CfP: Populäre Musikkulturen im Film (Hamburg)

Populäre Musikkulturen im Film: Transdisziplinäre Perspektiven auf Formen, Inhalte und Rezeption des fiktionalen und dokumentarischen Musikfilms
22.11-24.11.2013 – Hamburg
Deadline: 30.04.2013

Film is a „Schlüsselmedium der Rock- und Popmusik“ („key-medium of rock- and popmusic“; Rock and Pop in the Movies 1: S. 7) and functions as an important format of media-communication about and in popular music-cultures. The current international distribution of rock- and popmusic wouldn’t have been imaginable without film. It is therefore astonishing how little attention is paid to the medium in film-, cultural and social studies, though, at this point films – fictional or documental – accompany almost all facets of pop-history: The scenes, the fans, the musicians and stars, their socio-cultural and productive surroundings, their festivals and concerts as much as their identity-establishing narratives. Fictional and documental films build myths and legends of music-cultures, their protagonists, scenes, instrumentation and places of performance, yet, they also function as objective tools of information, orientation and at the same time help in the collectivization of fans. The topics range from music-production and music as performing art to music reception. The contentual and aesthetic spectrum stretches into numerous subgenres like biopics, concertfilms, tour-films, mockumentaries, fanfilms, videoclips and others.

Yet, what is a music(dokumentary)film? A piece of musical art accompanied by images? Or the (audio-)visualization of music? Could you count music- and videoclip or live-recordings to the genre? How does music come into picture and how can it be staged audiovisually? Which role does music play in music(documentary)films and how’s the relation of the film to its music? Can sound be visible and if so: what do tones look like? But also: How could the meaning of music(documentary)films for their sociocultural surrounding be defined? How are music(documentary)films embedded in various contexts of reception, how are they used and what is their relation to fan-cultures? Which subgenres can be distinguished? And finally: How do fictional and documentary formats differ (like the Mockumentary from the Rockumentary)?

The workshop / conference: Populäre Musikkulturen im Film: Transdisziplinäre Perspektiven auf Formen, Inhalte und Rezeption des fiktionalen und dokumentarischen Musikfilms in Hamburg this year seeks to answer some of these questions. It’s the first German conference to ever deal with anything from musicfilm to Rockumentary and the goal is to establish further dialogue and collaboration.

Anyone interested in musicfilms and Rockumentaries, their production, reception and analysis (be it about their visual style, score, audience, etc.) is welcome to hand in an abstract by no later than 30th of April 2013. We especially encourage sociologists, musicologists and related fields to participate. The abstracts should be in German or English, about 450 words. There will be at least one panel in English. Abstracts can be sent to Carsten Heinze. International guests can also refer to Laura Niebling for any questions on English panels.

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