Following on from the success of last year’s postgraduate conference, ‘New approaches to gender, film and television’, as well as the recent publication of Cinema, Television and History (2014, Newcastle-upon-Tyne: CSP), developed from papers given at the research centre’s inaugural postgraduate conference, De Montfort University’s Cinema and Television History (CATH) Research Centre is delighted to announce its third annual BAFTSS-funded postgraduate conference:



A postgraduate conference

Wednesday 4th June 2014, De Montfort University, Leicester, UK

Keynote speaker:

Dr. Amy Holdsworth,

Lecturer in Film and Television Studies (University of Glasgow)

Author of Television, Memory and Nostalgia

(2011, Basingstoke: Palgrave Macmillan)

Collective cultural memory, which according to José van Dijck is concerned with the “communal reservoir of relevant stories about our past and future” (2007: 8), has received a great deal of academic attention over the past two decades. More and more, these studies have focused on the impact of media on this ‘reservoir’, be it via collectively remembered images or via contemporary media that depicts the past retrospectively, as evidenced by the work of van Dijck and Amy Holdsworth (2011), among several others. Visual media – whether film, television, video games, photography or online media – have played an increasing role in the formation of cultural memory since 1950, and especially since the digital age, as screen cultures and media technologies have proliferated and diversified at an exponential rate.

De Montfort University’s Cinema and Television History (CATH) Research Centre has been an active contributor to research on the relationship between media and cultural memory through its participation in the BECTU Oral Histories Project and in the Leverhulme-funded Hollywood and the Baby Boom project. As such, the CATH Centre’s third annual postgraduate conference will seek to explore the role of visual media in shaping collective memories, especially since the Second World War. How have transformations in media impacted on people’s relationships to the past? Can new media sources now be accepted as valid historical evidence?

We welcome papers that address these and other related issues by engaging with visual media such as film, television, video games, online cultures and photography. Possible topics include, but are not limited to:

– The uses of nostalgia, retro and ‘heritage’ in post-war screen cultures;

– Media representations of history, such as documentaries and docu-dramas;

– The impact of media coverage of historical events on collective memory;

– The role of digital technologies in enabling easy access to archival material and the effect of this phenomenon on our relationship to the past;

– The impact of globalisation on cultural memory.

Abstracts of 200-300 words for papers of 20 minutes, plus a short biography, should be sent to by Wednesday 30th April 2014. For up-to-date information, please visit


We are also delighted to announce that the conference has received a BAFTSS funding award to assist delegates with travel, accommodation, and/or registration costs. Awards will be offered as 2 x £125 for delegates attending from outside the UK, OR as smaller bursaries of up to £50 for those travelling within the UK.

Information on Cinema, Television and History: New Approaches can be found here:–Television-and-History–New-Approaches1-4438-5379-8.htm


Cinema and Television History (CATH) Research Centre Postgraduates


Room 3.06J

School of Media and Communication

Clephan Building

De Montfort University

The Gateway






Seminar ‘Mining digital repositories’ – National Library of The Netherlands

Libraries want to understand the researchers who use their digital collections and researchers want to understand the nature of these collections better. The seminar ‘Mining digital repositories’ brought them together at the Dutch Koninklijke Bibliotheek (KB) on 10-11 April, 2014, to discuss both the good and the bad of working with digitised collections – especially newspapers. And to look ahead at what a ‘digital utopia’ might look like. One easy point to agree on: it would be a world with less restrictive copyright laws. And a world where digital ‘portals’ are transformed into ‘platforms’ where researchers can freely ‘tinker’ with the digital data. – Report & photographs by Inge Angevaare, KB

European Cinema after the Wall

Edited by Leen Engelen and Kris Van Heuckelom

Capture d’e?cran 2014-04-15 a? 13.23.14Since the fall of the Berlin Wall in 1989, transnational European cinema has risen, not only in terms of production but also in terms of a growing focus on multiethnic themes within the European context. This shift from national to trans-European filmmaking has been profoundly influenced by such historical developments as the collapse of the Iron Curtain and the subsequent ongoing enlargement of the European Union. In European Cinema after the Wall: Screening East–West Mobility, Leen Engelen and Kris Van Heuckelom have brought together essays that critically examine representations of post-1989 migration from the former Eastern Bloc to Western Europe, uncovering an array of common tropes and narrative devices that characterize the influences and portrayals of immigration. Featuring essays by contributors from backgrounds as divergent as film studies, Slavic and Russian studies, comparative literature, sociology, contemporary history, and communication and media studies, this volume will appeal to scholars of film, European history, and those interested in the impact of migration, diaspora, and the global flow of cinematic culture.

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