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Dear ZeM newsletter subscribers,
we are pleased to announce our events for June 2018.

WORKSHOP

Ludic Boredom

COLLOQUIUM

Research Colloquium

WORKSHOP

Series Research and Television Studies

WORKSHOP

Versatile Camcorders: Looking at the GoPro-Movement



WORKSHOP

Ludic Boredom


Time
Fr, 1 June 2018, 10am to 6.30pm

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam


The workshop examines the social, cultural and philosophical implications of boredom in terms of play and work, technology, media and computer games with the aim of developing an international collaboration that establishes an innovative interdisciplinary research programme to investigate the sub-theoretical phenomenon of boredom in greater depth.

In a paradoxical way, boredom seems to be at the heart of today's culture of constant connectivity and productivity, which is reinforced by digital media. Any potential boredom is also a possibility for monetization - advertising, casual games, social media and other push messages seem to compete for our attention, which could otherwise be dispelled in a blissfully prolonged boredom. Of special interest is the boredom of games and digital games, which are supposed to serve as an antidote.
The workshop is also distinguished by its international speakers, thanks to the in-house funding line of the University of Potsdam, KoUP.


COLLOQUIUM

Overview Research Colloquium Summer 2018

The research colloquium offers doctoral candidates and post-docs the opportunity to present their current doctoral and research projects and to discuss them in a collegial setting.


Fr, 1 June, 2pm to 4.30pm: Carolin Anda, Dr. Özgür Çiçek
Fr, 6 July, 10.30am to 1pm: Naomie Gramlich, Dr. Lea Wohl von Haselberg

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam


Carolin Anda (ZeM): Reisen mit/durch/auf Facebook – Sozio-technische Dynamiken facebook-inhärenter Urlaubsfotografien
The dissertation focuses on tourist amateur photographs that are distributed and used on the social network Facebook. The expansion and easy accessibility of social media over the past 12 years has led to new ways of using private material and media practices that have changed the way private photographs are handled and received. Social practices of photography - such as showing and exchanging photographic material with friends and acquaintances and photo albums or documenting experiences - migrate to the social network Facebook and are integrated into the network architecture. There, specific media practices, image distributions and actor relationships emerge through the operating functions of the interfaces, various modification and participation possibilities (e.g. like and share functions, hashtagging and geotagging) and through the underlying technical infrastructure. Vacation photographs represent negotiation areas of private, commercial and technical interests that stabilise the network, fix and influence media and socio-technical actions and provide important information about photographers' travel preferences, travelled distances and individual image content.

The work is based on the interdisciplinary field of network research and its associated current theories on forms of visual culture, new media, digitality, socio-cultural ways of using media, tourism theories and socio-technical theories of action. One of the theoretical premises of the thesis is the assumption that holiday photographs have an agency generated in the social network, which can be updated and reproduced in different ways in the process of reception, participation and socio-technical/socio-medial concatenations. The dissertation is interested in the technical and user-generated ways of use and distribution mechanisms as well as in the media prerequisites and conditions for such forms of updating private photographic material that enable the emergence of visual worlds of experience. This interest in knowledge requires an examination of the photographic pictorial material and its possibilities of participation/modification as well as socio-cultural, socio-technical and media-scientific theories.

Dr. Özgür Çiçek (ZeM): Turning Kurdish memories into films: The representation of ‘home’ as a domestic/personal archive
Kurdish cinema, categorized as such since the 2000s, is a transnational cinema that is produced from various locations including Germany, France, UK, Turkey, Rojava, and Iraqi Kurdistan. Now that Kurdish people are dispersed in many countries their history writing is limited to the individual attempts of Kurdish history writers and academics. The absence of the Kurdish archive or history writing created a tension that released itself through young motivated filmmakers who used cameras like a pen to write their history, that was mainly shaped by the memories they listened from their parents, grandparents, or relatives. In this sense many Kurdish filmmakers from Turkey make personal documentaries that reveal their unrepresented personal histories.
When we look at Kurdish films produced in Turkey one recurring theme is the representation of ‘home’ as the place where all personal records are stored and kept. For instance in Zeynel Doğan and Orhan Eskiköy’s The Voice of My Father (2012) the basement of Base’s home is where she keeps all the vocal letters, clothes, and belongings of her husband. For her ‘home’ is more than a place where one feels most comfortable, but it’s also a castle made up of her personal memories. Leaning on this background in this presentation I will first provide a short background on Kurdish filmmaking practices in Turkey. Further I will focus on the representation of ‘home’ in Kurdish-German director’s fiction and documentary films. Through looking at the films by Ayşe Polat, Miraz Bezar, Yüksel Yavuz, Soleen Yusef, and Rezan Yesilbaş I will question the function, and the visual aesthetics of ‘home’ in German Kurdish directors films. The questions I will explore are how do the themes of home and homelessness represented in Kurdish-German director’s films? How do Kurdish-German filmmakers aestheticize or destruct the image of ‘home’ in their films? Furthermore, how do the recently migrated Kurdish filmmakers from Turkey represent or problematize home? Does home stand for the locus of the family roots, or a place where one feels safe and unthreatened due to her national identity? What is the function of home as a domestic archive that stores traces of unrepresented /undocumented personal or national histories?


WORKSHOP

Series Research and Television Science


Time
Fr, 8 June 2018, 9.30am to 6.30pm

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam


Workshop of the working group "Television Studies/Fernsehgeschichte" of the Society for Media Studies (GfM) in cooperation with the Brandenburg Centre for Media Studies (ZeM).

Televisuality is historically closely linked to various forms of seriality: Television lives in the design of its program, the economy of its media production and the ritualized form of its reception of repetition in series. In the television series, this coupling is condensed into a genuine object form: through the reliable return of familiar serial characters, the mode of their cinematic and narrative procedures typical of each individual series, and the regularity and permanence of their availability, forces of connection arise not only between the individual episodes of a series, but also between medium and audience, through which the television series has become a model case for television theory itself.

With the emergence of serial research as an independent field of research, the historically close coupling of televisuality and seriality, both in terms of theoretical traditions and epistemologies as well as in terms of research programs, has increasingly weakened in recent years: the (media) scientific popularity of series and serial forms remains unchanged, while there is comparatively little interest in the theorization of television. This manifests itself, for example, in media-neutral determinations of seriality as a 'transmedial narrative form' or in an attempt to completely eradicate the televisual from the now 'audiovisual series'. The workshop is therefore intended to open the space for a mutual and fundamental determination of the relationship between series research and television science: Are theories of television beyond the mere historical entanglement of televisuality and seriality still relevant for research into contemporary series and serial forms? To what extent would the televisual be a possible reference point for serial regulations beyond television? Is there perhaps even a recursiveness of television history, does the episodic of television, apparently suppressed by narrative progression, reappear in the form of the anthology series? Conversely, however, one can also ask how the concept formation of television studies can react to the dissolution, transformation and networking of media dispositives and their integration into digital media ecologies, the analytical penetration of which is precisely the aim of series research. How does the examination of televisuality in turn benefit from a conceptualization that refers primarily to 'Quality' TV, to the series offerings of HBO, Amazon or Netflix and other post-televisual actors and media forms?

So how can a possible television forgetfulness of series research not only be problematized, but productively turned around? And how can the terminological repertoire of television theory possibly be extended beyond itself with theories of the serial?

Against this background, the working group would like to gather current approaches for serial research on television, discuss them together and thereby give the subject new impulses for future studies.


WORKSHOP

Versatile Camcorders: Looking at the GoPro-Movement


Time
21 – 22 June 2018, 9.30am to 6.30pm

Location
ZeM – Brandenburgisches Zentrum für Medienwissenschaften
Hermann-Elflein-Straße 18
14467 Potsdam


The GoPro is a so-called “action camcorder”, a small, easy-to-use and particularly robust camera which allows making video recordings under water or during a parachute jump and other situations that are difficult to shoot.
It was first launched as an analog photo camera for surfers in 2004. The objective of this new culture is inscribed in its brand “Go-Professional”: alleged professionalization of image production under extraordinary conditions.

With the GoPro as the “world’s most versatile camera”, as said in the advertising text, the gesture of this promoted mobility is transferred to the actions of the camera operator and the possibility of linking the camera to various moving objects and subjects.
A genre of daring (existential) images emerges. For example images of the falling (skydivers, base jumpers and wingsuit fliers) and the fallen (when helmet cameras of militants record combat situations) as well as images of situations beyond control (animals hijacking the camera). Even more as in images shot with a hand camera perspectives become shaky; they flip vertical or horizontal, with the filmmakers’ bodies in the center. GoPro not only introduced a new camera segment but also changed the way of amateur filmmaking. This cannot be reduced solely to technical means, but rather to assertive brand communication.

Topics that are to be discussed at the conference from the perspective of this still relatively new device include: the transformation of amateur filmmaking and its correlating visual worlds; the gesture of venturous action and increased risk-taking; the impact on (citizen) journalism; aspects of the the circulation of images in social networks; new gestures such as selfies as well as the effects of the device on the body; surveillance (when the GoPro is mounted on drones) as well as recording the unexpected or the unintended.

The workshop will be held in English and German.


We would also like to mention the following event, taking place at the Film University Babelsberg KONRAD WOLF:

INFORMATION EVENT

adlr.link Ressourcen für die Kommunikations-, Medien- und Filmwissenschaft

Wenn es die Bibliothek nicht hat... Versorgung mit fachspezifischer Literatur

Dr. Sebastian Stoppe

Zeit
Th, 28 June 2018, 12.30pm to 1.30pm

Loction
Film University Babelsberg KONRAD WOLF
Room 2115
Marlene-Dietrich-Allee 11
14482 Potsdam


Dr. Sebastian Stoppe, project coordinator of adlr.link at Leipzig University Library, presents the services of the central proof portal for communication, film, television and media.

The target group are students, scientists and staff who need specialist literature for their work.

The following topics are covered:
What is adlr.link?
Who can use adlr.link?
How can adlr.link help me with my research?