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Department of Cinema and Media Arts, The School of the Arts, Media, Performance and Design (AMPD), York University

The Department of Cinema and Media Arts, The School of the Arts, Media, Performance and Design (AMPD), York University invites highly qualified candidates to apply for a professorial stream tenure-track appointment in Media Arts at the Assistant Professor level, to commence July 1, 2021. Salary will be commensurate with qualifications and experience. All York University positions are subject to budgetary approval.

This opportunity is open to qualified individuals who self-identify as Aboriginal (Indigenous), and/or as Black peoples of African Descent (for example Africans and African heritage people from the Caribbean, Americas, Europe), and/or as members of other visible minorities (racialized groups). Recognizing the underrepresentation of Black, Indigenous, and other faculty of colour in the arts, this opportunity is to support the University’s Affirmative Action program and has been developed based on the special program provisions of the Ontario Human Rights Code. The position is part of a cohort hire of fourteen new colleagues at York University, including hires across a number of faculties and a wide range of areas and fields. The successful candidate will be joining a vibrant scholarly community at York, where we aspire to achieve equity and diversity in all areas, including race equity.

The Media Arts BFA combines critical thinking with hands-on experience in innovative studio courses that focus on digital technologies (from social media to diverse screen technologies). The overriding philosophy of the degree emphasizes critical practice, collaboration, flexibility, resourcefulness and problem-solving across various media platforms. The ideal candidate will have an established artistic and critical practice that engages issues faced by racialized and marginalized communities along with relevant professional and academic experience that addresses these issues.

A PhD or a PhD near completion by the start of the appointment in Media Studies, Visual Culture, Communications, Digital Media, Cinema and Media Arts or a related field is required, with a demonstrated record of excellence or promise of excellence in research/research-creation and in teaching. Applicants should have a clearly articulated program of research, research-creation, or professional practice and specialize in one or more of the following areas: media arts, immersive media, expanded cinema, media installation, interface design, interactive storytelling. The applicant’s experience in working with racialized and marginalized communities in the creation of media, storytelling, archives, narrative experiences, community-led research, and other forms of advancing social justice and equity will be considered a significant asset. The applicant will also have expertise in a range of technologies and platforms used in creating interactive media.

Candidates must provide evidence of research and creative excellence or promise of research and creative excellence of a recognized international calibre as demonstrated in: the research/research-creation statement; a record of exhibition or publication (or forthcoming exhibitions and publications) in significant venues or with significant journals in the field; presentations at major media events conferences or; awards and accolades; and strong recommendations from referees of high standing.

The successful candidate will have the capacity to engage in outstanding, innovative, and, as appropriate, externally funded research/research-creation at the highest level. We acknowledge that within higher education in Canada, traditional or conventional academic pathways in research can reinforce biases in the filling of faculty posts. We encourage applications that may not fit this mold and challenge traditional notions of scholarship and research.

The position involves graduate teaching and supervision, as well as undergraduate teaching and the successful candidate must be eligible for prompt appointment to the Faculty of Graduate Studies.

Evidence of excellence or promise of excellence in teaching will be provided through: the submitted teaching statement; teaching accomplishments and pedagogical innovations including in high priority areas such as experiential education and technology enhanced learning; teaching evaluations; and strong letters of reference.

York University champions new ways of thinking that drive teaching and research excellence. Through cross-disciplinary programming, innovative course design, diverse experiential learning and a supportive community environment, our students receive the education they need to create big ideas that create an impact on the world. Located in Toronto, York is the third largest university in Canada, with a strong community of 53,000 students, 7,000 faculty and administrative staff, and more than 300,000 alumni.

York University has a policy on Accommodation in Employment for Persons with Disabilities and is committed to working towards a barrier-free workplace and to expanding the accessibility of the workplace to persons with disabilities. Candidates who require accommodation during the selection process are invited to contact Caitlin Fisher, Chair of the Department of Cinema and Media Arts, in the School of the Arts, Media, Performance and Design, York University, at

This selection will be limited to individuals who self-identify as Aboriginal (Indigenous), Black or members of other visible minorities (racialized groups). York University is an Affirmative Action (AA) employer and strongly values diversity, including gender and sexual diversity, within its community. York University encourages Aboriginal (Indigenous), Black peoples or members of other visible minorities (racialized groups) to self-identify as a member of one or more of the four designated groups: women, members of visible minorities (racialized groups), Aboriginal (Indigenous) people and persons with disabilities. The Affirmative Action program can be found at or by calling the AA line at 416-736-5713. Applicants wishing to self-identify as part of York University’s Affirmative Action program can do so by downloading, completing and submitting the form found at: All qualified candidates are encouraged to apply; however, Canadian citizens, permanent residents and Indigenous peoples in Canada will be given priority. No application will be considered without a completed mandatory Work Status Declaration form which can be found at

The deadline for receipt of completed applications is December 1, 2020. A letter of application with an up-to-date curriculum vitae, a statement of research/research-creation and teaching portfolio (including teaching philosophy, syllabi, and sample assignments) and three letters of reference should be sent to: Professor Caitlin Fisher, Chair of the Department of Cinema and Media Arts, in the School of the Arts, Media, Performance and Design, York University, at


Screening Censorship Conference:

New Histories, Perspectives, and Theories on Film and Screen Censorship
Ghent/Brussels, 16-17 October, 2020 Organized by: Daniel Biltereyst & Ernest Mathijs


On Friday and Saturday, 16 and 17 October, 2020, the Centre for Cinema and Media Studies in the Department of Theatre and Film of the University of British Columbia, together with the University of Ghent and the Film Fest Ghent host the Screening Censorship Conference, a free online conference. 

The program is available here. More information on the website:


Call for Papers:

Reframing the Nation: Racialized & Queer Diasporic Women of Colour and Queer Indigenous Canadian Independent Women Filmmakers 1990-2020.  


Reframing the Nation is the first critical film anthology from an intersectional Canadian context that is dedicated to a close engagement with the films produced by racialized and queer diasporic women and queer indigenous independent women filmmakers in Canada.  This collection charts the cinematic visions and perspectives of first and second generation racialized diasporic and Queer BIack, Indigenous, Women of colour Canadian Independent Women Filmmakers working from 1990-2020.  Works considered can be shorts and/or features that are independent Canadian productions. 


Independent film tends to reflect an artistic practice that is rooted in personal, political, formal, aesthetic, cultural and/or social concerns, they are typically arts council funded and/or co-produced with other agencies.  A central component of independent film is that the filmmaker maintains artistic/editorial control over their work.  Comparative papers between Canadian productions and international productions are encouraged.


Please Submit Abstracts (300 words) & short bios (125 words) by November 27, 2020 
Notification of acceptance: December 17, 2020
Submission of Papers: 12-15 pages preferred, to a maximum of 5,000 words.
Final Draft Due: June 14, 2021
Please direct all inquiries to: (will answer any questions before the abstract deadline)


Submissions may consider the following: 


  • Documentary, Narrative, Experimental features, short film, hybrid films and activist documentaries with artistic approaches from Intersectional perspectives.
  • Cultural identities and diasporic aesthetics: the merging of aesthetics and politics; to explore space/place, fragmented uprooted identities, home and belonging, intersectional identities, politics of displacement, contesting dominant narrative of Canada as a nation etc.
  • Theorizing and analyzing diasporic works by Canadian racialized women or queer/trans women of colour, black and indigenous women filmmakers from decolonial, post-colonial, queer diasporic or transnational contexts.
  • Thematic or textual analysis of a feature film or (body of films) by a sole woman of colour filmmaker, comparative analyses of two artists or short works by multiple filmmakers
  • Aesthetic/formal approaches in documentary, narrative, experimental, and hybrid film
  • Historiography of film/video production by women of colour and indigenous women in Canada (1990-2020) you may reference earlier works in passing.
  • Festivals & Distributors that supports works by Indigenous women filmmakers and women of colour filmmakers in Canada.
  • Reception and audience studies of works produced by Indigenous/women of colour   in Canada.
  • Thematic analyses of intersectional representations of social justice issues or settler nation
  • The decolonial use of technologies (digital and film) in works by Canadian racialized/queer diasporic and indigenous women filmmakers in Canada.
  • Queer & Transgender films by Indigenous and women of colour filmmakers in Canada.


Call for papers

The body on the screen and the body of the screen have always formed a compelling and productive pairing. From apparatus theory to production and exhibition histories, these two conceptualizations of cinematic bodies remain valuable avenues for reflecting on the use of images, their visibility, materiality, and presentation. As cinema continues to fracture and expand across our cell phones and living spaces, the screen is increasingly tangible, mobile, and ubiquitous. Like the mobile toys and popular illusions preceding modern cinema, these forms of new media present particular bodies on particular screens. The unifying darkness of the movie theatre is being replaced by a brighter multiplicity of global media objects, at once scattered and reconciled through social media, streaming platforms, and the internet in general. Even as borders and nations are re-entrenched, international connections are being forged. Though research on the body of the screen (in exhibition histories, affect theory, and tactility) and on the body on the screen (in critical theory on the making of race and gender) has proliferated in recent years, bringing the two together will produce a more nuanced consideration of how and who we are watching today.

In Cinephile 15.1, our goal is to bring these two types of bodies into conversation with one another and with ongoing discussions around each conceptualization of cinematic bodies. Our hope is to develop insights as to how bodies are being shown relative to screen technologies. As such, we invite scholarship on cinema’s multiple bodies. This includes papers on screen bodies (sites of exhibition and media histories) as well as bodies on screen (representations of race, gender, sexuality, disability) and especially research joining the two. Special preference will be given to papers discussing visual media.  

Possible topics can include (but are not limited to) any of the following: 

  • Media history and archaeology 
  • Representation of bodies on screen in terms and at the intersection of gender, race, disability, sexuality 
  • Materiality of film and the digital, in terms of the image or exhibition technology
  • Movement of bodies on screen in dance, pornography, fight sequences, mannerisms 
  • Encounters between film technology and form
  • Representation in Hollywood of celebrity, beauty, norms
  • Cross-cultural and international examinations of the body on screen
  • Alternative exhibition practices and histories
  • Relationship between body and screen, offering sensuality and/or violence 

We encourage submissions from graduate students, postdoctoral researchers, and established scholars. Papers should be between 2,000-3,500 words, follow MLA guidelines, and include a detailed works cited page, as well as a short biography of the author. Submissions should be directed toward SUBMISSIONS@CINEPHILE.CA and general inquiries toward INFO@CINEPHILE.CA.

Submissions are due by October 11, 2020.

Cinephile is the University of British Columbia’s film journal, published with the continued support of the Centre for Cinema Studies. Previous issues have featured original essays by such noted scholars as Lee Edelman, Slavoj Žižek, Paul Wells, Murray Pomerance, Ivone Marguiles, Matt Hills, Barry Keith Grant, K.J. Donnelly, and Sarah Kozloff. Since 2009, the journal has adopted a blind review process and has moved to annual publication. It is available both online and in print via subscription and selected retailers.

Incoming editors: Harrison Wade and Kate Wise

Job Title: Interim Associate Dean, Animation and Game Design
Faculty/Department: Faculty of Animation, Art and Design
Location: Oakville, Ontario, Canada

Sheridan is currently seeking to fill an Interim Associate Dean position (14-month contract) within the Animation and Game Design programs. The successful candidate will be a strategic and operational leader, balancing and aligning the vision, objectives and planning of Sheridan with those within the FAAD. The Interim Associate Dean is responsible for providing leadership to faculty, staff and students in a number of specified programs within the Faculty. 

With a leadership approach that is inspiring, inclusive, responsive, collaborative, creative, and nimble, the Associate Dean position will cultivate a workplace of inclusivity and diversity while continuing to strive for outstanding course curriculum and delivery.

Specific Responsibilities include:

  • Building (with faculty) a strong identity, positive reputation, and clear sense of mandate and direction for the School/Department and Faculty through the achievement of shared educational objectives that are current, effective, relevant to student needs and workplace expectations, as well as consistent with the strategic direction of the College and Faculty;
  • Strategic planning and actively participates and is instrumental in the development, implementation and leadership of the Faculty strategic plan as part of the academic planning process of the College; 
  • Providing leadership in ensuring a high quality of teaching and faculty commitment to professional development and currency in their discipline, profession and industry; 
  • Facilitating a sense of shared responsibility among faculty and staff for the strategic development and management of enrolment plans, program budgets and effective and efficient allocation of work and resources to address both immediate operational requirements and longer-term program and institutional priorities;
  • Leading strategic development and management of budgets including an efficient allocation of fiscal and physical resources to services.

The ideal candidate will have a passion for education, a Masters degree (Ph.D. is an asset), and ideally, a proven track record of outstanding leadership experience within a post-secondary institution.

Sheridan is deeply committed to promoting diversity, advancing equity and fostering a culture of inclusion. Therefore, we invite applications from marginalized and equity-seeking groups, particularly members of BIPOC communities. Persons with a disability may contact the Human Resources department to request accommodation at any stage of the recruitment process.

Consideration of candidates will begin September 4, 2020; however, the posting will be “Open until Filled.” The anticipated start date for this position is November 1, 2020

Details :


FSAC Statement on Copyright and Online Screening

[Version française ci-bas]

Since the emergence of dedicated courses and departments in the late 1960s and early 1970s, the teaching of Film Studies in universities and colleges has depended upon consistent access to a full range of film and related audio-visual media content for screening in classes. This access is a cornerstone of teaching film and media studies at the post-secondary level – in fact, no academic discipline is more dependent upon this access.

Copyright legislation in Canada sets out to ensure a reasonable balance between the rights of content creators and the rights of users and consumers of that content. It is as concerned about enshrining the rights of the latter as it is about the rights of the former. Copyright law in Canada allows for a considerable range of rights for educators of film and media studies, notably through Fair Dealing (section 29) and exemptions for Educational Institutions (sections 29.4 and 29.5).

The current global pandemic has forced a radical transformation of post-secondary course content delivery. Yet, while the pandemic has made necessary an almost total, temporary transition to online teaching, this format of instruction existed before COVID-19, and will surely continue once this global crisis has receded. Though the circumstances necessitated by the COVID-19 crisis has brought this issue to the fore, we believe that the conclusions found here regarding screening practices in an education environment extend beyond this immediate historical context.

The Film Studies Association of Canada encourages educators of film and media studies in Canada to embrace the full scope of rights accorded to them through the Canadian Copyright Act. The regular screening of motion pictures, both in their entirety and in shorter excerpts, is the foundation of teaching Film Studies in Canada. This is an entirely educational exercise, and presents no competitive challenge to the marketplace of copyrighted audio-visual content. Section 29 of the Canadian Copyright Act clearly indicates that “Fair dealing for the purpose of research, private study, education, parody or satire does not infringe copyright.” Further to this, Section 29.5 allows for “the performance in public of a cinematographic work, as long as the work is not an infringing copy” on the premises of an educational institution, for educational purposes, to an audience of consisting primarily students. Courses taught through existing college or university infrastructure in an online environment are understood as “on premises” of that institution. Section 29.4 states that it is not an infringement of copyright for an educational institution to reproduce a work for the purposes of education.* In short, it is not an infringement for reproductions of a legally obtained copyrighted work to be exhibited to students, for the purposes of education, through official university or college online infrastructure.

Educators should make a reasonable effort to incorporate into their classes film and media titles currently licensed to their institutions via streaming platforms (Kanopy, Criterion-on- Demand, etc.). However, educators should not be expected to entirely reconfigure their courses solely around the online collections licensed to institutions, nor should universities and colleges be obliged to spend very large sums to acquire further licensed copies through such services for films and other AV material that they already own in other formats, and which they already have the right to show in the classroom at no charge. It should also be noted that these commercially available streaming services have limited holdings, and to expect educators to remodel the entirety of Film Studies curricula based on the holdings of these services and their collections is not only unrealistic, but in the case of certain course offerings, simply impossible. An insistence upon this would represent a serious threat to the pedagogical integrity of the discipline and the policies aimed at Equity, Diversity and Inclusion (EDI). Universities have adopted such policies in order to decolonize and diversify the curriculum. It is well known that many of the more common platforms have limited range of titles, often with a decided focus on filmmaking by white and largely male directors from the English-speaking western world. While every reasonable effort should be made to make use of the licensed, digital content available to educational institutions, a strict adherence solely to these collections would unquestionably represent a barrier to the best educational experiences of students and to Equity, Diversity and Inclusion policies of the university.

Most university and college film and media studies departments across the country have physical archives of legitimate, legally obtained copies of films and related media products, which they rely upon for in class screenings. In instances where required titles are not reasonably accessible via currently held online licensed services and platforms, instructors should be allowed to make this content available to students, under very specific circumstances. These film and media titles could be streamed via an e-learning platform employed by the host institution for its registered students, effectively reproducing as closely as possible a typical in-person classroom screening experience.

Further to this, and ultimately a decision for the instructor of any given course, we believe that AV content needs to be available to students in an asynchronous format. There are simply too many hurdles associated with online learning that risk prejudicing the experiences of students burdened by technological limitations. Technological barriers should not be an impediment to a fully realized learning experience. Educators should have the right to make AV content available in an asynchronous format – in other words, when licensed content is unavailable, instructors should be able to make unlicensed content available (from a legitimate, legally and commercially obtained source) to students in an asynchronous format. Every effort should be made to ensure that students cannot easily download the file, or use it for non-educational purposes (i.e. making the content available for streaming, as opposed to simply posting a digital copy for download.) Students should be consistently reminded that all copyrighted material in a course is to be used exclusively within that educational context. Instructors and educational content providers (i.e. university libraries and AV resource centers) must ensure that any digitized copyrighted material made available by them through the mechanisms of the online infrastructure needs to be removed from this infrastructure upon conclusion of the course. All course material that contains any copyrighted material, licensed or otherwise, should always be password-protected, and access should be strictly limited to students enrolled in the course.

Ultimately, educators should always operate under the frameworks permitted by their institutions and in alignment with EDI. We encourage film and media instructors to work closely with the relevant personnel at their institution to develop practices and standards that make full use of the rights accorded through Canadian copyright law.

Prepared by the FSAC ad hoc committee on online screening, with assistance from Lisa Macklem and Samuel E. Trosow.

*  Section 29.4 (3) explains that this exemption does not apply if the work is “commercially available.” Commercially available is defined in section 2 as “(a)available on the Canadian market within a reasonable time and for a reasonable price and may be located with reasonable effort,” or; “(b) for which a licence to reproduce, perform in public or communicate to the public by telecommunication is available from a collective society within a reasonable time and for a reasonable price and may be located with reasonable effort.” We do not believe that it is reasonable for an educational institution to repurchase, in another format, copies of films that it already owns and has rights to exhibit, nor do we feel it is reasonable to place the burden of cost onto students. These are expenses that would not exist in an in-person teaching environment.



Déclaration sur le droit d’auteur et la projection en ligne de l’ACÉC

Depuis l’émergence de cours et de départements dédiés à la discipline au cours des années 60 et au début des années 70, l’enseignement des études cinématographiques dans les universités et les collèges dépend d’un accès constant à une gamme complète de films et de contenus audiovisuels connexes pour la projection en classe. Cet accès est une pierre angulaire de l’enseignement des études cinématographiques et médiatiques au niveau postsecondaire. En fait, aucune discipline universitaire n’est plus dépendante de cet accès.

La législation canadienne sur le droit d’auteur vise à assurer un équilibre raisonnable entre les droits des créateurs de contenu et les droits des utilisateurs et des consommateurs de ces contenus. Elle est aussi soucieuse de consacrer les droits des seconds que les droits des premiers. À l’heure actuelle, la loi sur le droit d’auteur au Canada accorde un éventail considérable de droits aux éducateurs en études cinématographiques et médiatiques, notamment par le biais de l’utilisation équitable (article 29) et des exemptions pour les établissements d’enseignement (articles 29.4 et 29.5).

La pandémie mondiale actuelle a forcé une transformation radicale de la prestation du contenu des cours postsecondaires. Pourtant, alors que la pandémie a rendu nécessaire une transition presque totale et temporaire vers l’enseignement en ligne, ce format d’enseignement existait avant la COVID-19, et se poursuivra sûrement une fois que la crise mondiale aura passé. Bien que les circonstances nécessitées par la crise de la COVID-19 aient mis cette question au premier plan, nous pensons que les conclusions trouvées ici concernant les pratiques de visionnement dans un environnement éducatif vont au-delà de ce contexte historique immédiat.

L’Association canadienne d’études cinématographiques encourage les éducateurs en études cinématographiques et médiatiques au Canada à embrasser toute l’étendue des droits qui leur sont accordés par la Loi canadienne sur le droit d’auteur. La projection régulière de films, à la fois dans leur intégralité et en extraits plus courts, est le fondement de l’enseignement des études cinématographiques au Canada. Cet exercice est entièrement éducatif et ne présente aucun défi concurrentiel pour le marché du contenu audiovisuel protégé par le droit d’auteur. L’article 29 de la Loi canadienne sur le droit d’auteur indique clairement que « L’utilisation équitable d’une œuvre ou de tout autre objet du droit d’auteur aux fins d’étude privée, de recherche, d’éducation, de parodie ou de satire ne constitue pas une violation du droit d’auteur. » De plus, la section 29.5 permet « l’exécution en public d’une œuvre cinématographique, à condition que l’œuvre ne soit pas un exemplaire contrefait » dans les locaux d’un établissement d’enseignement, à des fins éducatives, à un public composé principalement d’étudiants. Les cours dispensés au moyen d’un logiciel collégial ou universitaire dans un environnement en ligne sont considérés comme « dans les locaux » de cette institution. L’article 29.4 stipule que ce n’est pas une violation du droit d’auteur pour un établissement d’enseignement de reproduire une œuvre à des fins éducatives.* En bref, dans le cas de la reproduction d’une œuvre protégée légalement obtenue, il ne s’agit pas d’une infraction que de la présenter aux étudiants, à des fins d’éducation, par le biais de l’infrastructure en ligne officielle d’une université ou d’un collège.

Les éducateurs devraient faire un effort raisonnable pour incorporer dans leurs cours des titres de films et de médias actuellement sous licence à leurs établissements via des plateformes de streaming (Kanopy, Criterion-sur-demande, etc.). Cependant, les enseignants ne devraient pas avoir à reconfigurer leurs cours uniquement autour des collections en ligne sous licence aux établissements, ni les universités et les collèges ne devraient-ils être obligés de dépenser beaucoup d’argent pour acquérir d’autres copies sous licence par le biais de ces services pour les films et autres matériels audiovisuels qu’ils possèdent déjà, et pour lesquels ils ont déjà les droits de diffusion gratuite en classe. Il convient également de noter que ces services de diffusion en continu, disponibles commercialement, ont des collections limitées et que non seulement est-il irréaliste d’attendre des enseignants qu’ils remodèlent l’intégralité des programmes d’études cinématographiques en fonction des fonds de ces services et de leurs collections, mais dans le cas de certaines offres de cours, cela est tout simplement impossible. Une insistance sur ce point représenterait une menace sérieuse pour l’intégrité pédagogique de la discipline et les politiques visant l’équité, la diversité et l’inclusion (EDI). Les universités ont adopté de telles politiques afin de décoloniser et de diversifier les programmes. Il est bien connu que bon nombre des plateformes les plus courantes ont une gamme limitée de titres, souvent avec un accent décidé sur la réalisation de films par des réalisateurs blancs et majoritairement masculins du monde occidental anglophone. Bien que tous les efforts raisonnables doivent être faits pour utiliser le contenu numérique sous licence mis à la disposition des établissements d’enseignement, une adhésion stricte uniquement à ces collections représenterait incontestablement un obstacle aux meilleures expériences éducatives des étudiants et aux politiques d’équité, de diversité et d’inclusion du Université.

La plupart des départements universitaires et collégiaux d’études sur le cinéma et les médias à travers le pays possèdent des archives physiques de copies légitimes et légalement obtenues de films et de produits médiatiques connexes, sur lesquels ils comptent pour les projections en classe. Dans les cas où les titres requis ne sont pas raisonnablement accessibles via les services et plates-formes sous licence en ligne actuellement détenus, les enseignants devraient être autorisés à mettre ce contenu à la disposition des étudiants, dans des circonstances très spécifiques. Ces titres de films et de médias peuvent être diffusés via une plate-forme d’apprentissage en ligne utilisée par l’institution éducative pour ses étudiants inscrits, reproduisant ainsi aussi fidèlement que possible une expérience de projection en classe.

Finalement, nous pensons que le contenu audiovisuel doit être disponible pour les étudiants dans un format asynchrone, selon la décision prise par l’instructeur d’un cours donné. Il y a tout simplement trop d’obstacles associés à l’apprentissage en ligne qui risquent de nuire aux expériences des étudiants accablés par des limites technologiques. Les barrières technologiques ne devraient pas être un obstacle à une expérience d’apprentissage pleinement réalisée. Les enseignants devraient avoir le droit de rendre le contenu audiovisuel disponible dans un format

asynchrone. En d’autres termes, lorsque le contenu sous licence n’est pas disponible, les formateurs devraient être en mesure de rendre disponible du contenu sans licence (à partir d’une source légitime, obtenue légalement et commercialement) aux étudiants dans un format asynchrone. Tout doit être fait pour que les élèves ne puissent pas facilement télécharger le fichier ou l’utiliser à des fins non éducatives (c’est-à-dire rendre le fichier disponible pour diffusion en continu, au lieu de simplement publier une copie numérique pour téléchargement). Il convient de rappeler systématiquement aux étudiants que tout le matériel protégé par le droit d’auteur d’un cours doit être utilisé exclusivement dans ce contexte éducatif. Les instructeurs et les fournisseurs de contenu éducatif (c’est-à-dire les bibliothèques universitaires et les centres de ressources audiovisuelles) doivent veiller à ce que tout matériel numérisé protégé par le droit d’auteur mis à disposition par les mécanismes de l’infrastructure en ligne soit retiré de cette infrastructure à la fin du cours.

En fin de compte, les éducateurs devraient toujours opérer dans les cadres autorisés par leurs institutions et conformément à l’EDI. Nous encourageons les professeurs de cinéma et de médias à travailler en étroite collaboration avec le personnel concerné de leur établissement pour élaborer des pratiques et des normes qui utilisent pleinement les droits accordés par la loi canadienne sur le droit d’auteur.

Preparé par le comité ad hoc de l’ACÉC sur la projection en ligne, avec l’aide de Lisa Macklem et Samuel E. Trosow.

*  Le paragraphe 29.4 (3) explique que cette exemption ne s’applique pas si l’œuvre est
« accessible sur le marché ». « Accessible sur le marché » est défini comme « a) qu’il est possible de se le procurer, au Canada, à un prix et dans un délai raisonnable, et de le trouver moyennant des efforts raisonnables; » ou « b) pour lequel il est possible d’obtenir, à un prix et dans un délai raisonnables et moyennant des efforts raisonnables, une licence octroyée par une société de gestion pour la reproduction, l’exécution en public ou la communication au public par télécommunication, selon le cas. » Nous ne pensons pas qu’il soit raisonnable pour les universités de racheter dans un autre format des copies de films dont elles sont déjà propriétaires et ont les droits de diffusion, et nous ne pensons pas non plus qu’il soit raisonnable d’imposer le fardeau des coûts aux étudiants. Ce sont des dépenses qui n’existeraient pas dans un environnement d’enseignement en personne.

CFP Conference

Screening Censorship Conference: New Histories, Perspectives, and Theories on Film and Screen Censorship
Ghent, Belgium, October 16-17, 2020

UPDATE: Our conference is going ahead. We also adapt, of course, to the changing world. Based on abstract submissions Screening Censorship Conference will adjust to circumstances, and implement best practices of social distancing and (if needed) virtual attendance to ensure the safety and comfort of delegates, presenters and attendees. The new deadline for abstracts is August 15, 2020. For more information, please contact Daniel Biltereyst ( and/or Ernest Mathijs (

Academic keynote speakers:
Professor Richard Maltby (Flinders University, Australia)
Professor Linda Williams (University of California, Berkeley, USA)

Professional keynote speakers:
Manuel Mozos (filmmaker, Portugal)
Rachel Talalay (film director/producer, US/Canada)

Throughout the history of film and cinema, censorship has existed everywherein all kinds of shapes, colors, and dimensions. The act of restricting the free production, circulation, screening and consumption of movies was never unique to authoritarian regimes. Age restrictions, film cuttings, bans, industry discouragements, and other types of censorial interventions also occurred in countries where media freedom and the freedom of speech were and are highly regarded principles. Censorship has had far-reaching implications on filmmakers, distributors, exhibitors, and audiences across generations, and across genres. Hard, strict institutional censorship often came alongside implied or ‘suggested’ forms of soft censorship, including, importantly, the self-censorship or audiences disciplined into particular viewership positions.

Today, soft and hard censorship co-exist in even more fluid forms. The acts of banning, regulating, trimming, and tailoring films for ‘harmless’ consumption, by bureaucracies, pressure groups and activists, are frequently embedded within wider debates about media use. But film nonetheless remains a ‘banner issue’, a point of reference for what constitutes screen censorship.

From the long tradition of investigating film censorship onwards, this conference aims at reflecting upon recent changes in policies, strategies and practices of film censorship, both in the past and in today’s media landscape. Amongst the many questions, this conference asks:

  • What are film history’s lessons from censorship?

  • What are the contours of censorship today?

  • Is censorship still a useful concept? How has it changed?

  • How do new or renewed sensitivities influence censorship today, in terms of gender, ethnicity, sexuality, religion, ageism, ableism?

  • How do censorships compare, across time, space, genre, and technologies?

  • What is the role of social media in debates about censorship? How do we define film censorship in times of massive content moderation on social media platforms?

  • How does film censorship work on different screens: in the theatre, on television, on in-flight, mobile, across multitudes of digital screens?

  • What are the ‘aesthetics’ of censorship today and what is the function of pastiche, subversion, ‘just joking’, and other kinds of boundary-challenging work?

  • What do recent controversies and provocations reveal about the evolution of censorship?

  • What is the relationship between incidents and interventions in production culture, artistic integrity, and censorship?

  • What is censorship’s relationship with ‘hardcore’ and explicit material, past and now? If censorship is not always a simple matter of repression from above, but of conflicting discursive constructions arising from below, how do we account for the history of the emergence of hard-core pornography beyond thinking of it as the liberalization of censorship?

    Screening Censorship also invites reflections on the changing research environment:

  • What are the tools for studying censorship today?

  • How have digital technologies affected the study of censorship?

  • What is the influence of new film and cinema historiography in exploring practices of distributing, screening, consuming and audience’s experiences of film and screen censorship?

Screening Censorship aims to showcase academic and industry voices on the issue of the shifting practices of censoring films on the different screens. The four keynote addresses confirmed for the symposium reflect that goal. The conference is organized in tandem with the 47thInternational Film Fest Ghent (FIAPF accredited, Variety’s top-50 must-attend), and aims to examine how film and cinema censorship, as a concept and as a practice (ad hoc and post hoc), functions 20 years into the 21st Century.

Screening Censorship welcomes contributions for 20-minute presentations from scholars, artists and practitioners whose work pertains to topics and themes of film and screen censorship. We are seeking abstracts for individual papers and panels of three or four contributors on topics including, but not limited to:

  • Theories, concepts, and discourses on film censorship, control, discipline, silencing, content moderation

  • New film censorship policies, strategies, tactics, practices

  • The aesthetics of film censorship, subversion, pastiche

  • Activism and resistance

  • Film censorship, audiences and reception

  • Institutions and power

  • Comparison, entangled history, histoire croisée

  • Film censorship and the museum: archives, heritage, platforms

  • Artistic integrity, interventions, re-use

  • Film censorship cases, controversies, panics

  • Digital tools and new methods for doing film censorship research today

Please send abstracts of 300 words and a 100-word biography to Daniel Biltereyst ( and Ernest Mathijs ( by August 15th, 2020, and address any queries to the same addresses. Abstracts should be submitted following this order: (a) author(s); (b) affiliation; (c) email address; (d) title of abstract; (e) body of abstract; (f) bibliography. E-mails should carry the subject line: Screening Censorship Abstract Submission.

Conference sponsored by Digital Cinema Studies (DICIS, FWO Flanders) in collaboration with The Centre for Cinema and Media Studies (UBC).

Conference venue: Film-Plateau, Paddenhoek 3, Ghent, Belgium. Conference website: (under construction)

CFP Transformative Works and Cultures:
Fandom Histories 

Fans demonstrate a broad interest in the past, both of their objects of fandom and their own communities. They collect, catalog, preserve, restore, and publicly display historical artifacts and information in their own archives and museums. They study archival materials and collections, interview witnesses, and read historical scholarship, developing historical narratives and theses. Their research materializes in the form of analog and digital nonfiction media such as print and online publications, documentaries, podcasts, video tutorials, and pedagogical initiatives. Through their work, fans historicize their own fandom and tie it into broader historical questions, connecting to issues like heritage, gender, and the nation. While some fans do this as community historians, focused on small and self-financed groups, others work within large and well-known cultural organizations and businesses, bringing this work into the mainstream.

The goal for this special issue of Transformative Works and Cultures is to explore the question of how fans produce knowledge about the past and actively engage with history. We are particularly interested in essays that show what fans do as historians, such as running publicly accessible archives and museums, and using archival materials for the production of nonfiction media. We want to shift direction from the question of why and how fans are collecting to analyses of why, how, and with what impact fans are creating and disseminating knowledge about the past. Such contributions will further our understanding of how central engagements with the past are to individual and collective fan identities, and how fandom connects to historical debates.

We encourage contributions covering all geographies and forms of fandom, including film, television, music, games, sport, fashion, celebrity culture, themed environments, theatre, dance, and opera. Topics may include, but are not limited to:

• Theorizing fans as historians.
• Fan-produced nonfiction media about the past.
• Use of archival and historical materials in fan works.
• Fan-run archives and museums.
• Memorialization of fandom.
• Transmedial practices in fan-made histories.
• Fan-made histories as fan pedagogy.
• History making and inclusion/exclusion in fandom.
• Fans as historians and the media and/or heritage industries.


Submission guidelines
Transformative Works and Cultures (TWC, is an international peer-reviewed online Gold Open Access publication of the nonprofit Organization for Transformative Works copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and to promote dialogue between the academic community and the fan community. TWC accommodates academic articles of varying scope as well as other forms that embrace the technical possibilities of the Web and test the limits of the genre of academic writing.

Theory: Conceptual essays. Peer review, 6,000–8,000 words.
Praxis: Case study essays. Peer review, 5,000–7,000 words.
Symposium: Short commentary. Editorial review, 1,500–2,500 words.

Please visit TWC’s website ( for complete submission guidelines, or email the TWC Editor (editor [AT]

Contact—Contact guest editors Philipp Dominik Keidl and Abby Waysdorf with any questions or inquiries at fansmakehistory [AT]

Due date—January 1, 2021, for estimated March 15, 2022 publication.



The next issue will focus on two themes.

Film and Radical Politics in the Global Crisis

A plague stalks the world and economies are collapsing. Are we forced to imagine the end of the world and the end of capitalism? What is the relationship of film and media to this terrifying live spectacle? How is it represented? What place and responsibility for radical films and filmmakers? What possible transformative or disastrous outcomes in this moment of contradiction and crisis?

Films and filmmakers have a long history of involvement in moments of social conflict and change, war and revolution. Soviet filmmakers in the Russian revolution, Renoir and the French Popular Front, the avant-garde cinema from Surrealism on, the Hollywood Reds and the blacklist, the NFB in WWll, anti-fascism and Neo-Realism, the Third Cinema of anti-colonial struggles from the fifties on, the enduring impact in both documentary and fiction of the social movements of the sixties and the many New Lefts and more… What is the current state of this radical lineage, what contemporary explorations, what changed role for film and media now. Open to a wide range of subjects and perspectives.

Horror Films

The horror genre remains enduringly popular, especially in this apocalyptic moment, and often politically challenging, in films and television all over the world. We welcome submissions on the genre, particular films, directors, from any national, aesthetic or political perspective.

Submissions or queries to Scott Forsyth, or

Deadline: September 1, 2020

The Film Studies Association of Canada (FSAC) conference – dedicated this year to the consideration of, and fight against, anti-Blackness both inside and beyond the academy – would have been in its final day today, had it not been cancelled as a result of the COVID-19 crisis. Instead, many of our members will have taken to the streets in recent days to protest the ongoing violence unfolding in the United States. The FSAC Executive stands in solidarity with those who have raised their voices against anti-Black racism and have put their bodies on the line in the effort to protect their communities and kin from police and state-sanctioned violence. FSAC fully recognizes that this struggle continues here in Canada as well, which has its own lamentable legacy of anti-Blackness that is deeply intertwined with other forms of racism, particularly against Indigenous people.

As an association, FSAC is committed to understanding the ways in which racism manifests itself in film, television, and other media forms as well as identifying ways in which audiovisual media can be mobilized in the fight against racism and in opposition to police and state-sanctioned violence. The association, at this time, reiterates its absolute support of BIPOC critics and creators, whose work needs to guide us all in a way forward. Likewise, the association commits itself to the transformation of the disciplines of film, television, and media studies as part of the larger, collective effort to imagine and actualize a more equitable world.


La conférence annuelle de l’Association canadienne des études cinématographiques (ACÉC) – qui avait consacré cette année à la prise de conscience et à la lutte contre le racisme face aux personnes noires à l’intérieur et à l’extérieur de l’Université – en serait à sa troisième journée aujourd’hui, si elle n’avait pas été annulée en conséquence de la crise de la COVID-19. Plutôt que de participer à la conférence annuelle, plusieurs de nos membres ont pris la rue ces derniers jours pour protester contre la violence qui se poursuit aux États-Unis. L’exécutif de l’ACÉC est solidaire de ceux et celles qui ont élevé leur voix contre le racisme envers les personnes noires et mis leur corps en danger dans le but de protéger leurs communautés et leurs proches de la violence policière et sanctionnée par l’État. L’ACÉC reconnaît pleinement que cette lutte se poursuit également ici au Canada, qui a son propre héritage lamentable de racisme envers les personnes noires, ce dernier étant profondément entrelacé avec d’autres formes de racisme, en particulier contre les peuples autochtones.

En tant qu’association, l’ACÉC s’est engagée à comprendre les façons dont le racisme se manifeste dans les films, à la télévision et dans d’autres formes de médias, ainsi qu’à identifier les moyens par lesquels les médias audiovisuels peuvent être mobilisés dans la lutte contre le racisme, contre la violence policière et celle sanctionnée par l’État. L’association réitère aujourd’hui son soutien absolu aux personnes noires, autochtones et de couleurs (BIPOC), dont le travail doit nous guider dans la voie à suivre. En ce sens, l’association s’engage à participer à la transformation des disciplines des études cinématographiques, télévisuelles et médiatiques dans le cadre d’un effort collectif plus vaste visant à imaginer et actualiser un monde plus équitable.