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***la version française suit***

Deadline for submission is April 30, 2018.

Call for Submissions: “Animating LGBTQ+ Representations: Queering the Production of Movement”

Special Issue of Synoptique: An Online Journal of Film and Moving Image Studies

At the heart of animation is movement, and the expression of movement is negotiated differently across media. How then do LGBTQ+ communities reappropriate the specificities of animation, comics, videogames, and other forms of visual representations that rely on putting bodies into motion? How does animation support the emergence of social and political movements from within, between, and outside media production spaces? Since 2010, studies of LGBTQ+ representation in animation have steadily increased in number. From queer readings (Halberstram 2011), to media histories (McLelland, Nagaike, Suganuma, Welker 2015), to queer media makers (such as bisexual, non-binary creator Rebecca Sugar and other queer animators like Noelle Stevenson and Chris Nee), animation production has become a vital site for the study, performance, and persistence of queer media practices. Although much conversation has been devoted to queer readings of texts in transmedia movements, the people, circuits, and institutions of queer animated media production have attracted significantly less attention.  

By focusing on the “politics of movement,” we intend to grasp the convergence of 1) common techniques of animation in and across multiple media platforms, 2) means of mobile image production both amateur and industrial, and 3) social agendas in queer communities using the motion of images to negotiate their representation and place in society. While this issue will brush up against the various transmedia (narrative-based, Jenkins, 2008), media mix (image-based, Steinberg, 2012) and cross-media (toy-based, Nogami, 2015) models and their cultural geographies across the globe, our central aim here is to expand the knowledge and visibility of LGBTQ+ sociopolitical projects evolving conjointly with the creation and circulation of animated images. Producing movement in, across, and outside of media extends the synchronization of images to networks of commodities, territories, and peoples. Although an important amount of scholarship tends to address this question as the “queering of texts,” we seek another point of view coming directly from the creation of moving images itself. Such production practices are also imbricated in and respond to geo-political and cultural contexts. How then does the movement in between frames, vignettes, illustrations, and memes (to name a few examples) initiate social action (be it just to produce pornography for marginalized communities or to create conventions for amateur artists and publics to meet)? 

This issue of Synoptique: An Online Journal of Film and Moving Image Studies will focus on queer media practices and the politics of movement. When animating LGBTQ+ images, media creators are also mobilizing queer practices, communities, and identities. Therefore, we are particularly interested in analyses and testimonies that examine sites of queer media production and their animation techniques, strategies, and practices. We encourage contributions that examine the interactions of animation within media related to animation, such as comics and videogames, as forms of queer movement often overflow and interact throughout multiple media platforms (Hemmann, 2015). We also invite submissions of artwork either from queer-identifying artists and practitioners, or pieces that explore queer movement, embodiment, and existence. Interviews, manifestos, essays, and other forms of writing on animated movement in queer media making are warmly welcome, as are multimedia contributions. 

Suggested topics include, but are not limited to:

  • The industrial or amateur structures of LGBTQ+ images production
  • Movement in LGBTQ+ pornography and erotika
  • Queer movement in comics, visual novels, videogames, etc. 
  • The strategies and places of queered images (“Queer” Media mix, Marketing, Festivals, and Conventions)
  • Animated media production of the Global South (such as Brazilian Netflix show Super Drags)
  • Distribution networks for LGBTQ+ animated series (TV, platforms, VOD)
  • LGBTQ+ representations in animated media emerging from manga including both more mainstream (Boy’s Love, Yuri) and subcultural (so-called Bara or Gachimuchi) productions
  • Local LGBTQ+ communities and their struggles expressed through moving images
  • Queer movement across comics and animation
  • Decolonizing sexualities
  • Cosplay as queer (re)animation

 We use a broad interpretation of LGBTQ+ identity, including Lesbian, Bisexual, Gay, Trans*, Queer/Questioning, Two-Spirit, Intersex, Agender, Asexual, Pansexual, Genderqueer, Genderfluid, Non-binary, X-gender, Genderfuck, etc.

Essays submitted for peer review should be approximately 5,500-7,500 words and must conform to the Chicago author-date style (17th ed.). All images must be accompanied by photo credits and captions.

We also warmly invite submissions to the review section, including conference or exhibition reports, film festival reports, and interviews related to the aforementioned topics. All non-peer review articles should be a maximum of 2,500 words and include a bibliography following Chicago author-date style (17th ed.).

Multimedia works such as digital video, gifs, still images, or more (surprise us!) are also welcome. Works under 8MB may by hosted directly on the Synoptique site; anything larger must be uploaded to an external site (Youtube, Vimeo, etc). Please contact the Synoptique Board for more information on the procedures to submit artworks.

All submissions may be written in either French or English.

Please submit completed essays or reports to the Editorial Collective (editor.synoptique@gmail.com) issue guest editors, Kevin J. Cooley (kevin.cooley@ufl.edu), Edmond (Edo) Ernest dit Alban (ernestedo@gmail.com), and Jacqueline Ristola (jacqueline.ristola@gmail.com), by April 30. We will send notifications of acceptance by June 30.    

Synoptique: An Online Journal of Film and Moving Image Studies

www.synoptique.ca


Appel à contributions: Animer les représentations LGBTQ+ :
La production du mouvement sous une optique queer

Numéro spécial de Synoptique: An Online Journal of Film and Moving Image Studies

Au coeur de l’animation se trouve le mouvement, et l’expression du mouvement est traitée différemment à travers les médias. Ainsi, de quelles façons les communautés LGBTQ+ peuvent-elles se réapproprier les spécificités de l’animation, des bandes dessinées, des jeux vidéo, et d’autres formes de représentations visuelles se formant autour du corps en mouvement? Comment l’animation peut- elle supporter l’émergence des mouvements sociaux et politiques depuis l’intérieur et l’extérieur des espaces de productions médiatiques, ou entre ceux-ci? Depuis 2010, les études sur les représentations LGBTQ+ n’ont cessé de croître en nombre. Des lectures queer (Halberstram 2011), à l’histoire des médias (McLelland, Nagaike, Suganuma, Welker, 2015), aux créateur.rice.s de média queer (comme l’artiste bisexuel.le et non-binaire Rebecca Sugar, et autres animateur.rice.s queer tels Noelle Stevenson et Chris Nee), le domaine de la production d’animation est devenu un élément vital pour l’étude, la performance, et la persistance des pratiques médiatiques queer. Bien que les lectures queer de textes portant sur les mouvements transmédiatiques aient reçu une bonne part d’attention, celles consacrées aux personnes, aux circuits, et aux institutions d’animations médiatiques queer sont bien moindres.

En se concentrant sur la « politique du mouvement », notre intention est de cerner la convergence entre 1) les techniques d’animation communes à plusieurs plateformes médiatiques, 2) les moyens de production d’images mobiles, amateurs et industriels, et 3) les agendas sociaux des communautés queer faisant usage du mouvement de l’image afin de négocier leur place et leur représentation dans la société. Ce numéro touchera brièvement aux différents modèles tel le transmédia (fondé sur la narration, Jenkins, 2008), le média mix (fondé sur l’image, Steinberg, 2012), et le cross-media (foné sur les jouets, Nogami, 2015), ainsi que leurs géographies culturelles à travers le monde. Cependant, notre objectif principal est d’approfondir les connaissances et la visibilité des projets sociopolitiques LBTQ+ impliquant conjointement la création et la circulation des images animées. La production de mouvement de l’intérieur, à travers, et à l’extérieur des médias étend la synchronisation d’images aux réseaux de commodités, de territoires, et de personnes. Habituellement, une importante part des ressources académiques adresse ces questions sous l’angle de queering the texts; nous cherchons un autre point de vue venant directement de la création des images elle-même. Avec cela en tête, comment les mouvements entre les plans, les vignettes, les illustrations, et les memes, pour en citer quelques-uns, incitent-ils à une action sociale (pensons à la production pornographique pour les communautés marginalisées, ou à la création de conventions pour que les artistes amateur.rice.s et le public puissent se rencontrer)?

Ce numéro de Synoptique : An Online Journal of Film and Moving Image Studies se concentrera sur les pratiques médiatiques queer et la politique du mouvement. En animant des images LGBTQ+, les créateur.rice.s de média mobilisent également des pratiques, des communautés et des identités queer. Nous sommes donc particulièrement intéressés aux analyses et témoignages portant sur la production de média queer, ainsi que leurs stratégies, techniques, et pratiques d’animation. Nous encourageons les contributions examinant les interactions de l’animation dans les médias reliées à l’animation, telles les bandes dessinées et les jeux vidéos, étant donné que les mouvements queer se déploient fréquemment à travers plusieurs plateformes médiatiques (Hemmann, 2015). Nous invitions également les contributions d’œuvres artistiques provenant d’artistes queer, tout comme des œuvres portant sur le mouvement et l’existence queer. D’autres formes d’écritures en lien avec le mouvement animé à travers les médias queer sont bienvenues, tels l’entrevue, le manifeste, l’essai, ou encore les contributions multimédias.

Les sujets peuvent explorer, entres autres, les pistes suivantes :

  • Les structures professionnelles ou amateur.rice.s dans la production d’imagerie LGBTQ+
  • Le mouvement dans la pornographie et l’érotisme LGBTQ+
  • Le mouvement queer dans les bandes dessinées, romans graphiques, jeux vidéos, etc.
  • Les stratégies et la place des images queered (‘’Queer’’ média mix, commercialisation, festivals et
    conventions)
  • La production de média animé dans les Pays du Sud (telle la série Netflix brésilienne Super Drags)
  • Les plateformes de distribution pour les séries animées LGBTQ+ (télévision, internet, vidéo sur
    demande)
  • Les représentations LGBTQ+ dans les médias animés émergents du manga populaire (Boys’s Love,
    Yuri), au manga en marge (dénommé Bara or Gachimuchi)
  • Les communautés LGBTQ+ locales et leurs luttes mises en scènes à travers les images en
    mouvement
  • Le mouvement queer à travers les bandes dessinées et l’animation
  • Le cosplay en tant que (ré)animation queer

Nous utilisons une interprétation vaste de l’identité LGBTQ+, incluant l’identité lesbienne, bisexuelle, gay, trans*, queer/en questionnement, bispirituelle, intersexe, agender, pansexuelle, genderqueer, genderfluid, non-binaire, x-gender, genderfuck, etc.

Les soumissions pour la section avec comité de lecture doivent faire entre 5500 et 7500 mots et suivre les directives du Chicago Manual of Style (17e édition). Les images doivent être accompagnées d’une légende et de crédits photographiques. Nous accueillons également chaudement critiques et comptes rendus de conférences, festivals et expositions, et entrevues liées aux thèmes susdits. Les articles sans comité de lecture doivent faire au maximum 2500 mots, et inclure une bibliographie suivant les directives du Chicago Manual of Style (17e édition). Les éléments multimédias comme les vidéos, gifs, images ou autres (surprenez-nous!) sont aussi chaudement accueillis. Les éléments en deçà de 8MB peuvent être hébergés directement sur le site de Synoptique, tandis que ceux au-dessus de ce chiffre doivent être téléchargés sur un site externe (Youtube, Vimeo, etc.) Veuillez contacter l’équipe de Synoptique pour plus d’informations en regard aux procédures relatives aux soumissions d’œuvres artistiques.

Les contributions rédigées en français et en anglais sont acceptées.

Les articles et essais doivent être soumis au comité éditorial (editor.synoptique@gmail.com) par email aux rédacteurs invités, Kevin J. Cooley (kevin.cooley@ufl.edu), Edmond (Edo) Ernest dit Alban (ernestedo@gmail.com), et Jacqueline Ristola (jacqueline.ristola@gmail.com) avant le 30 avril. Nous vous informerons de notre décision avant le 30 juin.

 

-CALL FOR PROPOSALS-

“A” is for Amateur
An Northeast Historic Film and Center for Home Movies Collaboration
July 18-20, 2019                                                                              

 20th Annual Northeast Historic Film Summer Symposium

  Bucksport, Maine, USA
Proposals Due: March 18, 2019

-Seeking presentation proposals from archivists, collectors and academics-

Come celebrate the 20th anniversary of the NHF Summer Symposium!

2019 marks 20 years for our little gathering.  And we are celebrating by collaborating with our friends with the Center for Home Movies.

2019 is also the centennial of the birth of the late Robbins Barstow of Wethersfield, Connecticut. Robbins was an amateur filmmaker for seven decades and his “Disneyland Dream” was named to the National Film Registry. Robbins presented his 1936 film “Tarzan and the Rocky Gorge” at the 2005 Summer Symposium. 

NHF is built on its commitment to amateur and small gauge film.  And this year, we dig deep into our roots.  Though we will be celebrating the work of, Robbins Barstow, an acknowledged Northeast amateur-auteur, our idea for this program is far from regionally specific.  We want amateur movies, travel films, home movies, video, and small gauge work from anywhere and everywhere!  And we want to hear your ideas about this material.  Your own family films?  Sure.  Oddities hiding in plain sight in your collections? By all means!  Our aim is to consider a variety of perspectives on a category of moving images that is delightfully difficult to pin down.

Twenty-first century regional moving image archives discover and collect increasingly diverse audiovisual artifacts that represent increasingly diverse media-making populations. We seek to bring together archivists, collectors, scholars, and practitioners involved with regional AV archives—and regional AV collections within a general archives—to consider this topic from a range of positions. THIS IS NOT MERELY A CONCEPTUAL, ACADEMICALLY-FOCUSED SYMPOSIUM TOPIC. The concept of “amateurism” also has a profound effect on, for example, structures of institutional funding and support as well as individual and collective priorities.

Calling upon the regional moving image archive community internationally, we hope to create an atmosphere for sharing case studies, developing collaborative initiatives, discussing what works and what doesn’t, and screening/discussing representative amateur moving images from the world’s regional film and AV archives.

Some topics to consider…others are welcome:

  • The meanings of amateurism
  • Amateur auteurs
  • Collection/funding policies
  • Itinerant film/filmmakers
  • Film clubs
  • Amateur film magazines
  • Investigations (and demos!) of equipment
  • Best practices and case studies
  • Travelogues, tourist films, vacation films/videos
  • Local/regional politics and programs
  • Home movie days
  • Personal archiving efforts
  • Home movies as primary resource
  • Repatriation and changes of custodianship
  • Repurposing of home movies
  • Amateur social justice media (film, video, online)
  • Protest footage
  • Local Cable Access programming

Please send a 250-500 word abstract outlining your presentation idea and a brief cv via e-mail to: symposium@oldfilm.org.

The Summer Symposium Program Committee is: Devin Orgeron, Professor Emeritus, North Carolina State University; Liz Czach, University of Alberta; Dino Everett, University of Southern California; Mark Neumann, Northern Arizona University; Brian Real, Southern Connecticut State University; and Travis Wagner, University of South Carolina. We are happy to discuss your presentation ideas with you in advance of a formal submission. The Symposium Program Committee will begin reviewing proposals on March 18, 2019 and will finalize the program by April 17, 2019.

Northeast Historic Film, an independent nonprofit organization, was founded in 1986 to preserve and make available moving images of interest to the people of northern New England (Maine, New Hampshire, Vermont, and Massachusetts). We hold ten million feet of film in 8mm, Super 8mm, 9.5mm, 16mm, 28mm, and 35mm and 8,000 analog and digital video recordings that do not duplicate the film holdings. NHF is located in a 1916 cinema building with purpose-built cold storage and a study center in Bucksport, a town of 5,000 on the coast of Maine (for more info on NHF, please visit: http://www.oldfilm.org). In the Alamo Theatre on Main Street, NHF houses a 125-seat cinema with DCP, 35mm, 16mm, videotape, and DVD projection. 

 

***English version below***

Appel à propositions de textes
Kinephanos : Revue d’études des médias et de culture populaire
Au-delà de Netflix – Penser la diversité des pratiques et plateformes de télévision en ligne
Sous la direction de Audrey Bélanger & Stéfany Boisvert

Nous sommes à la recherche d’auteurs pour le prochain numéro de Kinephanos qui traite des services de télévision par contournement (over-the-top televisionI) et les plateformes de visonnement en ligne autre que Netflix. Il s’agit d’un numéro multi-disciplinaire, donc nous sommes intéressés par des articles traitant de plusieurs facettes concernant les plateformes de visionnement en ligne (les émissions produites, les stratégies de distribution, les aspects économiques, les catalogues, leur productions maisons, leur cote d’écoute, etc.).

Vous trouverez tous les détails concernant l’appel à propositions de textes dans le document ci-joint ou au
https://www.kinephanos.ca/2018/au-dela-de-netflix-penser-la-diversite-des-pratiques-et-plateformes-de-television-en-ligne-beyond-netflix-studying-the-diversity-of-practices-and-platforms-in-the-era-of-over-the-top-television/.

Nous attendons vos propositions de 500 mots au plus tard le 28 février 2019 au belanger.audrey@uqam.ca et boisvert.stefany@uqam.ca.

Prenez note que la revue Kinephanos accepte les texte en français et en anglais!

Au plaisir de lire vos propositions.

_____

Call for papers
Kinephanos : Journal of media studies and popular culture
Beyond Netflix – Studying the diversity of practices and platforms in the era of over-the-top television
Edited by Audrey Bélanger & Stéfany Boisvert

We are seeking contributions for an upcoming issue of Kinephanos that focuses on over-the-top TV services and streaming platforms other than Netflix. This issue of Kinephanos is multi-disciplinary, and therefore open to articles on any aspect of streaming platforms (their production or distribution strategies, their economics, their catalog, their in-house productions, their audiences, etc.).

There is more information in the attached document or access the website: https://www.kinephanos.ca/2018/au-dela-de-netflix-penser-la-diversite-des-pratiques-et-plateformes-de-television-en-ligne-beyond-netflix-studying-the-diversity-of-practices-and-platforms-in-the-era-of-over-the-top-television/.

If you are interested, please send a 500-word proposal before February 28th 2019 to belanger.audrey@uqam.ca and boisvert.stefany@uqam.ca.

Articles can be in French or in English!

 
***La version française suit ci-dessous***
 
The Canadian Journal of Film Studies is now accepting proposals from prospective editors.
 
Canada’s leading academic peer-reviewed film journal since launching in 1990, the CJFS is published bi-annually by the Film Studies Association of Canada and seeks proposals from prospective editors for a term beginning early 2020.
 
Under the stewardship of outgoing co-editors Marc Furstenau and Jerry White, the CJFS expanded the scope and quality of its scholarship, improved the bilingual character of the journal and, having negotiated a new publishing partnership with the University of Toronto Press, reached new constituencies of readers and contributors both online and in-print.  The Editorial Board thanks them for their service, congratulate them for their success, and looks forward to building upon their achievements with a new editor or editorial team.
 
Responsibilities: The CJFS publishes two issues a year and the Editor is responsible for administering the process by which submissions are received, reviewed, and prepared for publication using a state-of-the-art content management system administered by the University of Toronto Press Journals division.  In partnership with the Chair of the Editorial Board and UTP Journals, the Editor will oversee the design and production of the journal.  In addition, the Editor collaborates with the Editorial Board in the preparation, implementation and review of policy and procedures concerning all operations of the Journal on behalf of the Film Studies Association of Canada.
 
Applications for the position should be received by the Chair of the Editorial Board no later than March 15th, 2019 and include the following:
  1. Statement of Editorial Philosophy: Please provide a letter outlining your editorial vision for the CJFS, its ongoing role within the global community of scholars established by the Film Studies Association of Canada, and any other intellectual, pedagogical or scholarly rationales for your suitability for this position.  If you are proposing a co-editorship, provide a rationale for this structure and clearly outline the individual responsibilities of the prospective co-editors.
  2. Curriculum Vitae: Please enclose a CV and cover letter clearly outlining professional and academic qualifications.  If you are proposing a co-editorship, please enclose a CV for each prospective editor.  Please include details regarding your ability and plans to manage and promote the bilingual features of the journal.
  3. Statement of Institutional Resources: CJFS’s Editor is responsible for providing office space and furnishings, telephone, fax, postal service, photocopying, and computing facilities, as well as other available subventions that facilitate the execution of the Editor’s duties; this might include the availability of student assistants or other editorial support staff at the host institution.  Please provide a description of the level of support you or your institution is willing to provide. 
The new Editor’s term will begin early 2020 with several months set aside for an overlap of the duties with the current editors to ensure a smooth transition. It is expected that the transition of the journal’s editorial offices (such as they are) will be completed no later than Spring 2020.
 
Please submit all proposals via email (mike.baker@sheridancollege.ca) to:
 
Dr. Michael Baker, Chair of the Editorial Board (CJFS-RCÉC)
Faculty of Humanities and Social Sciences
Sheridan College
1430 Trafalgar Road, Oakville, ON  L6H 2L1
 
 
# # # # #
 

La Revue canadienne d’études cinématographiques invite les soumissions de candidature pour le poste d’Éditeur. 

Première revue canadienne de cinéma à comité de lecture universitaire, la RCÉC est publiée deux fois l’an par l’Association canadienne d’études cinématographiques depuis son lancement en 1990. Elle sollicite les propositions d’éditeurs potentiels pour un mandat commençant au début de 2020. Sous la direction des co-éditeurs sortants, Marc Furstenau et Jerry White, la RCÉC a bonifié tant la portée que la qualité de son contenu, mis l’accent sur son caractère bilingue et, après avoir conclu une entente de partenariat avec les Presses de l’Université de Toronto, élargi le lectorar rejoint par ses éditions papier et numérique. Le comité éditorial souhaite les remercier pour leur service, les féliciter pour leur succès et espère pouvoir poursuivre sur cette lancée avec un nouvel éditeur ou une nouvelle équipe éditoriale. 

Responsabilités: La RCÉC publie deux numéros par année et l’éditeur est responsable du processus de réception, de révision et de préparation des soumissions, assisté par un système de gestion de contenu à la fine pointe de la technologie et géré par l’équipe des revues des Presses de l’Université de Toronto. En partenariat avec le président du comité éditorial et UTP, l’éditeur supervisera également la conception et la production de la revue. De plus, l’éditeur collaborera avec le comité éditorial à la préparation, à la mise en œuvre et à la révision des politiques et procédures concernant l’ensemble des opérations de la revue au nom de l’Association canadienne d’études cinématographiques. 

Les candidatures doivent être envoyées au président du comité éditorial au plus tard le March 15th, 2019 et inclure les éléments suivants:

  1. Énoncé de philosophie éditoriale: Veuillez rédiger une lettre décrivant votre vision éditoriale de la RCÉC, son rôle actuel au sein de la communauté internationale de chercheurs établie par l’Association canadienne d’études cinématographiques et toute autre motivation intellectuelle, pédagogique ou universitaire permettant d’évaluer vos qualifications pour ce poste. Les propositions de co-édition devront de plus présenter et justifier le type de collaboration propoosé et définir clairement les responsabilités individuelles des co-éditeurs envisagés.
  1. Curriculum Vitæ: Veuillez joindre un CV et une lettre de présentation indiquant clairement vos qualifications professionnelles et universitaires. Si vous proposez une co-édition, veuillez joindre le CV de chacun des éditeurs potentiels. Veuillez également inclure une description de vos capacités au regard du caractère bilingue de la revue, de même que les grandes lignes de vos plans de gestion et de promotion de cet aspect de la revue.
  1. Énoncé des ressources institutionnelles: L’éditeur de la RCÉC doit être en mesure de fournir à la revue des espaces de bureau, de même que l’ensemble des ressources matérielles nécessaires à son bon fonctionnement (téléphone, fax, photocopie, équipements et réseaux informatiques, services postaux). L’éditeur doit également être en mesure de pouvoir obtenir diverses subventions facilitant ainsi que des autres subventions disponibles facilitant l’exécution des ses tâches. Cela peut inclure l’accès à d’auxiliaires étudiants pouvant assister tant le travail du directeur que celui des autres personnes impliquées dans la gestion de la revue. Veuillez par conséquent décrire le niveau de soutien que vous et votre institution êtes disposés à fournir.

Le nouveau mandat de l’Éditeur débutera au début de 2020. Plusieurs mois réservés au chevauchement des tâches avec les éditeurs actuels afin de garantir une transition en douceur sont envisagés. Il est prévu que la transition du bureau éditorial de la revue (tel qu’il l’est) sera achevée au plus tard au printemps 2020.

Veuillez soumettre votre candidature par courriel (mike.baker@sheridancollege.ca) à:

Dr. Michael Baker, Président du comité éditorial (CJFS-RCÉC)
Faculty of Humanities and Social Sciences
Sheridan College
1430 Trafalgar Road, Oakville, ON  L6H 2L1
 

TENURE-TRACK TEACHING POSITION IN MOVING IMAGE CURATORIAL STUDIES
AVAILABLE 2018/19 Department of Film and Media
Queen’s University, Kingston, ON CAN K7L 3N6

The Department of Film and Media at Queen’s University invites applications from qualified candidates for a position in Moving Image Curatorial Studies at the rank of Assistant Professor commencing July 1, 2019. The candidate must possess a PhD. The candidate will be an outstanding scholar and teacher, with a focus on moving images, media, and screen cultures and a strong interest in curatorial studies.

We seek candidates with an interest in any of the following: new forms of curation and programming within and beyond the gallery, museum, and film festival; community-engaged practices; and archiving in the digital humanities. We are interested in candidates invested in feminist, queer, critical race, and disability studies and activism. The candidate will have demonstrated potential to attract research funding, and a track record of successful publications and collaborative initiatives. The candidate’s research profile will be an asset in attracting students to the Graduate Program in Film, Media and Curatorial Studies, to be launched in 2019, in partnership with Agnes Etherington Art Centre at Queen’s University.

The candidate will be an excellent teacher at all levels of our undergraduate and graduate programs, and will be expected to teach courses across the Film and Media curriculum including new courses in curatorial studies. Experience in graduate teaching and supervision is an asset.

The Department of Film and Media at Queen’s has an outstanding reputation for strong teaching and scholarship, with a 50-year history of commitment to the intersection of theory and practice. The Department is housed in the Isabel Bader Centre for the Performing Arts, a state-of-the-art facility with teaching and learning environments including a production studio, film screening theatre, sound recording studio, and a digital lab. The Department of Film and Media has collaborations with the School of Computing in the Computing and the Creative Arts program, and with the Dan School of Drama and Music in the Media and Performance program. The Department is also home to the Vulnerable Media Lab, which engages in remediation of obsolete moving image platforms.

The successful candidate must demonstrate excellence in an active research program, and at least two years of teaching experience. The Department seeks candidates with a strong teaching and research profile. The candidate must be willing to contribute to and participate in departmental and university service.

The University invites applications from all qualified individuals. Queen’s University is committed to employment equity and diversity in the workplace and welcomes applications from women, visible minorities, Aboriginal peoples, persons with disabilities, and LGBTQ persons. All qualified candidates are encouraged to apply; however, Canadians and permanent residents of Canada will be given priority.
To comply with federal laws, the University is obliged to gather statistical information as to how many applicants for each job vacancy are Canadian citizens / permanent residents of Canada. Applicants need not identify their country of origin or citizenship; however, all applications must include one of the following statements: “I am a Canadian citizen / permanent resident of Canada”; OR, “I am not a Canadian citizen / permanent resident of Canada”. Applications that do not include this information will be deemed incomplete.

A complete application consists of:

  • a cover letter (including one of the two statements regarding Canadian citizenship/ permanent resident status specified in the previous paragraph);
  • a current Curriculum Vitae (including a list of publications and curatorial projects);
  • a statement of research interests;
  • a statement of teaching interests and experience (including teaching outlines and evaluations if
    available);
  • a writing sample of article or chapter length and, if relevant, a representative curatorial portfolio;
  • name and contact details for three letters of reference

The deadline for applications is March 1, 2019. Applicants are encouraged to send all documents in their application packages electronically as PDFs to: Gary Kibbins, Department Head (gk6@queensu.ca).

The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during the interview process, please contact Professor Gary Kibbins, Department Head of Film and Media at gk6@queensu.ca.

Academic staff at Queen’s University are governed by a Collective Agreement between the University and the Queen’s University Faculty Association (QUFA), which is posted at http://queensu.ca/facultyrelations/faculty-librarians-and-archivists/collective-agreement and at http://www.qufa.ca.

 

CFP: Screening #TimesUp: Exploring Rape Culture in Hollywood Film

Editors: Dr. Lisa Funnell (University of Oklahoma) and Dr. Ralph Beliveau (University of Oklahoma)

Beginning in 2017, the #MeToo movement drew attention to the sexual assault, coercion, and harassment experienced by many individuals and especially women working in Hollywood. Over the last two years, actors have come forward to speak about their experiences, condemning the industry for silencing victims while safeguarding predators. This conversation about sexual conduct and safe working spaces has extended into other fields/industries via the #TimesUp movement as greater awareness is being raised about abuse of power and the victimization of employees. While Hollywood is serving as a microcosm for broader social discussions about sexual assault, coercion, and harassment in the workplace, less attention is being directed towards film content—i.e. the products being produced by said industry. As a global cinema, Hollywood creates some of the most profitable films that are widely screened not only in the United States but also across the world. Culture binds individuals and institutions together, shapes public consciousness, and sends powerful messages about what is to be considered appropriate conduct. Over the last 100 years, Hollywood has played a key role shaping social ideas associated with gender, sex, and power.

A consideration of sexual violence in Hollywood film—be it real, threatened, or suggested—is the focus of this anthology. Sexual assault, coercion, and harassment are so pervasive in Hollywood narratives that they often go unnoticed. For instance, rape revenge is not only an exploitation subgenre but also a storyline featured in horror, thriller, road, and criminalist films. The threat of sexual assault is used as a trope to convey the vulnerability of even the strongest and most muscular female heroes in action films while the depiction of sexual harassment and aggression in relation to class differences and workplaces is a frequent narrative element. Moreover, sexual harassment is often depicted as romantic when a rejected “suitor” continues to pursue/stalk their target. Sexual coercion plays a central role in spy films as agents manipulate, intoxicate, and/or force their informants/targets to have sex with them sometimes secretly filming the encounter. And in some cases, filmmakers with a known history of sexual violence continue to work in the industry and produce films that relay troubling messages about appropriate sexual conduct. These films, tropes, and practices work to normalize and naturalize aspects of rape culture oftentimes at the expense of marginal/minority groups.

We are calling for papers exploring any facet of sexual assault, coercion, and harassment in Hollywood film. Some topics include but are not limited to:

  • tropes of sexual violence in specific genres (e.g. rape revenge, action, rom-coms, etc.)
  • historical considerations of sexuality and rape (e.g. classical Hollywood, new Hollywood, etc.)
  • filmmakers who employ excessive/frequent images of sexual violence
  • shifting representations of sexual harassment
  • affirmative consent in film
  • narratives in which rape is justified (e.g. prisoner on prisoner)
  • romanticizing of inappropriate sexual contact (e.g. with minors)
  • myth of the artistic genius
  • rape jokes/gags in film
  • sexual violence against marginal/minority groups (based on race, sexual orientation, class, ability, gender expression, etc.)

Please submit a 250 word abstract along with a brief author bio to Lisa Funnell (lisa.m.funnell@gmail.com) by April 30. Please direct any questions to this email as well.

 

University of Lethbridge

 

Instructor III – New Media/Digital Video
2-year term


The University of Lethbridge’s Department of New Media invites applications for a two-year term appointment in new media/digital video at the rank of Instructor III, commencing July 1, 2019. This position is subject to the approval of the Board ofGovernors.

A M.F.A. or equivalent terminal degree is required, combined with a demonstrated record of excellence in teaching in the area of digital video production and/or other related new media areas. The ideal candidate will have excellent creative and technical skills in digital video – specifically, experience using DSLR cameras, lighting and audio production equipment, and a mastery of non-linear editing and other post-production software. Preference will be given to candidates with expertise within one of the Department’s other areas, which include Web and Graphic Design, Interactive Arts and Design, 3D Computer Graphics, Gaming, and Animation. A demonstrated record of creative activity and/or scholarly research is also an asset. The University aspires to hire individuals who have demonstrated excellence in teaching and research/creative activity, and have the potential to contribute actively in the Department of New Media and the Faculty of Fine Arts.

The course load for this position is 7 courses or equivalent per year. These will include 5 undergraduate courses, including digital video production, cinematography and lighting, postproduction and visual effects, and the potential for other new media courses to be assigned in the candidate’s area of expertise.

Experience in development and delivery of online and/or blended courses is an asset.

The position offers a competitive salary, an excellent benefits package, relocation assistance, access to well-equipped facilities, and the opportunity to work within a dynamic department.

The Faculty of Fine Arts offers degree programs in Art, Drama, Music and New Media within a liberal education context. The Department of New Media offers four degree programs: a B.F.A., a combined B.F.A/BMgt., a combined B.F.A./B.Ed., and a M.F.A. in New Media. The University of Lethbridge acknowledges, recognizes, and deeply appreciates the Siksikaitsitapii (Sik-si-gay-ts-i-da-bee) people’s connection to their traditional territory. We acknowledge that we, as people living and benefitting from Siksikaitsitapii territory, honour the traditions of the people who have cared for this land since time immemorial. We also recognize the diverse population of Aboriginal people that attend the University of Lethbridge and the contributions that Aboriginal peoples have made, both in shaping and strengthening this community. For more information about the Department of New Media, University of Lethbridge, and the city of Lethbridge please visit our websites at:

https://www.uleth.ca/fine-arts/study/new-media
http://www.uleth.ca
http://www.lethbridge.ca

Interested applicants are asked to submit a cover letter, curriculum vitae, teaching dossier (including a statement of teaching philosophy and, if possible, sample syllabi and teaching evaluations), and samples of recent research/creative via the online portal (https://uleth.peopleadmin.ca/postings/3479). Applicants will also be asked to input the names and email contact information of three qualified referees who can assess teaching and research/creative activity. The said referees will then be emailed a link where they will be asked to upload a confidential letter of reference to your application, no later than the closing date of this search.

Applications must be received by the closing date of Monday, February 18, 2019.

Dr. Jackie Rice, Interim Dean
Faculty of Fine Arts, University of Lethbridge
4401 University Drive Lethbridge, AB T1K 3M4
Tel: (403) 329-2126 • Fax: (403) 382-7127
Email: finearts.dean@uleth.ca

The University of Lethbridge hires on the basis of merit and is committed to employment equity and diversity. All qualified persons are encouraged to apply. In accordance with Canadian Immigration requirements, Canadian citizens and permanent residents will be given preference.

 

CineAction

Call for Submissions: Issue 100 – History of the Cinema

This issue explores the significance of the history of the cinema to its identity as an art form and entertainment and an interpretation of the past.

Spike Lee’s BlacKkKlansman integrates film history into the film with references to Birth of A Nation and Gone With the Windto speak of racism in the Hollywood cinema as well as contemporary racism in America. In doing so, he acknowledges the relevance of the medium’s past to the present and into the future. Like Martin Scorsese, Nicolas Winding Refn, Jean Luc Godard and others active in the preservation and promotion of film history, Lee reflects on film history and the shaping of an historical consciousness.

We welcome papers that address film history in the context of an individual film(s), a cinematic movement or a specific director or actor.

Florence Jacobowitz: fjacob@yorku.ca
Richard Lippe: rlippe@yorku.ca

EXTENDED DEADLINE: MARCH 31, 2019
 
For contributor’s guidelines, see cineaction.ca
 

Convegno annuale / Annual Conference / Congrès annuel
Orvieto 2019

Call for Papers (Session)
Italian Cinema in the Era of #MeToo

“One of the first women to accuse Harvey Weinstein of sexual assault was Italian actress Asia Argento. Hailed in the U.S. for speaking out, she was attacked in her native country by commentators, both male and female.” (NPR Jan. 18, 2018)

According to Tania Modleski, “male power is…consolidated through cycles of crisis and resolution, whereby men ultimately deal with the threat of female power by incorporating it” (O’Rawe 2014, 7). While there is a certain (lamentable) universality to the forms taken by this kind of masculinist incorporation or recuperation of the feminine, on the one hand, or its oppression or negation, on the other, the situation in the Italian cultural context is arguably even more acute than elsewhere. As Stephen Gundle observes, despite changing conceptions of national identity, “feminine beauty has long been associated with Italy, and…‘feminine beauty came to enjoy a near-monopoly of representational functions, symbolic purposes and popular manifestations’” (ibid., 2).

Beginning in 2017, in the wake of the Harvey Weinstein scandal (which Italian actor Asia Argento was amongst the first to break), the ‘#MeToo’ movement emerged in the U.S., quickly spreading around the world. This panel proposes to explore the state of Italian cinema in the era of ‘#MeToo’—whether in terms of style and/or production, reception and/or spectatorship, star studies and/or celebrity culture, cultural vs. film narratives, feminist-psychoanalytic and/or ideological critiques, representation of gender, post-representational approaches, (i.e. affect theory, posthumanist approaches), or other possible topics or approaches. The panel focus is not limited to contemporary Italian film, and historically informed comparisons of older and more recent films are encouraged.

References
Catherine O’Rawe, Stars and Masculinities in Contemporary Italian Cinema, New York, NY: Palgrave Macmillan, 2014.

Please, submit your proposal to Russell Kilbourn, English and Film Studies, Wilfrid Laurier University, rkilbourn@wlu.ca, by February 28, 2019.


CAIS Conference 2019 / ACEI Conférence 2019: http://www.canadiansocietyforitalianstudies.camp7.org/Conference-2019

 

Position Rank: Full Time Alternate Stream – Assistant Lecturer
Discipline/Field: Multi-Platform Screen Storytelling and Producing
Home Faculty: School of Arts, Media, Performance and Design
Home Department/Area/Division: Cinema & Media Arts
Affiliation/Union: YUFA
Position Start Date: July 1, 2019

The Department of Cinema and Media Arts in the School of the Arts, Media, Performance and Design (AMPD), invites applications for an Alternate Stream (teaching-focused) tenure‐track position in Multi-Platform Screen Storytelling and Producing at the Assistant Lecturer level, to commence July 1st, 2019.

The position requires a screenwriter/producer with an established record of professional experience demonstrating exceptional skill telling narrative stories creatively in moving image media. The successful candidate will have a variety of accomplishments as writer and producer, preferably in both current (for example writing and producing for serial television, feature films) and future-oriented (interactive, transmedia, web) media. Directing experience would be an asset.

Demonstrating a grasp of the challenges and opportunities of storytelling in a multi-platform environment, the successful candidate will be qualified to teach a range of courses in the Department’s Screenwriting and Production areas. The ideal candidate will also be able to address the approaches emphasized in our newly-initiated BFA in Media Arts, which offers students an expansive view of contemporary practices across multiple platforms.

The successful candidate will be eligible for prompt appointment to the Faculty of Graduate Studies and will teach a range of undergraduate and graduate courses, affiliating with the Department’s Screenwriting area – recently named “one of the best film programs in North America” in Moviemaker Magazine’s 2017 rankings – to teach students from across the Department and beyond.

The successful candidate will have a PhD or PhD equivalent (typically an MFA/MA with a substantial record of creative activity in the area of dramatic screenwriting and cinema and/or digital production or a closely related field). The successful candidate will demonstrate excellence or clear potential for excellence in teaching university-level courses, a strong commitment to pedagogy and student success, and the capacity to bring a theoretical and practical orientation to learning and program design in the area of Multi-Platform Screen Storytelling and producing. They must be prepared to engage energetically in administering a program area and participating collegially in Department governance. The candidate is expected to provide leadership by fostering collegiality and collaborative production, securing external funding, supervising graduate students, and generating national and international academic, community and industry partnerships. We especially welcome critical race, post-colonial, Indigenous, feminist and other critical approaches to storytelling.

Located in Toronto, Ontario, a world-class center of film and media production, AMPD is one of North America’s leading schools for the arts, offering undergraduate and graduate degree programs in Dance, Design, Computational Arts, Cinema and Media Arts, Music, Theatre, Visual Arts, Art History, Media Studies, Theatre and Performance Studies.

Since its founding as the first University film department in Canada, the Department of Cinema and Media Arts (CMA) has continuously evolved its curriculum, technical resources, and industry alliances to remain relevant and influential in one of the most rapidly growing and changing of all creative, technical, and academic fields. In addition to programs in Film Production and Media Arts, CMA offers the only BFA in Screenwriting in Canada and is the only Cinema/Film Department with an MFA in Screenwriting in Canada. York’s CMA Department has always been a leader in building technical competence and professional skills, while emphasizing the development of the creative, social, and personal abilities of our students as image-makers, storytellers, activists, collaborators and as future leaders in the film and digital media landscape with a strong integration of theory and practice.

York University is helping shape global thinkers who will define tomorrow. Our unwavering commitment to excellence reflects a rich diversity of perspectives and a strong sense of social responsibility that set us apart. As an internationally recognized research university, York’s 11 Faculties and 27 research centres have well-established partnerships with 280+ leading universities worldwide. 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 275,000 alumni.

Salary will be commensurate with qualifications and experience. All positions at York University are subject to budgetary approval.

York University is an Affirmative Action (AA) employer and strongly values diversity, including gender and sexual diversity, within its community. The AA program, which applies to Aboriginal people, visible minorities, people with disabilities, and women, can be found at http://acadjobs.info.yorku.ca/ or by calling the AA office at 416-736-5713. Applicants wishing to self-identify can do so by downloading, completing and submitting the forms found at: http://acadjobs.info.yorku.ca/. Please select the ‘Affirmative Action’ tab under which forms pertaining to Citizenship and AA can be found. All qualified candidates are encouraged to apply; however, Canadian citizens, permanent residents and Indigenous peoples in Canada will be given priority.

Deadline for receipt of completed applications is December 10, 2018. Applicants should submit a signed letter of application, a statement of interest outlining professional experience and qualifications, links to works, teaching interests, evidence of excellence in teaching, where available (this may take the form of a teaching dossier which supports excellence and innovation in teaching and include sample course outlines, student rating, teaching reviews, workshop and professional development programs attended or led etc.), and an up-to-date curriculum vitae, all to be sent electronically. Please arrange for three signed confidential letters of reference to be sent to: Caitlin Fisher, Chair, Department of Cinema and Media Arts, The School of the Arts, Media, Performance and Design, York University, 4700 Keele Street, Toronto, Ontario M3J 1P3. Email: caitlin@yorku.ca. Referees should be advised to address the candidate’s qualifications and experience in relation to the position.