PANEL 1. DIGITAL, INDEXICAL, VIRTUAL

Chair: Juan José García-Noblejas (Università della Santa Croce, Italy)

Angel Quintana (Universitat de Girona, Spain). La hibridación de lo real: la huella digital (“The Hybridization of the Real: The Digital Trace”).

Joshua Malitsky (Indiana University, USA). Documentary and Science: Refiguring Realism and Indexicality.

Deane Williams (Monash University, Australia). Both Sides Now: Digital Realism, Person and Place.

PANEL 2: NEW MEDIA, NEW MODES (I)

Chair: Marta Torregrosa (Universidad de Navarra, Spain).

Wenceslao Castañares (Universidad Complutense, Spain). El uso de la fotografía en la autorepresentación de los sujetos en las redes sociales (The Use of Photography in the Self-Representation of People in Social Networks).

Stefano Odorico (University College Cork, Ireland). What Happens When Documentary Meets Internet?

PAPENL 3. THE CHALLENGE OF RE-THINKING DOCUMENTARY

Chair: Roger Odin (Université Sorbonne Nouvelle - Paris 3, France)

John Corner (University of Leeds, UK). ‘The Politics of Realism’ Reconfigured: Practices and Values.

Ursula Böser (Heriot-Watt University, UK). Two Channels, Two Truths: Documenting the Reporting of the Iraq War in Control Room.

Arild Fetveit (University of Copenhagen, Denmark). Are there really more than three modes of documentary representation?

PANEL 4. DOCUMENTARY PRACTICES AT THE FRONTIER

Chair: Patrik Sjöberg (Karlstad University, Sweden)

Julia Wagner (University College London, UK). Pushing the Boundaries of Documentary Film: The Search for Memory in Waltz with Bashir.

Florian Mundhenke (University of Leipzig, Germany). Different Views: The Authenticity of New Documentary Forms.

PANEL 5. CAPTURING LIVES: FROM ARCHIVES TO BIOPICS

Chair: Àngel Quintana (Universitat de Girona, Spain)

Kristian Feigelson (Université Sorbonne Nouvelle - Paris 3, France). Cinematic Archives and the Rereading of European History: Testimony and Memory.

Josephine Dolan (University of the West of England, UK). Embodied Reality: Contemporary Biopics and the Inflections of Stardom.

PANEL 6. SEEING, BELIEVING: SPECTATORS AND REALISM

Chair: José A. Pérez Bowie (Universidad de Salamanca, Spain)

Roger Odin (Université Sorbonne Nouvelle - Paris 3, France). The Distrustful Citizen and the Crisis of Communication.

Marta Torregrosa (Universidad de Navarra, Spain). Imagen sintética y representación: ¿una fractura epistemologica? (“Synthetic Image and Representation: A Epistemological Rupture?”).

Guillaume Soulez (Université Sorbonne Nouvelle - Paris 3, France). Rhetorical Reading, Documentarizing Reading.

PANEL 7. POETICS AND REALISM

Chair: Laura Rascaroli (University College Cork, Ireland)

Donatella Maraschin (London South Bank University, UK). Poetic Realism in Pier Paolo Pasolini’s Films.

Marta Sureda (Universitat de Girona, Spain). Realismo poético en el cine ruso documental (“Poetic Realism in Russian Documentary”).

PANEL 8. NEW MEDIA, NEW MODES (II)

Chair: Richard Kilborn (University of Stirling, UK)

Josep María Catalá (Universitat Autónoma de Barcelona, Spain). Nuevas dramaturgias de la interfaz: realismo y tecnología (Interface’s New Dramaturgies: Technology and Realism).

Elena Marcevska (University of Northampton, UK). Screen As Site: Body Coded in Motion.

PANEL 9, SPACE, PLACE, LANDSCAPE

Chair: Joshua Malitsky (Indiana University, USA)

Patrik Sjöberg (Karlstad University, Sweden). I Am Here, or, The Art of Getting Lost: Patrick Keiller, and the ”New” City Symphony.

Carlos Muguiro (Universidad de Navarra, Spain). Una 'atopia' cinematográfica. De Robert Smithson a James Benning, hacia una nueva teoría del paisaje en el cine (“A Cinematic ‘Atopia’. From Robert Smithson to James Benning, towards a New Theory of Landscape in Cinema”).

PANEL 10. TIME AND REPRESENTATION

Chair: Deane Williams (Monash University, Australia)

Richard Kilborn (University of Stirling, UK). ‘Old Time Is Still A-Flying’: The Management of Time in Longitudinal Documentary.

Efrén Cuevas (Universidad de Navarra, Spain). No Time: The Consumption of Images in the Digital Era.

PANEL 11. NARRATING THE REAL: FICTION REPRESENTATIONS AND REALISM

Chair: Arild Fetveit (University of Copenhagen, Denmark)

Laura Rascaroli (University College Cork, Ireland). Remapping the Neorealist Nation: The Rhetorics of the Road to Realism.

Alberto N. García (Universidad de Navarra, Spain). Getting close to The Wire. Representation as Sociopolitical Critique.

PANEL 12. ADAPTING REALITY: FRON LITERATURE TO CINEMA

Chair: Josep María Catalá (Universitat Autónoma de Barcelona, Spain).

José A. Pérez Bowie (Universidad de Salamanca, Spain). Estrategias ‘naturalizadoras’ versus estrategias ‘des-realizadoras’: el cine ante el teatro (‘Naturalizing’ vs. ‘De-realizing’ Strategies: Cinema vs. Theater”).

Marta Frago (Universidad de Navarra, Spain). La clase (Entre les murs): del relato autobiográfico a la docu-ficción. (“The Class [Entre les murs]: From Autobiographical Narrative to Docu-fiction”).

PANEL 13. THINKING REALISM

Chair: Wenceslao Castañares (Universidad Complutense, Spain)

Juan José García-Noblejas (Università della Santa Croce, Italy). René Girard y las violencias del “deseo mimético”. Representación y reacciones ante The Passion. (“René Girard and the Violences of the “Mimetic Desire”. Representation and Reactions to The Passion”).

Begoña Glez Cuesta (IE Universidad, Spain). No ver para ver: fuera de campo iluminadores en la creación audiovisual contemporánea (“Not Seeing for Seeing: the Out-of-frame Space as Illuminating the Contemporary Audio-visual Creation”).

PANEL 14. DIALOGUES BETWEEN DOCUMENTAL AND EXPERIMENTALl

Chair: Carlos Muguiro (Universidad de Navarra, Spain)

Norberto Mínguez (Universidad Complutense, Spain). Apropiación, manipulación y verdad en los límites de la ficción: una lectura de La niebla en las Palmeras (“Appropriation, Manipulation and Truth in the Boundaries of Fiction: A Reading of La niebla en las palmeras”)

Javier Ortíz-Echagüe (Centro Universitario Villanueva, UCM, Spain). Entre el documento y el misterio. Sobre la teoría cinematográfica de José Val Del Omar (Between Documentary and Mistery: On José Val del Omar’s Filmic Theory).