Cross-Appointed Tenure-Track Faculty Position in
Canadian Moving Image Arts Studies
Concordia University’s Department of Art History and the Mel Hoppenheim School of Cinema in the Faculty of Fine Arts invite applications for a full-time, cross-appointed tenure-track faculty position in Canadian Moving Image Arts Studies to begin August 1, 2018.
With over 4,000 students, faculty, and staff, the Faculty of Fine Arts is among the five largest art and design schools in North America. Montréal, our home, is exceptional: with 170,000 university students, a vibrant cultural scene, and the most affordable tuition in Canada, the city ranks among the top ten best destinations in the world for tertiary education. While supporting a significant Anglophone population, Montréal is the second largest French-speaking city after Paris. North America’s number one choice for international events and festivals, Montréal was the first metropolis to be designated a UNESCO City of Design by the Global Alliance for Cultural Diversity. Nestled in the heart of this pulsing city, embraced by a dynamic research university, the Faculty of Fine Arts benefits from extraordinary access to brilliant practitioners, thriving venues, cross-cultural perspectives, and an extensive network of outstanding facilities for research and production.
Faculty and Departments
Taking advantage of our place within the rich fabric of a research university and our long history as one of the premiere sites in Canada for the study and creation of the arts and arts-based scholarship, the Faculty of Fine Arts is currently engaged in a transformative moment in which pedagogical, conceptual, theoretical, and material practices find resonance with a significant diversity of approaches. In our university community, live performance, historical research, methodological innovation, theoretical scholarship, technical experimentation, skills-based production, community fieldwork, as well as traditional and digital fabrication are equally valued. In addition to curricular experimentation, the formation of significant research centres and external partnerships in the Faculty of Fine Arts have enriched opportunities for faculty and students. In 2018 a new Media Bank will open in the Faculty, in which the combined film, video, and image archives of Art History and Film Studies will be housed. This facility will include seminar rooms, breakout space, as well as viewing stations available to students and faculty, and offers great potential for future research initiatives and activities.
The Department of Art History is a vital environment for the study and research of art’s histories, theoretical frameworks, visual and material culture, curatorial practice, education and community engagement. As one of Canada’s leading programs, the Department of Art History offers full undergraduate degree programs in Art History, Art History and Film Studies, and Art History and Studio Art, as well as an MA in Art History and an interuniversity PhD, offered collaboratively with three other institutions. Our curriculum and research reflect a diversity of approaches, and we encourage students to become active contributors to the discipline throughout their studies. The Department of Art History is a mutually supportive environment with a longstanding tradition of ground-breaking scholarship and where teaching is active and innovative, with public learning outcomes often providing a means to invite a sense of shared purpose among our student body and larger university community.
The Mel Hoppenheim School of Cinema—Canada’s largest university-based centre for the study of film animation, film production and film studies—is highly regarded around the world. The School has the distinct advantage of being situated in Concordia’s vibrant Faculty of Fine Arts, where faculty and students enjoy numerous cross-disciplinary opportunities, state-of-the-art resources and facilities, and a rich artistic and cultural context for research and study. Currently, the School’s faculty complement includes 26 full-time professors and a talented cadre of part-time instructors, teaching more than 800 students. The School hosts programs in Film Production, Film Animation, and Film Studies. Among the degrees offered are a BFA in Film Studies, a BFA in Art History and Film Studies, an MA in Film Studies, and a PhD in Film and Moving Image Studies. Our 12 full-time Film Studies faculty members are active scholars in a diversity of subfields, and our PhD program attracts high- caliber international students, and is among the top Film Studies graduate programs in the world.
Since its creation in 2002, the Major in Art History and Film Studies has offered a course of study at the intersection between art history and film studies as scholarly disciplines. A research and writing- intensive program, it attracts top students and is a growth area for both departments. It is a program in which students develop an interdisciplinary understanding of the visual and audio-visual arts, as well as the critical and theoretical discourses pertaining to each discipline. Since its inception, intersections between experimental film practices and moving image gallery works have increased in current moving image arts practice, as have the challenges and strategies of curating, archiving, and preservation. More than ever, this hybrid program is well situated to train students in an expanded history of the moving image, and the associated institutions, artists, and archival practices.
We are seeking candidates with expertise in moving image arts and visual culture. Moving Image Arts is an umbrella term that includes experimental film, video, installation arts, and expanded cinema, along with other modes of digital arts—all of which have distinct and interrelated histories and futures. We welcome candidates whose research encompasses curating, archiving and historiography. Preference will be given to applicants with a scholarly record focused on any modality of moving image arts and visual culture, including a demonstrated expertise in Canadian, Quebec, and/or Indigenous Media with a research program grounded in one or more of these areas.
The successful cross-appointed candidate’s primary department will depend on their field of expertise, but since they will be expected to teach core undergraduate courses in Art History and Film Studies, they must be comfortable within both disciplinary milieux. Responsibilities will also include the stewardship of the BFA in Art History and Film Studies, including review of curriculum, timetable co-ordination, and mentoring students. In this role, they should demonstrate the ways collaborative, interdisciplinary research and pedagogy in Art History and Film Studies are central to the continued success of this program. The candidate should be prepared to supervise graduate students in either Art History or Film Studies, or both, and serve on graduate supervisory committees, as well as actively embrace program and department stewardship, perform administrative duties and engage in committee work at the department and Faculty levels. Prior activities demonstrating leadership, service, and commitment to diversity will be an asset.
Applicants should hold a PhD in either Art History or Film Studies, or a related discipline(s), have substantial teaching experience at the university level, and must demonstrate an active program of research as well as a record of publications. They should have a significant research and scholarly profile in Canadian, Quebec, and/or Indigenous moving image arts studies. Additional expertise in curatorial and archival activities will be considered an asset for the position. Although classes are taught in English, a foundation in French would be considered a strong asset.
Application Requirements and Deadline
Applications should be submitted electronically to email@example.com on or before November 1, 2017. Submissions must consist of a letter of application; curriculum vitae; a statement of teaching philosophy and interests; a teaching dossier showing evidence of teaching effectiveness (including course syllabi, evaluations, and examples of student work); a research philosophy highlighting future research plans; detailed examples of completed/in-progress works; one example of published scholarly work (peer-reviewed article); and the names and contact information of three referees. Short-listed candidates will be required to provide an attestation of terminal degree. The departments regret that they cannot consider incomplete applications.
All inquiries regarding this position should be sent to firstname.lastname@example.org and directed to: Dr. Elaine Paterson, Chair, Department of Art History and Dr. Catherine Russell, Chair, Mel Hoppenheim School of Cinema
To learn more about working at Concordia, applicants are encouraged to consult:
Faculty of Fine Arts: http://www.concordia.ca/finearts.html
Department of Art History: http://www.concordia.ca/finearts/art-history.html
Mel Hoppenheim School of Cinema: http://www.concordia.ca/finearts/cinema.html
Subject to budgetary approval, we anticipate filling this position, normally at the rank of Assistant Professor, for August 1, 2018. Appointments at a more senior level may also be considered. Review of applications will begin immediately and will continue until the position is filled.
All qualified candidates are encouraged to apply for this position; however, Canadian citizens and permanent residents of Canada will be given priority. Concordia University is strongly committed to employment equity within its community, and to recruiting a diverse faculty and staff. The university encourages applications from all qualified candidates, including women, members of visible minorities, Indigenous persons, members of sexual minorities, persons with disabilities, and others who may contribute to the diversity of the university.
Assistant Professor – East Asian Cinema
Job Field: Tenure Stream
Faculty / Division: University of Toronto Mississauga
Department: UTM: Visual Studies
Job Posting: Aug 18, 2017
Job Closing: Oct 18, 2017, 11:59pm EST
The Department of Visual Studies at the University of Toronto Mississauga (UTM) campus invites applications for a full-time, tenure-stream appointment at the rank of Assistant Professor in the field of East Asian Cinema. The expected start date will be July 1, 2018.
The Department welcomes applications from scholars of East Asian Cinema working in any area of the field. We encourage applicants with an emphasis on film philosophy and/or critical theory but other approaches are also welcomed.
Applicants must have earned a PhD in Cinema Studies, East Asian Studies, or a closely related discipline by the date of appointment or shortly thereafter, with a demonstrated record of excellence in teaching and research. The successful candidate will play an important role in undergraduate teaching in the Department of Visual Studies and at the graduate level in the Cinema Studies Institute. The candidate will also be affiliated with the Department of East Asian Studies. The candidate will supervise and mentor students, participate in the affairs of the Department of Visual Studies and the Cinema Studies Institute, and conduct innovative research at the highest international level.
Evidence of excellence in teaching will be demonstrated through teaching accomplishments, strong letters of reference, and teaching materials, including a teaching dossier, submitted with the application. Excellence in research is demonstrated by the quality of the writing sample, publications in (or forthcoming in) top-ranked and field-relevant academic journals, presentations at major conferences, awards and accolades, evidence of an innovative research program, and strong endorsements by referees of high standing.
Salary will be commensurate with qualifications and experience.
The University of Toronto offers the opportunity to teach, conduct research, and live in one of the most diverse metropolitan areas in the world.
All qualified applicants are invited to apply online by clicking on the following link: https://utoronto.taleo.net/careersection/10050/jobdetail.ftl?job=1701397
Applications should include a cover letter, curriculum vitae, teaching dossier (including a statement of teaching philosophy, sample syllabi, and teaching evaluations), a statement outlining current and future research interests, and a writing sample (c. 30 pages). If you have questions about this position, please contact email@example.com. All application materials should be submitted online. Materials must be received by October 18, 2017. If you have any questions about this position, please contact Debra Burrowes at firstname.lastname@example.org.
The UofT application system can accommodate up to fifteen attachments (8.3MB per attachment) per candidate profile; please combine attachments into one or two PDF/MS Word format files. Submission guidelines can be found at: http://uoft.me/how-to-apply.
Applicants should also ask three referees to send letters (signed and on institutional letterhead) directly to the department via e-mail to email@example.com by the closing date, October 18, 2017.
For more information about the Department of Visual Studies, please visit https://www.utm.utoronto.ca/dvs/.
The University of Toronto is strongly committed to diversity within its community and especially welcomes applications from racialized persons / persons of colour, women, Indigenous / Aboriginal People of North America, persons with disabilities, LGBTQ persons, and others who may contribute to the further diversification of ideas.
As part of your application, you will be asked to complete a brief Diversity Survey. This survey is voluntary. Any information directly related to you is confidential and cannot be accessed by search committees or human resources staff. Results will be aggregated for institutional planning purposes. For more information, please see http://uoft.me/UP .
All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.
CFP: Canadian Cinema in the New Millennium
Call for essay proposals for an edited volume about Canadian films, filmmakers, and film culture (for submission to McGill-Queens University Press) Edited by Lee Carruthers and Charles Tepperman.
This volume will survey the aesthetic, cultural, and industrial transformations of motion pictures in Canada since 2000. Canadian cinema has undergone significant shifts since the 1990s: in some ways, it is increasingly transnational (with global auteurs like Denis Villeneuve and co-productions like Room); in other respects, Canadian film production is more marginal than ever (as microbudget films and new filmmakers struggle to reach an audience). These developments, alongside recent efforts to promote gender parity and indigenous expression at the NFB and Telefilm, speak to the continued cultural currency of cinema in Canada. In response, this collection poses a pair of pressing questions: how is recent Canadian cinema constituted, and what are its new meanings?
We invite diverse essay submissions about Canadian cinema, deploying established critical approaches to contemporary cinema (textual and cultural analysis, stylistic analysis) as well as new critical methods, such as transmedia and transnational analyses, data-based research, and media industry studies. Articles may address French-, English-, and/or indigenous-language filmmaking, and films and film cultures from diasporic communities and international co-productions. Thematic sections of the volume may include: film/director studies; cultures and audiences; industry and production contexts; and documentary, experimental and transmedia works. We are particularly interested in tracing the ways that particular filmmakers, cultural contexts, and production cultures give rise to distinctive stylistic, affective, and textual dimensions of films. Topics these studies might address include:
- texts and auteurs: studies of individual films, filmmakers
- examination of stylistic trends, genres, popular cinema and art cinema
- gender, cultural difference and diversity in Canadian cinema
- indigenous filmmaking, de-colonization
- queer and LGBTQ films and cultures
- film industry contexts, production culture, service/runaway production
- film distribution, exhibition, and film festivals
- Canadian film and TV, Netflix, digital platforms
- independent, avant-garde, and experimental film in Canada
- recent developments in Canadian documentary film
- transmedia, new media, and future cinema
- film policy, agencies, the state
- film culture, audiences and reception
- co-productions, transnational cinema in the Canadian context
- local scenes, regional contexts
- other topics related to Canadian cinema since 2000
Article proposal/abstract (250 words + bibliography/filmography) will be due on Sept. 15, 2017. Final essays (5000-6000 words) will be due by March 1, 2018. Please send your proposals and inquiries to Lee Carruthers (firstname.lastname@example.org) and Charles Tepperman (email@example.com).
CFP ReFocus: The Films of Xavier Dolan
Ever since his first feature film J’ai tué ma mère premiered at Cannes in 2009, where it received an eight-minute standing ovation and three awards, every film from the prolific and precocious 28 year-old Québécois director Xavier Dolan has generated significant buzz. A recipient of numerous international awards, Dolan has recently taken his career into genre filmmaking (with Tom à la ferme, which premiered at Venice and garnered the prestigious FRIPESCI prize) and to an international level, with his first English-language feature The Death and Life of John F. Donovan now in post-production.
Dolan has undoubtedly been a crucial player in the film festival circuit of the past seven years, and an eloquent spokesperson for Québec’s national cinema within international spheres. Dolan’s involvement with directing, producing, screenwriting, editing, costume design and English subtitling and dubbing make Dolan an exemplar of auteur cinema. Meanwhile, his “very Québécois” profile, combined with the wide circulation of his films in foreign markets, continues to enhance the relevance of Québec’s cultural specificity in wider frameworks of film reception.
As the first book-length anthology on Xavier Dolan, this ReFocus International Directors volume seeks to make an intervention on the global reach of small national and subnational cinemas, and to use Dolan’s cinema as a departure point to reconsider the position of Québec film and cultural imaginary within a global cinematic culture.
I am accepting submissions on any aspect of Dolan’s oeuvre, but am especially looking for chapters on the following:
- The international reception of Dolan’s films
- Local/Global reception
- Millennial filmmaking and reception, as it relates to Dolan
- Millennial queer filmmaking – Millennial nostalgia in Dolan’s films
- Specific films, as they relate to any of the above or the following additional topics: sexuality/intimacy, language/accents, women/motherhood, Québec cinema, international circuits/film festivals
- Your suggestion?
The Films of Xavier Dolan will be one of the scholarly editions to be published by the University of Edinburgh Press in the ReFocus series on international directors. Series editors are Robert Singer, PhD and Gary D. Rhodes, PhD.
Please send your 250-750 word proposal and CV to firstname.lastname@example.org by May 30, 2017. I welcome initial email enquiries to discuss possible proposals.
Final submissions will be approximately 6000 to 8000 words, in English, referenced in Chicago endnote style, and submitted by October 15, 2017.
Andrée Lafontaine, PhD
Assistant Professor of American Studies
Aichi University, Nagoya
Film Studies Association of Canada
Graduate Student Essay Prize
(La version française suit ci-dessous)
All current students are invited to submit an essay written as part of their graduate studies as application for the 2017 Film Studies Association of Canada Graduate Student Essay Prize. The recipient will be announced at the May 28, 2017 Annual General Meeting of the association held during the conference at Ryerson University.
The selected essay will demonstrate maturity and sophistication of argument, be a clear and direct engagement with the discipline of Film Studies (broadly defined), be provocative and stimulating and have the potential for publication.
- Students must be registered in a graduate program for at least one semester in the school year prior to the deadline.
- If the paper has more than one author; all authors must be registered graduate students and members of the association.
- Papers submitted for review to a scholarly journal (even if not yet accepted) are not eligible.
- Papers are submitted by the author(s), not a supervisor or faculty advisor.
- Students must be fully paid members of FSAC at the time that they submit their paper for consideration. Previous winners may not submit entries.
- Essays resulting from research conducted under the Gerald Pratley Award may not be submitted, but Pratley winners may submit essays on other topics.
Papers are evaluated by a blind-review process.
- Do not include any identifying information of authorship or home institution in the body of the paper.
- Submit by email as MSWord attachment
- Place identifying contact information (author name(s), institution, contact information and essay title) in the body of the email.
- Attach the paper with the title at the top of the first page.
- Double-space and number your pages.
A committee of executive members of the association, including a graduate student representative, will select the recipient.
The president will receive and distribute the applicants but will not participate in adjudication.
Send applications to: email@example.com with “Essay Competition 2017” as the subject.
Deadline: April 5, 2017
The recipient will receive $350
The selected paper is expected to be revised and submitted for publication consideration with the Canadian Journal of Film Studies. Feedback from the journal reviewers is a major benefit of this award.
de l’Association canadienne d’études cinématographiques
pour le meilleur essai critique
Les étudiants et les étudiantes présentement inscrit(e)s dans un programme d’études supérieures sont invité(e)s à soumettre un texte critique réalisé dans le cadre de leurs études de 2e et 3e cycle pour le prix du meilleur essai critique de l’Association canadienne d’études cinématographiques. Le gagnant ou la gagnante sera annoncé(e) lors de l’assemblée générale de l’association, le 28 mai 2017, dans le cadre de la conférence annuelle qui se déroulera cette année à l’Université Ryerson.
Le texte primé devra démontrer une maturité et une sophistication critique, offrir clairement et directement une contribution à la discipline des études cinématographiques (au sens large), se distinguer par son originalité, se pertinence et son potentiel de publication.
- Les étudiant(e)s doivent être inscrit(e)s dans un programme de 2e ou 3e cycle depuis au moins un semestre dans l’année académique qui précède l’échéance ;
- Si le texte à plus d’un auteur, tous les auteurs doivent être étudiant(e)s et membres de l’association ;
- Les articles déjà soumis à des revues scientifiques (et meme s’ils n’ont pas encore été acceptés) ne sont pas éligibles ;
- Les articles doivent être soumis par le candidat ou la candidate, et non par le directeur ou la directrice de recherche ou le ou la responsable de l’unité académique ;
- Les étudiant(e)s doivent être membres de l’association au moment de soumettre leurs textes au comité. Les gagnant(e)s des années précédentes ne sont pas admis(es) ;
- Les textes découlant de recherches réalisées dans le cadre du Prix Gerard Pratley ne sont pas admis, bien que des récipiendaires du prix Pratley peuvent soumettre des textes, mais ceux-ci devront porter sur un autre sujet.
Démarche à suivre :
Les articles sont évalués à l’aveugle par un comité de pairs.
- Ne pas inclure des informations d’identification, ni le nom de votre institution dans le corps du texte ;
- Le texte doit être joint à un courriel, en format MSWord ;
- Le titre doit apparaître au haut de la première page du texte ;
- Le texte doit être à double interligne et paginé.
Un comité formé par des membres de l’exécutif de l’association, comprenant le représentant étudiant, sélectionnera le gagnant ou la gagngant.
Le président recevra et distribuera les candidatures mais ne participera pas au processus d’évaluation.
Envoyez vos soumissions à : firstname.lastname@example.org en indiquant dans l’objet “Essay Competition 2017”.
Date limite : 5 avril 2017
Le gagnant ou la gagnante recevra 350$
Il est attendu que le texte sélectionné soit révisé et soumis pour publication à la Revue canadienne d’études cinématographiques. Les retours des évaluateurs de la revue forme un des bénéfices de ce prix.
Department of Communication, Popular Culture and Film
Job Posting #26/2016
The Department of Communication, Popular Culture and Film at Brock University invites applications for a probationary tenure-track position in Film and Media Studies. The appointment will be at the rank of Assistant Professor and will commence July 1, 2017. The position is subject to final budgetary approval.
The Department is seeking candidates with extensive knowledge of visual media, including film, television, emerging digital media, and other popular media forms. The successful applicant should have demonstrated expertise teaching and researching popular narrative across a variety of media platforms. A record of research in transmedia narrative and adaptation would be an asset. The candidate must have a PhD in Film Studies, Media Studies, Communication Studies, or a cognate discipline, and strong teaching and publication records. The position entails teaching a broad range of undergraduate courses in the Department, including introductory courses, within an interdisciplinary environment. The successful candidate is expected to contribute to departmental and University service and to be available to teach courses and supervise students in the Interdisciplinary MA in Popular Culture program.
With over 750 majors, the Department of Communication, Popular Culture and Film offers undergraduate programs in Film Studies, Popular Culture, Media and Communication Studies, and Business Communication. Its innovative MA program in Popular Culture is unique in Canada. All of our programs are rooted in a strong tradition of interdisciplinary teaching and research. Brock University has over 18,000 students and 600 faculty members and is located on the Niagara Escarpment in Ontario’s Niagara Region.
The deadline for completed applications is February 1, 2017. Applicants should submit a letter of application (indicating the file number stated above), curriculum vitae, reprints/preprints of selected publications, evidence of effective teaching, a statement of research, and arrange for three letters of reference to be sent to:
Professor Christie Milliken, Chair
Department of Communication, Popular Culture and Film
1812 Sir Isaac Brock Way
St. Catharines, Ontario, L2S 3A1
All materials should be submitted electronically as attachments.
All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. Brock University is actively committed to diversity and the principles of Employment Equity and invites applications from all qualified candidates. Women, Aboriginal peoples, members of visible minorities, and people with disabilities are especially encouraged to apply and to voluntarily self identify as a member of a designated group as part of their application. Candidates who wish to have their application considered as a member of one or more designated groups should fill out the Self-Identification Form available at http://brocku.ca/webfm_send/20927 and include the completed form with their application.
Brock University is an equal opportunity employer committed to inclusive, barrier-free recruitment and selection processes and work environment. We will accommodate the needs of the applicants under the Ontario Human Rights Code and the Accessibility for Ontarians with Disabilities Act (AODA) throughout all stages of the recruitment and selection process, per the University’s Accommodation for Employees with Disabilities Policy (http://www.brocku.ca/webfm_send/6557). Please advise the Human Resources Department to ensure your accessibility needs are accommodated throughout this process. Information received relating to accommodation measures will be addressed confidentially.
More information on Brock University can be found on the university’s website www.brocku.ca. Information on the Department of Communication, Popular Culture and Film can be found at www.brocku.ca/cpcf.
IMA Posting 2016-17
Film and Digital Media Production
The School of Image Arts at Ryerson University invites applications for a tenure-track position at the Assistant Professor level in film and digital media production. The appointment, effective July 1, 2017, is subject to final budgetary approval.
The successful candidate will teach a variety of production-oriented courses in the undergraduate Film Studies program, in the Integrated Digital Option as well as teach and supervise in the graduate program in Documentary Media (MFA).
We are seeking a candidate with expertise in film and digital production. Candidates must have an ability to teach a range of core film production courses as well as courses addressing digital media and new directions in motion picture production such as web series, interactive programming and/or VR/AR. The successful candidate will have a demonstrated ability to apply film production techniques to various digital media forms and create work within a range of media platforms.
As the School continues to expand its scholarly and creative activities, the successful candidate should demonstrate the ability to establish an independent, externally funded research-creation agenda of dynamic, critical and applied scholarly/creative research. The candidate is expected to provide evidence of high-quality teaching and the potential for a strong research profile (e.g. ability to demonstrate and maintain an independent, externally funded research program), as well as a capacity to engage in collaborative projects and collegial service.
The successful candidate will have either a PhD in a field of research-creation (or be ABD with a defense date set), or be PhD-equivalent (typically an MFA and a substantial professional record of creative activity in film production / digital media arts). Evidence of excellence in creative production and in teaching at a post-secondary institution is a requirement. The School of Image Arts is particularly interested in candidates who have experience working with students from diverse backgrounds and a demonstrated commitment to experiential learning. Curriculum development experience will be considered an asset.
Ryerson University is located in the multicultural heart of downtown Toronto. Candidates must have a demonstrated commitment to upholding the values of equity, diversity, and inclusion as it pertains to service, teaching, and scholarly research and creative activities.
Ryerson’s School of Image Arts in the Faculty of Communication & Design is recognized internationally for offering top undergraduate and graduate programs in film and photography. The curriculum in the School of Image Arts is designed to lead to careers in film, photography, communications, education and in the cultural industries. The School’s full-time faculty is made up of dedicated individuals with established professional, research, and teaching experience in their respective areas of expertise.
Applicants must submit their application online via the Faculty Recruitment Portal (click on Start Application Process above). Candidates should submit a cover letter highlighting research interests, a CV, a teaching dossier including a statement of teaching philosophy and evidence of teaching effectiveness (course evaluations) and access to a sample of scholarly publishing and/or creative work. Any inquiries regarding accessing the Faculty Recruitment Portal can be sent to Donna Kit, HR Consulting Advisor at email@example.com.
Please indicate in your application if you are a Canadian citizen or a permanent resident of Canada. Applications sent by mail, email or fax will not be accepted. Please arrange to have three letters of reference sent directly to Cathy Gullo, Program Manager of the School of Image Arts (firstname.lastname@example.org). Confidential inquiries may be directed to Dr. Blake Fitzpatrick (email@example.com), Chair, School of Image Arts.
Deadline for applications is February 10, 2017.
This position falls under the jurisdiction of the Ryerson Faculty Association (RFA).
The RFA collective agreement can be viewed at: http://www.ryerson.ca/content/dam/teaching/rfa_docs/rfa_ca_2016/RFA_CA_2015_to_2 018.pdf
The RFA’s website can be found at: www.rfanet.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 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.
CALL FOR PAPER PROPOSALS FOR FSAC 2017
(La version française suit ci-dessous)
The Annual Conference of the Film Studies Association of Canada
May 27 – May 29, 2017
Held in conjunction with the
CONGRESS OF THE HUMANITIES AND SOCIAL SCIENCES
Congress 2017 Theme: “From Far and Wide: The Next 150”
FSAC SPECIAL EVENTS
Martin Walsh Memorial Lecture: Jesse Wente
“Debwewin: Truth, Reconciliation and Art”
Jesse Wente is Director of Film Programmes at TIFF Bell Lightbox, past programmer for the imagineNATIVE Film + Media Arts Festival and former president of Native Earth Performing Arts, Canada’s oldest Aboriginal theatre company.
Gerald Pratley Award Presentation: Rachel Webb Jekanowski (Concordia University)
“Entanglements of Resource Extraction in Hudson’s Bay Company Films”
Joint Event with: Sexuality Studies Association
“An Evening with John Greyson”
FSAC is now seeking proposals for the 2017 conference in Toronto, Ontario (May 27 – 29, 2017). We welcome proposals for:
- Individual presentations,
- Pre-constituted panels,
- Workshops or round-tables,
- Screenings, exhibitions and other events—on topics related to the Congress theme, or on any other film or media studies topic).
Proposal Submission Deadline: Friday January 6, 2017 (midnight AST) to:
Proposals require a title, keywords and up to 500 word abstract.
This is a blind review portal. Biographical details for the program will be requested with the notice sent to successful applicants.
*If organizing a pre-constituted panel, each paper proposal must be submitted individually with the title of the panel indicated with the abstract.
IMPORTANT: ALL SUBMISSIONS MUST BE MADE THROUGH THE ABOVE LINK. YOU WILL BE ASKED TO CREATE AN ACCOUNT—IT IS EASY!
Please note that in order to be eligible to participate in the conference, all applicants must renew or become members at the time of submission.
*UNPAID APPLICANTS WILL NOT BE READ.
* Please note that you should plan to participate in a maximum of two forums, neither of which may be the same in kind. For example, you may propose and deliver a paper and submit a workshop proposal, but you may not submit two individual paper proposals (whether single or co-authored).
Additional information and instructions:
- Presentations may be in either English or French.
- Individual presentations are to be no longer than 20 minutes (including clips).
- The length of presentations on panels, workshops, and/or round-tables may vary depending on the specific constitution of the session.
- All proposals will be adjudicated by the Programming Committee.
- All papers presented at the FSAC Conference must be original works. Proposals for previously presented papers will not be accepted.
- Please note that by submitting a proposal, you are agreeing to the eventual online posting of your abstract on the FSAC website as part of the expanded conference program.
- Partial financial compensation for student members’ travel to attend the annual general meeting may be provided by the Association. For more details and the application form, visit http://www.filmstudies.ca/category/grad-students.
All conference presentation rooms will have video/data projectors, screens, Windows-based computers, basic sound systems, connections for laptop computers, DVD and VCR players.
Conference Organising Committee
Program Chair: Darrell Varga (President, FSAC)
Division of Art History and Critical Studies
NSCAD University(Nova Scotia College of Art and Design)
5163 Duke Street, Halifax, Nova Scotia, Canada B3J 3J6
Office Phone: 902-494-8617
Local Arrangements Coordinator: Paul Moore
Department of Sociology
350 Victoria Street, Toronto, ON
Ph: 416-979-5000 x2604
* * *
APPEL À COMMUNICATIONS POUR L’ACÉC 2017
Le colloque annuel de L’Association canadienne d’études cinématographiques
du 27 au 29 mai 2017
Tenu dans le cadre du
CONGRÈS DES SCIENCES HUMAINES
Le thème du Congrès 2017 : « L’épopée d’une histoire : 150 ans vers l’avenir »
ÉVÉNEMENTS SPÉCIAUX DE L’ACÉC
Conférence commémorative Martin Walsh: Jesse Wente
“Debwewin: Truth, Reconciliation and Art”
[« Debwewin: Vérité, réconciliation et art »]
Jesse Wente est directeur des programmes de cinéma au TIFF Bell Lightbox, ancien programmeur au Festival imagineNATIVE du film et des arts médiatiques, et ancien président de Native Earth Performing Arts, la plus ancienne compagnie théâtrale autochtone au Canada.
Conférence de prix Gerald Pratley
: Rachel Webb Jekanowski (Université Concordia)
“Entanglements of Resource Extraction in Hudson’s Bay Company Films”
[« Les Complications de l’extraction des ressources dans les films de la Compagnie de la baie d’Hudson »]
Événement conjoint avec : L’Association d’études de la sexualité
« Une soirée avec John Greyson »
L’ACÉC sollicite des propositions de communication pour son colloque annuel qui se tiendra du 27 au 29 mai 2017 à Toronto en Ontario. Nous sommes ouverts aux propositions:
- de communication individuelle
- de panels préconstitués
- d’atelier ou de table ronde
- de projection, d’exposition ou de tout autre événement portant sur des sujets liés au thème du colloque ou sur tout autre sujet lié aux études cinématographiques ou médiatiques
Date limite pour soumettre les propositions: le vendredi 6 janvier 2017 à l’adresse suivante : https://easychair.org/conferences/?conf=fsacacc2017
Les propositions doivent être accompagnées d’un titre, des mots clés, et d’un résume de 500 mots au maximum. Il s’agit d’un portail d’examen aveugle alors on vous demandera vos renseignements biographiques lors de l’envoi de l’avis d’acceptation.
* Si vous proposez un panel préconstitué, chaque proposition doit être soumise individuellement ; veuillez inclure le titre du panel avec votre résumé.
TOUTE SOUMISSION DOIT SE FAIRE À TRAVERS LE LIEN CI-DESSUS. ON VOUS DEMANDERA DE CRÉER UN COMPTE – C’EST FACILE À FAIRE!
* Veuillez prendre note que vous devez être membre (renouvellement ou nouvelle adhésion) de l’association au moment de la soumission de votre proposition – sinon, votre proposition ne sera pas lue.
* Veuillez noter que vous ne pouvez participer qu’à deux événements de la conférence. Ces événements ne doivent pas être de même nature. Par exemple, vous pouvez proposer une communication et un atelier, mais vous ne pouvez pas proposer deux communications (que vous soyez auteur à part entière ou co-auteur).
Informations et instructions supplémentaires :
- Les présentations peuvent être en français ou en anglais.
- Les communications individuelles ne doivent pas dépasser 20 minutes (incluant la présentation d’extraits).
- La durée des communications d’un panel, d’un atelier ou d’une table ronde peut varier selon leur organisation.
- Toutes les propositions de communication doivent être jugées par le comité organisateur du colloque.
- Toutes les communications présentées à la conférence annuelle de l’ACÉC doivent être originales. Elles ne doivent être pas avoir été publiées ni présentées ailleurs. Les propositions de communications antérieures ne seront pas acceptées.
- Veuillez noter qu’en soumettant une proposition de communication, vous acceptez la possibilité de voir votre résumé sur le site Internet de l’ACÉC dans une version étendue du programme de la conférence.
- L’Association sera peut-être en mesure de fournir des compensations financières partielles pour le déplacement des membres étudiants qui seront présents à l’assemblée générale annuelle. Visitez notre site pour plus de détails et pour accéder au formulaire d’application : http://www.filmstudies.ca/category/grad-students.
Besoin en matériel audiovisuel
Toutes les salles de conférence du colloque seront équipées de projecteurs numériques, d’écrans, d’ordinateurs PC, de systèmes de son, de connexions pour les ordinateurs portables et de lecteurs DVD et VCR.
Comité organisateur du colloque
Président du programme:
Darrell Varga (Président, ACÉC)
Division of Art History and Critical Studies
NSCAD University (Nova Scotia College of Art and Design)
5163 Duke Street, Halifax, Nova Scotia, Canada B3J 3J6
Téléphone (bureau) : (902) 494-8617
Paul Moore, Department of Sociology
Ryerson University, 350 Victoria Street
Toronto ON, M5B 2K3
Téléphone (bureau) : (416) 979-5000 (x2604)
Appel à communications / Call for paper
19e colloque des cycles supérieurs de l’ACÉC / 19th FSAC Grad Colloquium
Du 15 au 18 février 2017 à l’Université de Montréal
February 15-18 2017 at the University of Montréal
Échéance : 20 novembre 2016
Deadline : November 20, 2016
Les hauts, les bas et les entre-deux du cinéma : naissance et mort des segmentations en études cinématographiques
English version will follow
Voilà près de quinze ans que chercheurs, journalistes et autres commentateurs réfléchissent sur la prétendue « révolution numérique » et les bouleversements qu’elle a entraînés au niveau de la production, de la distribution et de l’expérience cinématographiques. De cette polarité fondatrice entre le numérique et l’analogique est apparu un ensemble d’oppositions charnières qui façonnent le discours actuel. En effet, les nouvelles plateformes de diffusion et la démocratisation de certains moyens de production ont mis en relief plusieurs « binômes » qui orientent largement — à tort ou à raison — notre compréhension : cinéma/média, spectateur ordinaire/cinéphile/fan, amateur/professionnel, culture savante/culture participatoire, local/global, etc. Toutes ces oppositions ont trouvé voix et racines à travers les différentes approches disciplinaires du cinéma : culturel, esthétique, politique, historiographique, etc.
Apparues entre autres pour faire sens d’un contexte médiatique en pleine mutation, ces oppositions doivent être investiguées de nouveau, afin d’en évaluer le bien-fondé et la portée épistémologique. En s’intéressant non pas tant aux traits hétérogènes et aux disparités qu’aux zones de négociation entre ces concepts, cette édition du colloque s’oriente sur l’étude spécifique des pratiques, des objets et des modes de pensée caractérisés par l’hybridité ou l’intersectionnalité. Il s’agira ainsi non seulement d’outrepasser certaines dichotomies tenaces pour mettre en lumière la diversité et la complexité des pratiques médiatiques actuelles, mais aussi de comprendre le rôle du cinéma dans une « écologie audiovisuelle » qui semble vouloir le redéfinir complètement.
Des présentations abordant les sujets suivants (mais pas seulement) sont encouragées :
- Les recoupements entre cinéma et d’autres médias (jeux vidéo, réalité virtuelle, littérature, etc.)
- Le retour à une esthétique ou des moyens de production analogiques dans ou autour des productions numériques et ses effets tant sur la production, l’esthétique, ou le spectateur.
- Les définitions et redéfinitions de métiers liés à la production cinématographique.
- Les plateformes de diffusion de contenu vidéo sur le web et leurs effets sur la production amateure et professionnelle, ainsi que leur influence sur les spectateurs (cinéphiles et fans).
- La production et la consommation d’œuvres de production locales/globales/« glocales »
- L’intersectionnalité entre la culture savante et de la culture populaire (au niveau de la production du savoir, de la consécration d’œuvres, etc.)
- Les stratégies d’appropriation corporatiste de contenus audiovisuels produits de manière indépendante ou semi-indépendante
- Festivals de film, lieux de visionnements de films, etc.
- Transmédialité des récits
*** Veuillez noter que toutes les propositions abordant d’autres questions que celles énumérées plus haut et/ou réfléchissant sur un autre sujet que celui proposé dans cet appel à communications sont également bienvenues, et sont invitées à être soumises à notre comité scientifique.
Conditions d’admissibilité :
Ce colloque s’adresse exclusivement aux étudiants/es de deuxième et de troisième cycle provenant d’études cinématographiques ou d’autres disciplines connexes. Les étudiants/es intéressés/es sont priés/es d’envoyer un résumé d’environ 300 et 500 mots, en français ou en anglais, au plus tard le 20 novembre 2016 à l’adresse : firstname.lastname@example.org. Dans le courriel de soumission, les étudiants/es sont également priés/es d’inclure :
- Leur nom
- Le programme de maîtrise ou de doctorat dans lequel ils/elles sont inscrits/es
- Leur institution universitaire
- Le titre provisoire de leur conférence
- Le résumé de leur présentation
- Une bibliographie sommaire
Vous devriez recevoir la réponse du comité scientifique d’ici le 15 décembre 2016.
High, Low and Everything in Between:
The Birth and Death of Labels in Film Studies
For some fifteen years now, researchers, journalists and other commentators have discussed the so-called “digital revolution” and the impact it may have had on the production, distribution and experience of cinema. From the initial cleavage between analogue and digital, a set of pivotal oppositions have developed that effectively mould contemporary discourses. New distribution platforms and the democratization of certain production tools have given rise to a number of binary oppositions that often direct—for better or for worst—our understanding: cinema/media, spectator/cinephile/fan, amateur/professional, academic culture/participatory culture, local/global, etc. Every disciplinary approach—whether it is cultural, aesthetic, political, historiographical, etc.—has taken up these pairs of concepts.
These oppositions, which have appeared among other reasons to make sense of a media landscape in the midst of transformation, merit further investigation so that their value and epistemological reach may be reevaluated. By focusing on the zones of transfers and negotiations between these concepts rather than on their differences or unique traits, the 2017 edition of the FSAC graduate colloquium aims to shed some light on the study of practices, objects or modes of thought that are characterized by their hybridity or intersectionality. The goal, therefore, will not only be to go beyond some of these entrenched dichotomies to showcase the diversity and complexity of contemporary media practices, but also to strive to understand the role of cinema within an “audiovisual ecology” that seems to try to change it completely.
Submissions can include, but are not limited to topics such as:
- Interactions between cinema and other media (video games, virtual reality, literature, etc.)
- The return to analogue aesthetics or analogue modes of production within digital productions, and its effects on production, aesthetic and the spectator.
- Definitions and redefinitions of the trades and professions of cinema production
- Web content distribution platforms and their impact on amateur and professional productions, as well as their influence on spectators (cinephiles and fans)
- Producing and consuming local, global and global media content
- Intersections of academic and popular culture (in regards to knowledge creation and to the recognition of media objects, etc.)
- Corporate strategies for acquiring independent or semi-independent audiovisual production
- Film festivals, spaces of exhibition, etc.
- Transmedia narratives
*** Please note that we also welcome proposals that focus on questions other than those enumerated here and/or deal with other topics altogether than the one proposed in this call for papers.
This colloquium is open to graduate students from film studies and similar disciplines exclusively. Interested students must submit a brief abstract (300 to 500 words), in English or French, by November 20, 2016, at the following address: email@example.com. Submissions should include the following information:
- Your name
- Level of study
- Name of your University
- Title of your presentation
- Short bibliography
Following the analysis of submitted proposals, the scientific committee will communicate their decision by December 15, 2016.
Membership Services / AdhésionClick here to join FSAC and access Membership Services.
Cliquez ici pour se joindre l'ACÉC et accéder à des services d'adhésion.
For more information about membership benefits, click here.
Pour plus d'informations sur des avantages d'adhésion, cliquez sur ici.