Nonhuman Artists: Challenging Anthropocentrism in Art History
Ninth Annual Wollesen Memorial Graduate Symposium
Organized by the Graduate Union of the Students of Arts
Online and In Person, University of Toronto
Keynote Address: Rebecca Zorach, Northwestern University
The Graduate Union of the Students of Art (GUStA) at the University of Toronto is pleased to present the Ninth Annual Wollesen Memorial Graduate Symposium in cooperation with the Department of Art History.
In art history, notions of artistic creation, identity, and agency are often underpinned by an anthropocentric framework that hampers critical reflection on non-human actors in the making and circulation of images and artefacts. This symposium seeks to explore non-anthropocentric perspectives to artistic practice by confronting the ‘animal’, ‘inorganic’, or even ‘divine’ limits of art-making, and examining the degree to which the works of art both past and present continue to be shaped by agencies and currents of power that resist or exceed human control. We encourage submissions from students and scholars working on visual and material culture in any period or region, as well as those engaging with theoretical insights in eco-criticism, history of science and technology, media theory, archaeology and anthropology.
Examples of research area include, but are not limited to:
- anthropocentrism in art history
- political agency of animals in art
- the limit between art and nature, organic and inorganic in art-making (nature as painter/artist/artisan, lusus naturae, nature print, photography)
- indigenous place-thought and land-based consciousness
- the limits of notions such as agency, intentionality, and consciousness and meaningful ways to articulate agency, consciousness or thought proper to images and artefacts
- material agency; artists ‘listening’ to what their work/material/tool ‘wants’
- analogies between the artist and their tools (retina/lens, finger/brush, etc.)
- diverse strategies used to circumvent or relinquish human agency, intention, or willpower in art-making (Acheiropoieta, role of accident and chance, automatism and the unconscious
- art generated by new digital technologies (e.g. Google Lens, Deep Dream Generator)
- the dehumanization of artists in political, ideological and colonial contexts
The Ninth Annual Wollesen Memorial Graduate Symposium takes place on March 18, 2022. To allow for flexibility amid ongoing pandemic, the symposium will be arranged in a hybrid format, with in-person meeting held at Hart House, St. George Campus. Speakers participating online have the option of presenting live or submitting a pre-recorded presentation. Presentations are 20 minutes in length, followed by a live discussion period. We will be requesting submissions of completed manuscripts for publication in the symposium proceedings.
Please submit 250-word paper abstracts accompanied by a 100-word bio (.doc/.docx/.pdf) to the Graduate Union of the Students of Art at email@example.com by February 4, 2022, at 5 PM ET. If you would like to submit a request for an organized panel session consisting of three papers, please ask all authors in the session to submit individual abstracts and send us a separate email containing the names and email addresses of all session speakers. Applicants will receive email notification no later than Friday, February 25, 2022, at 5PM ET.
The 2022 John Douglas Taylor Conference committee at McMaster University welcomes interdisciplinary proposals for presentations for Diasporic Solidarities: Islands, Intimacies, and Imagining Otherwise. Conference presentations should engage with the complexities of constellating solidarities in so-called North America and in relation to historical and contemporary transnational flows of people, information, and capital with particular focus on the island (including land, movement to-from-and-away, Turtle Island, and more). The conference format will be virtual and synchronous via Zoom webinar. The two-day conference program features a plenary session and several research panel presentations.
Conference Dates: June 9-10, 2022
Please submit 150-word proposal and 75-word bio to firstname.lastname@example.org
Proposal Submission Deadline: January 20, 2022
Call for Applications
MA in Film Studies
Carleton University-Canada’s Capital University.
Carleton University’s Film Studies Program invites applications to its MA program for the 2022-2023 academic year. Applications received by February 1, 2022, will receive priority consideration. Admission decisions will be made by late February-early March. The Program may consider late applications.
Carleton University’s Film Studies program is a student-centered, globally focused, and interdisciplinary program that teaches critical, theoretical, and historical approaches to cinema and emerging media. Students learn to think analytically and express themselves clearly while developing specialized knowledge about history, aesthetics, and film as a social and cultural practice. Our internationally recognized faculty are engaged in innovative research with numerous books, articles, grants, and awards to their credit. Our program offers a collegial, supportive, and student-friendly atmosphere conducive to success, with a faculty committed to student mentorship.
Areas of faculty expertise include world cinema (e.g. the cinemas of Africa, Asia, Scandinavia, Western Europe, Canada, and the United States), film theory and philosophy, film history, documentary film, and media, Indigenous film and media, video games and new media, queer and transgender media, and sound studies.
Our program welcomes applications from students with an undergraduate degree in Film Studies and cognate disciplines such as Communication, Journalism, Art History, Music, Literature, Indigenous and Canadian Studies, Women’s and Gender Studies, History, etc. Students may supplement their studies with a specialization in African Studies, the Digital Humanities, or pursue a Graduate Diploma in Curatorial Studies.
During their studies, students may qualify for internships which provide them with practical film- and media-related experience and opportunities to work with Ottawa-area arts institutions, companies, and associations including film festivals (Canadian Film Institute, Ottawa International Animation Festival, InsideOut Ottawa LGBT Film Festival, One World Film Festival, Digi60 Filmmakers’ Festival), archives and museums (Library and Archives Canada, Ingenium: Canada’s Museums of Science & Innovation, Carleton’s Audio-Visual Resource Centre) and film production and exhibition facilities (SAW Video Media Art Centre, Independent Film Cooperative of Ottawa).
Carleton University offers generous and highly competitive funding packages. Admission funding may take the form of one or more of the following: Teaching Assistantships (TAships), Domestic Entrance Scholarships, Merit Scholarships, Donor-Funded Awards Research Assistantships (RA), etc.
Established in 1977, Carleton’s Film Studies is one of the oldest programs in Canada. Members of our faculty helped found the discipline’s professional society, the Film Studies Association of Canada, and have held various offices over the years. Three past presidents of FSAC are members of our faculty, and the association’s journal, The Canadian Journal of Film Studies, was recently housed at Carleton. Present and past members of faculty also serve or have served on the editorial boards of Camera Obscura, JCMS: The Journal of Cinema and Media Studies, Revue Cinémas, Animation Journal, Studies in French Cinema, Journal of Scandinavian Cinema, The Soundtrack, Film History, Performance Matters and Positif, etc.
Carleton University is strongly committed to fostering diversity within its community as a source of excellence, cultural enrichment, and social strength. We welcome those who would contribute to the further diversification of our University including, but not limited to: women; visible minorities; First Nations, Inuit and Métis peoples; persons with disabilities; and persons of any sexual orientation or gender identity and expressions
For more information please visit our website: . For questions, please contact Dr. Aboubakar Sanogo, Graduate Supervisor at email@example.com.
Pre-Constituted Panel Calls for Abstracts
Panel proposals for The Annual Conference of the Film Studies Association of Canada (FSAC), May 12-15, 2022. Please review the pre-constituted panel call for abstracts below. If you are interested in applying for any of them send the required abstract and bio to the specific panel chair by January 15th.
Each panel chair will inform you of their decision by January 25th and the abstracts they have selected to be included in their final submission will be sent to the Conference Committee on January 31.
If your paper is not selected for the panel you have applied for you are welcome to submit it as an individual paper for the January 31 deadline (see the larger 2022 Conference CFP for more details).
Appel à propositions pour panels préconstitués
Vous trouverez ci-bas des propositions de panels pour la conférence annuelle de l’Association canadienne d’études cinématographiques (ACÉC), qui se tiendra du 12 au 15 mai 2022. Veuillez consulter les appels à propositions des panels préconstitués ci-dessous. Si vous souhaitez postuler pour l’un d’entre eux, envoyez le résumé et la biographie requis au(x) responsable(s) du panel en question d’ici le 15 janvier 2022.
Chaque président·e de panel vous informera de sa décision d’ici le 25 janvier. Les propositions ainsi sélectionnées pour être incluses dans leur soumission finale et envoyées au Comité de la conférence le 31 janvier.
Si votre proposition n’est pas sélectionnée pour le panel pour lequel vous avez postulé, nous vous invitons à la soumettre en tant que présentation individuelle pour la date limite du 31 janvier (voir l’appel général de la Conférence 2022 pour plus de détails).
- Reframing the Nation: Racialized/Queer Diasporic Independent Women Filmmakers in Canada
- Making Spaces for Repair, Making Room for Other Virtual Reality Futurities
- Antenational Cinemas: Rethinking Indigenous and Canadian Images
- Social Media as Cinemas of Attraction
- Utopies adolescentes à la télévision/TV Teen Utopias
- Passages, Transitions, and Transformations: Imagining Intersectional Feminist Media and Film Futures
- Living Archives and Counter-Archives in Film, Video, and Media Arts in Canada
- Experiments in Independent Film & Media in Canada
1. Reframing the Nation: Racialized/Queer Diasporic Independent Women Filmmakers in Canada
This panel is dedicated to a close engagement with films produced by racialized and queer racialized independent women filmmakers in Canada. It aims to ignite conversations around the often underexamined cinematic visions, perspectives, and legacies of especially first and second generation racialized/queer women filmmakers engaged in independent filmmaking between 1980-2020 across Canada. The particular focus is on independent production across all moving image genres and formats, encapsulating artistic practices rooted in personal, political, aesthetic, cultural, philosophical, and/or social justice concerns. We hope to explore the fraught relationship that can arise in independent production between arts funding and policy, and artistic/creative agency especially for minoritized groups. Further, we are interested in exploring how queer/queer diasporic women filmmakers contribute to and/or challenge national and settler narratives through their creative practice.
Submissions can explore the following:
- Theoretical explorations of diasporic works by Canadian racialized women or queer/trans women of colour, Black and Indigenous women filmmakers from decolonial, post-colonial, queer diasporic or transnational contexts;
- Historiographies of film/video by racialized women filmmakers and queer & trans of colour filmmakers in Canada;
- Intersectional critiques of settler nationhood, settler complicities, or homonationalism through the work of racialized women / queer women of colour filmmakers;
- Relationships and tensions between cultural identities, diasporic aesthetics, and politics;
- Afro-Indigenous and Asian-Indigenous theories, methodologies, histories, praxis;
- Diasporic and transnational spatialities; home and belonging, displacement, migration;
- Thematic, textual, or aesthetic analyses of documentary, narrative, experimental, activist, and hybrid films (all genres and platforms considered) by queer and racialized women filmmakers;
- Reception/audience studies of works by women of colour in Canada; *Arts and culture policy and their impacts on queer/women of colour production in Canada; *Festivals, distributors and other media organisations that support works by Indigenous women & women of colour filmmakers in Canada;
- Critical and decolonial uses of technologies;
- Archival reanimations by queer/women of colour filmmakers and moving image artists;
- Comparative analyses of Canadian productions and international or transnational productions.
*We are especially seeking proposals on Black, Caribbean, South Asian and Arab women filmmakers in Canada.
Submissions from anyone working in these research areas will be considered. Please submit an abstract (300 words) & short bio (125 words) by January 15, 2022 to panel chairs: Dr. Michelle Mohabeer firstname.lastname@example.org & Dr. May Chew email@example.com.
**Submissions will also be considered for an upcoming edited anthology on the same theme.
2. Making Spaces for Repair, Making Room for Other Virtual Reality Futurities
Starting from the premise that “empathy” has overdetermined and underserved scholarly and popular discourse about virtual reality (VR), this panel seeks papers that expand our understanding of what VR may actually be capable of: as an immersive audiovisual technology, as an artform, and as an aesthetic. To do so, we take as a point of departure the notion that VR, like all media, only works as an “empathy machine” in limited and highly subjective ways. What other feelings, bodies, and futures might VR and media scholars make room for if we hold other doors open?
Without turning a blind eye to the racist (Nakamura 2020), ableist (Redden 2018), and appropriative (Yang 2017) foundations of contemporary VR, this panel seeks contributions that will hold these conditions up to new scrutiny and with an eye towards repair. In an effort to rethink some of the central concepts of virtual reality (immersion, presence, interactivity, etc.), we propose to take space, the body, and their interminglings as central objects of study. How can we build spaces within VR that do not reproduce the colonial, racist, or otherwise toxic tendencies of our current world? What kinds of bodies can we make room for in the spaces VR has to offer? Ultimately, what gets made in the imbrication of body, space, and screen in VR experiences?
We encourage submissions that might address topics including, but not limited, to:
- Repairing VR’s affective address
- Rethinking central concepts (immersion, presence, interactivity, etc.)
- Decolonizing VR spaces
- New temporalities in VR/AR
- Reparative approaches to VR theory
- Indigenous futurities in VR
- Afrofuturism and VR
- VR and emerging affects, structures of feeling, or other sensorial capacities
- VR and ecocriticism
- Analyses of VR spaces of maintenance and repair
- Spaces of/for immersive experience exhibition
- Public/domestic contexts for experiencing VR
- Metaverse as space for leisure (and labour)
Proposals should include your name, affiliation, and a short bio (50 words), along with a document listing a title, short abstract (250-350 words), keywords (3-5) and bibliographic references (2-5).
*Veuillez noter que nous acceptons aussi des propositions en français.
3. “Antenational Cinemas: Rethinking Indigenous and Canadian Images”
How do First Nations, Inuit, Métis, and Canadian cinemas represent, construct, maintain, and challenge visions of national identity? While this question has been approached through a wide range of methodologies, a definitive view of what constitutes a Canadian national cinema remains elusive. The field continues to explore positions that stress fragments, differences, incongruities, and complexities rather than a coherent historical lineage or homogenous perspective on identity. For Marchessault and Straw (2019), “the idea that Canadian cinema might reveal or express an essential national identity has receded from scholarly and critical writing, but the question of what ideas might occupy its place is far from being resolved” (xxi). This panel seeks to address this opening in field by mapping some of the critical and practical tendencies of Canadian cinemas in relation to the “antenational” – with “ante-” stressing before the nation. While this concept may, for some, connote the idea of an anti-national cinema, my conceptualization of “antenational” does not necessarily foreground as oppositional politics to national identity, even if some Indigenous or Québec films explicitly embrace such a position in relation to Canada’s colonial and political history. Instead, antenational cinemas accounts for a continuum of cinematic pathways that may resist identifying as Canadian, may interrogate the tensions between feminist and nationalist discourses, may advocate for a distinct nation within a nation, or may seek acceptance within national discourses and communities. Furthermore, antenational cinema accounts for BIPOC, Queer, transnational, and diasporic cinemas at a multiplicity of intersections between Canada, outside, and elsewhere (to mobilize Galt and Schoonover’s framing of Queer Cinemas in the World). Therefore, papers within this panel should approach and interrogate definitions of national cinema and Canadian identity.
Key words: Indigenous cinemas, Canadian cinemas, minoritarian, national cinema, antenational
Possible topics include:
- Indigenous cinemas that mobilize pre-contact and other films as “before” the nation
- Women filmmakers who address the spaces between nationalism and feminism
- Diasporic and transnational cinemas that map histories “before” the nation
- Indigenous cinemas that challenge and interrogate discourses of the Canadian nation state
- Québec cinemas that explore the idea of a nation within a nation
- Films from the Prairies or Atlantic that stress differences or similarities (national identity)
- Queer cinemas that foreground a “before” the nation that is political or fantastic
- Black Canadian filmmakers who increase representation or confront racism in Canada
- BIPOC directors who expose the fallacies of multiculturalism
- Early feature films that map alternative potentialities within the history of Canadian cinemas
Please send proposals to Terrance McDonald (firstname.lastname@example.org) by 15 January 2022. The proposals should contain: name, affiliation, a short bio (50 words), paper title, and a 250-350-word abstract, keywords (3-5), and bibliographic references (3-5).
4. Social Media as Cinemas of Attraction
We are living in a screen saturated culture which, within the demands of the ‘attention economy’ (Goldhaber 1997), continues to turn increasingly to the moving image to hold our gaze. It is hard in these times as film and media scholars not to think of the multiplicitous histories of cinema aesthetics that inform, knowingly or not, thevisual cultures that circulate and go viral across social media platforms like YouTube, Instagram, and TikTok. The integration into Instagram’s design over the last two years of ‘Stories’ and ‘Reels’ as a means of competing with TikTok’s default format of short video vignettes (which is itself a remake of Vine) has led to a developing interest among film and media scholars on how to account for the echoes, appropriations, and remixes of earlier visual histories (Avdeef 2021, Lever, Highfield, Abadin 2020). This panel invites papers that consider the cinematic elements of social media content. This could include anything from the narrative logic of memes to viral videos and trending dance challenges. What about the formation and circulation of these newer moving image practices index prior histories of film and media production? And perhaps most importantly, to what social, cultural, and political effect?
Keywords: social media, cinema, moving image, screen cultures, media histories, aesthetics
Possible topics include but are not limited to:
- Social media as a 21st century cinema of attractions
- The avant-garde, experimental, amateur aesthetics of videos online
- The intersection of fine art and popular culture on social media platforms
- The use of cinema vocabularies and histories in social media practices
- Memes as cinematic narrative vignettes
- The reliance on films, characters, figures in pop culture remixing of digital culture
- Activist uses of film and media historical practices now
- The promise and limitations of visual representation in digital cultural spaces
- The violence of using Black, Indigneous, racialized, and queer bodies as excess in meme and gif cultures
- The racism, ableism, trans and homophobia of social media algorithms and their impact on digital visual cultural production.
Please send proposals to Shana MacDonald (email@example.com) by January 15th. Please include in your proposal your name, affiliation, and a short bio (50 words), along with a document listing a title, short abstract (250-350 words), keywords (3-5) and bibliographic references (2-5).
5. Utopies adolescentes à la télévision
L’adolescence est l’époque du « pas encore », typique des utopies et, en même temps, un moment ayant ses caractéristiques propres, très puissantes. Est-elle l’espace (télévisuel) pour repenser notre futur? Elle est un sujet de plus en plus présent dans les séries télé récentes : pensons à Euphoria, Genera+ion, Sex Education, Dear White People, We Are Who We Are, Never Have I Ever, SKAM, la permanence de la franchise Degrassi au Canada et, au Québec, Le Chalet, La vie compliquée de Léa Olivier, L’Académie... Le territoire est en pleine expansion, remodelant un genre bien connu au cinéma et à la télévision, entre nostalgie et utopie. Les séries arrivent à raconter la dimension microscopique du quotidien des ados tout en construisant une tension vers l’avenir — à la fois une manière de repousser la fin et d’y tendre — que la narration en épisodes réalise bien. De plus, l’expérience d’une série est parcourue par une puissante incertitude qui s’allie bien à l’état d’hésitation, désorientation et maladresse de l’adolescence. Pour ce qui concerne les questions représentées, la Génération Z est le lieu d’une attention plus forte envers la diversité, le féminisme, le changement climatique et devient un nouveau terrain pour un renouvellement des thématiques. S’agit-il simplement de stratégies de marché, ou d’un espace politique pour une façon de faire les choses différemment ? Qu’est-ce que le concept d’utopie queer peut mettre à jour dans le panorama contemporain des études télévisuelles et médiatiques ?
Mots-clés : télévision, séries, adolescence, queer, utopie, publics, futur
- L’adolescence et le futur de la télévision;
- L’adolescent.e des séries comme sujet politique;
- Les caractéristiques formelles des séries portant sur l’adolescence;
- Les séries adolescentes comme exemple de « télévision queer »;
- Les publics des séries qui représentent des ados;
- Le lien avec les réseaux sociaux, dans la série et dans son dispositif transmédiatique;
Des contributions portant sur ces questions (ou d’autres!) à partir de la perspective de l’esthétique télévisuelle, des études culturelles, queer, ou de production, y compris avec une approche transnationale, sont les bienvenues.
TV Teen Utopias
Adolescence is the age of the “not there yet”, typical of utopias, and, at the same time, it is a time with its specificities. Is it the (televisual) space for rethinking our future? Teenagers are more and more present in recent TV series: think of Euphoria, Genera + ion, Sex Education, Dear White People, We Are Who We Are, Never Have I Ever, SKAM, the permanence of the Degrassi franchise in Canada and, in Quebec, Le Chalet, La vie compliquée de Léa Olivier, The Academy … The territory is in full expansion, reshaping a genre well known in cinema and television, between nostalgia and utopia. TV series manage to display the microscopic dimension of the daily life of teenagers while building a tension towards the future – both a way of postponing the end and reaching for it – that serial storytelling achieves well. In addition, the experience of a series is riddled with a powerful uncertainty that combines well with the hesitation, disorientation and awkwardness, also typical of adolescence. Regarding the issues represented, Generation Z is the place of greater attention to diversity, feminism, climate change and becomes a new ground for a renewal of themes. Are these just market strategies, or is it the political space for a way to do things differently? What can the concept of queer utopia bring to light in the contemporary television and media studies panorama?
Keywords: television, series, adolescence, queer, utopia, audiences, future
- Adolescence and the future of television;
- The adolescent series as a political subject;
- The formal characteristics of the series dealing with adolescence;
- Teenage series as an example of “queer television”;
- Audiences of series that represent teenagers;
- The link with social networks, in the series and in its transmedia system;
Contributions addressing these issues (or others!) From the perspective of television aesthetics, cultural, queer, or production studies, including a transnational approach, are welcome.
Please send proposals to Marta Boni (firstname.lastname@example.org) by January 15th. Please include in your proposal your name, affiliation, and a short bio (50 words), along with a document listing a title, short abstract (250-350 words), keywords (3-5) and bibliographic references (2-5).
6. Passages, Transitions, and Transformations: Imagining Intersectional Feminist Media and Film Futures
Feminist film and media studies have made important interventions into heteronormative histories by indexing the space(s), place(s), and labour of women and nonbinary people within film and media in ways that interrogate the seemingly objective neutrality of their canons. At the same time, some of the most popular forms of feminism, in both the past and present, have focused on a white feminine figure that obscures other social inequities (Banet Weiser 2018; Daniels 2016) and does not challenge existing social relations (Gill 2017). Popular signifers of white feminism overlook the significant and long-standing contributions of Black, Indigenous, and racialized feminist and queer activists that have radically disrupted dominant forms of representation and cultural work. Notably, these kinds of (in)visibility within and across the screens of social media platforms, media, and films are at the fore of contemporary feminsit media scholarship. Reflecting on these histories and on-going tensions, this panel invites submissions that broadly seek to identify, explore, interrogate, and/or imagine intersectional feminist (Collins 1990, 2017, 2019; Crenshaw 1989, 1991) film and media scholarship, methods, practices, and tools from both the past and present that may be adapted and extended upon as we look to develop more equitable and sustainable futures in our scholarly, activist, and creative practices.
Keywords: Intersectional feminism; feminist media studies; feminist film studies; digital activism; methodology; practice
Possible topics include but are not limited to:
- Creative explorations and analyses on the continuities, contradictions, and comparisons between (the passing of) time, space, and place and their impacts on feminist activist media and film;
- Queer and feminist media and film and postcolonial, Indigenous, and Afrofuturist theories, methodologies, case studies, praxes, and applications;
- Critical analyses of the feminist, queer, racialized, and decolonial politics and uses of technologies;
- Archival, aesthetic, thematic, creative, and critical analyses of feminist, queer, postcolonial, and anti-racist film and media;
- Analyses, case studies, and theorizations of how feminists create, use, and circulate digital artifacts that contribute to the formation of their own communities and digital assemblies;
- Articulations and analyses of feminist, queer, decolonial, postcolonial, and anti-racist digital stories and artifacts and the circulation of these stories and artifacts among a variety of digital platforms, media, and spheres of power;
- Explorations of feminist, queer, postcolonial, decolonial, and anti-racist media protest and resistance and the ways that they foster collective action and coalitional affinities.
Please send proposals to Brianna Wiens (email@example.com) by January 15th. In your proposal, please include your name, a short bio (50 words), submission title, a short abstract (250-350 words), keywords (3-5) and bibliographic references (2-5).
7. Living Archives and Counter-Archives in Film, Video, and Media Arts in Canada
Archives are generally associated with things that are dead and static but digital media are impacting the very meaning and location of archives along with the production of more dynamic and diverse histories. Since the archival turn in the early 1990s (generally attributed to the rise of the internet and the expansion of local area networks globally), artists and digital humanists, often working in collaboration with archivists, have been at the forefront of developing new ways to animate and create archives both public and private. Artists are using film and media archives to disrupt traditional forms of history, collection, and national narrative. New approaches to celluloid, video, and digital media are process oriented, participatory, and performative. Archives used in this way foster new living ecologies of entanglement that are generating more complex epistemological models of memory and place.
Archive/Counter-Archive: Activating Canada’s Audiovisual Heritage is a SSHRC Partnership Grant research-creation project dedicated to activating and remediating audiovisual archives created by Indigenous Peoples (First Nations, Métis, Inuit), the Black community and People of Colour, women, LGBT2Q+ and immigrant communities. Political, resistant, and community-based, counter-archives disrupt conventional narratives and enrich our histories. For the purposes of this project, we have defined counter-archives as political, ingenious, resistant, and community-based. They are embodied differently and have explicit intention to historicize differently, to disrupt conventional national narratives, and to write difference into public accounts. They seek to counter the hegemony of traditional archival institutions that have normally neglected or marginalized women, Indigenous, Inuit and Métis Peoples, the LGBT2Q+ community, and immigrant communities. This panel invites presentations on research and research-creation related to the themes and approaches of Archive/Counter-Archive.
Keywords: archives and counter-archives; archival film, video, and media; community media; media by women, Indigenous, Inuit and Métis Peoples, the LGBT2Q+ community, and immigrant communities.
Please send proposals to Antoine Damiens (firstname.lastname@example.org) by January 15th. In your proposal, please include your name, a short bio (50 words), submission title, a short abstract (250-350 words), keywords (3-5) and bibliographic references (2-5).
8. Experiments in Independent Film & Media in Canada
Abstract: The current vibrancy of the independent film and media arts sector in Canada and globally is evident. This panel seeks presentations on experimental and independent film, video, and media production, distribution, and exhibition in Canada. Experimental film, video art, and digital media enjoy a rich tradition of scholarship and criticism. This panel also seeks papers on films and media at the margins of these forms: how has experimentation taken place in independent narrative, documentary, industrial, and community media? Co-ops and other artist-run centres operate at the grassroots level to provide access to film and media production, distribution, and exhibition for local communities, including minoritized groups who started separate organizations when excluded from government, industry, and existing independent film and media sectors. Less subject to commercial pressures, the independent sector facilitated a greater degree of formal and cultural innovation and experimentation, enabling new ways of working, including forms of non-hierarchal organization. The independent sector sought to leverage collective power to access resources, and also may teach us about how discourses of gender, sexuality, race, Indigeneity, and ability operate in relation to larger institutions in government (including arts councils), industry, academia, the art world, and archives. How have production histories, distribution ventures, and exhibition sites performed experimental gestures against social and aesthetic convention? The panel is also open to considerations of alternative forms of criticism, innovative archival histories, and contemporary gallery and museum installations and performance. We invite panelists to incorporate an anti-racist approach and an equity, diversity, and inclusion (EDI) lens to expand Canadian film and media arts history to make it more inclusive of the diversity of – and within – the grassroots cultural communities that engaged in independent experimentation across multiple media forms.
Keywords: experimental film & media; independent film & media; BIPOC voices in film & media history in Canada; community media; film & media cooperatives
Please send proposals to Michael Zryd (email@example.com) by January 15th. In your proposal, please include your name, a short bio (50 words), submission title, a short abstract (250-350 words), keywords (3-5) and bibliographic references (2-5).
Call for Papers: A Teaching Companion to Silent Cinema
Edited by Liz Clarke and Martin Johnson
Due by Dec. 15, 2021
Film studies programs big and small have a common course: film history. While programs divide film history courses in different ways—some by time period, others by geography—they all address, if only for a few weeks, silent cinema. These courses are rarely taught by researchers of silent film, and a reliance on textbooks and allusions to the best known silent films mischaracterize the period. In A Teaching Companion to Silent Cinema, we hope to challenge these narratives of the first decades of cinema through rich, engaging short essays on films that expand our sense of the very possibilities of the medium. This collection will take what silent film researchers already know–that the period from film’s invention in the late 19th century to the transition to sound in the 1930s is among the diverse, dynamic, and complex–and make films that more fully represent this period accessible to teachers and students of film history.
Canonical histories of silent cinema have, with few exceptions, focused on films made by white men in the United States and Europe. Filmmakers such as D.W. Griffith, Charlie Chaplin, and Sergei Eisenstein are lionized, while women, people of color, and filmmakers from small nations are ignored. Historical epics and slapstick comedies are celebrated, while a multitude of other genres and modes of filmmaking are skipped entirely. Although scholars, archivists, and critics are actively seeking to correct these oversights in their research, writing, and programming, the most widely used textbooks in the field continue to emphasize this older narrative. When students and teachers seek out diverse films, they often have trouble finding material to contextualize what they’re seeing, particularly short essays focused on individual films.
With this call, we are seeking essays (3,500 to 5,000 words) on feature films, and notes (1,000 to 1,500 words) on short films that represent the diversity of silent film cultures. These scholarly essays will provide context to the film, information about the filmmakers, background information, and a concise analysis of the film. These texts can be used to complement commonly used film history textbooks or in conjunction with theoretical essays. A few guidelines:
- One proposal per submitter. We want this collection to reflect the diversity of scholarship in the field as well.
- Proposed films should be readily available to instructors, through DVD, BluRay, digital repositories, or other sources.
- Ideally, your proposal should discuss a film that you have successfully screened to undergraduates. We are seeking to introduce students to films that will excite and engage them.
- We are seeking essays that challenge our sense of the film canon, while remaining accessible. While we welcome all proposals, here is a non-exhaustive list of some of the films we would like to include:
- Mario Roncoroni, Filibus (1915), Italy
- Enrique Rosas, The Grey Automobile (1919), Mexico
- Francis Ford, The Craving (1918), USA
- Frances Marion, The Love Light (1922), USA
- Oscar Micheaux, The Symbol of the Unconquered (1920), USA Jean Epstein, Coueur Fidèle (1923), France
- Robert Wiene, The Hands of Orlac (1924), Austria
- Lotte Reiniger, The Adventures of Prince Achmed (1926), Germany Dorothy Davenport, Linda (1929), USA
- Teinosuke Kinugasa, A Page of Madness (1926), Japan
- Wu Yonggang, The Goddess (1934), China
- Mário Peixoto, Limite (1930), Brazil
- Norbert A. Myles, The Daughter of Dawn (1920), USA Holger-Madsen, Trip to Mars (1918), Denmark
- Marion E. Wong’s The Curse of Quon Gwon (c. 1916-17), USA Cleo Madison, Eleanor’s Catch (1916), USA
- Yevgeni Bauer, The Dying Swan (1917), Russia
- E.A. Dupont, Piccadilly (1929), UK
proposals, a 50-word bio, and access information for the feature-length or
Job Posting: Postdoctoral Fellow
Area of Research: Black Feminist Thought
The Department of Gender Studies at Queen’s University seeks a postdoctoral fellow specializing in Black Feminist Thought. The postdoctoral fellow will be an emerging scholar with expertise in any area(s) of black feminist thought (such as but not limited to black and black diaspora feminism, African feminism, Caribbean feminism, black feminist and queer studies, black trans studies, black feminist geographies, black feminist cultural production [music, poetry, fiction, visual arts], black feminist activism and organizing). In addition to supporting a wider research program on black creative methodologies, as faculty member in the Department of Gender Studies, the candidate will also support the new Program in Black Studies through teaching and service. Scholar-activists and scholar-creatives are encouraged to apply.
Applicants must have a PhD in hand by June 15, 2022.
- An updated curriculum vitae
- One scholarly paper and/or excerpts from a creative portfolio
- A statement (1,500 words or less) describing the proposed research project
- Two confidential letters of reference (sent directly to us before the deadline)
- Graduate Transcript(s)
In addition, the impact of certain circumstances that may legitimately affect a nominee’s record of research and creative achievement will be given careful consideration when assessing the nominee’s research productivity. Candidates are encouraged to provide any relevant information about their experience and/or career interruptions.
Please send all materials to Taylor Cenac: firstname.lastname@example.org
Closing Date: February 1, 2022
Supervisor: Katherine McKittrick
Expected start date: July 1, 2022
Term: One year
About Queen’s University
Post-doctoral fellows are represented under the collective agreement between PSAC 901, Unit 2 and Queen’s University. Post-doctoral fellows are eligible for pregnancy and/or parental leave as defined in the Employment Standards Act. Additionally, employees may be eligible for some reimbursement of Eligible Childcare Expenses incurred under the Childcare Benefit Plan. For more information on postdoctoral benefits, see PSAC 901, Unit 2 Collective Agreement.
Additional information about Queen’s University can be found on the Faculty Recruitment and Support website. The University is situated on the traditional territories of the Haudenosaunee and Anishinaabe, in historic Kingston on the shores of Lake Ontario. Kingston’s residents enjoy an outstanding quality of life with a wide range of cultural, recreational, and creative opportunities. Visit Inclusive Queen’s for information on equity, diversity, and inclusion resources and initiatives.
The University invites applications from all qualified individuals. Queen’s is strongly committed to employment equity, diversity, and inclusion in the workplace and encourages applications from Black, racialized/visible minority and Indigenous/Aboriginal people, women, persons with disabilities, and 2SLGBTQ+ persons.
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.
The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that accounts for an applicant’s accessibility needs. Candidates requiring accommodation during the recruitment process are asked to contact: email@example.com.
Accepting applications for an MA and PhD in
Screen Cultures and Curatorial Studies
Application deadline: January 31, 2022
Launched in the Fall of 2019, Screen Cultures and Curatorial Studies is a collaboration between the Department of Film and Media and Agnes Etherington Art Centre and offers a unique opportunity for a funded one-year MA and a four-year PhD. The program’s three strongly interconnected areas of focus—studies, production, and curation —are designed to stimulate inventive dialogue in ways that ensure their respective influence, and in ways that open exciting points of access to multiple disciplinary formations. This collaborative tripartite structure is not offered in any other film, media, cinema, art or communication MA or PhD program in Ontario.
Housed in the state-of-the-art Isabel Bader Centre for the Performing Arts and the Agnes Etherington Art Centre, the MA and PhD in Screen Cultures and Curatorial Studies are unique because of their linkage to adjacent disciplines: film and media studies and, more generally, the study of screen cultures, critical theory, film and media production, and curatorial studies and practice. These multidisciplinary programs provide students with a wide range of educational and professional opportunities, including academia, arts management, programming, media production (from mainstream media to artistic and activist production), and curating.
Faculty members in the program straddle scholarly, programming, curation, archiving, and creative practices. A rich program of visiting scholars, filmmakers, artists, and curators — in the core professional development and elective courses — provide opportunities for practice-based learning, allowing students to integrate new knowledge gained from other graduate-level coursework and to implement newly acquired skills in and beyond the gallery, festival and museum. A focused yearly Summer Institute brings together renowned scholars and practitioners, as well as Graduate students from other universities for intensive and focused study program.
Exhibition is available to students at the Art & Media Lab in The Isabel Bader Centre, the Agnes Etherington Art Centre, the Union Gallery (on an application basis), and/or online, to accommodate curatorial projects. The Vulnerable Media Lab offers opportunities for restoration, remediation and curation of media collections. The program offers seed funding for MA and PhD screen cultures curatorial projects (up to $350.00 per student). PhD students can also apply to the Dean’s project fund for up to $3000.
- Film, Media and Screen Cultures
- Experimental Media
- Curatorial Studies
- Moving Image Production (Narrative, Documentary, Experimental, Animation, Open Media, Digital Media)
- Film, Media and Performance Studies
- Historical and Contemporary Film and Media
- Archives, Curation, and Remediation
- National and Transnational Cinemas, Cultural Institutions and Curatorial Events
- Feminist, Critical Race, Indigenous and LGBTQ2+ Screen Cultures
- Environmental Film and Media
To learn more, please visit our website.
To start an application, go to School of Graduate Studies website.
Call for Applications: Graduate Degrees in Film/Cinema & Media Studies at York University
- MA in Cinema and Media Studies
- PhD in Cinema and Media Studies
- MFA in Film Production or Screenwriting
- Joint MA-MBA or MFA-MBA with the Schulich School of Business.
Domestic applicants who apply by January 15, 2022 will be given first consideration. Applicants will be contacted by late February – early March 2022. Late applications may be considered.
Since our inception in 1980 as Canada’s first Graduate Program in Film, our community of award-winning faculty, supportive staff, outstanding students, and successful alums has stimulated comprehensive, interdisciplinary, and rigorous engagement with the moving image in all its forms, both historical and contemporary.
Building on York’s longstanding commitment to deliver innovative and accessible post-graduate training and rooted in the centre of English Canadian film and media culture and production, the Graduate Program in Film/Cinema & Media Studies offers a curriculum that encourages dynamic and collaborative interactions between creative artists and scholarly researchers.
In our two-year MA and MFA programs, flexible, interdisciplinary, student-centred curriculum allows students the freedom to fulfill their unique academic, creative and professional aspirations with ample time to benefit from York University’s rich tradition of being at the vanguard of interdisciplinary research, media creation, knowledge mobilization, and dedication to social justice, diversity, equity, and sustainability.
Canada’s most respected graduate MFA in Film Production and Screenwriting leads students to confront the challenges posed by the fast-changing worlds of digital cinema and transmedia platforms. The MA in Cinema & Media Studies emphasizes the critical study of a broad range of film and media in a small cohort of highly motivated students. Each student creates an individually tailored program from our dynamic range of courses, and from our diverse workshops, partnerships, internships, and research labs. Together students engage evolving theories and practices of global and local cinema and media, including new directions in post-colonial, feminist, queer, Indigenous, and underground expression, and media forms like film, television, games, and expanded cinema like augmented and virtual reality. Expertly guided by chosen faculty, the MFA program culminates in the creation of an original Thesis project, while the MA program has a Major Research Paper or Research-Creations Project as its capstone.
Domestic Master’s students receive base funding of $10,000/year + York’s $1000 FGS Healthcare Bursary. With York University’s emphasis on access in higher education, our graduate students pay the lowest graduate tuition in Ontario. Admission scholarships and awards are also available. In recent years, over 50% of MA & MFA students have received additional funding through awards like CGS-M ($17,500/year) and OGS ($15,000/year), usually in their second year, in part due to the Program’s emphasis on strong professional development, including grant writing. MFA students are provided with in-kind equipment/services grants from a wide range of Toronto co-ops, equipment houses and post-production facilities, and production grants from donors.
Teaching, publication, and professional academic development are key components of the PhD, which provides guaranteed funding for five years. In addition to generous York professional development funds, our students receive national, provincial and university-wide scholarships and awards. Current PhD students include Vanier, Elia, Trillium scholars, and numerous SSHRC and OGS doctoral awards.
Outstanding faculty are leaders in their fields and have won numerous teaching awards; three faculty members are current or former Canada Research Chairs and all of our faculty participate actively in international and Canadian festivals, conferences, and publish widely. Many of our faculty pursue interdisciplinary research methodologies, including research creation, an option in the PhD program.
Our students, faculty, and large alumni network are part of Toronto’s lively and diverse film and media culture and its many opportunities for festival programming, curation, symposia, and lectures. The City of Toronto, housing Canada’s most important media industry infrastructure, provides students with exceptional opportunities for field placements, access to film screenings, museums and galleries, festivals (over 100 film festivals occur each year, including the Toronto International Film Festival, Hot Docs, Reel Asian, and Images Festival, and resources like the Liaison of Independent Filmmakers (LIFT), the Ontario Archives (housed on York University campus), TIFF’s Film Reference Library, and other unique research collections.
In the MA & PhD programs, we welcome applicants with educational backgrounds in Cinema/Film Studies, Media Studies, Communications, Cultural Studies, Digital Media, Art History, English, Women’s Studies, Queer and Sexuality Studies, History, Comparative Literature, Philosophy, Education, Urban Studies, and other disciplines that nurture research in sound and moving image media. The MFA film production and screenwriting program is catered mainly towards mid-career filmmakers with a track record in producing media.
For students preparing for a future in the media industries, we also offer a 3-year joint MA/MBA or MFA/MBA degree with the world-renowned Schulich School of Business. Most students undertaking the joint degrees take their first year in the Graduate Program in Film/Cinema & Media Studies, and start the MBA portion in their second year.
Each year the program selects a small group of exceptional students to join its vigorous and stimulating intellectual community, where students attend small and engaging seminars and receive close attention from faculty supervisors. Our degree programs provide specialized training for careers in academic, research, and government organizations and arts and entertainment industries (television, film, new media, including festivals), and in jobs in producing, programming and curation, teaching, critical writing and publishing, publicity, among others.
Students interested in the MA or PhD programs are encouraged to contact Prof. Michael Zryd, PhD Graduate Program Director, firstname.lastname@example.org.
Students interested in the MFA program are encouraged to contact Prof. Manfred Becker, Graduate Program Director, email@example.com.
For questions related to the application process please contact Kuowei Lee, Graduate Program Assistant, firstname.lastname@example.org.
APPLICATION DEADLINE: JANUARY 15, 2022
Graduate Program in Film/Cinema & Media Studies
Department of Cinema and Media Arts
School of the Arts, Media, Performance and Design
Centre for Film and Theatre 224
4700 Keele St.
Toronto, ON M3J 1P3 CANADA
Tel: 416-736-2100 x 22174
Version française ci-bas
CALL FOR PAPER PROPOSALS FOR FSAC 2022
The Annual Conference of the Film Studies Association of Canada
Held in conjunction with the Congress of the Humanities and Social 2022
Congress Theme: Transitions
Association Theme: Screen Futurities
Martin Walsh Memorial Lecture: TBA
Sylvia D. Hamilton Dialogues: TBA
2022 Gerald Pratley Award: Ylenia Olibet, Concordia University
“Minor Transnationalism in Quebec’s Women Cinema: Diasporic Filmmaking Practices.”
Proposal Submission Deadline: January 31, 2022
Submit proposals by email to: email@example.com
The Film Studies Association of Canada acknowledges that members of the association predominantly live and work in locations across Turtle Island. The association recognizes and respects the histories, languages, and cultures of First Nations, Métis, and Inuit across Turtle Island. This acknowledgment is part of the association’s desire to centre shared conversations around how scholarly practices can act as a part of reconciliation and use these conversations as a guiding principle of our association’s work.
FSAC wishes to explicitly encourage participation in the association of scholars and makers most impacted by structural racism, colonialism, misogyny, ableism, trans- and homophobia, including those considering joining for the first time or those who are returning and are looking for a supportive intellectual and creative community base. As FSAC continues to try and make meaningful structural change, it welcomes input and participation at every level of the association from being a member, conference presenter or panel chair, to taking on leadership roles within the executive and in working groups.
FSAC is now seeking proposals for the 2022 virtual conference hosted in conjunction with Congress. The Conference Committee is committed to ensuring the programming of anti-racist and anti-colonial approaches to research, scholarship, pedagogy, archiving, and other institutional practices related to the study of film and media. Proposals on these topics are especially welcome.
In an elaboration of the Congress theme ‘Transitions,’ the FSAC 2022 theme Screen Futurities welcomes scholarly presentations that consider the possible and preferred futures we hold for our film and media landscapes. The conference seeks papers that take up the concept of futurities broadly as it applies to any screen media. The concept of futurity invites reflections on temporality and a recognition of many key sites of struggle or indeterminacy in the present. We invite projects on film, media, and social and visual movements that centre futurity in theory and practice as a way to engage our media of study as they transform and shift within the digital era.
Temporalities including futurity are crucial to our collective witnessing of necessary shifts and reckonings within our political and institutional spheres. They help orient our scholarship towards acknowledging and actively undoing the ongoing violence and harms perpetrated against racialized, gendered, and other marginalized communities. To this end, the theme encourages scholarly work on the overlaps between film, media, and social and visual movements that centre futurity in both theory and practice including Afrofuturism, Indigenous futurism, queer, trans, and feminist futurisms, and eco-futurisms.
Proposals submitted to the conference committee may take up topics related to the conference theme or on any other film or media studies topic.
The FSAC 2022 conference will occur in a virtual format as a synchronous online gathering of paper presentations, panels, workshops, roundtables, and screenings through the Congress video conferencing platform.
Please note that proposals will only be considered from applications who are paid-up members of the association. Black, Indigenous, and racialized members of the association can renew their membership at no cost.
Memberships may be obtained/renewed here: https://www.filmstudies.ca/membership
The conference committee welcomes proposals for:
- Individual presentations
- Pre-Constituted panels
- Workshops or roundtables
- Screenings, exhibitions or other virtual events
Options for participation and submission instructions:
- Pre-Constituted Panels: For the 2022 Conference, we strongly encourage the construction of pre-constituted panels to ensure a greater coherence and dialogue across those with aligned scholarly interests. Please submit a call for your pre-constituted panel to the Conference email by December 15 for the Conference Committee to circulate to the larger membership on your behalf. This call should include a working title, 250-350-word outline of the thematic focus, list of keywords, bullet-point list of possible topics included under the panel theme, and contact information for panel chair.We will circulate the cluster of panel calls for participation to the membership on your behalf by December 17, 2021 and will set a deadline for submission to panel chairs by January 15, 2022 in order to ensure that anyone not accepted at the time can revise their submission for the individual paper deadline of January 31, 2022. Please submit your final curated pre-constituted panel to the Conference Committee by January 31, 2022.
Pre-constituted panels should be submitted by the proposed panel chair and include:
- A Cover email including panel chair’s name, position, institutional affiliation, and email address
- Title of the proposed panel
- 250-350-word abstract outlining the panel focus
- Keywords (3-5)
- Title of papers and brief abstracts (150 words) included
- Individual Paper Proposal format:
- In an email include applicant name, affiliations, short bio (50 words), and paper title
- Attach a 250–350-word abstract (with title)
- Keywords (3-5) and bibliographic references (2-5)
- **Individual paper abstracts will be blind-reviewed; please do not include name or affiliation in the attachment
- Workshop and Roundtable proposals should include the following information:
- Chair’s name, position, institutional affiliation, and email address
- Title of workshop or roundtable
- 250–350-word abstract describing theme/focus being considered and format it will take
- Keywords (3-5)
- List of participants including name, position, institutional affiliation, and email
- Screen-based events:
- Artist(s)’ name(s), position, institutional affiliation and email address
- Title of film, media, event as appropriate
- 250-350-word abstract describing theme/focus of event and/or synopsis of film or media to be presented and the medium and presentation format it will take.
- Keywords (3-5)
- Any special technology requests or requirements
Please submit paper, workshop, roundtable, and screen-based event proposals to the Conference Committee by January 31, 2022
- Presentations may be either in English or French.
- Organizers and convenors of workshops and roundtables seeking broad inclusion from FSAC members and should feel free to use the FSAC listserv to solicit interest.
- You can participate in a maximum of two presentations, neither of which can be the same kind (i.e., you may propose a paper and a workshop proposal but not two of either kind regardless of whether they are single or co-authored).
- Individual presentations are no longer than 15 minutes (clips included). Length of workshops, roundtable presentations, and screen-based events may vary depending on the session for a preferred maximum of 2-2.5 hrs.
- All proposals will be adjudicated by the Conference Committee.
- All papers presented at the FSAC conference must be original works. Proposals for previously presented papers will not be accepted.
- Following last year’s conference’s successful Book Launch and closing party, we will make more casual breakout rooms available throughout the conference for increased social engagements.
Graduate Student Funding
- Partial financial compensation for student members is normally dedicated to travel expenses. Given that this conference is virtual, you may apply for this year only to reduce your conference fees instead. More details and the application form will be posted in January at https://www.filmstudies.ca/category/grad-students
- The FSAC Conference Committee will work closely with the membership to ensure we support your needs running presentations and will provide a ‘how-to’ FAQ sheet in the spring in anticipation of the conference.
Conference Program Chair: Shana MacDonald (President, FSAC)
Department of Communication Arts, University of Waterloo
APPEL À COMMUNICATIONS POUR LE CONGRÈS DE L’ACÉC 2022
Colloque annuel de l’Association Canadienne d’Études Cinématographiques
Tenu dans le cadre du Congrès des sciences humaines
Thème du congrès : Transitions
Thème de l’association : Futurités écraniques
Conférence commémorative Martin Walsh : (annonce à venir)
Dialogues Sylvia D. Hamilton Dialogues : (annonce à venir)
Conférence liée au prix Gerald Pratley 2021 : Ylenia Olibet, Concordia University
“Minor Transnationalism in Quebec’s Women Cinema: Diasporic Filmmaking Practices.”
Date de tombée pour les propositions : 31 janvier 2022
Envoyez vos propositions à : firstname.lastname@example.org
L’Association Canadienne d’Études Cinématographiques reconnaît que les membres de l’association vivent et travaillent principalement dans des endroits situés à travers l’Île de la Tortue. L’association reconnaît et respecte l’histoire, les langues et les cultures des Premières Nations, des Métis et des Inuits de l’Île de la Tortue. Cette reconnaissance s’inscrit dans l’objectif de l’association de mettre de l’avant des conversations communes sur la façon dont les pratiques savantes peuvent contribuer aux efforts de réconciliation et d’utiliser ces conversations comme principe directeur du travail de notre association.
L’ACÉC souhaite encourager explicitement la participation à l’association des pens·eur·euse·s et créateu·r·ice·s les plus touché·e·s par le racisme systémique, le colonialisme, la misogynie, le capacitisme, la trans- et l’homophobie, y compris ceux qui envisagent de se joindre à nous pour la première fois ou qui y reviennent et recherchent une communauté de soutien intellectuelle et créative. Alors que l’ACÉC continue d’essayer d’apporter des changements systémiques importants, elle accueille favorablement les commentaires et la participation à tous les niveaux de l’association, qu’il s’agisse d’être membre, présentat·eur·rice de conférence ou président·e de groupe d’expert·e·s, d’assumer des rôles de leadership au sein de l’exécutif et des groupes de travail.
L’ACÉC est présentement à la recherche de propositions pour la conférence virtuelle 2022 organisée conjointement avec le Congrès. Le Comité de conférence s’engage à assurer la programmation d’approches antiracistes et anticoloniales de la recherche, de la pédagogie, de l’archivage et d’autres pratiques institutionnelles liées à l’étude du cinéma et des médias. Les propositions sur ces sujets sont particulièrement les bienvenues.
Dans une élaboration du thème du Congrès « Transitions », le thème de l’ACÉC 2022 Futurités écraniques accueille des présentations qui considèrent les futurs possibles et préférés que nous tenons pour nos paysages cinématographiques et médiatiques. La conférence est à la recherche de présentations qui examinent le concept de « futurité » au sens large, tel qu’il s’applique à tous les médias écraniques. Le concept de futurité invite à la réflexion sur la temporalité et à la reconnaissance de nombreux sites clés de lutte ou d’indétermination dans le présent. Nous invitons des projets sur le cinéma, les médias et les mouvements sociaux et visuels qui centrent le concept de futurité dans la théorie et la pratique comme un moyen d’engager notre média d’étude alors qu’ils se transforment et se déplacent dans l’ère numérique.
Les temporalités, y compris la futurité, sont cruciales pour notre témoignage collectif des changements nécessaires et des comptes à rendre dans nos sphères politiques et institutionnelles. Elles aident à orienter notre recherche vers la reconnaissance et la déconstruction active de la violence et des préjudices encore perpétrés contre les communautés racisées, genrées et autres communautés marginalisées. À cette fin, le thème encourage les projets portant sur les chevauchements entre le cinéma, les médias et les mouvements sociaux et visuels qui recentrent la futurité dans la théorie et la pratique, y compris l’afrofuturisme, les futurismes autochtones, les futurismes queer, trans et féministes, et les éco-futurismes.
Les propositions soumises au comité de la conférence peuvent reprendre des sujets liés au thème de la conférence ou porter sur tout autre sujet d’études cinématographiques ou médiatiques.
La conférence 2022 de l’ACÉC se tiendra dans un format virtuel sous la forme d’un rassemblement synchrone en ligne de présentations individuelles, de panels, d’ateliers, de tables rondes et de projections via la plate-forme de vidéoconférence du Congrès.
Veuillez noter que seules les propositions soumises par des membres dont l’adhésion à l’association est en règle seront considérées. Les membres de l’association ressortant des communautés Noires, Autochtones et racisées peuvent renouveler leur adhésion sans frais.
Les adhésions peuvent être obtenues / renouvelées ici : https://www.filmstudies.ca/membership
Le comité de la conférence accueille favorablement les propositions pour :
- Présentations individuelles
- Panels préconstitués
- Ateliers ou tables rondes
- Projections, expositions ou autres événements virtuels
Options de participation et instructions de soumission :
- Panels préconstitués : Pour la Conférence 2022, nous encourageons fortement la construction de panels préconstitués pour assurer une plus grande cohérence et un dialogue entre individus partageant des intérêts de recherche. Veuillez soumettre un appel pour votre panel préconstitué à l’adresse courriel de la Conférence d’ici le 15 décembre pour que le Comité de la Conférence puisse le distribuer à l’ensemble des membres en votre nom. Cet appel devrait inclure un titre temporaire, un aperçu de 250-350 mots de l’objectif thématique du panel, une liste de mots-clés, une liste de sujets possibles sous le thème du panel et les coordonnées du/de la président·e du panel.Nous distribuerons les appels à panels préconstitués aux membres de l’association en votre nom d’ici le 17 décembre2021 et fixerons une date limite pour la soumission aux président·e·s de panel d’ici le 15 janvier 2022 afin de s’assurer que toute personne non acceptée à ce moment-là puisse réviser sa soumission pour la date butoir pour les propositions individuelles, soit le 31 janvier 2022. Veuillez soumettre votre panel préconstitué finalisé au Comité de la conférence d’ici le 31 janvier 2022.
Les panels préconstitués devraient être soumis par le/la président·e du panel proposé et inclure :
- Un courriel d’introduction comprenant le nom, le poste, l’affiliation institutionnelle et l’adresse courriel du/de la président·e du panel
- Le titre du panel
- Un résumé de 250-350 mots décrivant l’objectif du panel
- Mots-clés (3-5)
- Titre des présentations et résumés (150 mots)
2. Format de la proposition individuelle :
- Dans un courriel, incluez le nom de l’appliquant, les affiliations, une courte biographie (50 mots) et le titre de la présentation
- Joindre un résumé de 250 à 350 mots (avec titre)
- Mots-clés (3-5) et références bibliographiques (2-5)
- **Les propositions individuelles seront évaluées à l’aveugle; veuillez ne pas inclure le nom ou l’affiliation dans la pièce jointe
3. Les propositions d’ateliers et de tables rondes devraient comprendre les renseignements suivants :
- Nom, poste, affiliation institutionnelle et adresse courriel du/de la président·e
- Titre de l’atelier ou de la table ronde
- Résumé de 250 à 350 mots décrivant le thème / l’orientation envisagée et le format prévu
- Mots-clés (3-5)
- Liste des participant·e·s, y compris leur nom, leur poste, leur affiliation institutionnelle et leur courriel
4. Événements spéciaux :
- Nom(s), poste, affiliation institutionnelle et adresse électronique de l’artiste(s)
- Titre du film, des médias, de l’événement, le cas échéant
- Résumé de 250-350 mots décrivant le thème / la visée de l’événement et / ou le synopsis du film ou des médias à présenter, de même que le support et le format de présentation qu’il prendra.
- Mots-clés (3-5)
- Toute demande ou exigence technologique spéciale
Veuillez soumettre vos propositions de présentations, de panels, d’ateliers, de tables rondes et d’événements spéciaux au Comité de la conférence d’ici le 31 janvier 2022.
Informations complémentaires :
- Les présentations peuvent être en français ou en anglais.
- Les organisat·eur·rice·s d’ateliers et de tables rondes ne devraient pas hésiter à utiliser la liste d’envoi de l’ACÉC afin de solliciter des gens dans l’ensemble de l’association.
- Vous pouvez participer à un maximum de deux activités, dont aucune ne peut être du même genre (c.-à-d. que vous pouvez proposer une proposition et un panel, mais pas deux de l’un ou l’autre type, qu’ils soient uniques ou co-écrits).
- Les présentations individuelles devraient durer un maximum de 15 minutes (clips inclus). La durée des ateliers, des présentations de tables rondes et des événements spéciaux peut varier selon la session, jusqu’à un maximum de 2-2,5 heures idéalement.
- Toutes les propositions seront jugées par le Comité de la conférence.
- Toutes les présentations à la conférence ACÉC doivent être originales. Les propositions présentées précédemment ne seront pas acceptées.
- Pour donner suite au succès de la soirée de clôture et de lancement de livre de l’an dernier, nous rendrons disponibles plus de salles de réunion décontractées tout au long de la conférence pour favoriser les rencontres sociales.
Financement des étudiant·e·s des cycles supérieurs :
- Une compensation financière partielle pour les membres étudiants est normalement consacrée aux frais de déplacement. Étant donné que cette conférence est virtuelle, vous pouvez postuler pour cette année uniquement pour réduire vos frais de conférence à la place. Plus de détails et le formulaire de demande seront affichés en janvier à https://www.filmstudies.ca/category/grad-students
Besoins audiovisuels :
- Le comité de la conférence de l’ACÉC travaillera en étroite collaboration avec les membres pour s’assurer que nous soutenons vos besoins en organisant des présentations et en fournissant un document d’instruction au printemps en prévision de la conférence.
Présidente du programme de la conférence : Shana MacDonald (Présidente, ACÉC)
Department of Communication Arts, University of Waterloo
(Version française ci-bas)
Call for Papers — Canadian Game Studies Association/L’Association Canadienne d’Études des Jeux (CGSA/ACÉJ) 2022 Annual Conference
The 2022 Canadian Game Studies Association (CGSA/ACÉJ) annual conference will be held May 31 to June 4 through a virtual format. This virtual format will build on lessons from the 2021 conference and combine pre-recorded paper and panel presentations with synchronous Q&A discussion sessions.
Even as a virtual conference, as an organization CGSA/ACÉJ is made possible by infrastructure and resources located in the unceded territories of the xʷməθkʷəy̓əm (Musqueam),Sḵwx̱wú7mesh (Squamish), and Sel̓íl̓witulh (Tsleil-Waututh) Nations, and from various institutions located across Turtle Island. As a direct beneficiary of this ongoing colonial violence, CGSA/ACÉJ affirms its commitment to support marginalized scholars and creators and proactively make space for studies of gender, race, sexuality, ability, class, and other forms of diversity in games and gaming cultures.
Building from our 2021 conference, Solidarity and Social Justice in Game Studies, and with the hope of helping transform the Federation of Humanities and Social Science’s commitments to anti-racism and decolonization into practice, this year’s conference theme is ACTION! We invite submissions that work toward an anti-racist and decolonial game studies. In this sense of ACTION! papers and panels might study racism and coloniality in games, resistance on the part of players and other actors in the game cultures, or use approaches that decenter Western epistemologies and challenge white supremacy. ACTION! also highlights a critical dimension of games and gaming: the interactive or participatory element of a player at play. Papers and panels thinking about this sense of ACTION!might examine forms, contexts, and/or sites of interaction, how players, developers, and others in gaming scenes act on games, and/or games as social action. Accepted papers and panels that address either senses of the theme ACTION! will be highlighted in special sessions throughout the conference.
We also invite submissions from researchers in any disciplines in the humanities and social sciences working on any topic related to games, digital or analog.
Graduate student submissions and submissions from scholars outside of Canada are welcome and encouraged! CGSA/ACÉJ accepts submissions in both English and French, but please note that most presentations and social events will be in English. Additionally, presenters are asked to limit their submissions to no more than 1 paper as first author and no more than 1 workshop or other event.
Black and/or Indigenous graduate students accepted to the conference will be able to register at no cost.
For help preparing abstracts, including recommendations for works cited, please refer to this guide (available in English only). Please also note that all submissions must be anonymized and should include at least 3 references.
This year we will be accepting proposals for three kinds of submissions:
Individual Paper Submissions
For individual paper submissions please submit an anonymized abstract no longer than 500 words (excluding references). We welcome presentations that take advantage of the virtual conference format.
For panel submissions please include a 250-word panel overview and 250 words (excluding references) describing each individual presentation. The panel organizer/chair should assemble all materials and submit as a single anonymized submission to EasyChair. When submitting the panel to EasyChair, the organizer/chair should be listed as corresponding author, and all other panel participants should be listed as co-authors.
CGSA/ACÉJ welcomes other types of submissions including workshops, demonstrations, fishbowls, etc, especially those that take advantage of the virtual conference format or might be uniquely possible in a virtual conference format. Please contact the CGSA/ACÉJ 2022 organizers in advance of the deadline with a brief summary of your proposed submission, anticipated equipment needs, and an estimated length of time requested.
Deadline for submission is Monday January 10th by midnight EST.
Please submit all proposals via EasyChair:
Appel à communications — Colloque 2022 de Association Canadienne d’Études des Jeux / Canadian Game Studies Association (ACÉJ/CGSA)
Le colloque annuel de l’Association canadienne d’études des jeux (ACÉJ/CGSA) se déroulera du 31 mai au 4 juin 2021, en format virtuel. Cette formule sera basée sur les leçons que nous avons apprises lors du colloque de 2021, et comprendra à la fois des communications et des panels pré-enregistrés, et des séances de question/discussion en mode synchrone.
Bien que notre colloque se déroule en format virtuel, il reste que l’ACÉJ/CGSA en tant qu’association est possible grâce aux infrastructures et aux ressources situées sur les territoires non cédés des nations xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish) et Sel̓íl̓witulh (Tsleil-Waututh), et de diverses institutions situées à travers l’île de la Tortue. En tant que bénéficiaire direct de cette violence coloniale continue, l’ACÉJ/CGSA affirme son engagement à soutenir les universitaires et les créateurs.trices marginalisés.es et à créer de façon proactive un espace pour l’études des genres, des ethnicités, des sexualités, des capacités, des classes et d’autres formes de diversité dans les jeux et leurs cultures.
Dans le même esprit que notre conférence de 2021, Solidarité et justice sociale en études des jeux, et dans l’espoir d’aider à transformer les engagements envers l’antiracisme et la décolonisation de la Fédération des sciences humaines en pratique, le thème du colloque de cette année est ACTION! Nous encourageons des soumissions qui cherchent à créer des études des jeux antiracistes et anticoloniales. En ce sens, les soumissions et panels d’ACTION! peuvent étudier le racisme et la colonialité dans les jeux, la résistance des joueur.euse.s et de d’autres acteur.rice.s au sein des cultures des jeux, ou une approche qui décentralise les épistémologies occidentales et remet en question la suprématie blanche. ACTION! met également en évidence une dimension critique du jeu et du gaming :l’élément interactif ou participatif observable dans la pratique de jeu des joueur.euse.s. Des soumissions et des panels se penchant sur le thème de l’ACTION! pourraient examiner les formes, contextes ou espaces d’interaction, la façon dont les joueur.euse.s, les développeur.euse.s et autre acteur.rice.s de la scène vidéoludique influencent les jeux, ou les jeux en tant qu’action sociale. Les papiers et les panels acceptés qui abordent l’un ou l’autre des sens du thème ACTION! seront mis de l’avant au sein de sessions plénières durant le colloque.
Nous invitons aussi les chercheurs.e.s de toutes les disciplines des sciences humaines et sociales travaillant sur les jeux vidéo ou les jeux traditionnels à soumettre une communication.
Nous encourageons les étudiants.e.s des cycles supérieurs à soumettre une proposition! L’ACÉJ/CGSA accepte des soumissions autant en anglais qu’en français, mais veuillez noter que la plupart des présentations, ainsi que les événements sociaux, seront en anglais. Qui plus est, les présentateurs.trice.s sont priés.e.s de se limiter à une seule présentation en tant que premier auteur.e et un seul atelier.
Les étudiants des cycles supérieurs noirs et/ou autochtones acceptés au colloque pourront s’inscrire sans frais.
Directive pour la soumission de propositions :
Pour de l’aide dans la préparation des résumés, incluant des recommandations pour votre liste de références, veuillez vous référer à ce guide (disponible en anglais seulement). Veuillez également noter que toutes les soumissions doivent être anonymisées et inclure au minimum 3 sources.
Cette année, nous acceptons trois types de communication :
Proposition de communication individuelle
Veuillez soumettre un résumé anonyme d’au plus 500 mots (excluant les références). Nous accueillons les présentations qui profitent du format virtuel du colloque.
Veuillez soumettre un résumé de 250 mots de l’ensemble du panel et une description de chaque présentation individuelle de 250 mots (excluant les références). L’organisateur.rice du panel doit rassembler tous les documents et les joindre en une seule proposition via Easy Chair. Lors de la soumission à Easy Chair, l’organisateur.rice doit être indiqué comme premier.ère auteur.e et les autres participant.e.s du panel comme co-auteur.e.s.
Atelier / Autres formats
L’ACÉJ accueille d’autres types de soumissions, notamment les ateliers, les tables rondes, etc., en particulier ceux qui profitent aux mieux du format virtuel de la conférence, ou qui ne pourraient être réalisés qu’en format virtuel. Veuillez contacter les organisateur.rice.s du colloque de l’ACÉJ avant la date limite en offrant un bref résumé de votre proposition, l’équipement nécessaire et une approximation du temps requis pour votre activité.
Date limite pour soumettre votre communication : 10 janvier 2022 à minuit, heure normale de l’est (HNE).
Veuillez soumettre toutes vos propositions via Easychair:
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