IMA JOB POSTING 2014-15
The School of Image Arts invites applications for a tenure-track position at the Assistant Professor level. The appointment, effective July 1, 2015, is subject to final budgetary approval.
Ryerson’s School of Image Arts in the Faculty of Communication & Design is recognized internationally as a top undergraduate and graduate school offering specializations in film and photography. The curriculum in the School of Image Arts program is designed to lead to careers in the film, photography, new media, communications, and the cultural industries. The School’s full-time faculty is made up of dedicated individuals who have established a solid educational, professional, research, and teaching background in their respective areas of expertise.
The successful candidate will teach a variety of production-oriented courses in the undergraduate Integrated Digital Option, play a key role in the development of this innovative curriculum as well as teach and supervise in either or both of the graduate programs in Documentary Media and Film and Photography Preservation and Collections Management.
The successful applicant will be an image-based interdisciplinary artist/scholar with a record of artistic and/or documentary productions, exhibitions, and publications engaging with any of the following areas of expertise: creative coding, web-based media, social media platforms as storytelling tools, sound art and emerging sonic environments, or mobile imaging technologies and locational art. The successful candidate’s scholarly or creative activities will be situated within a hybrid, interactive space addressing 21st-century image-based productions and research-creation.
As the School continues to expand its scholarly and creative activities, the successful candidate should demonstrate the ability of establishing a solid independent, externally funded research-creation agenda that is dynamic, productive, critical and applied scholarly/creative research. The successful candidate has a capacity to engage in collaborative projects and collegial service. The successful candidate will ideally hold a PhD in research-creation or be close to obtaining one. In exceptional cases, a candidate holding an MFA with a significant professional and creative profile will be considered. The successful candidate has demonstrated teaching excellence at the undergraduate and graduate level and curriculum development experience will be considered an asset.
Candidates should submit a letter of application, a CV and contact information for three referees to Cathy Gullo, Program Manager, School of Image Arts, Ryerson University, 350 Victoria Street, Toronto, ON M5B 2K3. Applications can be submitted electronically to firstname.lastname@example.org. Please also include a statement of research interests, a teaching dossier including a teaching philosophy and evidence of teaching effectiveness (course evaluations), and access to a sample portfolio of work. Please indicate in your application if you are a Canadian citizen or a permanent resident of Canada. Priority will be given to candidates who apply on or before January 15, 2015; however, applications will continue to be accepted until the position is filled.
This position falls under the jurisdiction of the Ryerson Faculty Association (RFA). The RFA collective agreement can be viewed at: http://www.ryerson.ca/teaching/employment_resources/rfa.html
The RFA’s website can be found at: http://www.rfa.ryerson.ca/
A summary of RFA benefits can be found at: http://www.ryerson.ca/hr/benefits/benefits_by_group/rfa/index.html
Ryerson University is known for innovative programs built on the integration of theoretical and applied learning. More than 100 undergraduate and graduate programs are distinguished by a professionally focused curriculum and strong emphasis on excellence in teaching, research and creative activities. Ryerson is also a leader in adult learning, with the largest university-based continuing education school in Canada. Ryerson University is located in the multi-cultural heart of downtown Toronto.
The University is strongly committed to fostering diversity within our community. We welcome those who would contribute to the further diversification of our staff, our faculty and its scholarship including, but not limited to, women, visible minorities, Aboriginal people, persons with disabilities, and persons of any sexual orientation or gender identity. Please note that all qualified candidates are encouraged to apply but applications from Canadians and permanent residents will be given priority.
TEACHING POSITION AVAILABLE – 2015/16, 2016/17 and 2017/18
Three-year Term Adjunct
Department of Film and Media
Queen’s University, Kingston, ON CAN K7L 3N6
The Department of Film and Media at Queen’s University invites applications from suitably qualified candidates for a three-year Term Adjunct position in New Media. The candidate would teach the equivalent of four 3-unit courses (typically 2 per term) and be remunerated on a course-by-course basis. The candidate would also be expected to perform departmental service and will be remunerated separately for this service. A three-year Term Adjunct is a position remunerated for teaching and service only.
The courses to be taught are in the areas of digital media production and studies. The candidate must have a well-developed new media practice, with a specialization in areas such as cross-platform, gaming and/or other modes of multi-media. The individual will have basic facility for teaching scripting, directing, editing and cinematography. This individual would be offered a slate of courses that will include a newly configured FILM 250: Fundamentals of Production (see below), FILM 410: Multimedia (theory and practice), and a third-level critical new media studies course in their area. Typically 3rd level courses enroll 40 and 4th level enroll 20 students.
FILM 250 is a full-year course on the fundamentals of film and media production team-taught by a group of qualified instructors. These instructors are drawn from a pool of qualified faculty members, including the Term Adjunct. The Term Adjunct will be part of the FILM 250 team at least for the first two years of the appointment. A full Teaching Assistant and Technician support are provided to FILM 250. Second term is focused more on practicing the skills learned in first term, thus fewer weekly classes are scheduled.
These are on-campus courses taught at the new Isabel Bader Centre for the Performing Arts, a state-of-the-art facility with teaching and learning environments including a production studio, film screening theatre, sound recording studio, and a digital lab. The Department of Film and Media has collaborations with Computing (with a program called Computing and the Creative Arts), Music, Drama (with the Stage and Screen program), and the BFA in Visual Arts, as well as the Graduate Program in Cultural Studies. The Department is developing an interdisciplinary undergraduate program in Cultural Studies. The Department of Film and Media at Queen’s University has a 45-year history based in a commitment to the intersection of theory and practice.
Candidates must have at minimum an MA or an MFA, a well-developed new media practice and at least two years of teaching experience, including filmmaking and new media. Experience with university or community arts service is an asset. The Department is interested in candidates with a very strong teaching profile. The departmental service will range from work with standing committees, as well as ad hoc committees that help to connect students to cultural organizations in the City of Kingston. The courses are fall/winter term courses and the appointment is for the period July 1, 2015 to June 30, 2018.
The University invites applications from all qualified individuals. Queen’s University is committed to employment equity and diversity in the workplace and welcomes applications from women, visible minorities, aboriginal people, persons with disabilities, and persons of any sexual orientation or gender identity. All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.
The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during this process, please contact: Department of Film and Media, Linda Graham: email@example.com, 613-533-6000 x 77013.
The academic staff at Queen’s University are governed by the Collective Agreement between the Queen’s University Faculty Association (QUFA) and the University, which is posted at http://www.queensu.ca/provost/faculty/facultyrelations/qufa/collectiveagreement.html. Remuneration will be in accordance with the Collective Agreement, and appointments are subject to funding or enrolment criteria. f
Applications should include a complete and current curriculum vitae, names and contact information for two (2) referees, an art/research dossier, a teaching dossier with at least one outline for a course previously taught, course evaluations, and any other relevant materials the candidate wishes to submit for consideration such as a letter of intent. Please arrange to have applications sent by email only directly to:
Dr. Susan Lord, Head
Department of Film and Media
Applications will be received until December 15, 2014. Review of applications will commence shortly thereafter, and the final appointment is subject to budgetary approval. Additional information about the Department of Film and Media can be found at http://www.queensu.ca/FILM.
Posted: October 7, 2014
The Jeffrey and Sandra Lyons Canadian Film Scholarship
2015 Call for Applications
Application deadline: November 14, 2014
For nearly four decades, TIFF has been committed to transforming the way people see the world, through film. Central to this commitment is our pledge to provide our patrons educational resources and initiatives that promote moving image culture. Towards that goal, TIFF’s Film Reference Library (FRL) is dedicated to collecting, preserving and presenting Canadian film within a global context; and TIFF’s Higher Learning programme provides mentorship and advocacy for post-secondary students, faculty, and emerging practitioners by cultivating a forum to enhance the educational and professional opportunities available to these core groups. An extension of both these initiatives is the Jeffrey and Sandra Lyons Canadian Film Scholarship (“The Scholarship”) for the development of scholarly contributions related to Canadian film.
TIFF is currently accepting applications for the 2015 Scholarship. This opportunity provides graduate students access to the extensive resources in the TIFF FRL for one month between the period of January 2015 to August 2015. The successful applicant will be given a stipend of $1,000 CDN, a designated office space, and the opportunity to connect with other TIFF professionals and participate in Higher Learning programming held in TIFF’s year-round venue, TIFF Bell Lightbox. The Jeffrey and Sandra Lyons Canadian Film Scholarship is generously supported by the Jeffrey & Sandra Lyons Endowment Fund at TIFF.
The FRL is the ultimate resource for filmmakers, students, researchers, screenwriters and film and television professionals. A proud affiliate member of the International Federation of Film Archives (FIAF), the FRL maintains the world’s largest resource of English-language Canadian film and film-related materials as well as a wide range of local, national and international film resources, including over 22,000 book titles, 100 magazine titles, 12,000 film and television reference viewing copies, 60,000 film productions files which include presskits, photographs, clippings, and more. The FRL has extensive Special Collections with a focus on Canadian cinema. These rich archives are accessible to those who wish to contribute to the field of Canadian film scholarship. To learn more about TIFF FRL Special Collections, please visit our website (http://www.tiff.net/education/film-reference-library/special-collection-list).
To be considered for The Scholarship, the following eligibility requirements must be met by the applicant:
- Must be enrolled in a full-time MA, PhD, or post-doctoral programme at an accredited post-secondary institution and studying Canadian film.
- Must be completing research on Canadian film. It must be clearly demonstrated through the application that the applicant’s research would benefit from the TIFF FRL holdings.
- Applicants must be legally eligible to work in Canada as part of their studies.
- The Scholarship will be awarded on a full-time basis, for a consecutive period of between four and eight weeks. Research must be completed within eight months of the awarding of The Scholarship. It will be completed in Toronto at TIFF Bell Lightbox, Reitman Square, 350 King Street West.
- The Scholarship must be acknowledged in the appropriate section of the master thesis or dissertation, during any presentations at conferences or academic institutions, and in any publications emanating from research completed at the FRL. Copies of these publications must be forwarded to the Film Reference Library to be catalogued in its holdings.
- The Scholarship stipend of $1,000 CDN is intended to provide partial support for the costs related to travel and living expenses for the duration of The Scholarship.
- The successful applicant is encouraged to take part in the academic life at TIFF Bell Lightbox (e.g. Higher Learning events, TIFF Cinematheque lectures and screenings).
The following criteria will be used to determine the successful candidate:
- The importance of the topic
- The originality and sophistication of the methodological approach
- Feasibility of the research objectives
- The applicant’s need for the Film Reference Library’s collection(s)
- Scholarly record and career trajectory of the applicant
To be considered for the Jeffrey and Sandra Lyons Canadian Film Scholarship, applicants should supply the following:
- A Statement of Interest of no more than 1,000 words describing your current research and how you believe the TIFF FRL holdings and resources will benefit you.
- Curriculum Vitae
- Two letters of recommendation sent directly to the TIFF Bell Lightbox from two referees. Appropriate recommenders include past or current employers, or faculty members who can speak to your scholarly work. Recommenders must state: how long he/she has known the applicant and in what capacity.
- Timeline of research project and a list of the topics you are researching.
Applicants, please submit all application components as a PDF or Word document (we do not accept Cloud hosting or File Sharing programs), by 5pm on November 14, 2014 to the attention of Scholarship Committee: Jeffrey and Sandra Lyons Canadian Film Scholarship. TIFF Email: firstname.lastname@example.org *Please note The Scholarship name in the subject line*
Referees, please submit your letters of recommendation as a PDF or Word document (we do not accept Cloud hosting or File Sharing programs), by 5pm on November 14, 2014 to the attention of Scholarship Committee: Jeffrey and Sandra Lyons Canadian Film Scholarship. TIFF Email: email@example.com *Please indicate the name of the applicant as well as The Scholarship in the subject line*
We thank everyone who applies for their interest, but only candidates selected for an interview will be contacted. No telephone or walk-in inquiries please. All applications are considered confidential.
TIFF is an equal opportunity employer.
TIFF is a charitable, not-for-profit cultural organization whose mission is to transform the way people see the world, through film. Its vision is to lead the world in creative and cultural discovery through the moving image.
Call for Papers – Version Française ci-dessous
FILM STUDIES ASSOCIATION OF CANADA
17th ANNUAL GRADUATE COLLOQUIUM
FEBRUARY 27-28, 2015
UNIVERSITY OF REGINA
Keynote Lecture by Dr. Will Straw, Director, McGill Institute for the Study of Canada, McGill University
Submission deadline: Monday, December 15th 2014*
Papers and possible topics may include, but are not limited to:
– Historical role of film propaganda, surveillance and (self) censorship
– Theoretical approaches to film propaganda
– Conspiracy cinema
– Conspiracy theories on film and in social media
– Censorship and self-censorship in cinema and in social media
– Censorship, self-censorship and the evolution of film language
– Surveillance on film
– Surveillance and (self) censorship
– Contemporary cinematic forms of propaganda and consensus building
– The filmmaker as propagandist
– Digital technology and propaganda
– Cinematography, film sound and editing in service of propaganda
– Propaganda in narrative cinema or avant-garde film or computer games
*Submissions are invited from all English and French speaking graduate students (MA & PhD), in Film and Media Studies or a related discipline. PLEASE NOTE THAT PROPOSALS ON TOPICS other than the colloquium’s official theme ARE ALSO WELCOME. Please submit an abstract of no more than 250 words. Be sure to include your name, degree, academic affiliation, e-mail address, as well as the title of your presentation. Abstracts should be sent to: Philippe.Mather@uregina.ca. Please write “Grad Colloquium 2015” in the subject heading of the e-mail, and upload the abstract as an attachment (in either Word or PDF format). Notices of acceptance will be sent by January 2015.
PROPAGANDE – CENSURE – MÉDIAS NUMÉRIQUES
UNIVERSITÉ DE RÉGINA
Discours d’ouverture prononcé par le Dr. Will Straw, Directeur de l’Institut d’études canadiennes de McGill, Université McGill.
Date limite de soumission: lundi, le 15 décembre 2014*
La propagande est largement répandue dans la société contemporaine, ayant produit un large corpus d’artefacts et de théories qui tentent de les comprendre. En fait, c’est grâce à son rôle de propagande pendant la première guerre mondiale que le cinéma est devenu un art légitime. Dès la fin des années trente, son pouvoir de mobilisation fut prise au sérieux par toutes les nations dotées d’une industrie cinématographique, et continua d’être appréciée pendant la guerre froide. Certains en conclurent que le cinéma est caractérisé par une prédisposition structurelle et technologique à la distortion optique et sémantique (Paul Virilio). De nos jours, à cause de l’omniprésence des écrans médiatiques, on peut observer une prolifération sans précédent de théories conspirationnistes qui servent d'”information” ou de propagande. De plus, depuis son apparition au sein des mass média, la propagande cinématographique a toujours déjà été associée avec la censure et la surveillance. Ainsi, au colloque 2015 de l’ACEC pour les étudiants de 2e et de 3e cycles, nous invitons les participants à débattre d’une question complexe, voire paradoxale, soient les rapports entre les arts filmiques (leurs langages respectifs) d’une part, et la propagande, la surveillance, la censure et l’auto-censure, et les theories du complot d’autre part, de points de vue contemporains et historiques à la fois.
Les présentations et sujets potentiels peuvent inclure, sans s’y limiter:
-Le rôle historique du film de propagande, de la surveillance et de la censure
-Les approches théoriques du film de propagande
-Le cinéma conspirationniste
-Les théories du complot concernant le cinéma et les médias sociaux
-La censure, l’auto-censure et l’évolution du langage cinématographique
-La surveillance au cinéma
-La surveillance et l’auto-censure
-La propagande cinématographique contemporaine comme recherche d’un consensus
-Le cinéaste comme propagandiste
-La technologie numérique et la propagande
-La caméra, le son, et le montage au service de la propagande
-La propagande dans le cinéma narratif ou d’avant-garde, ou dans les jeux vidéos
*Tous les étudiants de 2e et 3e cycles en études de cinéma ou toute discipline connexe, pouvant s’exprimer en anglais ou en français, peuvent soumettre une présentation. PRIÈRE DE NOTER que les propositions ne correspondant pas à la thématique du colloque SONT ÉGALEMENT ACCEPTABLES. Veuillez faire parvenir un résumé de votre présentation (maximum : 250 mots). Assurez-vous d’inclure votre nom, diplôme, affiliation académique, courriel, ainsi que le titre de votre présentation. Les résumés doivent être envoyés à : Philippe.Mather@uregina.ca. Veuillez indiquer « Colloque 2015 – 2e et 3e cycles » dans la section « Objet » du courriel et inclure le résumé de la présentation en pièce jointe (format Word ou PDF). Un avis d’acceptation sera envoyé en janvier 2015.
Peter Morris Prize
The Film Studies Association of Canada/ Association canadienne d’études cinématographiques and the Canadian Journal of Film Studies/Revue canadienne d’études cinématographiques (CJFS/RCÉC) are pleased to announce the inauguration of the biennial Peter Morris Prize for the best essay published in the journal. Click here for more information…
School for Studies in Art and Culture
Assistant Professor, Film Studies (Tenure-Track)
(Closing Date: October 6 or until the position is filled)
Carleton University Film Studies, located in the School for Studies in Art and Culture, invites applications for a tenure-track position at the rank of Assistant Professor beginning July 1, 2015.
Applicants must have solid scholarly expertise in digital cinema and media. In addition, practical experience in digital film and media would be a strong asset. The successful candidate will be expected to teach a range of undergraduate and M.A. courses, as well as to supervise graduate students. Applicants must have a Ph.D., a strong commitment to scholarship as reflected in publications, an active research profile and demonstrated excellence in teaching.
Please submit your complete application electronically in four (4) separate files including: 1) a cover letter; 2) curriculum vitae; 3) sample publications; and 4) a teaching dossier. In addition, applicants should arrange for three (3) letters of reference to be sent separately.
Your application should be sent electronically to:
Dr. William Echard
Acting Director, School for Studies in Art and Culture
Applications will be considered starting October 6 until the position is filled.
Located in Ottawa, Ontario, Carleton University is a dynamic and innovative research and teaching institution committed to developing solutions to real world problems by pushing the boundaries of knowledge and understanding daily. Its internationally recognized faculty, staff, researchers, and librarians provide more than 27,000 full- and part-time students from every province and more than 100 countries around the world with academic opportunities in more than 65 programs of study. Carleton’s creative, interdisciplinary, and international approach to research has led to many significant discoveries and creative work in science and technology, business, governance, public policy, and the arts.
Minutes from downtown, Carleton University is located on a beautiful campus, bordered by the Rideau River and the Rideau Canal. With over 12 national museums and the spectacular Gatineau Park close by, there are many excellent recreational opportunities for individuals and families to enjoy. The City of Ottawa, with a population of almost one million, is Canada’s capital city and reflects the country’s bilingual and multicultural character. Carleton’s location in the nation’s capital provides many opportunities for research with groups and institutions that reflect the diversity of the country.
Carleton University is strongly committed to fostering diversity within its community as a source of excellence, cultural enrichment, and social strength. We welcome those who would contribute to the further diversification of our University including, but not limited to, women, visible minorities, Aboriginal peoples, persons with disabilities, and persons of any sexual orientation or gender identity. Those applicants that are selected for an interview will be requested to contact the Chair of the Search Committee as soon as possible to discuss any accommodation requirements. Arrangements will be made to accommodate requests in a timely manner.
All qualified candidates are encouraged to apply. Canadians and permanent residents will be given priority. All positions are subject to budgetary approval.
CALL FOR PAPERS
York University Cinema & Media Studies Graduate Student Conference 2014
November 21-23, 2014
Midway into the second decade of the 21st century, the term crisis has emerged as a dominant signifier, descriptor, and instrument of provocation and analysis. Crisis marks both a separation and a turning point, a break and a place of decision. In this light, crisis can be a critical tool, a means through which to imagine change, a site in which to work at questioning established limits (social, political, epistemological, ontological). As spaces of potential intervention in the given state of affairs, crises emerge from within and against a great variety of transitional moments, marking them as endpoints and/or origins.
Crisis can also be seen as the raison d’être of contemporary systems of control under neoliberal “24/7” capitalism. Indeed, in a world of “posts” (post: 911, “Axis of Evil”, economic collapse, Egyptian Revolution, Snowden, etc.), where economic, governmental, and mediatic forces of continuity now arguably absorb and integrate rupture and exception into their norms, have we reached a kind of crisis point of the very notion of crisis? Are we “post-crisis”? “Imagining Crisis” takes as its starting point the question of the crisis of crisis, and how to imagine crisis — to take on a crisis of the imagination — in way specific to our contemporary moment.
What kinds of questions and contingent answers does crisis — or the crises specific to our time, to our academic, activist, and artistic practices — provoke? Conversely, how can we question the very notion of crisis, or use crisis to imagine and bring into being new forces? How does crisis make things politically and socially visible; and how does crisis as a critical term reveal itself?
Crisis can offer cinema and media studies scholars, filmmakers, media artists, and activists of many stripes an experimental and diagnostic space for critique and research. For example: is film studies reaching a crisis point in terms of its role in academia or in relation to significant changes in its purported object of study (celluloid film and/or digital video)? For media artists, are the institutions of the art gallery or the film festival at a point of transformation or obsolescence? Do social media sites like Facebook and Twitter present necessary challenges to or opportunities for political and social activism? The multiplicity of ways in which crises present themselves as spurs and challenges to imagination and image technologies, as well as how crisis itself needs to be interrogated as a useful (or not) analytical term, is what “Imagining Crisis” seeks to begin to map out.
Topics for discussion and papers may include but are not limited to:
– film as a (cultural) object in a state of transformation, decay, and/or mutation;
– academic and disciplinary transformations and the challenges they pose to critical thought, practice and pedagogy;
– representations of ecological and environmental development and disaster in film and media;
– changes in social (sexual, moral, etc.) conventions as represented in film and television programs;
– the roles of attention, participation and/or boredom in the contemporary mediascape;
– the representation and/or the critical analysis of precarious labour and identities (immaterial and manual labour, union busting, small studios, etc.);
– changes in media platforms and social networks and how they have affected the practice of film criticism, history, and/or analysis;
– navigating the blurring of boundaries between privacy and publicity;
– temporality and historical change as located in/through media objects and discourses;
– the human, the animal, the posthuman, and the cyborg as (post)historical subjects.
We welcome papers that engage with the work of contemporary scholars and theorists like, but not limited to, McKenzie Wark, Rosi Braidotti, Alexander Galloway, Eugene Thacker, Wendy Chun, and Benjamin Noys. We also welcome filmmakers, media practitioners, and activists to present and discuss their work.
The confirmed Keynote Speaker for “Imagining Crisis” is McKenzie Wark, author of A Hacker Manifesto, Gamer Theory, 50 Years of Recuperation of the Situationist International, The Beach Beneath the Street, and The Spectacle of Disintegration, among others. He is a Professor at the New School for Social Research and Eugene Lang College in New York City.
Please send a 300 word abstract, brief bibliography, and bio (with institutional affiliation, if applicable) as email attachments by September 28, 2014 to firstname.lastname@example.org
Notifications about acceptance or rejection of proposal will be sent by October 1, 2014.
“Imagining Crisis” will be held at York University, Toronto, Canada from November 21-23, 2014.
The conference is cosponsored by Sensorium: Centre for Digital Arts & Technology, York University.
Tenure-track Position – Film Studies, University of Calgary
The Department of Communication and Culture invites applications for a tenure- track position at the rank of Assistant Professor, effective July 1, 2015. The area of specialization is Film Studies.
The Film Studies Program has a rapidly growing undergraduate major in the Faculty of Arts at the University of Calgary. Applicants are expected to teach undergraduate courses in the Film Studies program’s core areas as well in as their area of expertise, and teach and supervise students in the Communication and Culture graduate program in areas related to both Communications Studies and Film Studies. The incumbent will be expected to maintain an active research program, leading to peer-reviewed scholarly publications and research grant funding, while engaging in university service and with the community.
The successful candidate will possess a PhD in Film Studies or related field and demonstrate a strong record of or potential for scholarly research and teaching excellence at the post-secondary level. Expertise in one or more of the following areas will be an asset: international screen cultures; documentary film; technology and/or animation; media industries.
Applications in PDF format should include an application letter with a clear statement of citizenship/immigration status; a detailed curriculum vitae; a statement of research interests and expertise; a teaching dossier with sample course outlines, a concise statement of teaching philosophy and evidence of teaching excellence; one to two samples of peer-reviewed scholarly work (not more than 30pp total); and three academic letters of reference sent directly to the department by the deadline below. To facilitate the review process, applicants are encouraged to limit their dossier to these materials..
To ensure full consideration, complete applications (including all reference letters) must be submitted by November 15, 2014, to:
Dr. Barbara Schneider, Department Head
Department of Communication and Culture
Faculty of Arts
University of Calgary
Room 320 Social Sciences Bldg.
2500 University Drive NW
Calgary, AB T2N 1N4
All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. The University of Calgary respects, appreciates, and encourages diversity.
Electronic submissions in PDF format for both the application and the letters of reference are encouraged. To learn more about the Department of Communication and Culture and this position please visithttp: www.comcul.ucalgary.ca
About the University of Calgary
The University of Calgary is a leading Canadian university located in the nation’s most enterprising city. The university has a clear strategic direction to become one of Canada’s top five research universities by 2016, where innovative teaching and groundbreaking research go hand in hand, and where we fully engage the communities we both serve and lead. The strategy is called Eyes High, inspired by our Gaelic motto, which translates to ‘I will lift up my eyes’.
To succeed as one of Canada’s top universities, where new ideas are created, tested and applied through first-class teaching and research, the University of Calgary needs more of the best minds in our classrooms and labs. We’re increasing our scholarly capacity by investing in people who want to change the world, bringing the best and brightest to Calgary to form a global intellectual hub and achieve advances that matter to everyone.
Named a cultural capital of Canada and one of the best places to live in the world, Calgary is a city of leaders in business, community, philanthropy and volunteerism. Calgarians benefit from the strongest economy in the nation and enjoy more days of sunshine per year than any other major Canadian city. Calgary is less than an hour’s drive from the majestic Rocky Mountains and boasts the most extensive urban pathway and bikeway network in North America.
Faculty of Arts – Department of English & Film Studies, New Media Studies
Competition No. – A110424038
Closing Date – Oct 31, 2014
The Department of English and Film Studies at the University of Alberta invites applications for a tenure-track appointment at the rank of Assistant Professor in the area of New Media Studies.
Applicants should hold a PhD or be close to completion and will have a superior teaching and research/publication record relevant to the field. They will propose an innovative programme of research and outline how it complements existing areas of scholarly and pedagogical strength by helping to forge new links between the English-, film-, and cultural-studies streams of our large, diverse department. We seek applications from persons qualified to undertake teaching and research in one or more of the following areas: digital and online culture, adaptation theory, transmedia studies and remediation, convergence culture and new media industries. Responsibilities will include undergraduate and graduate teaching/supervision, as well as administrative/committee work.
The University of Alberta aims to be one of the world’s great universities, by transforming learning, leading ground-breaking research, and uplifting society through new knowledge, leadership, and service. The University plays a key role in the cultural, educational, and business life of the province of Alberta and Canada as a whole, through the impact of its integrated mandate of teaching, research, and community service. It serves over 39,000 students in close to 400 undergraduate, graduate and professional programs (www.ualberta.ca). The Faculty of Arts is the oldest faculty on campus and one of the largest research and teaching centres in western Canada (www.arts.ualberta.ca). The University’s main campus is located in Edmonton, the vibrant, cosmopolitan capital of the province of Alberta. The Edmonton metropolitan area is the sixth largest in the country with a population of approximately one million (www.edmonton.ca) and an outstanding quality of life. It is located only a few hours’ drive from Banff and Jasper National Parks, which offer skiing in winter and excellent hiking and sightseeing in summer.
To apply online, please submit a cover letter (include the names of three referees), a curriculum vitae, a teaching dossier, if available (please attach under the statement of teaching/research interests option), and a writing sample to a maximum of 20 pages (please attach under the list of publications option). Further, applicants are expected to contact their referees and arrange to have them send their letters of reference to the attention of the Chair, Dr. Peter Sinnema; these letters can be submitted via email to the Executive Assistant, Roberta Zopf at email@example.com
For further information concerning the position or the Department, please contact the Chair, Dr. Peter W. Sinnema, at firstname.lastname@example.org.
How to Apply:
Note: Online applications are accepted until midnight Mountain Standard Time of the closing date.
All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. If suitable Canadian citizens or permanent residents cannot be found, other individuals will be considered.
The University of Alberta hires on the basis of merit. We are committed to the principle of equity in employment. We welcome diversity and encourage applications from all qualified women and men, including persons with disabilities, members of visible minorities, and Aboriginal persons.
Peter Harcourt (1931-2014)
Peter Harcourt, An Introduction
When Joyce Nelson and I edited our anthology Canadian Film Reader in 1977 we decided to end the book with a chapter entitled, “Introduction.” It was too cute a ploy, something I wouldn’t do today. On the other hand I’ve never regretted our choice of author for that piece: Peter Harcourt.
Peter was the Introduction to Canadian Film. He began by introducing it to himself, coming around the long way as so many people did back then. As a University of Toronto undergrad he studied music and played jazz trumpet. Then he off he went to study English literature at Cambridge under the sway of F.R. Leavis who demanded only that the study of anything be productively engaged in the construction of a better world. Like Grierson or fellow Leavis student, Robin Wood, Peter came to believe that film was his path to exactly that sort of critical engagement. The early sixties found him working at the British Film Institute’s Education Department, contributing to he film journals of the day and eventually teaching film courses at a number of art schools around London.
England, as it turned out, was prologue. In 1964, Peter wrote a long article for Sight and Sound about the National Film Board’s Unit B. In it, we find that self-introduction to his own national cinema:
There is something very Canadian in all this, something which my own Canadianness prompts me to define. There is in all these films a quality of suspended judgment, of something left open at the end, of something undecided…there is also something academic about the way Canadian films have been conceived. There is something rather detached from the immediate pressures of existence, something rather apart. “The Innocent Eye: An Aspect of the Work of the National Film Board of Canada” (Sight and Sound, 34, 1 (Winter, 1964-65), p. 21.
It seems to me that when Peter wrote this he had found his Leavis-mandated cause, the nexus of his critical work: a non-negotiable demand for purposeful detachment, manning the barricades of a space “rather apart.”
So began Peter’s second work of introduction, introducing this understanding of Canadian cinema, Canadianness, Canada to Canadians themselves. He returned home to a perfect storm of cinematic energies: a crescendo of Canadian documentary at Expo and Challenge for Change; the chaos (creative and otherwise) of a newly subsidized feature film industry, a free for all of emerging talent finding its way into every genre. Peter was hired to add one more ingredient to the mix: university film studies. He founded the program at Queen’s in 1967, shaped the emerging York program beginning in 1974 and then went on to his permanent home, Carleton, in 1978.
Peter taught with humanity and passion, weaving together the cosmopolitan refinement gleaned from his London days and the pursuit of his Canadian mission. His classroom was a conversation that often spilled over to the campus pub. No one was left unheard. Peter’s former students smile at the sound of his name.
He also wrote – constantly and on everything from European masters and emerging experimental filmmakers to the minutiae of government film policy. I don’t recall him attacking films or filmmakers, not even those of the New Hollywood, our principal nemesis. What he did best was to champion filmmakers who mirrored his own discovery of detachment and the something rather apart. His pantheon was made of cinematic slow food, filmmakers who could wait for the point to make itself.
Peter’s most lasting introduction – what I will remember him most for providing – was the introduction of all of us to each other. His pursuit of Canadian cinema took place at the personal level, over who knows how many dinners over who knows how many years. He always cited people, no matter how elevated their stature, by their first names. This wasn’t entertainment sleaze-speak. Peter really knew everyone across and well beyond the spectrum of Canadian cinema. And he expected them to work for the common goal. If there was an impenetrable cultural divide or a deathless ideological struggle going on, you would never know it from the people sitting at Peter’s table. Not even the gender wars could shake his inclusiveness. He told anyone who would listen that feminism was the Copernican Revolution of our times. The cosmos, having shifted, wasn’t going to shift back.
That glad, gregarious, prolific acceptance of the future is Peter’s great legacy. He writes in his memoirs of being a child in the grey Pre-War English Canada, a soulless, frozen outpost of the dying British Empire. After that, everything got better. Thanks to Peter’s introductions, it also got better for everyone whose lives he touched.
 A Canadian Journey: Conversations With Time. Ottawa: Oberon Press, 1994.
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