Ludo 2015


9–10 April 2015, University of Utrecht

Learning from Video Game Music

Call for Papers PDF

The Ludomusicology research group will be hosting a two day conference on video game audio to take place on the 9th and 10th of April, 2015 at Utrecht University. We are seeking proposals for papers on the topic of video game music and sound. Papers may contain interdisciplinary import of any type. Paper proposals are welcome from both academics and those working in the video game industry.

While we welcome all proposals, we are particularly interested in papers that support the education theme in terms of how we learn with, learn from, and learn about, video game music. Possible paper topics on this theme include:

  • Instrumental teaching through video games
  • Pedagogics of ludomusicology
  • Composition in video games
  • Music, sound design and video games in higher education
  • Game audio outside games
  • Trans-media interactions
  • Lessons for musicology from game music

A keynote address will be given by Karen Collins, author of Playing with Sound (2013), Game Sound (2008), and From Pac Man to Pop Music (2008). Other speakers are to be confirmed shortly.

Papers should be a maximum of 20 minutes in length, with 10 minutes allowed for discussion. Shorter papers will also be considered for inclusion. Proposals should be no more than 250 words in length and sent as an attachment to



Organizers: Michiel Kamp, Tim Summers, Mark Sweeney.

Hosted by University of Utrecht.

Supported by The Institute for Cultural Inquiry (ICON). |

Study Day on Computer Simulation of Musical Creativity

We are happy to announce the first “Study Day on Computer Simulation of Musical Creativity”, which will be held at the University of Huddersfield (Huddersfield, UK), on Saturday 27 June 2015.

Keynote Speaker: Eduardo Miranda 

The main goal of this one-day conference is to bring together scholars from different backgrounds, interested in virtual emulation of musical creativity, providing an interdisciplinary platform to promote, present and discuss their work. 

Submissions can cover both theoretical and/or practical aspects of computer simulation of musical creativity. Interdisciplinary proposals at the intersection of music, computer science, psychology and philosophy are warmly invited. Topics of interest may include, but are not limited to: 

Computer simulation 

  – systems capable of creating musical pieces and sounds; 
  – systems capable of performing music; 
  – systems capable of online improvisation; 
  – simulation of music societies; 
  – robot-based systems; 
  – systems that enhance the creativity of human users; 
  – computational aesthetics, emotional response, novelty/originalty; Theory 

  – surveys of the state-of-the-art techniques in the area; 
  – validation methodologies; 
  – philosophical foundations of music creative systems; 
  – evolutionary-based models for music creative systems; 
  – cognitive-based models for music creative systems; 
  – studies on applicability of techniques to other areas; 
  – new models for improving music creative systems. 

We accept proposals for papers, posters and workshops. Papers have a maximum duration of 20 minutes, with 10 minutes of Q&A. Posters should be used to present research projects in an initial phase. Workshops are 45 minutes long sessions, focused on practical demonstrations and tutorials of new systems and technologies related to musical creativity. 

We welcome abstracts of no more than 300 words for papers and posters, and 500 words for workshops. Abstracts should include type of submission, AV requirements and any other special requests. The review process is managed through EasyChair. To submit an abstract, please go to the submission page and follow the instructions provided by EasyChair. 

Abstract Submission Deadline: Monday 20 April 2015
Online Registration Closes: Saturday 14 June 2015
Conference Date: Saturday 27 June 2015

Presenters will be advised as to the outcome of their submission by May. For more details about the Study Day, please visit the conference website. If you have any enquiries, contact Valerio Velardo (

Musical Legacies of State Socialism: Revisiting Narratives about Post-World War II Europe

Serbian Academy of Sciences and Arts, Belgrade, 24–26 September 2015



Institute of Musicology of the Serbian Academy of Sciences and Arts (SASA)

Department of Fine Arts and Music of the Serbian Academy of Sciences and Arts

BASEES Study Group for Russian and East European Music (REEM)



The Institute of Musicology of the Serbian Academy of Sciences is pleased to invite proposals for an international conference Musical Legacies of State Socialism: Revisiting the Narratives about Post–World War II Europe to be held in Belgrade in September 2015.

The countries that imposed the state socialism project were in many ways divided from the Western world by what is widely known as the ‘iron curtain’. In many respects, these countries are considered to have been totalitarian, as their ruling communist parties sought to control every aspect of their citizens’ everyday lives. However, discourses on these issues have recently become equivocal and research has drawn attention to unexplored features of cultural, artistic and musical life ‘behind the wall’. In this conference we wish to examine the musical legacies of the socialist countries of Europe in the period between the end of the World War II and the fall of the Berlin Wall. We also wish to address the possible permeability of the ‘iron curtain’ to cultural exchange and to examine related phenomena, such as the concurrent influence of socialist ideology on music in the West and the present-day political/artistic processes of reappropriation of socialist legacy. Thus, we suggest the following key issues for the conference:

  1. Beyond the Iron Curtain: In order to revisit the concept of an impermeable iron curtain which stood between the socialist countries of Europe and the capitalist West, György Péteri has developed the concept of ‘nylon curtain’. While the state-socialist countries were not completely isolated from the West, the degree to which the influence of Western culture was tolerated and the extent of state control over this communication is open to debate. We wish to examine the various channels of communication between the East and the West and to explore in what way certain countries in state socialism system were open to manifestations of Western culture such as visits of various artists, stylistic influences, cultural exchanges, etc.
  2. ‘Socialist Music’ outside Zhdanovism: Vast swathes of artistic output under state socialism are often described as socialist realism, defined by what was known as Zhdanov Doctrine. However, in certain cases there were also modernist and avantgarde tendencies. The situation was often specific to the country in question, and modernism in art could sometimes become either a part of the ruling state ideology or merely tolerated in order to improve the country’s image in the West. In this respect, the case of Yugoslavia is distinctive, as already in 1948, after the Tito–Stalin split, Yugoslav cultural policymakers began to abandon the basic precepts of socialist realism. Thus, we are interested in investigating both stylistic and political questions which are relevant to this issue.
  3. The Impact of Official State Policies on Music Production: Beside the aforementioned subtopics, we also welcome other proposals which more generally reconsider the influences of official state policies on music production, in realms of artistic, traditional, as well as popular music. We invite scholars to investigate to what extent policies have shaped (redirected, inhibited or derailed) the development of music practices, for example, in terms of style, technique and the choice of subject matter. We particularly welcome comparative research which takes into account the current scholarship in the fields of literary criticism and art history.
  4. ‘Socialist Europe’ in the West: While state socialism had been imposed in the East, the communist parties remained strong political factors in some of the post-war Western countries. Certain artists, thinkers, and musicians in Western Europe were influenced by the idea of a socialist society, either seeing it embodied in the state socialist countries, or imagining it as a utopia of the future. We wish to examine how these processes were reflected both in specific musical practices and individual artistic oeuvres.
  5. Questioned Legacy and Backward Glances: With transitional and economic crises in many of the former state socialist countries, there have been instances of revisiting musical legacies of the past and using them in order to create politically engaged practices which question the current neoliberal capitalist system. Going beyond banal and often commodified instances of ‘nostalgia’ narratives (Yugonostalgy, Ostalgie, etc.), we wish to explore how these processes work and how they recycle what is seen as the musical legacy of state socialism.

We welcome original musicological and interdisciplinary research which deals with artistic, popular or traditional musical practices. The official language of the conference is English. Proposals (of no more than 400 words) for 20-minute papers and short biographical notes (of up to 200 words) should be sent both to Srđan Atanasovski ( and Ivana Medić ( by 15 February 2015 (receipt of proposals will be acknowledged by e-mail). We also encourage panel proposals; please provide a short description of the session in addition to individual abstracts and biographical notes. Proposals will be reviewed by the conference committee and results will be announced by 15 March 2015. A selection of papers will be considered for publication in the form of conference proceedings. Conference fee: 50 Euros (students are exempted). The institute may be able to assist a number of foreign speakers by providing accommodation in Belgrade. This support will be available on a competitive basis and if you are interested in this option, please let us know when applying.


Keynote Speakers:

Marina Frolova-Walker, Faculty of Music, University of Cambridge

Melita Milin, Institute of Musicology SASA, Belgrade


Conference Committee:

Dejan Despić, Fellow of the SASA

Dr. Marina Frolova-Walker

Dr. Ivana Medić

Dr. Melita Milin

Dr. Ana Petrov

Dr. Katy Romanou

Dr. Leon Stefanija

Dr. Danijela Špirić-Beard

Dr. Katarina Tomašević

Dr. Aleksandar Vasić

Dr. Patrick Zuk

Srđan Atanasovski

Music from the perspective of globalization

On behalf of the Rector of the I. J. Paderewski Academy of Music in Poznań and the organizer: the Department of Music Theory, we have the honor and pleasure to invite you to participate in the XII International Conference from the series: MUSICA
PRACTICA, MUSICA THEORETICA, on the subject of: Music from the perspective of globalization, which will be held at the Academy on 22-23 April 2015.
Encouraged by the success of the previous conference from this series in 2014, we have decided to continue our discussion on this subject and organize the second edition next year.
In today’s world, many processes referred to as globalization or globalism are significantly manifested in culture, including music. The phenomenon, ambiguous and undergoing constant transformations, marked by various contexts and diversity, raises disputes and discussions, so it is cognitively intriguing. It seems undeniable to claim that globalization has led to the convergence of the image of the world as a homogeneous whole of interrelated elements, not just economic and political, but also cultural and social.
The globalization of culture is perceived and evaluated by many artists and authors negatively, as a process of threatening the development of local cultures, leading to uniformity, amalgamation or deformation. On the other hand, it emphasizes, among other things, the values of openness to the world, the extension of cultural diversity and the pragmatic function of interpersonal communication in the digital world. It is noteworthy to investigate the homogenization and differentiation processes in the contemporary art of music.

During this conference, we wish to draw your attention to the following subthemes/areas:

– Globalization in the musical culture, current usage and scope of the term,
the issue of adequacy of the existing terminology to changing cultural
reality (e.g. music super-culture or inter-culture, inter-and transnational
– Music and its various contexts (economic, social, ideological, geographical)
– The musical work – the analysis and interpretation in the context of cultural hybridism
– National category in music and its roots versus cultural totality in the global village
– The musical work and its reception in the light of modern techniques of communication in the media civilization.

These are the questions our conference will raise and, perhaps, it will also produce some answers.
Please note that the conference discussions, as a forum for exchanging ideas of theorists, composers, musicologists from Polish and foreign universities, will be accompanied by concerts devoted to chamber music composers of the twentieth and twenty-first century. The concerts will take place every evening at 7.30 p.m. in our concert hall Aula Nova. All participants of the conference are invited.
The presentation of the paper, together with music samples, should not exceed 20 minutes. The organizers reserve plus 10 minutes for a brief discussion after each lecture.
The main language of the conference is English. Each participant is also requested to write an abstract of the paper in English (min. 200 words) and send it until the end of February 2015. It will be included in the conference program book. We do hope you will accept our invitation and that the conference will be a great opportunity for cultural dialogue between our institutions.
The deadline for a proposal submission is February 5, 2015. (please send an email to Julia Gołębiowska

More details concerning the conference will be sent later.
Yours sincerely,
dr Janina Tatarska prof. AM

Department of Music Theory
Faculty of Composition, Conducting,
Music Theory and Eurhythmics

(re)storing performance – The Feldenkrais Method and Creative Practice

A Call for Papers:


One day symposium

 (re)storing performance -The Feldenkrais Method and Creative Practice

Bath Spa University,  27th June 2015

This one day symposium aims to offer a forum for Feldenkrais practitioners, performing artists and somatic movement educators to exchange, document and question emerging practices and non-dualist thinking.

We are inviting performing artists – theatre/dance/music/live-art, pedagogues and academic scholars to present academic papers,  video documentations, provocations, workshops, lecture demonstrations and performances.

There is a growing trend in the application of somatic informed approaches to performer training and performance making in the UK. While these approaches are being increasingly theorised  and anchored within academic and training institutions, there is a concurrent interest in the field of performance and cognition and the development of embodied practices that allow for non-dualist training of performers and new ways of approaching creative process and spectatorship.

The Feldenkrais Method has been applied within the performing arts from its inception.  As a pioneering method it bridges cognitive performance concerns with somatic education processes by leaning on constructivist and enactivist notions of neuroplasticity and learning. Dr.Moshe Feldenkrais (1904-1984) worked with leading artists such as director Peter Brook, violinist Yehudi Menuhin, conductor Igor Markevich, and guitarist Narciso Ypes. His teaching focused on the development of self-directed learning, autonomy and curiosity through heightened awareness and improved functioning of the flexible individual. The Feldenkrais Method  was integrated into the physical theatre pedagogies of Jacques Lecoq through the work of Monica Pagnieux, and into the work of Choreographer Siobhán Davies through dancer and Feldenkrais practitioner Scott Clark who inspired a generation of independent dance makers in the UK. Feldenkrais is increasingly taught in Higher Education institutions and conservatoires within the UK, and around the globe. It has been theorised within educational contexts as a trans-disciplinary  and emancipatory approach to learning that transcends notions of improved physiological functioning ( Edinborough 2012, Fortin 2009,Ginot 2011, Kampe 2014, Shusterman 2004.) and offers an open ended discourse.The symposium coincides with the upcoming journal volume of TDPT on Feldenkrais and Performer Training (07/2015), edited by Libby Worth and Dick McCaw..


Invited guest presenters include Professor Emeritus Glenna Batson – author of Body and Mind in Motion: Dance and Neuroscience in Conversation (2013) and Dynamic Systems Alignment (2008), Professor Emeritus Wendy Wheeler – author of The Whole Creature: Complexity, Biosemiotics and the Evolution of Culture (2006) and Scott Clark – organiser of Feldenkrais Training London.

Participant fee: £45   This includes food and drink during the event.




Proposals should include a 250 – 300 word abstract of your presentation, stating the format. For example:

• a 20 min long academic talk or presentation

• one hour workshop or workshop/demonstration

• poster with relevant research findings

• Skype talk

• artistic presentation, max 20 min length

You must also include a brief CV with relevant background and both should be provided in PDF format.

Bath Spa University will provide basic technical support for presentations.

We are currently negotiating opportunities for participants to submit their work in

a peer-reviewed journal.

To send your proposals and for more information, please contact:


The symposium is supported through:

-The Performance Research Centre of Bath Spa University

-Bath Spa Live

-The Feldenkrais Guild UK

-The International Feldenkrais Federation

-Centre for Dance Research C-DaRE Coventry University

-Royal Holloway, University of London

Popular Music Fandom and the Public Sphere

CFP: Popular Music Fandom and the Public Sphere: A One Day Symposium
University of Chester,
Friday, 10th April 2015
Keynote speaker: Dr Cornel Sandvoss, University of Surrey
In the mainstream media, postwar popular music fandom has traditionally been associated with collective displays of emotion. Yet fandom is actually about a range of things: shared tastes and personal convictions, individual subjectivity and wider community. Fandom does not exist entirely in private nor entirely in public, but is characterized a process of continual mediation between the two. Jürgen Habermas’s concept of the public sphere suggests that shared spaces of discussion have political consequences, making the crossing of the private/public boundary a political act. It is possible for fans to have relatively public experiences in private and private experiences in public. What new forms of public sphere does popular music fandom create? Edward Comentale suggested that Elvis Presley created a “public sphere within the public sphere.” Furthermore, both ‘the public’ and ‘the private’ are transforming in a networked society and neoliberal era. As communities of imagination, fan bases are providing new models for public activism based on shared values. Fandom can therefore help to indicate where conceptions of the private and public might require some reformulation. We invite papers associated with this subject on specific topics such as the following:
* Closet popular music fandom
* Fandom and intimacy
* Music fan diaries and confessionals
* Voyeurism and fandom
* Fan mail and its representation
* ‘Masses’ and ‘manias’ – collective fandom in the mass broadcast era
* Fan communities as their own public spheres
* Fandom, festivals and spectacles
* Collecting, exhibiting and curating and music fandom
* Genre fandom and the public sphere
* Fan philanthropy and activism
* Fan productivity as social commentary
* ‘Drive by’ media, news and documentary portrayals
* Interaction on social media
* Fandom, affect and the public display of emotion
* The public/private boundary and historical fan studies
* Abject heroes and music fan shame
Papers will be 20 minutes in length with 10 minutes for questions. 
Please send an abstract of no more than 300 words and a bio of no more than 50 words to: – before Wednesday, 19thNovember, 2014.
Organized by:
Dr Mark Duffett, University of Chester.
Dr Koos Zwaan, InHolland University of Applied Sciences.
This event is free to staff and students from any university. Click here to register.

Voices and Books 1500-1800

Conference: July 16th-18th 2015 at Newcastle University and City Library, Newcastle

Keynote Speakers: Heidi Brayman Hackel (University of California, Riverside); Anne Karpf (London Metropolitan University); Christopher Marsh (Queen’s University, Belfast) with The Carnival Band; Perry Mills, Director of Edward’s Boys (King Edward VI School, Stratford-upon-Avon)

Although it is often acknowledged that early modern books were routinely read aloud we know relatively little about this. Oral reading is not embedded as an assumption in existing scholarship. On the contrary, over the last two decades it is the studious and usually silent reader, pen in hand, who has been placed centre stage. This conference aims to: explore the kind of evidence and research methods that might help us to recover this lost history; think about how reading/singing aloud relates to other kinds of orality; recover the civic and/or social life of the performed book in early modern culture; and reflect on how the performance of the scripted word might inform our reading of early modern writing today.

We invite proposals (in English) that address the relationship between orality and literacy in any genre in print or manuscript in any European language. The genres might be literary, religious, musical, medical, scientific, historical or educational. We encourage proposals that recover diverse communities and readers/hearers. We also welcome papers that consider problems of evidence: e.g. manuscript marginalia; print paratexts; visual representations; as well as non-material evidence (voice; gesture), or which explore how ‘voice’ can be central to textual practice. We will be pleased to receive suggestions for presentations that include practical illustrations, performances or demonstrations.

Topics might include, but are not restricted to:

  • The sound of print
  • The physiology of voicing
  • Singing and speaking
  • Rhetoric: voice and gesture
  • Performance and emotions
  • Communities of hearers
  • Acoustic reconstructions
  • Children’s reading / reading to children

200-word abstracts for 20-minute papers from individuals and panels (3 speakers max) to be sent The DEADLINE is Friday, January 16TH 2015.

There will be a small number of travel bursaries for postgraduate and early career researchers. If you are interested in applying for support please contact The DEADLINE for the bursaries is May 1st 2015.

Petrus Alamire – New Perspectives on Polyphony

Antwerp, 18-23 August 2015

Organised by the KU Leuven (Department of Musicology), Alamire Foundation (Leuven), AMUZ (Flanders Festival, Antwerp)


In August 2015 the Alamire Foundation, International Centre for the Study of Music in the Low Countries, and the KU Leuven Musicology Dept., will organise an ambitious conference centered on the music scribe Petrus Alamire and his manuscripts. The event will coincide with an extended edition of the early music festival “Laus Polyphoniae” (19 – 30 August) and the opening of a digital exhibition of Alamire’s production in Antwerp Cathedral.

The conference aims to consolidate the most recent research on the manuscripts of the Habsburg-Burgundian Court Complex. Furthermore, with the Alamire manuscripts as focus, the conference aims in particular to link musicological research and performers. For that reason, an invited group of core speakers will include both leading scholars and performers. Additional submissions are also invited on any aspects of the manuscripts, their production, repertory, and relationships with other sources. Themes on which sessions are expected include:

  • Musical contexts (such as the ‘Lof’, confraternities, etc.)
  • Individual manuscripts in the complex
  • Composers represented in the complex
  • Commissioners and recipients
  • Performance practice and performing from the manuscripts
  • Mise-en-page in Alamire and related sources

Proposals may take a variety of formats, including standard scholarly papers (of around 25 minutes in length), workshops, and round-tables.


Herbert Kellman (University of Illinois, US)
Paul Van Nevel (Huelgas Ensemble, Belgium)


Registration, covering conference materials, light refreshments, admission to the opening of the Petrus Alamire Exhibition (Tue, 18 August 2015), the opening concert of Laus Polyphoniae (Wed, 19 August 2015), the Lecture-Performances (on each conference day) and the closing walking lunch (on Sun, 23 August), will be € 200. (Registration date will be announced later on). Students € 80; Day Fee € 50.

Abstracts should be sent to Klaartje Proesmans (, before 15 December 2014.

All information on:


City of Light: Paris 1900-1950

City of Light: Paris 1900-1950 International Conference

27-29 May 2015

Institut français du Royaume-Uni, 17 Queensberry Place, London SW7 2DT


Organised in conjunction with City of Light: Paris 1900-1950, the Philharmonia Orchestra’s major festival of French music, this conference is held in partnership with the Institut Français du Royaume-Uni and the Institute of Musical Research (IMR) and will explore the Parisian musical and artistic milieu in the period 1900-1950. For further information about the City of Light festival see The conference aims to investigate the music of the period as well as its interactions with the visual arts, literature and the dance while considering the socio-political history that drew leading creative artists of the age to Paris from across Europe and North America. Myriam Chimènes (Director of Research, CNRS) will be the keynote speaker.

The conference concert will be given on 28 May by the Philharmonia Orchestra at the Royal Festival Hall under Principal Conductor Esa-Pekka Salonen. A lecture-recital on French piano music will be given by Paul Roberts (Guildhall School of Music and Drama) at the Institut Français on 27 May.

Bringing together researchers interested in all aspects of musical and cultural life in the French capital, the conference committee welcomes proposals that may, but need not exclusively, relate to the following topics:


The place of popular culture in classical music, art and literature

Internationalism in Paris 1900-1950

Cosmopolitanism/Exoticism/ Eclecticism/Colonialism

Entente cordiale

Inter-art collaboration

Sacred-secular tension

The French flute, the French piano

Instruments and instrument makers

French musical life and education 1900-1950

Refugee artists

Exhibitions (especially 1931, 1937)

New concert spaces during the period

Music in the Parisian urban and social landscape


Languages of the conference will be English and French. Proposals are invited for individual 20-minute papers and should include the following:

  • Title of paper and an abstract of no more than 250 words
  • Short biography of the presenter (maximum 100 words)
  • Institutional affiliation (where applicable)
  • Postal address, telephone and email address

Proposals are particularly welcomed from postgraduate students. Thanks to the generosity of the Institut Français du Royaume-Uni, limited financial support may be available for student presenters travelling from France.

Proposals must be sent not later than 20 January 2015 as an MS Word attachment to:

Notification of decisions will be made via email from 20 February 2015.

Conference committee

Caroline Rae, Cardiff University

Caroline Potter, Kingston University London

Barbara Kelly, Keele University

Yves Balmer, Conservatoire de Paris (CNSMDP)

Christopher Murray, Université Libre de Bruxelles

Catherine Robert, Institut Français du Royaume-Uni


Audio-Visual Archives Conference

Saturday 18 – Sunday 19 July 2015
British Library, London
The School of Music at the University of Leeds and the British Library are co-hosting a conference at the British Library on Audio-Visual Archives as part of the AHRC-funded project The Professional Career and Output of Trevor Jones. Collections of materials relating to audio-visual processes and products take various forms ranging from the multitrack reels of film-score recording sessions in the Trevor Jones Archive at the University of Leeds to the Muir Mathieson papers and other film-related manuscripts at the British Library to the scores and other documents in the Warner Brothers’ Archive in California.This two-day conference will bring together scholars and students working with audio-visual archives to address some of the fundamental issues surrounding the use of such collections, and to explore current research in screen music that draws on archival resources. The conference will feature a central discussion session focused on issues relating to audio-visual archives, for which short position papers will be distributed in advance. Further information on the precise topics for this session will be made available in due course.

Call for Papers

The conference committee welcomes and encourages submissions relating to all aspects of audio-visual archives, though indicative areas might include:

  • Research methods and audio-visual archives
  • Archives and creative practice
  • Archival materials and the processes of screen music
  • Issues of access and availability of audio-visual archives and materials
  • Copyright and intellectual property
  • Audio-visual archive management and preservation

Proposals with brief abstracts (250 words) for papers of 20 minutes’ duration should be submitted to by Friday 16 January 2015. The Film Music Foundation has funded a small number of bursaries for postgraduate students and early-career researchers to attend the conference. Information on eligibility and the application process will be available in due course.

Conference Committee

  • Dr Ian Sapiro, University of Leeds, Trevor Jones Project Co-Investigator
  • Dr Laura Anderson, University of Leeds, Trevor Jones Project PDRA
  • Dr Sandra Tuppen, British Library, Curator of Music Manuscripts
  • Annabel Fleming-Brown, University of Glasgow and British Library, AHRC CDP
  • Professor Julie Brown, Royal Holloway, University of London
  • Dr Ben Winters, Open University
  • Dr Annette Davison, University of Edinburgh
  • Dr Nathan Platte, University of Iowa

For further details about the conference and the overarching research project please see the Trevor Jones project website,, email, or follow us on twitter: @TJFilm.