The aim of the conference is twofold. First, it aims to reinvigorate a theoretical interest in the centrifugal–and perhaps centripetal–force of the moving image, that which opens up and ceaselessly modulates the experiential channels of audiovision: their production of image and movement, of meaning and feeling; their relays of fiction and allegory; their activations of history, of memory and the durational space of reception, of attention’s intention.
Which brings us, this last, to our second aim: to account for the out-of-field occupied by-and occupying-the spectator; more precisely, we want to discover how these variable binaries of “on” and “off” function post-theatrically. In other words, after technological and capital convergence, after the multiplication of frames, after the mobilization of screens, how do they-and the spectator-now work, if at all?”
Sulgi Lie is a film scholar and theorist. He is currently a visiting professor at the department ort art theory and aesthetics at the Berlin University of the Arts.
He studied film studies, German literature and philosophy in Bochum, Amsterdam and Berlin. From 2005-2015 he was a research associate at the division of film Studies at the Free University of Berlin. Since then he has held numerous visiting professorships and fellowships in Los Angeles, Basel, Bonn, Tyumen and Vienna. His doctorate thesis “Towards a Political Film Aesthetics of Cinema: The Outside of Film” was published in German by Diaphanes Press in 2012, an English translation of the book was published by Amsterdam University Press in 2020.
In 2022, both his habilitation thesis “Comes Walking. Adorno’s Slapstick: Charlie Chaplin & The Marx Brothers” was published in German by Vorwerk 8 press, as was a monograph on Korean director Hong Sangsoo entitled “Hong Sangsoo. The Ridiculously Serious” by the Vienna-based press “Le Studio Editions”. He is currently working on a study on the relationship between technology and the body in film comedy.
Daniel Morgan is a Professor of Cinema and Media Studies at the University of Chicago. He is the author of Late Godard and the Possibilities of Cinema (2013) and The Lure of the Image: Epistemic Fantasies of the Moving Camera (2021), as well as a number of articles on topics in film theory and aesthetics, non-fiction film, animation and experimental cinema.
Morning Panel: Off-Screen Interfaces
- Daniel Paul O’Brien – “Embodying The Off-Screen in Film and Game Narrative: A Video-Essay”
- Sara Ghazi Asadollahi – “Un/Folding the Off-Screen”
- Jordan Chrietzberg – “Beware! The Blob, or, Shallow-Boxing, Desquamating and the Off-Screen Cybernetic”
Afternoon Panel: Off-Screen Performance
- Xueli Wang – “Performing the Off-Screen: Maggie Cheung in Irma Vep (1996; 2022)”
- Navid Darvishzadeh – “The Off-screen That Dwells on the Screen
- Aristotelis Nikolaidis – “Democracy on and off screen: political values and discursive oppositions in a contemporary adaptation of Sophocles’ Antigone”
Keynote: Sulgi Lie
Morning Panel: Off-Screen Sound
- Matthew Marcus – “On Screen and Off Screen Sight, Sound and Meaning in Neighboring Sounds (2012)”
- Li Xi Carmen – “The Silence of Others: The Void of Voices in Wong Kar-wai’s Fallen Angels (1995) and Happy Together (1997)”
- Julian Hanich – “Offscreen Space or Mise en Esprit?”
Afternoon Panel: Off-Screen Temporalities
- Wesley Cornwell – “The Rhythm of Shadows: Anthony McCall’s Long Film for Ambient Light and the Cinematic Temporality of Architecture”
- Teresa Beirão – “Tombée de nuit sur Shanghai (2009) Portraying Off-Screen time on screen and its Potentialities”
- Jaka Lombar – ““Too Much World”: The Precariousness of Critique and the Screenless Commons in VR”
- Prahkar Patidar – “ACCIDENTAL DEATHS AND INCIDENTAL AFTERLIVES: Video Footage and its Memorialisation as a Digital Spectacle”
Keynote: Daniel Morgan
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