Official Conference Program

Introductory Notes and Reminders 

 

On behalf of the Editorial Staff and the Advisory Board of Film & History, we welcome you to Madison, and we hope you enjoy this year’s conference. 

 

• REGISTRATION opens on Thursday morning (7:00 AM) and continues throughout the conference. Wednesday and Sunday are reserved for travel and special meetings.

 

• Please WEAR YOUR BADGE to all conference-related activities, including the banquet on Saturday, which is included in your registration fee.

 

• COFFEE AND TEA will be provided in the morning and afternoon on the conference floor, near the registration desk. Meals are on your own.

 

Film & History conferences give panelists adequate time to make presentations. Each panel (of 2-3 colleagues) is a full 90 minutes. However, each presenter should aim for 20 minutes for the formal presentation itself. In this way, 15-30 minutes will remain for questions and answers at the end. The panel chair should signal the presenter to finish immediately after 20 minutes. If the presenter does not stop within a minute or two of this notice, the chair must STOP the presentation and begin the next one (or must begin the Q&A). Please do not infringe upon a colleague's time or upon Q&A time for the audience.

 

• The plenary banquet and keynote presentation will be held on Saturday evening, in the Capitol Ballroom (second floor). The event is COMPLIMENTARY for all registered participants and book exhibitors. 

 

• Collegiality is paramount at F&H. During all meetings, please match your perspicuity about films and texts with your courtesy and generosity toward your colleagues. The point of a conference is to collaborate (if still critically); it is not to compete or to condemn. Collegial support and enthusiastic exchange are vital to an academic conference. Above all, ATTEND PANELS OTHER THAN YOUR OWN.

 

Finally, the city of Madison has exceptional food, art, and entertainment, as well as spectacular views of the lakes, so we hope you’ll spend an evening or two relishing them, just as we hope that you will immerse yourself in the scholarship and conversations here at the 2018 Film & History Conference. 

 

Loren Baybrook, Editor-in-Chief and Conference Director 

Cindy Miller, Program Coordinator and Director of Communications 

 


 

Preparing and Attending Presentations 

 

You may load your media through any USB port or the SD slot on the back of the Mac mini or through the optical-disc tray of the attached DVD/Blu-ray drive (Region 1/A), or you may download media from an online source. The computers have Microsoft Office, including PowerPoint and Word. The TVs do not have cameras (for Skype or any other video exchanges). All presenter data will be wiped after the conference. 

 

PLEASE DO NOT REMOVE ANY CABLES FROM THE BACK OF THE TELEVISION

 

If you intend to use your own laptop computer to present, you will need to connect the HDMI cable (attached to the F&H computer) or the optional VGA cable+audio cable to your computer, and then enable “mirror display” on your laptop computer (available through “Display” in Apple’s “System Preferences” or, in Windows, through the “Display” icon in “Settings” or “Control Panel”) so that its display will be duplicated on the TV. We’ll have some adapters on hand (e.g., DisplayPort-HDMI, mini-DisplayPort-DisplayPort, mini-HDMI-HDMI, mini-DVI-HDMI, VGA, etc.), all of which should accommodate most Apple MacBooks and PC laptops, but we can’t guarantee compatibility. 

 

Please remember that a standard VGA connection (DB-15) does not transmit certain protected content (HDCP) on many video discs. (You might need to download and install a software decrypter, such as DVDFab.com’s free HD Decrypter or PassKey Lite, to display protected material through the VGA port on your laptop.) If you must use your own laptop computer, you should set the screen resolution to no higher than 1920x1080 for output to the monitor, and then, using the remote control, you might need to change the TV’s input to “PC.” 

 

Remember, in the end, that even the best technology can fail us. Well-prepared panelists should be ready to deliver their presentations even if the electricity cuts out or the machine malfunctions. It happens. The minimum requirement for a presentation is you. It helps to have your paper, generally, but even the technology of paper can fail or get misplaced, and sometimes reading a paper can itself throw off you and your audience if you’ve not practiced reading it for clarity and flow. So, if your USB drive or optical disc or video clip doesn’t work, don’t panic--and don’t consume valuable time during your 20 minutes. Use the version of your presentation that includes concise oral descriptions of any audio or visual examples indispensable to your argument. Talk to your audience. You know your material, and you can walk us through it in a pinch with just your words. Most likely, in fact, your presentation will be all the stronger for your having practiced this language-only version. 

Panel numbers are encoded with the date, session, and room. Use the last numeral in the four-digit panel number to find your room. 

 

For example:

 

Panel 0821 = Nov. 8, Session 2, Conference Room I (2)

Panel 1044 = Nov. 10, Session 4, Conference Room IV (4)

 

Names with asterisks around them (*name*) indicate presenters who have not registered and who therefore cannot be verified as having attended or presented scholarship at the conference.

 

 

 

THURSDAY, November 8

 

Session 1: 8:30-10:00 AM

Registration (continues throughout conference)

 

Session 2: 10:15-11:45 AM

 

PANEL 0821 Classical Antiquity I: Managing Tyrants and Tyrannical Appetites

Chair: Meredith E. Safran, Trinity College

 

The Tyrant and his Adviser: Croesus and Aesop in Night in Paradise (1946)

 Bob White, Beaumont School  

Re-Imagining Artemisia: Gender and Politics in Rudolph Maté’s The 300 Spartans (1962) and Noam Murro’s 300: Rise of an Empire (2014)

Anastasia Pantazopoulou, University of Florida           

Helen as (Self) Lover: Destructive Desire in Troy: Fall of a City (2018)

              Meredith E. Safran, Trinity College      

PANEL 0822 Our Monsters, Ourselves I: Loneliness and Isolation: Horrors of Life on the Fringes

Chair: Phillip Gordon, University of Wisconsin—Platteville

Fearing the Cube: Assimilation, Resistance, and the Changing Representation of the (Cy)Borg Other

David Sidore, Middle Georgia State University

The Family, the Monster, and the (LGBT) Self in Jamie Marks Is Dead and Onthakan/The Blue Hour

Phillip Gordon, University of Wisconsin—Platteville

 


 

PANEL 0823 Race and Ethnicity I: Stereotyped Citizenship?: Considerations of African American Femininity and Masculinity

Chair: James Johnson, Independent Scholar

 

It's time to "hoe": Black Women’s Perspectives of “Hoeing” in HBO’s Insecure

Calesia Monroe, University of Northern Colorado

Breaking the Buck/Reliving the Tragedy: Black Masculinity in Black Panther

              Danyelle Greene, University of Kansas

Abimbola Iyun, Southern Illinois University

Restructuring the Black Dating Sphere: Black Female Equilibrium in the Crooked Rooms of Online Dating Spaces

              James Johnson, Independent Scholar

 

PANEL 0824 Frontier Citizenship I: The Frontier Citizen

Chair: Christopher Minz, Georgia State University

 

Iterations of Shane: Pale Rider, Logan, and the Remaking of a Western Archetype

Chris Davis, Lonestar College—Kingwood

The High Cost of the Won West: Citizenship and Savagery in the American Mythological West

Christopher Minz, Georgia State University

 

PANEL 0825 The Long 1950s I: Organization and Chaos in ‘Fifties Urban Culture

Chair: Vincent Casaregola, Saint Louis University

 

 “All By Himself”: Althusser, Kazan, Interpellation, and On the Waterfront

              Danielle Glassmeyer, Bradley University

The Killer That Stalked New York: Plague, Antibody and Sexuality in Film Noir

              Kevin Jack Hagopian, The Pennsylvania State University

The Organization Man under Siege in The Apartment and North by Northwest

              Rick Armstrong, Kingsborough Community College (CUNY)

 

Lunch Break: 12:00-1:00 PM

 

Session 3: 1:15 -2:45 PM

 

PANEL 0831 Classical Antiquity II: Gaming Ancient Mediterranean Empires

Chair: Matthew Taylor, Beloit College

 

Pixelating Autocracy: Impressions of Ancient Roman Imperialism in Video Games

Álvaro Ibarra, Utah State University     

Skyrim is for the Gauls! The Roman Empire and The Elder Scrolls

              Ashley Kirsten Weed, University of Illinois—Urbana-Champaign

Of Eagles and Scarabs: Egypt as Political Interface in Assassin’s Creed Origins (2017)

              Matthew Taylor, Beloit College            

 

 

PANEL 0832 American Democracy I: “If You Want to Send a Message . . .": Political Sermons and their Discontents on Screen

Chair: A. Bowdoin Van Riper, Martha’s Vineyard Museum

 

Scarface and the Failed Hollywood Sermon

Macy Todd, SUNY—Buffalo State

Cautionary Tales through Allegory and Metaphor in Television Ads for Presidential Candidates

Kim Hixson, Utah State University

Smashing the Plaster Saints: Mythic History and Low Comedy from Bugs Bunny to Time Squad

A. Bowdoin Van Riper, Martha’s Vineyard Museum

 

PANEL 0833 Marriage and the State I: Challenging Race and Gender Rules

Chair: Deborah L. Kitchen-Døderlein, University of Oslo

 

“We May Lose the Small Battles, but Win the Big War”: Renderings of Interracial Marriage in Loving and A United Kingdom

Jennifer Field, York University, Toronto

Wives Who Imagine Themselves Unhappy: 1910s Remarriage Comedies and the Marital Compromise

Megan Boyd, University of Wisconsin—Madison

Marriage: Tracy and Hepburn Style

Deborah L. Kitchen-Døderlein, University of Oslo

 

PANEL 0834 The Good Citizen: Dystopian Narratives II: Dystopian Citizenship

Chair: Megan Fariello, George Mason University

 

“Now we have a better world”: Citizenship and Sacrifice in Amazon’s The Man in the High Castle

Brian E. Crim, Lynchburg College

A Good Citizen Is Not an Aged One in Dystopian Science Fiction

Gwendolyn Blair Asbury, University of Kansas

 “I Can Help!”: Technology, Subjectivity, and Citizenship in The Leftovers and Fargo

Megan Fariello, George Mason University


Session 4: 3:00-4:30 PM

 

PANEL 0841 Classical Antiquity III: Figuring the Female as Political Lightning Rod

Chair: Roger T. Macfarlane, Brigham Young University

 

Dux Femina Facti: Depictions of Cleopatra as a Political Animal in Film and Television

              Gregory Daughtery, Randolph-Macon College  

Too Relevant for Art? Taking on the Antigone in Film

Andrea Eis, Oakland University           

Mrs. Iselin, Mrs. Clinton, and Clytemnestra: Furies and Manchurian Candidates from Condon and Frankenheimer (1969) to Demme (2004)

              Roger T. Macfarlane, Brigham Young University

 

PANEL 0842 Our Monsters, Ourselves II: Female Horrors in the Age of Trump Chair: Antoinette Winstead, Our Lady of the Lake University

 “I can get you anytime I want”: Violence as a Societal Commentary in the Slasher Film

Hannah Stevens, North Dakota State University
“Despite the Fear” . . . Women Doing It for Themselves: The Empowerment of Women in Trump Era Horror Film

Antoinette Winstead, Our Lady of the Lake University

 

PANEL 0843 Race and Ethnicity II: The Revolution will not be Delegitimized: Struggles for Mediated and Social Equality 

Chair: Alev Degim Flannagan, Baskent University

 

‘‘Every Bit of Pep in Rice Krispies is Tolerant”: Fighting Stereotypes in Children’s Radio Programming

              Amanda Bruce, Florida Polytechnic University

How Sweetback Became Baadasssss!:  Conscientization in the Films of Melvin Van Peebles

Samuel Smucker, Southern Illinois University

Childish Gambino’s “This is America”: Examination of the Visual Language of the Critical Music Video

              Alev Degim Flannagan, Baskent University

 

PANEL 0844 Queer Citizenship I: Global Perspectives on Queer Media

Chair: Aaron Gurlly, Salisbury University

 

Queer Citizenship and Sociopathy in Indian Film

Lyle Pearson, Independent Scholar

Queer Citizenship: Law, Cinema and Society in Contemporary Hindi Cinema

Hrishikesh Arvikar, Jawaharlal Nehru University

Queer Cinema Before it was New: Transnational Non-Movements

              Chelsea McCracken, Beloit College

 

PANEL 0845 Independent Film and Media I: The Aesthetics of Subversion – Form and Style in Alternative Cinemas

Chair: Matt Connolly, Minnesota State University—Mankato

 

Ernie Gehr’s Side/Walk/Shuttle and the Legacy of Alternative Filmmaking in San Francisco

              Erica Moulton, University of Wisconsin-Madison

We Need to Listen to Lynne: Sounding Violence in Lynne Ramsay’s We Need to Talk About Kevin and You Were Never Really Here

              Alison Wielgus, University of Wisconsin-Superior

Harmless Sociopaths – Sociopath Figures in Recent US-American Independent Cinema

              *Sven Weidner, University of Bamberg*

 

Break: 4:30-5:00 PM

 

Session 5: 5:00-6:30 PM

 

PANEL 0851 Special Plenary Session

Moderator: Novotny Lawrence

 

Robert Rosenstone 
Robert Burgoyne 
Alison Landsberg 
Kim Nelson 
Mia E. M. Treacey

 

This special plenary session will explore the question of the place of “screened history” within history as a discipline, as well as its role in shaping public discourse. How does screened history shape citizenship in the era of “fake news” and the “citizen-journalist”—when the History Channel is one of the most successful cable networks of all time and the topic of the past permeates popular culture? What is the public role of historians and of academic practices? The panel discussion of these issues will be followed by time for questions and discussion.


 

FRIDAY, November 9

Session 1: 8:00-9:30 AM

 

PANEL 0911 Classical Antiquity IV: Colonialism and the Classical Imagination

Chair, Emma Scioli, University of Kansas

 

Forbidden Deserts: Classical and Colonial Expressions in Cinematic Atlantides

Rick Hale, Rutgers, The State University of New Jersey

The Six Human Sacrifices of Pasolini’s Colonized Medea

Clayton Miles Lehmann, University of South Dakota   

Tamora’s Political Animalism in Julie Taymor’s Titus (1999)

              Emma Scioli, University of Kansas       

PANEL 0912 Our Monsters, Ourselves III: Beyond Gender Trouble: Redefining Monstrosity in a Sociopathic Age
Chair: Nina K. Martin, Connecticut College

Cancerous Citizenship and Toxic Masculinity in Pan’s Labyrinth and The Shape of Water

              Cary Elza, University of Wisconsin, Stevens Point
Managing Hypermasculinity in Moana, Monsters, and A Quiet Place

Rebecca Bell-Metereau, Texas State University

Who is the Monster?: Toxic Masculinity, White Feminism, and Colossal

Nina K. Martin, Connecticut College


PANEL 0913 Queer Citizenship II: Sad, Scary, and Queer

Chair: Chelsea McCracken, Beloit College

 

Trans Girls Cry: The Problem of Transgender Tragedy in Cinema

Blair Henderson, Beloit College

Recent Trends in Queer Villainy

David Hennessee, California Polytechnic State University

 

PANEL 0914 Independent Film and Media II: Contesting Categorization in Independent Film Production

Chair: Matt Connolly, Minnesota State University—Mankato

 

Barbara Hammer, Optical Printing, and a Theory of Touch

              John Powers, Washington University—St. Louis

How To “Really” Be Digital: Modes of Storytelling in Iranian Alternative Cinema

              Hamidreza Nassiri, University of Wisconsin—Madison

Ambivalently Mainstream: Les Demoiselles de Rochefort’s Uncomfortable Citizenship

              Jenny Oyallon-Koloski, University of Illinois—Urbana-Champaign

 


 

Session 2: 9:45-11:15 AM

 

PANEL 0921 Classical Antiquity V: Gendering the Politics of Troy: Fall of a City (2018)

Chair: Kirsten Day, Augustana College

 

End of an Error: Nuanced Masculinities in Troy: Fall of a City (2018)

Jerry B. Pierce, Penn State Hazleton     

We Don’t Need Another Hero: Troy: Fall of a City (2018) and the Critique of Violent Epic Heroism

Thomas J. West III, Independent Scholar

Pussy Politics: Navigating Patriarchy in Netflix’s Troy: Fall of a City (2018)

              Kirsten Day, Augustana College           

 

PANEL 0922 Frontier Citizenship II: Frontier Women and The Greater Good

Chair: Sue Matheson, University College of the North

 

Mad Men and Stoic Women: The Death of the Frontier in Meek’s Cutoff

Kevin Donnelly, Alvernia University

Frontier Women and the Greater Good: Cat Ballou as Feminist Outlaw

Lynne Byall Benson, University of Massachusetts

Women, agency, and domestic drama: making good citizens in William Phillips’ Gunless (2010)

Sue Matheson, University College of the North

 

PANEL 0923 The Long 1950s II: The Price of Constant Vigilance is Terror

Chair: Vincent Casaregola, Saint Louis University

 

Hitchcock’s Psycho and The Birds: The Visual Poetics of Terror in a Paranoid Culture

Robert Cropf, Saint Louis University

Deep Imprints and the Influence of Film and Television on Attitudes Toward Asian Immigrants

Christopher Elijah Maiytt, Western Michigan University

“We Have Met the Enemy and He Is Us”: The Self-Destructive Politics of the Red Scare in The Manchurian Candidate (1962)

Vincent Casaregola, Saint Louis University

 

PANEL 0924 Hollywood, the Golden Age, and American Culture I: Behind the Golden Age Screen: Location Shooting and Local Censors

Chair: Derek Long, University of Illinois

 

The Motion Picture Producers and Distributors of America, the Production Code Administration and the “Political Censor Boards”:  The Case of Chicago

Steve Macek, North Central College

Saluting General Ford: Location Shooting and the Militarized Citizenship of Production Workers on the Set of The Iron Horse (1924)

Derek Long, University of Illinois

 

PANEL 0925 Women and Dis/Empowerment I: Feminist Redux: Feminist as a Gender Identity in Recent TV and Film Heroines

Chair: Patricia Furnish, University of North Carolina—Charlotte

 

Darna: The Philippines as Dystopian Hero

              *Sherren Manaois, University of Makati, Philippines*

"That's Not Me": Female Rage and Feminist Promise on TV

Denise Witzig, Saint Mary's College of CA

Penis (Un)envy: Complicating the Cinderella Complex in The Wrinkle in Time, Molly's Game, and Transparent

Gloria-Jean Masciarotte, Rhode Island School of Design and Providence

 College

 

Lunch Break: 11:30 AM-12:30 PM


Session 3: 12:45-2:15 PM

 

PANEL 0931 Classical Antiquity VI: Revolutionary (Re)visions

Chair: Annette M. Baertschi, Bryn Mawr College

 

Slavery, Labor and Humanity in the Warrior Societies of Spartacus (1960) and 300 (2006)

              Matthew Chaldekas, University of California—Riverside         

Prometheus in Soviet Russia: from revolutionary to superhero

              Ekaterina But, Ohio State University   

The Politics of Masses in Miklós Janscó’s Szerelmem, Elektra (1974)

              Annette M. Baertschi, Bryn Mawr College        

PANEL 0932 Our Monsters, Ourselves IV: Isolation and Family Trauma in Recent Horror Films

Chair: Jeffrey Andrew Weinstock, Central Michigan University

Deliciously: Trauma and Ecstasy in The Witch

Eric Gary Anderson, George Mason University

Severed Heads: Family Trauma and Dissociation in Hereditary

Sheri Nicole Sorvillo, George Mason University

Its

Jeffrey Andrew Weinstock, Central Michigan University

 


 

PANEL 0933 Marriage and the State II: Interrogating Marriage

Chair: Valerie H. Pennanen, Calumet College of St. Joseph

 

“An Honorable Estate”? Interrogating the Institution of Marriage in Christmas Holiday and I’ll Be Seeing You

 Gail Sheehan, Salem State University

“The Lady’s Got Potential”: The Cruel Optimism of Political Marriage in Gone with the Wind and Evita

Caroline Guthrie, George Mason University

Multi-Colored Moods of Love and Rage: Understanding Ria Parkinson in Butterflies

              Valerie H. Pennanen, Calumet College of St. Joseph

 

PANEL 0934 Race and Ethnicity III: Citizens, Sociopaths, or Others?: Examining Identity and Belonging

Chair: Wickham Flannagan, Bilkent University

 

For Love of Humans and Dogs: The Affect in González-Iñárritu’s Amores Perros

Ricardo Reyna, University of Nevada—Las Vegas

What Does a Mexican Look Like? Skin Color and Citizenship in Mexican Telenovelas 

Laura Jimenez Morales, Southern Illinois University

The Revenge Justifies the Means: A Character Analysis of Killmonger from Black Panther

              Wickham Flannagan, Bilkent University

 

Session 4: 2:30-4:00 PM

 

PANEL 0941 Classical Antiquity VII: Roman Family Politics

Chair: Hunter H. Gardner, University of South Carolina

 

Hungry like a wolf? Romulus and Remus For the YouTube Generation

Jaclyn Neel, Temple University             

The Best among Equals? Tiberius and the Politics of the Early Roman Empire in ITV's The Caesars (1968)

              Sylvie Magerstaedt, University of Hertfordshire, UK    

Pietas and the Roman Plague Narrative in AMC’s Fear the Walking Dead (2015- )

              Hunter H. Gardner, University of South Carolina

PANEL 0942 Our Monsters, Ourselves V: Issues of Race

Chair: Amber Hodge, University of Mississippi

Southern Discomfort: Monstrous Southern Whiteness in Civil Rights Era Rural Horror Films

Jacqueline Pinkowitz, University of Texas—Austin
Mother Deerest: Negotiating Race and Species in Jordan Peele's Get Out

Amber Hodge, University of Mississippi



PANEL 0943  The Long 1950s III: Conflict and Identity across Cultures during the Cold War Period

Chair: Vincent Casaregola, Saint Louis University

 

The Counterculture of Italian Cinema in Cold War America: Stromboli, the Roberto Rossellini-Ingrid Bergman Scandal, and Anxieties of Containment

Anthony B. Smith, University of Dayton

Rediscovering the Medieval Roots in the Modern Fifties: Bergman’s The Virgin Spring

Paul Acker, Saint Louis University

Dead Flowers: Masahiro Shinoda’s Pale Flower as Cold War Allegory

Seth Wilder, Georgia State University

 

PANEL 0944 Television Heroes I: Saviors or Sociopaths – Transplanting Characters, Altering Genres

Chair: Matthew Dwight Moore, Roberts Wesleyan College

 

“Brains are for losers”: Cannibalism and Consumer-Citizenship in iZombie and Santa Clarita Diet

Camille Faucheux, Smith College

The Early Comic Book Superhero as Transmedia Genre

Mark Minett, University of South Carolina

Trump: TV Hero or Villain?

Matthew Dwight Moore, Roberts Wesleyan College

 

PANEL 0945 Interrogating the Media

Chair: Robert L. Cagle, University of Illinois—Urbana-Champaign

 

Abel Gance’s Vitalistic Machine: Perceiving Fast-Cutting, Close-up, and Triptych in Napoléon

              Dong Yang, University of Georgia

“There Are Private Things”: Dystopia, Citizenship, and Media Skepticism

Zachary Campbell, Northwestern University

Yesterday, Today, and Tomorrow: Transience in South Korean Cinema

Robert L. Cagle, University of Illinois—Urbana-Champaign

 

Break: 4:00-4:45 PM – New Author Recognition and Signing



Session 5: 5:00-6:30 PM

PANEL 0951 Our Monsters, Ourselves VI: Questions and Critiques within the Horror Genre

Chair: Ashley R. Smith, Northwestern University

Dangerous Emotions: I Married a Monster from Outer Space (1958) as a Metaphor about the Anxieties of Domestic Containment

              Kimmo Ahonen, Tampere University of Technology

Not the Monster We Want, but the Monster We Need: Class, Style, and Realism in Henry: Portrait of a Serial Killer (1986)

              Ashley R. Smith, Northwestern University

 

PANEL 0952 Race and Ethnicity IV: That’s Mighty White of You: Constructions of Blackness in Hegemonic Spaces 

Chair: Novotny Lawrence, Iowa State University

 

Navigating White Spaces for Revolutionary Purposes: The Spook Who Sat by the Door

Abimbola Iyun, Southern Illinois University

Streetwise Criminality for the Greater Good: Whoopi Goldberg’s “Post-racial” Stardom in 1980s Hollywood

              Alex Symons, Sacred Heart University

Of Proper Citizenship and 1980s Sitcoms: This is Us and the Re-presentation of Acceptable Blackness

              Novotny Lawrence, Iowa State University

 

PANEL 0953 Destroyer of Worlds I: “The Blistered Eyes of Rehab”: Destructive Cures in Science Fiction Film, Television, and New Media
Chair: Ben Franz, Medgar Evers College, CUNY

The Cure: The Sociopath and the Model Citizen in A Clockwork Orange

William Blick, Queensborough Community College, CUNY
Mad Scientists in the Movies

David Seim, University of Wisconsin—Stout

 

PANEL 0954 Women and Dis/Empowerment III: The Female Body: Power versus Exploitation 

Chair: Molly Bandonis, Southern Illinois—Carbondale

 

Rewriting the Sexploitation Canon: Doris Wishman's Subversive Nudist Films

Christian Balistreri, University of Wisconsin, Milwaukee

Hedy Lamarr from Ecstasy to Algiers: the Transformation of a Star, 1933–38

              Hannu Salmi, University of Turku, Finland

"The girl will die. It's what she always wanted": London Fields and the Narrative of Necessary Abuse in Hollywood

Molly Bandonis, Southern Illinois—Carbondale

 

SATURDAY, November 10

Session 1: 8:00-9:30 AM

 

PANEL 1011 Destroyer of Worlds II: “The Eye of the State”: The Politics of Citizenship in a Dystopic State in Science Fiction Film, Television, and New Media
Chair: Ben Franz, Medgar Evers College, CUNY

When Star Wars Justifies the Means: The Conservative Self-Reflexivity of Rogue One

              Camille Faucheux, Smith College
Searching for a Mediator, Blinded by Desperation: Competing Ideals of Citizenship and Fritz Lang’s Metropolis

Allison Farrell, University of Wisconsin-Stevens Point
Tears of Joi in the Rain: Challenging Contemporary Notions of Citizenship in Blade Runner 2049

Derek Sweet, Luther College

 

PANEL 1012 Women and Dis/Empowerment IV: Representations of Gender, Sexuality, Marriage, and Reproduction

Chair: Caryn Murphy, University of Wisconsin—Oshkosh

 

The Opinions of Television's Experts: Reproductive Rights Debates in 1960s Dramas

Caryn Murphy, University of Wisconsin—Oshkosh

Public/Private: Marriage in Bombay Cinema of the 1970s

              Ankita Deb, Stanford University

The New Diversity: Reconsidering the Emerging Television Landscape

Peter Kosanovich, University of Regina, Canada

 

PANEL 1013 Independent Film and Media III: History, Community, and Citizenship in Indie Games

Chair: Tom Welch, University of Wisconsin—Madison

 

“Video Games Are Ours”: Masculine Gatekeeping in Independent Gaming

              Tom Welch, University of Wisconsin—Madison

“YOU ARE NOT SUPPOSED TO BE HERE”: Reconstructing Queer and Nonbinary Histories of Computing in the Video Game _transfer

              Whitney Pow, Northwestern University

Paradox Interactive and the Commodification of the Gaming Community

              Jacob Mertens, University of Wisconsin—Madison

 

PANEL 1014 Strategies of Social Commentary Across Genres and Cultures

Chair: Caitlin Schaer, University of Wisconsin—Madison

 

Night and Day: Urban Nightlife as Psychopathic and Therapeutic in Postwar Film

Stephen R. Duncan, Bronx Community College, CUNY

Gianfranco Rosi’s Unconventional Documentary Narrative: Representing a Continental Crisis

Caitlin Schaer, University of Wisconsin—Madison

 

Session 2: 9:45-11:15 AM

 

PANEL 1021                                                                         

Classical Antiquity VIII: Women and the Body Politic

Chair: Anise K. Strong, Western Michigan University

 

Wonder Woman (2017) and the Classical Amazon: Ancient and Modern Narrative Scripts of Female Superheroes

              Natalie Swain, University of Bristol, UK           

Helen of Themyscira? Legends of Tomorrow’s #Metoo Moment in Helen Hunt (2017)

Ky Merkley, University of Illinois—Urbana-Champaign          

American Hagar: Genesis and The Handmaid’s Tale (2017- )

              Anise K. Strong, Western Michigan University

PANEL 1022 Our Monsters, Ourselves VII: Home and Familial Horrors

Chair: Thomas Prasch, Washburn University

At Home with Freddy: Residential Images Haunted by German Expressionism in A Nightmare on Elm Street

Khara Lukancic, Southern Illinois University

“We Have to Protect Them”: Involuntary Motherhood in A Quiet Place

Katelyn Juerjens, Northeastern Illinois University

 When Bates Motel Is Home: Shifting the Locus of Sociopathy in Bates Motel

Thomas Prasch, Washburn University


PANEL 1023 The Classroom on Screen I: Building Better Citizens?

Chair: Erwin F. Erhardt, III, University of Cincinnati

 

The Blackboard Battleground: Reassessing The Substitute, Class of 1999, and The Class of Nuke ‘Em High in an Age of School Violence

 J. Rocky Colavito, Butler University
Schools for Scandal?  Academic Misconduct in US Films about Higher Education

              Jo Ann R. Oravec, University of Wisconsin—Whitewater
Voyage of the Dissidents in the Motion Picture White Squall (1996) 

Erwin F. Erhardt, III, University of Cincinnati

 


 

PANEL 1024 Documenting Immigrants, Migrants, and Refugees I: Documenting Migration in Florida through the Moving Image

Chair: Lisa Mills, University of Central Florida

 

“Gritty and Gorgeous”: Scarface and “The Miami Vice Effect” on Popular Media’s Portrayal of Migration in 1980s South Florida

              David Morton, University of Central Florida

Drifting among the Migrants: Barbara Jo Revelle’s Miami River Project

              Barry Mauer, University of Central Florida

Along Imagined Lines: Space and Place in Experimental Documentaries about Migration

              Elizabeth Danker, University of Central Florida

Florida’s New Harvest of Shame:  Motel Migration in Sean Baker’s The Florida Project

              Lisa Mills, University of Central Florida

 

PANEL 1025 Hollywood, the Golden Age, and American Culture II: Politics, Propaganda, and Authorship in 1940s Hollywood

Chair: Chris Yogerst, University of Wisconsin—Milwaukee

 

Beyond the studio system: Washington’s secret Hollywood connection during the Second World War

Michael Berkowitz, University College—London, UK

Herman Shumlin: An Unlikely Political Auteur of 1940s Hollywood

*John Bennett, University of Wisconsin*

Battle in Washington: Isolationist Hysteria, Hollywood, and the United States Senate Investigation on Motion Picture Propaganda

Chris Yogerst, University of Wisconsin—Milwaukee

 

Lunch Break: 11:30 AM-12:30 PM

Session 3: 12:45- 2:15 PM

 

PANEL 1031 Classical Antiquity IX: Radical Disruptors

Chair: Meredith D. Prince, Auburn University

 

“What did it cost? Everything”: Thanos as Agamemnon in Avengers: Infinity War (2018)

              Katherine Cantwell, Independent Scholar        

Agents of Chaos: Political Violence in Euripides’ Bacchae and V for Vendetta (2005)

Katherine R. DeBoer, Indiana University—Bloomington

The Revolting Women of Rome: Imperial Women as Catalysts for Political Change in Roman Epic Films

              Meredith D. Prince, Auburn University


 

PANEL 1032 Our Monsters, Ourselves VIII: Psychology, Sociopathy, and Ideology

Chair: Brian Brems, College of Dupage

Ecological Psycho-horrors: Getting Lost in the Transnational Cinema of Japan’s “Suicide Forest”

Ken Provencher, Loyola Marymount University

"Weeping and Gnashing of Teeth": Omnipresent Neurosis within Come Sunday

Sean C. Hill, Lewis and Clark Community College
Reclaiming the Hunting Ground: Sociopathy, Citizenship, and Wolfen (1981)

Brian Brems, College of DuPage

 

PANEL 1033 Race and Ethnicity V: Contradictory Messages in the Political Landscape  

Chair: Gerald Butters, Aurora University

 

Pardoning the “Bad Nigger”: Reexamining Unforgivable Blackness: The Rise and Fall of Jack Johnson in the Trump Era

              Travis Boyce, University of Northern Colorado

The Disappearance of Dexter: Race and the Miniseries The 70s

              Gerald Butters, Aurora University

 

PANEL 1034 Independent Film and Media IV: Translating the Institutions of Independence in the Digital Age

Chair: Matt Connolly, Minnesota State University—Mankato

 

The Festival is Now Streaming: Film Festivals and Online Programs

              Matt St. John, University of Wisconsin—Madison

The Online Art House: FilmStruck’s Proposed Place in American Cinema Culture

              JJ Bersch, University of Wisconsin—Madison

We’re Queer, but Where is Here? Outfest and the Contemporary Circulation of LGBTQ Independent Cinema

              Matt Connolly, Minnesota State University—Mankato

 

PANEL 1035 The Good Citizen: Dystopian Narratives I: Madness, Vigilantism, and Alternative Citizenship

Chair: Duke Pesta, University of Wisconsin—Oshkosh

 

The Snake Pit: The Destigmatization of Mental Illness

Robert Feldman, University of Wisconsin—Oshkosh

Anarchy and Order in Fight Club and The Boondock Saints

Duke Pesta, University of Wisconsin—Oshkosh

 


 

Session 4: 2:30-4:00 PM

 

PANEL 1041 Classical Antiquity X: The Socio-Political Dangers of Turning Inward

Chair: Darel Tai Engen, California State University—San Marcos

 

Isolation of the Tragic Hero in Hereditary (2018)

              Jessie Wells, University of Illinois, Urbana—Champaign          

The Political Animal: The Shape of Water and the Transformation of the Xenophobia in the Odyssey’s Nausikaa Episode

              Polly Hoover, Wilbur Wright College   

Go Film the Spartans: The Battle of Thermopylae, Cinema, and American Politics

              Darel Tai Engen, California State University—San Marcos

 

PANEL 1042 Queer Citizenship III: Small Screens and Regional Venues          

Chair: Chelsea McCracken, Beloit College

 

Interracial Fetish and Exoticized Latinidad on HBO’s Looking

*Michael Johnson Jr., California State University—Northridge*

 “So Mac’s Gay”: Queer Sociopathy as Conformity in It's Always Sunny in Philadelphia

Aaron Gurlly, Salisbury University

ImageOut: Queer Film Festivals in the Public

Laura Stamm, University of Pittsburgh

 

PANEL 1043 Hollywood, the Golden Age, and American Culture III: Postwar Hollywood: Bogart, SAG, and Sundays in Great Britain

Chair: Gloria Monti, California State University—Fullerton

 

Equity, SAG, and Anticommunist Hysteria

Diana Jaher, Illinois State University

Bogey as Anti-Hero in In a Lonely Place

Gloria Monti, California State University—Fullerton

 

PANEL 1044 Destroyer of Worlds III: “These Violent Delights Have Violent Ends”: The Inherent Violence of the Hero-Turned-Sociopath in Science Fiction Film, Television, and New Media
Chair: Ben Franz, Medgar Evers College CUNY

There’s No Living with the Killing: Borderland Violence and Legacies of Trauma in Logan

Alejandra Isabel Otero Pires, University of Illinois—Urbana-Champaign
“I killed them…I killed them all”: Bernard Lowe as Sociopathic Savior in WestWorld

Ben Franz, Medgar Evers College, CUNY

 


 

PANEL 1044 Television Heroes II: Saviors or Sociopaths?  Violence, War, and Identity

Chair: Stan Pelkey, University of Kentucky

 

Slow Violence, Breaking Bad

Angelo Restivo, Georgia State University

Anti-Heroes in the Anglo-Boer War: The Role of Myths, Ideology, and Identity in the Creation of the Hero Archetype in Selected Case Studies

Anna-Marie Jansen van Vuuren, University of Johannesburg, South Africa

Religion, Morality, and Music in Vikings

              Stanley C. Pelkey, University of Kentucky

 

Break: 4:00-4:30 PM


Session 5: 4:30-6:00 PM

 

PANEL 1051 Classical Antiquity Roundtable

              Chair: Meredith E. Safran, Trinity College (Hartford, CT)

 

PANEL 1052 Special Session: A Conversation about Television, History, and Collective Memory

              Chair: Gary Edgerton, Butler University

 

This session is designed to explore the broad parameters of made-for-TV history, describing its stylistic preferences, beginning with a brief presentation of a dozen general assumptions about the nature of this widespread phenomenon, then shifting to an interactive discussion. Our conversation will take stock of the enduring relationship between the proponents of popular and professional history, including the challenges and opportunities that this linkage affords television producers and scholars alike in 2018.

 

PANEL 1053 Women and Dis/Empowerment V: (En)gendering Film History

Chair: Mark West, University of North Carolina—Asheville

 

Change the Story, Change the System: What “Time's Up” and #MeToo Mean for Writing and Teaching Film History

John Alberti, Northern Kentucky University

A Place in Film History: French Filmmaker Germaine Dulac

Katie Hinders, Southern Illinois University—Carbondale

Handcrafting: Gendered Labor in Early and Experimental Cinema

Hugo Ljungback, University of Wisconsin—Milwaukee

 


 

PANEL 1054 Indigenous Identification in Cinema I: Pedagogy, Representation, and Empowerment

Chair: Patricia Furnish, University of North Carolina—Charlotte

 

Fourth Cinema in the Undergraduate Classroom

Deborah Adelman, College of DuPage

Sioux Ghost Dance: The Paradoxes of the First Moving Depiction of Native Americans

Mark West, University of North Carolina—Asheville

You Are on Indian Land (1969) - George Stoney's Legacy and Native Documentary in Canada

Patricia Furnish, University of North Carolina—Charlotte

 

 

 

6:30 PM Banquet and Keynote Address (Capitol Ballroom, 2nd Floor)