milan Hain (Palacky University)
Michael Williams (University of Southampton), “’Above Everything?’: Icons and Idolatry in Mata Hari (George Fitzmaurice, 1931)”
Milan Hain (Palacky University), “Courting Europe: David O. Selznick and His Transnational Stars”
Kelsey Moore (University of Southern California), “‘A Story Only Life Itself Could Have Inspired’: Publicity, Subjectivity, and A Star is Born”
R. Colin Tait (Texas Christian University), “The King of Comedy in the Archive: What the Robert De Niro Papers Tell Us about the Actor’s Authorial Stamp"
G16 Expanded Horizons: New Approaches to CinemaScope Aesthetics
CHAIRS Sam Roggen (University of Antwerp) and Anthony Coman (University of Florida
Sam Roggen (University of Antwerp), “The End of Montage?: A Systematic Formal Analysis of Editing Style in Early CinemaScope”
Marshall Deutelbaum (Purdue University), “Graphic Continuity and Set Design in the CinemaScope Composition of The Tender Trap”
Anthony Coman (University of Florida), “‘Out of the Inner Moment Comes the Whole’: Organic Continuity in Wright, Ray, and Perkins”
Nathaniel Deyo (University of Florida), “Toward a Non-bourgeois Use of CinemaScope: Notes on Contempt”
I1 Gone with the Wind: Interracial Crossings
CHAIR Matthew H. Bernstein (Emory University
Steve Wilson (University of Texas at Austin), “The Slave ‘Hopefuls’: Casting Gone with the Wind”
Douglas Kern (University of Maryland), “Lending Body and Voice: Investigating Hattie McDaniel’s Performances of White-authored Texts”
Charlene Regester (University of North Carolina at Chapel Hill), “White Fascination with Blackness: Racial Masquerades in Gone With the Wind”
Matthew H. Bernstein (Emory University), “Gone with the Wind in Black Theaters: The Distribution Plan”
I3 Color II: Perception, Address and Space
CHAIR Tyler Schroeder (University of Chicago
Hannah Garibaldi (Chapman University), “Natalie Kalmus: ‘Conscious’ Chromatic Cinema”
Junko Yamazaki (University of Chicago), “Between Black and Dark: Matsumoto Toshio’s Pandemonium (1971)”
Tyler Schroeder (University of Chicago), “Marginal Habitability: Sourcing Colored Light in All That Heaven Allows (1955)”
RESPONDENT Kirsten Moana Thompson (University of
Victoria
L15 Hollywood Women in Transition: Rediscovery and Reconfiguration from Stage and Screen to Television
CHAIR Vera Dika (New Jersey City University)
Vera Dika (New Jersey City University), “Remaking the Serpentine Dance and the Skin Light: Edison, the Lumières, and Stephanie Wuertz”
Desiree Garcia (Arizona State University), “You Can’t Keep a Good Girl Down: Marilyn Miller, Stardom, and Early Musicals”
J. E. Smyth (University of Warwick), “Refusing the Feminist Frame: A Struggle over Hollywood’s Women in the 1930s and 1970s”
Cynthia Lucia (Rider University), “Big Screen/Small Screen: Natalie Wood’s Quest for the New Hollywood”
M6 Remapping the Hollywood Western Landscape
CHAIR Matt Hauske (University of Chicago)
Jennifer Peterson (University of Colorado Boulder), “Landscape and Ecology on The Big Trail”
Richard Grusin (University of Wisconsin-Milwaukee), “Landscape, Diegesis, and Music in the Westerns of John Ford, Anthony Mann, and Budd Boetticher”
Matt Hauske (University of Chicago), “You’ve Gotta Know the Territory: Maps, Landscapes, and Physical Reality in Action Cinema”
Joshua Gleich (University of Arizona), “Coogan’s Bluff: Transposing Western and Urban Frontiers”
O13 Sex, Class, and Stardom in Postwar Hollywood
CHAIR Amanda Konkle (University of Kentucky)
Adrienne L. McLean (University of Texas at Dallas), “‘Can Allure Be Mature?’: Stardom and Age in Latestudio Hollywood”
Lucy Bolton (Queen Mary University of London), “’Well, I'll Take the Lower, Every Time’: Sex, Class, and Princess Grace Kelly”
Amanda Konkle (University of Kentucky), “‘An Unacceptable Suggestive Flavor’: Marilyn Monroe’s Films, Class, and the Weakening of the Hollywood Production Code”
Andrea Press (University of Virginia (and Marjorie Rosen (Lehman College, CUNY), “Sex, Class, and Trash: The Gold Diggers and Femmes Fatales of Postwar Hollywood”
P2 Postwar Hollywood: Containing Female Agency in the Workplace
CHAIR Alan Nadel (University of Kentucky)
Alan Nadel (University of Kentucky), “It’s All About Eve: Margo Channing, Norma Desmond, Lina Lamont and the Abjection of Female Stars”
Mary Desjardins (Dartmouth College), “‘One Good Idea into the Mainstream of American Life’: Hollywood Stardom under the Sign of Postwar Catholicism”
Steven Cohan (Syracuse University), “Paris Loves Lovers and Americans Loved Paris: Gender, Work, and Modernity in the Postwar Hollywood Musical”
RESPONDENT Lucy Fischer (University of Pittsburgh
T18 Hitchcock Adapted: Constructing and Reconstructing an Auteur
CHAIR Matthew Bolton (Concordia College New York)
Sidney Gottlieb (Sacred Heart University), “Truffaut Adapts Hitchcock”
Donna Kornhaber (University of Texas at Austin), “Alfred Hitchcock Presents Alfred Hitchcock: Brand,
Media, and Directorial Identity”
John Hellmann (Ohio State University), “Petzold’s Hitchcock”
Matthew Bolton (Concordia College New York •
“Hitch Out-Hitches Hitch: Consolidation of a Romantic Style in The Man Who Knew Too Much”
OTHER RELATED PAPERS
A12 Geoff Lealand (University of Waikato), “We’re Going to Be Sent to Hollywood: Shirley Temple ‘Double’ Competitions in 1930s New Zealand"
A15 Guy Barefoot (University of Leicester), “Researching Seriality, Continued: Children, Adults, the Film Serial and Film History”
A15 Nathaniel Brennan (New York University), "“Execs Nix Pix Crix” or, Film Criticism According to Hollywood:
“Useless” Film Critics, Studio Publicity Campaigns, and the Daily Press, 1926-1942"
B5 Steven A. Carr (Indiana University-Purdue University Fort Wayne), “Remnants of The Search (MGM, 1948): Postwar Testimony
B14 Philip Sewell (Independent Scholar), "“Are You a Victim of Habiphobia?”: A Regional Theater Circuit Reacts
to the Post-WWII Decline in Texas Movie-Going"
D3 Pamela Krayenbuhl (Northwestern University •
“With Cartoons, on the Ceiling, with Shadows: Innovating Dancefilm Movement in the Golden Age Hollywood Musical
D11 Anna Siomopoulos (Bentley University), “‘They Do Not Get to Take My Marriage’: The Whistleblower Couple in Hollywood Film”
D17 Joanna Rapf (University of Oklahoma), “Polly Moran: A Bassoon in Hollywood’s ‘Symphony of Sweet-Tuned Violins’”
E10 Staci Stutsman (Syracuse University), “Pre-Code Stanwyck: The Sass, the Stare, and the Scream”
E10 Will Scheibel (Syracuse University), “Gene Tierney and Laura: Wartime Fantasies of Inconspicuous Consumption”
E14 Robert Miklitsch (Ohio University), “Odds for Tomorrow: Race, Melo-policier, and the Trope of Oriental Inscrutability in Samuel Fuller’s The Crimson Kimono”
E14 Zeke Saber (University of Southern California), “Film Noir and the Submission of Cinema to Literature”
F6 Ila Tyagi (Yale University), “Blood Moon: Infrared Cinematography in Early Wartime Hollywood”
F10 Lies Lanckman (University of Kent), “Brickbats, Bouquets, and Bytes: Classic Hollywood Fandom in the Twenty-first Century”
F23 Sandra Annett (Wilfrid Laurier University), “Dance the Body Electric: Re-animating Classical Hollywood in
Electroswing Music Videos”
G3 Ellen Scott (University of California, Los Angeles), “‘The So-called Third Degree Method’: Police Brutality and
Race in Classical Hollywood Cinema
I7 Michael Lawrence (University of Sussex), “‘The Grammar School Girls’ Laurence Olivier’: Steven Muller, a ‘British’ German Jewish Juvenile Actor in 1940s Hollywood”
J16 Yannis Tzioumakis (University of Liverpool), “In the Shadow of The Wild One, Blackboard Jungle, and
Rebel Without a Cause: Rock Around the Clock and Its Independent Look at the Youth of the 1950s
K14 David Lugowski (Manhattanville College), “Authorship, Britishness, Chronotopes, and the Depression: The ABCD’s of Masters and Servants in James Whale’s Films”
L20 Melanie Kohnen (Coventry University), “Nonnormative Scholarship for Non-normative Media: A Videographic Exploration of Classical Hollywood Cinema’s Queer Tropes”
L21 Patrick Keating (Trinity University), “Theorizing Light: Henri Alekan and Vittorio Storaro”
L21 Clifford Galiher (University of Southern California), “Getting the Impossible Shot: Virtual Cinematography at RKO”
N12 Tamas Nagypal (York University), “Hollywood’s Sovereign Exception: On Film Noir’s Masculine Biopolitics”
O16 Nitin Govil (University of Southern California), “Technique, Travel, and Translation: Film Technology between Hollywood and Bombay”
P20 Shota Ogawa (University of North Carolina at Charlotte), “On-location Adventures at the Fringes of Technicolor (1927–1934)”
Q4 Hannah Frank (University of Chicago), “The Draughtsman’s Imagination: Deep-focus Cinematography in Walt Disney’s Cinderella (1950)”
Q11 Nolwenn Mingant (University of Nantes), “Hollywood vs. France?: Coopetition in the North African Market (1910s–1960s)”
R4 Amos Stailey-Young (University of Iowa), “Finding the View: Classical Hollywood Location Shooting and the Indexing of Nature”
Q11 Kaveh Askari (Northwestern University in Qatar), “Relaying American Films in Iran after WWII
S9 Claudia Calhoun (Skidmore College), “A City without Boundaries: Elia Kazan’s New Orleans in Panic in the Streets (1950)”
S9 Jacqueline Pinkowitz (University of Texas at Austin •
“Whiteness Undercover: Detecting Black Southern Oppression in Black Like Me (1964)”
S15 Eric Herhuth (University of Wisconsin-Milwaukee), “Reconsidering Corporate Art: Critical Aestheticism and Studio Authorship”
S15 John Bruns (College of Charleston), “Showtime!: Under the Spell of Tony Curtis in Sweet Smell of Success”
T16 Emily Carman (Chapman University), “Hard Bargainer: Constance Bennett as Star-turned-producer in Postwar Hollywood”
T16 Ross Melnick (University of California, Santa Barbara), “Warner Worldwide: Warner Bros. Theater Circuits and the Global Marketplace, 1938–2013”
U7 Hiaw Khim Tan (University of Chicago), “From Augustus Egg to King Vidor: Rediscovering the Emblem Form in Hollywood Visual Style of the Studio Period”
I. SIG MEETING
The Atlanta conference will be the occasion of our first SIG meeting, on Saturday, April 2, 5:00pm, currently planned for Room 410. Given the packed schedule, it was impossible to avoid conflicts, but I tried to pick a day and time that most members would be able to make. The meeting will give a chance for members to meet in person and discuss the group's key business:
- Election of Co-chairs and a graduate student representative
- SIG priorities for 2016-17
- Social media presence
- Professional alliances
- Classical Hollywood scholarship news and announcements
After our annual meeting (6pm-ish), will have an informal happy hour gathering for those interested in sticking around. Gibney's Pub should be a convenient option, a block west of the Hilton:
II. SIG ELECTIONS
The bylaws specify two Co-Chairs and a volunteer Graduate Representative. The Co-Chairs serve staggered terms of three years each, but since the Co-Chairs are to be elected at the Group’s first meeting, the initial Co-Chair terms will stagger, and one member will run for a three-year term and the second will run for a two-year term. All subsequent terms will be for three years.
The Graduate Representative position is filled by self-nomination at the Group’s conference meeting, for a term of 2 to 3 years. If more than one graduate student member is interested in serving, the group will choose the representative by vote.
Please feel free to submit self-nominations for these positions to me at ccagle@temple.edu. Nominations will also be accepted at the meeting. I should stress that while I have been acting as chair on a temporary basis, I encourage anyone interested to step forward.
III. AFFILIATE EVENT
On Thursday night, the Classical Hollywood SIG is co-sponsoring a screening of Thom Anderson's latest film, The Thoughts That Once We Had (2015, NR, Documentary, 108m). I'm sure many of you are familiar with Andersen's work — his essay film style blends an exploration of film history with political and theoretical reflection. Andersen will be in attendance for a Q&A discussion with D.N. Rodowick.
The screening takes place at the Plaza Theatre on Ponce De Leon Ave. (not downtown) on Thursday, March 31, at 7:30pm. Tickets can be reserved ahead of time at the SCMS conference on-site registration desk, and will be available on a first-come, first-served basis at the theatre, with SCMS conference badge.
We are cosponsoring the affiliate event with the Film Philosophy SIG, The Atlanta Film Festival and the Host Committee.
IV. SPONSORED PANELS AND RELATED PAPERS AND WORKSHOPS
The Classical Hollywood SIG is sponsoring eight panels, the maximum we are able to sponsor. This is in addition to a good number of other panels and papers related to classical Hollywood studies at the conference.
SIG-SPONSORED PANELS
J19 Women Working behind the Scenes in World War II and Postwar Hollywood
CHAIR Therese Grisham (Oakton Community College)
Sheri Chinen Biesen (Rowan University), “Virginia Van Upp and Women behind the Scenes in ‘Musical’ Jazz Film Noir”
Christina Lane (University of Miami), “Producing Joan Harrison: Work, Feminism, Politics, and the Postwar Era”
Therese Grisham (Oakton Community College (and Julie Grossman (Le Moyne College), “Ida
Lupino’s Creative Diplomacy and Off-screen Roleplaying”
Helen Hanson (University of Exeter), “Behind the Scenes, Below the Line: Female Sound Technicians, Creative Labor, and Constraints in Hollywood’s Studio System”
K4 Hollywood Stardom and Transnationalism, 1920–1960
CHAIR Scott Balcerzak (Northern Illinois University)
Lucy Fischer (University of Pittsburgh), “Nazimova: Art Film Star of the 1920s”
Maureen Turim (Universiy of Florida), “From Bara to Garbo: The Pose and Timing of Female Desire”
Mark Gallagher (University of Nottingham), “Beyond Caligari and Casablanca: Conrad Veidt’s Global
Performances”
Scott Balcerzak (Northern Illinois University), “Kowalski via Stanislavski: Marlon Brando, Stella Adler, and Soviet Performance”
L5 Hollywood Confidential: Gossip, Politics, and Lifestyle, 1945–1967
CHAIR Jon Lewis (Oregon State University)
Nora Gilbert (University of North Texas), “Hedda Hopper’s Housewives: A Conservative Defense of a Progressive Cause”
Catherine Russell (Concordia University), “Barbara Stanwyck as the Bad Mother”
Jon Lewis (Oregon State University), “Fly Straight and Live Right (Fly Right and Live Straight): Westbrook Pegler and the Politics of Gossip”
Ken Feil (Emerson College), “Jacqueline Susann’s Gossip Girls: Valley of the Dolls, Star Scandal Narratives, and New Hollywood”
RESPONDENT Thomas Doherty (Brandeis University)
M5 Magazines about the Movies: Fans, Trades, and More
CHAIR Tamar Jeffers McDonald (University of Kent)
Gregory Waller (Indiana University), “Beyond Fan Magazines and Trade Journals: Motion Picture Discourse in Periodicals of the 1910s”
Michael Cowan (St Andrews University), “Trade Journals and the Logic of Professions”
Tamar Jeffers McDonald (University of Kent), “Reviewing ‘Reviewing the Fan Mags’”
Eric Hoyt (University of Wisconsin-Madison), “Martin Quigley’s Failed Monopoly and the Triumph of American Cinema’s Trade Press”
P5 The System beyond the Studios: The Industrial Geography of Hollywood
CHAIR Luci Marzola (University of Southern California)
Luci Marzola (University of Southern California), “‘Maintained Solely for Your Benefit’: Building the Hollywood Service Corridor”
Charlie Keil (University of Toronto (and Denise McKenna (University of Southern California), “Building a Unique Industry: The Discourses of Early Hollywood”
Paul Monticone (University of Texas at Austin), “The Hollywood Office of the MPPDA and the Bicoastal Geography of the Film Industry”
RESPONDENT Brian Jacobson (University of Toronto
Q5 The Politics of the Blacklist
CHAIR Chuck Maland (University of Tennessee)
Thomas Doherty (Brandeis University), “The Hollywood Eleventh and Twelfth: Bertolt Brecht and
Emmett Lavery before the House Committee on Un- American Activities”
Chuck Maland (University of Tennessee), “‘I Am What You Call a Peacemonger:’ Chaplin, Government Investigation, and the Blacklist 1947–1952”
Cynthia Meyers (College of Mount Saint Vincent), “Blacklisting as an Advertising Strategy: J. Walter Thompson, Television Sponsors, and Anticommunist Activists, 1951–1955”
RESPONDENT Brian Neve (University of Bath)
T3 Chasing Paper: Studio Planning, Support Departments, and Hollywood Production
CHAIR Erin Hill (University of California, Los Angeles)
Aaron Rich (University of Southern California), “Bible Building, World Building: Studio Research Libraries and the Creation of Realism”
Erin Hill (University of California, Los Angeles), “Weeders, Readers, and ‘D-Girls’: Feminized Labor in the Story Department”
Dawn Fratini (Chapman University), “Tracing Technological Transformation in the 1950s: The Long and Wide Paper Trail of the Motion Picture Research Council”
Daniel Steinhart (University of Oregon), “The Learning Curves and Trade Knowledge of Hollywood’s Postwar ‘Runaway’ Productions”
U3 Tracking Sound: On Film Music, Aesthetics, and Narrative
CHAIR Paula Musegades (Brandeis University)
Paula Musegades (Brandeis University), “Communism, Propaganda, and Music: Aaron Copland’s Film Score for Lewis Milestone’s The North Star (1943)”
Kevin John Bozelka (Bronx Community College), “Music Is Heard, Not Seen: Grand Rights and the Visualization of Song in Hollywood Cinema”
Hannah Lewis (University of Texas at Austin), “Love Me Tonight (1932) and the Development of the Integrated Film Musical”
Matthew McDonald (Northeastern University), “Behind the Whirring Machinery: Narrative Levels in the Coen Brothers’ Films”
OTHER RELATED PANELS
D8 How Does Lubitsch Do It?: Reconsidering the Vital Importance of (Being) Ernst Lubitsch
CHAIR Kathryn Wardell (University of North Alabama)
Richard McCormick (University of Minnesota), “‘Sophistication,’ Screwball, and Censorship: Lubitsch in the 1930s”
Noa Merkin (University of Chicago), “Lubitsch and the Objects of Love”
Kathryn Wardell (University of North Alabama), “Jazz Up Your Lingerie, Just like a Melody: Sensuality and Sound in the Ernst Lubitsch Musical”
E7 Cultural Critique in Classical Hollywood
CHAIR Michael Slowik (San Diego State University)
Michael Slowik (San Diego State University), “‘What’s the Matter with Bigamy?’: Evading the Production Code in The Miracle of Morgan’s Creek”
Lauren Davine (Ryerson University), “Motherly Love: Maternal Lovers and Childish Men in Postwar Malecentered Melodrama”
Kathaleen Boche (Independent Scholar), “‘I Like Myself’: Dance and Cold War Self-affirmations in Hollywood Musicals, 1955–1957”
G9 Star Maps: Publicity, Authorship, and Hollywood Stars
CHAIR Milan Hain (Palacky University)
Michael Williams (University of Southampton), “’Above Everything?’: Icons and Idolatry in Mata Hari (George Fitzmaurice, 1931)”
Milan Hain (Palacky University), “Courting Europe: David O. Selznick and His Transnational Stars”
Kelsey Moore (University of Southern California), “‘A Story Only Life Itself Could Have Inspired’: Publicity, Subjectivity, and A Star is Born”
R. Colin Tait (Texas Christian University), “The King of Comedy in the Archive: What the Robert De Niro Papers Tell Us about the Actor’s Authorial Stamp"
G16 Expanded Horizons: New Approaches to CinemaScope Aesthetics
CHAIRS Sam Roggen (University of Antwerp) and Anthony Coman (University of Florida
Sam Roggen (University of Antwerp), “The End of Montage?: A Systematic Formal Analysis of Editing Style in Early CinemaScope”
Marshall Deutelbaum (Purdue University), “Graphic Continuity and Set Design in the CinemaScope Composition of The Tender Trap”
Anthony Coman (University of Florida), “‘Out of the Inner Moment Comes the Whole’: Organic Continuity in Wright, Ray, and Perkins”
Nathaniel Deyo (University of Florida), “Toward a Non-bourgeois Use of CinemaScope: Notes on Contempt”
I1 Gone with the Wind: Interracial Crossings
CHAIR Matthew H. Bernstein (Emory University
Steve Wilson (University of Texas at Austin), “The Slave ‘Hopefuls’: Casting Gone with the Wind”
Douglas Kern (University of Maryland), “Lending Body and Voice: Investigating Hattie McDaniel’s Performances of White-authored Texts”
Charlene Regester (University of North Carolina at Chapel Hill), “White Fascination with Blackness: Racial Masquerades in Gone With the Wind”
Matthew H. Bernstein (Emory University), “Gone with the Wind in Black Theaters: The Distribution Plan”
I3 Color II: Perception, Address and Space
CHAIR Tyler Schroeder (University of Chicago
Hannah Garibaldi (Chapman University), “Natalie Kalmus: ‘Conscious’ Chromatic Cinema”
Junko Yamazaki (University of Chicago), “Between Black and Dark: Matsumoto Toshio’s Pandemonium (1971)”
Tyler Schroeder (University of Chicago), “Marginal Habitability: Sourcing Colored Light in All That Heaven Allows (1955)”
RESPONDENT Kirsten Moana Thompson (University of
Victoria
L15 Hollywood Women in Transition: Rediscovery and Reconfiguration from Stage and Screen to Television
CHAIR Vera Dika (New Jersey City University)
Vera Dika (New Jersey City University), “Remaking the Serpentine Dance and the Skin Light: Edison, the Lumières, and Stephanie Wuertz”
Desiree Garcia (Arizona State University), “You Can’t Keep a Good Girl Down: Marilyn Miller, Stardom, and Early Musicals”
J. E. Smyth (University of Warwick), “Refusing the Feminist Frame: A Struggle over Hollywood’s Women in the 1930s and 1970s”
Cynthia Lucia (Rider University), “Big Screen/Small Screen: Natalie Wood’s Quest for the New Hollywood”
M6 Remapping the Hollywood Western Landscape
CHAIR Matt Hauske (University of Chicago)
Jennifer Peterson (University of Colorado Boulder), “Landscape and Ecology on The Big Trail”
Richard Grusin (University of Wisconsin-Milwaukee), “Landscape, Diegesis, and Music in the Westerns of John Ford, Anthony Mann, and Budd Boetticher”
Matt Hauske (University of Chicago), “You’ve Gotta Know the Territory: Maps, Landscapes, and Physical Reality in Action Cinema”
Joshua Gleich (University of Arizona), “Coogan’s Bluff: Transposing Western and Urban Frontiers”
O13 Sex, Class, and Stardom in Postwar Hollywood
CHAIR Amanda Konkle (University of Kentucky)
Adrienne L. McLean (University of Texas at Dallas), “‘Can Allure Be Mature?’: Stardom and Age in Latestudio Hollywood”
Lucy Bolton (Queen Mary University of London), “’Well, I'll Take the Lower, Every Time’: Sex, Class, and Princess Grace Kelly”
Amanda Konkle (University of Kentucky), “‘An Unacceptable Suggestive Flavor’: Marilyn Monroe’s Films, Class, and the Weakening of the Hollywood Production Code”
Andrea Press (University of Virginia (and Marjorie Rosen (Lehman College, CUNY), “Sex, Class, and Trash: The Gold Diggers and Femmes Fatales of Postwar Hollywood”
P2 Postwar Hollywood: Containing Female Agency in the Workplace
CHAIR Alan Nadel (University of Kentucky)
Alan Nadel (University of Kentucky), “It’s All About Eve: Margo Channing, Norma Desmond, Lina Lamont and the Abjection of Female Stars”
Mary Desjardins (Dartmouth College), “‘One Good Idea into the Mainstream of American Life’: Hollywood Stardom under the Sign of Postwar Catholicism”
Steven Cohan (Syracuse University), “Paris Loves Lovers and Americans Loved Paris: Gender, Work, and Modernity in the Postwar Hollywood Musical”
RESPONDENT Lucy Fischer (University of Pittsburgh
T18 Hitchcock Adapted: Constructing and Reconstructing an Auteur
CHAIR Matthew Bolton (Concordia College New York)
Sidney Gottlieb (Sacred Heart University), “Truffaut Adapts Hitchcock”
Donna Kornhaber (University of Texas at Austin), “Alfred Hitchcock Presents Alfred Hitchcock: Brand,
Media, and Directorial Identity”
John Hellmann (Ohio State University), “Petzold’s Hitchcock”
Matthew Bolton (Concordia College New York •
“Hitch Out-Hitches Hitch: Consolidation of a Romantic Style in The Man Who Knew Too Much”
OTHER RELATED PAPERS
A12 Geoff Lealand (University of Waikato), “We’re Going to Be Sent to Hollywood: Shirley Temple ‘Double’ Competitions in 1930s New Zealand"
A15 Guy Barefoot (University of Leicester), “Researching Seriality, Continued: Children, Adults, the Film Serial and Film History”
A15 Nathaniel Brennan (New York University), "“Execs Nix Pix Crix” or, Film Criticism According to Hollywood:
“Useless” Film Critics, Studio Publicity Campaigns, and the Daily Press, 1926-1942"
B5 Steven A. Carr (Indiana University-Purdue University Fort Wayne), “Remnants of The Search (MGM, 1948): Postwar Testimony
B14 Philip Sewell (Independent Scholar), "“Are You a Victim of Habiphobia?”: A Regional Theater Circuit Reacts
to the Post-WWII Decline in Texas Movie-Going"
D3 Pamela Krayenbuhl (Northwestern University •
“With Cartoons, on the Ceiling, with Shadows: Innovating Dancefilm Movement in the Golden Age Hollywood Musical
D11 Anna Siomopoulos (Bentley University), “‘They Do Not Get to Take My Marriage’: The Whistleblower Couple in Hollywood Film”
D17 Joanna Rapf (University of Oklahoma), “Polly Moran: A Bassoon in Hollywood’s ‘Symphony of Sweet-Tuned Violins’”
E10 Staci Stutsman (Syracuse University), “Pre-Code Stanwyck: The Sass, the Stare, and the Scream”
E10 Will Scheibel (Syracuse University), “Gene Tierney and Laura: Wartime Fantasies of Inconspicuous Consumption”
E14 Robert Miklitsch (Ohio University), “Odds for Tomorrow: Race, Melo-policier, and the Trope of Oriental Inscrutability in Samuel Fuller’s The Crimson Kimono”
E14 Zeke Saber (University of Southern California), “Film Noir and the Submission of Cinema to Literature”
F6 Ila Tyagi (Yale University), “Blood Moon: Infrared Cinematography in Early Wartime Hollywood”
F10 Lies Lanckman (University of Kent), “Brickbats, Bouquets, and Bytes: Classic Hollywood Fandom in the Twenty-first Century”
F23 Sandra Annett (Wilfrid Laurier University), “Dance the Body Electric: Re-animating Classical Hollywood in
Electroswing Music Videos”
G3 Ellen Scott (University of California, Los Angeles), “‘The So-called Third Degree Method’: Police Brutality and
Race in Classical Hollywood Cinema
I7 Michael Lawrence (University of Sussex), “‘The Grammar School Girls’ Laurence Olivier’: Steven Muller, a ‘British’ German Jewish Juvenile Actor in 1940s Hollywood”
J16 Yannis Tzioumakis (University of Liverpool), “In the Shadow of The Wild One, Blackboard Jungle, and
Rebel Without a Cause: Rock Around the Clock and Its Independent Look at the Youth of the 1950s
K14 David Lugowski (Manhattanville College), “Authorship, Britishness, Chronotopes, and the Depression: The ABCD’s of Masters and Servants in James Whale’s Films”
L20 Melanie Kohnen (Coventry University), “Nonnormative Scholarship for Non-normative Media: A Videographic Exploration of Classical Hollywood Cinema’s Queer Tropes”
L21 Patrick Keating (Trinity University), “Theorizing Light: Henri Alekan and Vittorio Storaro”
L21 Clifford Galiher (University of Southern California), “Getting the Impossible Shot: Virtual Cinematography at RKO”
N12 Tamas Nagypal (York University), “Hollywood’s Sovereign Exception: On Film Noir’s Masculine Biopolitics”
O16 Nitin Govil (University of Southern California), “Technique, Travel, and Translation: Film Technology between Hollywood and Bombay”
P20 Shota Ogawa (University of North Carolina at Charlotte), “On-location Adventures at the Fringes of Technicolor (1927–1934)”
Q4 Hannah Frank (University of Chicago), “The Draughtsman’s Imagination: Deep-focus Cinematography in Walt Disney’s Cinderella (1950)”
Q11 Nolwenn Mingant (University of Nantes), “Hollywood vs. France?: Coopetition in the North African Market (1910s–1960s)”
R4 Amos Stailey-Young (University of Iowa), “Finding the View: Classical Hollywood Location Shooting and the Indexing of Nature”
Q11 Kaveh Askari (Northwestern University in Qatar), “Relaying American Films in Iran after WWII
S9 Claudia Calhoun (Skidmore College), “A City without Boundaries: Elia Kazan’s New Orleans in Panic in the Streets (1950)”
S9 Jacqueline Pinkowitz (University of Texas at Austin •
“Whiteness Undercover: Detecting Black Southern Oppression in Black Like Me (1964)”
S15 Eric Herhuth (University of Wisconsin-Milwaukee), “Reconsidering Corporate Art: Critical Aestheticism and Studio Authorship”
S15 John Bruns (College of Charleston), “Showtime!: Under the Spell of Tony Curtis in Sweet Smell of Success”
T16 Emily Carman (Chapman University), “Hard Bargainer: Constance Bennett as Star-turned-producer in Postwar Hollywood”
T16 Ross Melnick (University of California, Santa Barbara), “Warner Worldwide: Warner Bros. Theater Circuits and the Global Marketplace, 1938–2013”
U7 Hiaw Khim Tan (University of Chicago), “From Augustus Egg to King Vidor: Rediscovering the Emblem Form in Hollywood Visual Style of the Studio Period”
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