Friday 15 September
10:45 Welcome
Milijana Pavlović, Jeremy Barham and Alessandro Cecchi
11.00–12.00
Keynote presentation, Emile Wennekes:
“Being Composed first, then Being Screened: Remediating Mahler”
12:00-13:00
Screening of Mahler. The Echo of Being (‘symphonic cinema’ by Lucas van Woerkum, 2020)
Lunch
14.30–16.30
Paper session 1: The Screen (i): from the Beginnings to Visconti
Julie Brown “Mahler-Lichtbildkonzert: An Early Screen Mediation of the Composer in Context”
Laurence Carr “A Song of Two Humans (Murnau and Riesenfeld): An Exploration of Sound and Music in Sunrise (1927)”
Maria Fuchs “The Persistence of Romantic Landscape: from Mahler to the Politics of Nature in the Heimat Genre”
Giorgio Biancorosso “Mahler and Free Indirect Style in Death in Venice (Visconti, 1971)”
Refreshments
17.30–19.00
Presentation: Johannes Deutsch, ‘Vision Mahler’
Saturday 16 September
10.00–12.00
Paper session 2: Dramatizing and Visualizing on Stage, Canvas, and Page
Emilio Sala “The ‘Haunting Melody’ and Castellucci’s Staging of Mahler’s ‘Resurrection’ Symphony”
Eftychia Papanikolaou “Mediating the Pan-Erotic: John Neumeier’s Choreography of Mahler’s Third Symphony”
Martina Pippal “Symbolism as an Underestimated Meta Phenomenon: Gustav Mahler and the Visual Media of His Time”
Jeremy Barham “Making a Song and Dance about Mahler: Dramatizations and Novelizations”
Lunch
14.30–16.30
Paper session 3: The Screen (ii): Beyond Visconti
Maurizio Corbella “(Un)crediting Mahler: Adaptation, Allusion, Reinvention in Italian Film Music Beyond Visconti”
Carlo Cenciarelli “Distant Music and Jarmusch’s Mahler”
Alessandro Cecchi “Fake Mimesis as Symptom and Strategy: Mahler’s Piano Quartet in Shutter Island (Scorsese, 2010)”
Julie Hubbert “‘Vergessen Sie Visconti’: Mahler, Music, and Auteurism in Tár”
Concluding remarks
Refreshments
17.30–19.30
Performance: Uri Caine, Improvising a Live Mahler Score to Murnau’s Sunrise