S&I Media Programme is scheduled according to Western European Summer Time (WEST) and to British Summer Time (BST), which is 1 hour ahead of GMT (GMT+1)
To read the abstracts, please click on the title of each talk.
To check the full programme of the S#D Short Film Festivalt, click here.

Day 1

11 June

Day 2

12 June

Day 3

18 June

Day 4

19 June

PS 1.1 - Stereoscopic Photography and its Visual Cultures

Chair: Susana Martins

Stephen McBurney
Stereoscopy and the Cinematic Apparatus: The Silver Screen in Edinburgh, circa 1890s [EN]
Olivier Perriquet and Eric Kerr
Opticity and hapticity in photogrammetry [EN]
Tonje Haugland Sørensen
The immersive battlefield - aerial photography and the stereoscope in the First and Second World War [EN]

PS 1.2 - Photography, Cinema and Sound Media Archaeologies

Chair: José Gomes Pinto

Helena Gouveia Monteiro
Media Archaeology as Film Practice - The Werner Nekes Collection [EN]
Yosaku Matsutani
Becoming Static: Experiences of Pathé Baby before the Second World War in Japan [EN]

Parallel Session 1.3 - 3D Cinema, Virtual Reality and Video Gaming

Chair: Phil Lopes

Eduardo Calvet
Cine Metro Immersive Experience [EN]
Érica Faleiro Rodrigues
Edgar Pêra - Experimentação, Vanguardismo e Angústia no 3D Português [PT]

Parallel Session 1.4 - Media Arts and Immersion

Chair: Ana David Mendes

Ruth Barranco Raimundo
Karto Gimeno: urban immersive thresholds [EN]
Joel Paulo
SonikAmbi3D – Interactive and Immersive Sound Performing [EN]
Sofia Nunes
Musik3DAR – Immersive Musical Orchestra with Augmented Reality [EN]

PS 2.1 - 3D Cinema, Virtual Reality and Video Gaming

Chair: Micaela Fonseca

David Ferragut
The Crisis of Reality: Half-Life Alyx and the Perfect Simulation [EN]
Marina Oliveto A imersão e os seus graus de liberdade para os usuários de conteúdos imersivos [PT]

PS 2.2 - Performance and Visual Media

Chair: Filipe Figueiredo

Ana Perfeito e Bruno Mendes Silva
Os cineastas como performers — desde o cinema mudo de 1890 até ao live cinema atual [PT]
João Martinho Moura
Embodied Realities in Virtual Performance [EN]

PS 3.1 - Photography, Cinema and Sound Media Archaeologies

Chair: Paulo Catrica

Zsuzsanna Szegedy-Maszak
Tamás Waliczky's Imaginary Cameras [EN]
Isil Karatas
Multi-sensorial modes of Analogue Filmmaking [EN]
Christian Klant
Instantaneous Photography - Freezing motion in the 19th century [EN]

Parallel Session 3.2 - Media Arts and Immersion

Chair: Carolina Martins

Sandra Camacho
I Remember your voice in my ear: the iPod as medium in Daniel Blaufuks’s 'Now Remember’ [EN]
Erica Seccombe
An Ocular Possession [EN]
Hugo Canossa
Videomapping – a fifty-year old technology? [EN]

PS 4.1 - Stereoscopic Photography and its Visual Cultures

Chair: Rodrigo Peixoto

José Antonio Hernández Latas (invited speaker) El Monasterio de Piedra (Zaragoza) en la fotografía estereoscópica comercial, siglos XIX y XX [ES]
Nuno Borges de Araújo A fotografia estereoscópica em Angola no século XIX [PT]
Beatriz Sanchez Torija Cecilio Pla, pintor y seguidor de la fotografía estereoscópica [ES]

PS 4.2 - PERPHOTO - Performance and Visual Media

Chair: Filipe Figueiredo

Manuel Vason (invited speaker)
Unframing Photography [EN]
Arianna Novaga
Images in between the action. Some Italian experience of immersive “photographic theater” [EN]
Cosimo Chiarelli
Performing the photographic archive in contemporary Portuguese stage [EN]

PS 4.3 - Urban Sound Studies

Chair: Luís Cláudio Ribeiro

Rosimária Rocha Quintal dos Sons: Uma experiência a partir de sons do Vale do Jequitinhonha [PT]
João Carrilho
Immersion, Transparency and Disappearance: a paradoxical aesthetics [EN]
Azadeh Nichiani
Commutators and urban sonic spaces [EN]

PS 6.1 - Scientific and Social History of Early Immersive Media

Chair: Teresa M. Flores

John Plunkett
‘The World in a Box’: the Global History of the Peepshow [EN]
Cèlia Cuenca Córcoles Los cosmoramas de 1830: el aburguesamiento de la cultura visual en España [ES]
Sonsoles Hernández-Barbosa
From Vue d’Optique to Polyorama Panoptique: Objectifying Images, Embodying Vision [EN]

PS 6.2 - Media Arts and Immersion

Chair: José gomes Pinto

Filippo De Tomasi
Notes on
camera obscura
: three contemporary artistic perspectives [EN]

Jordi Pons Busquet and Montse Puigdevall (invited speakers)
An overview of the Girona Cinema Museum’s collections and the latest acquisition: the Diaphanorama, a forerunner of 3D [EN]
Sara Castelo Branco Da Sinestesia à Cinestesia: as Vídeo-Instalações de Jonathan Saldanha e Alexandre Estrela [PT]

PS 6.3 - Stereoscopic Photography and its Visual Cultures

Chair: Célia Quico

Catherine Carponsin-Martin (invited speaker)
A heritage to be preserved and enhanced: the universe of stereoscopic images. Reflections on the Stereopole and the Stereothèque (method and challenges) [FR]
Yolanda Fernandez-Barredo and Juan Jose Sanchez Garcia Opera, Opereta y Colecciones Editoriales Estereoscópicas [ES]

PS 8.2 - Stereoscopic Photography and its Visual Cultures

Chair: Rodrigo Peixoto

Nuno Prates A Fotografia como Fonte Histórica: Da Casa dos Patudos ao Quotidiano da Família Relvas nos Finais do Século XIX [PT]
Angelica Piedrahita Revisando el Archivo Estereoscópico como Dispositivo de Memoria del Caribe [ES]

See the list of all accepted abstracts.

Due to the Covid-19 crisis, we are now organizing this year’s conference as an exclusively online scientific event.

Red and cyan anaglyph glasses are required.

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Stereoscopy and the Cinematic Apparatus: The Silver Screen in Edinburgh, circa 1890s [EN]

Stephen McBurney


Technology has been central to the growth of Film Studies as a discipline, helping to shape historical writings and film analyses. However, traditional technological histories are apt to hermetically focus on the technical aspects of the cinematic apparatus, and are structured to fit an evolutionary and teleological narrative. This paper adopts the principles of New Cinema History to eschew these failings, detailing technical processes whilst placing them in a localised cultural and social context. Specifically, I focus on an archaic stereoscopic technology called the Analyticon, arguing that this technology helped to shape the aesthetic and ideological character of early cinema in Edinburgh.

The Modern Marvel Company was incorporated in Edinburgh in 1897. In its memorandum, the company stated that its principle purpose was to exploit scientific instruments for the purposes of popular entertainment and education. Modern Marvel focused on technologies developed in Edinburgh such as the Analyticon, in a bid to ingratiate itself with the city’s myriad learned societies and appeal to local audiences. Alongside the cinematograph in the late 1890s, the company regularly exhibited the Analyticon, which was a stereoscopic technology built upon the principle of polarised light. The Analyticon depended upon a silver screen to function, otherwise the light would become de-polarised upon reflection. This shaped the aesthetic experience of early film exhibitions for Edinburgh audiences, as the two technologies shared the same silver screen. This paper adopts tropes of traditional technological history by detailing the Analyticon’s technical workings, but it also adopts the principles of New Cinema History by situating this technology within localised screening contexts. In doing so, it offers a more nuanced and fuller understanding of early cinema’s aesthetic, social and cultural significance in Edinburgh, and its relationship with the wider visual culture of the 1890s.


Dr Stephen McBurney is a recent PhD Graduate from the University of Glasgow. His thesis, “Colour Cinema in Scotland, 1896-1906”, uses specific locales as microcosms to explore wider issues, including modernity, education and local identity. His forthcoming publications include “Moral and Aesthetic Objections to Early Hand-Painted Films in the Scottish Highlands” (Early Popular Visual Culture).

Stereo – Stravaganza – Virtual Kino-Koncert 2D-3D + Q&A with director Edgar Pêra and curator Érica Faleiro Rodrigues

We are proud to announce Stravaganza – Virtual Kino-Koncert 2D-3D, a synthesis of Edgar Pêra’s 2D and 3D kino-koncerts where Pêra films and transmits live, in a dialogue with the musicians on stage (such as Dead Combo, Vítor Rua or The Legendary Tigerman), while VJammer and stereographer Claudio Vasques manipulates the feed, mixing it with other pre-assembled images. Stereo-Extravaganza will be broadcast live from the NEUROLAB Studio, alternating 2D images captured during the concert with anaglyphic films mixed and scored live, all into the freedom of style and structure characteristic of Extravaganza.
19 June, 20.30 GMT
30 min film + 30 min Q&A Edgar Pêra and curator Érica Faleiro Rodrigues, director of the UK Portuguese Film Festival (Utopia Festival)
Get your attendee ticket on Eventbrite— one single ticket for all events and talks of S&I Media 2021 online edition!

An overview of the Girona Cinema Museum at S&I Media’21

The Girona Cinema Museum (Spain) holds one of the largest collections of early optical media in Europe.  To present those collections, S&I Media has invited Jordi Pons Busquet and Montse Puigdevall, director and curator of the Cinema Museum. Their talk will also include the presentation of the latest acquisition of the Cinema Museum, a diaphanorama, one of the earliest attempts to add a three-dimensional effect to images. Don’t miss this journey to proto-3D next 19 June at S&I Media.
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