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The Cinema Studies Institute in the Faculty of Arts and Science at the University of Toronto, St. George campus invites applications for a full-time, tenure-stream position at the rank of Assistant Professor in the area of Race and Media. The position will be effective July 1, 2019, or shortly thereafter.

Candidates must have earned a Ph.D. in Film Studies, Film and Media Studies, or another discipline related to the position as described by the date of appointment or shortly thereafter, with a demonstrated record of excellence in both teaching and research.

The successful candidate will be expected to teach in the undergraduate and graduate programs at the Cinema Studies Institute, in both required core courses and more specialized electives; to supervise and mentor students; to participate in affairs at the Institute; and to pursue innovative and independent research at the highest international level while establishing an outstanding and competitive research program that will expand our current research strengths.  For more information on the Cinema Studies Institute, visit

We are seeking applicants with expertise in the roles that race and racialization play in film and media cultures, across local, national, and/or global contexts. In particular, we encourage cinema and media studies scholars who also work in Indigenous studies, Black studies, diaspora studies, and/or postcolonial studies to apply, but we welcome applicants with other methods of approach or areas of specialization as well.

Excellence in research should be demonstrated through the quality of the writing sample submitted as part of the application, a record of publications or forthcoming publications in top-ranked and field-relevant academic journals, a record of presentations at significant conferences, awards and accolades, evidence of an innovative research program, and strong endorsements by referees of high standing.

Excellence in teaching should be demonstrated through a record of teaching accomplishments, letters of reference, and a teaching dossier including a statement of teaching philosophy, sample course syllabi, and teaching evaluations, submitted as part of the application.

Salary will be commensurate with qualifications and experience.

The University of Toronto is one of the world’s top research-intensive universities and, with its multicultural student body and cosmopolitan setting, it offers the opportunity to teach, conduct research, and live in one of the world’s most diverse and dynamic cities.

All qualified candidates are invited to apply by clicking on the link below. Application materials must include a cover letter, a curriculum vitae, a statement outlining current and future research interests, a writing sample of no more than 10,000 words, and a teaching dossier (consisting of a statement of teaching philosophy, sample syllabi, and teaching evaluation data).

Applicants must also arrange to have at least three external referees send letters of recommendation (signed and on institutional letterhead) directly to the Institute via email to Denise Ing, Assistant to the Institute’s Director, at

All application materials and reference letters must be received before the closing date of November 8, 2018. Submission guidelines can be found at: We recommend combining attached documents into one or two files in PDF/MS Word format. If you have questions about this position, please contact Denise Ing at

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

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.

In order to apply, please visit


2018 FSAC Conference
Click here for the schedule

Le colloque annuel de L’ACÉC, 2018
Cliquez ici pour accéder au programme


York University is conducting an extensive search for a Dean, School of the Arts, Media, Performance & Design to take office July 2018 or as soon as possible thereafter, and invites expressions of interest, applications, and nominations.

Home to 53,000 students, York University has an established international reputation as a research-intensive university committed to collegial self-governance, social justice, equity, inclusivity, and diversity. Established in 1959, York has two campuses in the Greater Toronto Metropolitan Region and an upcoming state-of-the-art campus in the City of Markham. As a comprehensive university with 11 Faculties and Schools, 24 research centres, and 280 worldwide partnerships, York is a vibrant intellectual community focused on the highest academic quality, outstanding teaching and learning and student experience, cutting-edge research, and engagement with local, national and international communities. Please visit for additional information about the University.

The School of the Arts, Media, Performance & Design (AMPD) is not only one of North America’s premier professional and research institutions, but also has evolved over the years as a leader that emphasizes practice and practice-based research in the arts, digital media and computational arts, and design. Home to 110 faculty members and 2500 undergraduate and 350 graduate students, AMPD is a thriving interdisciplinary environment for creativity and artistic practice, research, and learning in up-to-date facilities. Undergraduate, masters (including MA, MFA, and MDes programs), and doctoral degrees are offered in a range of areas including dance, digital media, cinema and media studies, design, music, performance studies, theatre, and visual art and art history. AMPD welcomes leading arts practitioners and scholars, offers its students unique opportunities to interact with Toronto’s diverse arts community, and will be a significant contributor to innovative programming at the new Markham campus. Please visit for more information.

Reporting to the Vice-President Academic & Provost and a member of York’s senior administration, the Dean of the School of the Arts, Media, Performance & Design is the School’s chief academic and administrative officer, providing strategic direction, academic planning leadership and administrative oversight. The new Dean will lead AMPD to further excellence in teaching, research and service, raise its impact and reputation, and provide leadership in a challenging educational environment by developing key academic priorities and the strategies needed to advance them.

The successful candidate will possess the academic/creative profile and leadership experience to build on the School’s strengths and develop new directions for undergraduate, graduate, and postdoctoral education and research. Experience in and knowledge of a creative and performance arts or cultural sector environment, as well as a relevant advanced degree, is required. With a record of building strong teams and promoting innovative interdisciplinary activities, the new Dean will possess an open and collegial style, a creative approach to problem solving, and outstanding management, communication and interpersonal skills. The new Dean will be able to promote excellence, equity, diversity and inclusion amongst all faculty, staff and students, and have the capacity to build and sustain positive working relationships with a wide variety of internal and external stakeholders.

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 or by calling the AA office at 416-736-5713. All qualified candidates are encouraged to apply; however, Canadian citizens and Permanent Residents, and others legally entitled to work in Canada for York University will be given priority.

Applicants wishing to self-identify can do so by downloading, completing and submitting the forms found at: Please select the “Affirmative Action” tab under which forms pertaining to Citizenship and AA can be found.

In accordance with the Accessibility for Ontarians with Disabilities Act (AODA), accommodation will be provided by both Laverne Smith & Associates and York University throughout the recruitment process to applicants with disabilities.

Consideration of potential candidates will begin immediately and will continue until the role is successfully filled. Applications should include a letter of introduction, curriculum vitae, and the names of three references (who will not be contacted without consent of the candidate), and may be forwarded electronically, in confidence, to the University’s executive search consultants:

Laverne Smith & Associates Inc.


Call for papers for a special issue of the journal Arts titled “Memory, Affect, and Cinema.”
Guest editor: Dr. Russell J. A. Kilbourn

Dear Colleagues,

The intersection of memory and cinema is a robust field of research, but the confluence of memory and affect remains underexplored. While memory and emotion are deeply interconnected, affect and emotion are distinct. Affect theory needs to take account of memory studies, particularly in relation to aesthetics and ethics, on the one hand, and to ideology and politics, on the other.

More inclusive and more ‘primal’ than emotion, affect in the context of memory manifests on a spectrum with nostalgia at one end and trauma at the other. In-between lies everything from melancholic detachment to the most ethical empathy. Today’s fascination with affect short-circuits critical reflection, reducing Deleuze’s complex treatment (in Cinema 1) of affect in the movement-image. Film-memory scholars need to think critically about the opposing of thought and emotion, image and body, signification or mediation, (or representation) and affective pre-cognition. For Ruth Leys, affect theory in its post-Deleuzean form is characterized by its resistance to representation and the privileging of consciousness. Theorists of affect are interested primarily in the traumatic-affective effects of media on the viewer. According to Cathy Caruth, where trauma negates the possibility of conscious representation (and therefore memory), the body registers the unspeakable experience affectively, in a manner that precedes representation. Ironically, this somatic registration, manifesting involuntarily in flashbacks and dreams, when translated cinematically demands visual representation. (Indeed, there would be no psychological ‘flashback’ were it not for cinema’s photographic origins.) As in trauma studies, the representability of traumatic experience is a key question for film studies.

At the other end of the memory/affect/cinema spectrum is nostalgia. Apart from spectator nostalgia for specific historical periods or styles, discussions of the intersection of film and memory have generally focused on commercial genre films rather than art cinema. Nostalgia continues to be invoked in a pejorative sense, influencing popular thinking about memory. ‘Memory is not commonly imagined as a site of possibility for progressive politics’, writes Alison Landsberg. ‘More often, memory, particularly in the form of nostalgia, is condemned for its solipsistic nature, for its tendency to draw people into the past instead of the present’. Svetlana Boym distinguishes between ‘restorative’ and ‘reflective’ nostalgia, however, where the latter allows for a combination of critical irony and melancholic longing. Restorative nostalgia, however, is a constitutive feature of many contemporary popular cultural narratives. Rather than an historical consciousness that might allow for individually and socially progressive political action, postmodern pop culture gives us collective memory as often as not packaged in nostalgic terms. Among the first to connect the contemporary fascination with memory and archives with affect and emotionality, Pam Cook re-values nostalgia in relation to both objective ‘History’ and subjective memory, substituting for Jameson’s ‘nostalgia film’ the transnational ‘nostalgic memory film’. This allows us to see that such films can have a usefully heuristic—and therefore potentially emancipatory—if not a properly political impact upon the spectator.

This guest-edited Special Issue aims to provide a cutting-edge perspective on contemporary scholarship examining the intersection of memory and affect in cinema, in terms of either the nostalgic or the traumatic end of the spectrum—or, most productively, from both at once. We invite 3000–5000 word scholarly articles on the theme by 15 August 2018. Potential topic areas could include:

  • nostalgia in/and film
  • trauma in/and film
  • reflective nostalgia as ‘antidote’ to traumatic memory
  • the memory-productive vs. the memory-reflexive film (Astrid Erll)
  • restorative vs. reflective nostalgia (Boym)
  • from Holocaust studies to trauma theory (Caruth)
  • from trauma theory to affect (Leys)
  • from ‘nostalgia film’ to the transnational ‘nostalgic memory film’ (Cook)
  • nostalgia in/and the ‘heritage film’ (Andrew Higson)
  • melodrama, memory, affect
  • Deleuze, the affection image, melodrama
  • the affection image and classical film style
  • the affection image and art cinema?
  • post-cinematic affect and memory (Shaviro)
  • post-affective cinema and memory
  • trauma and the possibility of (visual) representation
  • the ‘universalization of trauma’ and postmemorial ‘affiliative’ affect in the film viewer-as-victim (Richard Crownshaw)
  • second-order trauma (as negative correlative of postmemory)
  • the psychology and/or neuroscience of memory and cinematic viewing.

Dr. Russell J. A. Kilbourn
Guest Editor 

The Sixth Annual Society for Cinema and Media Studies Undergraduate Conference

Hosted by Wilfrid Laurier University (Waterloo, Ontario, Canada)

April 06–07, 2018

The sixth annual SCMS Undergraduate Conference invites undergraduate students from Film Studies or related disciplines to propose papers representing their best work in cinema and media studies. A unique international event, the 2018 Laurier installment represents the first time the SCMS undergraduate conference will take place in Canada. There will be 30 presentations over two days, with everyone together for the duration, and no concurrent panels. Each participant will have 15 minutes to present their individual essay—approximately 2,000-2,100 words when presented at a normal talking speed with a few visual aids—on a thematically organized panel.

Any student who wishes to participate in the conference should submit a completed proposal form, which will include a 200-word abstract. Do not submit complete papers. The submission form can be found at A panel composed of Wilfrid Laurier University Film Studies faculty will select 30 proposals for acceptance to the conference. All selected conference participants must agree to attend both full days of the event.

Panels will be scheduled for Friday (04/06) and Saturday (04/07), with a reception on the Thursday evening (04/05). Registration is free, and hotel accommodations close to campus will be available at a discounted student rate for conference participants. Students are encouraged to seek travel funding from their home institutions to defray the costs of travel and lodging. All meals excepting breakfast each day will be provided by the conference organizers, including a closing buffet dinner on the Saturday night. Students attending the conference will also attend a special private screening at Waterloo’s famous Princess cinema (film TBA).

The deadline for proposals is midnight EST on Friday, February 02, 2018. Completed proposal forms with abstracts should be sent via email to ( with “SCMS-U 2018” in the subject line of the email. For more information, please contact Dr. Russell Kilbourn (, at Wilfrid Laurier University, or go here:

This conference is sponsored by the Society for Cinema and Media Studies, the Wilfrid Laurier University Student Life Levy Association, the WLU Faculty of Arts, and the Department of English and Film Studies.


Poste de professeur menant à la permanence avec double affectation
Art canadien des images en mouvement

Le Département d’histoire de l’art et l’École de cinéma Mel-Hoppenheim de la Faculté des beaux- arts de l’Université Concordia lancent un appel de candidatures afin de pourvoir un poste de professeur en art canadien des images en mouvement. Il s’agit d’un emploi à temps plein avec double affectation et menant à la permanence. La date prévue d’entrée en fonction est le 1er août 2018.

Comptant plus de 4 000 étudiants, professeurs et employés, la Faculté des beaux-arts de l’Université Concordia figure parmi les cinq plus grandes écoles d’arts et de design en Amérique du Nord. Accueillant bon an mal an quelque 170 000 étudiants et étudiantes, qui y profitent des droits de scolarité les plus bas au Canada, Montréal est en constante effervescence culturelle. D’ailleurs, la métropole québécoise figure au palmarès des dix meilleures destinations dans le monde au chapitre de l’enseignement supérieur. Bien qu’elle abrite une importante population anglophone, elle est la deuxième métropole francophone du globe après Paris. La toute première à obtenir le titre de ville UNESCO de design de la part de l’Alliance mondiale pour la diversité culturelle, Montréal est un lieu de prédilection des amateurs d’événements et de festivals internationaux. Blottie au cœur de cette cité dynamique, partie prenante d’une université au profil de recherche vigoureux, la Faculté des beaux-arts bénéficie d’un accès extraordinaire à de brillants praticiens, à des lieux de diffusion florissants, à de fascinantes perspectives transculturelles ainsi qu’à un vaste réseau d’installations de recherche et de production de grande qualité.

Faculté des beaux-arts, Département d’histoire de l’art et École de cinéma Mel- Hoppenheim
Tablant sur la place qu’elle occupe au sein d’une université de recherche de haut calibre, la Faculté des beaux-arts est reconnue depuis longtemps comme l’un des plus importants centres du Canada voués aux études, à la création et à l’élargissement des connaissances en arts visuels. Par ailleurs, elle vit actuellement un élan transformateur où les pratiques pédagogiques, conceptuelles, théoriques et matérielles trouvent écho dans une importante diversité d’approches. Ici, la performance sur scène, la recherche historique, l’innovation méthodologique, l’érudition théorique, l’expérimentation technique, la production axée sur l’acquisition de compétences, le travail de terrain au sein de la communauté et les méthodes de fabrication, tant classiques que numériques, sont tous également valorisés. Outre les occasions d’expérimentation curriculaire, la constitution de centres de recherche d’importance ainsi que de partenariats externes à la Faculté des beaux-arts a contribué à élargir le champ des possibilités pour les membres du corps professoral et de l’effectif étudiant. En 2018, la faculté inaugurera une nouvelle banque de médias regroupant des archives de films, de vidéos et d’images liées à l’histoire de l’art et aux études cinématographiques. L’installation comprendra également des salles de séminaire, un espace de repos ainsi que des postes de visionnement pour les étudiants et les professeurs. Elle offrira ainsi un grand potentiel pour leurs futures initiatives et activités de recherche.

Le Département d’histoire de l’art joue un rôle vital tant au chapitre de l’étude et de la recherche sur l’histoire de l’art que des cadres théoriques, de la culture visuelle et matérielle, de la conservation, de l’éducation et de l’engagement communautaire. Chef de file canadien dans son domaine, le département offre des programmes de premier cycle complets en histoire de l’art, en histoire de l’art et études cinématographiques, et en histoire de l’art et arts plastiques. Il propose par ailleurs une maîtrise en histoire de l’art et un doctorat interuniversitaire, conjointement avec trois autres établissements. En outre, le département privilégie une grande diversité d’approches dans ses curriculums et activités de recherche, et encourage ses étudiants à contribuer activement à la discipline tout au long de leur formation. Ceux-ci évoluent dans un environnement collaboratif axé depuis toujours sur l’érudition avant-gardiste et sur l’enseignement actif et novateur. Les résultats d’apprentissage d’intérêt public insufflent une volonté tant chez les étudiants que les membres de la communauté universitaire de progresser dans un but commun.

L’École de cinéma Mel-Hoppenheim − le plus grand centre universitaire canadien spécialisé en cinéma d’animation, en production cinématographique et en études cinématographiques − jouit d’une prestigieuse réputation internationale. Elle présente l’avantage de faire partie intégrante de la Faculté des beaux-arts de l’Université Concordia, un milieu transdisciplinaire extrêmement dynamique doté d’installations à la fine pointe de la technologie, où professeurs et étudiants évoluent dans un cadre artistique et culturel propice à la recherche et à l’étude. Le corps enseignant compte 26 professeurs à temps plein et une équipe de professeurs à temps partiel talentueux qui enseignent à plus de 800 étudiants. L’école propose des programmes en production cinématographique, en cinéma d’animation et en études cinématographiques menant à différents diplômes : B. Bx-arts en études cinématographiques, B. Bx-arts en histoire de l’art et en études cinématographiques, M. Bx-arts en études cinématographiques, et Ph. D. en études cinématographiques et images en mouvement. Nos douze professeurs à temps plein en études cinématographiques mènent des recherches actives dans une diversité de sous-domaines. En outre, notre programme de doctorat attire des étudiants étrangers de haut calibre, en plus de compter parmi les meilleurs du genre dans le monde.

La majeure en histoire de l’art et études cinématographiques permet l’exploration de ces deux domaines en tant que disciplines savantes. Axé sur la recherche et la rédaction, le programme recrute les étudiants les plus talentueux et représente un secteur de croissance dans les deux départements. Il permet de développer une compréhension interdisciplinaire des arts visuels et audiovisuels ainsi que des discours critiques et théoriques relatifs à chaque discipline. Depuis la création de la majeure en 2002, on a ainsi assisté à une croissance des convergences des pratiques cinématographiques expérimentales et des œuvres filmiques, ainsi que des difficultés et stratégies liées à la conservation, à l’archivage et à la préservation. Plus que jamais, ce programme hybride est tout indiqué pour former les étudiants dans le contexte élargi des images en mouvement et des institutions, artistes et pratiques d’archivage connexes.

Description du poste
Nous recherchons des candidats ayant une expertise en art des images en mouvement et en culture visuelle. « Art des images en mouvement » est un terme général qui englobe le film expérimental, la vidéo, les installations, le cinéma élargi ainsi que les autres formes d’art numérique – chaque discipline ayant une histoire et un avenir distincts et interreliés. Les candidats qui concentrent leurs recherches sur la conservation, l’archivage et l’historiographie sont les bienvenus. La préférence sera accordée à ceux et celles qui se penchent en particulier sur toute forme d’art des images en mouvement et de culture visuelle, et démontrent une expertise dans les médias canadiens, québécois ou autochtones avec un programme de recherche axé sur l’un ou plusieurs de ces domaines.

La personne retenue sera affiliée à un département principal, déterminé en fonction de son champ d’expertise. Comme elle sera appelée à donner des cours de tronc commun tant en histoire de l’art qu’en études cinématographiques, elle devra cependant faire preuve d’aisance dans les deux disciplines. Elle participera par ailleurs à la gestion du programme de B. Bx-arts en histoire de l’art et en études cinématographiques, notamment en révisant le curriculum, en coordonnant le calendrier et en encadrant les étudiants. À ce titre, elle saura démontrer l’importance de la recherche et de la pédagogie collaboratives et interdisciplinaires en histoire de l’art et en études cinématographiques pour le succès continu du programme. Elle devra en outre superviser des étudiants des cycles supérieurs dans l’une ou l’autre des disciplines, ou les deux; siéger à des comités de supervision des cycles supérieurs; participer activement à la régie du programme et du département; exécuter des tâches administratives; et prendre part à des travaux de comités départementaux et facultaires. Seront considérées comme des atouts les activités antérieures ayant permis au candidat d’affirmer ses qualités de chef, de participer à des comités et de démontrer son attachement au pluralisme.

Le candidat doit être titulaire d’un Ph. D. en histoire de l’art, en études cinématographiques ou dans un domaine connexe; posséder une expérience considérable de l’enseignement universitaire; montrer qu’il est activement engagé dans un programme de recherche; posséder un bon dossier de publications; afficher un excellent profil d’enseignement et de recherche dans l’art des images en mouvement canadien, québécois et autochtone; et, de préférence, faire état de connaissances additionnelles en conservation et en archivage. Bien que les cours se donnent en anglais, une connaissance élémentaire du français constitue un atout important.

Exigences et date limite
Le dossier de candidature doit être transmis par voie électronique à au plus tard le 1er novembre 2017. Pour poser votre candidature, veuillez nous faire parvenir les documents suivants : lettre de présentation; curriculum vitæ; énoncé de vos champs d’intérêt et de votre philosophie d’enseignement; preuve de vos aptitudes en enseignement – plans de cours, exemples d’œuvres et de travaux d’étudiants et évaluations à l’appui; énoncé de votre philosophie de recherche explicitant votre plan de recherche à venir; exemples détaillés de travaux en cours ou accomplis; un exemple de travail d’érudition publié (article évalué par un comité de lecture); nom et coordonnées de trois répondants. Si votre candidature est retenue, vous devrez présenter une preuve d’obtention de diplôme terminal. Le département se verra dans l’obligation de rejeter les candidatures incomplètes.

Toute question concernant le poste peut être transmise par courriel à l’adresse, à l’attention de : Elaine Paterson (Ph. D.), directrice du Département d’histoire de l’art, et Catherine Russell, directrice de l’École de cinéma Mel-Hoppenheim

Pour découvrir l’environnement de travail à l’Université :
Faculté des beaux-arts :
Département d’histoire de l’art :
École de cinéma Mel-Hoppenheim :

L’entrée en fonction est prévue pour le 1er août 2018, normalement au poste de professeur adjoint, sous réserve des autorisations budgétaires requises. Une affectation à un échelon supérieur pourrait être envisagée. L’examen des candidatures débute immédiatement et se poursuivra jusqu’à ce que le poste soit pourvu.

Toutes les personnes qualifiées sont encouragées à poser leur candidature pour ce poste. Cependant, la priorité sera accordée aux Canadiens et aux résidents permanents. L’Université Concordia souscrit pleinement au principe de l’équité en matière d’emploi au sein de sa communauté et s’attache à recruter un corps professoral et un personnel diversifiés. Nous encourageons toutes les personnes qualifiées à présenter leur candidature, y compris les femmes, les membres des minorités visibles et des minorités sexuelles, les autochtones, les personnes handicapées ainsi que les autres personnes pouvant contribuer à la diversité de l’Université.


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.

Position Description
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 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 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:
Department of Art History:
Mel Hoppenheim School of Cinema:

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
Campus:  Mississauga
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:

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 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

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:  

Applicants should also ask three referees to send letters (signed and on institutional letterhead) directly to the department via e-mail to by the closing date, October 18, 2017.

For more information about the Department of Visual Studies, please visit

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 .

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 ( and Charles Tepperman (


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 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