13.30 Panel 3 Panel 3a: Gender and Panel 3b: Deviant Panel 3c: Heritage Drama and Panel 3d:Institutions and Contemporary Television femininities Historiography otherness Horror Chair: Deborah Cartmell Chair: Claire Monk Chair: Mary Beltrán Chair: Janani Subramanian Room 1.48 Room 2.07 Room 1.49 Room: 2.06 Jorie Lagerwey (University Iris Bull (Oregon): Sallie McNamara (Southampton Jane Arthurs (Middlesex): College Dublin): The Vampire Solent): all in it Together’: Celebrity, Gender and Reputation ‘We’re Diaries and Horrifying From Saloon and Into Space: A Downton Abbey, Benevolence Management at the BBC Postfeminist Girls Critical Analysis of Feminine and Austerity Chic Identity in the Space Western Janani Subramanian (Indiana): Genre The Monstrous Makeover: Simone Knox (Reading): British American Horror Story, Maggie Andrews (Worcester): Television Drama and Femininity and Special Effects Downton Abbey’s Depiction of Representations of Iris Kleinecke-Bates (Hull): the Homefront. Heritage Mapping the Field. Adam Yerima (Wayne State): Television Style / Stylish Spectacle or Political Critique Don’t Know Whether to Kill “I Television: Mad Men, Fashion, it or Lick it”: Kate Argent’s Design, and Identity Complication of Gendered and Stuart Price (De Montfort): Sexual Performativity in Teen Moya Luckett (New York): in a Story-World': Wolf Women’s History, Women’s gendered identity and modes of Samantha Colling (Manchester Work: Popular Television as address in UK ‘lifeworld’ Chera Kee (Wayne State): Of Metropolitan): Spectacles of the Feminine Historiography commercials Babysitters and Human everyday: the music video Bondage: Gender and aesthetics of girl teen film Economic Vulnerability on Syfy’s Scare Tactics 15.15 Coffee and tea break 15.30 Panel 4 Panel 4a Panel 4b Panel 4c Panel 4d: Women, Ageing and Fandom (i) on Gendering the recession (ii) ‘Live’ Television
13.30 Panel 3 Panel 3a: Gender and Contemporary Television Horror Chair: Janani Subramanian Room: 2.06 Jorie Lagerwey (University College Dublin): The Vampire Diaries and Horrifying Postfeminist Girls Janani Subramanian (Indiana): The Monstrous Makeover: American Horror Story, Femininity and Special Effects Adam Yerima (Wayne State): “I Don’t Know Whether to Kill it or Lick it”: Kate Argent’s Complication of Gendered and Sexual Performativity in Teen Wolf Chera Kee (Wayne State): Of Babysitters and Human Bondage: Gender and Economic Vulnerability on Syfy’s Scare Tactics Panel 3b: Deviant femininities Chair: Deborah Cartmell Room 1.48 Iris Bull (Oregon): From Saloon and Into Space: A Critical Analysis of Feminine Identity in the Space Western Genre Iris Kleinecke-Bates (Hull): Television Style / Stylish Television: Mad Men, Fashion, Design, and Identity Samantha Colling (Manchester Metropolitan): Spectacles of the everyday: the music video aesthetics of girl teen film Panel 3c: Heritage Drama and Historiography Chair: Claire Monk Room 2.07 Sallie McNamara (Southampton Solent): ‘We’re all in it Together’: Downton Abbey, Benevolence and Austerity Chic Maggie Andrews (Worcester): Downton Abbey’s Depiction of the Homefront. Heritage Spectacle or Political Critique Moya Luckett (New York): Women’s History, Women’s Work: Popular Television as Feminine Historiography Panel 3d:Institutions and otherness Chair: Mary Beltrán Room 1.49 Jane Arthurs (Middlesex): Celebrity, Gender and Reputation Management at the BBC Simone Knox (Reading): British Television Drama and Representations of Mapping the Field. Stuart Price (De Montfort): in a Story-World': gendered identity and modes of address in UK ‘lifeworld’ commercials 15.15 Coffee and tea break 15.30 Panel 4 Panel 4a Women, Ageing and Television Panel 4b Fandom (i) Panel 4c ‘Live’ on Panel 4d: Gendering the recession (ii)
console-ing-passions-20130425.docx