School of Creative Arts

SEMINAR SERIES: PhD Roundtable

Description:

Speakers: Kevin McCluskey, Joseph Greenwood, Niall Rea

1) “They’ll all have seen King Kong”

2) ’Tis the changing of the times’

3) Towards an Obscenography: Queering Performance Design. 

Venue: 12 University Sq, Room 101
Booking info: Free admission

SEMINAR: Stumbling' - David Fennessy discusses his recent music

Description: Speaker: David Fennessy

Venue: McMordie Hall
Booking info: Free admission

Big Ears - Sonic art for public ears - Panel Discussion

Description: Sound Art and Community Engagement
Venue: Sonic Lab
Booking info: Free admission

SEMINAR: The Digitisation of the Abbey Theatre's Archive

Description: Speaker: Dr Patrick Lonergan, NUI Galway

Venue: House 12, University Square, Room 101
Booking info: Free admission

SEMINAR: Performance practice and distributed creativity in Stockhausen’s...

Description: SEMINAR: Performance practice and distributed creativity in Stockhausen’s Gesang der Jünglinge.
Speaker: Dr Sean Williams (Edinburgh)
Through interviews, documents, recordings, and practice led research I discuss some of the creative relationships between Tonographie Apparatebau, Rohde und Schwarz, Maihak, Gottfried Michael Koenig, Heinz Schütz, Hugh Davies, Josef Protschka and Karlheinz Stockhausen that have contributed to what we know as Stockhausen’s Gesang der Jünglinge. ////// Dr. Sean Williams is a Leverhulme Research Fellow in the Reid School of Music, University of Edinburgh, researching by practice the live and studio performance practices of early electronic music, mainly that made at the WDR Studio for Electronic Music, Cologne from 1952 to 1974. He builds electronic instruments with which he makes sound art and also performs in various ensembles. He has produced and presented a radio show Voice On Record, for Resonance FM and has DJed and performed his own electronic music In Europe, Japan and the USA.
Venue: Sonic Lab
Booking info: Free admission

SEMINAR: Myths and Miracles: Quatuor pour la fin du Temps as Musical Icon'

Description: Speaker: Dr Caroline Rae

Venue: McMordie Hall
Booking info: Free admission

SEMINAR: Cities of Memory: Performing and Media Arts in the Post-Conflict City

Description: Cities of Memory: Performing and Media Arts in the Post-Conflict City

Speaker: Professor Thomas Elsaesser (University of Amsterdam) Dr Colin Graham (National University of Ireland, Maynooth) Professor Jane Taylor (University of Chicago)

Developing from the work of the Belfast-Sarajevo Initiative (2007-2010), the School of Creative Arts at Queen's, in association with the British Academy, is hosting this conference to examine how theatre, performance, film, and the visual arts address post-conflict situations. We will consider proposals that focus on any post-conflict city, or region, and intend the Cities of Memory project to encourage interdisciplinary discussion on the contemporary arts and their relation to issues of testimony, witnessing, forgetting, representation, healing, reconciliation, agency, and metaphor. QUB Drama is delighted to host Professor Shaun Richards who will deliver the Fourth Annual Brian Friel Lecture. Shaun Richards is a recognised authority on Irish drama and has published on the subject in major journals and edited collections. His latest book is on Space, Place and Time in Irish drama which is being co-authored with Professor Chris Morash for publication by Cambridge University Press in 2013. He has lectured on Irish drama at a number of European and international universities, including the University of Sao Paulo, Brazil, and Waseda University, Tokyo. In 2012-2013 he held visiting research fellowships at NUI Galway and Trinity College Dublin. He is on the editorial board of Irish Studies Review, the editorial advisory board of Irish University Review and a member of the AHRC Peer Review College and the IRCHSS Postgraduate International Panel. He is also an elected member of the council of the British Association for Irish Studies and the executive of the International Association for the Study of Irish Literatures. His publications include: The Cambridge Companion to Twentieth-Century Irish Drama which he edited in 2004 and Writing Ireland: Literature, Nationalism and Colonialism (1988) which he co-authored with David Cairns.
Venue: To Be Confirmed
Booking info: Free admission

SEMINAR: Experiment and Experimental Music

Description:

Speaker: Fernando Iazzetta

Within the MOBILE Project we have produced a series of works that result from academic research coupled with the development of creative processes in which scientific experiment and aesthetic experimentalism are interwoven. After presenting some of these works and processes we will discuss the convergence between academic research and artistic creation.

Venue: Sonic Lab
Booking info: Free admission

SEMINAR: "Roger Casement: Controversies in Script and Image"

Description: Speaker: Jeff Dudgeon

Roger Casement: Controversies in Script and Image No Irish revolutionary and certainly no gay Irishman (Wilde excluded) has had more books written about him than Roger Casement, the latest being Dream of the Celt by the Nobel prize winner, Mario Vargas Llosa. Casment has attracted the best writers and historians: Brian Inglis, Séamas O Síocháin, Roger Sawyer, Montgomery Hyde, and some less so. Five TV programmes have been made about his career though none have touched on his Ulster politics or his gay life, just the diaries, whose authenticity continues to be a subject of heated dispute. Portraits, by Sarah Purser, when alive, and mostly hagiographic since death, are rarer; feature films never materialised as family and friends successfully objecting to Hollywood biopics, and we have only 30 seconds of actual moving images of Casement, in Berlin in 1915. Casement sometimes turns up incognito, as in Conrad’s Heart of Darkness or Arthur Conan Doyle’s The Lost World. However David Rudkin’s Cries of Casement as his Bones are Brought to Dublin’ is a rare theatrical production, outside of the court room or condemned cell, that captures Casement as human rather than heroic, although never as villain. Jeffrey Dudgeon MBE was the successful plaintiff at the European Court of Human Rights at Strasbourg in a six-year case whose 1981 judgment relating to the right to a private life led to the 1982 law decriminalising male homosexual behaviour in Northern Ireland. The case started after his arrest in 1976 and the rounding-up that year of all the members of the two fledgling gay groups in Belfast. Jeff’s book on the life of Roger Casement and the authenticity of his famous diaries was published in 2002, entitled Roger Casement: The Black Diarie and deals extensively with their authenticity. See jeffdudgeon.com
Venue: 12 University Square, Room 101
Booking info: Free admission

SEMINAR: Music and Politics In Croatia

Description: Speaker: Dr Stanislav Tuksar

"Music and Politics in Croatia between 1941 and 1952. Arts between the Rightest and Leftist Extreme Regimes - Parallels and Differences"
Venue: McMordie Hall
Booking info: Free admission

SEMINAR: Luxembourg calling: What is the European horror film?

Description: Speaker: Dr. Russ Hunter (Northumbria University)

"What is a European horror film? The paper will explore the inherent difficulty in answering this question. It focuses upon the ways in which European horror has been characterized variously by international co-productions, the movement of creative personnel between countries, international markets for films and international influences. In particular, it will stress the productive tensions between notions of the national and the continental being worked out throughout the history of European horror. In this way it will interrogate ideas surrounding the idea of a ‘European’ horror cinema as opposed to purely nationally differentiated and discreet cinemas. It will argue that Europe represents more than a discursively created category linking a loosely connected group of films and filmmakers. The factors outlined above will be explored to demonstrate the complex inter-relationship European horror producers have always operated under. Creep (Christopher Smith, 2004) will be used to help exemplify these issues. As a UK/Germay co-production set on the London Underground with a German lead actress, it offers an example of the problematic nature of nationally and collectively designated cinema. "
Venue: Seminar Room. Drama and Film Centre
Booking info: Free admission

SEMINAR: ‘"How I wonder what you're at!"

Description: ‘"How I wonder what you're at!" Sketch Studies of György Ligeti's Nonsense Madrigals’

Speaker: Dr Wolfgang Marx

"What is a European horror film? The paper will explore the inherent difficulty in answering this question. It focuses upon the ways in which European horror has been characterized variously by international co-productions, the movement of creative personnel between countries, international markets for films and international influences. In particular, it will stress the productive tensions between notions of the national and the continental being worked out throughout the history of European horror. In this way it will interrogate ideas surrounding the idea of a ‘European’ horror cinema as opposed to purely nationally differentiated and discreet cinemas. It will argue that Europe represents more than a discursively created category linking a loosely connected group of films and filmmakers. The factors outlined above will be explored to demonstrate the complex inter-relationship European horror producers have always operated under. Creep (Christopher Smith, 2004) will be used to help exemplify these issues. As a UK/Germay co-production set on the London Underground with a German lead actress, it offers an example of the problematic nature of nationally and collectively designated cinema. "
Venue: McMordie Hall
Booking info: Free admission

SEMINAR:Screen education: The development of film schools in Britain.

Description: Speaker: Prof. Duncan Petrie (University of York)

This paper discusses the significance of film schools to the wider fields of British film and media history, and the development of its cinema as a creative and cultural form. Although Film Schools have had an important impact on wider stylistic trends, production practices, and film-making movements in Britain, within most historical accounts of cinema, film-makers’ education has tended to be treated as a minor biographical detail or is simply assumed to be one aspect of on-the-job skills-acquisition. This paper examines these issues, and also looks at the Scottish Film School experience, and it relevance to Northern Ireland
Venue: Screen 2, Drama and Film Centre
Booking info: Free admission