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<p class="MsoNormal" align="center" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;background:white">
<b><span lang="EN-US">The Screen Studies Association of Australia and Aotearoa New Zealand (SSAAANZ), in association with Massey University, present:<o:p></o:p></span></b></p>
<p class="MsoNormal" align="center" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;background:white">
<b><span lang="EN-US">The Materials of Screen Media<o:p></o:p></span></b></p>
<p class="MsoNormal" align="center" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center;background:white">
<b><span lang="EN-US" style="color:black">30 November — 2 December 2022<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span lang="EN-US" style="color:black">“Materialism,” “materials,” “materiality,” “matter”: for scholars in screen and media studies, is there anything these terms can’t do? They shape our common critical vernacular, from references to “source material” to
discussion of “subject matter.” They also sustain a range of approaches to screen media—from cultural materialist frameworks (Garnham; Williams) to theories of the cinematic apparatus (Baudry; Hanich; Pedulla; Straw; Elsaesser), and from film and TV exhibition
histories (Friedberg; Griffiths; Schwarz; Spigel; Szczepaniak-Gillece) to indigenous approaches to media materiality (Hokowhitu; Miner; Smith) and contemporary studies of screen production and distribution (Holt and Perrin; Mayer, Banks and Caldwell; Cunningham
and Silver; Lobato). In fact, across the past two decades, screen and media studies has undergone what a number of critics have identified as a full-scale “material turn” (Herzogenrath; Mitchell). Among scholars associated with this turn, the “material” betokens,
variously, the infrastructural underpinnings of screen media (Starosielski; Parks and Starosielski), the raw geo- and biophysical resources that feed screen media </span><span style="color:black">(</span><span style="color:#222222;background:white">Bozak;
Cubitt; Maxwell and Miller; Parikka), the audiovisual technologies of</span><span lang="EN-US" style="color:black"> screen media (Dourish; Gittelman; Kittler), the material cultures of screen media (Benson-Allott), the affective flows of the technologically
mediated bodies that experience screen media (Kavka; Marks; Sobchack), and screen media’s unique ontology (Arsenjuk).</span><b><span lang="EN-US"><o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US">The SSAAANZ 2022 conference, hosted online by Massey University between the 30<sup>th</sup> of November and the 2<sup>nd</sup> of December 2022, will both take stock of existing uses of terms like “materialism,” “materials,”
“materiality,” and “matter” in screen studies, and open up these terms to new applications. We invite contributions that push the rubric of “materiality” in novel critical directions, as well as those working within existing “materialist” traditions, from
media industry studies, to affect theory, to infrastructure studies. We especially encourage reflexive thinking across these traditions. Why have we returned so frequently to a metaphorics of “materialism” and “materiality” in our efforts to understand how
screen media work, what screen media are and why screen media matter to us? What is the relationship between Williams’s “cultural materialism” and Latour’s “matter,” or between Caldwell’s “material practices” and Sobchack’s material body? And how might the
rise of digital and algorithmic media transform our understanding of the screen media’s “material” base?<o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"><span lang="EN-US"> <o:p></o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US">Keynote Speakers:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"><a href="https://gufaculty360.georgetown.edu/s/contact/00336000014RWn1AAG/caetlin-bensonallott"><span style="color:#A8A6A1;background:white">Caetlin Benson-Allott (Georgetown University)</span></a><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://research.monash.edu/en/persons/olivia-khoo"><span style="color:#A8A6A1;background:white">Olivia Khoo (Monash University)</span></a><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal"><a href="https://cla.umn.edu/about/directory/profile/alovejoy"><span style="color:#A8A6A1;background:white">Alice Lovejoy (University of Minnesota)</span></a><span style="color:black;background:white"> </span><o:p></o:p></p>
<p class="MsoNormal"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<b><span style="color:black">Guest Filmmakers:<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black">Sari Braithwaite, director of </span><a href="https://www.screenaustralia.gov.au/the-screen-guide/t/-censored--2018/37122"><em><span style="color:#A8A6A1">[CENSORED]</span></em><span style="color:#A8A6A1"> (2018)</span></a><span style="color:black"> <o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<a href="https://www.circuit.org.nz/"><span style="color:#A8A6A1">CIRCUIT</span></a><span style="color:black"> artists and curator Mark Williams <o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<span style="color:black">Heperi Mita, director of </span><a href="https://www.nzonscreen.com/title/merata-how-mum-decolonised-the-screen-2018"><em><span style="color:#A8A6A1">Merata: How Mum Decolonised the Screen</span></em><span style="color:#A8A6A1"> (2018)</span></a><span style="color:black"><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;background:white">
<a href="https://findanexpert.unimelb.edu.au/profile/233294-tiriki-onus"><span style="color:#A8A6A1">Tiriki Onus</span></a><span style="color:black"> and
</span><a href="https://researchers.mq.edu.au/en/persons/alec-morgan/"><span style="color:#A8A6A1">Alec Morgan</span></a><span style="color:black">, co-directors of </span><a href="https://www.screenaustralia.gov.au/the-screen-guide/t/ablaze-2020/38245"><em><span style="color:#A8A6A1">Ablaze</span></em><span style="color:#A8A6A1"> (2020)</span></a><span style="color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span lang="EN-US">Papers may address, but are not limited to, the following themes:<o:p></o:p></span></b></p>
<p class="MsoNormal"><span lang="EN-US"><o:p> </o:p></span></p>
<ul style="margin-top:0cm" type="disc">
<li class="MsoListParagraphCxSpFirst" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Materials on screen/the matter of images<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Screen media agencies, industries and institutions<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Production studies and media industry studies in Australia, New Zealand and beyond<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">The crafts of film and television production and their materials: production design, costume design, set and props construction.<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">The materiality of the production and post-production workflow: shooting, editing, animation, effects
<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">The material cultures of screen media consumption<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Film preservation and archiving<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Screens and the built environment<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Indigenous approaches to and perspectives on media and materiality<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Sizes, shapes, textures of screens<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Film stock: histories, politics, aesthetics<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">The practices, spaces and networks of media distribution and exhibition<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">“Old” materialisms: Marx, Adorno, Williams<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Class and stuff/the stuff of class<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Media archaeology<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Film and television affect<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Resource media: carbon, sunlight, plastic<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Materialisms “old” and “new” in critical conversation<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Media and/as the environment: cloud media, rain media, stone media
<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Dead media, media waste<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Film and media infrastructures: server farms to undersea networks<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">The “stuff of bits”: spreadsheets, databases, networks<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">“German” media theory in Australasia<o:p></o:p></span></li><li class="MsoListParagraphCxSpMiddle" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">New materialism and media: speculative media, object-oriented media<o:p></o:p></span></li><li class="MsoListParagraphCxSpLast" style="margin-left:0cm;mso-add-space:auto;mso-list:l1 level1 lfo1">
<span lang="EN-US">Digital materialisms<o:p></o:p></span></li></ul>
<p class="MsoNormal"><span style="color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span style="color:black">We are inviting proposals for sessions of four kinds:<o:p></o:p></span></b></p>
<p class="MsoNormal"><b><span style="color:black"><o:p> </o:p></span></b></p>
<ul style="margin-top:0cm" type="disc">
<li class="MsoListParagraphCxSpFirst" style="color:black;margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo2">
<b>Individual presentations</b>: we ask that presenters pre-record presentations of 7-15 minutes long so that they can be made available online ahead of the panel session itself, which will be dedicated to discussion and Q&A.<o:p></o:p></li><li class="MsoListParagraphCxSpMiddle" style="color:black;margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo2">
<b>Pre-constituted panels</b>: these proposals should include an overarching rationale as well as proposals for 3-4 individual presentations (of 7-15 minutes long). Again, we ask that presenters re-record their presentations so that they can be made available
online ahead of the panel session itself, which will be dedicated to discussion and Q&A. <o:p></o:p></li><li class="MsoListParagraphCxSpMiddle" style="color:black;margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo2">
<b><span lang="EN-US">Roundtables:</span></b><span lang="EN-US"> discussions on a scholarly topic led by a chair and 3-5 speakers. This format involves each speaker presenting for up to 5 minutes on the topic in order to kick off a roundtable conversation,
and then engaging in further discussion with the audience.</span><o:p></o:p></li><li class="MsoListParagraphCxSpLast" style="color:black;margin-left:0cm;mso-add-space:auto;mso-list:l0 level1 lfo2">
<b><span lang="EN-US">Seminars</span></b><span lang="EN-US">: participatory sessions led by 1-2 seminar leaders with up to 8 participants and an audience of auditors. Seminar leaders will invite participants to undertake preparatory tasks that will be shared
prior to the conference.</span><o:p></o:p></li></ul>
<p class="MsoNormal"><span style="color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><b><span style="color:black">Please visit the conference website at
</span></b><a href="https://www.ssaaanz2022.com/"><b><span style="text-decoration:none">www.ssaaanz2022.com/</span></b></a><b><span style="color:black"> to submit your proposal. Proposals for presentations at the conference must be submitted by midnight (NZT),
30 May 2022.<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="color:black">Please note that this conference will take place primarily online to ensure accessibility and provide certainty in the current climate.</span><span style="color:black"><o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="color:black">While the main conference will take place between the 30<sup>th</sup> of November and the 2<sup>nd</sup> of December, we will be holding an online pre-fix event for postgraduate students and early career researchers
on the 29th<sup>th</sup> of November. More details regarding this event will be announced nearer the date.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="color:black"><o:p> </o:p></span></p>
<p class="MsoNormal">Organising Committee: Pansy Duncan, Claire Henry, Ian Huffer, and Kyra Clarke<o:p></o:p></p>
<p class="MsoNormal"><span lang="EN-US"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-family:"Calibri",sans-serif"><o:p> </o:p></span></p>
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