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Archive/Counter-Archive is thrilled to share the final schedule and registration information for the Global Audiovisual Archiving Conference: Building Alliances (GAVA), which will take place at the iconic TIFF Lightbox in downtown Toronto. This event promises to be an exceptional gathering of experts, enthusiasts, and innovators in the fields of media archiving and heritage.
Please direct any questions that you might have about the conference schedule or registration details to globalarchiving@gmail.com.
Conference Details:
Location: TIFF Lightbox, 350 King St W, Toronto, ON M5V 3X5
Dates: July 12-14
Website: https://counterarchive.ca/gava-2024
The Global Audiovisual Archiving Conference: Building Alliances (GAVA) is a collaborative event and outreach program co-organized by Archive/Counter-Archive, the Eye Filmmuseum, and the Toronto International Film Festival that aims to foster an international network around AV community archives from parts of the world that have historically been left out of mainstream archival discussions. GAVA will bring together archival specialists from across Canada and around the world with a wide range of expertise, experience, and engagement with media archives at an equally wide variety of scales. The discussions, presentations, screenings, video series, workshops, and tours that comprise this project will largely focus on community archives and archival projects by activists and artists. The focus on marginalized audiovisual archives is imperative and directly linked to the urgency of the current situation.
Schedule Now Available:
The full conference program is now available on our website (https://counterarchive.ca/gava-program). Please note that in addition to the three main days of the conference (July 12-14), there will also be an opening reception at Toronto Metropolitan University on the evening of July 11 and a full-day tour of several local Toronto archives on July 15 that is being coordinated by Cléo Sallis-Parchet (York University). We will be sending out more details about registering for the archival tour shortly, but in the meantime, please reach out to globalarchiving@gmail.com if you are interested in attending.
Registration Now Open:
Registration is now open for GAVA (https://counterarchive.ca/gava-register). You may register for the conference through the Toronto International Film Festival’s website via the links listed below. After clicking the links, you will be redirected to a Ticketmaster portal that will include in-person and remote registration options. In-person tickets for the full conference are priced at $100, with student/remote tickets available for $50. For those where these fees would pose a financial barrier that would prevent you from participating, we invite you to contact globalarchiving@gmail.com to apply for a fee waiver. Don’t miss this opportunity to engage with industry leaders and explore the latest in audiovisual archiving!
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International Graduate Summer Institute
In addition to the main conference, we are also very excited to announce the Archive/Counter-Archive GAVA Summer Institute GS/FILM 5700 A SICI Global Audiovisual Archiving: Building Alliances, Curating Difference (Tues-Thurs online June 25-Aug 1). The course is offered online, and organized through York University’s Graduate Program in Cinema & Media Studies/Film. It is open to graduate students from other Canadian and international universities.
For more information about this online course and if you are interested in registering for (or auditing) this course, please email zryd@yorku.ca and kmo@counterarchive.ca before June 14th with “FILM 5700 SICI enrollment” in the subject line.
FMSAC MASS
virtual colloquium, april 12-13, 2024
“Art respects the masses …” (Theodor Adorno, Aesthetic Theory)
The theme of this year’s online synchronous* FMSAC Graduate Colloquium is “MASS.” The OED offers many definitions of mass, including: “a dense aggregation of objects having the appearance of a single, continuous body”; “to form or gather into a mass; to collect, arrange, or bring together in masses”; and “a solid and distinct object occupying space.” As something as small and singular, like the mass of an atom, to something as extensive and totalizing as mass culture, “MASS” invites us to think about multitudes and singularities in, with, and through film and other media forms.
Sample topics include, but are not limited to:
• Mass media, platform studies, social media, Massive Multiplayer Gaming (MMOS)
• Frankfurt School on mass ornament, mass reproducibility, mass culture
• Representation in mass media
• Religious mass, ritual, and cult
• Weight, size, volume, scale, and density
• Mass extinction, plagues, pandemic media, and Anthropocene
• Amass, collection, accumulation, and critical mass
• Mass production, capitalism, globalization, logistics, and infrastructure
• STS, mass effect, mass spectrometry, visuality and perception of mass(es), and computational mass
• Feminist, decolonial, LGBTQIA+ studies, BIPOC studies, and accessibility studies
• Animal and more-than-human, posthumanist, and environmental studies
• Diasporic cinemas and mobility studies
• Reception studies and spectatorship
• Film and media within mass (social or political) movements
We welcome English and French submissions from independent scholars, postdoctoral fellows, and graduate students worldwide. Proposals welcome for individual presentations (~10 mins.), research creation projects, and video essays (~5 mins.). Interested parties must submit a 300-word abstract and a 100-word biography to meghan.mcdonald@mail.utoronto.ca by January 15, 2024.
Notifications of acceptance will be sent out by early-February.
* This event is taking place online to ensure greater accessibility and reduce the environmental impacts of annual conference travel amidst the climate emergency.
MASSE(S)
colloque virtuel,
du 12 au 13 avril 2024
« L’art respecte les masses… » (Theodor Adorno, Théorie esthétique)
Le thème du colloque en ligne (synchrone)* des diplômés de l’ACÉCM en 2023 est la/les « MASSE(S) ». Le Grand Robert de la langue française offre de nombreuses définitions de masse, y compris : « Accumulation de nombreux éléments distincts (mais généralement de même nature) réunis en un ensemble perçu comme une totalité » ; « Ensemble nombreux (de personnes ou d’animaux) assemblés » ; « L’ensemble qui fait corps, la majorité » ; et « Être, chose qui fait impression par sa puissance, sa taille, son volume, son poids ».
S’appliquant à un objet aussi petit et singulier que la masse d’un atome, comme à quelque chose d’aussi étendu et totalisant que la culture de masse, la/les « MASSE(S) » nous invite à penser aux multitudes et aux singularités dans, avec et à travers le cinéma et d’autres formes de médias.
Les exemples de sujets possibles comprennent les suivants, sans toutefois s’y limiter :
• Les médias de masse, les études de plate-forme, les médias sociaux, les jeux massivement multijoueurs (les MMO)
• L’École de Francfort sur l’ornement de la masse, la reproduction de masse, la culture de masse
• La représentation dans les médias
• La messe religieuse, le rituel et le culte
• Le poids, la taille, le volume, l’échelle et la densité
• Les extinctions massives, les pestes, les médias pandémiques et l’Anthropocène
• L’accumulation, le fait de collectionner, et la masse critique
• La production de masse, le capitalisme, la mondialisation, la logistique et les infrastructures
• Les études des sciences et des techniques (STS), les effets de masse, la spectrométrie de masse, la visualité et la perception de la ou des masses et la masse computationnelle
• Les études féministes, décoloniales, LGBTQIA+, PANDC et sur l’accessibilité
• Les études animales et plus qu’humaines, posthumanistes et environnementales
• Les cinémas diasporiques et les études de la mobilité
• Les études de réception et des spectateurs
• Les films et médias au sein des mouvements de masse (sociaux ou politiques)
Nous accueillons les soumissions en anglais et en français de chercheurs.euses indépendant.e.s, de chercheurs.euses postdoctoraux.les et d’étudiant.e.s diplômé.e.s du monde entier. Les propositions de communications individuelles (~ 10 minutes), de projets de création de recherche et d’essais vidéo (~ 5 minutes) sont les bienvenues. Veuillez soumettre un résumé de 300 mots et une biographie de 100 mots à meghan.mcdonald@mail.utoronto.ca d’ici le 15 janvier 2024. Les avis d’acceptation seront envoyés d’ici le début de février.
* Cet événement se déroule en ligne pour assurer une plus grande accessibilité et pour réduire les impacts environnementaux des déplacements en contexte d’urgence climatique.
FMSAC is seeking volunteers to help organize the 2024 FMSAC Virtual Graduate Colloquium. To encourage decentralization, experimental research forms, and curb the increasing costs and environmental impact of travelling across Canada, we’ve opted for a virtual colloquium this year. A virtual colloquium provides an opportunity to experiment and deviate from the standard conference-style presentation format that the Graduate Colloquium has taken over the years with possibilities ranging from roundtables with shorter five-minute papers on a shared topic and/or video essays and other forms of creative inquiry.
The steering committee would be graduate student-directed with mentorship from senior faculty in the field/on the FMSAC executive. This position would entail a commitment of approximately four months, from the drafting and release of the colloquium CFP, through adjudication of submissions, to virtual hosting of a winter colloquium (possibly early March, to be confirmed).
Interested members can e-mail the FMSAC graduate representative Meghan Romano <meghan.mcdonald@mail.utoronto.ca> directly for more information. We hope to have our first meeting in late November, so get in touch as soon as possible.
2023 Student Essay Award
The Domitor Student Essay Award is an annual competition designed to stimulate interest in the field of early cinema studies, to involve young scholars and archivists in the activities of our organization, and to reduce the gap between established and emerging generations of scholars and archivists of early cinema. It is crucial for the future of early cinema studies that young historians, theorists, and archivists present their work and enter into discussion with current scholars and scholarship.
Although we imagine the general time frame for the period covered by the essays to be the late 1880s to 1915, we realize that cinema developed unevenly across the global stage. For that reason, submissions treating cinema after 1915 in countries where early cinema practices postdate the proposed time frame will be given full consideration. Similarly, essays that examine the history and/or current status of early cinema’s place in historiography, theory, or the archive are also welcomed.
Submissions may be written in either French or English and should not exceed 7,000 words. All entrants must be enrolled in an undergraduate or graduate program at the time of submission, or have received a degree no earlier than January 2023. Essays prepared by students to fulfill course requirements may be submitted. An essay will not be accepted, however, if it has been previously published or issued in any form of general distribution. Each student may enter only one essay. All submissions are due electronically (as a PDF or Microsoft Word document) by 18 September 2023.
The winner of the award will be announced during the 2023 edition of the Pordenone Giornate del cinema muto festival in October. The award consists of a monetary prize (USD 500) and assistance in obtaining publication of the winning essay in a professional film historical journal. Please send your submission to the Domitor Student Essay Committee: domitorinc@gmail.com.
Prix de l’Essai étudiant Domitor 2023
Le Prix de l’Essai étudiant Domitor est un concours annuel destiné à stimuler la recherche sur le cinéma des premiers temps, de même qu’à réduire le fossé qui sépare les chercheurs établis de la relève en incitant les jeunes chercheurs et archivistes à prendre part aux activités de notre association. Il est primordial pour l’avenir de la recherche sur le cinéma des premiers temps que les jeunes historiens, théoriciens et archivistes présentent leurs travaux et puissent entamer un dialogue avec les spécialistes de la discipline.
Si nous pensons que la période couverte par le cinéma des premiers temps s’étend globalement de la fin des années 1880 à 1915, nous réalisons que le cinéma s’est développé de manière inégale sur la scène mondiale. C’est pourquoi nous prendrons en considération les propositions concernant des pays et territoires où les pratiques du cinéma des premiers temps sont restées d’actualité au-delà de 1915. De la même façon, nous examinerons avec intérêt les propositions concernant l’histoire ou le statut actuel du cinéma des premiers temps dans l’historiographie, les textes théoriques ou les archives.
Les textes peuvent être rédigés en anglais ou en français et ne doivent pas dépasser 7 000 mots. Les participants doivent être inscrits dans un programme d’études supérieures au moment de leur soumission ou bien avoir reçu leur diplôme au plus tôt en janvier 2023. Il est possible de présenter un texte rédigé dans le cadre d’un cours. Néanmoins, le participant garantit à l’association qu’il est l’auteur du texte présenté et que celui-ci n’a pas été publié ou n’est pas en voie en de publication. Un seul texte est admis par participant. Les textes doivent être envoyés dans une version électronique (format pdf ou MS Word) avant le 18 septembre 2023.
L’essai gagnant sera annoncé en octobre 2023 pendant le festival Giornate del cinema muto de Pordenone. La personne dont l’essai aura été choisi recevra 500 USD et le soutien de Domitor avec la publication de son essai dans une revue scientifique dédiée à l’histoire du cinéma.
Merci d’envoyer vos essais au comité du prix étudiant Domitor : domitorinc@gmail.com.
Grad Student FMSAC Congress Travel Reimbursement
To be eligible for a partial refund of your travel costs, you must attend (and sign in at) the FMSAC AGM.
This form is due to the FMSAC treasurer, along with travel receipts, by June 30 of the year of the conference.
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Remboursement des frais de voyage pour les étudiant.e.s de 2e et 3e cycle participant.e.s au colloque de l’ACÉCM
Afin de recevoir un remboursement partiel pour vos frais de voyage, vous devez participer (et signer la feuille de présence) à l’AGA de l’ACÉCM.
Il faut envoyer ce formulaire et les reçus de voyage au/à la trésorier(ière) de l’ACÉCM après le colloque, mais avant le 30 juin.
The University of Calgary’s Department of Communication, Media and Film (CMF) presents
r/evolution in Media(Scapes): A CMF Graduate Student Conference
Conference dates: Wednesday, May 10th to Thursday, May 11th , 2023
Conference location: Online via Zoom
Potential in-person events: Afternoon on Thursday, May 11 th
We are pleased to announce that this year’s CMF Graduate Student Conference theme is r/evolution in Media(Scapes). The concept of Revolution, once a powerful force for change, has become less striking recently, it’s Evolutionary potential growing muddled. The power of Revolution in the critical lexicon has diminished because of society’s growing fragmentation and polarization. By deconstructing established notions of Revolution and reforming our approach to transforming Mediated landscapes via creativity and innovation, we hope our theme will help build new avenues for thought and action.
- Why r/evolution
We seek to reform contemporary perspectives and redefine Revolution as an Evolutionary process – as a ludic and imaginative space where we are all invited to partake in novel, unprecedented, and sometimes messy ways. - Why Media(Scapes)?
The study of Media(Scapes) examines the complex relationships between technology, culture, and politics by exploring creative and transformative ways of using media to shape and reshape social and cultural landscapes.
Our theme, r/evolution in Media(Scapes), encourages all scholars to actively challenge traditional norms and re-envision social, political, cultural, and mediatized landscapes using innovative and reformative approaches.
Call For Papers
This is a Call For Papers (CFP) for the 2023 CMF Graduate Student Conference. Please, submit your proposals here. The proposal submission deadline is 11:59 pm MT on March 31st, 2023.
Some of the research topics you may wish to present on for this year’s Conference include:
- Cinema, documentary, photography, and sound
- Community, society, and culture
- Embodiment and subjectivities in media
- Emerging media and technologies (artificial intelligence, data centres, telecom, etc.)
- Media, social movements, and activism
- New media industries (social media platforms, etc.)
- Representation and power in media
- Theories and practices
The above list is not exhaustive and merely includes some of the topics you may wish to present on for this year’s Conference. We welcome submissions from the many different research backgrounds that fall under our theme, even if they do not directly address one of the topics listed here.
We welcome any proposal submissions for the following three presentation formats:
- Short talks (200-word abstract): A shorter presentation, five to seven minutes in duration, followed by a Q&A session. An ideal choice for any presenter wishing to share and discuss an idea or research-in-progress. First-time presenters, MA students, and senior undergraduates are encouraged to apply.
- Long talks (300-word abstract): A longer presentation, 10 to 15 minutes in duration, followed by a Q&A session. An ideal choice for any presenter wishing to share and discuss an in-depth and developed analysis of their research topic.
- Alternative format (250-word abstract): We welcome proposals for alternative formats, 10-15 minutes in duration, to be followed by a Q&A session. When proposing an alternative format, please include a description of your chosen format (i.e., interactive session, multi-speaker panel, etc.) in your 250-word abstract proposal. While we cannot guarantee that we will be able to accommodate your alternative format, we will try our best to do so.
All applicants are asked to consider an equity, diversity, inclusion, and accessibility (EDIA) framework in their proposal submission and will be prompted to complete the EDIA pledge as part of their proposal submission.
Click here to access the form to submit your proposal and here for our Conference website. We will alert all applicants regarding the status of their submissions by mid-April. A full conference schedule and Keynote speaker announcements will occur closer to the Conference date.
If you have any questions about this CFP, please contact Matthew Halajian (mhalajia@ucalgary.ca) or
Liz McIver (elizabeth.mciver@ucalgary.ca.
Thank you in advance, and we look forward to your submissions!
This Conference is being held online via Zoom to encourage participation from those unable to attend in person. Organizing any optional in-person social events in Calgary will be confirmed at a later date and communicated to the conference participants.
We would like to take this opportunity to acknowledge the traditional territories of the people of the Treaty 7 region in Southern Alberta, which includes the Blackfoot Confederacy (comprising the Siksika, Piikani, and Kainai First Nations), as well as the Tsuut’ina First Nation, and the Stoney Nakoda (including the Chiniki, Bearspaw, and Wesley First Nations). The city of Calgary is also home to Métis Nation of Alberta, Region 3.
Telluride Film Festival 50th Anniversary: 2023 Student Symposium Application
A once-in-a-lifetime, life-changing experience awaits your students at the 2023 Telluride Film Festival. This is a rare opportunity to participate in one of the best and most established film festivals in the world!
Application deadline is March 31, 2023
Application here: https://www.telluridefilmfestival.org/students/symposium
The 2023 Student Symposium is now accepting applications from ALL college students. We are seeking:
- The best and brightest of students representing a variety of study disciplines, cultures, and backgrounds. Students need not be film majors.
- Those who appreciate vigorous intellectual and philosophical debates with their colleagues about film, its art and politics, storytelling—and anything else that comes up.
Basic program details:
- The Symposium is a rigorous six-day program providing approximately three films a day, Festival events and intimate discussions with filmmakers and artists like Hirokazu Koreeda, Jane Campion, Asghar Farhadi, Kelly Reichardt, Barry Jenkins, Alejandro G. Iñárritu, Tilda Swinton, Francis Ford Coppola, Errol Morris, Werner Herzog, and many others.
- TFF dates are August 31 – September 4, 2023; the Student Symposium begins on August 30.
- The Symposium is a unique opportunity that provides a valuable and exciting addition to your students’ studies, regardless of major. The primary deciding factor for acceptance is the applicant’s passion for film.
Please find our online application at www.telluridefilmfestival.org/students/symposium.
College and university faculty throughout the country have learned the value of the Telluride Film Festival and Symposium in their students’ studies (no matter their majors). Many of you may be past participants yourselves, so you have firsthand experience of this program. We ask you to please invite other faculty members—especially those in non-film departments—to encourage their students to participate in these programs. Please send us contact information for others who should receive this information directly.
Important additional information from TFF – CALL FOR ENTRIES: TFF showcases new and emerging student works in a series of short film programs at the Festival, and we have a submission category dedicated solely to student filmmakers. Entry forms are available at www.telluridefilmfestival.org as soon as the submission period begins April 15, 2023.
Attending the Festival on a budget: If students (or you!) are interested in simply attending, the Cinephile or Acme Passes are a great way to experience the Festival while keeping a budget in mind. Additionally, our University Seminars Program works with professors who bring their own groups of students to Telluride to provide an extra dimension to their Festival experience. Or, for a true behind-the-scenes view, please volunteer! For all information about passes, education programs and volunteer positions, please visit our website: https://www.telluridefilmfestival.org
Film and Media Studies Association of Canada (FMSAC) Graduate Colloquium
Carleton University Film Studies Friday March 10 – Saturday March 11, 2023 (In-Person)
Call for papers: “FAMILIAR STRANGER”
Submission Deadline: February 10th, 2023
Event Date: Friday, March 9th, and Saturday, March 10th, 2023
Format: In-person at Carleton University
Presentation Length: 15-20 minutes
Contact Email: makenziesalmon@cmail.carleton.ca
“You could say I have lived, metaphorically speaking, on the hinge between the colonial and post-colonial worlds; because of radically changing locations, I have belonged, in different ways, to both at different times of my life, without ever being fully of either”
(Stuart Hall, Familiar Stranger: A Life Between Two Islands, p.11)
From the ongoing injustices related to race, gender and sexuality, continued colonial violence and renewed and reinvigorated gestures towards sovereignty to the fundamental changes brought on by an increasingly digital and remote post-pandemic state of the world and mind, recent years have felt like both becoming a stranger in a familiar place with the familiar itself becoming strange. These new times we find ourselves in have indeed impacted the ways in which we gather, research, make, consume and conserve art, affecting how we see the world and ourselves in it. The state of in-betweens, or the simultaneous existence between the familiar and the strange, seems to resonate as a frame for contemplating the conditions of our milieu, which continue to affect cinema and media and their study.
The colloquium’s thematic throughline is fueled by the legacy of Stuart Hall, an undeniable force, a multi-decade-spanning, discipline-defining, and defying cultural theorist, sociologist, and political activist. Critiques of discourses of race and racism are among his most important work and remain essential tools with which to probe the resurgence of nationalist and nativist divides. His memoir, Familiar Stranger: A Life Between Two Islands, reflects on being “the last colonial subject” and offers the provoking observation of always existing in the in-betweens. One of the key dimensions of Hall’s work was his uncanny ability to put his finger on the pulse of the times, even theorizing the concept of “new times.” Hall and his contemporaries, including Raymond Williams, formed the practice of cultural studies through their attention to transience and shaping spatial and temporal reconfigurations of the now: this conference asks, how does Hall’s (and Williams’) work help us to think and rethink our times? Could in-between-ness itself be the new structure of feeling in a “proto post-pandemic era”? Objects of inquiry impacted by their work and invited for discussion in this conference include film, media, formulations of identity, migration and diaspora studies, sociology, post-structuralism, semiotics, critical race theory, feminism, Marxism, postcolonialism, gender and other interdisciplinary nodes.
Hall’s famous proposition that cultural identity is in an infinite state of production inspires cultural perspectives on the object of film. How is the in-between-ness of culture negotiated in filmic representation? How might film itself be in a state of in-betweenness? How has the production, exhibition, circulation, reception, and archiving of film and media objects struggled with in-betweens of where film can be made, seen, experienced and preserved? This conference also asks participants to consider the following questions: in what ways are we strangers in familiar places, or re-familiarizing ourselves in spaces that have become strange? How is the experience of in-betweenness rendered in filmic practices? How is cinema, too, a state of in-between-ness?
Presentations that engage with the legacies of Stuart Hall and other theorists of the Birmingham School directly are welcomed, although not required.
Sample topics may include but are not limited to:
- Interdisciplinarity
- Diaspora
- Migration
- Marginalization
- Gender and Queer studies
- Streaming and evolving media landscape
- Identity and representation
- Postcolonial, decolonial, anticolonial ways of thinking
- Film programming, curating, archiving
- Stuart Hall/cultural identity
- Raymond Williams/structures of feeling
- Systemic violence/legacies of violence
- Legacies of film history and historiographic film scholarship/methods
Submissions: Interested graduate students can submit a brief abstract (up to 350 words) as a PDF file in English by February 10th, 2023, to makenziesalmon@cmail.carleton.ca
Submissions should include the following information:
- Your name
- Level and program of study
- Name of your University
- Title of your presentation
- Abstract
- Short bibliography (3 to 5 sources)
- 3-5 keywords in your research
UCLA – IN CAHOOTS
Disciplinary Crossings & a Future for Performance Studies
02/15/2023 – 02/17/2023
Online Graduate Student Conference presented by UCLA Department of Theater & the Center for Performance Studies
Call for Papers ————– Due 11/10/2022
Like performance studies, ‘in cahoots’ is a phrase with “murky origins”1 – etymologies have been traced without a clear beginning, perhaps from cohort or cahute (adjacent to cabin or hut). Meaning partnership, colluding, or working together, often in secret, the term itself is in cahoots: cahoots is rarely if ever used as a stand alone word. Similarly, performance studies is never stand alone, but in constant relations with a constellation of fields, from linguistics and anthropology, to queer and critical race theory. This type of conceptual entanglement drives UCLA’s Center for Performance Studies Graduate Student Conference: “In Cahoots: Disciplinary Crossings and a Future for Performance Studies.” Following our 2021 conference theme of ‘Contact,’ we invite graduate students to reflect on the promises and challenges of being “In Cahoots” with multiple discourses, fields, and methods.
New research trends have seen many scholars bringing together odd bedfellows that raise new challenges: How might a keyword track across fields? Is it possible to reconcile the goals of humanities and science? Where is the department “home” for this new brand of research? Performance studies has already positioned itself as a tempestuous and unruly younger sibling amongst longer standing fields. Interdisciplinary by nature, it is an elastic framework that can pierce holes in academic silos. This conference aims to build alliances for interdisciplinary performance scholars working between and across fields. Though our research projects may vary dramatically (and we hope they do) we still grapple with many of the same murky obstacles. This is a unique and intimate conference that will give a platform to these discussions for exciting new scholars working on the bleeding-edge of interdisciplinary research. We will be in cahoots.
What to Submit
Bring your research that is ‘in cahoots’ as an abstract for a 7-10 page paper of your interdisciplinary research, wherever it is. The paper should somehow reflect an approach that blends/incorporates/weaves performance studies + ________.
We will use our research papers as a starting point for conversations around working between fields. Some of our interests include: the challenges and opportunities of interdisciplinary research in performance studies, whether that is practice-as-research, working across multiple departments, or even across methods. Additionally we hope this brings together discussion of potential futures for performance studies from graduate student perspectives, including applying to jobs in outside departments or working with scholars in other fields. (Note: the paper does not have to be about working interdisciplinarily, but rather your experience as the author will fuel such discussions).
Topics & Key questions:
These questions are not for the paper to specifically address, but rather the papers will be a jumping off point for these discussions:
- State of the field
- What does your performance studies methodology include?
- How do we define performance studies as a field (key terms, methodologies, etc). And how can this discipline inform other fields? Which keywords extend across fields?
- How do other fields inform your understanding of performance studies (and its role in the landscape of the humanities)?
- How does interdisciplinarity shape your methodology and key terms? To neologism or not to neologism?
- Problems and possibilities with bringing sciences and humanities together? Other methodological chaos?
- What are the implications of job market materials when applying outside of theater and performance studies? How do you work across fields, departments, methods?
Apply with an abstract (300 words or less) by 11/10/2022
Submit online @ http://tiny.cc/CPS2023
Contact Devon Baur (dbaur@ucla.edu) or Elizabeth Schiffler
(eschiffler@ucla.edu) with any questions
1 Zimmer, Ben. n.d. “‘Cahoots’: A Term For Hidden Scheming Has Murky Origins.” WSJ. Accessed September 2, 2022.
https://www.wsj.com/articles/cahoots-a-term-for-hidden-scheming-has-murky-origins-11579885683.
The Jeffrey and Sandra Lyons Canadian Film Scholarship – 2022 Call for Applications
Submission Deadline: FRIDAY, NOVEMBER 18, 2022
For over four decades, TIFF has been committed to transforming the way people see the world through film. Central to this commitment is our pledge to preserve and promote Canada’s moving-image culture through educational initiatives and learning opportunities. TIFF is currently accepting applications for the 2022 Jeffrey and Sandra Lyons Canadian Film Scholarship, supporting the development of scholarship or research-creation that activates the archive. The award aims to:
- increase access to the reference and archival collections of the Film Reference Library (FRL);
- support research and research-creation that deepens knowledge about Canadian film and media;
- and strengthen the relationship between cultural and academic institutions in pursuit of knowledge mobilization
TIFF encourages proposals from scholars, researcher-creators, and artists whose project would benefit from the unique collections of the FRL. Applications were previously accepted from MA, PhD, and post-doc students exclusively. In recognition of the interdisciplinary nature of film and media research, and the diversity of methodological approaches within the field, we have expanded the eligibility requirements to include those enrolled in any master’s program who are pursuing related research.
This Scholarship provides the recipient access to the extensive resources and collections of the FRL for one month between January 2023 and July 2023. On-site access to research materials will be conducted safely and in line with COVID-19 protocols. Digital research may be possible, depending on the Special Collection and the research material requested. The successful applicant will be provided with a stipend of $1,000 CAD, a designated office space, and access to the FRL’s collections in support of their research. Special Collections of particular interest may include the archives of experimental filmmaker Mike Hoolboom; the Conquering Lion Pictures Archive of materials related to the works of filmmakers Clement Virgo and Damon D’Oliveira; the Deepa Mehta Archive; the Prospector Films Collection; the Divani Films collection; the Patricia Rozema Collection; the Bruce McDonald Collection; and the archives of score composer Christopher Dedrick.
The FRL is the ultimate free resource for filmmakers, students, researchers, screenwriters, and film and television professionals. A proud affiliate member of the International Federation of Film Archives (FIAF), the FRL is dedicated to the preservation of Canada’s cinematic history, maintaining extensive archival and research collections with a focus on Canadian cinema. The collection is a library and archive that includes a comprehensive reference collection on all aspects of filmmaking and cinema studies (books, periodicals, research files, audio-visual materials, photographs), and Special Collections representing over 100 industry figures in Canadian cinema. Visit tiff.net/library to learn more about our collections, access the online catalogue, and browse Special Collections.
The Jeffrey and Sandra Lyons Canadian Film Scholarship is generously supported by the Jeffrey & Sandra Lyons Endowment Fund at TIFF.
As part of TIFF’s commitment to promoting diversity and inclusion in the Canadian film and media industries, we encourage and prioritize applications from equity deserving groups. We encourage you to self-identify in your application. TIFF is an equal-opportunity employer and is committed to providing accommodations in our hiring process for people with disabilities. If you require an accommodation, please inform us in advance and we will work with you to meet your needs.
La Bourse du cinéma canadien Jeffrey et Sandra Lyons – Appel de candidatures 2022
Clôture des candidatures :LE VENDREDI 18 NOVEMBRE 2022
Depuis plus de quatre décennies, le TIFF se voue à transformer la vision du monde, par le biais du cinéma. Au cœur de notre engagement, nous cherchons à préserver et à promouvoir a culture canadienne de l’image en mouvement à l’aide d’initiatives éducatives et de possibilités d’apprentissage. Le TIFF accepte actuellement les candidatures pour la Bourse du cinéma canadien Jeffrey et Sandra Lyons de 2022, afin d’appuyer le développement d’études et de recherche-création qui pourront mettre à profit l’archive. Ce prix vise à :
- donner l’accès aux collections de références et d’archives de la Bibliothèque de référence cinématographique (Film Reference Library ou FRL, en anglais)
- soutenir la recherche et la création de recherche qui favorisent l’approfondissement de la connaissance du cinéma et des médias canadiens ;
- et à renforcer la relation entre les institutions culturelles et académiques pour favoriser la mobilisation du savoir.
Le TIFF encourage les universitaires, chercheurs-créateurs et artistes travaillant sur des projets qui bénéficieraient de l’accès aux collections uniques de la FRL à présenter des propositions. Antérieurement, seulement les candidatures d’étudiants inscrits à un programme de maîtrise, de doctorat ou de post-doctora étaient acceptées. En reconnaissance de la nature interdisciplinaire de la recherche cinématographique et médiatique ainsi que de la diversité des approches méthodologiques dans le domaine, nous avons élargi les critères d’admissibilité afin d’inclure les étudiants inscrits à tout programme de maîtrise qui font des recherches connexes.
Cette Bourse offre au chercheur l’accès aux vastes ressources et collections de la FRL pour une période d’un mois entre janvier 2023 et juillet 2023. L’accès sur place au matériel sera effectué en toute sécurité et conformément aux protocoles de la COVID-19. La recherche numérique peut être possible selon la Collection spéciale et le matériel de recherche demandé. Le candidat retenu recevra une allocation de 1 000 $ CAD, un bureau désigné et l’accès aux collections de la FRL pour soutenir leur recherche. Les Collections spéciales d’intérêt particulier incluent les archives du cinéaste expérimental Mike Hoolboom ; l’archive Conquering Lion Pictures du matériel lié aux œuvres des cinéastes Clement Virgo et Damon D’Oliveira ; l’archive Deepa Mehta ; l’archive Prospector Films ; l’archive Divani Films ; l’archive Patricia Rozema ; l’archive Bruce McDonald ; et les archives du compositeur de musique de film Christopher Dedrick.
La FRL est la ressource ultime pour les cinéastes, étudiants, chercheurs, scénaristes, et professionnels du cinéma et de la télévision. Fier membre affilié de la Fédération internationale des archives du film (FIAF), la FRL se voue à la préservation de l’histoire cinématographique du Canada, par le maintien de vastes collections d’archives et de recherche axées sur le cinéma canadien. La collection est une bibliothèque et une archive comprenant une vaste collection de références sur tous les aspects des études concernant la production de films et le cinéma (livres, périodiques, dossiers de recherche, matériels audiovisuels, photos), ainsi que des Collections spéciales représentant plus de 100 chefs d’industrie du cinéma canadien. Consultez tiff.net/library pour en apprendre davantage sur nos collections, pour accéder au catalogue en ligne et pour découvrir les Collections spéciales.
La Bourse du cinéma canadien Jeffrey et Sandra Lyons bénéficie du généreux soutien du fonds de dotation Jeffrey & Sandra Lyons au TIFF.
Dans le cadre de l’engagement du TIFF à l’égard de la promotion de la diversité et de l’inclusion dans les industries canadiennes du cinéma et des médias, nous encourageons et priorisons la soumission de demandes de groupes méritant pour l’équité. Nous vous encourageons de vous auto-identifier dans votre demande. Le TIFF souscrit au principe de l’égalité en matière d’emploi et s’engage à accommoder les personnes handicapées dans notre processus d’embauche. Si vous avez besoin de mesures d’adaptation spéciales, veuillez nous en informer à l’avance et nous travaillerons avec vous pour répondre à vos besoins.
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