Radio-Television-Film > News > 2020 SCMS Conference - Canceled

2020 SCMS Conference - Canceled

April 1–5 - Denver

For film, television, and media scholars, the annual conference hosted by the Society for Cinema and Media Studies (SCMS) is one of the biggest scholarly events of the year. This year in Denver, RTF faculty, students and alumni will present their latest research, engage in critical dialogues on media studies topics, and network with regarded cinema and media scholars from around the world. Many of those scholars are listed below.

We have a lot to celebrate this year, including the following:

  • SCMS recently named RTF Associate Professor Alisa Perren as Treasurer and Ph.D. alum Alfred Martin as Member-at-Large Board Member. Former RTF faculty member, Jennifer Fuller, was also elected to the SCMS board.
  • Lecturer & recent Ph.D. alum Jinsook Kim won the SCMS student writing award for “Sticky Feminist Activism: The Gangnam Station Murder Case and Sticky Note Activism Against Misogyny and Femicide.”
  • Ph.D. student Daelena Tinnin won the graduate student writing award from the SCMS Black Caucus for “Black Feminist Futures: Technologies of Race, Gender, and Sexuality in Janelle Monae’s Dirty Computer.”
  • Ph.D. student Katrina Margolis received an honorable mention from the Media Industries SIG for her paper, "Watch Me Run with My Legs Cut Off: Authorship and Power Through the Production Culture of Sweet Smell of Success."

A partial list (below) reflects RTF affiliates who were originally scheduled to participate in this year's conference.

UT RTF Scholars - Scheduled to participate in 2020 SCMS Conference
(partial list)

Faculty | Students | Alumni

Faculty

Mary Beltran

  • J16: Star Mutations: Screen Performance, Creative Agency and Celebrity Activism
  • “Make Sure You Have Something to Say”: Eva Longoria and Latina Celebrity Activism, Post-2016

Kathy Fuller-Seeley

  • C15: Constructing the Hollywood Movie Fan in the Cultural Information Marketplace (1914-1950)
  • A Fan as Film Historian: Cara Hartwell’s “Grace Cunard” Scrapbook, 1914-1983

Lalitha Gopalan

  • H11: Digitality and Globality: Contemporary/New Age Tamil Cinema and the Changing Paradigms/Emerging Trends
  • Dust Ups in Tamil Noir

Shanti Kumar

  • T21: Affect and Media Culture in Asia
  • The Digital as Hindu: The Affective Politics of Majoritarian Codes in India

Jennifer McClearen

  • G25: Women, Sports, and Media
  • Infantilizing Women's Soccer: Representation Matters, but At What Cost?

Curran Nault

  • L17: Philosophical Provocations of the Image: Formalizing The inbetween and the intangible
  • DIY Death: Necro-Subjectivity in the Quare Artivist Underground

Alisa Perren

  • E2: The Logic of Intellectual Property in the Comic Book Industry
  • More Than Just Superhero Stories: The Rise of the Hybrid Publisher-Studio

Suzanne Scott

  • E13: Stitching Together Media and Fashion Studies
  • Underwear That’s Fun to Wear: Historicizing and Theorizing Fan Lingerie

Students

Katherine Cacace

  • E4: Beyond Human Vision and the Politics of Senses
  • Over Yondr: Political Implications of a Phone-Free Performance Technology

Kate Cronin

  • P4: Afterlife TV: The Politics and Aesthetics of Speculative Retrospection
  • Yesterday's News: Film Libraries and The Commercial Afterlife of Early Television News

Selena Dickey and Timothy Piper

  • H12: Moving Past: Tracing Historical Routes of Distribution
  • Cables, Relays, and Satellite Pick-Up Games: Transitions in Cable Distribution

Ashlynn d’Harcourt

  • K9: Hot Takes on #MeToo: Popular Feminism, Popular Misogyny, and Digital Media Publics
  • Sorry, Not Sorry: The Erasure of #MeToo Victims in the Celebrity Apology Spectacle

Eric Forthun

  • D8: Killing it: Modern Women in Crime and Comedy
  • The Robin Byrd Show  Locating Late Night in the Local

Britta Hanson

  • D27: Rethinking Discourses of Quality in Mid-Century TV
  • The Teleplay and its Discontents: the Reluctant Contribution of Playwrights to Mid-Century Television

Rusty Hatchell

  • C9: Transmedia Brands, Heroes, and Anti-Heroes
  • Crisis on Infinite Earths: The Arrowverse and Franchise Management of Superhero Television

Lily Kunda

  • D25: The Aesthetics and Politics of 21st Century Celebrity
  • Must Stay Woke: Black Celebrity Voices of Dissent in the Post Post-Racial Era

Katrina Margolis

  • M24: Artifacts of Memory
  • The Silver Screen: The Effect and Role of Nostalgia in Film Canonization

Hyun Jung Noh

  • F9: Streaming Around the World
  • Netflix’s Reconfiguration of Korean Production Houses’ Business Model: A Case Study of Mr. Sunshine

Morgan O’Brien

  • E19: Recirculating, Reanimating, and Remediating Texts
  • The Eerie Affect of Retro Video Games

    Nathan Rossi

    • H7: Home and Belonging: Latin American Identity Across Genres
    • Constituting Centralaméricanismo: The Comedy of Arturo Castro and Julio Torres   

    Margaret Steinhauer

    • D9: Media Flows from Television to Tinder
    • "The Blue-Chip, Big-Dough Future of Paycable”: The Complexities of QUBE TV's Failure

    Daelena Tinnin

    • R25: Gender, Stardom, Agency
    • Black Feminist Futures: Technologies of Race, Gender and Sexuality in Janelle Monáe’s “Dirty Computer

    Latina Vidalova

    • K19: Transnational and Transmedial Audience Participation
    • The Toonami Renaissance? Residual Television, Producer-Fan Monuments, and Transnational Enclosure

    Jing Wang

    • G19: Disruptive Distributions: Documentary, Streaming, and Independents
    • Curating Independents: An Analysis of Distributors’ Current Roles in Framing Chinese Independent Cinema

    Lesley Willard

    • L13: Tentpole Television: Technology, Franchising, and Promotion in TV’s New Blockbuster Era
    • Get Hype: The Problem of Promotion in Contemporary U.S. Television

    Andy Wright

    • D25: The Aesthetics and Politics of 21st Century Celebrity
    • The Figure Of The Chalice: How Stella Artois's "Buy A Lady A Drink" Campaign Promotes Problematic Commodity Activism

    Alumni

    Ji-Hyun Ahn

    • T21: Affect and Media Culture in Asia
    • Between Love and Hate: The New Korean Wave and Anti-Korean Sentiment in Japan

    Drew Ayers

    • L14: Becoming with the Trouble: Mediating Bodies, Sensation, and Control in the Anthropocene
    • Staying with The Hungry Boy: Phantom Thread's Fungal Ménage à Trois

    Kyle Barnett

    • F19: Intimate Media in the Age of Early Cinema
    • Cinematic Celebrity and the Promise of Phonographic Intimacy

    Jennifer Bean

    • G13 Workshop: From Submission to Publication: Journal Editors Answer Your Questions!      

    Nick Bestor

    • M3 Transforming Play: Games and Media Convergence 
    • “’The Geometry of the Dream-Place:’ Transmediating Spaces of the Horrific in Arkham Horror: The Card Game”     

    Sheri Chinen Biesen

    • D8: Killing it: Modern Women in Crime and Comedy
    • Women ‘Stars’ of Film Noir: On-Screen and Behind-the-Scenes From Hollywood to Netflix

    Maria Boyd

    • H10: Branding and Promotional Culture
    • Commodifying Identity: The CW's Inclusivity as Brand Strategy

    Michael DeAngelis

    • D25: The Aesthetics and Politics of 21st Century Celebrity
    • Tom Cruise, Aging, and the Functional Fitness Phenomenon

    Courtney Brannon Donoghue

    • E24: Production Companies: Industry, Culture, Power
    • Foxy Fox 2000 in the Mouse House: The Decline of Female-Driven Mid-Budget Films

    Ken Feil

    • P22: Non-binary Gender Approaches to Cult and Fan Media
    • “Oh, You Better Quote Valley of the Dolls, Bitch”: Queer Film Cults and Black, Trans and Gender-Nonconforming Fandom

    Laura Felschow

    • U22: Roundtable: Diversity in Comics Studies and Comics-Centric Pedagogy
    • Comics and Toxic Fandom

    Byron Fong

    • B25: Platforms, Databases, and Formats
    • Jumping into the Home: The Video Game Jump from the Arcade to the Home Console

    Joshua Gleich

    • E20: South by Southwest: Regional Film History from the Global South to the American South and Southwest
    • S1: Collaborative Methods Between Cinema and Media Scholars and Media Geographers
    • East of Hollywood, West of St. Louis: Regional Infrastructures for Class-A Westerns

    Charlotte Howell

    • G25: Women, Sports, and Media
    • “The American Outlaws Are Our Kind of People”: Constructing an Ideal American Soccer Fan at the 2019 Women’s World Cup

    Kit Hughes

    • T12: Educational Media Industries
    • Cable in the Classroom as Regulatory Feint: Using Public Service to Protest the 1992 Cable Act

    Deborah Jaramillo

    • N21: Making Sense of True Crime Media: History, Industry, Audiences
    • S25: Public Policy and SCMS: Identifying Priorities and Developing Positions
    • True Crime and the Evolution of Network News Magazines

    Jacqueline Johnson

    • T2: Watching and Being Watched: Negotiating Differences between Representation and Experience
    • “I Feel Conflicted As F*ck”: Netflix’s Dear White People and Representations of Black Spectatorship

    Jennifer Kang

    • C20: National Heroes? Audiences Respond
    • Reconfiguring the Global and National in K-Pop: Fandom Nationalism in BTS and EXO Fandoms

    Kelly Kessler

    • E23: Roundtable: “What the Hell Are They Doing in There?”: Navigating Media Scholarship While Parenting
    • U got a big butt, yo: Damage Control and Kids’ Media

    Jinsook Kim

    • T21: Affect and Media Culture in Asia
    • Popular Feminism, the Politics of Fear, and Anti-Refugee Backlash in South Korea

    Peter Kovacs

    • D20: Broadcast Industry Transitions (1930s-50s): Challenging Conventional Histories
    • From Single-Sponsorship to Participating Advertising: The Effects of Brand Proliferation on 1950s Sponsorship Trends

    Christina Lane

    • N3: Writing Between the Lines: Feminist Strategies for Historical Absences, Cliché, and the Unreliable
    • S16: Creating an Archives-Wiki: Re-thinking Archival Practice, Feminist Research, and Historical Methods
    • Alternative Writing Strategies: Notes on Discovering the ‘Women Who Knew’ Joan Harrison

    Kayti Lausch

    • L22: Industry Strategy: Rebranding for New Audiences
    • “Creating Content That Values Everyone”: The Trinity Broadcasting Network’s Expansion in the Digital Era

    Sarah Liao

    • T21: Affect and Media Culture in Asia
    • From Emotional to Political: Post-It-Note Arts of the Lennon Wall in the Anti-Extradition Bill Movement in Hong Kong

    Alfred Martin

    • E1: Failure in Black: Hollywood Production and Black Precariousness
    • Was The Wiz a Flop? The Industrial Politics of Black-Cast Media Failure?   

    Nick Marx

    • M5: Political Media and the Politics of Media
    • Appropriating Irony: Satire TV and the Displaced Abjection of the Political Right

    Cynthia Meyers

    • D20: Broadcast Industry Transitions (1930s-50s): Challenging Conventional Histories
    • “If You Want to Be Famous, Buy Shows; If You Want to Be Rich, Buy Spots”: The Ted Bates Agency and 1950s TV Advertising

    Taylor Miller

    • Q23: Historicizing Critical Audience Studies in Broadcasting
    • From the Peabody Archive: What Letters to Mister Rogers Can Teach Us About Audiences with Disabilities

    Colleen Montgomery

    • M4: International Circulation: Strategies and Technologies
    • "I Don't Know Why Eric Johnston is Congratulating Himself": Selznick's Exploits in Postwar France

    Paul Monticone

    • H21: Roundtable: Innovative Assignments for the Film and Media Classroom
    • One Film, Many Perspectives: Research as Discovery

    Sarah Murray

    • P14: Disruptive Publics: Media Activism and Identities
    • #YouKnowMe: Media Publics, Attention Economies, and Hashtag Recognition

    Michael O’Brien

    • C27: Affect, Archive and Cultural Memory
    • “Weapons in the Struggle for Freedom, for Equality, for Liberation”: The Film Rebellion of William Greaves

    Matthew Payne

    • Q3 Videographic Television Studies
    •  “Degrees of Difference in the Cold Opens of Fargo”

    Jacqueline Pinkowitz

    • M23: Trouble-ing Representations of the Other
    • Slavery, Italian Style: Italian-American Exchange, International Networks and Global Exploitation in Mandingo (1975)

    Ian Peters

    • K16: In Countering Fandom: Performance, Expection, and Play
    • Space Barbie, the Final Frontier: Avatar Cosmetics and Virtual "Dress-up" as Play in MMORPGs

    Swapnii Rai

    • J26: The Wonder that is Bollywood: Global Circulation of Bollywood as a Cultural Form
    • Stardom, Cinephilia and Cultural Diplomacy: Unpacking the affective contours of Bollywood's inroads into China

    Yeidy Rivero (Respondent)

    • O3  New Latinx Mediascapes: Blurring Borders through Racialized Counterpublics

    Sharon Ross

    • E23: Roundtable: “What the Hell Are They Doing in There?”: Navigating Media Scholarship While Parenting
    • : My Son's YouTube Rabbit Holes

    Olivier Tchouaffe

    • U15: Auteurs Revisited II
    • On Mahamat Saleh Haroun’s Cinema: African Cinema, Moral Cosmopolitanism and the Right of Necessity

    Jacqueline Vickery

    • D22: Mediating Youth Cultures: Critical Interventions in Teen Media
    • Learning from the Playful Voice: An Analysis of Youth Media Workshops and Youth Produced Media

    Kirsten Warner

    • F22: Roundtable: Beyond Resemblance: Theorizing Representation and Methods in Media Studies
    • S10: Black Cult Media
    • Fighting to Recoup Meghan Markle as Black Princess

    Lauren Wilks

    • P25: Race on Small Screens
    • From Colorblind to Culturally Specific: Examining Racial Specificity Over Time in Teen Television

      Elana Wakeman

      Communications & Programs Coordinator


      For more information, contact:

      Kathleen Mabley at 512-232-1417