Local host for this conference was Prof. Dr. Luisa Zanoncelli. The program committee was composed of Gianmario Borio (Università di Pavia), James Deaville (Carleton University), Anahid Kassabian (University of Liverpool), Michael Saffle (Virginia Tech), Emile Wennekes (Utrecht University) and Luisa Zanoncelli (Università di Torino). Following an international Call for Papers, the committee selected the proposals of 32 scholars from Europe, North-America and Asia for presentation. Prof.Dr. Claudia Gorbman delivered a well-received keynote. Some 60 scholars attended the two day gathering, which included a leisurely finale in the form of a guided tour through the fascinating Museo Nazionale del Cinema.

June 28:
Words of Welcome:
Enrico Maltese (Dipartimento StudiUm);
Giulia Carluucio (scuola di Dottorato di Ricerca);
Emile Wennekes.

Session 1: Chair: Emile Wennekes
Annarita Colturato (University of Turin), “The Research Project Cabiria”;
Scott Murphy (University of Kansas), “What does film music sound like?”;
Guido Heldt (Univeristy of Bristol), “The Song Inside: Metadiegetic Music or Focalisation?”.
Danijel Kulezic-Wilson (University College Cork), “Films without Melodies: Audio-Visual Musique Concrète”;
Michael Baumgartner (Cleveland State University), “Complementary Model for the study of Film SOundtracks: Jean-Luc Godard and Film Music”;
Ilario Meandri Sanchez (University of Turin): From the Marvelous to the Anti-Music: Film Music Clichés and Formulas in an Ethnomusicology Perspective”.

Session 2: Chair: James Deaville
Giorgio Biancorosso (University of Hong Kong), “Memory and the ‘Leitmotif’ in Cinema”;
Kenneth Delong (Univeristy of Calgary), “Narrativity and Voice in Georges Auric’s Film Score to Goodbye Again”;
Tobias Pontara (Uppsala University), “Bach at the Space Station: An Attempt to Mind the Gap in Andrei Tarkovsky’s Solaris”.
Ben Winters (The Open University UK), Rehearsing Classical Hollywood: Concert Scenes and the Self-Referential Score”;
Marco Targa (University of Turin), “Reconstructing the Sound of Silent Cinema: New Documents for the Study of Music in Italian Silent Films”;
Gillian Anderson (University of Illinois), “D.W.Griffith’s Intolerance: Revisiting a Reconstructed Text”.

June 29
Session 3: Chair: Anahid Kassabian
Tobias Plebuch (Humboldt University), “Musical Topics, Time and Narrative Films in the 1920s”;
Laura Wilson (University of Manchester), “Sound, Anxiety and Affect in The New Extremism”;
Janina Müller (Humboldt University), “Music and Nostalgia in Film Noir”;
Susanne Scheiblhofer (University of Oregon), “Sonic Consciences and Toxic Tonics: Masculinities in Crisis in Tim Roth’s The War Zone”;
Hon-Lun Helan Yang (Hong Kong Baptist University), “’Heard Melodies’ and Womanhood: Cover Songs in Cantonese Movies of the 1960s”.

Keynote: Claudia Gorbman (University of Washington Tacoma), “Music and Character”.

Session 4: Chair: Michael Saffle
Mauro Buzzi (Catholic University Milan), “The Role of Pop Song as Social and Technological Device in Italian Cinema of the 1950s and 1960s”;
Alessandro Cecchi (University of Turin)/Maurizio Corbella (University of Milan), “Experimentation, Documentation, Censorship: A Joris Iven’s Industrial Film and the Italian National Broadcasting Television”;
Alessandro Bratus (University of Pavia), “ ‘Sharia Law in the U.S.A.’: Audiovisual Representation of Authenticity in Taqwacore”;
Rubén López-Cano (High School of Music Catalonia)/ Úrsula San Cristóbal (University of Milan), “’Ars video’: The Short Music Video in Early and Classical Music”.