2014/04/28

Conference : HOLLYWOOD’S MUSICAL CONTEMPORARIES AND COMPETITORS IN THE EARLY SOUND FILM ERA (26-28 July 2014, Surrey, U.K.)


HOLLYWOOD’S MUSICAL CONTEMPORARIES AND COMPETITORS IN THE EARLY SOUND FILM ERA
http://www.surrey.ac.uk/schoolofarts/news/events/2014/hollywoods_musical_contemporaries_and_competitors_in_the_early_sound_film_era_conference.htm

University of Surrey
Saturday 26 July 2014 to Monday 28 July 2014

Keynote Speaker: Dr Kathryn Kalinak (Rhode Island College)

Registration information: University of Surrey Online Store

http://store.surrey.ac.uk/browse/extra_info.asp?compid=1&modid=2&catid=34&prodid=172

The conference offers a welcome opportunity to investigate scoring practices at the birth of the sound era in cinematic traditions outside Hollywood and the USA, and includes:
· paper sessions on early film music in China, Japan, Argentina, Brazil and Europe
· papers addressing repertoire in Russia, UK, Sweden, Greece, Lithuania, Egypt, India and Australia, as well as theoretical discussion of the early role of music
· lecture-demonstrations on the socio-political contexts of film scoring in 1930s Spain and Italy
· a panel discussion on emerging sound and compositional techniques in Italy
· the keynote paper: ‘‘“New means of enormous power”: Music in Early Soviet Sound Film’
· various film screenings and audio-visual performances


Please see the conference or registration webpage for the full programme.

Generously supported by The British Academy, The Film Music Foundation, the Royal Musical Association, Music & Letters, and the School of Arts and International Relations Office at the University of Surrey.

Conference convenor: Dr Jeremy Barham

Conference committee:
Professor Mervyn Cooke (Department of Music, University of Nottingham)
Dr Ben Winters (Department of Music, The Open University)

Dr Holly Rogers (Department of Music, University of Liverpool)
Dr Jeremy Barham (School of Arts (Music), University of Surrey)




Hollywood’s Musical Contemporaries and Competitors in the Early Sound Film Era

Conference Programme


Saturday 26 July




Registration and coffee/tea

09.00-10.15
Ivy Arts Centre Foyer

Welcome

10.15-10.30

Ivy Theatre
Paper Session 1


‘New Grounds and a City Symphony: Composing Early Sound Films in The Netherlands’, Emile Wennekes



‘The Use of Non-Diegetic Music During the Conversion to Sound in Sweden 1929-1932’, Christopher Natzén




‘“Oh… Modern Music!” Hollywood, Satire and “Modernism” in Giuseppe Piazzi’s score for I fratelli dynamite’, Marco Bellano



‘Music Directors and their Composers in 1930s British Film: the Creative Process and Working Musical Relationships’, Alexis Bennett


10.30-12.30
Ivy Theatre
Lunch

12.30-13.30
Ivy Arts Centre Foyer

Paper Session 2

‘Picturing Sound, Sounding Space: The Evocation and Mediation of Acoustic Experience in Early 1930s Chinese Cinema’, Ling Zhang



‘A Confluence of Performing Arts in Pre-war Hong Kong Cinema: A Case Study of Director Chan Pei’, Stephanie Ng



‘Retranslating Musical Comedy for Shanghai’s Left-wing Film Movement’, Madeleine Wilcox



‘Sound Techniques, Musical Comedy and Yuan Muzhi’s Scenes of City Life (1935)’, Li Guo

13.30-15.30
Ivy Theatre
Coffee/Tea

15.30-16.00
Ivy Arts Centre Foyer

Paper Session 3

‘Between This World and That: Music and Disjuncture in Die Tochter des Samurai’, Brooke McCorkle

‘Historical-Aesthetic Views on Scoring Practices in Early Sound Film in Germany’, Maria Fuchs

‘Eternally Feminine: Cultural Representations of Womanhood in the Scoring of Early Sound Films from Weimar-Republic Germany’, Jeremy Barham

 

16.00-17.30
Ivy Arts Centre, First Floor, room: tbc
Dinner

18.00-19.30
University campus
Audio-visual performances, followed by film screening of Das Blaue Licht (dir. Leni Riefenstahl, Béla Balázs, music Giuseppe Becce, 1932)
20.00
Ivy Theatre


Sunday 27 July




Paper Session 4 

The Only Son: Ozu Soundscape and Ito’s Music During Japan’s Transition from Silent to Sound’, James M. Doering

‘The Heterogeneity of Early Japanese Sound-Film Music in the Modernist Culture of the Early 1930s: A Madame and a Wife (1931) and One Million Chorus (1935)’, Fumito Shirai

‘The Talkies and Its Singing Stars: Analysing Aural Stardom in 1930s Bombay Cinema’,
Olympia Bhatt

09.00-10.30
Ivy Theatre

Coffee/Tea

10.30-11.00

Ivy Arts Centre Foyer

Paper Session 5

‘Divergence and Emergence in Latin American Film Musicals of the 1930s’, Nicolas Poppe

‘Early Imaginary of Buenos Aires City. From Tango Poetics of the 1920s Toward Sound Films of the 1930s’, Pablo Piedras

‘Film and Tango: the Contribution of Luis César Amadori to the Argentinian Film Industry in the Late 1930s’, Lucía Rodríguez Riva


11.00-12.30
Ivy Theatre
Lunch
12.30-13.30
Ivy Arts Centre Foyer

Keynote Address by Kathryn Kalinak

‘“New means of enormous power”:  Music in Early Soviet Sound Film'

13.30-14.30
Ivy Theatre
Coffee/Tea
14.30-15.00
Ivy Arts Centre Foyer

Paper Session 6 

‘The Russia Empire in Music: Der weiße Teufel (UFA, 1930)’, Stuart Campbell

‘The Symphonies of Factory Sirens and Anti-Hollywood Sound Projects in Soviet Russia’, Dmitri Zakharine

‘“The Dream of a Fatty”. The First Lithuanian Sound Film in the Context of Scoring Practice for Early Puppet-Animation Sound Films’, Antanas Kučinskas

15.00-16.30
Ivy Theatre
Coffee/Tea


16.30-17.00
Ivy Arts Centre Foyer

Session 7: Panel Discussion

‘The Advent of Sound Film in Italy and the First Approaches to the New Audio-Visual Genre by Italian Composers During the Years 1930-1940’, led by Roberto Calabretto and Kristjan Stopar

17.00-18.00
Ivy Theatre
Conference Dinner

18.30-20.30
Guildford Town

Screening of Vampyr (Carl Theodor Dreyer, 1932), with Paul Robinson’s newly composed score played live by the HarmonieBand

20.30
The Electric Theatre, Guildford


Monday 28 July




Paper Session 8 

‘The First Brazilian Sound Films’, Carlos Roberto de Souza

‘What are the So-Called “Our things”? Popular Music, Records and the Beginnings of Sound Films in Brazil’, Suzana Reck Miranda

‘“The Discovery of Brazil”: Early Brazilian Film Music Practices and Nationalism in the Sound Era’, Anselmo Mancini

09.00-10.30
Ivy Theatre

Coffee/Tea


10.30-11.00

Ivy Arts Centre Foyer
Paper Session 9

‘Words and Music: Dialogue Underscoring in the Early Musical’, Lea Jacobs

‘Musical Films Made in Germany’, Charles O’Brien

‘Toward a Theory of the Part-Talkie’, James Buhler

11.00-12.30
Ivy Theatre
Lunch


12.30-13.30
Ivy Arts Centre Foyer

Session 10: Lecture-demonstrations

Laura Miranda González:
‘The Folkloric Film Musical in Spain’s II Republic (1931-1936): Continuation of a Tradition That Went Beyond Francoism’

Franco Sciannameo:
‘Ildebrando Pizzetti’s Dilemmas in Scoring Scipione L’Africano (1937)’

13.30-15.00

(13.30-14.10)




(14.20-15.00)
Ivy Theatre
Coffee/Tea
15.00-15.30
Ivy Arts Centre Foyer

Paper Session 11

‘Early Greek Talkies (1930-1940): Struggling Between Technology and Theatre’, Emmanuel Arkolakis

‘Early Egyptian Film Song: The Development of a Syncretic Style’, Margaret Farrell

‘Tarzan meets Hiawatha: The music of Australian Aboriginal films of the 1930s’, Anthony Linden Jones

15.30-17.00
Ivy Theatre
Coffee/Tea

17.00-17.30
Ivy Arts Centre Foyer

Paper Session 12

The Wild Cat (El gato montés, Rosario Pi; Spain, 1935): the Spanish Opera that Turned into a Soundtrack’, Fernando Carmena

‘Mobilising Desire: the Operetta Films of Pills and Tabet in 1930s France’, Phil Powrie
Louise by Abel Gance after Gustave Charpentier (1939): Re-composing the Opera on Screen’, Tommaso Sabbatini

17.30-19.00
Ivy Theatre