Call for Papers: Music and the Moving Image18 Nov 2021
CALL FOR PAPERS 2022
MUSIC & THE MOVING IMAGE CONFERENCE XVIII
ONLINE Conference at New York University: 26 – 29 May, 2022
Update: Due to New York University’s protective Covid-19 protocols, the 2022 MaMI Conference will be held entirely online. While we had hoped to host an entirely in-person conference, our successful experiences with running the past two MaMI conferences as virtual events means that we are fully adapted to hosting an efficient, compelling, and—dare we say—engaging event in an online modality. We look forward to offering a dynamic program of panels alongside multiple opportunities for participants to connect virtually with one another.
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The annual Music and the Moving Image Conference invites abstracts for paper presentations that explore the relationship between the vast universe of moving images (film, television, streaming media, video games, and advertisements) and that of music and sound. We encourage submissions from scholars and practitioners, as well as from multidisciplinary teams that have pooled their knowledge to solve problems or to develop new perspectives regarding the relationship between music and moving images. Abstracts will be selected based on their originality, relevance, significance, and clarity of presentation.
Keynote Address: TBA
Keynote Panel: The Life and Legacy of Danijela Kulezic-Wilson
Paper abstracts (up to 250 words) should be submitted no later than 17 December, 2021, via this link: https://form.jotform.com/212974970168164
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The Music and the Moving Image Conference would like to announce Gillian Anderson’s retirement as Co-organizer and the appointment of Katherine Spring as her replacement. A big thank you to Gillian for her 20 years of service and welcome to Katherine who is already known to many conference-goers. Gillian will be available in a consulting and supportive role, while Katherine will be responsible with Ron for running the conference.
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This year’s program committee includes Per F. Broman — Bowling Green State Univ. (“From Where Does the Music Come? Musical Meaning and Musical Discourse in Ingmar Bergman’s Films,” Ingmar Bergman: An Enduring Legacy); Lisa Coulthard — Univ. of British Columbia (“Fist to Face: Corporeal Listening and the Cinematic Punch,” The Oxford Handbook of Cinematic Listening); Júlia Durand — NOVA Univ. of Lisbon (“‘Romantic Piano’ and ‘Sleazy Saxophone’: Categories and Stereotypes in Library Music Catalogues,” Music, Sound and the Moving Image); Katherine Quanz — Ursinus College (“Pinewood’s Fiddler Fans Goldwyn’s Folly: London’s Battle for Post- Production Sound Business,” Voicing the Cinema: Film Music and the Integrated Soundtrack); Stefan Swanson — New York Univ. (“Happily Never After”: William’s Musical Exploration of the ‘Controversial’ Ending to A.I.: Artificial Intelligence,” John Williams: Music for Films, Television, and the Concert Stage); Katherine Spring — Wilfrid Laurier Univ. (Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema / co-editor of Resetting the Scene: Classical Hollywood Revisited); and Ron Sadoff — New York Univ. (The Moon and the Son / co-editor of The Routledge Companion to Screen Music and Sound).
This year’s conference will run for four days, from 26 – 29 May, 2022 with sessions until Sunday evening. The conference will run prior to the NYU Film Scoring Workshop in Memory of Buddy Baker (30 May – 10 June, 2022).
E-mail MamiConference@nyu.edu for more information.
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