From the monthly archives: March 2016

2016 FSAC Annual Conference
May 31 – June 2
University of Calgary
Click here for the final schedule

Conférence annuelle de l’ACÉC 2016
31 mai – 2 juin
l’Université de Calgary
Cliquez ici pour accéder au calendrier final

 

 

 

Assistant Professor – Cinema Production

3-year 9-month term 

Click here for .docx file

The University of Lethbridge, Faculty of Fine Arts, Department of New Media invites applications for a 3-year 9-month term appointment in cinema production at the rank of Assistant Professor, commencing August 1, 2016. This position is subject to the approval of the Board of Governors.

An M.F.A. or equivalent terminal degree is required combined with a demonstrated record of creative activity and/or scholarly research in the area of cinema production, as well as demonstrated excellence in teaching. The ideal candidate will have excellent creative and technical skills utilizing digital cinema and DSLR cameras, lighting and audio production equipment, and a mastery of non-linear editing and other post-production software. Course assignments will consist of primarily undergraduate courses in digital video production, cinematography and lighting, postproduction and visual effects, with the potential for other production or cinema studies courses to be assigned in the candidate’s area of expertise. Additional desirable attributes include demonstrated experience in the areas of production/postproduction sound or documentary production.

The University aspires to hire individuals who have demonstrated excellence in teaching and research/creative activity, and have potential to contribute actively in the Department of New Media and the Faculty of Fine Arts.

The Faculty of Fine Arts offers degree programs in Art, Drama, Music and New Media within a liberal education context. The Department of New Media offers four degree programs: a B.F.A., a combined B.F.A/BMgt., a combined B.F.A./B.Ed., and an M.F.A. in New Media. For more information about the Department of New Media, University of Lethbridge, and the city of Lethbridge please visit our websites at: 

http://www.uleth.ca/finearts/new-media

http://www.uleth.ca

http://www.lethbridge.ca

Applicants should submit a cover letter, curriculum vitae, teaching dossier (including a statement of teaching philosophy and, if possible, sample syllabi and teaching evaluations), and samples of recent research/creative work. Please have three confidential letters of reference from qualified referees sent directly to the Dean of Fine Arts by the closing date. Any electronic documents, images, audio, or video must be submitted on a physical media format (CD/DVD disc, USB drive, etc.) or be available online throughout the period of the search; note that the University of Lethbridge email system does not accept zip files.

Applications must be received by the closing date of April 17, 2016.

Address applications by email or regular mail to:
Dr. Edward Jurkowski, Dean
Faculty of Fine Arts, University of Lethbridge
4401 University Drive
Lethbridge, AB T1K 3M4
Tel: (403) 329-2126
Email: angela.luck@uleth.ca

The position is open to all qualified applicants, although preference is given to Canadian citizens and permanent residents of Canada. The University is an inclusive and equitable campus encouraging applications from qualified women and men, including persons with disabilities, members of visible minorities and Aboriginal persons. 

 

Gods & Heretics: The 2016 Film & History Conference

CFP: Transgressive Filmmakers and Their Films

DEADLINE for abstracts: June 1, 2016

Link to website

Cinematic transgression is about directors challenging or overcoming the status quo in their films, most often through shock and shlock to wake slumbering viewers with (sometimes hidden) social commentary. While each generation has spawned new notions or means of transgression in film, some have remained constant: sex, violence, gore, sacrilege, drugs, race, gender performance, etc. These films frequently are made by a director who is also an embodiment of transgression, whether or not they work within the mainstream system.

How have our constructions of cinematic taboos and transgressions shifted over time, and how do these influence the wider culture? When and how do cinematic transgressors become cinematic (or cultural) heroes and icons? Can a member of the status quo create transgressive work if the product is from their imagination or under their creative control?

This area invites papers that explore contemporary directors (considered, or who could be considered, transgressive), their films, and the ways in which transgression is portrayed (both as a director and their films). Possible themes and topics include, but are not limited to:

  • Portrayals of sexuality
  • Gore, splatter flicks, “roughies,” and exploitation
  • Gender expression and identity
  • Technical elements, including setting, scenery, costuming, etc., and transgression
  • Transgressive directors and the influence on their movies
  • Comedy as a safe exploration of the transgressive
  • Heteronormative directors challenging the status quo
  • The (un)identified threat in the status quo
  • John Waters, David Lynch, Dennis Hopper, Quentin Tarantino, Roger Corman, Ken Russell, and other transgressive figures
  • From transgression to mainstream and back: selling out and going off the rails

Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. For updates and registration information about the upcoming meeting, see the Film & History website (www.filmandhistory.org).
Please e-mail your 200-word proposal by June 1, 2016, to the area chair:

Michelle Martinez
Associate Professor, Sam Houston State University
mmartinez@shsu.edu

 

Coming to Terms with Film-Philosophy

Conference plus Special Event and Masterclass with Alain Badiou

York University and TIFF
Toronto, Canada
May 16-17, 2016

Although it has established itself as a sub-discipline or hybrid of film and philosophy in various European formations, film-philosophy is relatively new to North American cinema and media studies. As one of the first in North America to nominate itself under its auspices, this conference explores the mobilization of philosophical discourses and projects relative to the modern event of cinema. More specifically, we seek papers that address the origins of film-philosophy, in addition to its current manifestations and future potentialities.

A highlight of this conference is the “Special Event: Onstage Conversation with Alain Badiou” co-presented with TIFF. Badiou, who has been called the most important philosopher since Gilles Deleuze, is the author of numerous books and articles that have helped define the major questions and contours of philosophy in the 20th and 21st centuries. He has taught at the École normale supérieure and the Collège international de philosophie in Paris, as well as the European Graduate School. In addition to his major philosophical works Being and Event and Logics of Worlds, his recent books translated into English include The Age of the Poets, Controversies: Politics and Philosophy in our Time,Cinema, The Communist Hypothesis, and Wittgenstein’s Anti-Philosophy.

In this onstage conversation moderated by Professor Ian Balfour of York University, Badiou will speak about cinema, the recent events in Paris, and the role that philosophy can play in helping us understand and act in this historic context, accompanied by film clips that will bring further dimensions to some of the discussion’s central themes. In addition, there is a Masterclass with Badiou, where conference presenters will have an exclusive opportunity to further explore the intersections of film and philosophy.

Some of the questions that inform this conference pertain to the concepts and formations within film-philosophy relative to broader discourses and practices in the humanities and beyond. For example: What are the terms that film-philosophy deploys as it stands today? What are the stakes of film-philosophy that it asks of itself in terms of its own legitimization and what is expected of it by the broader discipline of cinema and media studies? What transformations and problems in cinema and media studies does film-philosophy respond to, interrogate, and/or (re)conceptualize?

We seek papers that:

  • historicize and (re)conceptualize the emergence of film-philosophy and/or problematize it as a discipline or approach;
  • situate film-philosophy relative to trends and developments in film and cultural theory, contemporary media studies, new media, and other disciplines in the humanities and social sciences;
  • define and interrogate the concepts of film-philosophy (such as those taken from, for example, phenomenology, deconstruction, or Marxism);
  • ask about the stakes of major contemporary philosophers (Badiou, Deleuze, Cavell, etc.) who engage with cinema as a philosophical model, a problematic field, and/or a set of texts and examples for philosophical speculation;
  • discuss film-philosophy’s stance relative to debates in contemporary developments in queer theory, critical race theory, postcolonial theory, disability studies, environmental studies, and/or animal studies;
  • enact film-philosophy in the engagement of cinematic texts and objects;
  • examine the relationship between the “filmic” (cinematic, visual, temporal, aesthetic) and the “textual” (discursive, written, etc.);
  • explore the politics of film-philosophy, such as the relationship between democracy and film (Badiou, Rancière, etc.) or cinematic ethics (Levinas, Nancy, etc.);
  • map out the contours and terrain of film-philosophy and world cinema(s) (global film-philosophy);
  • consider the relationship between film-philosophy and new trends in philosophy in general, including speculative realism, new materialism, anti-philosophy, and non-philosophy;
  • conceptualize cinematic ethics, metaphysics, ontology, and/or epistemology in light of recent developments in film-philosophy

We also welcome papers that deal with the work of contemporary film theorists who engage with intersections between film and philosophy; for example, Vivian Sobchack, Patricia Pisters, D.N. Rodowick, Noel Carroll, Joan Copjec, Laura Marks, Hito Steyerl, or Steven Shaviro. We also invite filmmakers and media practitioners to present and discuss their work in a film-philosophical context.

“Coming to Terms with Film-Philosophy” will be held in Toronto, Canada May 16-17, 2016.

Please send a 300 word abstract, brief bibliography, and bio (with institutional affiliation, if applicable) as email attachments to yorkfilmphilosophy@gmail.com by Friday, April 1, 2016. Notifications about acceptance or rejection of proposal will be sent on Monday, April 4.

Conference and Masterclass Registration Fees:

Conference Attendance: $100
Masterclass: $50

Graduate Students and Underemployed:
Conference Attendance: $50
Masterclass: $25

*Masterclass reserved for conference presenters only.

Special Event: Onstage Conversation with Alain Badiou
Monday, May 16 7:00pm at TIFF Bell Lightbox
Adult: $13
Student/Senior: $10.50

NOTE: Special Event: Onstage Conversation with Alain Badiou is free for conference participants.

Conference website: https://yorkfilmphilosphy.wordpress.com/

Organized by the graduate students of Cinema and Media Studies, York University, in partnership with TIFF.