Sonic Acts Academy 2018

Full programme announced for Sonic Acts Academy 2018
Unpacking the Processes of Artistic Knowledge
23–25 February

The second edition of Sonic Acts Academy takes place from 23 to 25 February 2018 at various venues in Amsterdam, including Dansmakers and Paradiso Noord – Tolhuistuin, with several pre-festival events at the EYE Filmmuseum, Stedelijk Museum Amsterdam, and Rijksakademie. Over the course of three days, Sonic Acts Academy will invite artists and thinkers to expand on their artistic research through lectures, artist presentations, films, performances and workshops. The complete programme and timetable are now online. Tickets are on sale at

Sonic Acts Academy 2018 will host artists and thinkers: Ane Hjort Guttu, Anni Nöps, Ase Manual, Benjamin Duboc, Birgit Bachler, Born in Flamez, Catherine Christer Hennix, Charmaine Chua, Christina Kubisch, Cocky Eek, Daniel Mann, Dinamarca, DJ Haram, DJ Lycox, Dreamcrusher, Drippin, Filipa César, Geng, Hilary Jeffery, Iris de Vries, Ivan Slipčević, Jelena Viskovic, Jennifer Lucy Allan, Jennifer Walshe, J.G. Biberkopf, Juha, Karl Klomp, Kei Kreutler, Kilbourne, Linn da Quebrada, Lorenzo Pezzani, Lyzza, Marcus Boon, Marcus Pal, Marija Bozinovska Jones, Mario de Vega, Martijn van Boven, M.E.S.H., Michele van Ool, Mijke Pasmans, Miron Galić, Moor Mother, Nicole Hewitt, Nora Sternfeld, PARADISE, patten, Rana Hamadeh, Renske Maria van Dam, Rick Dolphijn, Roc Jiménez de Cisneros, Rozemarie Heggen, Sam Rolfes, Sasha Litvintseva, Signe Lidén, Solveig Suess, Susan Schuppli, Swan Meat, Victor Mazón Gardoqui, Vida Guzmić, Violence, Wartone, and Yun Ingrid Lee.

Sonic Acts Academy is a new platform for speculation and reflection, focusing on critical examination of knowledge production in the field of art. It is an experimental setting free of institutional pressure and privileged classrooms, and it enables us to test and quickly react to changes in both form and content of what we should know.

The second edition of Sonic Acts Academy features a range of international artists, academics, activists, curators, and theorists, ready to engage in an experimental setting free of institutional pressure and privileged classrooms. Their artistic and thought processes will be revealed in a variety of workshops, seminars, lectures, performances, screenings, and installations. The Academy also includes speculative ‘festival’ modules devised together with Continuum, Interaction Design (ArtEZ, Arnhem), ArtScience Interfaculty (KABK, The Hague), Centre for Research Architecture (Goldsmiths, University of London), Shadow Channel (Sandberg Institute, Amsterdam), and Research School for Media Studies (Utrecht University).

On Friday and Saturday, Sonic Acts Academy will present two club nights at Paradiso Noord – Tolhuistuin, as part of the ongoing Progress Bar series. Aiming to represent radical equality, communality and hopefulness, Progress Bar is a growing community of artists, academics, and activists who occupy clubs for a better politics.


16.02. 19:00–20:00
17.02. 14:00–15:00
Blue(s) in Green to the 31 Limit at Stedelijk Museum Amsterdam (World Premiere)

Two live performances by Catherine Christer Hennix, Benjamin Duboc, Rozemarie Heggen, Hilary Jeffery, and Marcus Pal as a part of a retrospective exhibition Catherine Christer Hennix: Traversée du Fantasme. This new piece is a continuation of Hennix’s ongoing experiments in micro-tonality, just intonation, and the space of sound.

18.02. 15:00–17:00
Catherine Christer Hennix: Sunday Seminar at Stedelijk Museum Amsterdam

A lecture by Marcus Boon about the work of Catherine Christer Hennix and an interview with the artist.

20.02. 21:15–23:15
Spell Reel – a collective film assembled by Filipa César at EYE Filmmuseum
2017, 96 min

A film and artist talk by Filipa César. Her films focus on Portuguese colonialism and the liberation of Guinea-Bissau in the 1960s and 1970s. Spell Reel navigates the possibility of archive material to act as a source of antidotes to a present day world in crisis.

22.02. 16:30–18:10
Time Passes by Ane Hjort Guttu at EYE Filmmuseum
2015, 47 min

A film and artist talk by Ane Hjort Guttu. Her docu-style film questions how to create engaged, political, and ethical art in the face of social inequality.

Sonic Acts Academy at various venues in Amsterdam
A weekend of critical examination of knowledge production in the field of art – a symposium, two club nights, and many installations, films, performances, lectures, DJs, panels, etc.

Sonic Acts Academy 2018 is organised in partnership with Paradiso, Stedelijk Museum Amsterdam, EYE Filmmuseum, and Dansmakers, and as part of Re- Imagine Europe. Supported by the Creative Industries Fund NL, Amsterdam Fund for the Arts, Mondriaan Fund, Creative Europe Programme of the European Union, The Prins Bernhard Cultuurfonds, and Paradiso.


Vacancy – Full Professor in the Digital Arts and Culture (Maastricht University)

Full Professor in the Digital Arts and Culture at the Faculty of Arts and Social Sciences
Department of Literature and Arts, Maastricht University, 1.00 fte

FASoS is seeking a full professor who is an expert in teaching and research in the field of digital arts and culture studies with an emphasis on the concrete artistic and cultural practices in which digital technologies are used, and with expertise in interdisciplinary approaches and digital methodologies to investigate those practices.

Research is carried out within the context of the faculty’s Research Institute for Arts and Social Sciences and, in particular, relating to the interdisciplinary research programme Arts Media and Culture (AMC). The selected candidate is expected to develop international research projects and to attract external funding that is related to and in dialogue with an interdisciplinary research approach.

S/he will contribute to the teaching and coordination of courses and supervision of internships, projects and theses in the BA and MA programmes of the Faculty of Arts and Social Sciences. The division of teaching and research duties follows the regular division used at the Faculty of 60% teaching and management and 40% research. The research time can be extended through external fundraising.

The candidate should display outstanding quality in research, strong leadership qualities, a well-developed research profile which is recognised in the field; s/he has a relevant international network and is open to an interdisciplinary approach.

S/he should be an experienced and enthusiastic teacher with a demonstrated ability in thesis supervision, teaching coordination roles, course development and teaching international classrooms. S/he is able to stimulate student learning and to maximize student participation in our system of small-scale problem based learning (PBL).

S/he is a scholar with a thorough background in one of the humanities disciplines (e.g. (new) media studies (including film & television), art history, philosophy or cultural studies) and with extensive expertise in academic research and teaching in the field of digital arts and culture. Important markers of this quality in research and leadership include publications of original work in highly regarded journals; monographs and edited volumes published with prestigious (university) presses; acquisition of funding from national, European and other research funding agenciesboth as individual and as team player; proven skills in talent-scouting and in supervision and coaching of students, Ph.D. students and post-docs.

The selected candidate should be ready to fulfil an important managerial role in the faculty, therefore having strong leadership qualities is deemed crucial. S/he is expected to be a genuine coach as well as a team player. S/he should be flexible and have broad academic interests and an open, effective management style.

Fluency in English is a prerequisite, while non-Dutch speaking applicants should be willing to learn Dutch.

The advertisement and the full profile description can be found at: ​​​​

Call for Papers: Remaking European Cinema

A symposium on the theory and practice of the film remake in a European context

1 June 2018
Ghent University, Belgium

Confirmed keynote speakers:

  • Professor Thomas Leitch, University of Delaware
  • Professor Lucy Mazdon, University of Southampton
  • Dr Iain R. Smith, King’s College London

The film remake, whether as a practice or a concept, has been around since the very beginnings of cinema. While the earliest studies of the remake provided general overviews trying to sketch patterns and localize differing practices, this was followed by substantial attempts to define the remake as both a textual and cultural artefact and as a commercial business. Building on adaptation theories, scholars eventually pinpointed the intertextual properties that are inherent to the (relationship between) a source film and its remake(s). These evolutions in the research field spurred the idea of the remake as a kind of prism, which can be used to examine a variety of aesthetic, cultural, economic and social questions. For quite some time, most studies in the field were confined to the Hollywood practice of remaking non-Hollywood films, or, vice versa, non-Hollywood film industries remaking Hollywood films.

More recently, attempts are being made to look beyond Hollywood, inquiring into other nations or regions that, for example, remake their own films or the films of neighbouring countries. Notwithstanding these promising evolutions, there is still a lack of sustained research analysing the specific context(s) of European cinema. As a continent, Europe is known for its fragmentation and diversity due to the multitude of different languages and cultures existing next to and through each other within a relatively small geographical area. Although attempts to pinpoint the characteristics of European cinema are always questionable given that ‘Europe’ is as much a social, contingent and dynamic construction as other geopolitical entities, various cultural, economic and political dynamics grant the concept of European cinema analytical value. Accordingly, the purpose of the symposium is to bring together scholars with expertise in the currently vibrant field of remake studies for a discussion of the dynamics and particularities of the film remake in a European context.

Potential subjects to be addressed include, but are not limited to:

  • Historical and contemporary approaches to film remakes in Europe
  • The industrial, financial and production-related dynamics of European remake practices
  • (Regional, national and transnational) public film policies towards remakes
  • Cultural aspects of the European film remake (banal nationalism, cross-cultural comparison, cultural proximity, cultural identity …)
  • Textual aspects of the European film remake (narration, aesthetics …)
  • The distribution, programming, exhibition and reception of European remakes
  • Remakes within European national/regional cinemas (including Western, Northern, Southern, and Central and Eastern European cinemas)
  • Transnational or cross-cultural European remakes
  • European art cinema remakes
  • European popular cinema remakes
  • European remakes of non-European films
  • The European remake and theories of intertextuality, genre, seriality, repetition …
  • European remakes and questions of adaptation, ‘originality’, authenticity, authorship, ownership, copyright …

Paper proposals should include the title of the presentation, a 300-word abstract, and a short autobiographical statement.
Submission deadline: March 10th 2018.
Proposal acceptance notification: March 30th 2018.
Please send your proposals to:
More information on the symposium website:

Following the symposium, authors of selected papers will be invited to contribute their work to an edited volume on this subject with an internationally renowned academic publisher and/or a special issue of an international academic journal.

This symposium is organized by Gertjan Willems, Eduard Cuelenaere and Stijn Joye, Centre for Cinema and Media Studies (CIMS) at Ghent University. The symposium is funded by the FWO research project ‘Lost in Translation? A multi-methodological research project on same-language film remakes between Flanders and The Netherlands’ and sponsored by the Film Studies section of ECREA and the Popular Communication division of NeFCA.

Book Launch and Panel Discussion: Why we watch film with others



Where: Waterfront Room (EYE Film Institute Amsterdam)
When: Friday, December 15 from 14:45 to 17:00

Interested people can come to the EYE Waterfront Room. There is no need to register and the event is for free.

How do other cinema viewers influence our experience of a film? Why do we like to watch movies as part of an audience and what is annoying about it? And what may be the social value of the movie theater in times of individualized film viewing on mobile screens and alone at home?
On the occasion of the publication of the first comprehensive study on the experience of watching film with others, the EYE Film Institute hosts an event on the cinema as a place of collective experiences. After an introduction to Julian Hanich’s book The Audience Effect: On the Collective Cinema Experience film historian Frank Kessler, critic Dana Linssen and film theorist Julian Hanich will discuss what makes the cinema, more than 120 years after its invention, still such an invaluable public space.

Invited Speakers:

  • Julian Hanich (Professor of Film Studies, University of Groningen)
  • Dana Linssen (Film Critic, NRC Handelsblad, Filmkrant)
  • Frank Kessler (Professor of Film & Television History, Utrecht University)
  • Annie van den Oever (Professor of Film Studies, University of Groningen)


14:45: Opening/Meet & Greet
15:00: Welcome and Introduction by Annie van den Oever
15:10: Presentation/book launch of Julian Hanich’s The Audience Effect
15:30: Panel discussion with Dana Linssen, Frank Kessler and Julian Hanich
17:00: Drinks/snacks at the bar of the EYE Film Institute



The Audience Effect
On the Collective Cinema Experience

Hardback  £75 | €85    Nov 2017    336 pages
9781474414951   Also available in ebook

“This book moves its attention from the images on the screen to the audience gathered in the film theatre and eventually tells ‘their’ stories. Hanich makes a spectacular shift, and he unfolds a reality that film studies has partly forgotten, as well as cinema’s nature as a ‘democratic’ art. A rigorous and fascinating book that will revamp audience studies.” – Prof Francesco Casetti, Yale

“An immensely important contribution to the phenomenology of cinema… its rigorous descriptions of the structures, effects, and affects entailed in collective viewing are extraordinarily enlivened by many examples and extremely accessible prose.” – Prof Vivian Sobchack, UCLA

Attending a film in a cinema implies being influenced by other people, an ‘audience effect’ that is particularly noticeable once affective responses like laughter, weeping, embarrassment, or anger play a role. In this book, Julian Hanich explores the subjectively lived experience of watching films together, to discover a fuller understanding of cinema as an art form and a social institution. Combining recent scholarly interest in viewers’ emotions and affects with insights from the blossoming debate about collective emotions in philosophy and social psychology, this study makes viewers more aware of their own experience in the cinema, and simultaneously opens up a new line of research for film studies.

The Audience Effect_Event Flyer

Inaugurele rede dr. A.W. Badenoch (VU University)



De rector magnificus van de Vrije Universiteit en de decaan van de Faculteit der Geesteswetenschappen nodigen u van harte uit tot het bijwonen van de openbare zitting van het College van Decanen, waarin de heer dr. A.W. Badenoch benoemd vanwege het Nederlands Instituut voor Beeld en Geluid tot bijzonder hoogleraar Transnational Media, zijn ambt hoopt te aanvaarden met het uitspreken van de rede


Deze zitting is bepaald op vrijdag 1 december 2017 om 15.45 uur precies, in de aula van de universiteit, De Boelelaan 1105. Na afloop receptie.

prof. dr. V. Subramaniam
rector magnificus

prof. dr. M.R.M. ter Hark

Hoogleraren worden uitgenodigd deel uit te maken van het cortège. Zij dienen daartoe uiterlijk 15 minuten voor aanvang van de bijeenkomst aanwezig te zijn in de Forumzaal (ruimte 2D-02). Het wordt op prijs gesteld dat de hoogleraren de toga van hun universiteit dragen.

Openbare parkeerruimte rondom de Vrije Universiteit (1081 HV) is aanwezig. De parkeerduur is beperkt tot maximaal 3 uur (behalve in parkeergarages). De VU is uitstekend te bereiken met het openbaar vervoer: trams 5, 16, 24 en 51. Vanaf Station Amsterdam Zuid is het tien minuten lopen naar de VU. WWW.VU.NL > OVER DE VU > CONTACT/ROUTEBESCHRIJVING