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
Restez informé : Suivez-nous sur Facebook, Twitter, and Instagram.
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.
The Graduate Program in Communication and Media Studies in the Department of Communication, Media and Film at the University of Calgary is now accepting applications from prospective MA and PhD students for September 2021. The application deadline is December 1, 2020.
Our growing program offers opportunities for interdisciplinary media and communications studies research across several areas, including:
-Digital media cultures, platforms, & politics
-Feminist media studies
-Film and visual cultures
We also have several exciting research initiatives launching, including the new Environmental Media Lab: https://www.environmentalmedialab.com
We offer competitive funding packages and affordable living in a diverse urban center at the foot of the Rocky Mountains.
Call for Applications:
Graduate Degrees in Film/Cinema & Media Studies at York University
- MA in Cinema & Media Studies
- MFA in Film Production or Screenwriting
- Joint MA-MBA or MFA-MBA with Schulich School of Business
- PhD in Cinema and Media Studies
Applications are invited to the Graduate Program in Film/Cinema & Media Studies at York University. Applicants who apply by January 15, 2021 will be given first consideration. Applicants will be contacted by late February – early March 2021. 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 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 70% 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, a minimum four-year degree with guaranteed funding for five years. In addition to generous York professional development funds, our students receive national, provincial and university-widescholarships and awards. Current PhD students includeVanier, Elia and Trillium scholars, and numerous SSHRC and OGS doctoral awards.
Outstanding faculty are leaders in their fields; 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 increasingly popular 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 (now 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 PhD programs are encouraged to contact Prof. Janine Marchessault, PhD Graduate Program Director, email@example.com. Students interested in the MFA and MA program are encouraged to contact Prof. Manfred Becker, MFA/MA Graduate Program Director, firstname.lastname@example.org. For questions related to the application process please contact Kuowei Lee, Graduate Program Assistant, email@example.com.
APPLICATION DEADLINE: JANUARY 15, 2021
THE FSAC STUDENT WRITING AWARD
AWARD FOR OUTSTANDING ABILITY IN FILM AND MEDIA SCHOLARSHIP
(La version française suit ci-dessous)
The Film Studies Association of Canada is again offering an award for the best essay submitted by a student member. The FSAC Student Writing Award recognizes graduate students who show outstanding ability in film and media scholarship. Essays, in French or English, must study moving images, broadly defined to include film, television, video, or digital media. All disciplinary and interdisciplinary approaches are invited, provided the essay has the potential to contribute to the discipline of film studies.
Authors must have been enrolled in a graduate program for at least one semester this year, and must be an FSAC member at the time of submission. Essays prepared by students to fulfill course requirements may be submitted, although each student may enter only one essay. All submissions must be sent electronically, preferably from the student’s university e-mail account. Files must be formatted as double-spaced, typewritten docx or PDF documents, not exceeding 7,500 words including endnotes, bibliographies and appendices. The essay document must be anonymous. Identifying information must be provided only in the body of the submission e-mail message, which should list (1) the author’s name, (2) the title of the essay, (3) mailing and phone contact information, and (4) the student’s university, graduate program, and degree status.
Submissions cannot be already published or submitted for publication. 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.
The winning essay will receive suggestions from the jury to facilitate and encourage revision for peer-review with the Canadian Journal of Film Studies.
Application Deadline: May 22, 2020
Forward application to: Peter Lester – firstname.lastname@example.org
ASSOCIATION CANADIENNE D’ÉTUDES CINÉMATOGRAPHIQUES – PRIX DE L’ESSAI ÉTUDIANT
L’Association canadienne d’études cinématographiques encore offrir un prix récompensant le meilleur essai soumis par un membre étudiant. Ce prix de l’essai étudiant de l’ACEC vise à encourager les étudiants faisant preuve d’un grand potentiel, ainsi qu’à souligner la contribution des étudiants des cycles supérieurs à l’avancement de la recherche sur le cinéma et les médias. Les essais rédigés en français ou en anglais, et portant sur des sujets liés au cinéma, à la télévision, à la vidéo, aux images en mouvement ou aux médias numériques sont admissibles. Toutes les approches disciplinaires et interdisciplinaires sont admises dans la mesure où elles contribuent à l’avancement de la discipline des études cinématographiques.
Les participants doivent avoir été inscrits dans un programme d’études supérieures pendant au moins une session cette année, et être membres en règle de l’ACEC au moment de la soumission des essais. Les essais rédigés dans le cadre de cours et de séminaires sont admissibles, mais un seul essai par participant sera accepté. Chaque candidature doit être soumise par courrier électronique, et de préférence être acheminée à partir de l’adresse courriel institutionnelle du participant. Les essais doivent avoir été rédigés à double interligne, sauvegardés dans des fichiers de formats docx ou PDF, et ne pas dépasser 7 500 mots, incluant les notes de fin, la bibliographie et les annexes. Les fichiers contenant les essais doivent être anonymes, tandis que les courriels accompagnant chaque candidature doivent contenir (1) le nom de l’auteur, (2) le titre de l’essai, (3) l’adresse postale et le numéro de téléphone de l’auteur, de même que (4) son université d’attache, son programme d’études, et son niveau d’avancement.
Les essais présentés au concours ne doivent pas avoir été préalablement soumis à des publications ou publiés. 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.
L’auteur de l’essai gagnant recevra des suggestions du jury du concours visant à préparer son évaluation par le comité de lecture du Revue canadienne d’études cinématographiques.
Date limite : 22 mai 2020
Envoyez vos soumissions à : Peter Lester – email@example.com
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.