HISTORY, STORY, NARRATIVEECAH/EUROMEDIA 2017
July 11–12, 2017 | Brighton, UK

The European Conference on Arts & Humanities
The European Conference on Media, Communication & Film
Organised by The International Academic ForumIAFOR Global Partners
www.iafor.org/about/partners

University of BelgradeECAH
EuroMedia
2017
The European Conference on
Arts & Humanities 2017
The European Conference onMedia, Communication & Film 2017

Organising
Committee Members

Anne Boddington
University of Brighton, UK

James Rowlins

Singapore University of Technology
and Design, Singapore

Joseph Haldane

The International Academic Forum (IAFOR)

Donald E. Hall
Lehigh University, USA

Gary E. Swanson
University of Northern Colorado, USA (fmr.)

The Organising Committee of The European Conference on Arts & Humanities 2017 (ECAH2017) and
The European Conference on Media, Communication & Film 2017 (EuroMedia2017) is composedof distinguished academics who are experts in their fields. Organising Committee members may
also be members of IAFOR's International Academic Advisory Board. The Organising Committee is
responsible for nominating and vetting Keynote and Featured Speakers; developing the conference
programme, including workshops, panels, targeted sessions; undertaking event outreach andpromotion; recommending and attracting future Organising Committee members; working with
IAFOR to select PhD students and early career academics for IAFOR-funded grants and scholarships;
and reviewing abstracts submitted to the conference.

2 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWelcome to
ECAH2017 & EuroMedia2017
Dear Colleagues,
It gives me great pleasure to welcome you to the beautiful seaside city of Brighton and Hove. The city
is a cultural and artistic hub of activity that boasts two world-class universities. Brighton and Hoveis also home to IAFOR’s European conference series, now in its fifth year, and we will welcome some
650 academics from more than 60 different countries over the two-week period in a celebration ofinterdisciplinary study. If this is your first IAFOR conference, and/or your first visit to Brighton, then I
would like to welcome you particularly warmly, and if you are a returnee, then welcome back.
Reflecting the spirit of our host city, the programme for these conferences is diverse and exciting,and I would like to thank the many people involved with the planning of the events over the past year,
from members of the Organising Committee, to members of the International Academic Advisory
Board, to the dedicated team of professionals working behind the scenes at the IAFOR offices inJapan. I would like to thank the Keynote and Featured Speakers, the IAFOR journal editors, and eachand every one of you for travelling from all corners of the earth, so we can come together today.
I would also like to acknowledge and congratulate the recipients of IAFOR scholarships and researchawards, including the 2017 recipients of the Stuart D. B. Picken Grant & Scholarship. This award was
initiated in 2017 in the name of the first Chairman of IAFOR, who sadly passed away last year, andto recognise excellence in young scholars. As well as an academic of international renown, Stuart
was a kind and generous man, and it is fitting that his commitment to nurturing young academics
from different backgrounds continues in the organisation he did so much to help found and shape.
The heuristic and reality of an international academic forum, in which peoples engage with eachother to discuss the latest research, test ideas, and take part in rigorous and challenging debates,
has never been more important. IAFOR’s mission is to promote international exchange, to facilitate
intercultural awareness, to encourage interdisciplinary discussion, and to generate and share newknowledge, and we encourage you, as academics working throughout the world, to forge friendships
and working relationships with your fellow delegates across national, religious and disciplinary
borders, and in pursuit of the research synergies that drive positive change.
It is in this spirit of friendship and international cooperation, and with the expectation of your active
participation, that I express my warmest regards to you.

Dr Joseph Haldane
Chairman & CEO, The International Academic Forum#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 3

Welcome to
Brighton & Hove
Dear Delegates,
Welcome to the city of Brighton and Hove, a vibrant and diverse
centre of arts and culture.
Ever since the Prince Regent first visited in 1783, Brighton andHove has been England's most exciting seaside city, and today it
is as lively, eccentric and cosmopolitan as ever. As Mayor it is my
job to represent our city to others and its civic life to the people
who live here… quite a job, considering the depth and breadth of
our offer.
Our city has a bohemian and artistic atmosphere that cannot
be found anywhere else in the United Kingdom. We combine the modern with the traditional andthe outlandish with the everyday, tempting and treating visitors and residents alike with a uniquecultural experience.
Whether this will be your first visit, or one of many, I very much hope that you will have the opportunity
whilst in the city to enjoy the atmosphere and the wonderful array of cultural and culinary delights wehave to offer in Brighton and Hove, and perhaps find time for some shopping in our historic Lanes.
If you've never visited I urge you to get out and about and make the most of the rich cultural mix –Regency architecture, pleasure pier, specialist shops, pavement cafés, lively arts and of course theexotic Royal Pavilion. Everything is within walking distance, so take time to explore and enjoy what
the city has to offer.
Our city-by-the-sea has a passion for creativity, a desire to look at things differently, and a friendlinessthat attracts visitors from all over the world.
Whether it is the sea air that changes your perspective or the lively North Laine that buzzes day andnight, I am sure that Brighton and Hove has got that special something that will inspire.
I wish you every success with your conference and hope you have a long and enjoyable stay.
Councillor Mo Marsh
Mayor of the City of Brighton and Hove

4 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORConference Theme:“History, Story, Narrative”
Historians are far from the only interested party in writing history. In a sense it is an interest we all
share – whether we are talking politics, region, family birthright, or even personal experience. We arespectators to the process of history while being intimately situated within its impact and formations.
How, then, best to write it? Is it always the victor’s version? Have we not begun increasingly to write“history from below”, that lived by those who are not at the top of the power hierarchy? Are accountsof history always gender-inflected, hitherto, at least, towards men rather than women? Who gets totell history if the issue is colonialism or class? How does geography, the power of place, intersectwith history? What is the status of the personal story or narrative within the larger frame of events?
This conference addresses issues of writing history from literary and other discursive perspectives.
That is to say: novels, plays, poems, autobiographies, memoirs, diaries, travel logs and a variety ofstyles of essay. One thinks of Shakespeare’s history plays, Tolstoy’s War and Peace, Shi Nai’an’s The
Water Margin, Balzac’s La Comédie Humaine. It also addresses oral history, the spoken account or
witness, the Hiroshima survivor to the modern Syrian migrant.
Which also connects to the nexus of media and history. The great “historical” films continue to holdus, be it Eisenstein’s October: Ten Days That Shook the World (1925) or Gone with the Wind (1940).
We live in an age of documentaries, whether film or TV. There is a view that we also inhabit “instant”
history, the download to laptop, the app, the all-purpose mobile. How has this technology changed
our perception, our lived experience, of history? What is the role of commemoration, parade, holiday,
festival or statuary in the writing of history?
The different modes by which we see and understand history, flow and counter-flow, neverthelesscome back to certain basics.
One asks whether we deceive ourselves in always asking for some grand narrative. Can there only
be one narrator or is history by necessity a colloquium, contested ground? Is national history amyth? And history-writing itself: is it actually a form of fiction, an artifice which flatters to deceive?
What, exactly, is a historical fact?
This conference, we hope, will address these perspectives and others that connect and arise.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 5

M E D I

A S

I

A

17

The Asian Conference on Media, Communication & Film
OCTOBER 27–29, 2017 | KOBE, JAPAN

Conference Theme: History, Story, Narrative
Final Abstract Submission Deadline: August 7, 2017
Final Registration Deadline: September 14, 2017

Keynote & Featured Speakers
William Lindesay OBE, Founder, International Friends of the Great Wall
Professor Bradley J. Hamm, Medill School of Journalism, USA
Professor Gary E. Swanson, University of Colorado, USA (fmr.)
Professor Yoneo Ota, Osaka University of the Arts, Japan

Join IAFOR at MediAsia2017 to:
•
•
•
•
•
•

Present to a global audience in the cosmopolitan port city of Kobe
Have your work published in the Conference Proceedings and considered
for peer-reviewed, Open Access journals
Benefit from IAFOR's interdisciplinary focus by hearing about the latest
research in media, communication & film
Participate in a truly international, intercultural and interdisciplinary event
Take part in interactive audience sessions
Network with international colleagues

Find out more: mediasia.iafor.org
IAFORJAPAN@IAFOR

Conference
Guide#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 7

Tuesday at a Glance
July 11, 201708:15-09:15

Conference Registration | Renaissance Suite

09:15-09:30

Announcements & Welcome Address | Renaissance Suite

09:30-10:15

Featured Presentation | Renaissance Suite
Mythologizing One’s Own History Through Narrative: Francis
Ford Coppola’s Tetro
Rodney F. Hill, Hofstra University, USA

10:15-10:45

Coffee Break | Renaissance Foyer

10:45-11:30

Keynote Presentation | Renaissance Suite
Testimonies of Light: Photography, Witnessing and History
Paul Lowe, University of the Arts London, UK

11:30-12:00

IAFOR Documentary Photography Award followed by Conference
Photograph | Renaissance Suite

12:00-13:00

Lunch Break | Atrium Restaurant

13:00-14:00

Conference Poster Session | Library Terrace

14:20-14:50

Spotlight Presentation | Renaissance Suite
Re-Creating the Past: Fascist Comics and the Rehabilitation of History
Alfonso J. García Osuna, Hofstra University, USA

14:55-15:25

Spotlight Presentation | Renaissance Suite
Water Protectors or Protesters: Examining Media Coverage of the
Dakota Pipeline Protests
Kimberly Cowden, Colorado State University – Pueblo, USA

15:30-16:00

Spotlight Presentation | Renaissance Suite
Doing Music Theory in a Post-Tonal, Post-Ideological World:
Cultural Absorption and the Undoing of Cultural Hierarchies
Linda Schwartz, Ambrose University, Canada

16:00-16:15

Coffee Break | Renaissance Foyer

16:15-17:30

Plenary Panel Presentation | Renaissance Suite
The Challenges of Doing Research and Creative Activity in theArts and Humanities Today
Panel Chair: Donald E. Hall
Panellists: Anne Boddington, Amanda Bright & Linda Schwartz

17:30-19:00

IAFOR Documentary Photography Award 2017 | Renaissance Suite
The Award Ceremony will be followed by a Drinks Reception

8 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday at a Glance
July 12, 201708:30-10:30

Parallel Sessions

10:30-10:45

Coffee Break | Library Terrace

10:45-12:45

Parallel Sessions

12:30-14:00

Lunch | Atrium Lounge

13:00-14:30

Parallel Sessions

14:45-16:15

Parallel Sessions

16:15-16:30

Coffee Break | Library Terrace

16:30-18:00

Parallel Sessions

18:15-18:30

Closing Session | Wordsworth Room

19:00-21:00

Conference Dinner (Optional Ticketed Event)Meeting time & location: 18:30 at Library Terrace (2F)Group leaves for restaurant at 18:45#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 9

Registration & Access
Registration
You will be able to pick up your registration pack and name card at the Conference Registration Desk.
The Conference Registration Desk and Publications Desk will be situated in the following locations
during the conference:
Tuesday, July 11
Wednesday, July 12

08:00-16:00
08:00-18:00

Renaissance Foyer (LGF)
Library Terrace (2F)

If you have any questions or concerns, IAFOR staff and hotel staff will happily assist you.

Name Badges
When you check in, you will receive a registration pack, which includes your name badge. Wearing
your badge is required for entrance to the sessions. You must wear your badge at all times during
the conference. There are four colours of badges indicating the type of conference participant:
Blue: Presenters and Audience
Yellow: Keynote and Featured Speakers
Red: Conference Exhibitors and Affiliates
Black: IAFOR Staff

Getting to the Conference Venue
By Rail from London: London is the hub of the UK’s rail network and it is easy to travel by train to Brighton
from the major London stations. The fastest direct travelling times from London to Brighton are:London Victoria – 56 minutes (direct)
London Bridge – 1 hour 3 minutes (direct)
London St Pancras – 1 hour 33 minutes (direct)
Rail services in the UK are operated by a number of private train operators. The main operators to
Brighton are Southern and First Capital Connect and all trains arrive into Brighton mainline station
on Queens Road. Regular rail connections also serve Hove, which is just a few minutes from Brighton
by rail. Central Brighton and the Jurys Inn Brighton Waterfront are an easy 20-minute walk from
Brighton Station, but, if required, buses and taxis are both available at the front of the station.
If you are travelling from Europe, the Eurostar train arrives from London St Pancras, where there are
direct train connections to Brighton.
By Rail from Gatwick Airport: Trains from Gatwick to Brighton take approximately 30 minutes direct
and run regularly. The Gatwick South rail station is directly linked to Gatwick’s South Terminal andjust a few minutes away from North Terminal via a transit train link.
By Rail from Heathrow Airport: Take the London Underground to London Victoria and then a mainline
train to Brighton. Alternatively, take the Heathrow Express to Paddington and then the London
Underground to Victoria and then a mainline train to Brighton.
By Coach from Heathrow Airport: National Express is the major coach operator serving Brighton. Most
international flights arrive at Terminal 4 and 5 where a coach departs every hour. Brighton Coach
Station is located next to Brighton Pier and is a two-minute walk from the Jurys Inn Brighton Waterfront.
Further information is available on the National Express website (www.nationalexpress.com).

10 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFOR

unc

inn r

Lunch
Lunch on Tuesday and Wednesday is included in the conference registration fee.
Lunch will be provided in the Atrium Restaurant at Jurys Inn Brighton. Situated on the Promenade,with unrivalled views of the famous Brighton Pier and the sea, the restaurant serves a range ofmodern British and European dishes prepared by a talented team of chefs. Lunch service includes
an unlimited drinks bar (non-alcoholic), coffee station and dessert table.
Please remember to bring your name badge with you, as this will act as your lunch ticket.

Lunch Times
Tuesday, July 11
Wednesday, July 12

fficial onf r nc

12:00-13:00
12:30-14:00

inn r

The official Conference Dinner is a ticketed optional event (50 GBP). Please remember to bring yourname tag to the Conference Dinner. Conference Dinner attendees should meet at the Library Terrace(2F) at 18:30 on Wednesday, July 12, 2017. The group leaves for the restaurant at 18:45. It takes
approximately 15 minutes to walk to the restaurant.
Restaurant name: Hilton Brighton Metropole
Restaurant address: King's Road, Brighton, BN1 2FU#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 11

General Information
Internet Access
There is free Wi-Fi internet connection throughout the conference venue. However, this canbe unreliable and we would strongly suggest that you do not rely on a live connection for yourpresentation.

Refreshment Breaks
Complimentary coffee, tea and water will be available during the scheduled coffee breaks at the
Plenary Session on Tuesday morning and on the Library Terrace during the rest of the conference.
Light snacks will be provided once in the morning and once in the afternoon.
Food and drink (excluding water) are not allowed in the presentation rooms.

Printing
For your convenience, there will be an iMac computer (with Microsoft Office installed) and a printer at
the conference Registration Desk. We are able to offer a complimentary printing service of up to ten
A4 sheets should you need this. Please be advised that printing may not be available at peak times.

Smoking
Smoking is not permitted in the Jurys Inn Brighton Waterfront. Please smoke outside of the building
in designated smoking areas.

What to Wear & Bring
Attendees generally wear business casual attire. You may wish to bring a light jacket or sweater as
meeting rooms are air-conditioned. Tour attendees are encouraged to wear comfortable shoes andbring an umbrella or waterproof clothing in case of rain.

Photo/Recording Waiver
There may be photography, audio and video recording at the conference. By entering the event
premises you give consent to the use of your photograph, likeness or video or audio recording inwhole or in part without restriction or limitation for any educational, promotional, or other purpose
for distribution.

12 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORThe Jurys Inn Brighton Waterfront
Floor Guide#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 13

Presentation Guide
Conference Abstracts
All conference abstracts are available online. Please visit papers.iafor.org for a searchable databaseof abstracts.

Oral & Workshop Presentations
Oral Presentation Sessions will run from 08:30 on Wednesday morning. They are generally organised
into parallel sessions by streams. Oral Presentations are normally scheduled in sessions comprising
three presentations, lasting 90 minutes in total. In sessions with two Oral Presentations, the session
will last 60 minutes, and in the case of four Oral Presentations, an extended session lasting 120
minutes will be scheduled.
The time in the sessions is to be divided equally between presentations. We recommend that an Oral
Presentation should last 15–20 minutes to include time for question and answers, but should last no
longer than 25 minutes. Any remaining session time may be used for additional discussion.

Equipment
All rooms will be equipped with a MacBook computer pre-installed with PowerPoint and Keynote
and connected to a LCD projector. If you wish, you may directly link your own PC laptop, although
we advise you to use the computer provided by plugging in your USB flash drive. We recommendthat you bring two copies of your presentation in case one fails, and suggest sending yourself thepresentation by email as a third and final precaution.

Session Chairs
Session Chairs are asked to introduce themselves and other speakers (briefly) using the provided
printouts of speaker bios, hand out the provided presentation certificates at the end of the session,
ensure that the session begins and ends on time, and that the time is divided fairly between thepresentations. Each presenter should have no more than 25 minutes in which to present his or her
paper and respond to any questions. The Session Chair is asked to assume this timekeeping role,and to this end yellow and red timekeeping cards are used as a visual cue for presenters, letting
them know when they have five minutes remaining, and when they must stop.
Please follow the order in the programme, and if for any reason a presenter fails to show up, pleasekeep to the original time slots as delegates use the programme to plan their attendance.
14 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFOR

Presentation Guide
Poster Sessions
Poster Sessions are 60 minutes in length and take place on the Library Terrace.
The poster display boards are 1800 mm high x 1200 mm wide. Tape will be provided for putting
posters up. Please be aware that there are no on-site facilities for printing posters.

r s ntation

rtificat s

Poster Presenters may pick up a certificate of presentation from the Registration Desk. All otherpresenters will receive a certificate of presentation from their Session Chair or a member of staff at
the end of their session.

onf r nc

roc

ings

The Conference Proceedings are published on the IAFOR website (papers.iafor.org), and can be
freely accessed as part of IAFOR’s research archive. All authors may have their full paper publishedin the online Conference Proceedings.
Full text submission is due by August 12, 2017 through the online system. The proceedings will be
published on September 12, 2017. Authors will have PDF copies of their offprints emailed to themby October 12, 2017.

olit

u st to ll articipantsParticipants are requested to arrive in a timely fashion for all presentations, whether to their own orto those of other presenters. Presenters are reminded that the time slots should be divided fairly andequally between the number of presentations, and that presentations should not overrun.
Participants should refrain from talking amongst themselves and ensure that mobile phones are
switched off or set to silent mode during presentations.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 15

IAFOR Journals
www.iafor.org/journals
the iaforthe iaforjournal of media,
communication & film

journal ofarts & humanities
Volume 4 – Issue 1 – Spring 2017
Editor: Alfonso J. García Osuna

Volume 3 – Issue 1 – Spring 2016
Editor: James Rowlins
ISSN: 2187-0616

ISSN: 2187-0667

the iaforthe iaforjournal of psychology &the behavioral sciences

journal of
education

Volume 2 – Issue 3 – Winter 2016
Editors: Sharo Shafaie & Deborah G. Wooldridge

Volume 5 – Issue 1 – Spring 2017
Editor: Bernard Montoneri

ISSN: 2187-0675

ISSN: 2187-0594

the iaforjournal of ethics,
religion& philosophy

Volume 3 – Issue 1 – Spring 2017
Editor: Michael O’Sullivan

ISSN: 2187-0624

16 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORIAFOR Journals
www.iafor.org/journals

The International Academic Forum’s journals conform to the highest academic standards ofinternational peer review, and are published in accordance with IAFOR’s commitment to make all ofour published materials available online.

How are journal editors appointed?
Journal editors are appointed by The International Academic Forum’s leadership, under the guidanceof the International Advisory Board. The term of appointment is for one issue, to be renewed bymutual consent.

How do we ensure academic integrity?
Once appointed, the journal editor is free to appoint his or her own editorial team and advisory
members. All papers published in the journal have been subjected to the rigorous and accepted
processes of academic peer review. Neither editors nor members of the editorial team are remunerated
for their work. Authors will never be asked to contribute to publication costs.

How are papers selected?
Journal editors may accept papers through an open call, and proposed articles may be sent directly tothe respective editors. A small number of papers from the associated Conference Proceedings may also
be selected by the journal editor(s) for reworking and revising, subject to normal processes of review. It is
expected that between five and ten percent of papers included in any given Conference Proceedings will
be selected for consideration and potential publication in the associated conference journal.

How are IAFOR journals related to IAFOR conferences?
IAFOR’s journals reflect the interdisciplinary and international nature of our conferences andare organised thematically. Papers included in the associated Conference Proceedings may beconsidered for reworking by the editor(s), and are then subjected to the same processes of peer
review as papers submitted by other means.

Journal Editors
IAFOR Journal of Arts & Humanities
Dr Alfonso Garcia Osuna, Hofstra University, USA
IAFOR Journal of Literature & Librarianship
Dr Richard Donovan, Kansai University, Japan
IAFOR Journal of Education
Dr Bernard Montoneri, Tamkang University, Taiwan
IAFOR Journal of Business & Management
Dr Anshuman Khare, Athabasca University, Canada
IAFOR Journal of the Social Sciences
Dr Tingting Ying, Ningbo University of Technology, China
IAFOR Journal of Ethics, Religion & Philosophy
Professor Lystra Hagley-Dickinson, University of St Mark& St John, UK
IAFOR Journal of Sustainability, Energy & theEnvironment
Dr Alexandru-Ionut Petrisor, University of Architectureand Urban Planning, Romania / URBAN-INCERC, Romania

IAFOR Journal of Media, Communication & Film
Dr James Rowlins, Singapore University of Design
and Technology, Singapore
IAFOR Journal of Asian Studies
Dr Seiko Yasumoto, University of Sydney, Australia
IAFOR Journal of Language Learning
Dr Ebru Melek Koç, Izmir Institute of Technology, Turkey
IAFOR Journal of Politics, Economics & Law
Dr Craig Mark, Kyoritsu Women’s University, Japan
IAFOR Journal of Cultural Studies
Professor Holger Briel, Xi’an Jiaotung-Liverpool
University, China
IAFOR Journal of Psychology & the Behavioral Sciences
Dr Shahrokh Shafaie, Southeast Missouri State
University, USA
Dr Deborah G. Wooldridge, Bowling Green State
University, USA#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 17

The Reverend Professor
Stuart D. B. Picken (1942–2016)
It is with sadness that we inform our friends of IAFOR that the Chairman of the organisation, theReverend Professor Stuart D. B. Picken, passed away on Friday, August 5, 2016.
Stuart Picken was born in Glasgow in 1942 and enjoyed an international reputation in philosophy,
comparative religious and cultural studies, but it is as a scholar of Japan and Japanese thought for
which he will be best remembered, and as one of the world’s foremost experts on Shinto.
Picken entered the University of Glasgow, Scotland, aged 16 to study divinity and philosophy, andhis studies culminated with a doctorate that looked at Christianity and the work of Kant. In 1966
he was ordained in the Church of Scotland, and began his career as a minister in Orkney. However,his curiosity led him from isolated rural Scotland to the world’s largest city, and following a visit toTokyo on a Rotary scholarship, Picken was appointed Professor of Philosophy at the International
Christian University (ICU) in 1972. Here he turned his western theological and philosophical training
to comparative religious and cultural studies of Japan, at a time when the country was emerging
from the shadows of the Second World War.
His groundbreaking and controversial work on suicide in Japan made his name within the country,
but it was his subsequent work on Shinto that influenced the rehabilitation of the religion at a time
when it was dismissed in the west as pagan and primitive, or unjustly caricatured for its wartime
associations.
As Japan emerged as an economic superpower in the 1970s and 1980s, and given his growing
prominence as an academic, Picken was much in demand as part of a period in which Japanesewanted to learn more about themselves as seen through the eyes of the West, and where Westernbusinesses were eager to learn from the all-conquering Japanese model. By then fluent in Japanese,
he served as a business consultant to such corporations and also served as a consultant to various
businesses, including Jun Ashida Ltd., Mitsui Mining & Smelting Corp., Kobe Steel and Japan Airlines.
During this period he was active in the St Andrew Society, and founded the Tokyo Highland Games,
which is still an annual event.
The author of a dozen books and over 130 articles and papers, Picken was to stay at ICU for 25 years,
where he was a popular lecturer and mentor to both Japanese and visiting scholars, serving tenures
as Chairman of the Division of Humanities from 1981 to 1983, and as Director of Japanese Studies
from 1995 to 1997, as well as concurrently founding Director of the Centre for Japanese Studies at
the University of Stirling, Scotland from 1985 to 1988. A keen amateur footballer, whose devotion to
Japan was rivalled only by that he felt for Glasgow Rangers, he continued to play into his fifties at
ICU, encouraging many students to take up the sport.
18 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORHe left ICU in 1997, and from then until 2004 served as the founding Dean of the Faculty of Foreign
Languages and Asian Studies at Nagoya University of Commerce and Business, and the founding
Dean of the Graduate School Division of Global Business Communication from 2002 to 2004. Uponhis retirement from his academic posts, he returned to Scotland to re-enter the ministry as ministerof the linked charge of Ardoch with Blackford in 2005, yet he continued his academic and Japaneseinterests as the Chairman of the Japan Society of Scotland.
Whether in his research or teaching, Picken devoted much of his life to increasing understanding
between his adopted country and the West, and in 2007 he was recognised with the Order of the
Sacred Treasure, an imperial decoration for his pioneering research and outstanding contribution to
the promotion of friendship and mutual understanding between Japan and the UK. He also served
as the International Adviser to the High Priest of the Tsubaki Grand Shrine, one of Japan’s largest
and oldest shrines.
From 2009 he was the founding Chairman of The International Academic Forum (IAFOR) where he
was highly active in helping nurture and mentor a new generation of academics, and facilitating
better intercultural and international awareness and understanding. In the years immediately
preceding his illness, he continued to lecture throughout the world, in Europe, North America, Asiaand the Middle East.
He is survived by his wife, Hong Wen, and children, Fiona, Jeannette, William and Lynn.
Image Caption | The Reverend Professor Stuart D. B. Picken (IAFOR), Professor Arthur Stockwin, OBE (The University of Oxford) andProfessor Jun Arima (University of Tokyo) enjoy a lighter moment during a discussion on Japanese security at The European Conference
on Politics, Economics & Law 2014.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 19

IAFOR Academic
Grant & Scholarship Recipients
We are delighted to announce the recipients of financial support as part of the IAFOR grants and scholarships programme, newly launchedfor 2017. Our warmest congratulations go to Ngozika Anthonia Obi-Ani, recipient of the Stuart D. B. Picken Grant and Scholarship, andAntarleena Basu and Angela Kim, recipients of IAFOR Scholarships, who have been selected by the conference Organising Committee toreceive financial support to present their research at The European Conference on Arts & Humanities 2017 and The European Conference
on Media, Communication & Film 2017.
IAFOR’s grants and scholarships programme provides financial support to PhD students and early career academics, with the aim of helping
them pursue research excellence and achieve their academic goals through interdisciplinary study and interaction. Awards are based on
the appropriateness of the educational opportunity in relation to the applicant’s field of study, financial need, and contributions to theircommunity and to IAFOR’s mission of interdisciplinarity. Scholarships are awarded based on availability of funds from IAFOR and varywith each conference. The Organising Committee of the relevant IAFOR conference awards scholarships to eligible applicants who havesubmitted exceptional abstracts that have passed the blind peer review process and have been accepted for presentation at the conference.
Find out more about IAFOR grants and scholarships: iafor.org/financial-support

Ngozika Anthonia Obi-Ani

Stuart D. B. Picken Grant & Scholarship Recipient
Ngozika Anthonia Obi-Ani joined the Department of History and International Studies at the University of Nigeria as a graduate assistanton May 18, 2009, and became an assistant lecturer in March 2011 after completing an MA degree. In 2012, she was elevated to Lecturer
II. During this period she has attended conferences and seminars. She is a member of the Historical Society of Nigeria and Igbo Scholars
Association. As a young academic she has aspirations to reach the peak of my career as a full professor in Social History. If she is able
to cross the bridge of obtaining my PhD, then that vision will be attainable between the next five and ten years. She has a passion forteaching and research and hopefully with mother luck and hard work, her ambitions will be attained with ease. After her PhD programme,
she will dedicate herself to teaching and research in Social History of the Igbo.
36322 Wednesday 08:30-09:00 | Keats Room

Justice Delayed? The Nkanu Igbo and the Nigerian Army Occupation: 1967–1970
Ngozika Anthonia Obi-Ani, University of Nigeria, Nsukka, Nigeria
Paul Obinwanne Obi-Ani, University of Nigeria, Nsukka, Nigeria

The Nigerian-Biafran Civil War was savagely contested by both sides of the divide. The seceding Biafra had borne the brunt of the pogrom,the counter coup d’état that decimated its officer corps in Nigeria and the sporadic outbursts of sectarian and ethnic cleansing preceded
the declaration of the Republic of Biafra on May 30,1967. In less than three months of the commencement of hostilities, Biafra lost its
capital, Enugu, with all its stores. Enugu and its environs are peopled by the Nkanu Igbo and with the retreat of the Biafran forces, thecivil populace predominantly of the Nkanu Igbo came under the Nigerian army occupation from September 1967 to January 1970. The
occupation of Nkanu Igbo was horrendous, with the civilian population subjected to inhuman treatment such as summary execution ofsuspected Biafran partisans, enforcement of pass system and arbitrary commandeering of young women as sex slaves by the Nigerianarmy. The butcher at Agbani, the political headquarters of Nkanu Igbo, was Sergeant Clement Yildar of Nigerian army. Sergeant Yildar
and his accomplices committed war crimes against Nkanu Igbo and humanity and therefore should be tried posthumously if they are
all dead. Unfortunately, this heinous crime against humanity has not received any scholarly attention. This paper would amply utilize
oral traditions, newspaper reports of the period and other extant secondary source materials in analyzing the occupation of Nkanu Igbo.
Giorgio Agamben’s theory of state exception would be applied.

20 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORIAFOR Academic
Grant & Scholarship Recipients
Antarleena Basu

IAFOR Scholarship Recipient
Antarleena Basu is presently pursuing a PhD in Translation Studies, Centre for Applied Linguistics and Translation Studies, University ofHyderabad, India. After completion of her MA in English in 2014, she has pursued an MPhil in Translation Studies where she researchedtranslating trauma, focusing primarily on Partition Literature and Inter-lingual Translation, a dissertation which is to be published shortly.
Interested in emerging trends in literature, her areas of interest include Trauma Studies, Translation Studies, Postcolonial Studies,Children’s Literature and Graphic Narratives. Presently, alongside her research in Translation Studies, she is also working on sociopolitical graphic narratives written in India and across the world.
36986 Wednesday 09:30-10:00 | Coleridge Room

Representation of History in the Indian Graphic Novel: An Analytical Study of History Through the Frame ofGraphic Narratives
Antarleena Basu, University of Hyderabad, India

This research paper attempts to explore how, through the amalgamation of images and words, India’s historical events have been
represented within the frame of the graphic narrative and how these narratives serve to uphold the “history from below”, thereby providing
counter narratives to the more dominant, so called “historical facts”. History in the graphic narrative is a persistent theme as “the visual
dimension of the graphic novel contributes substantially not only to our understanding of history but also to a larger question of how
history can be represented” (Nayar, 2016, p. 14). By primarily focusing on texts like This Side That Side: Restorying Partition, curated
by Vishwajyoti Ghosh (dealing with the Partition of India in 1947 and its aftermath), Bhimayana by Srividya Natarajan, Durgabai Vyam
and S. Anand (dealing with the caste system in India by tracing the life of Dr Ambedkar), Delhi Calm by Vishwajyoti Ghosh (portraying
the Emergency of 1975–76) and Munnu by Malik Sajad (portraying the national crisis in Kashmir) and also drawing reference to graphic
narratives across the world like Speigelman’s Maus, Satrapi’s Persepolis, Sacco’s Palestine, etc, this paper aspires to uphold the omissions,loopholes and discrepancies in establish history and seeks to question and counter the dominant narratives, thereby showing how history
can be represented within the graphic novel. Hence, this paper attempts to analyze and understand history and its representation throughthe “visual-verbal literacy” (Hirsch, 2004, p. 1212) of the graphic narrative.

Angela Kim

IAFOR Scholarship Recipient
Angela Kim (Keun-hae Kim) is currently a PhD candidate at SOAS, University of London in the United Kingdom. Her doctoral thesis,
Performing Korean Diaspora: Theatre as a Memory Archive, explores the theatrical attempts of Korean diaspora theatre artists to perform
an identity about which they are insecure through live performances and written scripts, and to bring memories of diasporic experienceson the stage, in the space between the performer and the audience. Born in Busan, South Korea, she earned both her Bachelor’s degreeand her first Master’s degree in English Literature (Drama) from Sungkyunkwan University, Seoul, South Korea. She then left for London
to gain her second MA at RADA (The Royal Academy of Dramatic Art) and Birkbeck, University of London. Since she finished her MA in
London, she has been creating performances, performative installations and conceptual artworks in London. She pursues her career as
an interdisciplinary artist-scholar.
36659 08:30-09:00 | Shelley Room

Theatre of Diaspora As a Memory Archive: Representing Postmemory of Korean-Japanese Performance Artists
Angela Kim, SOAS, University of London, UK

This research investigates issues of representing history by examining theatrical works of Korean-Japanese theatre artists including
Shinjuku Ryozanpaku and Soni Kum. This paper will argue that the theatre is a perfect medium for the operation of memory andfunctions as a memory archive. Marianne Hirsch’s idea of postmemory as a structure for the trans-generational transmission of
traumatic experience will be applied to this research. Here, I give an analysis of the postmemory narrative by providing the examples of
Vegetation (2009) by Soni Kum and 100 years, Fellas of Wind (2011) by Shinjuku Ryozanpaku. Soni Kum who is the third generation of
Korean-Japanese grown up in the North Korean community performed Vegetation in 2009 in Beijing. Inspired by a novel about the Jeju
4.3 Massacre in 1947, Kum attempted to illustrate her artistic interpretation of a particular scene from the novel. Shinjuku Ryozanpaku
is a Tokyo-based theatre company led by an artistic director Sujin Kim. 100 years, Fellas of Wind illustrates an epic story of the 100
years of the Korean-Japanese community in Japan. Set in a pub located in a Korean area in Osaka today, the play interweaves historicalmoments of Korea with realities of Korean-Japanese people residing in Japan since the colonial era. Because my specific interest is
diaspora theatre as a memory archive, I investigate the presence of a collective memory of historical trauma, and how they stage thesememories transmitted by their parental generation.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 21

Submit your research to the
IAFOR Journal of Arts
& Humanities
the iafor• Fair and rigorous peer
review process• No submission or
publication fees

journal ofar ts & humanities
Volume 4 – Issue 1 – Spring 2017
Editor: Alfonso J. García Osuna• Editorially independent• Freely available online
to a global academic
audience

ISSN: 2187-0616

The IAFOR Journal of Arts & Humanities is an internationally reviewed
and editorially independent interdisciplinary journal associated with
IAFOR’s international conferences on the arts and humanities. Like all
IAFOR publications, it is freely available to read online, and is free of
publication fees for authors.

Volume 4 Issue 2
Submission deadline: July 31
Target publication date: October 31
For details of how to submit your paper, view the Author Guidelines
on the journal website: ijah.iafor.org
22 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORKeynote,
Featured &Spotlight
Speakers#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 23

Keynote, Featured & Spotlight Speakers
ECAH/EuroMedia2017

The following Keynote, Featured and Spotlight Speakers will provide a variety of perspectives fromdifferent academic and professional backgrounds on the conference theme.

Rodney F. Hill

Alfonso García Osuna

Hofstra University, USA

Paul Lowe

University of the Arts London, UK

Hofstra University, USA

Kimberly Cowden

Linda Schwartz

Donald E. Hall

Anne Boddington

Amanda Bright

Joseph Haldane

Colorado State University – Pueblo, USA

University of Brighton, UK

Ambrose University, Canada

24 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFOR

University of Brighton, UK

Lehigh University, USA

The International Academic ForumFeatured Presentation: Rodney F. Hill
Tuesday, July 11 | 09:30-10:15 | Renaissance Suite

Mythologizing One’s Own History Through Narrative:
Francis Ford Coppola’s Tetro
Since 2007, Francis Coppola has been pursuing a more independent, low-budget mode offilmmaking, and the results have been some of the most personal films of his career. Tetro (2009),
Coppola’s first film from an original screenplay since 1974, centres on the troubled relationships
between two estranged brothers – both aspiring playwrights – and their brilliant but emotionallycrippling father, a famous orchestra conductor. Key aspects of the narrative are drawn from
Coppola’s own family history, but only loosely so, and in transposing these conflicts into fiction,
Coppola symbolises them, indeed mythologises them, into a drama of Greek proportions. In its
stylistic blend of realism and artifice, combined with its narrative focus on dramatic writing, thefilm calls attention to its own theatricality and process of narration.
Image | Francis Ford Coppola by FICG.mx

Biography

Dr Rodney F. Hill, Assistant Professor of Film in the Lawrence Herbert School of Communication
at Hofstra University, holds a PhD from the University of Kansas and an MA from the University of
Wisconsin – Madison, USA. He is co-author of The Francis Ford Coppola Encyclopedia and The
Encyclopedia of Stanley Kubrick, co-editor of Francis Ford Coppola: Interviews, and a contributor
to several other books, including The Essential Science-Fiction Television Reader and The Stanley
Kubrick Archives. His essays have appeared in Film Quarterly, Cinema Journal, Literature/Film
Quarterly, and elsewhere. In addition to his academic experience, Dr Hill worked for several years infilm distribution and marketing, handling theatrical campaigns for such films as Edward Yang’s Yi Yi,
François Ozon’s Under the Sand, and the Oscar-nominated documentary, On the Ropes.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 25

Keynote Presentation: Paul Lowe
Tuesday, July 11 | 10:45-11:30 | Renaissance Suite

Testimonies of Light:
Photography, Witnessing and History
In its relatively short history, photography has arguably become the predominant medium through which we
represent the world around us. It is hard to imagine a world without the photographic image, so ubiquitous
has it become as a form of communication, documentation and personal and artistic expression. Today, more
photographs are taken every two minutes than in the whole of the nineteenth century. We now photographeverything, every moment of our lives and the world around us. Photography has arguably become the means
through which we most strongly remember the past – and represent the present – forming the foundation of not
only our collective social memory, but also our personal memories. Photographs capture a moment in time andin space, condensing and concentrating experiences into artifacts. They preserve within the frame the ghostly
traces of the past as well as the knowledge that that past is no longer there, and therefore serve to preserve oursense of history and memory. As such, they form an important part of remembering, fluctuating between pastand present, connecting moments in time. This is not necessarily a “stilling” of time, but rather a concentrationof experience into an image that suggests time interrupted, retaining the sense of a time before the image and atime after it. As soon as the shutter closes, that moment of representation is forever in the past, yet still preservedin the present and into the future. The paradox is that although the still image is a single, discrete temporal event,it has the ability to transcend time; by playing on the imagination of the viewer, it can project backward andforward through time. The image retains within the frame a self-contained story, a sense of occurrences before
the photograph and possibilities afterward. This presentation will therefore explore how the photographic image
has engaged with the historical moment, from its inception in the mid nineteenth century to the present day.
Image | View from the Window at Le Gras (1826 or 1827) by Joseph Nicéphore Niépce

Biography
Dr Paul Lowe is the Course Director of the Masters Programme in Photojournalism and Documentary Photography
at the London College of Communication, University of the Arts London. He was responsible for the development
and launch of a new part-time version of the course delivered entirely online using web conferencing, blogs andthe VLE, launched in 2008. He is an award-winning photographer whose work is represented by Panos Pictures,and who has been published in Time, Newsweek, Life, The Sunday Times Magazine, The Observer and The
Independent, among others. He has covered breaking news around the world, including the fall of the Berlin Wall,
Nelson Mandela’s release, famine in Africa, the conflict in the former Yugoslavia and the destruction of Grozny.
He is a consultant to the World Press Photo Foundation in Amsterdam, an independent, non-profit organisationthat is a major force in developing and promoting visual journalism worldwide. His book, Bosnians, documenting
10 years of the war and post-war situation in Bosnia, was published in April 2005 by Saqi Books. He regularly
contributes to international and national conferences in photography, media and education, and has publishedchapters in edited books on these themes as well.
26 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORSpotlight Presentation: Alfonso García Osuna
Tuesday, July 11 | 14:20-14:50 | Renaissance Suite

Re-Creating the Past: Fascist Comics
and the Rehabilitation of History
In his Theory of Mass Culture (1953), Dwight MacDonald proposes that popular culture is a toolfor controlling the proletariat. This tool is forged at the highest levels of the power structure withthe objective of adapting the individual’s conscience to the dominant ideology. With this paper
I propose to throw some light upon the manner in which comics like the Italian Il Balilla andespecially the Spanish Capitán Trueno, perhaps the most popular comics of their time, served
to disseminate Fascist ideology throughout the lower classes and especially among the nations’youth. And they did so by re-creating historical events, molding them to fit current ideologicalneeds. I also wish to demonstrate how the differences between these two comics are the result ofparticular historical circumstances. In Il Balilla, a publication that reached its greatest popularity
in the 1930s and early 1940s, the stories have to do with heroic deeds by contemporary Italian
youth fighting for change, for the new order. Italy is expanding into Ethiopia/Abyssinia and thenbecomes a constituent of the Axis powers battling the Allies in the Second World War. Capitán
Trueno, on the other hand, begins publication in the 1950s, a time when General Franco, with thehelp of Fascist groups like Falange Española, has already won a civil war. The Spanish hero is a“good” Fascist, but in a XII century setting. Change, the author seems to say, has already takenplace in Spain: no need to incite Fascist passions in the present.
Image | Capitán Trueno (modified from original)

Biography
Dr Alfonso J. García Osuna has taught at Hofstra University in New York, USA, for over thirty years.
He specialises in medieval and early modern literature, receiving his PhD (1989) from the Graduate
School of the City University of New York. He has completed post-doctoral work at the Universityof Valladolid, Spain, has published six books, and is a frequent contributor to specialised journals.
He received primary and secondary education in Las Palmas in the Canary Islands, the place
where his family originated and where he grew up. An avid cyclist, he has completed the Road toSantiago, an 867-kilometre route through northern Spain, six times.
Dr García Osuna is Editor of the IAFOR Journal of Arts & Humanities. He is a member of the Arts &Humanities section of IAFOR’s International Academic Advisory Board.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 27

Spotlight Presentation: Kimberly Cowden
Tuesday, July 11 | 14:55-15:25 | Renaissance Suite

Water Protectors or Protesters:
Examining Media Coverage of the Dakota Pipeline Protests
The Standing Rock Sioux reservation is located about an hour south of North Dakota’s capital city,
Bismarck. The reservation extends into South Dakota. Since April of 2016, members of the Standing
Rock Sioux nation have established a camp, the Sacred Stone Camp, to protest the Dakota Accesspipeline project that will cross the Missouri river on tribal lands. What started out as a few “water
protectors” bloomed into thousands of visitors showing support from every part of the globe,
largely due to social media. This movement has illuminated the issues of water protection, ourreliance on fossil fuels, environmental implications of carbon footprints, indigenous rights and thehistorical and present issues of treaty compliance and respect by the dominant culture for native
peoples. The protests have created an international forum for indigenous rights and sovereignty.
The purpose of this study is to examine print media coverage of the Standing Rock protests (alsoknown as #NoDAPL) from the inception of the Sacred Stone camp, located on reservation lands
in Cannonball, North Dakota, through November 2016. It is important to examine how mainstream
media versus Native American media portrays the activists for dissemination. This study asks: inwhat ways does mainstream reporting differ from a Native American-centered media regarding
coverage of the Dakota Pipeline protest.
Image | Dakota Access Pipe Line by Carl Wycoff

Biography
Dr Kimberly Cowden is an assistant professor in the Department of Mass Communication andCenter for New Media at Colorado State University – Pueblo, USA. Dr Cowden specialises inpublic relations, crisis communication, health communication and conducting research with
underserved populations. Her work has been published in the Journal of Business Communication,
Communication, Culture and Critique, and the Journal of Indigenous Research. She is the author ofa chapter in the spring 2017 edited book Crisis Communication Cases.

28 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORSpotlight Presentation: Linda Schwartz
Tuesday, July 11 | 15:30-16:00 | Renaissance Suite

Doing Music Theory in a Post-Tonal, Post-Ideological World:
Cultural Absorption and the Undoing of Cultural Hierarchies
According to Terry Eagleton (2003), the Modernist turn (1910–1925) gave rise to the later period of cultural
theory (1960s and 70s). Cultural theorists like Heidegger, Kristeva and Derrida lived in the present and wrote
about the extremes of human experience (p. 70). Similarly, Arnold Schoenberg (modernist composer andtheorist) expressed the limits of his experience through the exploration of radical social ideas in poetry, theinner psychology of the bizarre in painting, and the push to new frontiers in musical comprehension.
Unlike other creative arts theories where exploration of artist resistance to cultural norms persists, music
theory is entrenched in acts of cultural preservation. Music scholars are committed to political ends that
preserve musical tradition (classical and modernist) through rigorous analytical method (McClary, 1989), andthis aligns with the overarching agendas of the institutions that support their work.
The twenty-first-century practice of cultural theory continues to exercise counter-cultural resistance,fragmenting metanarratives into discrete projects in the face of absorption by late capitalism. Music analysis,on the other hand, relies still on conceptualized notions of superstructure or reductive analytic techniquewhich subsumes foreground (surface detail) into background.
Should twenty-first-century currents of music theory contribute to a more differentiated treatment of music
analysis? Is there value for music analysts to hang about the edges in a non-committal way (Eagleton, p. 40),
observing musical works and not giving in to notions of superstructure? How might theorists inscribe fresh
hermeneutic insights on past repertories?

Biography
Dr Linda Schwartz is Dean of the Faculty of Arts & Science and Professor of Interdisciplinary Studies at
Ambrose University (Calgary, Alberta), Canada. Dr Schwartz earned a Bachelor of Music (Composition) from the
University of Manitoba, a Master of Music (Composition) from Western University, and a PhD (Interdisciplinary)from the University of Manitoba, specialising in critical theory and music theory pedagogy. Formerly Dean of
Humanities at Kwantlen Polytechnic University (British Columbia) and Dean of Professional Studies/Performing
Arts at Trinity Western University (British Columbia), she continues to research and teach in areas of music
theory, critical pedagogy, aesthetic philosophy and interdisciplinary hermeneutics. Dr Schwartz is actively
engaged in new faculty development, academic planning and programme quality assurance processes, andconsults as a specialist in quality assurance and programme design. She publishes on academic leadershipand administration in postsecondary education, and is active as a music theory scholar and analyst.
Dr Schwartz is a member of the Arts & Humanities section of IAFOR’s International Academic Advisory Board.
#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 29

Plenary Panel Presentation
Panel Chair: Donald E. Hall
Panellists: Anne Boddington,
Amanda Bright & Linda Schwartz
Tuesday, July 11 | 16:15-17:30 | Renaissance Suite

The Challenges of Doing Research and Creative Activity in the Artsand Humanities TodayGiven the rise of anti-intellectualism and increasing emphasis on technical and skills-based education, 2017and beyond will prove particularly challenging times for those of us working in the arts and humanities. Our
panellists will each speak for five to ten minutes about the broad political constraints on their work, as wellas their respective national and institutional contexts of funding and prioritisation. This will be followed by ageneral discussion with the audience about collective experiences and strategies for individual and collective
response to the challenges that we face.

Biographies
Donald E. Hall is Professor of English and Dean of the College of Arts and Sciences at Lehigh University in
Pennsylvania, USA. He has published widely in the fields of British Studies, Gender Theory, Cultural Studies, andProfessional Studies. Prior to arriving at Lehigh in 2011, he served as Jackson Distinguished Professor of English
and Chair of the Department of English (and previously Chair of the Department of Foreign Languages) at West
Virginia University (WVU). Before his tenure at WVU, he was Professor of English and Chair of the Departmentof English at California State University, Northridge (CSUN), where he taught for 13 years. He is a recipientof the University Distinguished Teaching Award at CSUN, was a visiting professor at the National Universityof Rwanda, was 2001 Lansdowne Distinguished Visiting Scholar at the University of Victoria (Canada), wasFulbright Distinguished Chair in Cultural Studies at Karl Franzens University in Graz, Austria, for 2004–05, andwas Fulbright Specialist at the University of Helsinki for 2006. He has also taught in Sweden, Romania, Hungary,
and China. He has served on numerous panels and committees for the Modern Language Association (MLA),
including the Task Force on Evaluating Scholarship for Tenure and Promotion and the Convention Program
Committee. In 2012, he served as national President of the Association of Departments of English. In 2013, hewas elected to and began serving on the Executive Council of the MLA.
His current and forthcoming work examines issues such as professional responsibility and academic
community-building, the dialogics of social change and ethical intellectualism, and the Victorian (and ourcontinuing) interest in the deployment of instrumental agency over our social, vocational, and sexual selves.
His book, The Academic Community: A Manual For Change, was published by Ohio State University Press in
30 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORthe fall of 2007. His tenth book, Reading Sexualities: Hermeneutic Theory and the Future of Queer Studies, waspublished in the spring of 2009. In 2012, he and Annamarie Jagose, of the University of Auckland, collaborated
on a volume titled The Routledge Queer Studies Reader, which was published in July of that year. He continues
to lecture worldwide on the value of a liberal arts education and the need for nurturing global competencies instudents and interdisciplinary dialogue in and beyond the classroom.
Professor Donald E. Hall is a Vice-President of IAFOR. He is Chair of the Arts, Humanities, Media & Culture
division of the International Academic Advisory Board.

***

Professor of Design Innovation and Dean of the College of Arts and Humanities, Professor Anne Boddington
was educated as an architect and cultural geographer. She has particular interests in the spaces of learningand research and the symbiosis of arts and humanities education as agents of cultural, social and civictransformation. The founding Head of the School of Architecture & Design (1999–2006) and since 2006, as
Dean of the College of Arts & Humanities, she was also the Director of the University’s Centre for Excellencein Teaching and Learning through Design (CETLD) (a unique partnership between the University, the V&A, theRoyal College of Art and the RIBA) and co-director of the HEA’s Subject Centre in Art Design and Media.
A registered architect, fellow of the Royal Society of Arts (RSA), and an affiliate member of the Royal Institute ofBritish Architects (RIBA), she has been an independent governor, trustee, chair and an elected member of many
regional and national councils in the cultural sector and in higher education including as a member of the Arts
& Humanities Research Council Advisory Board (AHRC); Vice Chair of Council for Higher Education in Art &Design (CHEAD) and a trustee of the Design Council/CABE. Working with HEFCE she was a panel member of the
Research Assessment Exercise (RAE 2008) and Deputy Chair of D34 for the Research Excellence Framework(REF) panel in 2014 as well as a member of the REF 2014 Equality & Diversity Panel. Her research has been
supported and funded by the EU, EPSRC, AHRC, the HEA and HEFCE. She has an international profile as aspeaker and advisor for research development, quality assurance, enhancement and teaching innovation in
Architecture, Art and Design across Europe, the Middle East and Asia. She undertakes regular peer review andresearch assessment for academic journals and conferences and has worked with and for research councils
of Portugal, Iceland, Austria, Germany, Israel and Canada.
Professor Boddington is a member of the Arts & Humanities section of IAFOR’s International Academic
Advisory Board.

***

Since 2016, Amanda Bright has been the Head of the School of Art at the University of Brighton, UK. Prior tothis she was Associate Dean of Academic Development and Enhancement at Central Saint Martins, Universityof the Arts London. She has extensive experience in academic development and quality assurance, and overthe last 15 years has chaired and contributed to a wide range of Academic Reviews and Validations in the UK
and overseas. Having worked as a Subject Specialist and Institutional Auditor for QAA, she currently works
with the Hong Kong Council for the Accreditation of Academic and Vocational Qualifications (HKCAAVQ), withwhom she is a Specialist Reviewer. Her subject background is in metalsmithing and the applied arts, and herpassion for making, for materiality and for "learning by doing" continues.
Educated at Camberwell School of Arts and Crafts and the Royal College of Art, London, from which she
graduated in 1987, she, specialised in patination and in the material properties of metal, particularly ferrous
metals. In 1988, as part of the bi-centennial celebrations in Australia, she was invited to Canberra School of
Art to represent the UK in a Metalsmith’s masterclass, and ten years later, in the catalogue accompanying the
major metalwork exhibition "Metalmorphosis", at the Museum of Decorative Arts in Prague, (November 1998 to
February 1999) was described as "one of the most original and influential metalwork artists of her generation".
Her work has been purchased for a number of national collections in the UK, including the Crafts Council,
Contemporary Arts Society, Birmingham Museum and Art Gallery, South East Arts Craft Collection, Ulster
Museum, Walker Art Gallery, Liverpool. Her work has been exhibited widely nationally at venues including:the V&A, London; the Powerhouse Museum, Sydney; Galerie für Angewandte Kunst, Munich; Sørlandets
Kunstmuseum, Kristiansand, Norway; Dutch Textile Museum (DTM), Tilburg, The Netherlands.
A biography for Linda Schwartz is available on page 29.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 31

THINK.IAFOR.ORG
THE ACADEMIC PLATFORM
THINK.IAFOR.ORG is IAFOR’s online magazine, launched in early 2016. THINK
is an ambitious project conceived by academics, for academics, with the following
objectives:
To provide an international, far-reaching platform for the best researchpresented at IAFOR conferences;
To make original, high-quality, thought-provoking multimedia content
freely accessible to a wide readership;
To facilitate the opportunity for academics to step outside of the
traditional research publishing status quo – to get creative, explore
different disciplines and to have their ideas heard, shared and discussed
by a diverse, global academic audience.
Content published on THINK spans a wide variety of disciplines and the format isvaried, encompassing full research papers, long-form journalism, opinion pieces,creative writing, interviews, podcasts, video, photography, artwork and more.
Current contributing authors include leading academics such as Professor Svetlana
Ter-Minasova, Professor A. Robert Lee, Professor Bill Ashcroft and Professor J. A.
A. Stockwin.
Get involved by visiting the website, following us on Facebook and Twitter andsigning up to our e-newsletter.
facebook.com/ThinkIAFOR
twitter.com/ThinkIAFORSUBMIT TO THINKWe are currently accepting submissions for publication in 2017. We welcome
photographs to accompany articles, as well as topical photo-essays.
Submissions should be between 500 and 2,500 words and sent topublications@iafor.org. Please include “THINK submission” in the subject line.
32 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORIAFOR
Documentary
Photography
Award
2017
Join us as we announce the winners of
this year's IAFOR Documentary PhotographyAward. Access to the Award Ceremony andthe Drinks Reception that follows is includedin the conference registration fee.
For more information about the Award, please
visit: www.iaforphotoaward.org#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 33

Award Judges

Paul Lowe
Founding JudgeDr Paul Lowe is the Course Director of the Masters Programme in
Photojournalism and Documentary Photography at the London Collegeof Communication, University of the Arts London. He was responsible
for the development and launch of a new part-time version of thecourse delivered entirely online using web conferencing, blogs and the
VLE, launched in 2008. He is an award-winning photographer whose
work is represented by Panos Pictures, and who has been publishedin Time, Newsweek, Life, The Sunday Times Magazine, The Observer
and The Independent, among others. He has covered breaking news
around the world, including the fall of the Berlin Wall, Nelson Mandela’s
release, famine in Africa, the conflict in the former Yugoslavia and thedestruction of Grozny.

He is a consultant to the World Press Photo Foundation in Amsterdam,
an independent, non-profit organisation that is a major force in developing and promoting visual journalism
worldwide. His book, Bosnians, documenting 10 years of the war and post-war situation in Bosnia, waspublished in April 2005 by Saqi Books. He regularly contributes to international and national conferences inphotography, media and education, and has published chapters in edited books on these themes as well.

Monica Allende
Guest Judge

Monica Allende is a photo editor, curator, cultural producer and educator.
She is GetxoPhoto Festival Artistic Director from 2017 to 2019, and is
the Director of FORMAT17 International Photography. She is currently
producing several multidisciplinary projects with artists worldwide,
has collaborated with screen projects, and is co-founder of Offspring
Photo Meet, London. Previously she was Photo Editor at The Sunday
Times Magazine, where she launched the award-winning photography
section “Spectrum”. She is a visiting lecturer at the London College ofCommunication and lectures and teaches workshops in photography
at, among others, ScreenLab, London; EFTI, Madrid; Tashkeil, Saudi
Arabia; Mentorship Business Programme DEVELOP at the University ofSunderland; Festival di Internazionale a Ferrara; WPP workshop Angola;
Magnum Professional Practice Workshops.

She nominates photographers for Deutsche Börse Photography Prize, Prix Pictet and The Joop Swart Masterclass/World Press Photo, and has served on juries worldwide including World Press Photo, Visa Pour L’image and the
National Portrait Gallery’s Taylor Wessing photographic Portrait Prize. She produced and curated Darfur: Images
Against Impunity, an exhibition and a book by Stanley Greene, Lynsey Addario and Alvaro Ybarra Zavala. She is therecipient of the Amnesty International Media Photojournalism Award, the Picture Editor’s Award, the Online Press
Award and Magazine Design Award for Best Use of Photography. She also writes and consults on photography.
Jocelyn Bain Hogg began his career as a unit photographer on movie
sets after studying Documentary Photography at Newport Art College.
He shot publicity for the BBC, photographed fashion and now works on
documentary projects and commercial and editorial assignments. His
editorial work features in Vanity Fair, The Sunday Times, The New Yorker,
Style.com, Vogue, Elle, Harper’s Bazaar, Lui, Marie Claire, Stern, GQ, Esquire,
Le Monde, Cahiers du Cinéma, L’Espresso and La Repubblica amongst
others. In 2016 he co-instigated Sea Change as photo director, where aswell as photographing British youth for the project he commissioned 12other photographers to document the issues affecting young people in
12 countries across Europe. A continuing initiative, Sea Change has so far
realised a book, an ongoing touring exhibition and workshop programme.
Guest Judge
In addition to this work, he is the author of six photographic books todate and his first, The Firm, presented an astonishingly intimate viewof London’s organised crime world, and won international acclaim, garnering the prestigious Lead Award for
portraiture. His latest project, Public House, published in 2016, documented the denizens of a local pub, forced
to close due to the lamentable issue of social cleansing in London.

Jocelyn Bain Hogg

In February 2013, he was invited onto the jury of the World Press and was a juror for the Sony World PhotographyAwards in 2015. He is currently the head of the BA photojournalism and documentary photography course at
the UAL LCC in London and is a member of the VII Photo Agency.
34 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORIAFOR Documentary Photography Award 2017
Tuesday, July 11 | 17:30-19:00 | Renaissance SuiteAward Ceremony & Drinks Reception
The IAFOR Documentary Photography Award (www.iaforphotoaward.org) was launched by The International
Academic Forum (IAFOR) in 2015 as an international photography award that seeks to promote and assist
in the professional development of emerging documentary photographers and photojournalists. The award
has benefitted since the outset from the expertise of an outstanding panel of internationally renowned
photographers, including Dr Paul Lowe as the Founding Judge, and Ed Kashi, Monica Allende, Simon Roberts,
Jocelyn Bain Hogg, Simon Norfolk and Emma Bowkett as Guest Judges. Now in its third year, the award has
already been widely recognised by those in the industry and has been supported by World Press Photo, Metro
Imaging, MediaStorm, Think Tank Photo, University of the Arts London, RMIT University, British Journal of
Photography, The Centre for Documentary Practice, and the Medill School of Journalism.
As an organisation, IAFOR’s mission is to promote international exchange, facilitate intercultural awareness,encourage interdisciplinary discussion, and generate and share new knowledge. In keeping with thismission, in appreciation of the great value of photography as a medium that can be shared across bordersof language, culture and nation, and to influence and inform our academic work and programmes, the IAFOR
Documentary Photography Award was launched as a competition that would help underline the importanceof the organisation’s aims, and would promote and recognise best practice and excellence. In support of upand-coming talent, the IAFOR Documentary Photography Award is free to enter.The award follows the themeof the conference, with 2017’s theme being “History, Story, Narrative”.
Winners of this year's IAFOR Documentary Photography Award will be announced and their work screened aspart of a special event at ECAH/EuroMedia, which will be followed by a Drinks Reception. Access to the Award
Ceremony and the Drinks Reception that follows is included in the conference registration fee.
Image | From the project Life After Injury by IAFOR Documentary Photography Award 2016 Grand Prize Winner, Alexey Furman.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 35

Supporters
The IAFOR Documentary Photography Award is supported by a number of leading institutions, organisations
and publications around the world in its aim to promote and recognise best practice and excellence indocumentary photography and photojournalism. These partnerships are a testament to the high regard inwhich the award is held within the photography industry.
The IAFOR Documentary Photography Award would like to thank the following organisations for their support:

Sponsorship Opportunities
Through social media, product integration, logo placement, potential press coverage, promotion at the Award
Ceremony and subsequent exhibitions in Japan, Spain, UAE, USA and UK, you have the opportunity to help bringattention to the work of highly talented photographers. For information on sponsorship opportunities or becominga supporter of the IAFOR Documentary Photography Award, please contact Thaddeus Pope (tpope@iafor.org).

36 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFOR

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 37

D E P A R T M E N T O F E D U C AT I O NInternational Education
and Development MA
An internationally regarded flagship course established overthree decades and delivered by leading researchers.
All modules and assignments enhance your employability
in education and development sectors.
You will link theory with research, policy and practice - local
and global - and critically engage with the educational
challenges of low and middle-income countries.
You will explore concepts such as educational access,teaching and learning, equalities, gender and citizenship,
and good governance, while simultaneously developing
your academic and research skills.

For more details and how to apply, visit
www.sussex.ac.uk/education/maiedTuesday
July 11#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 39

Introducing IAFOR’s Academic
Grants & Scholarships
IAFOR is dedicated to helping young scholars achieve their research and academic
goals, while also encouraging them to apply the principles of interdisciplinary study
to their work. From spring 2017 IAFOR is offering travel and accommodation grants
and full or partial scholarships covering conference registration fees to PhD students
and early career academics who might not otherwise have the financial resources tobe able to attend our academic conferences.

Who can receive an IAFOR grant or scholarship?
Awards are based on the appropriateness of the educational opportunity in relation
to the applicant’s field of study, financial need, and contributions to their community
and to IAFOR’s mission of interdisciplinarity. Scholarships will be awarded based on
availability of funds from IAFOR and will vary with each conference.

How are recipients of an IAFOR grant or scholarship selected?
The Organising Committee of the relevant IAFOR conference will award scholarships toeligible applicants who have submitted exceptional abstracts that have passed the blind
peer review process and have been accepted for presentation at one of our conferences.

How can I apply for an IAFOR grant or scholarship?
If you are eligible for an IAFOR grant or scholarship and would like to be considered,please submit your abstract to the conference you would like to attend and select thecheckbox for the relevant award during the submission process. Abstracts must be
submitted by the initial submission deadline of the relevant conference in order tobe considered for funding. Applicants will be notified of results within three to fourweeks of the initial submission deadline.
For more information please visit

www.iafor.org/financial-support
40 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORTuesday Plenary Session
09:00-17:45 | Renaissance Suite (LGF)

08:15-09:15

Conference Registration | Renaissance Suite

09:15-09:30

Announcements & Welcome Address | Renaissance Suite

09:30-10:15

Featured Presentation | Renaissance Suite
Mythologizing One’s Own History Through Narrative: Francis
Ford Coppola’s Tetro
Rodney F. Hill, Hofstra University, USA

10:15-10:45

Coffee Break | Renaissance Foyer

10:45-11:30

Keynote Presentation | Renaissance Suite
Testimonies of Light: Photography, Witnessing and History
Paul Lowe, University of the Arts London, UK

11:30-12:00

IAFOR Documentary Photography Award followed by Conference
Photograph | Renaissance Suite

12:00-13:00

Lunch Break | Atrium Restaurant

13:00-14:00

Conference Poster Session | Library Terrace

14:20-14:50

Spotlight Presentation | Renaissance Suite
Re-Creating the Past: Fascist Comics and the Rehabilitation of History
Alfonso J. García Osuna, Hofstra University, USA

14:55-15:25

Spotlight Presentation | Renaissance Suite
Water Protectors or Protesters: Examining Media Coverage of the
Dakota Pipeline Protests
Kimberly Cowden, Colorado State University – Pueblo, USA

15:30-16:00

Spotlight Presentation | Renaissance Suite
Doing Music Theory in a Post-Tonal, Post-Ideological World:
Cultural Absorption and the Undoing of Cultural Hierarchies
Linda Schwartz, Ambrose University, Canada

16:00-16:15

Coffee Break | Renaissance Foyer

16:15-17:30

Plenary Panel Presentation | Renaissance Suite
The Challenges of Doing Research and Creative Activity in theArts and Humanities Today
Panel Chair: Donald E. Hall
Panellists: Anne Boddington, Amanda Bright & Linda Schwartz

17:30-19:00

IAFOR Documentary Photography Award 2017 | Renaissance Suite
The Award Ceremony will be followed by a Drinks Reception#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 41

Tuesday Poster Session
13:00-14:00 | Library Terrace

36327 | Library Terrace

Tele-Typesetting and Westward-Ho: How Technology Disrupted Newspapering in 1963
Dale Cresman, Brigham Young University, USA

This paper discusses how news was produced and distributed during the New York newspaper strike of 1962–1963. During the 114 daysof the strike, readers in New York City were left without printed news and businesses were left without an advertising platform. Television
and a temporary newspaper produced by a credit card company filled the void. Although wages and benefits were at issue in the strike,the printers’ union was perhaps most concerned about the encroachment of tele-typesetting. This technology was not only an early
manifestation of technology disrupting newspapers and threatening newspaper job security, it was also an early form of newspapering ina network, since news did not need to be printed where type was originally set. The Times used this technology for its short-lived Western
Edition – a concept that proved slightly ahead of its time. Using an instrumentalist approach, and drawing primarily on the records of the
New York Times Company related to the strike and the West Coast edition, this paper proposes to describe how technology was a central
issue of the 1962–63 newspaper strike, how it allowed the Times to continue publishing through its “Westward-Ho” project, and how the
strike opened the way to further competition from television.
36359 | Library Terrace

The Indivisibility of Change: The Challenge of Trauma to the Genre of Coming-of-Age Narratives
Nicole Frey Buechel, University of Zurich, Switzerland

Evie Wyld’s novel All the Birds, Singing (2013) draws attention to the interrelation of personal history, trauma narratives and coming-ofage stories. I will approach Wyld’s novel with Bergson’s model of the “indivisibility of change” (“The Perception of Change” in Key Writings,
2002, p. 263), which reconceptualises the past as part of a “perpetual present” (p. 262), and Pederson’s revised literary theory of trauma,
which deviates from psychoanalysis and crucial tenets of traditional literary trauma studies such as traumatic amnesia (Narrative 22.3).
With its unconventional structure of a backward-moving narrative strand intertwined with a forward-moving one, Wyld’s novel shifts thenarrator’s crisis, experienced in adolescence, centre stage and shows that, in the case of trauma, coming-of-age requires a continual
negotiating of this experience. The novel challenges “strategically grim” coming-of-age narratives, which incorporate difficulty “in ameaningful lesson” and represent trauma merely “as part of a narrative of the young protagonist’s redemption or maturation,” so that
“resolution occurs as a matter of narrative convention […]” (Gilmore & Marshall, “Trauma and Young Adult Literature” in Prose Studies:
History, Theory, Criticism 35.1: 23). All the Birds, Singing demonstrates that the painstaking processing of a painful personal history by
establishing a dialogue of voices – and thus of selves – in narrative is an essential prerequisite for maturation. Beside including novels
which present a crisis merely as a necessary step on the way to adult life, the genre of coming-of-age narratives thus also needs toincorporate texts documenting the persistence of trauma in a protagonist’s life.
36845 | Library Terrace

Hard-Core Issue: Ukip Rhetoric in the 2015 General Election Campaign, and the Road to Brexit
Ceri Hughes, University of Wisconsin-Madison, USA

The United Kingdom Independence Party (UKIP) won nearly four million votes in the 2015 General Election and were the only large UK
political party universally in support of the successful Leave campaign in the 2016 European Union referendum. Using a mixed methodology
of content analysis and utilizing a network approach, this research illustrates how UKIP effectively conflated the issues of Europe andimmigration throughout the run-up to the 2015 General Election and were given ownership of, and competence on, this coalesced issue.
A discursive content analysis undertaken of UKIP press releases from January 1, 2014 to the General Election in May 2015 illustrates how
the party positioned itself strongly on the EU/immigration question – contrasting with the “establishment party" positions. The debate
network analysis shows how UKIP leader Nigel Farage moved from being a relatively peripheral figure during the debate generally, tobeing the most prominent node during the immigration question. Analysis of newspaper coverage following the debate also shows how
the media furthered a perception of ownership of, and competence on, the EU/immigration issue. This placed them in a strong position
to potentially dictate the discourse agenda leading to the referendum. This illustrates that smaller parties can be granted elite status topossibly set, or at least surf, an extant agenda on germane issues. This research also concludes that UKIP’s single-issue strategy success
identifies a potentially successful path for core-issue parties.
36893 | Library Terrace

A Discussion on the Historical Prototype of the Events in the Film the Grandmaster
Chih-Wei Chen, National Chiao Tung University, Taiwan

This paper aims to analyse the historical narrative in the film The Grandmaster by Hong Kong director Wong Kar-Wai. Therefore, thepurpose of this paper is to enable readers to understand the aesthetic significance of the images in The Grandmaster. As a great
achievement among all the films of Wong Kar-Wai, the plot of The Grandmaster is a metaphor for change throughout the whole era. The
narrative of inheritance among schools of martial arts illustrates this. Wong Kai-Wai expands the spatial background of the film into thewhole of China rather than just a corner of Hong Kong. The timeline of the film encompasses historical changes of the whole of Modern
China, which includes the Qing Dynasty, the Republic of China, the Northern Expedition, the Anti-Japanese Era and the Civil War. The filmsof Wong Kar-Wai always have unique styles and are full of artistry. The narrative structure is confined and repetitive, and the skippingtype of editing makes timely descriptions to present a sense of fracture. The converting angle of view between dialogues and subtitles
conceals the time-and-space background of the plot and the impression of the events. In terms of the research method, this paper adopts
the theoretical analysis of narratology to discover the significance of the film text. In addition, hermeneutics also helps uncover themetaphor of the images. Moreover, the timeliness of phenomenology aims to discuss the historical events in the film. All of these methods
help convey the artistic value presented in this film.

42 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday
July 12#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 43

Wednesday Session I
08:30-10:30 | Tennyson Room
Humanities
Session Chair: Shapour Vahdatinejad
33364 08:30-09:00 | Tennyson RoomAssessing Taxonomy of Educational Objectives in Teachers Essay Grading Style
Ibrahim Yabagi Mohammed, Jubail Industrial College, Saudi Arabia
Omar Ahmed, University of Jeddah, Saudi Arabia

The primary responsibility of teachers is to inculcate and impart knowledge onto the learners entrusted in their care. The learning process
sets out its educational objectives, which are to be achieved through the teaching and learning activities conducted in and aroundclassrooms. The Bloom’s taxonomy of educational objectives, with some modifications over the years; and a mirror through which mostlearning institutions gauge their achievements, analyses and evaluates educational objectives through concepts, processes, proceduresand principles by classifying educational objectives into cognitive, affective and psychomotor domains. So, from time to time, it is theduty of the teachers to assess the level of understanding and comprehension during the teaching and learning process. The methods
and techniques used by individual teachers to assess students learning and comprehension of the educational objectives vary from one
teacher to another. This paper seeks to examine this taxonomy of educational objectives as reflected in individual teacher’s essay gradingstyle. It seeks to answer the questions: Can educational objectives be assessed through learners essay writing? Does the individual
teachers essay grading style show a reflection of the taxonomy? Does the individual teachers essay grading style give clear feedback
to the learners? Are essay grading rubrics reflective of the taxonomy? The paper then samples individual teachers' approach to essay
grading styles and feedbacks as reflection of some aspects of the taxonomy, and how they are given to their learners. It concludes bysuggesting ways teachers grading styles can be enhanced to give effective feedback.
37797 09:00-09:30 | Tennyson Room

Organisational Storylistening – A Narrative-Based Recruitment Strategy
Kate Dosanjh, CC Young & Co, UK

KPMG now use storytelling in their recruitment, gathering stories from staff about experiences, and shaping a cohesive narrative designed
to convey the organisation’s culture to potential candidates. As people listen to stories of the organisation’s past, they imagine themselves
as characters in the organisation’s future. The current study draws on this, and demonstrates that creating and communicating theorganisation’s story to potential candidates is one of many ways in which narratives feature in the recruitment and selection process. In
addition, the study demonstrates that the One Story Fits All approach does not take into account the personality elements involved withtelling and hearing stories. One cohesive, grand Organisational Story works conceptually, and it can clarify core values and goals. However,people hear and interpret a narrative’s message differently, based on many variables, including their past and personalities. Finally, thestudy turns to the notion of Organisational Storylistening, and proposes a narrative-based recruitment and selection strategy. Each hire
has the potential to change the story of the organisation, especially in smaller firms. Ultimately, both parties need the truth behind thestory. Is the candidate the right fit? What is it really like to work here? As humans, we use stories to make sense of the world. Based on ourinterpretation of the situation, we make decisions. Studying and interpreting these stories, and then applying this information, will provide
a more comprehensive method for decision-making when determining a candidate’s suitability for the role.
36094 09:30-10:00 | Tennyson Room

A Research of Self-Disclosure on Fanpage Creators of Illustration/Text in Taiwan
Li-Chiou Chen, Yuan Ze University, Taiwan

As technology evolves, gradually more virtual network platforms with innovative functions are being developed. Nowadays, thephenomenon of nearly every person having a personal mobile device, usually a smartphone, can be observed everywhere. Because
the amount of information people receive has been increasing every day, reading habits are also changing. Compared with simple
textual descriptions, pictorial expressions more easily arouse contemporary readers’ interest. Thus, graphic creation is an emerging
industry on social networking platforms. Among such platforms, Facebook has achieved outstanding levels of development and has
a considerable number of users, thereby contributing to the online migration of many illustrators to Facebook for use as a sharing
platform to rapidly gain popularity and accumulate followers. Developing and managing fan pages that feature graphic creations iscurrently extremely popular. This study explored the relevant applications of the self-disclosure theory on 10 graphic illustrators who
manage Facebook fan pages that have considerable numbers of followers.
37831 10:00-10:30 | Tennyson RoomPortrayal of Gender in the Iranian Junior High School EFL Textbooks
Shapour Vahdatinejad, Rustaq College of Education, Oman

Gender-biased textbooks can internalize the sexist concept and can affect students’ mindset and behavior against the other gender. For
the majority of both teachers and students in Iran, school textbooks are the only resource therefore unbiased textbooks are necessary
for students to build up their role in addressing the other gender in their lives and society. To scrutinize the issue of sexism in the
textbooks, this study attempted to explore the status of sexism in the images of the current Iranian EFL junior high school textbooks(three volumes) published by the Ministry of Education in 2008. A mixed method of quantitative and qualitative CDA and CIA analysisof the images in the content was carried out to investigate whether the images of the textbooks have addressed both genders equallyor not. In order to do so, two checklists were designed to analyze the status of sexism in images. Results revealed that the textbooks
can be considered sexist because in the images males outnumber females and are mostly the focal characters. Besides, the images
portrayed males as more active, energetic, decisive, confident, powerful, considerate, superior, and better managers. Despite the factthat according to Ministry of Education the number of female students is almost equal to males, the textbooks present students, intheir early exposure to the English language, with an unfair, unbalanced and inexcusable representation of women. Some implications
are advised for teachers, textbook writers and policymakers.

44 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session I
08:30-10:00 | Shelley Room

Arts: Performing Arts Practices – Theater, Dance, Music
Session Chair: Jungman Park
36659 08:30-09:00 | Shelley Room | IAFOR Scholarship Recipient

Theatre of Diaspora As a Memory Archive: Representing Postmemory of Korean-Japanese Performance Artists
Angela Kim, SOAS, University of London, UK

This research investigates issues of representing history by examining theatrical works of Korean-Japanese theatre artists including
Shinjuku Ryozanpaku and Soni Kum. This paper will argue that the theatre is a perfect medium for the operation of memory andfunctions as a memory archive. Marianne Hirsch’s idea of postmemory as a structure for the trans-generational transmission of
traumatic experience will be applied to this research. Here, I give an analysis of the postmemory narrative by providing the examples of
Vegetation (2009) by Soni Kum and 100 years, Fellas of Wind (2011) by Shinjuku Ryozanpaku. Soni Kum who is the third generation of
Korean-Japanese grown up in the North Korean community performed Vegetation in 2009 in Beijing. Inspired by a novel about the Jeju
4.3 Massacre in 1947, Kum attempted to illustrate her artistic interpretation of a particular scene from the novel. Shinjuku Ryozanpaku
is a Tokyo-based theatre company led by an artistic director Sujin Kim. 100 years, Fellas of Wind illustrates an epic story of the 100
years of the Korean-Japanese community in Japan. Set in a pub located in a Korean area in Osaka today, the play interweaves historicalmoments of Korea with realities of Korean-Japanese people residing in Japan since the colonial era. Because my specific interest is
diaspora theatre as a memory archive, I investigate the presence of a collective memory of historical trauma, and how they stage thesememories transmitted by their parental generation.
36730 09:00-09:30 | Shelley Room

The Political Sublime: Resilience and Protest

Sobia Zaidi, Forman Christian College, The University of Lahore, Pakistan“Where there is power, there is resistance” (Michel Foucault). No one knows where we would be if people didn’t resist. The history of
resistance is as old as the history of mankind. Man has resisted one way or the other and artist is no exception. From Botticelli’s first
non-religious nude and David’s Death of Marat to Courbet’s realistic stonebreakers and Allan Kaprow’s happenings and Chris Burden’sshoot to Banksy’s wall art and the Turkish Standing Man’s protests, artists have resisted one way or the other through their art. But what
about the acts that were never created in the name of art but are as radical and sublime as the work of art, or sometimes even more? As
Boris Groy states, no matter how political, anything created for the art institution loses its status as political. This paper will investigate thepolitical acts of resilience looking at the case studies of Sabeen Mehmood’s assassination and the protests after that, Farkhunda’s burial,
and Qandeel Baloch’s page. This paper will look at these acts as performances and dissect in detail their aesthetics from choreography toagency and the resonance as well as compare them to the performances of the postmodern artists such as Marina Abramovich’s Rhythm
0, Allan Kaprow’s happenings and Yoko Ono’s cut piece. The paper will also challenge the existing institutional definitions of art and will
discuss the significance of examining such acts as art and what this kind of art is capable of. The paper will briefly touch on the protest
and its popularity as a discourse, as well as why there is a need to document such acts as art and the possible emergence of a discourseof political sublime in Pakistan. It also aims to understand how saying no can become the most radical and sublime act of art.
35980 09:30-10:00 | Shelley Room

Korean Military Dictatorship and Theatrical Response: Case Study of Hansi Yeondaegi (1985) and Sawol Guil (1988)
Jungman Park, Hankuk University of Foreign Studies, South Korea

Theatre is sensitive to social change, and Korean theatre in the 1980s was impacted especially by the dominance and dictatorship ofthe military regime. The 1980s witnessed exemplary responses in theatre to social upheavals in these culminating years of the militarycontrol. Especially in the second half of the 1980s, the rise of political dramas and productions was remarkable. This movement reflected
the general democratization mood in contemporary Korean society which included a series of historical moments such as Citizen’s
Uprising for Democracy in May of 1980, the military regime’s Declaration for Democratization in June of 1987 and the subsequentabolition of comprehensive pre-censorship of media in 1988. Yeonwoo Mudae is an exemplary theatre company of Korean theatre of
the 1980s. It focused on presenting original plays to provide a critical and historical understanding of contemporary Korean politics andculture. Using Brechean epic theatre, elements of collective creation and local literature or history as its source, the company embodied
the theatrical circle’s response to social changes in the post Korean War era. Its exemplary productions Hansi Yeondaegi (“The Chronicleof Mr. Han”, 1985) and Sawol Guil (April 9, 1988) both reflected and spurred the movement toward democratization and freedom of speechin the fraught political environment of a country repressed by the military-led government.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 45

Wednesday Session I
08:30-10:30 | Keats Room

Humanities: History, Historiography
Session Chair: Louis Regis
36322 08:30-09:00 | Keats Room | Stuart D. B. Picken Grant & Scholarship Recipient

Justice Delayed? The Nkanu Igbo and the Nigerian Army Occupation: 1967–1970
Ngozika Anthonia Obi-Ani, University of Nigeria, Nsukka, Nigeria
Paul Obinwanne Obi-Ani, University of Nigeria, Nsukka, Nigeria

The Nigerian-Biafran Civil War was savagely contested by both sides of the divide. The seceding Biafra had borne the brunt of the pogrom,the counter coup d’état that decimated its officer corps in Nigeria and the sporadic outbursts of sectarian and ethnic cleansing preceded thedeclaration of the Republic of Biafra on May 30,1967. In less than three months of the commencement of hostilities, Biafra lost its capital,
Enugu, with all its stores. Enugu and its environs are peopled by the Nkanu Igbo and with the retreat of the Biafran forces, the civil populace
predominantly of the Nkanu Igbo came under the Nigerian army occupation from September 1967 to January 1970. The occupation of Nkanu
Igbo was horrendous, with the civilian population subjected to inhuman treatment such as summary execution of suspected Biafran partisans,
enforcement of pass system and arbitrary commandeering of young women as sex slaves by the Nigerian army. The butcher at Agbani, thepolitical headquarters of Nkanu Igbo, was Sergeant Clement Yildar of Nigerian army. Sergeant Yildar and his accomplices committed war crimes
against Nkanu Igbo and humanity and therefore should be tried posthumously if they are all dead. Unfortunately, this heinous crime against
humanity has not received any scholarly attention. This paper would amply utilize oral traditions, newspaper reports of the period and otherextant secondary source materials in analyzing the occupation of Nkanu Igbo. Giorgio Agamben’s theory of state exception would be applied.
37400 09:00-09:30 | Keats Room

Television Comes to Town – The Role of Television in National Identity Formation in One Post-Colonial
Caribbean Nation
Lynette Sampson, The University of the West Indies, Trinidad and Tobago

The decolonisation movement that swept the British Caribbean and that saw all but five of the islands begin their move to self-government
between 1962 and 1983 heralded a significant change in the political relationships with the metropole. It did little for the consciousness
raising of the formerly colonial people to be independent. In order to address this situation, the government of the newly recognised
Republic of Trinidad and Tobago (like its counterparts in the Caribbean and Africa) sought to foster national consciousness and construct
a founding story for the new nation by establishing a local television station, aptly named Trinidad and Tobago Television (TTT). Against
the backdrop of prevailing media theories, which advocated strongly, mass media’s value for “third world” development, the ultimate goalof TTT was to move former colonials from British cultural imperialism to pride in self. TTT’s success would be determined by its ability to
weave together the bewildering demographic diversity of this postcolonial Caribbean society into a single identity. It is here that this paper
gains its relevance. By examining the role of the state television within government policy of the 1960s, the paper will analyse the extent towhich TTT, during its existence as the sole television station between 1962 and 1976, created a counter hegemonic discourse within thenation’s movement from colonialism to independence. Further this paper locates this nation’s struggle for identity, within the global ICT
debate on media representation of developing states in this historically significant period of identity politics.
37509 09:30-10:00 | Keats RoomThe Canboulay Riots of Trinidad: A Study in Myth Making
Louis Regis, University of the West Indies, Trinidad and Tobago

The Trinidad Carnival has emerged as the dominant festival of its kind in the English-speaking Caribbean, a region endowed by history witha rich and vibrant legacy of public cultural expressions. A history of the Trinidad Carnival illustrates the complex dialectical processes ofcultural retention and loss, race-ethnic-class contestation and negotiation, creolisation and globalisation. It is essentially the story of how
a group happening has survived the tremendous social pressures of a plural and stratified society to become a national festival and, latterly,
an international activity. And yet the written histories of the Carnival do not constitute one metahistory and what is now accepted andtaught as history incorporates romance and folklore. This paper examines the Canboulay Riots of 1881, the definitive act of decades-longresistance on the part of the largely African folk-urban underclass to European superstructure efforts to suppress the African kambule which
had entrenched itself in the post Emancipation Trinidad Carnival. While the Riots have been justly celebrated as a decisive victory for the
exponents and supporters of the kambule, they have become mythologised and mystified by romance and folklore, two prime elements ofthe folk-based, ideology-driven process of selection and accretion. This process occludes the fact that the Riots were an historical event withclearly marked antecedents, a well-defined flow of action, and most importantly for the history of the Carnival, a well-documented aftermath.
36110 10:00-10:30 | Keats RoomAnna Petronella Woodart: A Cocooned Ex-Enslaved Woman of Substance
Melsia Tomlin-Kraftner, Bournemouth University, UK

This presentation shares an archival story of “lived experiences” in a period of sociohistory when black and mixed-heritage people were either
enslaved and considered property or free with minimal rights and privileges. Qualitative archival research involves the extraction of multilayered data from historical records, which enables the analysis of and learning from past lives, which may influence our future. The social
sciences explore humanity and its relationship to the environment in which humans live, thus bringing into this narrative the anthropology
and development of Caribbean British and Jamaican society. This presentation focuses on the life and relationships of eighteenth-century
Jamaican-born Anna Petronella Woodart and her British colonial community. Her extraordinary story, as an analytical case study, highlights
a developed narrative embedded in her “lived experience”. In this paper, I argue that narrative analysis represents an explorative methodof unpicking and understanding those experiences thus providing socio-moral education. Anna’s story takes us from her enslaved birth in1745 in British colonial Jamaica, to her manumission by her white father who bequeathed her a substantial amount of property in Jamaica,
Britain and the USA. The narrative explores the legal lengths Anna’s father went to ensure her protection from a racist society including, theinvolvement of King George III and the Archbishop of Canterbury, all to ensure her wealth was secure when she married and had children. In
addition, Anna's uncle Robert Foster, also bequeathed her his Jamaican properties making her possibly the richest black woman of her time.

46 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session I
08:30-10:30 | Coleridge Room

Humanities: Literature/Literary Studies
Session Chair: Payal Madhia Sahay
36331 08:30-09:00 | Coleridge Room

I Am the Va: The Relational Poetics of Suheir Hammad and Grace Taylor
Dashiell Moore, The University of Sydney, Australia

The uncertainty of the periphery has troubled researchers for years. How are we to understand a certain subjectivity outside of ourown without transparency, without blemishing its surface, or rendering it a composition of our own? Writing on this subject has led toresearchers, “liberators” and others interested in the “edge of humanity” to ignore the materiality of the periphery. It is worth remembering
the concerns articulated by Indigenous Researchers such as Linda Tuhiwai Smith here, who critiqued the idea of “Research” and “History”
to indigenous communities in Decolonizing Methodologies, and listed the ethical requirements of research if we are to continue andfurther our relationships with indigenous communities across the Pacific. I argue that we must declare a right to opacity for all situatedin anti-hegemonic subjectivities, following the work achieved by Edouard Glissant in his treatise Poetics of Relation. I propose to readthe poetry of Suheir Hammad and Grace Taylor whilst arguing that both poets deny readers and audiences the anthropological pleasure“mapping” or “knowing”, whilst simultaneously embodying the complex process of Relation as Glissant understood it. It is possible to be
opaque and intimately intermingled with the surrounding world without surrendering one’s identity.
36835 09:00-09:30 | Coleridge Room

Theorizing Narrative Space, Memory, and Everyday Present in Tarashankar Bandopadhyay's The Tale ofHansuli Turn
Madhumita Chakrabarty, Central University of Karnataka, India

Village life and community, their rituals and superstitions, the sense of belonging to the “place” they live in, the events of history the people
observed as an individual and as a community, the thread of nostalgic moments interlace the several generations altogether. The past belongs
not to Individuals but to the group who constantly redefined it as means to control the everyday present. Today it is almost impossible to readcontent in the field of history that does not mention the phrase “collective memory” or its supplementary equivalent “narrative”. Indeed, thetwofold manifestation of these phrases is in no way coincidental. The text chosen is Tarashankar Bandyopadhyay’s Hansuli Banker Upakatha,or “The Tale of Hansuli Turn”. Change of time is inevitable and so is the change in people and their way of life. The “Upokotha” (fables) of Hansuli
Bak are a tussle between stagnation and mobility. The author portrays a complex transition in which a marginal caste fragments and mutates
under the pressure of local and global forces maintaining a sympathetic outlook to the desires of both older and younger generations. The
use of the “place”, community and the experience in relation to different generations’ shifts with the change of narrative point of view from themarginalized aboriginals to landowning caste and even a tree or a city space or a barren island becomes the markers of locality and memory.
And nostalgia is the dominant principle that binds together the collective experience and memory of the group.
36986 09:30-10:00 | Coleridge Room | IAFOR Scholarship Recipient

Representation of History in the Indian Graphic Novel: An Analytical Study of History Through the Frame ofGraphic Narratives
Antarleena Basu, University of Hyderabad, India

This research paper attempts to explore how, through the amalgamation of images and words, India’s historical events have been represented
within the frame of the graphic narrative and how these narratives serve to uphold the “history from below”, thereby providing counter narratives
to the more dominant, so called “historical facts”. History in the graphic narrative is a persistent theme as “the visual dimension of the graphic
novel contributes substantially not only to our understanding of history but also to a larger question of how history can be represented” (Nayar,
2016, p. 14). By primarily focusing on texts like This Side That Side: Restorying Partition, curated by Vishwajyoti Ghosh (dealing with the Partitionof India in 1947 and its aftermath), Bhimayana by Srividya Natarajan, Durgabai Vyam and S. Anand (dealing with the caste system in India bytracing the life of Dr Ambedkar), Delhi Calm by Vishwajyoti Ghosh (portraying the Emergency of 1975–76) and Munnu by Malik Sajad (portraying
the national crisis in Kashmir) and also drawing reference to graphic narratives across the world like Speigelman’s Maus, Satrapi’s Persepolis,
Sacco’s Palestine, etc, this paper aspires to uphold the omissions, loopholes and discrepancies in establish history and seeks to questionand counter the dominant narratives, thereby showing how history can be represented within the graphic novel. Hence, this paper attempts toanalyze and understand history and its representation through the “visual-verbal literacy” (Hirsch, 2004, p. 1212) of the graphic narrative.
37875 10:00-10:30 | Coleridge Room

Untouched Voices: Dalit Women's Autobiographies in Dalit History
Payal Madhia Sahay, University of Delhi, India

This paper will engage with the idea of the self as a narrated, social identity, as this is explored and articulated in Dalit women’s
autobiographical writing. The category “Dalit” came into use sometime in the nineteenth century to denote the oppressed and exploited“untouchable” communities of India, traditionally considered so “impure” that they were “out-castes”; and yet, simultaneously, integral todefining the system, in being its “lowest” component. However, this liminal position and status predates the emergence of the appellation“Dalit” by millennia, is as old as the caste-system itself. “Dalit” is a construction of singular political identity, out of large variety of“out-caste” communities, based on the commonality of their oppression. This paper will examine Dalit women’s autobiographies as themulti-layered articulations of their engagements with a) oppressions affected by the commonality of being Dalit; b) oppressions affectedby the fact of being women in a profoundly patriarchal order; c) the tensions generated in the intersections of these two. Analyzing thewritings of Baby Kamble, Sumitra Bhave and Kaushalya Basantrai, this paper will explore how, by virtue of these intersections, the routine
narrative imperatives of the autobiographical confessional mode – e.g. emphasizing first-person perceptions and experiences – morph
from individual stories of pain into gendered narratives of oppression, and thereby into ineradicable archives of the suffering and injusticethat constitute the histories of the community. The paper will thus reflect on the dynamics between gender, caste and class identities on
the one hand, and on their narrativizations into histories of community.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 47

Wednesday Session I
08:30-10:30 | Wordsworth Room
Humanities: Literature/Literary Studies
Session Chair: Halimah Mohamed Ali
34803 08:30-09:00 | Wordsworth Room

Unwritten Unknowns: The Novel of Late Prehistory and the Epistemic Conditions of Its Production
Joshua Mostafa, Western Sydney University, Australia

Long neglected in Anglophone scholarship, prehistoric fiction has recently received serious attention that is both welcome and overdue,
most notably from Nicholas Ruddick. But despite differences of viewpoint, Ruddick and others frame the genre as a literary engagement with
Darwinian science, situating it as a close cousin of science fiction, and thus marginalising works set in later prehistoric periods. In this paper, I
argue that the novel of late prehistory is animated by a different set of concerns: not the development of human nature as a product of evolution,
but social and cultural shifts in power politics, gender relations, labour, and ecology. These changes have profoundly affected the course of
subsequent societal and political development, and are thus foundational to the entirety of Western history; literature that seriously attempts tobring this period this life is not mere escapism, but helps us think through deeply entrenched cultural practices and recognise their (pre)historicalcontingency. I compare the approaches taken by Margaret Elphinstone, Elizabeth Marshall Thomas and Mary Mackey in portraying a past ofwhich we have no primary historical sources, but only the evidence of archaeological remains, reconstructed protolanguages, anthropology,
and comparative mythology. These unusual epistemic conditions, and the stylistic and narratological problems to which they give rise, justify
consideration of the novel of late prehistory as qualitatively different both from properly historical and from purely speculative fiction. This lineof inquiry will test the boundaries of the contribution of fictional narrative to our understanding of the past.
37017 09:00-09:30 | Wordsworth Room

An Encounter with the Double in Hawksmoor by Peter Ackroyd
Natalia Ciofu, University of Essex, UK

The interaction between past and present, over the last few decades, has become a central preoccupation within contemporary literary
discourse in diverse disciplines. The transition from hierarchy to anarchy, determinacy to indeterminacy, transcendence to immanence
and totalization to deconstruction is the pivot around which Peter Ackroydʼs quintessential historiographic novel, Hawksmoor, develops.
The proposed paper is part of my last PhD chapter focusing on the exploration of guilt and self-identity in Ackroydʼs fictitious creation,in which the ontological boundaries between history, myth and fantasy are blurred. This intricately structured novel rebels against theconventions of historical fiction due to its non-linear and dual narrative, disparate time structure and the characterʼs split personality.
In Hawksmoor, Ackroyd attempts to recuperate the past by retreating into the history of London and focusing on two major historicaldisasters: the Great Plague of London and the Great Fire of London that hit the seventeenth century London leading to its restoration andrenewal. Examining Ackroydʼs historiographic metafiction, this paper argues that events from the past can trigger twinges of guilt in thepresent and (mis)lead to the self-discovery. This discussion will be supported by (but not restricted to) Sigmund Freud’s theory of the
double as it appears in his essay "The Uncanny". By drawing on the real facts taking place in London in 1666, Ackroyd does not necessarily
intend to reproduce history or to give a new outlook on the past events, but to indicate how the past can affect and shape the present.
37912 09:30-10:00 | Wordsworth Room

Looking at the Dark World from Restricted Narratives: The Nothing by Hanif Kureishi and Nutshell by Ian McEwan
Jose Varghese, Jazan University, Saudi Arabia

Ian McEwan and Hanif Kureishi are writers who have experimented with unique narratives exploring deep human consciousness. Whileeach have different approaches to handling them – be it macabre, or playful – they have dealt with the contemporary life of London thatintersect at certain points. It could be a worthy exercise to analyse the historicity of their texts that deal with the cultural paradigm shifts
in the metropolis. While this could be traced in the earlier works of McEwan, like Saturday, or of Kureishi, like Something to Tell You, thepaper focuses on the latest works by these authors that make use of what could be termed a Hitchcockian film noir narrative that explore
claustrophobia to great effect. Nutshell is a reworking of Hamlet. Its protagonist turns out to be a foetus, figuring out the changing worldfrom within the womb. Though with a suspension of disbelief, the POV of a foetus addresses more Freudian concepts and Oedipal angst
than the original Hamlet could. The Nothing, on the other hand, has the POV of a dying old man restricted to his wheelchair and bed, strippedof all the trappings of the world and squirming in what could be sheer helplessness. Both characters reach out for a liberation that go
beyond conventional philosophical precepts of the times before the moral chaos that have begun to define our lives. The paper attempts acomparative analysis of the narrative technique of these works with reference to the changing socio-politico-cultural paradigm shifts.
36178 10:00-10:30 | Wordsworth RoomThe Criminal Mind: A Comparative Study of John Grisham's The Innocent Man and Ramlee Awang Murshid's
Rahsia Perindu
Halimah Mohamed Ali, Universiti Sains Malaysia, Malaysia
Nurizwani Md. Nor, Universiti Sains Malaysia, Malaysia

This paper is a comparative study of Western and Eastern crime fiction. This research will look at the mind of the criminal, both East andWest. The pattern of the criminal’s mind will be analysed from the works of two authors, Ramlee Awang Murshid from Malaysia and John
Grisham from the United States. The criminal characters in their novels will be analysed to look at the way they think. The pattern of thecrimes committed in each fiction will be analyzed and compared according to the country to which the texts belong to. This will be doneby analyzing the portrayal of the characters and their stereotype images according to race and ethnicity. The Innocent Man (2006) byJohn Grisham, an American author, and Rahsia Perindu (2005) by Ramlee Awang Murshid, a Malaysian author, will be the two texts usedin this essay. The theoretical framework that will be used to read the two texts will be formulated using the following works: Crime andPersonality by Juliet Cheetham, Crime and the Mind: An Outline of Psychiatric Criminology by Walter Bromberg, Crime, Race and Culture: A
Study in a Developing Country by Howard Jones, and The Color of Justice: Race, Ethnicity and Crime in America by Samuel Walker, Casia
Spohn and Miriam DeLone. The framework will determine and point out the differences and similarities between the portrayal of Easternand Western criminals by the authors. This paper will propagate these facts.

48 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session I
08:30-10:30 | Noblesse Room

Arts: Social, Political & Community Agendas in the Arts
Session Chair: Sandra Hiett
36688 08:30-09:00 | Noblesse RoomSpecialist Leaders in Cultural Education: Narrowing the Attainment Gap for Disadvantaged Children
Sandra Hiett, Liverpool Hope University, UK
Jude Bird, Curious Minds, UK

The Specialist Leaders in Cultural Education (SLiCE) action research initiative was set up by Curious Minds (a bridge organisation for
Arts Council England) as a direct response to Darren Henley’s independent review of Cultural Education in England (2011) to develop
teachers' capacity to strategically support cultural education in their own school and across schools’ alliance in the Northwest of
England. The focus on Pupil Premium was determined by Curious Minds in response to evidence from the first and second year of theSLiCE programme (Hiett, 2014 & 2015) and reflects a national drive to address the attainment gap in English schools between children
from disadvantaged backgrounds and their peers (DfE & EFA; Ofsted 2014). The scope of this paper includes the analysis of 25 in depth
interviews undertaken over a 12-month period with SLiCE fellows and Head Teachers, systematic analysis of qualitative data from 42
participating schools and approximately 1,000 children. The main objectives of this evaluation were to: evaluate the impact of SLiCEon the performance of Pupil Premium pupils; identify emerging patterns of professional development of SLiCE fellows; evidence thelegacy of SLiCE for participating organisations. This paper presents the findings of this research and is likely to be of particular interest
to those working in cultural organisations, arts education and school leadership.
34447 09:00-09:30 | Noblesse Room

A History of the Sublime in Art and Its Relevance and Importance to Community Art Practice
Audrey Emery, University of South Australia, Australia

This paper discusses the development of ideas of the sublime, from the Greek philosopher Longinus in the second century, to thecategorisation of the sublime as a distinct aesthetic philosophical theory by Burke and Kant within the Romantic movement of theeighteenth century. The paper will further assess the development of the theory of the sublime in American Abstract Expressionism inthe mid twentieth century through the writings of Lyotard. My paper will outline the resurgence of the sublime after postmodernism;comparing the historical with contemporary theories of the sublime with an examination of the artists Wolfgang Laib and Olafur
Eliasson. Despite changes in the philosophy, the quality of the sublime that has remained central is that the experience of the sublime
can engender a sense of wonder and joy which can inspire a sense of insight, empathy and resilience; that is, the experience can betransformative and can motivate a sense of responsibility to care for community and the environment. I propose it is the intersectionof these core qualities of the sublime that underpin and empower the practice of community arts. As we can be absorbed and inspiredby the sublime, so too can we be absorbed and motivated by making art. As a community artist of over 30 years experience, I will
discuss and illustrate contemporary community art practice that demonstrates the transformative power of art and the sublime andthat commemorates personal stories of joy, art and community connection.
36353 09:30-10:00 | Noblesse RoomCan Design Underpin a Strong Wellbeing?

Antonia Concha Philip Palmer, Queen Margaret University, UK
It is understood that involvement in creative activities can boost well-being, and theories behind Art and Design can also be useful to do
this. One can live the life you want or live the life you are given. This is a choice that can be affected by health, work, relationships etc. In
the last few years I have personally lost a job and gained a disability. This has inspired many different thoughts, a major one has been how
creative doing and thinking can positively affect a new life after diagnosis, the same design principles can be used to approach a clothingbrief to redesign a life. This all starts with identifying an issue and working out how best to meet that issue. My presentation will talk about
a different application of design. It will also talk about creativity more generally as a means to boost resilience. It is not only a nice thing todo, it builds you back up after difficult times. I first studied fashion design, then careers guidance. My research investigates employability,
disability and the impact that creativity has on someone’s life. The project is called Confident and Informed.
36052 10:00-10:30 | Noblesse RoomHow Does Making Art Help Communicate Stories of People Using Regional Disability Services
Emma Gentle, The University of Sydney, Australia
Patricia O'Brien, The University of Sydney, Australia
Colin Rhodes, The University of Sydney, Australia

Making art can have a significant impact on people who have less usual forms of communication. People with cognitive disability canuse art as a medium to freely express themselves and as a tool to communicate their personal narrative when words are not sufficient.
This research aims to demonstrate the impacts of art-making on people using disability services in regional Australia and how thesecreative processes may influence a person’s self-esteem and their relationships with family, friends and community. The study took place
during 9 art workshops at a local NGO and consisted of 9 participants who regularly access local art studios. The research incorporated
5 methods which included focus groups, observations, visual emotion charts and artworks as well as interviews with chosen advocates.
The interviews provided objective opinions of the importance of art making in the participant’s lives. Preliminary results provided throughthe interviews have shown how art making can be used to communicate personal narrative. The interviews included anecdotes that
illuminate how art-making helps others understand the inner worlds of the artist in ways that other mediums couldn't. The art works
increased their capacity to tell their inner story. Art works can describe, symbolise, illuminate and respond to internal processes in a
way that feels safe to the creator. This form of communication is essential for people who often lack an outlet where they can express
themselves without having to resort to conventional languages that do not necessarily serve them.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 49

Wednesday Session II
10:45-12:45 | Tennyson Room
Journalism
Session Chair: Shulin Chiang
36953 10:45-11:15 | Tennyson RoomLonging for a Golden Age: Nostalgic Narratives of Egypt's 2011 Revolution
Lubna El-Elaimy, University of Auckland, New Zealand

On January 25, 2011 thousands of Egyptians took to the streets to protest unemployment, police brutality, and economic inequality. Althoughsocial media did not cause the uprising, these media enabled participants to publish their own narratives of historical events. Upon analyzing thesenarratives it is evident that a clear sense of nostalgia for a better past permeates them. Revolutions and nostalgia are often connected. However,
nostalgia has an insidious side; “The danger of nostalgia is that it tends to confuse the actual home and the imaginary one. In extreme cases it
can create a phantom homeland, for the sake of which one is ready to die or kill” (Boym, 2007). This is evident in the social media narratives of theEgyptian Revolution of 2011. This paper uses critical discourse analysis to analyse narratives of Egypt’s revolutionaries and their self-appointed
spokespeople, citizen journalists and activists using social media. The paper examines Twitter and Facebook posts by two groups: socialist activists
and Muslim Brotherhood activists. Preliminary findings indicate that both groups exhibited nostalgia for their own idea of a Utopian Golden Age. On
the one hand, socialists wished to return to Nasser’s era during the 1950s and 1960s as a time when Egypt was newly free from colonialism. On theother hand, the Muslim Brotherhood’s nostalgia extends 1,400 years into the past, to the imagined utopia of early Islamic Empire.
37946 11:15-11:45 | Tennyson Room

Image of Ukraine in the Context of Crimea 2014/2015 – Polish and International Perspective in Media Discourseand Social Reception
Karolina Brylska, University of Warsaw, Poland
Gackowski Tomasz, University of Warsaw, Poland

The presentation will concern the research study led at Warsaw University in the Laboratory of Media Studies and devoted to the situation in Crimea
in 2014 and 2015. Authors will present cross-sectional conclusions from their own research in three areas: media coverage (press comments in
4 weeks of 2014 and 4 weeks of 2015, a poll and analysis of internet memes’ reception by Poles (research made with eyetracker experiment andFGIs). 1)The aim of the study on Polish press was to examine how Polish media comment, analyse and foresee the events associated with theannexation of Crimea by Russia (with methodology of qualitative and quantitative content analysis). 2) In a poll conducted in May 2016 (CATI),
on a representative sample of Polish people, we asked who they thought was responsible for the conflict in Ukraine, how long the conflict would
last and whether the Polish media reliably reported the conflict. 3) In the study of memes, we checked, with a TobiX2 60Hz eyetracker experimentconnected with survey and FGI, how two groups of respondents (18-25 and 45+) view and interpret the Internet memes concerning the conflictin Crimea. Conclusions from empirical research will be supplemented by desk research findings on this topic in foreign publications and research(comparative studies, queries, existing data analysis). In effect the presentation will not only summarize how the conflict in Ukraine has been
analyzed so far, but will also set out further research and analysis areas on the conflict that probably will not end soon.
36784 11:45-12:15 | Tennyson RoomNarratives of Corruption in Zimbabwe: A Critical Analysis of Selected Newspaper Stories in Post-2000 Zimbabwe
Rodwell Makombe, University of the Free State, South Africa

Zimbabwe has been ranked one of the most corrupt countries in Africa and in the world. Studies conducted by nongovernmentalorganisations and other civic groups have consistently affirmed that corruption in Zimbabwe has become a cancerous disease thatchews the intestines of its frail economy. However, corruption by its very nature is an evasive practice which is difficult to measure andlet alone prevent. Since independence in 1980, Zimbabwe has been rocked by numerous rumours of corrupt tendencies especially among
government officials. This article narrows its focus to corruption-related stories involving government officials that have been publishedin Zimbabwean newspapers in the post-2010 period. In recent Zimbabwean history, the post-2000 period is critical because it coincides
with the advent of the economic/political crisis which has arguably created a conducive atmosphere for corruption. Six stories wereselected from Zimbabwe’s main newspapers: The Herald, newszimbabwe.com, The Standard, The Mirror and The Zimbabwean. The
stories were selected on the basis of their capacity to provide answers to the research questions set out in the study. The results of thestudy show that stories of corruption in Zimbabwe are situated in a political culture of non-accountability, bigotry and outright disregardof the rule of law. Government officials accused of corruption often deny any wrongdoing and shift blame to their political opponents (realor imagined) who allegedly fabricate corruption stories to tarnish their image and gain political mileage.
35991 12:15-12:45 | Tennyson Room

Science and Visualization – The Application and Development of Visualization in Typhoon News in Taiwan (1958–2015)
Shulin Chiang, Chinese Culture University, Taiwan

This paper aims to explore the visualization of scientific news in the case of typhoon news during the period 1958–2015. The fields of meteorology,
journalism and visualization respectively have accumulated abundant literature. However, the existing literature seldom focused on the combinationof these abovementioned three fields. This research intends to bridge the gap and to conduct a longitudinal analysis of the content of typhoonnews since 1958, the year the Central Weather Bureau started to announce typhoon warnings. It will investigate the application and developmentof the visualization of meteorology, as well as the representation and production of meteorological visualization. It is hoped that the findings
could contribute to the development of scientific visualization in the future, advance science communication and encourage public engagement ofscience. Theoretically, this research critically reviews the literature on uncertainty of meteorology, the visualization theory, how visualization wasapplied in science communication of meteorological information and in meteorological news. Methodically, this research will firstly collect typhoonnews from the United Daily News during the past 57 years, and then purposively samples to collect significant events from TV and internet news.
A comparative analysis on news reporting and visualization of three different media will be conducted. Secondly, consultation and interviews of
meteorological experts and media staff will be conducted to investigate the following issues: the process of visualization, the criteria of selection of
meteorological information into mappings, and the relation between the concerns of designers and the presentations of graphics.

50 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session II
10:45-12:45 | Shelley Room

Film Direction & Visual Arts Practices
Session Chair: Anna-Marie Jansen van Vuuren
37082 10:45-11:15 | Shelley Room

Image Fragments and Text Excerpts: Narrative, Family Stories and Pierre Sorlin's The Film in History
Ana Teresa Vicente, Faculdade de Belas-Artes da Universidade de Lisboa, Portugal

Using a set of found negatives, I focused my research on the subjects of narrative, gesture, point of view, and the idea of the fragment.
By scanning portions of the original images and pairing them with selectively blacked out pages of The Film in History by Pierre Sorlin, I
attempt to unveil new interpretations and alternative associations through the displacement of the image fragments and the text excerpts.
The core of the research is based on vernacular photographs, subjected to a dislocation and a dialogue around its fragmented visualcues as a way to interrogate the construction of narratives, meanings, and the visual opacity of the images. The inherent duality ofdomestic photographs (they are trivial but can trigger powerful personal memories) is a point of departure to study the connection
between photography, family relationships, personal histories and the passage of time. Here, text performs very differently from the usual
practices within the domestic photographic field, thus exercising a tension between what is depicted and the phrases that are paired witheach image. The text does not attempt to illustrate the images directly, but to open up different and possible layers of interpretation by
the juxtapositions. The text snippets reflect on the idea of the passage of time, memory, and the sense of belonging to a particular culture,
dealing as well with questions of identity, stance or point of view, digitisation, and the nature of research itself.
36723 11:15-11:45 | Shelley Room

From Greensboro to Black Lives Matter: Rethinking the Sixties Through the Comic
Oliver Gruner, University of Portsmouth, UKLouis Netter, University of Portsmouth, UK

This paper discusses our work in producing an experimental, graphic history of the sixties. Through a particular focus on the era’s protest
movements, we discuss the comic as a powerful vehicle through which to rethink this most contested of epochs. In dramatic accounts ofprogressive transformation or terminal decline, demands to return to the era’s idealism, or appeals to leave the past behind, “the sixties”
looms large as a collection of diverse and often conflicting myths, narratives and iconography. Our paper is part of an ongoing collaboration
between a historian and an illustrator which has so far led to the publication of a graphic research paper in the journal Rethinking History.
We discuss the challenges and opportunities we faced in our collaboration, while also exploring the comic as more than just a “different”
way of doing history; in its formal and aesthetic qualities it can offer new contributions to political and philosophical debates on the past,
constituting an example of what Alun Munslow has called “the-past-as-history-as-artwork” (Munslow, 2007). Avoiding conventional
approaches to history that favour linearity, the comic can restlessly and provocatively shift time periods and play with narrative in waysthat are unique to the medium. Links will be made between sixties activism, contemporary protest movements and the “image” of protestthat has defined and linked global uprising. Visualising this history through the comic resists simplistic conflation of sixties narratives andinstead individualises debates and conflicts while stitching together ideas which find currency together.
37186 11:45-12:15 | Shelley RoomThe Dependence on International Film Festivals of Thai Independent Cinema
Peerachai Kerdsint, Bangkok University, Thailand

The essay explores and critically looks at the process of independent filmmaking in Thailand, and examines various factors affecting
the subject matter and aesthetic choices of Thai independent filmmakers and how this plays an important part in the whole process of
independent filmmaking. The paper explores the various strategies employed by Thai independent filmmakers to achieve an “independent”
or alternative/minority status for films targeted at a new audience, the emergent urban middle class who look to the West and aspire tochange their own cultural environment, and place the film in the context of international film festivals. The strategies include the use of dedramatisation, experiments with structure, the use of fragmented and non-linear stories are among the various tools employed in thesefilms. The strategy known as “slow cinema” has been evident in many films, as well as the Western thinking which supports this concept.
34721 12:15-12:45 | Shelley Room

The Hero and the Shadow Deconstructing Ideology and Identity in Anglo-Boer War Film and Drama Series Narratives
Anna-Marie Jansen van Vuuren, University of Johannesburg, South Africa

How does the predominant myth of a society influence the narratives told by its popular culture? That is the key question the authorasks in this paper concerning the ideological representation of the hero archetype in selected films and drama series set during
the Anglo-Boer War, also known as the South African War of 1899–1902. The author's hypothesis is that the Boer soldier, one ofthe prominent figures of the white Afrikaner history, has been transformed into a mythical hero during the past century – from thefirst South African short film, Sarie Marais (1931), to the most recent acclaimed South African film, Blood and Glory (2016). Throughinvestigating the various archetypical guises that the Boer Hero wears, whether it be the willing hero, anti-hero or the tragic hero, theauthor proposes that the context and time period of the production of the specific case study directly correlates with the way in which
the hero fulfills its task or mandate within the story. Therefore, the predominant ideology or the identity that the creator subscribes todirectly influences the representation of the hero figure.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 51

Wednesday Session II
10:45-12:45 | Keats RoomSocial Media & Communication Technology
Session Chair: Yu-Chung Cheng
36968 10:45-11:15 | Keats RoomThe Uses of Instagram for Self-Presentation and Self-Promotion of Thai Celebrities
Pan Chatchaiyan, Ramkhamhaeng University, Thailand

When browsing celebrities’ photos on their Instagram accounts, their life stories and lifestyles are reflected. Presentation of self is acommon practice for social media users around the world. People engage in social media not only for information and communication,
but also for social connections with others. The focus of this article is to discuss celebrities’ uses of Instagram as an alternative tool for
self-presentation and self-promotion. The data is drawn from qualitative research conducted with nine celebrities who are either actors/
actresses, or singers or MCs in Thailand. The research methods include in-depth interviews with the celebrities and a content analyses of
their Instagram photos. This article argues that there are two purposes for the celebrities’ uses of Instagram. Firstly, celebrities’ uses ofInstagram for self-presentation are found to be in accordance with Erving Goffman’s approach. It was found that celebrities strategicallyand selectively choose their photos to present their ‘ideal’ rather than ‘authentic’ selves. Secondly, the uses of Instagram for selfpromotion and brand endorsements are found to reflect David P. Marshall’s notion of ‘presentational media’. It was found that celebrities
use Instagram as an alternative tool for sharing their personal lives and creating public selves beyond traditional media. Celebrities’ public
displays of their online selves help them to promote themselves as well as the products they want to sell to their fans and general public.
35222 11:15-11:45 | Keats Room

Impact of Social Networking Sites on Social Capital and Happiness of Residents in UAE
Safa Osman, Ajman University, UAE
Alyaa Ali Anter, Ajman University, UAE

Although there is a growing increase in using social networking sites in UAE, There are a few studies about their role in creating the social
capital of UAE residents. Particularly, that UAE uses social networking sites as a tool to communicate with their residents from multinationalities and merge them in a community. The objective of the paper is to explore the effect of intensity of using Social Networking
Sites on bonding, bridging and linking the social capital of UAE residents, and its relationship with residents’ happiness represented in
Self- Esteem, Social Trust & Satisfaction of life. Drawing on a Survey of Arab and non-Arab residents in UAE from multinational, cultural& lingual environments that enrich the results and give chance for comparison according to gender and nationality variables. As wellas, the paper, compare between impacts of various Social Networking Sites. By drawing upon the established social capital theory, thestudy mainly examines whether Social Networking Sites should be and could be the conveyors of social capital &Happiness among theresidents in the Emirates community. Integrating social, psychological and media sciences in this paper could make the study is ready to
examine such variables and present a model explaining Social and psychological effects of social networking sites on Social capital andhappiness of the residents in UAE.
36096 11:45-12:15 | Keats Room

Lovers or Devils – Uses and Impact of Facebook-Romantic Relationships on the Egyptian Youth: A
Sociological Perspective
Alamira Samah Saleh, Cairo University, Egypt

Like many social media trends, the romantic craze captivates youth. The romantic pages can sometimes offer a catharsis of sorts,
attracting heartfelt disclosures and it could – at the same time – raise flags of moral panic when we take the social, religious andcultural context into account. Crush pages are a cross-cultural and transnational phenomenon. Several online "crush" pages have
cropped up locally in the last few years, displaying a new aspect of online social interaction among youth that has raised red flags withadults. While the sites celebrate particular students' smiles, personalities or other positive traits, some crush pages, in particular, drew
the attention and concerns of several parents for its more vulgar and aggressive submissions. Therefore, the current research paper
tries to explore and assess textual information from three Egyptian universities’ “crush pages” on Facebook. Furthermore, I will conduct
three focus groups (male/female/parents) to record and analyze university students’ reactions to and experiences with crush pages,
identify kind of relationships which youth form online. Finally, does this phenomenon pose a state of “moral panic” or are the publicconcerns over romantic relations on Facebook justified?
36475 12:15-12:45 | Keats RoomThe Emerging Logic of Social Media Events: Platform Structures, Pictures with Texts, and User Engagement
Yu-Chung Cheng, Hsuan Chuang University, Taiwan

Social media play pivotal roles in the development of many major events in contemporary societies. Such events include the ArabSpring social movements, general elections in the United Kingdom and United States, and acute disasters. In these events, social
media are the major platforms on which people can receive and transfer information about the events, which disperse rapidly aroundthe world through social media. Many past studies focused on the performance aspect of social media events, e.g. the quantitative
dynamics of posts, the topics of posts and the social network. This study focuses on the material conditions of social media in order
to explore the emergence of social media events by integrating science and technology studies (STS) and communication research.
Though case studies of elections, social movements and disaster events on Twitter, we found the material conditions of social media,
e.g. the platform structures, the graphic contents, and the user engagement, are the major factors influencing the formation of eventsin social media. Special attention is paid to how the graphic presentation and the user engagement can help the dissemination of
information. Ultimately, this study will attempt to establish a critical theoretical framework for the materiality of social media, and how
the duality of social media influences the logic of how an event emerges.

52 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session II
10:45-12:45 | Coleridge Room
Humanities: History, Historiography
Session Chair: George Karl Ackers
36749 10:45-11:15 | Coleridge Room

The Medical Intelligentsia: Life in Post-Revolutionary Russia (Doctors’ Letters Material to N. A. Semashko)
Kira Bogatyreva, I. M. Sechenov First Moscow State Medical University, Russia

In the State Archive of the Russian Federation there are many documents, including doctors’ letters arrested by Cheka in 1919–1922. The
letters were addressed to N. A. Semashko, the People's Commissar of Health Care of the Soviet Russia. It is more than 200 stories of thedoctors and medical workers life during the Civil War and War Communism. In the stories of the events that preceded the arrest, the people,
consciously or unconsciously, bring a lot of facts, indicating their life, the relationship with colleagues and with the local authorities. On thebasis of this evidence, the professional relationships are analyzed, and the response characteristics of ordinary physicians on the current
events are given. The aim of this study is to reconstruct a picture of the ordinary doctor’s world of this time period. Practitioners havebeen very busy at work and, as a rule, are not interested in politics. Belonging to the doctor's estate was characterized by professionalism
and a high level of culture. This is often prevented from finding a common language with the new government. After all, they were theworkers and peasants by origin and they saw in a doctor not a sympathetic or neutral-minded intellectual, but rather a representative of
the bourgeoisie. The professional and cultural differences were the reason of mistrustful attitude to physicians from the authorities and,at the same time, became a support, which helped to deal with disadvantaged circumstances.
37782 11:15-11:45 | Coleridge Room

Looking for the Heart: From the History of Heart Transplant in the USSR

Yana Grigoryan, I.M. Sechenov First Moscow State Medical University & The Ministry of Health of the Russian Federation, Russia
Despite the outstanding achievements of heart transplants in the experiment, the history of heart transplantation to patients in the
USSR was surprisingly short. There were only three operations performed over 20 years. Why did the attempts at a heart transplant
surgery suddenly terminate? The answer to this question is surrounded by mystery. In accordance with the documents of that period,
there is the relation between the absence of cardiac transplantation operations and the personal position of the Minister of Health of
the USSR Boris Petrovsky. He believed that it was immoral to take a person's heart if he did not die. In 1966, he issued the order on
the prohibition of transplantation of any organs without special permission from the Ministry of Health of the USSR. But we know thenames of the three surgeons who had a different opinion. Alexander Vishnevsky, Gleb Soloviev and Vladimir Burakovsky. They believedthat their duty was to help patients, even if it threatened their future, but unfortunately none of their patients survived. The humanheart is very sensitive and could not work after resuscitation. Only on March 12, 1987, professor Valery Shumakov for the first time
successfully performed a heart transplant to a patient who then lived for about 9 years. But no one will ever know how many people
were deprived of the chance to live with a new living heart in their chest to this date.
36132 11:45-12:15 | Coleridge RoomLife and Death in Verses – A Case Study: The Writings of Lili Kasticher, The Only Woman That Wrote in Auschwitz
Lily Zamir, The David Yellin Academic College of Education, IsraelThis paper focuses on the unique works of a young woman named Lili Kasticher, written at the Auschwitz-Birkenau death camp from
April to November 1944. The possession of a piece of paper or a pencil stub was absolutely forbidden in Bireknau. Anyone caught withsuch contraband was immediately sentenced to death. Consequently, inmates at Auschwitz produced virtually no written material, withrare exceptions, such as the Sonderkommandos, who documented everyday life at the camp, concealing their records in jars that theyburied near the crematoria, in the hope that someone would find them after the war, as indeed occurred. Similarly, the Germans ordered
Jewish inmates to write postcards to their relatives, describing the “decent” living conditions prevailing in their “new place”. In Momentsof Reprieve, Primo Levi describes a love letter that a gypsy inmate asked him to write, indicating that he risked both their lives to do soin exchange for half a portion of bread. No women are known to have written at Birkenau except for Lili Kasticher, who risked her life bystealing pieces of paper and pencil stubs to write poetry. She encouraged her friends to do the same by offering them a prize – a portionof her daily rations. Lili also wrote a political-social manifesto entitled “Rules of Behaviour”, intended as a guide to survival for herself andher blockmates. The notes she wrote were concealed on her body until her liberation in spring 1945.
36221 12:15-12:45 | Coleridge Room

Craft Imprint: The Construction of Self and Family History After Deindustrialisation
George Karl Ackers, University of Portsmouth, UK

Philosophical literature has long idealised craftwork, the production of physical objects seen as a means to self-actualisation(Thoreau, 1854; Marx, 1845; Ruskin, 1849). Gorz (1999, p. 2) summarises this idea as “subjects achieve self-realization by inscribing
themselves upon the objective materiality of what they created or produce”. The move from industrial to post-industrial work has
led writers to question if craftwork can still be achieved (Gorz, 1999; Sennett, 2008). These writers focus on the temporal meaning
derived from such labour and its impact on people’s lived careers. However little emphasis is placed on how such imprint is alsoa means of constructing a self and family history. This paper uses 26 work history interviews collected from 14 former RoyalDockyard tradesmen in South-East England and 12 of these men’s sons and grandsons to explore this topic. The intergenerational
discussions in this study revealed alongside men finding material imprint in the objects they made, imprint was also establishedthrough human recognition as fathers, sons and grandsons acknowledged the meaningfulness of each other’s work. Like material
imprint this process allowed them to feel their labour was recognised and continued beyond themselves. Therefore this paper
advances the concept of human imprint to identify the interpersonal self-realization created within craft relationships. Further thetransmission of practices and objects was also a means for each generation to embed their labour history and feel they had left an
imprint on the external world that would give them presence beyond their mortal bodies.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 53

Wednesday Session II
10:45-12:15 | Wordsworth Room
Humanities: Literature/Literary Studies
Session Chair: Tamsila Naeem
36830 10:45-11:15 | Wordsworth Room

Denver's Divinatory Poetics: A Case Study of Anne Waldman, Eleni Sikelianos, and Selah Saterstrom
Roger Green, Metropolitan State University of Denver, USA

This paper recounts the author's experience of producing and arranging sound recordings of three women poets working in the Denverarea and globally. Using musical accompaniment as a hermeneutic strategy, I argue that recurring themes of divination, displaced bodies,and death-space in these authors accomplish what Maurice Blanchot called the writing of the disaster. On a broader level, these poetics/
poets speak to crises in liberalism and the negotiation of ethical identities amid its collapse, voices which disembody space in order tore-territorialize a poetic disposition that is both beyond the nation-state and localized. While Anne Waldman has spent a career continuing
beat ethics of travel and leading the Naropa summer writing program in Boulder, Colorado for over forty years, Eleni Sikelianos (who is
Waldman’s niece) has created a regional intimacy in her tracing of family migration from Greece to the United States Selah Saterstrom’s
southern regionalism and overt articulation of the term “divinatory poetics” in her forthcoming book, Ideal Suggestions (Essay Press,
2017), produces instances of mythical temporalities of disaster that reorient the reader through poetic movement. All three of these poets
work regularly in close proximity (special relationships) with each other in Denver, and the author has produced sound recordings andperformed live accompaniment for each of them, some of which will be shared in his presentation.
37884 11:15-11:45 | Wordsworth Room

Reconstructing Korean Literature: Deborah Smith's English Translation, The Vegetarian
Sun Kyoung Yoon, Hankuk University of Foreign Studies, South Korea

Deborah Smith’s English translation of the Korean writer Han Kang’s novel, The Vegetarian (London: Portobello, 2015) won the Man Booker
International Prize in 2016. This essay examines how the Korean writer’s novel was transformed and (re)written through translation toappeal to the English-language reader. I argue that Smith translated Han Kang for a new readership, focusing primarily on her decision toturn a great Korean novel into a great English novel, a great “literary” work. In order to do so, the translator took a great deal of freedom,
abandoning word-for-word fidelity to the original, and reshaped the Korean novel to suit the literary conventions of the Anglo-American
world through addition, omission and rearrangement. She also negotiated the vast linguistic/cultural differences between Korean andEnglish and improved the Korean original by revising its logic and particularly producing aesthetic effects (as well as conveying meaning)
through tone, rhythm and resonance. Ultimately, an analysis of this translation will show that Smith’s The Vegetarian is as creative as its
original and she is translator as writer along with the author, and so the widely-held notion that the original is superior and the translation
is inferior is not relevant here. The award given to The Vegetarian recognised the translator as providing a creative role, as the credit goesto both writer and translator equally. In this paper, what is gained in translation will be discussed widely along with what is lost.
37610 11:45-12:15 | Wordsworth Room

Psycho-Pathological Mother Archetype in The Bluest Eye

Tamsila Naeem, University of Management and Technology, Lahore, Pakistan
The aim of this qualitative study is to examine injurious effects of hateful utterances of the White Americans on the psyche of Black
females, which lead to subversion of the archetype of motherhood into a unique archetype of motherless by applying Judith Butler’s
notions of Excitable Speech Acts. Butler believes that when people at authoritative positions use harsh words against the weakerpeople in a society, their mind is bruised under the effect of such hateful utterances, and then gradually their whole body gets aggrieved.
According to father of archetypal psychology, Carl Jung, the mother archetype has a psycho-pathological image associated with injuries,
but Morrison’s fictional mother in The Bluest Eye, stands apart from the universal images: “the image of goddess, and especially theMother of God, the Virgin, and Sophia”, and hence acts in a unique manner to intensify the situations created by the novelist to portraya psychologically subjectified mother living in Afro-American society. Pauline is able to conceive babies through marriage, but fails toperceive the archetypal image of a mother from her surrounding, culture, society, Dick and Jane primer and even from the movies she liketo watch. The victim of her alienation yearns for her love and develops inferiority complex and eventually gets mad. After analyzing themother-daughter relationship in different situations in the novel, it was concluded that Morrison’s Pauline as a mother cannot be analyzed
on the basis of the universal image of mothers as some very kind, sacrificing, loving and caring being.

54 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session II
10:45-12:45 | Noblesse Room

Humanities: Literature/Literary Studies
Session Chair: E. Christina Belcher
37750 10:45-11:15 | Noblesse Room

The Possession of Narratives: Telling and Transmitting Caste in Indian Folktales
Siddharth N. Kanoujia, University of Delhi, India

This paper postulates that caste in India is not just a sociological category, or an existential reality, but has been historically constitutedof narratives that shape both. It will elaborate this firstly, by offering a brief survey of the rich store of myths, fables and parables meant
for the children that have emerged and been transmitted over a millennia in the subcontinent. These include the Jatakas (4th century
BCE), the Panchtantra (3rd century BCE), and the Hitopadesh (8th–12th centuries CE) – a few of its most famous examples. Thesestories are deployed today to instill in children the cultural values and a sense of history. Hence, and secondly, the paper will examinesome of these narratives, to see how caste is represented in them, and to analyze the implications of such representations in theirrepeated retellings, in contemporary India. It will attempt to show that choice of subject, theme, mode and genre of Children’s Literature
all substantially determine the meanings of “caste” for the “impressionable minds” they target. Through the detailed analysis, of highly
popular stories in Baital Pachisi and Singhasan Battisi (11th century CE), this paper will attempt to reveal how the children in India are
introduced to the ideas of caste: how, when narrated by the paternal/maternal figure, the child imbibes the ideals of caste along with theother societal norms: how these ideas are juxtaposed by the child onto her social reality, leading to the verification and concretisation of
caste ideologies. Towards this end, the author will also discuss, given the current political dispensation, how important it is to question
this ideology and how it can be excoriated through the very process it seeks to be validated by.
36253 11:15-11:45 | Noblesse Room

Centering Literature: Literature and the History of Environmentalism in Malaysia
Zainor Izat Zainal, Universiti Putra Malaysia, Malaysia

Environmentalism in Malaysia, which has its roots in the British colonial administration, has evolved as a social and political force.
Ranging from grassroots activists to ENGOs, the environmental movement is founded on the same aspirations: to increase environmental
awareness, to preserve the environment and to ensure sustainable development. State-imposed constraints may be the Achilles’ heel inthe fight to ensure sustainability but this has not deterred the movement from developing. In the realm of Malaysian literature in English,
writers have written extensively about environmental activism – although little attention has been given to this area in the local literarycritical practice. In this paper, I attempt to redress this dearth by examining four contemporary Malaysian novels in English: Keris Mas’
Jungle of Hope (2009), Yang-May Ooi’s The Flame Tree (1998), K. S. Maniam’s Between Lives (2003), and Chuah Guat Eng’s Days of
Change (2010). These novels are selected due to the alignment of the key moments in the history of environmentalism and the plurality ofrelations and struggles depicted. This paper will analyze the environmental politics, past and present, found in the selected texts, and thesolutions that their works present to ensure sustainability. It will yield a keen understanding of irresponsible environmental degradation
as well as illuminate agency and transformation. More importantly, it will put literature at the core, thus demonstrate the indispensabilityof these works in the history of environmentalism in Malaysia.
37619 11:45-12:15 | Noblesse Room

Using History, Self-Reflection, and Memoir to Reveal the True Self
Janet Crosier, Springfield Technical Community College, USA

One’s place in society, even one’s place in this world, is based upon the events of the past. As extreme as it might seem, literature offers anunderstanding of that past while providing the pathway into one’s future. Through literature, students are encouraged to reflect upon theirown lives by gaining an insight into the lives of literary figures. Students who are given the creative freedom to reflect upon themselves
and their abilities usually do so favorably. There must, however, be a well-balanced sharing between self-insight and self-awareness inorder to produce the positive environment needed for true self-reflection. Self-reflection involves an interaction between an individual andhis or her environment, which might include “the material world, the natural world, an idea” (Rodgers, p. 846) or whatever surroundings
comprise the situation at hand. This research asks students to examine their histories through pictures and to write their own individual
memoirs based upon those family pictures. It traces several past uses of self-reflective learning theory as a literary research study
involving writings by Emily Brontë and Amy Tan. Students become their own historians and create their own places in the world as they
trace their beginnings and development through photos and stories, pointing forward to what the future might hold.
37556 12:15-12:45 | Noblesse Room

Culture Through Children's Picture Books: A New Kind of Reading or a New Kind of Child?
E. Christina Belcher, Redeemer University College, Canada

Many baby boomers will remember fondly the event of the evening bedtime story. But times change. The bedtime story has had a makeover. Once, children were read to in an easy chair, or a bedroom, or on a parent’s knee at home. Now, they are being read at individually bya voice on an ipad in any location possible. Once books were a staple of each elementary classroom. Now, ports of charging ipads fill theroom. As culture moves ahead, technology gives and it takes away. This paper explores how changes in the foundational patterns of life
can be seen through the pages of a picture book, and how changes become harbingers of prophetic voice to the days ahead. In examining
cultural changes, questions emerge. What view of culture and the future do newer children’s stories portray? How has writing in a picturebook changed the perception of child and adult relationships? Through a content analysis of three children’s picture books and their rewrites in a later decade, inferences can be made on how the perception of the family/child relationship, the roles it had, and what it is now
perceived to be can be discussed. This investigation reveals some interesting ground to be held as part of an overarching narrative, notjust through the historical evidence of picture books, but within the larger fabric of a hope and direction for the future readers who may
become the stories they tell.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 55

Wednesday Session III
13:00-14:30 | Tennyson Room

Humanities: Media, Film Studies, Theatre, Communication
Session Chair: Jeffrey Spear
35182 13:00-13:30 | Tennyson Room

The New Face of Indigenous Storytelling in South Africa

Melany Asanda Fuma, African Film and Drama Academy, South Africa
This presentation highlights Southern African culture and the impact of a stolen history, due to apartheid, resulting in loss of customs andan identity. I also hope to shed light on how we can include our history and reclaim this culture of storytelling in the face of technologicaladvancement. It is widely known that storytelling has always been a great part of South African culture. Stories have been passed downfrom generation to generation as a way of preserving history and once formed part of our legacy. Important lessons such as how medicines
were discovered, how tools were used or how animals were named formed part of this passing of knowledge down from generation to
generation. Apartheid eroded over 50 years of South Africa’s story telling tradition and the history for black people through its devastating
impacts. Apartheid was designed to humiliate black South Africans, rob them of their identity, disrupted family life by enforced migrantlabor systems and inflicted mental breakdowns and suicides from the mental and physical torture inflicted on them. In African tradition,
story telling is commonly accompanied by some form of poetry, music and singing. This was an integral part of preserving the teachings
as stories could be recited in song and dance, making them easy to remember and harder to change. South Africans are now in the best
position to take this history back and offer their splendor to a world of depleting creative storytelling.
33825 13:30-14:00 | Tennyson RoomSound and Vision: The Inspiration of Rothko
Robert Foster, Augusta University, USA

Mark Rothko (1903–1970) was an American painter, most closely identified with the abstract expressionist movement. Many of his
best-known works appear to be very simple, with a singular rectangular shape of a solid color covering most, if not all, of a very large
canvas. Some viewers find these works deeply moving and profound, while others are dismissive of the merits of these works becauseof the apparent simplicity. There is an anecdotal story about Franz Kline (another American abstract expressionist) countering aderogatory criticism of abstract expressionist paintings by asking a viewer a series of questions that revealed that perhaps the works
were not, in reality, so simple. This author will present a similar line of questioning in terms of musical perception, and will demonstrate
how it may be applied to listening to music associated with the shakuhachi (Japanese bamboo flute). One important characteristic of
this music is ma, which refers to effectively balancing the use of silence and space between the musical tones. Additionally, there areseveral other aspects of this music that most Western ears are not attuned to, having been conditioned to popular music that often
competes for listeners’ attention through high volume and relentless motion. Shakuhachi music can be a gateway to appreciate subtler
aspects of music, such as singular tones, miniscule inflections, tonal shadings, variations in attacks and releases, softer volumes, andas mentioned earlier, silence as meaningful as the sounds.
36209 14:00-14:30 | Tennyson RoomHybridity and Context in Sita Sings the Blues: Appropriate or Appropriative
Jeffrey Spear, NYU, USA

Abandoned by her husband who was working in India, the cartoonist Nina Paley found Sita’s rejection by Rama to be a closer parallel
to her experience than any Western myth. Her feature film, Sita Sings the Blues (2008), crafted over five years, is an animated musicalfeaturing a hybrid Sita expressing herself through the voice of the 1920s blues singer Annette Hanshaw, whose records were Paley’s
chief solace. Instead of taking Sita’s story directly from the Ramayana, she recorded a conversation about Ram and Sita between three
NRI friends, depicted in the film as Wayang Kulit shadow puppets. Relying on memories of the story from various sources, they disagree
among themselves. There are four narrative strands, each with a graphic style: autobiographical (realistic), NRIs’ retelling (Indian poster),the Ram and Sita musical (Indian/American cartoon), scenes from the epic (Rajasthani miniature). Instead of assuming Sita to be aselective adaptation of Valmiki’s Ramayana, I argue that the contexts for interpreting the Indian aspect of Sita are the diaspora community
not India proper, and the Ramayana as cultural legacy not as a specific text. I read the hybridity of Sita as exemplifying the “Critical
Transculturalism” posited by Marwan Kraidy (Hybridity, or the Cultural Logic of Globalization, 2005). Paley’s key transcultural move wasto incorporate an original, diasporic Indian dance and Hindi prayer representing Sita’s trial by fire, which, unlike the love story of Ram andSita, cannot be accommodated in the Western imaginary.

56 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session III
13:00-14:30 | Shelley Room
Film Criticism & Theory
Session Chair: Hsin-I Lin
37302 13:00-13:30 | Shelley RoomHistory Bites Back: Confronting the Atomic Leviathan in Jaws
Sebastian Croft, University of Warwick, UK

Whilst many critics regard Steven Spielberg's Jaws (1975) as the monster-hit which resulted in a nationwide boycott of America's
oceans, many have often overlooked the film's capacity to dive into the depths and sink its teeth into an issue of significant importanceand relevance to America's current standing within the Cold War world: the atomic bombing of Hiroshima. As the traditional Hiroshimanarrative goes, the government's decision to deploy “little boy” against the Japanese was formulated upon the desire to end the war
quickly without resorting to an invasion of Japan that would have resulted in further loss of American life. Jaws, however, as I will argue
in my paper, entails a revision of this orthodox narrative by foregrounding the suffering endured by American servicemen responsiblefor delivering the bomb aboard the USS Indianapolis – whose ill fated voyage is recalled in chilling fashion by the shark hunter Quint.
Whilst educating audiences about this lesser-known naval disaster, Jaws also, and more significantly, utilizes this tragic event to raise avalid question about American wartime policy: If the bombing of Hiroshima was morally justifiable on the basis that it saved lives, thensurely the deaths of the crew who helped deliver the atomic bomb renders this argument void? Such a question inspires greater reflective
consideration of the bomb's victimization of both Japanese and American alike, allowing Jaws to serve as a visual commemoration of
those brave and forgotten few whom risked their lives so others could live.
36640 13:30-14:00 | Shelley Room

Bypassing the Camera: The Image Production Possibilities of Taiwanese Experimental Images
Hsin-I Lin, Tainan National University of the Arts, Taiwan

In the article “Experiment – My Film History” by Taiwanese artist, Kao Chung-Li, Li stated that “animation” served as cameraless, handmade, and physically strong “images” that remind us of the importance of "how images are produced". They reproduce and transform
Taiwan’s image history. Like “cameraless film” or “drawn-on-film animation”, Kao reassembles ready-made objects, old photographic
film, projectors, and other such things through the “physical properties” of animation, serving as a component of his own resistance toWestern experimental films. This paper discusses the image production conditions of Kao’s “cameraless film” works, discussing thebodies, images, and physical properties in animation. Then, the physical performance, news narrative, and theater properties of living
newspapers are compared to the narrative aesthetics in Taiwanese report dramas. With the aesthetic dialect of two kinds of moving
images, this paper raises the image production possibilities of Taiwanese experimental images.
37185 14:00-14:30 | Shelley Room

Re-Thinking Politics in Film: Thai Independent Cinema After the Coups D’état 2014
Sopawan Boonnimitra, Chulalongkorn University, Thailand

During the period of political instability that led to the coups d’état of 2006 and 2014, the independent cinema flourished both
domestically and internationally. The political conflicts in the past decade have become an important backdrop for independent
filmmakers to explore various issues. With a certain degree of freedom, their films have created a discourse on independent films thatoffers an alternative mode of filmmaking as well as an alternative discourse from the mainstream cinema during the periods of coupsd’état. For this paper, I would like to take a closer look at some of the recent independent films that were internationally shown andmade after the 2014 coups d’état, particularly the recent films, including Motel Mist (Prabda Yoon, 2016), The Island Funeral (Pimpaka
Towira, 2016), and By the Time It Gets Dark (Anocha Suwichakornpong, 2016), and how each of them offers an alternative vision of thecountry following the coups d’état and made it possible for us to rethink the subject of politics in Thai cinema, particularly at a time
when political subjects are under microscope of the authoritarian government.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 57

Wednesday Session III
13:00-14:30 | Keats RoomMedia
Session Chair: César Viana Teixeira
37489 13:00-13:30 | Keats RoomScenarios of the Pain and of the Anger in the Today Public Space
Xenia Negrea, University of Craiova, Romania

In this study we aim to analyze how a story is built in today mediatic space. Besides the linguistics norms concerning the meaning
issues, the mediatic story is a source of catharsis, to burn the psychosocial energies. The public event becomes a mediatic event andso it becomes an aesthetic event. Our thesis is that the mediatic human being is a weak reflection of the one from Homer’s texts. The
contemporary soul burns the pain and the anger watching TV, doing symbolic gesture, looking for uniformity. For case study we choseto analyze the stories around the disaster from the Romanian nightclub, Colectiv. During a concert, a fire started. Over 60 people diedand many others were mutilated. We use the theories of E. R. Dodds, and the theories of Paul Ricoeur and, as a method, discourse
analysis. We aim to describe the lexical ritual that we identified in the mediatic discourse. We describe the patterns and the schedules
that generate meaning. We present also the descriptive patterns, due to nourish a special context. We show how the subjectivity andthe ideology bring closer the mediatic discourse and the fictional one, and so we see that the report on such tragedy means more
empathy and less information, more emotional release and less meanings storage. We can speak about the haste of a collective self toimpose the ritual pain as a unique direction in front of a disaster.
36022 13:30-14:00 | Keats Room

From Bawdy Ballads to Buzzfeed: Digestible Media is Nothing New
Eleanor Healing, University of Leeds, UK

In the twenty-first century, we are bombarded with ‘click-bait’ articles. Information is often compacted into something simple, and easy
to digest. With the development of this form of media, we have also seen the emergence of people’s criticism and statements that weare becoming ‘dumbed-down’ by click-bait. I will show that, regardless of form, mankind has always desired ‘digestible’ media. I will
explore how the popular bawdy ballads of the 1600s and 1700s, and later the Newgate Calendar were the equivalent of websites such as
Buzzfeed. In my presentation, I will show how 18th century political satire is akin to a recent Buzzfeed article ’21 Pictures That Totally
Look Like Donald Trump’ and how an account of an execution in the Newgate Calendar is comparable to a Thought Catalog article on
the last meals of condemned murderers. Even before modern technology ensured that we had simplified list articles, the general public
were enjoying news and satire in digestible formats. My theoretical framework will be the studies of Kramer, Guillory and Hancock(2013) on social emotional contagion through social networks, and Social Network Theory by Liu, Sidhu, Beacom, and Valente (2017). I
will demonstrate how these can be applied to the older social networks as a method of sharing ideas and criticising power structures.
Ultimately, I will demonstrate that just because digestible media has changed forms, it doesn’t mean we are becoming ‘dumber’. Ifanything, our adaptation of digestible media to suit new technology is vital to human and media development.
36672 14:00-14:30 | Keats Room | Keats RoomDiversities on TV, Audiovisual and Mobile Features to Promote Local Cultures
César Viana Teixeira, PACC/UFRJ.br, Laicom/UAB.es & Pontifical University of Goiás, Brazil“Mostra Goiás” is a postdoctoral research and extension program of PACC/UFRJ.br and Laicom/UAB.es and deals on how audiovisuallanguage can be used to promote local cultures creating documentaries connected to the venues of online networked systems. This media
literacy practices and research present the cultures of Goiás State in Brazil via mobile video reports done by journalism and community
students of the Pontifical University of Goiás. There are 87 short documentaries recorded as a pedagogical experience and presented
statewide on a partnership with PUC TV Goiás. Despite training telejournalism techniques, the students test information systems formedby online platforms and mobile applications. They research about audiovisual language and produce videos on traditional culture (Catira,Congada, Folia de Reis), local foods, dialects, fashion, music and other forms of arts. The diversities of Goiás State are revealed on videos
showing their local cultures. By standardizing the procedure of shots and camera movements as the classical movies, the pupils achievesufficient quality to present the material in TV, theater, and social networks. The soundtracks give opportunity to search and use local
music, promoting the artists from Goiás State. Audiovisual communication is also part of relationships of our distributed world andcreates a new spatiotemporal perception and active participation.

58 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session III
13:00-14:30 | Coleridge Room

Humanities: Literature/Literary Studies
Session Chair: Halia Koo
36829 13:00-13:30 | Coleridge RoomTapoi Katha: A Reconstruction of History Through an Odia Folk Travel Narrative
Supriya Subhadarsini Sahoo, Central University of Karnataka, India

Considering the question of non-European travels and to rediscover a history on the least explored problematic of Intra-Asian travel bySouth Asian communities, it is important to both investigate this variety within their particular traditions and histories, and also work
towards constructing larger theoretical paradigms that emerge out of the specificities of intra-Asian travel which will obviously provoke
discussions on a wide variety of modalities of travel, i.e. activities ranging from pilgrimages to travel songs to labour and trader migrations
to political reportage within Asia. This paper aims to respond to questions regarding the studies on accounts of travel in primordial Odia
folk narratives of origins and nomadic peregrinations which has its own cultural history and tries to explore the specific modes, motives,
motifs and conditions that propel travel within an intra-Asian geography and to commemorate the then overseas glories, how one such
folk tale, the Odia “Tapoi legend” sung during “Khudurukuni Osa” and many other folklores, traditions and rituals are created and continued
since the glorious maritime history and trading culture of Odisha portraying the medieval Kalingans’ great expertise in sea voyage andtrade links and commercial as well as cultural relationship across the south-east islands. Thus this paper also highlights the interrelation
amongst Asian cultures and the continuation of customs based on the history of a (Odia) culture.
36950 13:30-14:00 | Coleridge Room

Postmodern Simultaneity Versus European History in Contemporary Travel-Writing
Ana Calvete, University of Helsinki, Finland

The twenty-first-century metropolis is dominated by signs, an oppressive quantity of merchandised goods, quick changes anda distortion of traditional space and time. This paper aims to study how distance is suppressed and how simultaneity replaces
history in the postmodern era through the work of Pico Iyer, Baudrillard and Umberto Eco. Space and time are supposed to offer astable frame for one's experiences and the construction of oneself: what happens when this frame is modified? The near-religious
belief in progress which characterised the first part of the modern era, until the disillusion brought by the First World War, seems
to be revived in the postmodern era. Clock time is no longer relevant but varies from individual to individual located in the sameplace, depending on the jet-lag they are experiencing. In this, the Global Soul echoes Baudrillard's America and Eco's Travels inHyperreality. Baudrillard described “the triumph of instantaneity over Time understood as depth” (Amérique, 2000, p. 15). Eco's
description of the United States resembles Baudrillard’s insofar as he depicts “a country without a sense of history”, “without asense of experience” (Patrick Holland, Graham Huggan. Tourists with Typewriters, Critical Reflections on Contemporary Travel
Writing, p. 161). Yet this study will unveil the remnants of stability and authenticity that can still be recovered through the imperial
order, embodied by history through the myths of Antiquity and the old English Motherland.
34500 14:00-14:30 | Coleridge RoomThe (Hi)Story of the Encounter: The Historical and the Personal in Nicolas Bouvier's The Japanese Chronicles
Halia Koo, Memorial University of Newfoundland, Canada

The Japanese Chronicles is a travel narrative by Swiss writer Nicolas Bouvier (1929–1998), who uses a narrative strategy blending
the historical and the personal. Bouvier's style favours the exploration of the "Other" through the anecdote of the encounter. The (hi)story of the encounter constitutes the framework of The Japanese Chronicles, a book organized in significant historical episodes. It ischaracterized by the juxtaposition of past and present-day travels: indeed, the stories of Japan's encounters with the Western world areinterspersed with personal anecdotes describing the author's experience of today's Japan, and this constant interaction between the
two levels of encounter helps initiate a reflection on the intercultural contacts between East and West. In his narrative, Bouvier refers toseveral "chronicles" relating to Japan, e.g. the Kojiki (“Records of Ancient Matters”) and the Nihongi (“Chronicles of Japan”), historical
records of the first Westerners in Japan, a courtier's diary, memoirs of missionaries, annals of the Meiji era, and contemporary imperial
edicts. Bouvier's personal chronicle incorporates all these diverse historical accounts and intertwines them with his recollections,in order to tell the story of his own personal encounter with Japan, and therefore marking the transition from history to the personal
story. This unusual perspective also restores the individual voices of ordinary Japanese people (including a Hiroshima survivor whose
spoken account is "chronicled" by Bouvier), effectively converting historical facts into living anecdotes that highlight the status of thepersonal story or narrative within the larger frame of events.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 59

Wednesday Session III
13:00-14:30 | Wordsworth Room
Film & Literature
Session Chair: Hande Cayir
36662 13:00-13:30 | Wordsworth RoomHistory Through Story: The Narration of Repression in Spanish Literature and Italian Cinema
Gianluca Oluic, University of British Columbia, Canada

The Napoleonic wars have been re-told in several important European works of literature since the nineteenth century. In a similar manner,
cinema and TV have heavily exploited this theme thanks to their intrinsic potential of spectacularity and dynamic representation. However,the period that follows these events is a less common topic in both literature and cinema. What took place following Napoleon’s defeat,with the (ephemeral) restoration of the Ancient Régime seems to be a less appealing topic, perhaps due to the aura of repression andgloom associated with it. I intend to analyze two works that approach this period and furthermore deal with the anguish of a lost freedom
as well as the critical errors of liberal advocates. I will analyze Benito Pérez Galdós’ El Terror de 1824 – one of his Episodios Nacionales(1877) – alongside a 1969 Italian movie: Luigi Magni’s Nell’anno del Signore (“The Conspirators”). Both works focus on a specific timeand specific places – the absolutist states of Spain and the Vatican in the years 1824 and 1825, respectively – approaching problematics
of power, repression and resistance. Using two works developed with different media (print and cinema) and that originated in different
historical moments (the ninteenth and twentieth centuries), I will trace the analogies and differences between them in order to determine
whether it is possible to unearth a common thread in these authors’ gazes.
34161 13:30-14:00 | Wordsworth Room

Documentary As Autoethnography: A Case Study Based on the Changing Surnames of Women
Hande Cayir, Istanbul Yeni Yuzyil University, Turkey

In the autoethnographic research method, researchers analyse their own subjectivity and life experiences, and treat the self as ‘other’
while calling attention to issues of power. At this juncture, the researcher and the researched, the dominant and the subordinate, individual
experience and socio-cultural structures can be examined. As an emerging filmmaker I have made the seventeen-minute documentary
Yok Anasının Soyadı/ (Mrs. His Name, 2012) which is defined as a form of self-narrative that places the self within a social context. My
filmmaking experience spread the seeds, gave birth to this investigation, created a researcher—me, in this case—and as such, theory
in practice and practice in theory go hand in hand. The interdisciplinary nature of this enquiry highlights the link between surnames
and identity, which is a crucial human rights debate, and also focuses on the feminist quote ‘the personal is political’. As a case studyand ‘practice-led research’, I will present my filmmaking experience. Hence, the cinema of ‘me’ has been transformed into collective
expressions of identity. Documentary filmmakers choose whether to include their own voice into the film. A new consciousness isappearing in terms of documentaries, and ‘the other’ is not passive, not driven by an authority which is more reflexive and anarchic rather
than obedient in autoethnographic films. In a nutshell, I will share the autoethnographic films which can bring us closer to the humanexperience and assist in the process of change.
36884 14:00-14:30 | Wordsworth Room

Arthur Miller's The Crucible: The Transformation of History into Popular Entertainment
Hikaru Masuda, Tokyo Junshin University, Japan

Arthur Miller wrote The Crucible in 1953 based on Marion Starkey’s The Devil in Massachusetts. On the surface, it depicts the witchcraft
trials of 1692 in Salem, Massachusetts, and the subsequent execution of 19 innocent victims. Yet on completion, on a deeper level, The
Crucible was interpreted as a metaphor for the McCarthyism of 1950s America. Since its first production in the midst of the Red Purge,
the play has been performed all over the world. Although the play later lost its metaphorical meaning of the time, it has been associatedwith tyrannies and their subsequent tragedies in different places at different times. The play was even adapted into a Hollywood film
scripted by the playwright himself in 1996. Then what happened to this historical and metaphorical play? The historical implications of
the Salem trials and the metaphorical significance of the anti-communist interpretation have been fading with the passage of time, butwhat are the elements which have remained over the years? This presentation will explore the transformation of history into a historicaland metaphorical play and finally into popular entertainment.

60 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session III
13:00-14:30 | Noblesse Room
Arts: Teaching & Learning the Arts
Session Chair: Mei-Ying Sung
37849 13:00-13:30 | Noblesse RoomExamining the Island City Through Narrative and Collective Memory
Nicola Crowson, University of Portsmouth, UK
Tina Wallbridge, University of Portsmouth, UK

The City encompasses different layers of history, narratives and their interrelationships result in the current urban composition and cultural
identity. Theorising this information requires architects to broaden their understanding of context through the consideration of tangible
and intangible characteristics in order to place-make. Therefore, this paper explores the interrelationship between collective memory,narrative, identity and architecture. It aims to investigate how narrative informs understanding of context and authentic contemporary
place-making within Portsmouth, the only island city in the United Kingdom. Portsmouth has always constituted a navigating point
influenced by cultures across the globe. The city density is another challenge which identifies Portsmouth as an appropriate case.
Consequently, the City of Portsmouth will be considered as a constellation of stories, which map its past and reveal potential improvements
to the city function. The current paper develops a cross-disciplinary approach to understanding and responding to the spatial quality of
the city. A literature review will form a foundation of critique on narrative through which the city will be reviewed. Historic maps of thecity will be analysed and fictional and non-fictional stories will be gathered in order to expose the city layers and interpretations. Onsite analysis will be carried out to further consolidate this information. Spatial interpretations of the city will identify a series of possible
developments, sites and briefs. This will highly facilitate the establishment of a new framework that enhances the city spatial quality andeveryday function. This paper’s output will also enrich the city’s development strategies.
37886 13:30-14:00 | Noblesse RoomDivergence in the Perception Between Static and Moving Pieces of Art
Irena Rodriguez Točíková, Masaryk University, Czech Republic

Moving pictures are a most complex system of art – they use stories and language much like literature but they also have the visual
aspects of theater and visual art, not to mention constant auditory sensations such as dialogue and music. For these reasons, moving
pictures have a most powerful impact on our perception because they almost imitate real life so we can just passively take them inmost times. Since they are quite familiar to us and because of the way they are packaged, it is relatively easy to take in our perceptionsof moving pictures. With virtual reality, this effect is even stronger. Thanks to the common accessibility of moving pictures today, many
people find it difficult to reach a focused perception of traditional static visual art. For this reason, many people are not always engaged
by standard visual art. When we perceive visual art, we need to find our own connection with the artwork – or we can get it from an
outside source, e.g. a gallery educator. We have to spend time with the artwork and create our own story beyond what we see. The aimof this paper is to illustrate the difference between the perception of static visual art and moving pictures including video art. Basedon eye-tracking research, my project shows that there is a difference between artistic experiences evoked by unfamiliar works of art
versus works that we know something about in advance.
36633 14:00-14:30 | Noblesse Room

Teaching History or Retelling Ancient Stories with Pictures: William Blake and the School Version of Virgil
Mei-Ying Sung, FoGuang University, Taiwan

History is not only told by words but also images and objects. This paper looks into the book illustrations of an early nineteenth-century
British school book and their means and purposes for history education. The English poet and printmaker William Blake made a famous
set of woodcuts for Dr Robert Thornton’s The Pastorals of Virgil (1821), which later became the inspiration for Romantic art. Scholars
have observed that Blake’s unconventional engravings caused Thornton’s hesitation and cutting down the blocks to fit the book. The
controversial style of Blake’s woodcuts was much discussed and justified by his followers “the Ancients” and modern scholars. In
my book William Blake and the Art of Engraving (Pickering & Chatto, 2009), I have also discussed an early imitator of Blake’s woodcut
which reflects his contemporary aesthetic view. However, the context and motivation of Robert Thornton and his editions of Virgil havenot been considered fully. This paper asks why Blake’s woodcuts were not considered to fit the book. By comparing the three editionsof Thornton’s Virgil, I would argue that the 3rd edition was an “improved” version from Thornton’s point of view and publishing andeducational purposes. From the observation of the extant woodblocks engraved by Blake (in the British Museum) and other artists usedin the Thornton edition (discovered by me in the Huntington Library), one may understand the contemporary contrast aesthetics andthe early nineteenth-century norm for teaching young people history.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 61

Wednesday Session IV
14:45-16:15 | Tennyson Room
Arts: Arts Theory & Criticism
Session Chair: Nickolas Lambrianou
36862 14:45-15:15 | Tennyson RoomArt from Tibetan Buddhist Perspective
Mei Xue, Durham University, UK

Art, divided into art works of fine art, and art objects of religion, where religion is largely defined, which includes world religions like
Christianity and Buddhism, it also includes folk religions, or local religions. Amongst religion, some objects are treated as person, it,certainly has agency, but the agency is given within a particular context. This paper is going to talk about how to understand Tibetan
art within its cultural context. I am going to argue with Gell to clarify how he misleadingly understands non-Western art in his Westerncontext. He ignores the diversity of forms of art. “The basic thesis of this book, to recapitulate, is that works of art, images, icons, and thelike have to be treated, in the context of an anthropological theory, as person-like; that is, sources of, and targets for, social agency”c(Gell,
1998, p. 96). Although some of Tibetan Buddhist images, icons, and the like have spiritual power, they are not merely treated as a person,
some of them are further treated as guidance, such like, a map, a communication or an outline to participants, not to the outsiders of thissystem, which are used as reminder to guide Tibetan Buddhists in their practice. In Tibetan Buddhism, teaching, practicing, philosophy,
doctrines and the like are a coherent system; art is an expression of this system.
36236 15:15-15:45 | Tennyson Room

La Mise Hors Scène Screen Memory

Hsin-I Lin, Tainan National University of the Arts, Taiwan
Regarding mise-en-scène, in Antonin Artaud’s letter to theater critic, Benjamin Crémieux, Artaud candidly expressed that “mise-en-scène
itself” could act as a safeguard to "another language". Reading this today, it reflects well upon Jacques Rancière’s “Les Sorties du Verb”.
In Jean-Francois Lyotard’s essay, “L’Acinéma” (1973), Lyotard expands mise-en-scène to become motions inside and outside the bordersof frame, creating a re-discussion about reality and truth using the concept of “la mise hors scène”. It invites the readers to use theirown various perceptions to compensate for the scenes outside of the text, prompting them to reconstruct a performance in their own
minds. From the aesthetic perspective of “la mise hors scène”, this paper discusses how in some works of Taiwanese theater reportage
and people’s theater, the history and writing re-translate within the body, dispatching the body back into the body as an expression ofhistorical writing. Then, “screen memory” is served to “recover” covered-up history as a "self-presentation" approach to imaging. Finally,
this paper examines the re-translation of words, the redistribution of cultural location, and how images files can be “watched and read”.
36067 15:45-16:15 | Tennyson Room

Matter in Time: Aesthetics of Displacement and Reflection
Nickolas Lambrianou, Birkbeck, University of London, UK

How can a rather neglected public monument of the 1820s bequeath us a truly interdiscplinary critical approach to materiality, displacement
and the art object? S. C. G. Cantian’s monumental granite bowl in front of Schinkel’s Altes Museum in Berlin (1829) embodies what wemight think of as a typical Biedermeier aesthetic: still, calm, well proportioned, its abstract geometric simplicity making a strong contrast
with the dramatic and mythological sculptural content of the Altes itself. At the time however, the bowl was a very public technological
spectacle. The process of transportation and shaping and even the “cultic” rock from which it was hewn were symbolically charged. Its
status as displaced and manipulated matter was made famous by contemporary paintings by Hummel, in which even its highly reflective
surface acted as a sort of quasi-cinematic, fluid panorama reflecting the contemporary urban milieu. I will argue here that the value of
this object lies partly in its uncanny, culturally ambiguous, status: Neither monument nor sculpture in any straightforward sense, it canbe read in the in the context of contemporary debates around the spatialization of time and the temporalization of nature as found in
Goethe and German Romanticism in particular. Key discursive categories of the period – the fragment, reflection, caesura – reveal a truly
interdisciplinary discourse which is somewhat lost. Furthermore, these debates anticipate, and inform, key contemporary approaches tomaterial practice, particularly the idea of the “post-conceptual” artwork.

62 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session IV
14:45-16:15 | Shelley Room
Film Criticism & Theory
Session Chair: Marta Frago
36949 14:45-15:15 | Shelley Room

Cinematic Representations of Girls Who Participate in African Political Conflicts
Norita Mdege, University of Cape Town, South Africa

Fictional films that mainly focus on the experiences of girls who participate in African political conflicts are often caught up in the politics
and dominant ideologies of their times. In films about wars that are widely perceived as just, such as the anti-colonial wars, girls who
participate in the conflicts are often represented as brave and heroic. But in films about the contemporary African civil wars, girls are largely
represented as innocent and sometimes helpless victims of these “unjust wars”. This paper will consider the cinematic representationsof the participation of girls in both African anti-colonial conflicts and the contemporary civil wars. It will focus on films that have a girl as
the main character, paying close attention to representations of gendered experiences as well as shifts in the way girls’ experiences are
imagined. The paper will argue that although these fictional films contain some feminist influences, they are also heavily tempered withboth local and global political, economic, social, and other interests that may suppress the voices of the girls that these films represent.
It will not attempt to determine what the authentic voices of the girls are because authenticity is dependent on perspective. Rather, it will
explore the many interests, including those of the girls themselves, which inhibit access to some of the narratives about girls’ experiencesin African political conflicts. Studying these fictional films is important because the films often blur the boundary between fact and fiction.
Thus, they can influence the imagined identities of these girls.
37550 15:15-15:45 | Shelley Room

Lesbians (On Screen) Were Never Meant to Survive
Federica Fabbiani, Independent Scholar, Italy

My paper will focus on the evolution of the image of the lesbian on screen. We all know what can be the role of cinema in the structuringof the personal and collective imaginary and hence the importance of visual communication tools to share and spread lesbian stories"even" with a happy ending. If, in the first filmic productions, lesbians inevitably came to a bad end (grave or sanatorium), lately they havealso been able to live “happily ever after”. I do too believe that “cinema (...) doesn't give you what you desire – it tells you how to desire”(Slavoj Žižek), that is to say that the lesbian spectator had for too long to operate a semantic reversal to overcome a performance deficit
and to desire only to be someone else, normal and normalized. Clearly my view is situated and it is articulated by the increase of film on/of/with lesbians of (mostly) North American productions: the invert of the first film to the beautiful and desirable woman of the 2000s. A
commercial lesbian cinematography, addressed at a wider audience, which well interprets the actual trend, that most pleases the young
audience (considering reliable likes and tweets) towards normality. But the question is: what would queer scholars say about this linear
path toward a way of life that dares only to return to normality? No more eccentric, not abject, perhaps not even more lesbians, but “only”
women. Is this pseudo-normality (with fewer rights, protections, privileges) the new invisibility?
36931 15:45-16:15 | Shelley Room

Mother and Son Stories+Visual Monsters+Special Effects: The Alquimia for J. A. Bayona's Films
Marta Frago, University of Navarra, Spain

The Spanish film director J. A. Bayona is known for three feature films that have been considered a trilogy on motherhood: The
Orphanage (2007), The Impossible (2012) and A Monster Calls (2016). Although these films belong to different genres, they have incommon a formula consisting of three elements: a script about a mother and son relationship during childhood; a visual or pictorial
representation of “monstrosity” (something that is contrary to nature); and an experimentation with special effects. In this paper,
we will analyse how Bayona resorts to fantasy, ghost stories or disaster cinema as frames where threat and fear of separation may
acquire an extraordinary visual expression. On the other hand, we will study how in each film the representation of the unnatural
turns out to be the emotional and psychic point of view of the mother (in The Orphanage), of mother and son equally distributed (inThe Impossible) and of the son (in A Monster Calls).

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 63

Wednesday Session IV
14:45-16:15 | Keats RoomBroadcast Media & Globalization
Session Chair: Rebecca Ann Lind
34722 14:45-15:15 | Keats Room

Journalism Ideology in Practice at a South African Public Radio Station
Anna-Marie Jansen van Vuuren, University of Johannesburg, South Africa

The core functions of journalism form part of a certain belief system or “ideology” concerning journalism. Most journalists and journalism
educators are trained in elements of this “belief system” and therefore they practice in the industry according to their own “journalism
ideology”. Although social media has led to more power being placed in the hands of the consumer, the traditional media still has asubstantial influence on the South African society, and radio is still seen by producers and advertisers alike as the most popular medium
amongst audiences. This means that the journalists creating broadcast content still wields a large amount of power. Therefore this paper
will investigate one of the largest radio stations in South Africa (in terms of broadcast reach and audience size), Radio Sonder Grense(RSG), as a case study in terms of how the journalism ideology that its journalists and editors subscribe to influence the way in which
they produce content for the daily news and current affairs shows. RSG is one of the 11 public radio stations of the public broadcaster,
the SABC, and one of only four radio stations that have a nationwide broadcast reach. At the time of writing this paper, the author had
almost 10 years of experience of working on a freelance base as a journalist for these programmes, and she will draw on this knowledge
combined with thorough open-ended interviews with producers and journalists of the newsroom.
36325 15:15-15:45 | Keats Room

Perception and Construction of Children's Perspectives on Japanese Superheroes: A Comparative Study on
the Ways Children in Singapore and Malaysia Appropriate Media Cultures
Prasad Nunna Venkata, Abu Dhabi University, UAE
Shanthi Balraj, Universiti Sains Malaysia, Malaysia
Ambigapathy Pandian, Universiti Sains Malaysia, Malaysia

Japan has emerged as one of the global players in media content, and many of Japanese media artifacts enjoy immense popularity
in many Asian countries, including Malaysia and Singapore. A study was designed to understand and document the perception andconstruction of children's perspectives on Japanese superheroes that will reveal the ways children understand their own media cultures,the difficulties, and pleasures that they encounter in their desires to engage with the superhero narratives. Furthermore, the study provides
insights on how Japanese media plays a significant role in our children’s lives, shaping their values and developing their awareness of theoutside world. The study adopts a cross-sectional, comparative approach, looking across different media in two geographical locations:Singapore and Malaysia. These two countries have experienced significant impacts in terms of cultural and economic power with Japan.
Arising from diverse cultural contexts in terms of religious and ethnic orientations, it will be interesting to note the trends in children's
engagement with the Japanese superhero narrative in these neighboring countries. In this paper, we present a comparative understandingon the ways children in Singapore and Malaysia appropriate media cultures related to Japan in their everyday lives. The study reveals
that the Singaporean and Malaysian children converged on several points; nevertheless, there were notable differences between the twogroups. They identify with these characters and believe these series have helped them develop socially, emotionally, and cognitively.
34926 15:45-16:15 | Keats Room

The Historical Contexts of Women's and Minorities' Access to Broadcasting in the United States
Rebecca Ann Lind, University of Illinois at Chicago, USA

This essay extends Susan Carter’s (2004) models of women’s access to broadcasting to include racial/ethnic minorities. It investigates
the different historical contexts of female and minority access to commercial broadcasting, and argues that women and minorities
have rooted their media access in different models. The intersection of race and gender, combined with an evolving cultural, political,
and regulatory environment, has had a powerful influence on which of the three access models were used by women and people ofcolor. In Carter’s first model of access, only the gender of the broadcaster changes. In this model, epitomizing liberal feminism, women
fill positions traditionally held by men, but the gender content of the messages is unchanged. Extending this model to include racialor ethnic minorities, broadcast stations accept people of color, but the message remains the same and perpetuates the dominant
ideology. In the second model of access, reflecting radical feminism and a transition to cultural feminism, women formed collectives
to program discrete timeslots. Program collectives of racial or ethnic minorities function similarly, challenging normative Whiteness.
Although the programs represent a departure from the status quo and were frequently counter-hegemonic, their potential for political
impact went largely unrealized. In Carter’s third model of access, a mixture of radical and cultural feminism, the entire station presents
women’s or minority programming. The content is purposefully not gender- or race-neutral. Women’s stations were economicallymarginal, but that was not the case with Black-appeal radio.

64 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session IV
14:45-16:15 | Coleridge Room

Humanities: Literature/Literary Studies
Session Chair: Jaime Gomez Douzet
37026 14:45-15:15 | Coleridge Room"Funny Animals" and Constellations: History, Traumatic Memory, and Graphic Representation in Maus
Ana-Maria Gavrila, University of Bucharest, Romania

As a cultural production tackling the horrors of the Holocaust, Art Spiegelman’s Maus is an iconic moment both for the undergroundcomics scene and for countering traditional narrative formats, shaping the theory and conception of the graphic novel as a genre. A
Pulitzer-prize winning pair, “My Father Bleeds History” and “And Here My Troubles Began” zoom into wartime Poland, interweaving young
Vladek’s – the author’s father – experiences of World War II and the present day. “I’m literally giving a form to my father’s words andnarrative,” Spiegelman remarks on Maus, “and that form for me has to do with panel size, panel rhythms, and visual structures of thepage.” Using Spiegelman’s conception of history, in relation to the concept of constellation, as pinned by Walter Benjamin, I will cover
three main topics: the “bleeding” and re-building of history, in an excruciating obsession to save his father’s – a Shoah survivor – story for
posterity and to mend their alienating relationship and inability to relate; the connection between past and present, the traumatic subject
and the vulnerability it assumes in drawing and writing about life during and after the Holocaust; as well as the unusual visual trope of
the anthropomorphic “funny animals” and the postmodern, self-reflexive, self-referential narrative structure of the text. The key elementof my study, as I analyse a range of sections of the two volumes, focuses on the profound and astonishing strangeness of the work itself,
which consequently assured Maus a canonical status in the comics tradition.
37664 15:15-15:45 | Coleridge RoomContesting History: Revisiting Native American Identity Through the Narratives of Momaday and Erdrich
Lalrinchhani Hmar, Mizoram University, India

This paper will study the works of prominent Native American writers like N. Scott Momaday and Louise Erdrich to illustrate how theirworks have surpassed the boundaries of mainstream American literature in expressing “truths” about the past that conventional
history cannot articulate. Analyzing how history in the Native American context is connected to ideas of land, nationhood andspirituality, this paper will analyze the nuances of Native American identity and how Momaday and Erdrich aim to revisit and rewrite
Native American history through their narrative, challenging and exploring those that were ignored or utterly misrepresented byconventional histories. Coming from a small state in the north-eastern part of India where the influence of Western culture is slowly
eating away the tribal identity of the natives, this writer will draw on her own subject-position as a Mizo to reflect on the issues
raised by Native American writers in articulating how tribal identity is closely intertwined with history. This paper will therefore aim
to reflect the extent to which such erasure and distortion of history is echoed in this writer's own context, and how it may, arguably,
be integral to the experiences of tribal nations around the world.
37229 15:45-16:15 | Coleridge Room

Polyphony and Silence As Strategies for Denouncing Dictatorship in the Narrative of Luisa Valenzuela
Jaime Gomez Douzet, Universidad de Tarapaca, Chile

This work is about the power of language and the discursive strategies used by Argentinian writer Luisa Valenzuela, when it comes todenounce the military dictatorships that ruled Argentina between 1976 and 1982. This study approaches Valenzuela’s narrative as fiction
based on testimonies given by victims of the dictatorship, whose voices were suppressed by the military apparatus, to prevent publicknowledge of the brutal repression and the violations of human rights, that were taking place during the so called ”dirty war”. The texts
used in this analysis are Cola de Lagartija (1976) and Cambio de Armas (1982), a novel and a collection of short stories that provide
images of the brutal repression carried out by the military regime. Following Bakhtin’s concept of “dialogic imagination” (1982), I positthat Valenzuela’s discourse is dialogical, thus it creates the conditions for the generation of heteroglossia, or multiple perception of reality
due to variations of discourse, which happens when the centrifugal and centripetal forces that energize the characters’ voices in the text
are hybridized with the readers’ voices and silences, giving origin to a new version of the facts represented in the texts.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 65

Wednesday Session IV
14:45-16:15 | Wordsworth Room
Humanities: Literature/Literary Studies
Session Chair: Vincenzo Cammarata
37907 14:45-15:15 | Wordsworth Room

Author/Narrator/Character in J. M. Coetzee's Fictionalised Memoirs
Minu Varghese, Jazan University, Saudi Arabia

The South African novelist John Maxwell Coetzee, recipient of the 2003 Nobel Prize in Literature, was born in Cape Town on February 9,
1940. He is known as a very private individual. In the bulk of his fictional works he has employed subtle techniques to camouflage theidentity of the author which invariably permeates into them. This deliberate act of impersonalisation renders the works their inherent
complexity and individualizing objectivity. The author uses his own name and biographical details when creating certain characters but
he also ensures that the focus is not on chiselling out a fine persona of him through these writings but on improvising on the form andnarrative modes in fiction. The trilogy Boyhood, Youth and Summertime, all subtitled “Scenes from Provincial Life”, have the elementsof fiction and autobiography inseparably conjoined in them that it is difficult to label them. Coetzee manoeuvres this estrangement todeconstruct the concept of autobiography, which manifests itself more powerfully in the third volume, Summertime, wherein he executesa still more complex structure. Instead of the third person single narrative, here there are multiple narrators, as the volume comprises ofa series of interviews conducted by a prospective biographer of Coetzee, Mr Vincent, who sets out on his mission after the death of theNobel Laureate, his subject. The author’s identity and in the works of Coetzee, especially in Summertime, is analysed in this paper withspecial reference to insights from Cultural Studies, New Historicism and various aspects of narratology.
36873 15:15-15:45 | Wordsworth RoomColonial Personal Narrative of Two Dutch-Indies Women in Contemporary Travel Writing
Rianti Manullang, Leiden University, Netherlands

Aya Zikken and Marion Bloem came from similar roots as Eurasians (Dutch Indies) who had spent their youth in Sumatra when it was apart of Dutch colony. As a women and Eurasian, they had a fragile position to take part in writing history, in particular the colonial history.
Years after the colonialism in Indonesia has ended, they traced their history by travelling back to Sumatra and wrote travelogues. Terug
Naar de Atlasvlinder (1981), written by Aya Zikken, and Het Sumatra van Bloem (2016), from Marion Bloem, are two contemporary travel
writings with a historical focus that also address colonial issue in personal story. In the colonial era, travel writings were essentially being
written in a “masculine” form, by men to describe largely male experience for a primarily male audience. Contemporary travel writing
written by women will offer a new perspective in colonial history. The authors critically assessed the colonial narrative in the personal
story of two Dutch Indies women in Sumatra, especially in the land of Batak, to show their vision of colonial past. The article will discuss
the kinds of colonial narrative shown in the travel writings and how they represent identity, gender and colonial discourse; and in whatways the two authors contribute to the larger frame of colonial and postcolonial history.
34954 15:45-16:15 | Wordsworth RoomSpiritualism and Decolonisation in Angolan Literature
Vincenzo Cammarata, King's College London, UK

This study investigates how spiritualism is represented in Post-colonial Angolan Literature through Critical Discourse Analysis. The aim
is to identify how language works in the representation of the spiritualist tradition as part of the process of decolonisation among national
Lusophone writers. In detail, this investigation focuses on the analysis of pieces of texts containing words referring to spiritualism inorder to understand the societal roles in Angolan context and the linguistic implications affecting the writers' choice of certain specificterminology. The extract describing the friendship pact of blood sealed by the four children of José Luandino Vieira’s Nós, os do Makulusu
demonstrates the importance of the spiritual dimension in Angolan culture. The scene selected contains a large amount of religionrelated words that evoke the ancestral rituals of communication with spirits and the importance of such strong bound between humans
and the spiritual world. The words analysed are catandu, maquixe, mupinheira and quinzare and the reasons behind their selection are thefollowing: 1) they have not been documented in Portuguese lexicons. 2) These are words used in specific contexts and not widely known;
3) in this text they take on a specific semantic and ideological value (the ominous connotation of religious symbols in local practices ofAngola). In other words, these terms do not simply refer to the traditional religious practices but they fit into a bigger picture within thestory for the deadly message they bring across the book, inside and outside the scenes where these terms are found.

66 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session IV
14:45-16:15 | Noblesse Room

Humanities: Literature/Literary Studies
Session Chair: Cora Lindsay
36550 14:45-15:15 | Noblesse Room

In Exile: Welsh-Americans and African-American Slaves (1838–1865)
Gareth Evans-Jones, Bangor University, UK

The identity of the Welsh immigrants of the United States during the nineteenth century was complex. They did not migrate to forget
their homeland or their native language, but the majority, according to Glanmor Williams, crossed the Atlantic in order to gain a better
economic life. The American Dream seemed to appeal to the majority of these Welsh Nonconformist migrants, as the “land of thefree” seemed to offer the opportunity to advance in industry, maintain Nonconformist practices without having to pay dividend to an
established church, and live, at least in theory, in a more democratic society, free from monarchic rule. One of the many societal issues
which faced the Welsh was the problem of slavery. The Welsh periodical press of the United States responded regularly to this issue
and seemed to suggest that these Welsh-Americans empathised with the slaves as they too had experienced a form of “oppression” intheir homeland, albeit a notably different form of oppression. In order to express this type of empathy, the Welsh would refer to many
biblical passages, and this paper will focus primarily on their understanding of the Babylonian Exile. A discussion will follow on thecomplexity of the dual identity of Welsh-Americans who strived to maintain their nationalistic traditions as well as embrace their newly
gained American citizenship. In this respect, I will refer to their attitude toward the slaves, as well as suggest a type of comparison
between the dual identity of these Welsh migrants and African-Americans.
36624 15:15-15:45 | Noblesse RoomTreasure and Travesty: Refractions of Victorian Imperialism Through Selected Contemporary Literature
Lauren Cruz, Chapman University, USA

Racism is pervasive. Modernity shows that race broaches constant invocation, nearly becoming the standard for relations, internal andinternational. Moored in dominance and arrogance, the impact of race swelled uncontrollably during the imperial surge of the nineteenth
century. Invasion, partition, and exploitation of Africa sowed its latent seeds and nurtured it into the irascible weed of today. During Queen
Victoria’s reign, Britain expanded its colonial holdings to almost one-quarter of the earth. Nationalistic zealotry and desire to “civilize thoseless fortunate” fueled this expansion, and societal culture thrived on rigid principles of heroism, chivalry, and mettle. Contemporary writers
such as H. Rider Haggard, Sir Arthur Conan Doyle, and Joseph Conrad relied on these and other Victorian values in their various Adventure
Novels, wherein courageous characters presented as great men worthy of emulation. These authors and their peers incorporated andadapted white superiority over “natives”, rationalizing and propagating racial arrogance and the emergent racial paradigm. The sheer
magnitude of their readership elucidates not only mass ingestion of their messages, but also a broad and unshakeable fastening of racism
to human consciousness. Coupling history of Africa’s imperial fate with analysis of contemporary literature highlights the exacerbationof the racial paradigm. Though watersheds like imperial enterprise and common values leave the door far ajar when it comes to sufficientaddress of racism’s violent cornerstones, increased understanding of its conflagration through heroes and literature can foster morecomprehensive discussion of its implications, misapplications and volatile potential.
36240 15:45-16:15 | Noblesse Room

Arthur Hugh Clough's “Amours De Voyage”: A Poetic Account of the 1849 Siege of RomeCora Lindsay, University of Nottingham, UK

It is a cliché to say that we live in a time of political and historical uncertainty. Many commentators have quoted Yeats’ “Second
Coming” (1919) as indicative of the atmosphere of the present: “The best lack all conviction, while the worst/Are full of passionate
intensity…” In this paper I would like to talk about Arthur Hugh Clough’s epistolary poem “Amours de Voyage”, which describes Clough’s
first-hand experience of the events of 1840s Europe, another time of uncertainty and rising nationalist agendas. Amours de Voyage
was largely written during Clough’s stay in Rome from April to July, 1849, the brief period in which the Roman Republic existed, andthe city was under siege from the French. The poem is an unusual, unromantic and bemused depiction of nationalistic conflict. By
the time it was finally published in Britain in 1862, the Italian struggle for independence had become one of the most celebrated andromantic causes of the century. Clough, with his questioning turn of mind, was inherently wary of such emotional responses. This poem
epitomises the detached and constructive scepticism with which Clough approached political and national manifestos, questioning
blind certainties and often undermining the pomposity of fanaticism through humour. Today, when the results of twentieth- and twentyfirst-century fanaticisms should demonstrate the folly of unthinking belief, it is perhaps surprising that the positive and affirmative
nature of Clough’s scepticism is not more widely celebrated.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 67

Wednesday Session V
16:30-18:00 | Tennyson Room

Critical & Cultural Studies, Gender & Communication
Session Chair: Marwa Al-Mut'afy
37494 16:30-17:00 | Tennyson RoomIs Filial Piety Diminishing in Japanese Society? An Examination of Tokyo Story (1953) and Tokyo Family (2013)
Yan Chuen Chan, City University of Hong Kong, Hong Kong

Suggested by Chie Nakane (1970), Confucianism is the backbone of Japanese culture and the core value of which is filial piety.
Breakdown of family or dissolution of family is often heard in recent years. Scholars like Maeda (1982) and Reischauer (1977)
attribute it to the erosion of traditional values which can be seen as the result of urbanization. In modernization/urbanization
theory, people move to live and work in city and left only elderly to stay in rural area. The geographical distance widened the gap
between generations, it had also affected the bonding and relationship between family members. The giant Japanese film master,Ozu Yasujiro made the film Tokyo Story in 1953 and the film shows the dissolution of family vividly. Yamada Yoji is widely known asa socio-realistic filmmaker who depicts family under the backdrop of urbanization in the 2010s in Tokyo Family (2013). His film isregarded as a tribute to Ozu Yasujiro’s Tokyo Story (1953). Through a textual and contextual analysis on these two films, this paper
aims to explore if the breakdown of family is necessarily caused by the change of traditional value and if filial piety is diminishing inJapanese society due to urbanization. Under auteur theory, it is found that the film directors are trying to put forth their vision about
preservation of traditional values in the process of urbanization or modernization.
37089 17:00-17:30 | Tennyson Room

Gender and Minority Stereotypes in Media

Marwa Al-Mut'afy, October University for Modern Sciences and Arts, Egypt
Media has always been accused of setting stereotypes and creating images of “the other” or anyone who audiences may see as
different than themselves. Minorities in societies have been victim to those stereotypes or pre-perceived images and ideas that get
sent to audiences through nightly talkshows, drama series, movies and even commercials. Gender stereotypes have been high on thelist when it comes to research, but one must also consider different sets of stereotypes about people with physical disabilities, ethnicor racial groups as well as religious. This paper aims to address the changes in media attitudes and messages towards “others”.
The Social Construction of Reality or the Construction of Social Reality is really the question one should ask when attempting toevaluate media messages. This paper sheds light on how Egyptian television has been functioning over the past few years. Major
media discussions about topics ranging from women’s issues to the rights of Egyptian subcultures.
37084 17:30-18:00 | Tennyson RoomQueer Approach to Homosexuality in Indian Culture
Anuja Pandey, Pearl Academy, India

Today homosexuality and queer identity is acceptable in more Indian youths than before, but still when it comes to families, home oreven school, acceptance to their sexuality and also freedom to express it openly is of constant struggle. To a society which is boundby strict and rigid norms culturally and socially, especially which dictates the terms and conditions of careers, education, marriage andeven the family after, it becomes really difficult to not follow the mainstream. Despite the symbol given for progressive acceptance ofhomosexuality rights in India, it is really difficult to understand and watch the reaction of society when it comes to accepting it culturally.
In recent research, it is observed that, major stagnation to the acceptance of the rights are due to the ignorance of families altogether.
Lack of support from family can be depressing and may affect mental and physical health. Theoretically, most educated people seems toaccept and support alternate sexuality and gender identities, when it comes to day to day behaviour, but there is an urgent need to change
the reality when it comes to a larger picture. This research paper analysis the Indian families and Indian culture all together in homosexual
context which is an important layer of family and society but are kept under cover successfully. A queer approach to homosexuality inIndia is required to bring it near to mainstream and uncover it.

68 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session V
16:30-18:00 | Shelley Room
Film History
Session Chair: Pajaree Tachart
37672 16:30-17:00 | Shelley RoomAlain Resnais' Films on Painting and the French Post-War Popular Art History Project
Ivan Cerecina, The University of Sydney, Australia

While it had its precursors in pre-war European cinema, the art documentary emerged in France after WWII as one of the most importantand popular subgenres in non-fiction film, flourishing in the country’s dynamic and vital short filmmaking scene of the late 1940s and1950s. Arguably the best known of the directors working in this documentary subgenre was Alain Resnais, whose first professional films
in Van Gogh (1948), Gauguin (1950) and Guernica (1950) took as their subject the works of three major modern painters re-imagined
through a rigorous approach to montage. This paper investigates Resnais’ art documentaries as works of art history, exploring how
the “disarticulation and rearticulation” of the original works in these films act to create an understanding of art historical forms andstylistic impulses across time. Furthermore, it argues that the unique and critical reconfigurations of artworks in these films ought to beconsidered within the broader continuum of French post-war popular cultural education that aimed at disseminating cultural knowledge
to a broad audience. In particular, I draw connections between these films and André Malraux’s major contemporary art historical work
The Psychology of Art (1947–1950) (later edited and republished as The Imaginary Museum) as well as the Peuple et Culture andTravail et Culture cultural activism organisations formed just after the Liberation. I argue that these popular cultural education projects,
which aimed at producing a critical understanding of cultural forms through carefully curating and disseminating works of art, find theircinematic analogue in Resnais’ films.
36402 17:00-17:30 | Shelley Room

Theo Angelopoulos: "A Voyage in History, Time and Space"
Iakovos Panagopoulos, University of Central Lancashire, UKThis paper aims to analyse the historical and dialectical approach of Angelopoulos’s mise-en-scène as well as its connection to historicalevents in his films: Day’s of ’36 (1972), The Travelling Players (1975), The Hunters (1977), Alexander the Great (1980). Angelopoulos wasparticularly interested in the Greek History of the twentieth century, and he puts it under examination, because of the events that took
place in the Greek nation during and after the WWII and the Greek Civil War (1946–1949). The visualization of the history by the point ofview of the defeated, gives him an opportunity to develop his narratives and style and put the story into a new language: melancholy, amaterialist poetics with a Marxist taste, which follows the lives of those who lost or have been lost in the turns of the historical events.
This first period of Angelopoulos coincides with the most turbulent political and historical years after the WWII: the dictatorship (1967–1974) of the colonels. The director makes the dictatorship an advantage, in order to represent history from a critical point of view with adialectic approach, making a reference to the current situation through a kind of political theatrical scene he creates in his films, which
could include different places and different times, using forms and techniques of the well known Bertolt Brecht’s “epic theatre”. Without
flashbacks he navigates into the historical events that appear in front to the audience as present.
37968 17:30-18:00 | Shelley Room

The Achievements of Italian Fascist Cinema in Thailand during Field Marshal Plaek Phibunsongkhram's First
Tenure (1938-1944)
Pajaree Tachart, Chulalongkorn University, Thailand

Based on the profound impact of the Italian dictatorship around the world since the early 1930s, Thailand was not any exception.
After the “Siamese revolution of 1932”, the Thai dictatorial governments of Phraya Phahonphonpayuhasena and Field Marshal Plaek
Phibunsongkhram have strongly been influenced by the success of the Fascist regime of Benito Mussolini. Dating back to the Fascist
period, cinema – valued as one of the most powerful propaganda instruments of this enormous power – was mainly used to promote
the ideologies of nationalism and militarism, strengthening unity and harmony of the State, and also glorifying the policy of ruralisationin Italy and abroad. With the pro-fascist leanings of the above-mentioned Thai political leaders, Italian propaganda films: newsreels,
documentaries, short films and full-length feature films, not surprisingly, were allowed to project in Thailand during the interwar period.
This research, however, not only pays attention to the historical development of Italian Fascism in Thailand through the cultural production
as cinema, but also focuses on the possibility of inspiration and the imitative attempts of Prime Minister Phibunsongkhram’s projects
resulted from the Fascist propaganda. Many primary source documents collected from various archives both in Italy and Thailand andfilm reels about the fascist ideology will be studied and analyzed how they contributed to promoting Mussolini’s image and his political
ideologies in Thailand under the diplomatic correspondence between these two nations.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 69

Wednesday Session V
16:30-18:00 | Keats RoomHistorical Narratives
Session Chair: Thomas Owen
34757 16:30-17:00 | Keats Room

Different Histories, Different Narratives: ICT Uses as "Habitus"?
Angeliki Monnier, University of Lorraine, France

History forms narratives, narratives form media uses? My presentation will address this question drawing on a research conducted onsocial media. The latter examines the way two LinkedIn discussion groups, held by Greek and French migrants respectively, make use ofthis platform. The comparative approach raises the question of habitus (Pierre Bourdieu), in its global cultural sense, i.e. as related to aset of situated and ideologically charged socio-historical representations and narratives, notably those of migration. More specifically, theonline discursive practices of each group suggest that different symbolic capitals shape the groups’ narratives. These divergences could
be related to the positions that, historically, Greece and France hold within the international migration field. Indeed, between France andGreece, the relation to expatriation is not the same: neither in the past nor today; neither as to the reasons for the departure, nor in terms ofdestination countries. This relation was forged through history and continues to be reproduced in everyday life. It entails the constructionof a certain self-image, the image of one’s native country or country of origin, of one’s membership (“national”, cultural, etc.) and of the
Other. Greek and French people join online migrant groups in a differentiated manner because they are impregnated with these sociohistorically determined representations, which are associated to the position that their countries hold in the international migration field.
36865 17:00-17:30 | Keats RoomGlobal Meets Local: The Panama Papers Story in the New Zealand MediaThomas Owen, Auckland University of Technology, New ZealandThis paper examines how the Panama Papers story was reported in the national media of a small country implicated in the leak: namely,
New Zealand. What was the narrative of the Panama Papers story in the New Zealand media? More specifically, what was the narrative
about New Zealand and its role in the world that the Panama Papers story forced national media to consider? This paper addresses
these questions, exploring how the global story was narrated in relation to New Zealand’s history of tax rules and foreign trusts, andits self-identity as a fair and rule-based nation. Empirically, the paper draws upon two data sets: all articles referring to “tax” in 2016
across 100 New Zealand news outlets (12,003 articles); and all articles referring to “Panama Papers” from the same sources (1,023).
It examines these articles using the Modern Diachronic Corpus-Assisted Discourse Study approach, combining statistical analysis oflinguistic signifiers with qualitative analysis of selected passages, seeking to identify discursive changes over time. The study finds thatwhile the Panama Papers story introduced tax haven, evasion and avoidance issues, and discussion of foreign trusts, to New Zealandmedia tax discourse, such a focus was not sustained, and tax discourse promptly returned to its primary focus on tax cuts. Similarly, New
Zealand’s identity as a transparent rule-following player within the global system was briefly questioned, before tax discourse returned tothe orthodox assumption of New Zealand as a fair and responsible nation.
37860 17:30-18:00 | Keats Room

The Historical Narrative and Complex Dynamic Systems
Donald James Trinder, University of Rzeszow, Poland

Since the beginning of the twentieth century, the use of narrative as a historical method has been the subject of systematic and sustained
critical attack from giants such as Fernand Braudel for its lack of scientificity, lack of explanatory function, and lack of comprehensiveness.
In response, a wide variety of distinguished scholars have engaged in stout defence of the essential nature of the "story" (whether it be of
the individual, event or idea) as the central pillar of the reconstruction of the past. In this paper, an attempt will be made to explain how,using the mathematical model of Complex Dynamic Systems - whereby a system is best understood by starting the analysis from the end
result and working backwards in order to identify the influence of individual components of the system - it is possible using the conceptsof historical time and historical thinking - because we know the significance and outcome of the events which we are studying - to justify
not only the use of narrative to explain why things happened, but also to excuse the lack of comprehensiveness as being scientific innature because the historian is rarely interested in the "whole", but rather the role if individual "parts".

70 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORWednesday Session V
16:30-18:00 | Coleridge Room
Humanities: Language, Linguistics
Session Chair: Amrita Amrita
36896 16:30-17:00 | Coleridge Room"Hae", The Lost Tai Dam Kinship Term

Attasith Boonsawasd, Srinakharinwirot University, Thailand
Thai people in the past usually had extended family households that consisted of more than one couple and their offspring residing
together. Most old Tai people had longevity. It was usual to see children in the third generation below ego living together with their greatgrandparents. This meant Tai people had more terms to address their relatives in higher or lower generations than other ethnic groups
who have nuclear families. Therefore, the research aims to study the basic kinship terminologies and system of Tai Dam – one of the Tai
language families, and investigate if the terms can be traced to the fourth generation above ego. The data was gathered in three countries:
Thailand, Laos, and Vietnam and was analyzed with the approach of componential analysis. The results found that only Tai Dam people inVietnam have the term “hae” to address their great-grandparents’ parents, while those in Thailand and Laos have no such term.
37022 17:00-17:30 | Coleridge RoomBusiness Name Signboards in the Area of Bang Lamphu: Analysis of a Linguistic Landscape
Krittaphon Wangpusit, Phranakhon Rajabhat University, Thailand

Business name signboards can shape the linguistic landscape of a business area and can create its identity. This study aims at analyzing
distinctive features of the business name signboards in Bang Lamphu area by adopting Thom Huebner’s (2009) framework. It is foundthat, in terms of language, Thai business names outnumber others with the amount of 138 names in total. Others include Thai-China
names (96 names) and mixed (74 names), respectively. In terms of the alphabets used on the signboards, the most used are Thai (147
signboards), Thai-China (102 signboards) and other languages (59 signboards), respectively. Based on the analysis of components of thesignboards, the linguistic landscape of Bang Lamphu can be concluded as follows. First, Bang Lamphu can be construed of signboards
demonstrating the preservation of Thai conventions. Next, Bang Lamphu is an area involved with globalization effects. Moreover, Bang
Lamphu is an area for those belonging to different groups and income levels.
37453 17:30-18:00 | Coleridge Room

Binary Oppositions in the Narrative of Coetzee's Disgrace: Construing Semiotic Paradigms
Amrita Amrita, BPSWU, Khanpur Kalan, India
Pallavi Pallavi, BPSWU, Khanpur Kalan, India

Human life is a circumlocution of binary divisions which may be contradictory or complementary. When a writer creates a text, there
is a world view, which is local and global at the same time because there are multiple ideological indicators in the narrative for thereader to uncover which gets generated from the friction generated from the semiotic codes. The writer’s cultural conditioning and theconstruct of the language code vis-à-vis the universality of themes, the appeal for aesthetic beauty and proliferation of meanings areother factors which contribute in creating the conceptual connections in a narrative. This is what creates the categorization into binary
oppositions which a writer exercises with reference to his own philosophy and his perception for mankind, culture, language as well as
ethnicity at large. Coetzee also creates a realm of such binary oppositions in the furores of post-apartheid in his novel Disgrace. Whatmakes the narrative loaded with such multiple layers of meanings? Is it a single code or a combination of codes which creates suchpolarities as well as the dynamics? How such kind of semiotic density is achieved through plurisignification? The present paper makes
a humble endeavour to find out the answers to these questions. The paper also attempts to explore the arbitrary nature of these binary
oppositions embedded in culture. To encompass this task, a structural analysis of the relationships between signs, germinating throughthe opposition of concepts extending itself to relevant ontology, is also done.

Wednesday Session V
16:30-17:30 | Noblesse Room
Digital MediaWorkshop Presentation
37630 16:30-17:30 | Noblesse Room

Make Videos with Only an iOS Device
Stephen Quinn, Kristiania University, Norway

Video appears to be the key form of communication on social media. Early this year YouTube’s blog said 650 million hours of video wereconsumed on the site each day and Facebook claimed 100 million hours of video appeared on its site each day. Given the vast amount ofvideo available on social media, how can people ensure their video is watched? One answer is ensuring that videos sit at the quality end of
the spectrum. This workshop maintains that editing is the best way to attain quality. It shows people how to be mojos. A mojo (contractionof mobile journalism) makes broadcast-quality videos with only an iOS device. Everything is done on the mobile phone: filming, editing,narration, captions and delivery to the web.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 71

Wednesday Session V
16:30-18:00 | Wordsworth Room
Humanities: Literature/Literary Studies
Session Chair: Laura Major
37637 16:30-17:00 | Wordsworth Room

Traumatic Experience and Healing Process in Toni Morrison's HomeSy Han Fang, National Chengchi University, Taiwan

Toni Morrison's Home depicts the story of Frank, a modern Odysseus, on his way back to home and his experience of undergoingtraumatic moments and healing process after his military service in the Korean war. What underlies this return to home is the experienceof traumatic past and the potential of being healed. With an attempt to evade from the unbearable life in his hometown, Georgia, Frankregards the military service in the Korean war as the optimal solution to his crisis only to find himself traumatized by the loss of his
homeboys and the image of the Korean girl he murders during the war. Instead of presenting the victor’s version in a historical war,
Morrison brings out serious issues of African American soldiers who are far from being located at the top of the power hierarchy after
their return. Frank in her novel Home suffers from physical and mental problems after the Korean war, feeling isolated and rootless. For
Frank, home is not simply a place for healing but also a place where traumatic experience is rooted. Traumatic root and healing process
both take place in home and this entanglement renders a complete healing process irretrievable. In addition, the shifts in narrative
perspective not only reveal the intricate relationship between traumatic experience and healing process but also propel readers toparticipate in the making of historical story. Morrison's Home urges readers to reevaluate the authenticity of history and explore themeaning of home concerning its traumatic root and healing possibility.
36973 17:00-17:30 | Wordsworth Room

The First World War and Women As the Victims of War Trauma in Virginia Woolf’s Novels
Mahinur Aksehir-Uygur, Manisa Celal Bayar University, Turkey

The First World War was a devastating experience for Europe. As the first war in history in which human loss was experienced in great
masses due to the excessive use of weapons of mass destruction, it was a traumatic experience even for the ones who were not personallyinvolved in the armed conflict. The dehumanization induced by the war caused a disillusionment as to the ideals of enlightenment andprogress of the Modernity Project. As Elaine Showalter suggests in The Female Malady war trauma was observed in higher numbers
in people, especially women, who did not actually experience the war rather than the troops. Virginia Woolf was one of the writers who
were deeply traumatized and disillusioned by the experience even though she was not an active participant of the strife. In her novels like
Jacob’s Room, Mrs Dalloway and To The Lighthouse, she offers us a depiction of women as traumatized victims of the war. This paper,
thus, aims to evaluate the First World War and the trauma and disillusionment caused by the war as experienced by women through thenovels of Virginia Woolf in the light of the theories of Elaine Showalter and scholars such as Margaret R. Higonnet.
34077 17:30-18:00 | Wordsworth Room

Metaphysical vs Historical Truths in Yaffa Eliach's Hasidic Tales of the Holocaust
Laura Major, Achva Academic College, Israel

Yaffa Eliach’s Hasidic Tales of the Holocaust bases itself on the centuries-old oral tradition of Hasidic storytelling, a tradition thathighlights faith, love, and optimism. Hasidic tales are didactic, inspire to action, and in their very telling are an act of faith. Miracles
feature regularly and events that seem unlikely are commonplace too. Hasidic storytelling as a religious practice depends on belief– even if the storyteller or listener has doubts about the historical veracity of every detail. They can believe that the story conveys
the meaning of life, in other words, a metaphysical truth. This idea of metaphysical truth in Hasidic tales is complicated, however,when paired with the historical event of the Holocaust, where we expect testimony to be historically accurate. Eliach painstakingly
describes the long process of collecting the oral stories, their subsequent verification and the transformation of the oral into written
form. This process, together with the historical details provided in the Tales' footnotes, purports to strengthen our perception of thetales as important, and true, primary documents of the Holocaust. Yet, on reading the tales, we, at times, feel the need to suspend
belief regarding the “facts” of the story in order to access the metaphysical truth. This paper will provide the context for the discussion,
followed by examples from the Tales of the tension between historical and metaphysical truths. Finally I shall attempt to resolve suchtensions by deconstructing ideas of truth and highlighting the uniqueness of the genre.

Closing Session

18:15-18:30 | Wordsworth Room
Closing remarks from members of the conference Organising Committee.

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Virtual Presentations
www.vimeo.com/iafor

34053

Manufacturing Politicians: Angela Merkel's Image in the Spanish Press During the German Federal Elections
Lorena Romero-Domínguez, University of Seville, Spain
Miriam Suárez-Romero, University of Seville, Spain

Spanish public opinion shows, according to sociological surveys, a disaffection towards the Chancellor of Germany, Angela Merkel. Fromthe influence of the media on current prevailing opinion in society, this article analyzes the opinion pieces published in the Spanishreference press: El País, El Mundo and La Vanguardia. The period surrounding the last three federal elections in the German country istaken as temporal reference point. Through the methodological technique of content analysis applied to these texts, the investigation
studies what kind of valuations are transmitted about a women erected as leader of Europe, who does not have the sympathy of thecitizens of so-called peripheral countries. Aspects like the media ideological influence in the image-creating process are also analyzed inorder to establish whether a distorted image based on a negative-aspects approach has been created or not.
34539

Writing of the History: Ernesto Rogers Between Estrangement and Familiarity of Architectural History
Lejla Vujicic, Union Nikola Tesla, Serbia

Ernesto Rogers was the key figure of the post-war Italian architecture. Architect, educator, writer, editor, he was a man of a great erudition
and talent. As with many intellectuals of post-Second World War Italy, he theorized history and used somewhat eclectically sources topromote his idea of continuity as a temporal model in architecture. His theory came on one hand out of particular Italian pre-war intellectual
tradition but was also based on a wide spectrum of resources such as Enzo Paci, Henry Bergson, John Dewey and Henri Focillon, among
others. It found its way into writing a story of architecture in some of the work of his office, namely projects for Torre Velasca and Castello
Sforzesco in Milano that we will use as case studies in this paper. Following his idea of “sensing the history” he created buildings andpieces that are in constant state of flux between what one might feel is familiar, a “true” representation of the history and, on the other
hand, estrangement that comes with desire to physically embody history in the field of pre-existing environments (i.e. cities or naturalenvironments) that was never really present. The result was the uneasiness that comes with the question of representation of history in
the physical form that oscillates between history as we imagine it and history as source of future imagination.
34932

Self-Reflection on Buddhist Dhamma Teachings Through Acrylic Paintings and Video Art: Experiential
Approach of Understanding
Chollada Thongtawee, Silpakorn University, Thailand

This research aims to study the experiential method of learning and understanding of Buddhist teachings on Truth or Dhamma throughself-reflection of the artist creating acrylic paintings and video art. The qualitative research methodology was used in data collecting
and analysis. The result of the research has shown that the experiential approach of artistic works could accelerate personal growth of
the artist on Buddhist teachings through self-reflection and self-healing at the deep level. Artistic practice could increase inner peace/
meditative state of mind, leading to intuitive understanding of philosophical scriptural teachings. This suggests that one of the best ways
to learn Buddhist philosophical teachings, which generally explains the nature of mind and life, is through the experiential exploration
within of one's own mind, that is, through artistic practice.
35293

Discovering the Self: Farshid Maleki's Improvisation Within the Crisis of Identity in Iran
Niloofar Gholamrezaei, Texas Tech University, USA

Discovering and narrating about the self can be an act of reflecting time. Indeed, there is no clear distinction between exploring andconstructing identity and reflecting a historical condition. In this presentation, I will argue improvisation for Farshid Maleki, an Iranian
contemporary painter, functions for exploring his present self. I will suggest for him improvisation is also a reaction to many otherIranians, who sought their identity not by discovering their present self, but by returning to Iranian traditions. Here, I will provide a brief
historical context of Iran in relation to the question of identity in the Iranian contemporary culture. I will explore how within the identity
crisis, many intellectuals and artists sought their present identity in Iranian traditions rooted in their past. For example, the painters who
were associated with the Saqqa-Khane School of art found formal elements from Sagha-Khana traditions rooted in Shiite Islam to solve
the crisis of identity. Maleki, however, shifted his way of thinking in his late years of career and started making improvisational paintings
based on his spontaneous association of thoughts. In my presentation, I will suggest that improvisation in Maleki’s paintings is a way ofself-discovery, and constructing identity. Therefore, improvisation, in contrast to the idea of returning to Iranian traditions rooted in thepast, is a way through which Maleki can reflect aspects of the present historical condition of Iran.
36182

Silesia and Oikology: What Knowledge of Home Does Silesia Offer?
Aleksandra Kunce, University of Silesia, Poland

The author addresses the problem of the philosophy of the Silesian home. Silesia is a borderland in Central Europe now locatedmostly in Poland, with small parts in the Czech Republic and Germany, whose cultural and political history was influenced by various
traditions. The Silesian narrative of home, the unique Silesian oikology, brings us closer to renewing our discipline of life. Oikology is anidea that binds oikos (home) and logos (knowledge, reason, word, idea), but it also involves something else, that which is in between: acorrespondence between the two which all at once is also distance, care and desire. The author tries to interpret the Silesian oikology
as a unique Silesian made product.

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36355

Women as Reflected in Egyptian TV Commercials

Nesrin El-Sherbini, Modern Sciences and Arts University, Egypt
Salwa Darwish, Institute of African Studies and Research, Cairo University, Egypt
Iman Bastawisi, Institute of African Studies and Research, Cairo University, Egypt
Maha El-Tarabishi, Modern Sciences and Arts University, Egypt
In the Arab countries, many studies have tackled the image of women in different media platforms, like in drama, movies, literature, and intheatre; however, very few studies have focused on the image of women in advertisements whether in electronic or in print media. In Egypt,
representation of women in TV commercials has received little attention. Since advertising is considered a mirror for the society, and aplatform that reflects real life, it is essential, therefore, to study the image of women in Egyptian TV commercials. In light of the Feminist
Theory which is concerned with females and their suppression, this study aims to examine the representation of women in Egyptian
TV commercials. The study employs the qualitative methods of analysis discourse along with in-depth interviews with advertisingprofessionals to examine, on a population census of Egyptian TV commercials of the year 2016, how the commercials portrayed Egyptian
women in different contexts (e.g. rural or urban), occupations, ages, physical appearances, lifestyles, social roles, social values, and social
stratifications. In addition to some technical features of the advert like the type of appeal(s) used, and the visual technique.
36916

The Representation of History in The Chronicles of Yerevan Days
Shmavon Azatyan, La Trobe University, Australia

The film The Chronicle of Yerevan Days is unique in the way it uses city ambience as a narrative technique. Set in the capital of Soviet
Armenia, Yerevan, it features a peculiar spatial narrative through location shooting and portrayal of historical buildings. As a result,history materializes and overbears humans. In this paper, I draw on the ideas and theories of Mallet-Stevens, Ockman, Schwarzer and
Vaz da Costa about architecture and film and suggest there is an interactive dynamics between history and narrative in the film – eachshaping the other. I argue that the narrative constructs story using a particular historically charged iconography. History is manifested
in form of urban space and architecture and mutely tells about the past and narrates the present and the actual moment. Figuring as anarrative, history is a fact, and the protagonist’s attempts to obliterate historical facts are futile, because the solid stone buildings andthe non-embraceable urban environment are beyond him. Yerevan maintains history and “writes” history – buildings “guard” facts thatshape people’s destinies, while streets and squares control the character’s movement and determine accidents and happenstances.
The building of the National Archive of Armenia, built in 1901, is the inanimate antagonist. A mixture of styles – ancient Armenian andEuropean/Russian classicism – it reinforces the presence of history as an invincible force, as well as it safeguards citizens’ “identities andbiographies”, which traumatize them and ruin their lives, through the archives reveal the truth.
36965

From Greatcoats to Gym Tunics: Reading History Through Images of Women Playing Netball
Margaret Henley, University of Auckland, New Zealand

Visual representations of women playing sport have always struggled to gain a consistent foothold in the visual history of sport. The mostsignificant period of visual scarcity was in the pre-television era when few had the funds or the ability to record and distribute moving
images. Cinema newsreels and locally produced films which showcase women in action are therefore historical, cultural and ideologicaltreasure troves offering rich points of entry through which to explore women’s sporting “herstory”. This paper explores the significanceof two pieces of early film capturing women playing netball in very culturally different circumstances and recorded with very different
intent. The earliest, produced by the British Ministry of Information in 1918, is of WAACs stationed at the Western Front celebrating their
one afternoon off a fortnight by engaging in a robust game of netball dressed in their army greatcoats. This is primarily a propaganda film
screened in British cinemas to help change the puritanical view of the public towards women in uniform who served in France. The second
is a very recently re-discovered and restored film of the 1932 Dominion Basketball (netball) Tournament in New Zealand. For the next 20
years this cherished fragment was shared around the often isolated provincial basketball associations in the country. It provided the only
accessible source of moving images for local women to glimpse their game being played at a representative level and tells a story more
vivid than just healthy settler society New Zealand women at play.
37499

Reading RPF as Digital Fiction: New Perspectives for Interpretation
Judith Fathallah, Bangor University, UK

Real person fiction is a type of fanfiction utilizing real (living) people as characters. It tends to flourish within subcultural fan
communities, and has been little studied by academics. Almost all fanfic is now produced for and on digital platforms, and I argue
that in order to understand it, we need to incorporate some established tools from the study of digital narratives. Metalepsis, or the
self-conscious movement between “levels” of reality and fiction, is a particularly important tool here. Further, building on Paul Booth's
concept of the “interreal”, I argue that we understand appeals to the putative subject of RPF as directed to a “fictionalized addressee”,
that is, to an addressee who is neither purely fictional nor purely nonfictional, but a construct of mediated activity that demonstrates
the communal construction of the subcultural celebrity.

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Virtual Presentations
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37799

Race and the Quest for Identity in Chimamanda Adichie's Americanah
Shaden Adel Nasser, Ain Shams University, Egypt

Stories matter. Many stories matter. Stories have been used to dispossess and to malign, but stories can also be used to empower andhumanize. Stories can break the dignity of a people but stories can also repair that broken dignity (Chimamanda Ngozi Adichie). In mostof her works, Chimamanda Adichie, the Nigerian author, sheds light on the cultural misunderstanding that takes place when we forgetthat everyone’s lives and identities are composed of many moving stories. She believes that one should tell his/her own story because if
people are reduced to only one, then they are losing their humanity and identity. Accordingly, the study will show how Adichie in her novel
Americanah, reveal race and displacement as main factors contributing to the development of the protagonist Ifemelu’s self-image in her
struggle for an identity as a black immigrant living in the United States. It will display to what extent the definition of “race” has changed
through time, shedding light on the way race is treated in America in the twenty-first century and how interactions between the African
immigrants and Americans leads to a psychological injury. In addition, the study will explore how Ifemelu, as an African woman, succeeds
in maintaining her Nigerian upbringing while simultaneously adapting to American culture.
36163

De-Westernising Travel Journalism: Consumerism Meets Postcolonialism
Andrew Duffy, Nanyang Technological University, Singapore

Scholars have long viewed travel writing and travel journalism from a postcolonial perspective, based on the history of “the Westvisiting the rest”. Today, however, travel and tourism is multi-directional, with increasing leisure travel among the rising powers ofAsia. To counter this western-dominated perspective, this paper uses a grounded-theory approach to assess how travel journalism
is done in a non-Western country, Singapore. It proposes that consumerism rather than colonialism is a better framework to explore
dominance and subordination. Using content analysis of English and Mandarin newspapers in Singapore, it examines how cultural
background affects attitudes towards destinations. We consider how travel journalism creates the destination so that consumption isjustified and validated. To do this, we analyse newspaper travel journalism and code three categories of how the journalist recreates a
country: the mythologies of country and people that the journalists weave into their articles; the expectations that the journalists carrywith them and the way they are guided round a country; and the way journalists behave while in the country. These are three ways theycreate the country to be consumers within it, and it can be a locus for consumption. Every culture tells a story about other cultures;and in doing so, it tells a story about itself; this study is a step towards counterbalancing the traditional, western-dominated analyticalframeworks for looking at travel texts.
25523

In Search of Justice Narratives in Music Performances
Santosa Soewarlan, Indonesia Institute of the Arts, Indonesia

Since the Indonesian independence era, the topic of justice has become the concerns of gamelan composers believing that musicposseses power to deliver ideals that are deeply conceived by audiences. Through gamelan performances, they can criticize themisconduct of rulers, disagree with the management of natural resources, condemn the behavior of bureaucrats, and promote
government’s programs. In a way, music can be used as a means of expressing voices in which people are struggling for justice.
Government agencies, party’s rulers, social leaders, and cultural patrons are also aware of how narratives in gamelan influence theminds of their listeners. When portrays social issues, the music explores human rights, social welfares, freedoms, and liberties. The
reflections and metaphors that it contains can match audience’s world-view that eventually forms their conceptual turns. In this way,
musical ideals are emphasizing the issue of justice among people in the community. Using appropriate themes musicians articulate
issues in social, political and cultural domains that result in the concepts of: the balance of status, the recognition of right, therefinement of social conducts, the better relationship between human and natures, and the like. Through metaphors in performances
they mediate between what people envisage and the reality they want to manifest in their contexts.

76 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORConference
Highlights:
The Past 12
MonthsSince 2009, IAFOR has welcomed university
presidents, faculty deans, award-winningjournalists, national politicians, government
ministers, diplomats, charity leaders, thinktank directors, documentary makers, movie
directors, members of the armed forces,
lawyers, doctors, jurists, artists, poets,
writers, clergy, scientists, philosophers...

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The Asian Conference on Social Sciences 2017 (ACSS2017), The Asian Conference on Sustainability, Energy & the Environment 2017
(ACSEE2017) and The Asian Conference on Aging & Gerontology (AGen2017), were held in Kobe, Japan, June 8–11, 2017.
Above left: Dr Toshiya Hoshino gives a Keynote Presentation as part of an ACSS2017 Plenary Panel entitled “East Meets West”. Dr Hoshino isProfessor at Osaka School of International Public Policy (OSIPP). He is a member of IAFOR’s Board of Directors. Above middle: Professor Haruko
Satoh of Osaka School of International Public Policy (OSIPP), Osaka University, Japan, addresses delegates as part of the same ACSS2017
Plenary Panel. Professor Haruko Satoh is a member of IAFOR’s Academic Governing Board. Above right: Professor Michael Anthony C. Vasco,
Dean of the Faculty of Arts and Letters at the University of Santo Tomas in the Philippines, sits on the same Plenary Panel at ACSS2017.
Below left: Director of the NACDA Program on Aging and Vice-President of IAFOR Dr James W. McNally gives a Featured Presentation
on methodologies for the collection of comparative community-level public health data at AGen2017. Below right: Dr Hiroshi Ishida,
Professor of Sociology at the Institute of Social Sciences, University of Tokyo, Japan, sits on an AGen2017 Plenary Panel entitled “Easts
Meets West – Healthy, Active and Beautiful Aging in Asia”.
Bottom left: ACSS2017 Featured Speaker Dr Philip Sugai of Doshisha Business School, Japan, examines the concept of value in marketing. Bottom
right: ACSEE2017 Spotlight Speaker Dr Maxime Jaffré, Assistant Professor in Sociology of Culture at the Ecole des Hautes Etudes en Sciences
Sociales and a member of IAFOR’s International Academic Advisory Board, questions whether data science can do without the field survey.

78 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORThe Asian Conference on Cultural Studies 2017 (ACCS2017), The Asian Conference on Asian Studies 2017 (ACAS2017) and The
International Conference on Japan & Japan Studies (IICJ2017), held June 1–4, 2017, brought together delegates from all over the world to
explore the theme of "Global Realities: Precarious Survival and Belonging".
Above left: Professor Gaurav Desai of the University of Michigan, Ann Arbor, USA, examines the figure of the migrant in recent Anglophone
fiction from Africa and South Asia in his ACCS2017 Keynote Presentation entitled “Precarious Futures, Precarious Pasts: Migritudeand Planetarity”. Above right: In a Featured Panel Presentation at ACCS2017, Professor Donald E. Hall, Professor Emerita Sue Ballyn
and Professor Emeritus Yasue Arimitsu discuss the challenges of doing Cultural Studies today, exploring the emerging geo-politicalconstraints on their work, as well as their respective national and institutional contexts, and interact with the audience on the topic ofstrategies for individual and collective response to the challenges that we face.
Below left: In his ACAS2017 Featured Presentation entitled “Buddhist Terrorism?”, Dr Brian Victoria of the Oxford Center for Buddhist
Studies examines the long history of those calling themselves Buddhists who engaged in warfare, despite Buddhism’s long-standing
reputation in the West as a religion of peace. Below right: The University of Barcelona’s Professor Emerita Sue Ballyn gives a Spotlight
Presentation at ACCS2017 on the subject of surgeons on eighteenth-and-nineteenth-century female convict transports, often the unsung
heroes of hazardous passages to the Antipodes, discussing the importance of their power at sea and on land, their care of their charges
and how medical improvisation very often saved a patient’s life.

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Above: To ensure that delegates have an especially memorable experience, IAFOR conferences include tours to places of historicand cultural interest, led by experienced tour guides.
Fushimi Inari Grand Shrine in Kyoto, Japan, features a pathway lined with orange torii, each donated by a Japanese business, that
leads 4 km up the mountain.
Below left: Professor Ted O’Neill of Gakushuin University, Tokyo, Vice-President (at large) of IAFOR, gives a Keynote Presentation
entitled “Change in Japanese Tertiary Education: Implementing Content and Language Integrated Learning (CLIL) in Japan” at
The Asian Conference on Language Learning 2017 (ACLL2017). Below centre: Featured Speaker Professor Mark Pegrum presents
on moving beyond web 2.0 when designing authentic mobile learning for everyday contexts in Asia at The Asian Conference on
Technology in the Classroom 2017 (ACTC2017). Mark Pegrum is an associate professor in the Graduate School of Education at The
University of Western Australia, where he specialises in mobile learning and, more broadly, e-learning. Below right: Professor Barbara
Lockee, Associate Director of the School of Education and Associate Director of Educational Research and Outreach at Virginia Tech,
USA, explores the changing landscape for instructional design professionals in educational contexts and their potential to serve aschange agents in the adoption of learning innovations at ACTC2017.

80 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORAbove left: During the annual haiku workshop at The Asian Conference on Literature 2017 (LibrAsia2017), Hana Fujimoto of the
Haiku International Association, Japan, gives a background and history to haiku and invites participants to write their own poems.
Above right: Also at the LibrAsia2017 haiku workshop, Emiko Miyashita, a prominent haiku poet who is also a councillor for the Haiku
International Association, reads world-famous haiku before inviting audience members to compose haiku of their own. In addition
to the yearly haiku workshop, LibrAsia2017 features the IAFOR Vladimir Devidé Haiku Award Ceremony, at which all award-winning
entries are read out. The IAFOR Vladimir Devidé Haiku Award is an open competition for previously unpublished haiku written in the
English language. The award is for haiku regardless of whether in the traditional or modern style; it transcends haiku divisions andis based only on literary merit.
Below left: Celebrated international pianist and former Fulbright scholar Marusya Nainggolan of the University of Indonesia,
Indonesia, gives a resounding performance at The Asian Conference on Arts & Humanities 2017 (ACAH2017). Marusya Nainggolan
performs music nationally and internationally, as well as teaching European Studies at the University of Indonesia and serving
as a music counsellor for studies on music and health in the Indonesian National Health Department. Below right: At The Asian
Conference on Arts & Humanities 2017 (ACAH2017) Dr Yutaka Mino, Director of the Hyogo Prefectural Museum of Art and the Yokoo
Tadanori Museum of Contemporary Art, and Honorary Director of the Abeno Harukas Museum of Art, Japan, speaks on “Art andNarrative in the Public Sphere”, examining art as a medium for telling stories and creating narrative, and how curation can be used
to contextualise and situate works of art.
Bottom left: Professor Georges Depeyrot is a monetary historian at the French National Center for Scientific Research (CNRS) in
Paris. As part of a Featured Panel Presentation on “Constructing History” at The Asian Conference on Literature 2017 (LibrAsia2017),
he discusses the importance of the construction of national history in the creation of personal and national identity. Bottom right:
In the same Featured Panel Presentation at The Asian Conference on Literature 2017 (LibrAsia2017), Professor Myles Chilton, amember of the Department of English Language and Literature at Japan’s Nihon University, explores how history shapes our politicaldecisions today, and how we go about building, revising and deconstructing history.

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Above left: In a Featured Panel Presentation on the right to education at The Asian Conference on Education & International
Development (ACEID2017), Osaka University’s Professor Haruko Satoh, Chair of the Politics, Law & International Relations sectionof IAFOR’s International Academic Advisory Board, examines the conference theme, “Educating for Change”, in the context of theconference screening of Among the Believers, and the friction between preserving culture and challenging culture in areas of theworld where education is highly politicised. Above right: At the same conference, Professor Adrian Ziderman, Sir Isaac Wolfson
Professor in Economics and Business Administration at Bar-Ilan University, Israel, gives an interactive Spotlight Workshop on
publication ethics as part of his role as Research Chair and Trustee at the Committee on Publication Ethics (COPE).
Below left: Also at ACEID2017 Featured Speaker Jessica Loh gives an engaging presentation entitled “Values for Global Citizenship:
Fostering Innovation and Access with the Higher Education Context”. Jessica Loh is Director of Outreach at the Institute ofInternational Education, Thailand. Below middle: Professor Hiroshi Nittono, Full Professor of Experimental Psychology at theGraduate School of Human Sciences, Osaka University, Japan, gives a Keynote Presentation on the psychology of Japanese “kawaii”
culture at The Asian Conference on Psychology & the Behavioral Sciences 2017 (ACP2017). Below right: ACP2017 Featured Speaker
Professor Ronald Mellado Miller of Brigham Young University – Hawaii, USA, presents on “A Poverty of Hope: Towards a Psychologyof Humanitarian Success”, discussing how programmes and implementations can meet both physical and psychological needs andhow taking into account psychology can enhance humanitarian success and achieve far more than simply extending life.
Bottom left: In a Featured Panel Presentation at The Asian Conference on Ethics, Religion & Philosophy 2017 (ACERP2017), Professor
Koji Higashikawa of Kanazawa University, Japan, engages the audience on the subject of free speech and hate speech in the context
of the conference theme, “History, Story, Narrative”. Bottom middle: In the same ACERP2017 Featured Panel Presentation, Shiki
Tomimasu discusses the important ethical issues surrounding Japan’s recent Hate Speech legislation, drawing on his experience at
Kanagawa Law Office, Japan. Bottom right: In a Featured Panel Presentation entitled “Perspectives on Natural Religion” Professor
Thomas Brian Mooney of Charles Darwin University, Australia, discusses key commonalities in the theory and practice of Natural
Religion at ACERP2017.

82 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORThe IAFOR Dubai Conference Series was held in February 2017 at the The InterContinental Festival City Event Centre in Dubai, UAE.
This interdisciplinary event considered the joint themes of “Educating for Change” and “East Meets West: Innovation and Discovery”.
Top left: Professor Donald E. Hall, Dean of the College of Arts and Sciences at Lehigh University, USA, gives a compelling Keynote
Presentation at The IAFOR International Conference on Education – Dubai 2017 (IICEDubai2017) on “Interdisciplinary Education
for Innovation and Change”. Professor Hall is Vice-President of IAFOR. Top right: IICEDubai2017 Keynote Speaker Professor
Christina Gitsaki of Zayed University, UAE, addresses delegates on the topic of “Education: A Supertanker in an Ocean of Change
and Innovation”, discussing change in education from a number of different perspectives, at The IAFOR International Conference on
Education – Dubai 2017 (IICEDubai2017).
Below left: In a Featured Presentation at The IAFOR International Conference on Education – Dubai 2017, Dr Fadi Aloul speaks onbringing education to schools and universities to help create future innovators. Dr Fadi Aloul is Professor and Department Headof Computer Science and Engineering and the Director of the HP Institute at the American University of Sharjah (AUS), UAE. Belowright: As a Featured Speaker at the same conference, Dr Sufian Abu-Rmaileh of UAE University, UAE, presents on “Leadership Skills& Styles for Successful Administrators”. Dr Abu-Rmaileh is President of TA Toastmasters and former President of TESOL Arabia.
Bottom left: In a lively Featured Presentation at The IAFOR International Conference on the Social Sciences – Dubai 2017, Dr
Virginia Bodolica, American University of Sharjah, UAE, discusses “Managing for Innovation and Sustainability: Lessons from theGulf Region”, illustrating the recent accomplishments of several Gulf-based nations in espousing the principles of the knowledgebased economy and delineating strategic priorities for attaining sustainable development goals. Bottom right: Dr Christine Coombeof Dubai Men’s College, UAE, gives a Featured Presentation as part of The IAFOR International Conference on Education – Dubai
2017 on educators’ productivity, sharing the results of a research project investigating how the most productive TESOLers “fit it allin” and attain the ever-elusive work-life balance.

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In January 2017, The IAFOR Hawaii Conference Series 2017 was held at The Hawai‘i Convention Center, Honolulu, Hawaii, USA, as
two consecutive events on the themes of “East Meets West: Innovation and Discovery” and “Educating for Change”.
Top left: Professor William G. Staples of the University of Kansas, USA, speaks on “Everyday Surveillance: A Case Study ofStudent Information Systems” at The IAFOR International Conference on the Social Sciences – Hawaii 2017 (IICSSHawaii2017).
Professor Staples is well known internationally for his work in the areas of social control and surveillance. Top right: In her Keynote
Presentation at The IAFOR International Conference on Sustainability, Energy & the Environment – Hawaii 2017 (IICSEEHawaii2017),
Dr Jaimey Hamilton Faris of the University of Hawaii at Manoa, USA, introduces the audience to the concept of “liquid archives”. Her
academic writing focuses on issues of global trade networks and systems, environmentalism and sustainability in contemporaryart, especially in the Asia-Pacific context.
Below left: Featured Presenter Donna McIntire-Byrd discusses eco-diplomacy and water conservation at The IAFOR International
Conference on Sustainability, Energy & the Environment – Hawaii 2017 (IICSEEHawaii2017). Donna McIntire-Byrd serves as Chiefof the Energy & Sustainable Design Unit for the US Department of State Bureau of Overseas Buildings Operations. Below right: In a
Keynote Presentation, Dr Linda Furuto of the University of Hawaii at Manoa, USA, addresses the audience at The IAFOR International
Conference on Education – Hawaii 2017 (IICEHawaii2017) on the topic of “Pacific Ethnomathematics: Navigating Ancient Wisdom
and Modern Connections”.
Bottom left: Professor Curtis Ho of the University of Hawaii at Manoa, USA, sits on a Featured Panel that explored how we educate forpositive change, striking a balance between the need to challenge while also respect and preserve local and indigenous cultures andtheir languages, at The IAFOR International Conference on Education – Hawaii 2017 (IICEHawaii2017). Bottom right: In a Featured
Presentation at The IAFOR International Conference on Technology in the Classroom – Hawaii 2017 (IICTCHawaii2017), Dr Kristin
Palmer discusses the use of open educational resources (OER) and massive open online courses (MOOCs). Dr Kristin Palmer is the
Director of Online Learning Programs at the University of Virginia, USA.

84 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORAbove: Aunty Kehaulani Lum and Uncle Bruce Keaulani of the Living Life Source Foundation, Hawaii, demonstrate a traditional
Hawaiian greeting at IICEHawaii2017.
Below left: Distinguished psychologist Professor Michael B. Salzman of the University of Hawaii at Manoa speaks as part ofa Featured Panel on “Aloha as a Way of Being: Hawaiian Perspectives on Learning” at The IAFOR International Conference on
Education – Hawaii 2017 (IICEHawaii2017). Below right: Dr Xu Di, also of the University of Hawaii at Manoa, addresses the audienceas part of the same IICEHawaii2017 Featured Panel. Dr Di’s recent publications focus on bridging Eastern and Western philosophy
for educational practices.
Bottom left: Professor Ken Urano, Featured Speaker at The IAFOR International Conference on Language Learning – Hawaii 2017
(IICLLHawaii2017), presents on the topic of “Developing and Implementing an English for Specific Purposes Syllabus for Business
Majors in Japan”. Professor Urano is a member of the Faculty of Business Administration, Hokkai-Gakuen University, in Sapporo,
Japan, where he mainly teaches English to business students. Bottom right: In a Featured Presentation on statistics in the cognitive/
risk era, award-winning research scientist and innovator Dr Nathaniel Newlands of the University of Victoria, Canada, discusses theincreasingly critical role statistics plays in unravelling the complexity of our world at The IAFOR International Conference on theSocial Sciences – Hawaii 2017 (IICSSHawaii2017).

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The Asia-Pacific Conference on Security and International Relations 2016 (APSec2016) brought together a range of academics,
policymakers and practitioners to discuss the evolving issues in security and international relations in the Asia-Pacific, a volatileregion in which states and peoples fight for power, influence, resources and basic human rights.
Above left: Ambassador Yukio Satoh gives his Keynote Presentation entitled “Shifting Strategic Balance and Asian Security” at
APSec2016. Former Permanent Representative of Japan to the United Nations and former ambassador of Japan to Australia and theNetherlands, Yukio Satoh is now based at the Japan Institute of International Affairs, Japan. Above right: Current President of the
Asian Political and International Studies Association (APISA) and Associate Dean of the Graduate School of International Studies,
Ewha Womans University, South Korea, Professor Brendan Howe welcomes delegates to APSec2016, held jointly with APISA’s tenthannual congress in Osaka, Japan.
Below left: In a Keynote Presentation at APSec2016, Professor Jun Arima, based at the Graduate School of Public Policy, Universityof Tokyo, Japan, speaks on Asia’s energy outlook. Professor Arima was Director General of the Japan External Trade Organization(JETRO), London, UK, and Special Advisor on Global Environmental Affairs for the Ministry of Economy, Trade and Industry (METI) in
Japan from 2011 to 2015. Below right: Keynote Speaker Xingzui Wang, Executive Vice-President of the China Foundation for Poverty
Alleviation, addresses delegates at the Plenary Session of APSec2016 on fighting poverty in China.

86 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORAbove left: Did news coverage create the man or did the man create the news coverage? Professor Gary Swanson discusses therise of Donald Trump at at The Asian Conference on Media & Mass Communication 2016 (MediAsia2016). Professor Swanson hasreceived more than 75 awards for broadcast excellence including three EMMYs. Above middle: Grand Prize Winner of the IAFOR
Documentary Film Award 2016, PLACEBO: ALT. RUSSIA – a documentary which explores the alternative cultures that are present
within Russia’s major cities, directed by Charlie Targett-Adams and announced at The Asian Conference on Film & Documentary 2016
(FilmAsia2016) in Kobe, Japan. IAFOR is proud to support the IAFOR Documentary Film Award, a global competition celebrating thebest in documentary filmmaking. Documentary has a rich history of exposing truths, telling stories, raising awareness and creating
discussion – all practices valued at IAFOR. Above right: Professor Richard Roth of Northwestern University’s Medill School of
Journalism, Media, Integrated Marketing Communications delivers his Keynote Presentation on contemporary issues in journalism
at MediAsia2016.
Below: The International Academic Forum is proud to be based in Japan, and we organise a number of events throughout the yearthat showcase the best of Japanese culture, ranging from the raw power of the taiko drums to the understated beauty of the tea
ceremony, from martial arts demonstrations by world class masters to hands-on calligraphy workshops by university clubs andhaiku workshops by leading poets. Built into our conference programmes, this range of activities gives delegates a taste of Japan’srich and unique culture.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 87

Above left: Addressing delegates at The Asian Conference on Education 2016 (ACE2016), Dr Peter McCagg gives a Keynote Presentation
entitled “International Liberal Arts: Meeting Japan’s Higher Education Needs in the Global and Digital Era”. In his talk he identified
dimensions of the university experience in Japan that can and need to be strengthened in order to create coherence and integrity instudents’ intellectual experiences. Dr McCagg is the Vice President for Academic Affairs at Akita International University, Japan. Aboveright: In her Keynote Presentation, Professor Insung Jung of the International Christian University, Japan, examines the ways MOOCs arebeing used by individual learners and university systems, and their impact on access, quality and cost in higher education, at The Asian
Conference on Society, Education and Technology 2016 (ACSET2016).
Below: Professor Grant Black (below top left), Vice-President of The International Academic Forum (IAFOR), chairs a Featured Symposium
entitled “The Globalisation Process for University Education in Japan” at The Asian Conference on Education 2016 (ACE2016) in Kobe,
Japan. Professor Grant Black is an associate professor in the program for Modern Languages and Cultures, Faculty of Humanities and Social
Sciences at the University of Tsukuba, and an adjunct lecturer in the Faculty of Commerce at Chuo University, Japan. The symposium aimed
to integrate education theory and research with the context of long-term social processes in order to address policy reform and structuralchange in Japanese universities, and contributors included Dr Fumiko Kurihara of Chuo University (below top middle), Dr Maria Gabriela
Schmidt of the University of Tsukuba (below top right), Dr Yasuo Nakatani of Hosei University (below bottom left), Dr Yukiko Mishina of the
University of Tokyo, Japan (below center middle) and Dr Reiko Yamada of Doshisha University (below bottom right), all based in Japan.

88 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORAbove left: At The IAFOR International Conference on the City 2016 (City2016), renowned critic and theorist Professor Bill Ashcroft of
the University of New South Wales, Australia, gives a Keynote Presentation on the concept of the Transnation. Above centre: Alonso
Carnicer, a news reporter at TV3, the Catalan Television channel, and Keynote Speaker at City2016, discusses his Catalan Television
documentary, Shanty Towns, the Forgotten City, which tells the story of impoverished settlements in Barcelona. Above right: Novelist,
playwright and poet Gloria Montero, Global2016 Featured Speaker, delivers a talk entitled “Filling in the Lonely, Empty Places” at The
IAFOR International Conference on Global Studies 2016 (Global2016).
Below: An image from the series Life After Injury by Ukrainian photojournalist Alexey Furman, Grand Prize Winner of the 2016 IAFOR
Documentary Photography Award. “With this project I would like to raise awareness on a growing number of war veterans in Ukraine.”
Winners were announced at The European Conference on Media, Communication & Film 2016 (EuroMedia2016) in Brighton, England. As
an organisation, IAFOR’s mission is to promote international exchange, facilitate intercultural awareness, encourage interdisciplinary
discussion, and generate and share new knowledge. In keeping with this mission, in appreciation of the great value of photography
as a medium that can be shared across borders of language, culture and nation, and to influence and inform our academic work andprogrammes, the IAFOR Documentary Photography Award was launched as a competition that would help underline the importanceof the organisation’s aims, and would promote and recognise best practice and excellence. In support of up-and-coming talent, the
IAFOR Documentary Photography Award is free to enter. For more information about the award please visit: www.iaforphotoaward.org.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 89

Submit your research to the
IAFOR Journal of Media,
Communication & Film
• Fair and rigorous peer
review process• No submission or
publication fees

the iaforjournal of media,
communication & film

• Editorially independent

Volume 3 – Issue 1 – Spring 2016
Editor: James Rowlins• Freely available online
to a global academic
audience

ISSN: 2187-0667

The IAFOR Journal of Media, Communication & Film is an internationallyreviewed and editorially independent interdisciplinary journal associatedwith IAFOR’s international conferences on media, communication andfilm. Like all IAFOR publications, it is freely available to read online, andis free of publication fees for authors.

Volume 5 Issue 1
Submissions open: November 1, 2017
For details of how to submit your paper, view the Author Guidelines
on the journal website: ijmcf.iafor.org

Reviewers& Presenters#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 91

Reviewers
ECAH2017

Review Committee
Dr Janet Crosier
Springfield College, USA
Dr Maria FigueredoYork University, Canada
Dr Anna Hamling
University of New Brunswick, Canada
Professor Amany Ismail
Alexandria University, Egypt
Dr Alexander Klemm
Webster University, Thailand
Dr Halia Koo
Memorial University of Newfoundland, Canada

Dr Marios Kostas
University College London, UK
Professor Iryna Morozova
Odesa Mechnikov National University, Ukraine
Dr Itishri Sarangi
Kiit University, India
Dr A. W. Brian De Silva
RMIT University, Australia
Dr Lily Zamir
The David Yellin Academic College of Education, Israel

Senior Reviewers
Dr Nuno Aguirre de Carcer
Wits University, South Africa
Dr Mahinur Aksehir-Uygur
Manisa Celal Bayar University, Turkey
Professor Amrita Amrita
BPS Women's University, India
Dr Christina Belcher
Redeemer University College, Canada
Dr Roselyn Bustos
Cebu Technological University, The Philippines
Professor Barney Erasmus
Unisa, South Africa
Dr Yuhang Guo
Munster University, Germany
Dr Sandra Hiett
Liverpool Hope University, UK
Dr Zainor Izat Zainal
Universiti Putra Malaysia, Malaysia
Dr Anna-Marie Jansen van Vuuren
University of Johannesburg, South Africa
Siddharth N Kanoujia
Hindu College, University of Delhi, India

Professor Aleksandra Kunce
University of Silesia in Katowice, Poland
Dr Nickolas Lambrianou
Birkbeck University of London, UK
Dr Halimah Mohamed Ali
Universiti Sains Malaysia, Malaysia
Professor Tamsila Naeem
University of Management
and Technology Lahore, Pakistan
Dr Esther Nyam
Plateau State University, Nigeria
Professor Jungman Park
Hankuk University of Foreign Studies, Republic of Korea
Dr Louis Regis
The University of the West Indies, Trinidad and Tobago
Professor Santosa Soewarlan
Indonesia Institute of the Arts, Indonesia
Dr Chollada Thongtawee
Silpakorn University, Thailand
Dr Ibrahim Yabagi Mohammed
Jubail University College, Saudi Arabia

Reviewers
Dattatreya Bhandalkar
Tata Institute of Social Sciences Mumbai, India
Dr Wu Chieh-Hsiang
National Changhua University, Taiwan
Dr I. Chung Chang
Beijing Institute of Technology, China
Dr Nicole Frey Buechel
University of Zurich, Switzerland
Dr Hue L. Bui
Thai Nguyen University of Sciencesand Humanities, Vietnam
Dr Cora Lindsay
University of Nottingham, UK
Dr Laura Major
Achva Academic College, Israel

92 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORDr Rodwell Makombe
University of the Free State, South Africa
Dr Andrews Maquiling
AMA International University, Bahrain
Sharin Shajahan Naomi
Murdoch University, Australia
Dr Solomon Obidah Yamma
Plateau State University, Nigeria
Dr Susanna Scarparo
Monash University, Australia
Professor Jeffrey Spear
New York University, USA
Dr Shapour Vahdatinejad
Rustaq College of Education, Oman

Reviewers
EuroMedia2017

Review Committee
Dr Adem Ayten
Istanbul Aydin University, Turkey
Dr Shulin Chiang
Chinese Culture University, Taiwan
Dr Rasha El-Ibiary
Future University in Egypt, Egypt
Dr Alicja Fijalkowska
University of Warsaw, Poland
Dr Nihan Gider Isikman
Baskent University, Turkey
Dr Lucyann Kerry
Middlesex University Dubai, UAE

Dr Alexander Klemm
Webster University, Thailand
Professor Melissa Lee Price
Zayed University, UAE
Professor Rebecca Lind
University of Illinois at Chicago, USA
Professor Angeliki Monnier
University of Lorraine, France
Dr Jackie Raphael
Curtin University, Australia

Senior Reviewers
Dr Alyaa Anter
Ajman University, UAE
Dr Rodney Hill
Hofstra University, USA
Dr Anna-Marie Jansen van Vuuren
University of Johannesburg, South Africa
Dr Chin-pang Lei
University of Macau, Macau
Professor Richard Letteri
Furman University, USA

Professor Xenia Negrea
University of Craiova, Romania
Dr Safa Osman
Ajman University, UAE
Dr César Viana Teixeira
Pontifical University of Goiás, Brazil
Dr Bianca Yin-Ki Cheung
The Hong Kong Polytechnic University, Hong Kong

Reviewers
Dr Hande Çayır
Istanbul Yeni Yuzyıl University, Turkey
Dr Yu-Chung Cheng
Hsuan Chuang University, Taiwan
Dr Kimberly Cowden
Colorado State University – Pueblo, USA
Dr Ram Dwivedi
Tokyo University of Foreign Studies, Japan
Judith Fathallah
Bangor University, UK
Professor Marta Frago
University of Navarra, SpainDr Ozgur Koseoglu
Ege University, Turkey
Dr Thomas Owen
Auckland University of Technology, New Zealand
Yuzhu Peng
Newcastle University, UK
Dr Iyorza Stanislaus
University of Calabar, Nigeria
Dr Pajaree Tachart
Chulalongkorn University, Thailand

Thank You
Our academic events would not be what they are without a commitment to ensuring that international
norms of peer review are observed for our presentation abstracts. With thousands of abstracts
submitted each year for presentation at our conferences, IAFOR relies on academics around theworld to ensure a fair and timely peer review process in keeping with established international
norms of double-blind peer review.
We are grateful for the time, effort and expertise donated by all our contributors.

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 93

A-Z Index of Presenters
Ackers, Georgep. 53
The University of Portsmouth, UK
Aksehir-Uygur, Mahinurp. 72
Manisa Celal Bayar University, Turkey
Al-Mut'afy, Marwa
p. 68
October University for Modern
Science & Arts Egypt
Amrita, Amrita
p. 71
BPS Women's University, India
Anter, Alyaa
p. 52
Ajman University, UAE
Azatyan, Shmavonp. 75
La Trobe University, Australia
Basu, Antarleena
p. 47
University of Hyderabad, India
Belcher, Christina
p. 55
Redeemer University College, Canada
Bogatyreva, Kirap. 53
I. M. Sechenov First Moscow State
Medical University, Russian Federation
Boonnimitra, Sopawan
p. 57
Chulalongkorn University, Thailand
Boonsawasd, Attasithp. 71
Srinakharinwirot University, Thailand
Brylska, Karolina
p. 50
University of Warsaw, Poland
Calvete, Ana
p. 59
University of Helsinki, Finland
Cammarata, Vincenzo
p. 66
King's College London, UKÇayır, Hande
p. 60
Istanbul Yeni Yuzyıl University, Turkey
Cerecina, Ivan
p. 69
University of Sydney, Australia
Chakrabarty, Madhumita
p. 47
Central University of Karnataka, India
Chan, Kobe Yan Chuen
p. 68
City University of Hong Kong,
Hong Kong
Chatchaiyan, Pan
p. 52
Ramkhamhaeng University, Thailand
Chen, Chih-Wei
p. 42
National Chiao Tung University, Taiwan
Chen, Li-Chiou
p. 44
Yuan Ze University, Taiwan
Cheng, Yu-Chungp. 52
Hsuan Chuang University, Taiwan
Chhani, Lalrinp. 65
Hindu College, University of Delhi, India
Chiang, Shulin
p. 50
Chinese Culture University, Taiwan
Ciofu, Natalia
p. 48
University of Essex, UK
Cowden, Kimberly
p. 28
Colorado State University – Pueblo, USA
94 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFOR

Cressman, Dale
Brigham Young University, USA
Croft, Sebastian
University of Warwick, UK
Crosier, Janet
Springfield College, USA
Cruz, Lauren
Chapman University, USA
Dosanjh, Kate
CC Young & Co., UK
Duffy, Andrew
Nanyang Technological
University, Singapore
El-Elaimy, Lubna
University of Auckland, New Zealand
El-Sherbini, Nesrin
Institute of African Studies
and Research, Cairo University, Egypt
Emery, Audrey
University of South Australia, Australia
Evans-Jones, Gareth
Bangor University, UK
Fabbiani, Federica
Freelance Journalist, Italy
Fang, Sy Han
National Chengchi University, Taiwan
Fathallah, Judith
Bangor University, UK
Foster, RobertAugusta University, USA
Frago, Marta
University of Navarra, Spain
Frey Buechel, Nicole
University of Zurich, Switzerland
Fuma, Melany
Panavision & Panalux, South Africa
Gackowski, Tomasz
University of Warsaw, Poland
García Osuna, Alfonso J.
Hofstra University, USA
Gavrila, Ana-Maria
University of Bucharest, Romania
Gentle, Emma
The University of Sydney, Australia
Gholamrezaei, Niloofar
Texas Tech University, USA
Gomez Douzet, Jaime
Universidad De Tarapaca, Chile
Green, Roger
Metropolitan State Universityof Denver, USA
Grigoryan, Yana
I.M. Sechenov First Moscow State
Medical University, Russian Federation
Gruner, Oliver
University of Portsmouth, UK

p. 42
p. 57
p. 55
p. 67
p. 44
p. 76
p. 50
p. 75
p. 49
p. 67
p. 63
p. 72
p. 76
p. 56
p. 63
p. 42
p. 56
p. 50
p. 27
p. 65
p. 49
p. 74
p.65
p. 54
p. 53
p. 51

A-Z Index of Presenters
Healing, Eleanor
p. 58
University of Leeds, UK
Henley, Margaret
p. 75
University of Auckland, New Zealand
Hiett, Sandra
p. 49
Liverpool Hope University, UK
Hill, Rodneyp. 25
Hofstra University, USA
Hughes, Ceri
p. 42
University of Wisconsin-Madison,
USA
Jansen van Vuuren, Anna-Marie
p. 51
University of Johannesburg,
South Africa
Jansen van Vuuren, Anna-Marie
p. 64
University of Johannesburg,
South Africa
Kanoujia, Siddharth N
p. 55
Hindu College, University of Delhi,
India
Kerdsint, Peerachai
p. 51
Bangkok University, Thailand
Kim, Angela
p. 45
SOAS, University of London, UK
Koo, Halia
p. 59
Memorial University of Newfoundland,
CanadaKunce, Aleksandra
p. 74
University of Silesia in Katowice,
PolandLambrianou, Nickolas
p. 62
Birkbeck, University of London, UK
Lin, Hsin-I
pp. 57, 62
Tainan National University of the Arts,
TaiwanLind, Rebecca
p. 64
University of Illinois at Chicago, USA
Lindsay, Corap. 67
University of Nottingham, UK
Madhia, Payal
p. 47
Hindu College, University of Delhi,
India
Major, Laurap. 72
Achva Academic College, Israel
Makombe, Rodwellp. 50
University of the Free State,
South Africa
Manullang, Rianti
p. 66
Leiden University, Indonesia
Masuda, Hikaru
p. 60
Tokyo Junshin University, Japan
Mdege, Norita
p. 63
University of Cape Town, South Africa
Mohamed Ali, Halimah
p. 48
Universiti Sains Malaysia, Malaysia

Mohammed, Ibrahim Yabagi
Jubail University College, Saudi Arabia
Monnier, Angeliki
University of Lorraine, France
Moore, Dashiell
University of Sydney, Australia
Mostafa, Joshua
Western Sydney University, Australia
Naeem, Tamsila
University of Management andTechnology, Pakistan
Nasser, Shaden
Ain Shams University, Egypt
Negrea, Xenia
University of Craiova, Romania
Netter, Louis
University of Portsmouth, UK
Obi-Ani, Ngozika Anthonia
University of Nigeria, Nigeria
Oluic, Gianluca
University of British Columbia, Canada
Osman, Safa
Ajman University, UAE
Owen, Thomas
Auckland University of Technology,
New Zealand
Palmer, Antonia
Queen Margaret University, UK
Panagopoulos, Iakovos
University of Central Lancashire, UK
Pandey, Anuja
Pearl Academy, India
Park, Jungman
Hankuk University of Foreign Studies,
Republic of Korea
Prasad, Nunna Venkata
Abu Dhabi University, UAE
Quinn, Stephen
Kristiania University, Norway
Regis, LouisThe University of the West Indies,
Trinidad And Tobago
Rodriguez Točíková, Irena
Masaryk University, Czech Republic
Romero-Dominguez, Lorena
University of Seville, Spain
Sahoo, Supriya Subhadarsini
Central University of Karnataka, India
Saleh, Alamira Samah
Cairo University, Egypt
Sampson, Lynette
The University of the West Indies,
Trinidad And Tobago
Schwartz, Linda
Ambrose University, Canada

p. 44
p. 70
p. 47
p. 48
p. 54
p. 75
p. 58
p. 51
p. 46
p. 60
p. 52
p. 70
p. 49
p. 69
p. 68
p. 45
p. 64
p. 71
p. 46
p. 61
p. 74
p. 59
p. 52
p. 46
p. 29

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 95

A-Z Index of Presenters
Soewarlan, Santosa
Indonesia Institute of the Arts,
Indonesia
Spear, Jeffrey
New York University, USA
Suárez-Romero, Miriam
University of Seville, Spain
Sung, Mei-Ying
FoGuang University, Taiwan
Tachart, Pajaree
Chulalongkorn University, Thailand
Thongtawee, Chollada
Silpakorn University, Thailand
Tomlin-Kraftner, Melsia
University of Southampton& Bournemouth University, UK
Trinder, Donald
The University of Rzeszow, Poland
Vahdatinejad, Shapour
Rustaq College of Education, Oman
Varghese, Jose
Jazan University, Saudi Arabia
Varghese, Minu
Jazan University, Saudi Arabia
Viana Teixeira, César
Pontifical University of Goiás, Brazil
Vicente, Ana Teresa
Artes da Universidade de Lisboa,
PortugalVujicic, Lejla
Union Nikola Tesla, Serbia
Wallbridge, Tina
University of Portsmouth, UK
Wangpusit, Krittaphon
Phranakhon Rajabhat University,
Thailand
Xue, Mei
Durham University, UK
Yoon, Sun Kyoung
Hankuk University of Foreign Studies,
Republic of Korea
Zaidi, Sobia
Forman Christian College, Pakistan
Zainal, Zainor Izat
Universiti Putra Malaysia, Malaysia
Zamir, LilyThe David Yellin Academic Collegeof Education, Israel

p. 76
p. 56
p. 74
p. 61
p. 69
p. 74
p. 46
p. 70
p. 44
p. 48
p. 66
p. 58
p. 51
p. 74
p. 61
p. 71
p. 62
p. 54
p. 45
p. 55
p. 53

96 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFOR

Music, Sound, and theMoving ImageMusic, Sound, and the Moving Imageis the first international scholarly
journal devoted to the study ofthe interaction between music andsound within the entirety of moving
image media – film, television, music
video, advertising, computer games,
mixed-media installation, digital art,
live cinema, et alia.
MSMI is truly interdisciplinary,publishing contributions across a
range of methodologies, includingmusicology and music analysis,
film studies, popular music studies,cultural theory, aesthetics, semiotics,
sociology, marketing, sound studies,and music psychology.
Most read articles in MSMI:‘Corporate Classicism and the Metaphysical Style’
Nicholas Reyland‘A Pop Music Progression in Recent Popular Movies and Movie Trailers’
Scott Murphy

online.liverpooluniversitypress.co.uk/loi/msmi
For sample copies/advertising contact Megan Ainsworth
Email: m.ainsworth@liv.ac.uk • Tel: +44 [0]151 794 2234
4 Cambridge Street • Liverpool • L69 7ZU • UK
#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 97

A C E

17

The Asian Conference on Education
OCTOBER 19–22, 2017 | KOBE, JAPAN

Conference Theme: Educating for Change
Final Abstract Submission Deadline: August 7, 2017
Final Registration Deadline: September 7, 2017

Why Attend ACE2017?
Since 2009, The Asian Conference on Education has attracted

2400+

from

delegates

60+
countries

Join IAFOR at ACE2017 to:– Present to a global audience– Have your work published in the Conference Proceedings and considered
for peer-reviewed, Open Access journals– Benefit from IAFOR's interdisciplinary focus by hearing about the latest
research in education– Participate in a truly international, interdisciplinary and intercultural event– Take part in interactive audience sessions– Network with international colleagues

Find out more: ace.iafor.org
IAFORJAPAN@IAFOR

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 99

100 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFOR

#IAFOR | ECAH/EuroMedia2017 | IAFOR.ORG | 101

Upcoming Events

www.iafor.org/conferences

Barcelona, Spain, 2017
July 14–16

The IAFOR International Conference on the City
(city.iafor.org)
The IAFOR International Conference on Global Studies(global.iafor.org)

Kobe, Japan, 2017
October 19–22

The Asian Conference on Education– includes The Asian Undergraduate Research Symposium(ace.iafor.org)

October 27–29

The Asian Conference on Media, Communication & Film(mediasia.iafor.org)

Hawaii, USA, 2018
January 4–6

The IAFOR International Conference on Education – Hawaii(iicehawaii.iafor.org)
The IAFOR International Conference on Sustainability, Energy & the Environment – Hawaii(iicseehawaii.iafor.org)

Dubai, UAE, 2018
February 16–18

The IAFOR International Conference on Education – Dubai(iicedubai.iafor.org)
The IAFOR International Conference on Language Learning – Dubai(iiclldubai.iafor.org)

Kobe, Japan, 2018
March 22–24

The Asian Conference on Psychology & the Behavioral Sciences(acp.iafor.org)
The Asian Conference on Ethics, Religion & Philosophy(acerp.iafor.org)

102 | IAFOR.ORG | ECAH/EuroMedia2017 | #IAFORUpcoming Events

www.iafor.org/conferences

Kobe, Japan, 2018 (cont’d)March 26–28

The Asian Conference on Education & International Development(aceid.iafor.org)

March 30 – April 1

The Asian Conference on Arts & Humanities(acah.iafor.org)
The Asian Conference on Literature(librasia.iafor.org)

April 27–30

The Asian Conference on Language Learning(acll.iafor.org)

May 31 – June 3

The Asian Conference on Cultural Studies(accs.iafor.org)
The Asian Conference on Asian Studies(acas.iafor.org)
The International Conference on Japan & Japan Studies(iicj.iafor.org)

June 6–10

The Asian Conference on the Social Sciences(acss.iafor.org)
The Asian Conference on Sustainability, Energy & the Environment(acsee.iafor.org)
The Asian Conference on Aging & Gerontology(agen.iafor.org)
The International Academic Forum (IAFOR) welcomes academics from all over the world to ourinterdisciplinary conferences held in Asia, Europe, North America and the Middle East. Our events
provide a unique international, intercultural and interdisciplinary environment in which to hear thelatest world-class research and network with leading academics, professionals and practitioners.
By facilitating dialogue between the world’s academics and thought leaders, IAFOR has become apioneer in providing the research avenues and visionary development solutions that are necessary
in our rapidly emerging globalised world. We welcome you to engage in this expanding global
academic community of individuals and network of institutions, and look forward to seeing you at
one of our future events.

iafor.org
iaforjapan@iaforiafor
Cover Image | Fish and Chips (2001) by Jim Haldane (www.jimhaldane.com)
Programme Design by IAFOR Media