Film Studies Association of Canada Graduate Student Essay Prize
(La version française suit ci-dessous)
All current students are invited to submit an essay written as part of their graduate studies as application for the 2019 Film Studies Association of Canada Graduate Student Essay Prize. The recipient will be announced during the FSAC Annual General Meeting during the online annual conference that will be held June 1st through June 3rd 2021.
The selected essay will demonstrate maturity and sophistication of argument, be a clear and direct engagement with the discipline of Film Studies (broadly defined), be provocative and stimulating and have the potential for publication.
- Students must be registered in a graduate program for at least one semester in the school year prior to the deadline.
- If the paper has more than one author, all authors must be registered graduate students and members of the association.
- Papers submitted for review to a scholarly journal (even if not yet accepted) are not eligible.
- Papers are submitted by the author(s), not a supervisor or faculty advisor.
- Students must be fully paid members of FSAC at the time that they submit their paper for consideration. Previous winners may not submit entries.
- Essays resulting from research conducted under the Gerald Pratley Award may not be submitted, but Pratley winners may submit essays on other topics.
Papers are evaluated by a blind-review process.
- Do not include any identifying information of authorship or home institution in the body of the paper.
- Submit by email as MSWord attachment
- Place identifying contact information (author name(s), institution, contact information and essay title) in the body of the email.
- Attach the paper with the title at the top of the first page.
- Double-space and number your pages.
- Essays should fall between 5000 and 7500 words in length.
A committee of executive members of the association, including a graduate student representative, will select the recipient.
The president will receive and distribute the applicants but will not participate in adjudication.
Send applications to: Louis-Paul Willis (firstname.lastname@example.org)
Deadline: May 15th, 2021
The selected paper is expected to be revised and submitted for publication consideration with the Canadian Journal of Film Studies. Feedback from the journal reviewers is a major benefit of this award.
Prix de l’essai étudiant de l’Association canadienne d’études cinématographiques
Les étudiants et les étudiantes présentement inscrit(e)s dans un programme d’études supérieures sont invité(e)s à soumettre un texte critique réalisé dans le cadre de leurs études de 2e et 3e cycle pour le prix du meilleur essai critique de l’Association canadienne d’études cinématographiques. Le gagnant ou la gagnante sera annoncé(e) lors de l’assemblée générale de l’association dans le cadre de la conférence annuelle qui se déroulera en ligne, du 1er au 3 juin 2021.
Le texte primé devra démontrer une maturité et une sophistication critique, offrir clairement et directement une contribution à la discipline des études cinématographiques (au sens large), se distinguer par son originalité, se pertinence et son potentiel de publication.
- Les étudiant(e)s doivent être inscrit(e)s dans un programme de 2e ou 3e cycle depuis au moins un semestre dans l’année académique qui précède l’échéance;
- Si le texte à plus d’un auteur, tous les auteurs doivent être étudiant(e)s et membres de l’association;
- Les articles déjà soumis à des revues scientifiques (et même s’ils n’ont pas encore été acceptés) ne sont pas éligibles ;
- Les articles doivent être soumis par le candidat ou la candidate, et non par le directeur ou la directrice de recherche ou le ou la responsable de l’unité académique;
- Les étudiant(e)s doivent être membres de l’association au moment de soumettre leurs textes au comité. Les gagnant(e)s des années précédentes ne sont pas admis(es);
- Les textes découlant de recherches réalisées dans le cadre du Prix Gerald Pratley ne sont pas admis, bien que des récipiendaires du prix Pratley peuvent soumettre des textes, mais ceux-ci devront porter sur un autre sujet.
Démarche à suivre :
Les articles sont évalués à l’aveugle par un comité de pairs.
- Ne pas inclure des informations d’identification, ni le nom de votre institution dans le corps du texte;
- Le texte doit être joint à un courriel, en format MSWord;
- Le titre doit apparaître au haut de la première page du texte;
- Le texte doit être à double interligne et paginé;
- Les essais doivent compter entre 5000 et 7500 mots.
Un comité formé par des membres de l’exécutif de l’association, comprenant le représentant étudiant, sélectionnera le gagnant ou la gagnante.
Le président recevra et distribuera les candidatures mais ne participera pas au processus d’évaluation.
Envoyez vos soumissions à : Louis-Paul Willis (email@example.com)
Date limite : 15 mai 2021
Il est attendu que le texte sélectionné soit révisé et soumis pour publication à la Revue canadienne d’études cinématographiques. Les retours des évaluateurs de la revue forme un des bénéfices de ce prix.
CfP: Science and the Moving Image: Histories of Intermediality
Location: Online (Zoom)
Date: November 2nd and 3rd PM (UK time), 2021
Since the advent of film in the late nineteenth century, moving images have been integral to making and communicating science. A rich interdisciplinary literature has examined such representations of science in the cinema and on television and investigated how scientists have used moving images to conduct research and communicate knowledge. Responding to growing interest in science and the moving image, this online workshop uses the concept of ‘intermediality’ as a starting point to discuss new approaches and methodologies. Intermediality, coined by media scholars to describe the interplay between different media, magnifies their multiple meanings and heterogenous interrelations. Moving images especially invite intermedial analysis because they are often composed of interrelated visuals, speech, music, and text; film can also be cut into stills for reproduction in newspapers, advertisements, and journals. Intermedial approaches thus allow scholars to assess not only the relationship between scientific practices and media forms, but also the afterlives, circulation, and reception of these media in a richer historical context. With its attention to relations and movement between media, intermediality also expands our understanding of the visual cultures of science, including in parts of the world and among groups that are underrepresented in current scholarship. We particularly invite submissions that use intermediality to engage critically with the scope and limits of science and the moving image.
Possible themes might include:
- Processes of translation between different media, including film, television, radio, and print
- Intermedial practices and histories of specific scientific disciplines
- Moving images in science education
- Transnational and comparative approaches to scientific image-making
- Time-lapse, frame-by-frame analysis, and other analytical methods as intermedial practices
- Representations of science in multimedia entertainment industries
- The relationship between moving images of science and the history of empire and colonization
- Amateur uses of moving image media, including citizen science
- The cultural reproduction through scientific images of gender, race, and class.
Keynote speaker: Dr. Tim Boon (Head of Research and Public History, Science Museum Group)
We welcome talks from postgraduate students, early-career researchers and established scholars. We are looking for abstracts (max. 250 words) for 15-20 minute talks, which will be arranged in thematic panels. Submissions should be sent to firstname.lastname@example.org. The deadline for proposals is June 28th, 2021 and we aim to respond to proposals within four weeks.
This workshop will take place online via Zoom and is hosted by postgraduate members of the Department of History and Philosophy of Science and the Faculty of History, University of Cambridge.
Organised by: Miles Kempton, Max Long, Anin Luo
Version française ci-bas
Archive/Counter-Archive and Public Journal are pleased to announce a competition for a two-year MITACS Accelerate Post-Doctoral Fellowship position hosted by York University and Public Access Journal of interdisciplinary art.
TIMELINE: Expected to begin June 1st, 2021
LOCATION: Toronto, Ontario Canada
SUPPORT: $45,000.00, office space at York University, use of a computer, and full access to York University Library
APPLY BY FRIDAY MARCH 19, 5PM EST – full details: counterarchive.ca + see attached PDF
Candidates must have defended their dissertation by May 1st 2021. (This is a firm deadline)
The successful candidate is expected to focus on research into emerging hybrid media publication platforms that integrate print and online media in creative, engaging and critical ways. A focus on Knowledge Mobilization for Archive/Counter-Archive’s case studies, working group outputs and artist residencies will be the primary means for testing content through diverse social media platforms and interfaces. Research outcomes will directly inform the future publishing practices of Public as the journal evolves with online readership and engagement.
We invite applications from, in particular, interdisciplinary scholars who have earned a doctorate in communications, media studies, archival or information studies, digital media, or art history, and have expertise in such fields such as creative publishing, online outreach/engagement, communications, and digital media design. The position requires that the candidate has strong skills and experience in research creation, knowledge translation, community arts engagement, and familiarity with social media, video hosting and marketing platforms. An understanding of open-source web content management systems is an asset. Required soft skills include outstanding writing and communication skills, a strong collaborative working style, good time management, and adaptability.
This Post-Doc position will include opportunities to produce publications, participate in conference presentations and directly contribute to content design for Archive/Counter-Archive’s hybrid publications. It is expected that the candidate will divide their time between York University and Public, also housed at York University’s campus.
If you have any questions, please contact Aimée Mitchell at email@example.com
Archive/Contre-Archive et le collectif Public Journal sont fiers d’annoncer le concours d’une bourse postdoctorale de MITACS Accélération d’une durée de deux ans, un poste offert par l’Université York et par Public Access Journal sur les arts interdisciplinaires.
DATE: Commencement le 1er juin 2021
LIEU: Toronto, Ontario Canada
FINANCEMENT: 45 000$, un espace de bureau à l’Université York, l’utilisation d’un ordinateur et un accès complet aux bibliothèques de l’Université York
Il est prévu que le travail de recherche du ou de la candidat·e choisi·e se concentre sur les plateformes de publications médiatiques hybrides qui intègrent la publication écrite et numérique de façon créative, intéressante et critique. Une emphase sur La mobilisation du savoir sur les études de cas d’Archive/Contre-Archive et sur les résultats de leur groupe d’étude, ainsi que sur leurs artistes en résidences sera préconisée afin de mettre à l’essai du contenu sur différentes interfaces et plateformes de médias sociaux. Les résultats de recherche informeront directement Public sur les prochaines pratiques de publication à mesure que le journal évolue avec la fidélité du lectorat en ligne.
A message from the organizers:
It’s our pleasure to announce the schedule for the 23rd Annual FSAC Graduate Student Colloquium. This year’s theme is ‘Spectre.’ It will be hosted by the University of Toronto’s Cinema Studies Institute and take place between Friday, January 29th and Saturday, January 30th. Dr. David Marriott from Penn State University will deliver the keynote presentation at 6:15 pm on Friday, January 29th. The colloquium will be taking place on Zoom Webinar and all are invited. Here are the log-in details:
Zoom ID: 831 8161 4061
Zoom ID: 857 1310 6724
Please see the attached schedule for more details.
Additionally, there will be a virtual Zoom afterparty on Saturday, January 30th at 8:00pm. Log-in information will be shared during the colloquium.
We hope to see you there!
Call for applications: MA and PhD programs in Film and the Moving Image, Mel Hoppenheim School of Cinema, Concordia University, Montreal.
Deadline: February 1, 2021
The MA in Film and Moving Image Studies is a two-year program that gives students time to build a breadth of knowledge about cinema’s past and future. It also gives you a chance to consider its close relations with other media forms, from television through video and digital platforms. It provides you with a stimulating environment to examine film and the moving image as a political, social, cultural and artistic medium. Students have the opportunity to complete the program in a course-and-MA-thesis stream or in a course-only stream.
The PhD in Film and Moving Image Studies provides an ideal environment for students to deepen their understanding of cinema and other moving image media from a wide variety
of historical, cultural and theoretical perspectives. It fosters interdisciplinarity in research and teaching, while being deeply rooted in the discipline of film and media studies and the aesthetic, philosophical, social and political debates that shape it. Seminars are designed exclusively for doctoral students and cover a robust range of scholarship recognizing the value of pluralism in moving image research.
If you have any questions regarding thesis programs, you may reach out to our GPD, Marc Steinberg (Marc.Steinberg@concordia.ca film firstname.lastname@example.org).
Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters where we gratefully live, work and learn.
La version française ci-dessous
23rd Annual Film Studies Association of Canada Graduate Colloquium University of Toronto Cinema Studies Institute
Friday January 29 – Saturday January 30, 2021 (Virtual)
Call for papers: “SPECTRE”
Keynote address by Dr. David Marriott, Penn State University
The year 2020 has been shrouded by the spectre of crises, from the novel coronavirus, to ongoing racial injustice and colonial violence. The impact of this year has sent reverberations through the ways in which we gather, research, think, make and consume art, and indeed, how we survive. The spectral seems to be an apt mode for contemplating the conditions that hover over our times, and that continue to haunt the cinema and its study.
Film scholars have long tracked the ghostliness of the cinematic. For example, Katherine Groo asks us to consider the absence and decay of film and its celluloid im/materiality as a part of its ontology. In Zoological Surrealism, James Cahill attests to the power of film to reanimate the dead, while Canadian scholar Andrew Burke’s recent work looks at how contemporary Canadian film is haunted by traces of the 1970s. The onscreen body, too, persists as a phantasmagoric figure. For Maggie Hennefeld, the spectral encapsulates the transfiguring, miniaturising embodiment of early film comediennes, while Eliza Steinbock calls upon the “shimmer” to envision the illusory, astonishing visibility of both cinema and transgender embodiment. Cinema’s legacy of racial imagery also continues to haunt its image-making practices; in Black Skin, White Masks, Frantz Fanon famously wrote: “I can’t go to the movies without encountering myself. I wait for myself. Just before the film starts, I wait for myself,” a passage taken up by Kara Keeling in her article “In the Interval.” The spectre of film’s racial imaginary also cannot be separated from the continued presence of systemic anti-Black violence, a spectre that is all too real.
Finally, since Derrida conceptualized the neologism “hauntology” in his 1993 Spectres of Marx, many scholars, like those aforementioned and beyond the discipline of media studies, have engaged with spectres. Indeed, this conference also asks, in what ways are we haunted by the spectre of spectre? How is the spectral contained and rendered by filmic practices, or by film’s ontology? How does the spectral inhabit onscreen bodies and map across visions of marginalisation, terror, and violence? What is the cinema continuously haunted by, and how does this haunting rear its head?
Sample topics may include but are not limited to:
- The paranormal and ghostliness
- Systemic violence/legacies of violence
- Im/materiality, un/reality, absence/presence
- Repetition and temporality
- Memory, trauma, loss, fear, anxiety
- Legacies of film history and historic film scholarship/methods
Interested graduate students must submit a brief abstract (300 to 500 words) as a .PDF file, in English or French, by Monday, December 7th, 2020, to: email@example.com.
Submissions should include the following information:
- Your name
- Level of study
- Name of your University
- Title of your presentation
- Short bibliography
Follow the U of T Cinema Studies Graduate Student Union on Facebook, Twitter, and Instagram.
L’année 2020 a été enveloppée par le spectre de différentes crises, du coronavirus aux injustices raciales et violences coloniales. Cette année a des répercussions sur nos façons de nous rassembler, de faire de la recherche, de penser, de faire et de consommer de l’art, et bien sûr, sur nos façons de survivre. Le spectral semble être un mode adéquat pour contempler les conditions qui planent au-dessus de notre époque, et qui continuent à hanter le cinéma et son étude.
Les chercheurs en Études Cinématographiques ont depuis longtemps adressé l’aspect fantomatique du cinématographique. Par exemple, Katherine Groo nous amène à considérer l’absence et la désintégration des films ainsi que l’im/matérialité du celluloïd comme partie intégrante de leur ontologie. Dans Zoological Surrealism, James Cahill affirme le pouvoir filmique de réanimer les morts, alors que le travail récent du chercheur canadien Andrew Burke s’intéresse à la façon dont les films contemporains canadiens sont hantés par les traces des années 70. Le corps filmé persiste lui aussi en tant que figure fantasmagorique. Pour Maggie Hennefeld, le spectral encapsule la corporalité transfigurée et miniaturisée des comédiennes des films des premiers temps, alors que Eliza Steinbock abord la notion de « shimmer » pour explorer l’illusoire et stupéfiante visibilité de la corporalité à la fois cinématographique et transgenre. L’héritage d’imagerie raciale du cinéma continue également de hanter ses pratiques imageantes; on se souvient de ce passage, dans Peau Noire, Masques Blancs, où Frantz Fanon déclare : « Impossible d’aller au cinéma sans me rencontrer. Je m’attends. À l’entracte, juste avant le film, je m’attends », un passage que reprend Kara Keeling dans son article « In the interval. » Le spectre de l’imaginaire racial du cinéma ne peut également se séparer de la présence continuelle de la violence systémique anti-noire, un spectre beaucoup trop réel.
Finalement, depuis que Derrida a conceptualisé le néologisme « hantologie » dans son livre de 1993 Spectres de Marx, plusieurs chercheurs, autant ceux mentionnés qu’au- delà des études médiatiques, ont engagé la notion de spectres. Ainsi, cette conférence demande également de quelle manière nous sommes hantés par le spectre du spectre? Comment le spectral est-il contenu et rendu par l’ontologie et les pratiques filmiques? Comment est-ce que le spectral habite les corps filmés, et comment est-ce qu’il cartographie au travers des imageries de marginalisation, de terreur et de violence? De quoi le cinéma est-il constamment hanté, et quelles sont les nouvelles actualisations de cette hantise?
Les sujets peuvent inclures, mais ne sont pas limités à :
- Le paranormal et le fantomatique
- La violence systémique/l’héritage violent
- L’im/matérialité, l’ir/réalité, l’absence/la présence
- La répétition et la temporalité
- La mémoire, le traumatisme, la perte, la peur, l’anxiété
- La surface
- L’héritage de l’histoire cinématographique; l’étude et méthode historique
Les parties intéressées doivent soumettre un bref résumé (de 300 à 500 mots) en .PDF, en anglais ou en français, d’ici le 7 décembre 2020 à l’adresse courrielle suivante : firstname.lastname@example.org
Les soumissions doivent inclure les informations suivantes :
- Votre nom
- Niveau de scolarité
- Institution d’attache
- Titre de votre présentation
- Votre résumé
- Une courte bibliographie
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Accepting applications for an MA and PhD in
Screen Cultures and Curatorial Studies
Application deadline: January 31, 2021
Launched in the Fall of 2019, Screen Cultures and Curatorial Studies is a collaboration between theDepartment 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 Studiesare unique because of their linkage to adjacent disciplines: film and media studies and, more generally, the study of screen cultures, 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 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)
- Film, Media and Performance Studies
- Historical and Contemporary Film and Media
- Archives, Curation, and Remediation
- National Cinemas, Cultural Institutions and Curatorial Events
- Feminist, Critical Race, Indigenous and LGBTQ2+ Screen Cultures
- Environmental film and media
To start an application go to School of Graduate Studies
M.A. in English and Film Studies
Ph.D. in English and Film Studies
Graduates from our programs have continued on into careers as university professors, librarians, editors, marketing and communications officers, filmmakers and producers, advertising and graphic design specialists, teachers, and lawyers. Students appreciate our department’s caring, close-knit community, our efforts to integrate research and teaching, and the high level of individual attention they receive from our faculty. All students in our programs are fully-funded with a combination of TAships and scholarships. Canadian students are encouraged to apply for Ontario Graduate Scholarships and SSHRC Graduate Scholarships.
M.A. in English and Film Studies
The M.A. can be completed in an intensive 8-month program (coursework only) or 12-month program (coursework + Professional Skills Practicum). The Professional Skills option provides M.A. students with direct work experience and practical applications of their skills. Students in this option have worked for The New Quarterly journal, Laurier’s Office of Communications and Public Affairs, and the Grand River Film Festival. We also offer a Major Research Paper option that can be completed in the summer term.
M.A. Student Funding
Students with a minimum average of B+ are guaranteed a highly competitive funding package of at least $14,500 per year as well as teaching experience in our first-year introductory courses in English or Film Studies.
Our Ph.D. program provides students a unique opportunity to pursue rigorous, specialized research in either Literary Studies or Film Studies, or to take advantage of the rich intellectual and theoretical confluence between the two disciplines. We are deeply committed to the academic and professional development of our students. Students are given the opportunity to professionalize through their teaching, presentations, colloquia, research, and assistantships. Our areas of strength include Canadian literature, Asian cinema, feminist and gender theory, American cinema, Victorian literature, affect and memory studies, popular culture, and digital media. Students have access to the Tri-University Library system and an extensive film collection.
- Women and Crime in Fiction and Film
- Topics in Canadian Literature
- Dangerous Medieval Sexualities
- Mapping South Asian Canadian Literature
- Posthuman(ist) Memory in Film and Fiction
- Topics in Romantic Literature and the Victorian Novel
- Film Historiography
- Graphic Novel Adaptation Films
The Transgender Media Lab (TML) at Carleton University investigates the aesthetic, political, and cultural work of audiovisual media created by transgender, Two Spirit, nonbinary, intersex, and gender-nonconforming filmmakers and artists. As part of that investigation, the lab is building the Transgender Media Portal, a collaborative digital tool that will enable new ways of analyzing these works and their circulation while making information about them available to trans arts communities and the public.
This year we have 5 positions for new graduate students!
MA: Transgender Media Lab Fellowship (x 2!)
We are seeking two MA students to conduct original thesis research on some aspect of transgender, Two Spirit, nonbinary, intersex and/or gender-nonconforming film- and video-making in Canada or the United States and to contribute to the development of the Transgender Media Portal. Host program: Film Studies at Carleton University. For more info on this position see: https://carleton.ca/transmedialab/2020/tml-ma-fellowships/
MA: Contributor Experience Designer
We are seeking an incoming MA student to lead the user experience and interface redesign for the Transgender Media Portal and to manage volunteer contributor outreach and training. We welcome applicants who are applying to these or other degree programs: Communication, Computer Science, Digital Transformation & Innovation, Feminist & Gender Studies, or Information Studies at the University of Ottawa. For more information on this position see: https://carleton.ca/transmedialab/2020/contributor-experience-designer/
MA: Transgender Digital Privacy and Security Analyst
We are seeking an incoming MA student to design and analyze approaches to digital privacy and security for the Transgender Media Portal. Host program: Human-Computer Interaction at Carleton University. For more information on this position see: https://carleton.ca/transmedialab/2020/privacy-and-security-position/
PhD: Front End Developer & Analyst
We are seeking an incoming PhD student to lead front end development and analysis for the Transgender Media Portal. We welcome applicants who are applying to the following or other degree programs: Communication, Computer Science, Digital Transformation & Innovation, Feminist & Gender Studies, or Information Studies at the University of Ottawa, or Communication, Computer Science, Cultural Mediations, or Information Technology at Carleton University. For more information on this position see: https://carleton.ca/transmedialab/2020/developer-analyst/
These positions are run in collaboration with the Humanities Data Lab at the University of Ottawa and the Security and Privacy Interactions Research Lab at Carleton University. Questions? Feel free to reach out to TML director Laura Horak at email@example.com.
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 2021-2022 academic year. Applications received by February 1, 2021 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 or the Digital Humanities.
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. For fall 2021, we are also offering additional fellowships through our new Transgender Media Lab initiative: https://carleton.ca/transmedialab/2020/tml-ma-fellowships/.
Established in 1977, Carleton’s Film Studies is one of the oldest and most prestigious 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 especially encourage and welcome submissions from 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 firstname.lastname@example.org.
Membership Services / AdhésionClick here to join FSAC and access Membership Services.
Cliquez ici pour se joindre l'ACÉC et accéder à des services d'adhésion.
For more information about membership benefits, click here.
Pour plus d'informations sur des avantages d'adhésion, cliquez ici.