Cat Power’s “Maybe Not” (2005).
The conference Cultural Borrowings: A Study Day on Appropriation, Reworking and Transformation is held today at the University of Nottingham. It is an honour to present a paper in this event that gathers scholars from different countries in a wide-ranging discussion centred around notions of adaptation, appropriation, reworking, translation, sampling, mimicry, and other instances of cultural borrowing.
I am presenting a paper on music video and found footage. Here is the long list of presenters and papers:
Keynote Speakers:
Christine Geraghty (University of Glasgow), “Adaptation Theory and the Problem of Faithfulness”
I. Q. Hunter (De Montfort University), “Exploitation as Adaptation”
Lee Marshall (University of Bristol), “Love and Theft: Dylan and Tradition”
David Hesmondhalgh, (University of Leeds), “The Politics of Musical Borrowing and Appropriation”
Session 1: Adaptation:
Pamela Atzori (University of Aberystwyth), “Citoyen Charles Dickens: French Television Adaptations of the Works of Charles Dickens”
Samantha Lay (University of Bedfordshire), “Adapting Resident Evil: A Three Stage Approach to the Study of Game to Film Adaptation”
Jason Scott (Leeds Trinity & All Saints and University of Leeds), “Repackaging, Repurposing, or Reworking the Product?: Risk and Translatability in the Commercial Intertext within Film and Popular Culture”
Alex Symons (University of Nottingham), “Selling Cult Movies on Broadway: How Mel Brooks Adapted The Producers, and Made a Billion Dollars”
Session 2: Sampling, Copyright and African American Culture:
Anthony McKenna (University of Nottingham), “Hound Dog: Class, Copyright and Cultural Propriety”
Justin Morey (Leeds Metropolitan University), “The Death of Sampling: Has Litigation Destroyed an Art Form?”
Shara Rambarran (University of Salford), “‘99 Problems but Danger Mouse Ain’t One’: The Cultural Politics of The Grey Album”
Justin Williams (University of Nottingham), “Reappropriating Jazz: The Construction of ‘Jazz Rap’ as High Art in Hip-Hop Music”
Session 3: Post-Colonial Appropriations:
Stacy A. Hope (University of St. Andrews), “Broken Feathers and the White Buck Woman: Appropriation of Western Aesthetics and Concepts Amongst Indigenous Peoples”
Jazmin Badong Llana (University of Aberystwyth), “The Bikol Dotoc: Post-Colonial Borrowings and Cultural Survival”
Fiona Sheales (University of East Anglia), “Bicycles, Books and British Officials: A Colonial Case Study of Yoruba Iconic Appropriations”
Nadine Siegert (Johannes Gutenberg-Universität Mainz), “Kuduru: The Crazy Frog Resampled”
Session 4: Remakes:
James MacDowell (University of Warwick), “What Value is There in Gus Van Sant’s Psycho?”
Hang Xu (University of East Anglia), “English Story, Chinese Style: A Case Study of Chinese Comedy Crazy Stone”
María Seijo-Richart (Universidad da Coruña), “A Bollywood Remake: Mohabbatein and Dead Poets Society”
Neelam Sidhar (University of Sussex), “Introducing the Contemporary Bollywood Remake”
Session 5: Musical Borrowings:
Éireann Lorsung (University of Nottingham), “Fear of Flying: Bonnie ‘Prince’ Billy and Tortoise Translate Elton John’s ‘Daniel’ Post-9/11”
David Muldoon (University of Milan), “Being Others: Anglo Saxon Tribute Bands and Italian Identity”
Pieter Schoonderwoerd (University of Nottingham), “Advertising the Music: Musicking the Advert”
Jacob Smith (University of Nottingham), “Sergei and the Mouse: Cultural Exchange and Postwar Children’s Culture”
Session 6: Visual Culture:
Rebecca Cobby (University of Nottingham), “‘I am African’, ‘I am Gwyneth Paltrow’: Quests for Universalism and the Controversy of Appropriation in African American Visual Culture”
Melanie Chan (Leeds Metropolitan University), “Embodiment and Immersion in Virtual Realities: Neuromancer, Ghost in the Shell and The Matrix”
Darren Elliott, Royal Holloway (University of London), “Queering Carrie: Appropriations of the Indelible Carrie White, a Feminist/Misogynist Icon”
Raphaëlle Proulx (Université de Montréal), “Cultural Appropriation in the Hands of Hip-Hop Graffiti Artists from Montréal (Canada) and São Paulo (Brazil)”
Session 7: Reworking the 1950s/60s:
Sarah Baker (University of East London), “Distinctive and Effortless?: The Value of Retro Style on Lifestyle Television”
Tim Vermeulen (University of Reading), “Revisiting Pleasantville: The Spatial Representation of Suburbia in Contemporary Cinema”
Carlo Cenciarelli (King’s College London), “‘What Never Was Has Ended’: Bach, Bergman, and The Beatles in Christopher Munch’s The Hours and Times”
Stella Sims (University of Sussex), “Bettie Page: Feminist Icon?”
Session 8: Found Footage:
Emma Cocker (University of Nottingham), “Ethical Possession: Artists and the Archives”
Sérgio Dias Branco (University of Kent), “Borrowed Sounds, Appropriated Images: Music Video and Found Footage”
Elijah Horwatt (York University), “A Taxonomy of Mashups, Re-cuts and Machinima: The Future of Found Footage on the Internet”
James Whitfield (King’s College London), “Friendly Teasing: Comedic Uses of Found Footage and the Question of Value”
Session 9: Critical Appropriations & Ideology:
Austin Fisher, Royal Holloway (University of London), “A Marxist’s Gotta Do What a Marxist’s Gotta Do: Political Violence on Italy’s Ethical Frontier”
Mariano Paz (University of Manchester), “Latin Hybrids: Hybridity in Latin American Science Fiction Cinema”
Francesca Haig (University of Chester), “Appropriation After Auschwitz: The Ethical Dilemma of Historical Fiction”
Daniel Benjamin Williams (University of Cambridge), “Scripta Manent: Parody and Rememberance in J. M. Coetzee’s Dusklands”
