Screening Censorship Conference: New Histories, Perspectives, and Theories on Film and Screen Censorship
Ghent, Belgium, October 16-17, 2020
UPDATE: Our conference is going ahead. We also adapt, of course, to the changing world. Based on abstract submissions Screening Censorship Conference will adjust to circumstances, and implement best practices of social distancing and (if needed) virtual attendance to ensure the safety and comfort of delegates, presenters and attendees. The new deadline for abstracts is August 15, 2020. For more information, please contact Daniel Biltereyst (firstname.lastname@example.org) and/or Ernest Mathijs (email@example.com).
Academic keynote speakers:
Professor Richard Maltby (Flinders University, Australia)
Professor Linda Williams (University of California, Berkeley, USA)
Professional keynote speakers:
Manuel Mozos (filmmaker, Portugal)
Rachel Talalay (film director/producer, US/Canada)
Throughout the history of film and cinema, censorship has existed everywhere–in all kinds of shapes, colors, and dimensions. The act of restricting the free production, circulation, screening and consumption of movies was never unique to authoritarian regimes. Age restrictions, film cuttings, bans, industry discouragements, and other types of censorial interventions also occurred in countries where media freedom and the freedom of speech were and are highly regarded principles. Censorship has had far-reaching implications on filmmakers, distributors, exhibitors, and audiences across generations, and across genres. Hard, strict institutional censorship often came alongside implied or ‘suggested’ forms of soft censorship, including, importantly, the self-censorship or audiences disciplined into particular viewership positions.
Today, soft and hard censorship co-exist in even more fluid forms. The acts of banning, regulating, trimming, and tailoring films for ‘harmless’ consumption, by bureaucracies, pressure groups and activists, are frequently embedded within wider debates about media use. But film nonetheless remains a ‘banner issue’, a point of reference for what constitutes screen censorship.
From the long tradition of investigating film censorship onwards, this conference aims at reflecting upon recent changes in policies, strategies and practices of film censorship, both in the past and in today’s media landscape. Amongst the many questions, this conference asks:
What are film history’s lessons from censorship?
What are the contours of censorship today?
Is censorship still a useful concept? How has it changed?
How do new or renewed sensitivities influence censorship today, in terms of gender, ethnicity, sexuality, religion, ageism, ableism?
How do censorships compare, across time, space, genre, and technologies?
What is the role of social media in debates about censorship? How do we define film censorship in times of massive content moderation on social media platforms?
How does film censorship work on different screens: in the theatre, on television, on in-flight, mobile, across multitudes of digital screens?
What are the ‘aesthetics’ of censorship today and what is the function of pastiche, subversion, ‘just joking’, and other kinds of boundary-challenging work?
What do recent controversies and provocations reveal about the evolution of censorship?
What is the relationship between incidents and interventions in production culture, artistic integrity, and censorship?
What is censorship’s relationship with ‘hardcore’ and explicit material, past and now? If censorship is not always a simple matter of repression from above, but of conflicting discursive constructions arising from below, how do we account for the history of the emergence of hard-core pornography beyond thinking of it as the liberalization of censorship?
Screening Censorship also invites reflections on the changing research environment:
What are the tools for studying censorship today?
How have digital technologies affected the study of censorship?
What is the influence of new film and cinema historiography in exploring practices of distributing, screening, consuming and audience’s experiences of film and screen censorship?
Screening Censorship aims to showcase academic and industry voices on the issue of the shifting practices of censoring films on the different screens. The four keynote addresses confirmed for the symposium reflect that goal. The conference is organized in tandem with the 47thInternational Film Fest Ghent (FIAPF accredited, Variety’s top-50 must-attend), and aims to examine how film and cinema censorship, as a concept and as a practice (ad hoc and post hoc), functions 20 years into the 21st Century.
Screening Censorship welcomes contributions for 20-minute presentations from scholars, artists and practitioners whose work pertains to topics and themes of film and screen censorship. We are seeking abstracts for individual papers and panels of three or four contributors on topics including, but not limited to:
Theories, concepts, and discourses on film censorship, control, discipline, silencing, content moderation
New film censorship policies, strategies, tactics, practices
The aesthetics of film censorship, subversion, pastiche
Activism and resistance
Film censorship, audiences and reception
Institutions and power
Comparison, entangled history, histoire croisée
Film censorship and the museum: archives, heritage, platforms
Artistic integrity, interventions, re-use
Film censorship cases, controversies, panics
Digital tools and new methods for doing film censorship research today
Please send abstracts of 300 words and a 100-word biography to Daniel Biltereyst (firstname.lastname@example.org) and Ernest Mathijs (email@example.com) by August 15th, 2020, and address any queries to the same addresses. Abstracts should be submitted following this order: (a) author(s); (b) affiliation; (c) email address; (d) title of abstract; (e) body of abstract; (f) bibliography. E-mails should carry the subject line: Screening Censorship Abstract Submission.
Conference sponsored by Digital Cinema Studies (DICIS, FWO Flanders) in collaboration with The Centre for Cinema and Media Studies (UBC).
Conference venue: Film-Plateau, Paddenhoek 3, Ghent, Belgium. Conference website: www.censorship-symposium.org (under construction)
CFP Transformative Works and Cultures:
Fans demonstrate a broad interest in the past, both of their objects of fandom and their own communities. They collect, catalog, preserve, restore, and publicly display historical artifacts and information in their own archives and museums. They study archival materials and collections, interview witnesses, and read historical scholarship, developing historical narratives and theses. Their research materializes in the form of analog and digital nonfiction media such as print and online publications, documentaries, podcasts, video tutorials, and pedagogical initiatives. Through their work, fans historicize their own fandom and tie it into broader historical questions, connecting to issues like heritage, gender, and the nation. While some fans do this as community historians, focused on small and self-financed groups, others work within large and well-known cultural organizations and businesses, bringing this work into the mainstream.
The goal for this special issue of Transformative Works and Cultures is to explore the question of how fans produce knowledge about the past and actively engage with history. We are particularly interested in essays that show what fans do as historians, such as running publicly accessible archives and museums, and using archival materials for the production of nonfiction media. We want to shift direction from the question of why and how fans are collecting to analyses of why, how, and with what impact fans are creating and disseminating knowledge about the past. Such contributions will further our understanding of how central engagements with the past are to individual and collective fan identities, and how fandom connects to historical debates.
We encourage contributions covering all geographies and forms of fandom, including film, television, music, games, sport, fashion, celebrity culture, themed environments, theatre, dance, and opera. Topics may include, but are not limited to:
Transformative Works and Cultures (TWC, http://journal.transformativeworks.org/) is an international peer-reviewed online Gold Open Access publication of the nonprofit Organization for Transformative Works copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and to promote dialogue between the academic community and the fan community. TWC accommodates academic articles of varying scope as well as other forms that embrace the technical possibilities of the Web and test the limits of the genre of academic writing.
Theory: Conceptual essays. Peer review, 6,000–8,000 words.
Praxis: Case study essays. Peer review, 5,000–7,000 words.
Symposium: Short commentary. Editorial review, 1,500–2,500 words.
Please visit TWC’s website (http://journal.transformativeworks.org/) for complete submission guidelines, or email the TWC Editor (editor [AT] transformativeworks.org).
Contact—Contact guest editors Philipp Dominik Keidl and Abby Waysdorf with any questions or inquiries at fansmakehistory [AT] gmail.com.
Due date—January 1, 2021, for estimated March 15, 2022 publication.
CALL FOR SUBMISSIONS CINEACTION 101
The next issue will focus on two themes.
Film and Radical Politics in the Global Crisis
A plague stalks the world and economies are collapsing. Are we forced to imagine the end of the world and the end of capitalism? What is the relationship of film and media to this terrifying live spectacle? How is it represented? What place and responsibility for radical films and filmmakers? What possible transformative or disastrous outcomes in this moment of contradiction and crisis?
Films and filmmakers have a long history of involvement in moments of social conflict and change, war and revolution. Soviet filmmakers in the Russian revolution, Renoir and the French Popular Front, the avant-garde cinema from Surrealism on, the Hollywood Reds and the blacklist, the NFB in WWll, anti-fascism and Neo-Realism, the Third Cinema of anti-colonial struggles from the fifties on, the enduring impact in both documentary and fiction of the social movements of the sixties and the many New Lefts and more… What is the current state of this radical lineage, what contemporary explorations, what changed role for film and media now. Open to a wide range of subjects and perspectives.
The horror genre remains enduringly popular, especially in this apocalyptic moment, and often politically challenging, in films and television all over the world. We welcome submissions on the genre, particular films, directors, from any national, aesthetic or political perspective.
Deadline: September 1, 2020
As an association, FSAC is committed to understanding the ways in which racism manifests itself in film, television, and other media forms as well as identifying ways in which audiovisual media can be mobilized in the fight against racism and in opposition to police and state-sanctioned violence. The association, at this time, reiterates its absolute support of BIPOC critics and creators, whose work needs to guide us all in a way forward. Likewise, the association commits itself to the transformation of the disciplines of film, television, and media studies as part of the larger, collective effort to imagine and actualize a more equitable world.
La conférence annuelle de l’Association canadienne des études cinématographiques (ACÉC) – qui avait consacré cette année à la prise de conscience et à la lutte contre le racisme face aux personnes noires à l’intérieur et à l’extérieur de l’Université – en serait à sa troisième journée aujourd’hui, si elle n’avait pas été annulée en conséquence de la crise de la COVID-19. Plutôt que de participer à la conférence annuelle, plusieurs de nos membres ont pris la rue ces derniers jours pour protester contre la violence qui se poursuit aux États-Unis. L’exécutif de l’ACÉC est solidaire de ceux et celles qui ont élevé leur voix contre le racisme envers les personnes noires et mis leur corps en danger dans le but de protéger leurs communautés et leurs proches de la violence policière et sanctionnée par l’État. L’ACÉC reconnaît pleinement que cette lutte se poursuit également ici au Canada, qui a son propre héritage lamentable de racisme envers les personnes noires, ce dernier étant profondément entrelacé avec d’autres formes de racisme, en particulier contre les peuples autochtones.
En tant qu’association, l’ACÉC s’est engagée à comprendre les façons dont le racisme se manifeste dans les films, à la télévision et dans d’autres formes de médias, ainsi qu’à identifier les moyens par lesquels les médias audiovisuels peuvent être mobilisés dans la lutte contre le racisme, contre la violence policière et celle sanctionnée par l’État. L’association réitère aujourd’hui son soutien absolu aux personnes noires, autochtones et de couleurs (BIPOC), dont le travail doit nous guider dans la voie à suivre. En ce sens, l’association s’engage à participer à la transformation des disciplines des études cinématographiques, télévisuelles et médiatiques dans le cadre d’un effort collectif plus vaste visant à imaginer et actualiser un monde plus équitable.
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
The Faculty of Arts, Department of Communication, Media and Film invites applications for an Instructor (3-year limited term) in the area of Film Studies. The anticipated start date is August 1, 2020.
We are seeking a scholar who will have the primary responsibility of teaching Film Studies at the undergraduate level in the program’s core areas (introduction to film studies, film history, and film theory), in addition to areas of specialization. Demonstrated teaching expertise in these core areas, as well as one of the following areas is required: cinemas of Asia, Africa, the Middle East or Latin America; indigenous cinema; critical race theory; feminist film history; film/media production. Ability to teach courses in communication and media studies, or television and digital media would be an asset.
The teaching duties for this position consist of seven courses distributed over three academic semesters. As part of their responsibilities, the incumbent will be expected to participate in the development of courses within the department, be involved with the extra-curricular events on campus and within the broader community with the goal to sustain a vibrant program. Mentorship of students and service to the department, faculty, and university is also expected.
The preferred candidate will hold a PhD in Film Studies or a closely related field. The incumbent will have experience or potential to teach film studies at the university level and will demonstrate the potential for pedagogical innovation and excellence in undergraduate teaching.
The Department of Communication, Media and Film is a research-intensive department with high standards in teaching. We value interdisciplinary and multidisciplinary approaches to research and training, and strongly encourage collaboration. For more information about the Department of Communication, Media and Film please visit https://arts.ucalgary.ca/communication-media-film.
All applications must be received by April 11, 2020.
Interested individuals are encouraged to submit an application online via the ‘Apply Now’ link. Please be aware that the application process allows for only four attachments. Your four application attachments should be organized to contain the following (which may require you to merge documents):
- Letter of application that details teaching experience and area(s) of scholarly interest
- Updated curriculum vitae with names and contact information for 3 referees
- Statement of teaching philosophy and a teaching dossier. This should include two sample course syllabi (one for Introduction to Film Studies, and the other a course of your choice) and two sets of course evaluations
These materials should be addressed to:
Dr. Charles Tepperman, Department Head
Department of Communication, Media and Film
Faculty of Arts
University of Calgary
Room 320 Social Sciences Bldg.
2500 University Drive NW
Calgary, AB T2N 1N4
All applicants are strongly encouraged to visit https://arts.ucalgary.ca/communication-media-film to obtain additional information.
The University of Calgary recognizes that a diverse staff/faculty benefits and enriches the work, learning and research experiences of the entire campus and greater community. We are committed to removing barriers that have been historically encountered by some people in our society. We strive to recruit individuals who will further enhance our diversity and will support their academic and professional success while they are here. All qualified candidates are encouraged to apply; however Canadians and permanent residents will be given priority. In this connection, at the time of your application, please answer the following question: Are you a Canadian citizen or a permanent resident of Canada? (Yes/No)
To learn more about academic opportunities at the University of Calgary and all we have to offer, view our Academic Careers website. For more information about the Faculty of Arts visit Careers in the Faculty of Arts.
About the University of Calgary
The University of Calgary is Canada’s leading next-generation university – a living, growing and youthful institution that embraces change and opportunity with a can-do attitude. Located in the nation’s most enterprising city, the university is making tremendous progress on its Eyes High journey to be recognized as one of Canada’s top five research universities, grounded in innovative learning and teaching and fully integrated with the community it both serves and leads. The University of Calgary inspires and supports discovery, creativity and innovation across all disciplines. For more information, visit ucalgary.ca.
About Calgary, Alberta
Calgary is one of the world’s cleanest cities and has been named one of the world’s most livable cities for years. Calgary is a city of leaders – in business, community, philanthropy and volunteerism. Calgarians benefit from a growing number of world-class dining and cultural events and enjoy more days of sunshine per year than any other major Canadian city. Calgary is less than an hour’s drive from the majestic Rocky Mountains and boasts the most extensive urban pathway and bikeway network in North America.
View our Application FAQs for answers to common questions regarding the application and selection process.
Call for Submissions
2020 Annual Graduate Music Conference
Department of Music, University of Alberta
“Revisualizing Sound and Music”
May 15-16, 2020
The Graduate Music Students’ Association (GMSA) of the University of Alberta is pleased to announce a call for submissions for our annual NCounters Graduate Conference. The conference will take place on Friday, May 15 and Saturday, March 16, 2020.
Music visualizes our wildest dreams and imaginations, and revisualizes the finest creations of humanity. At the GMSA’s NCounters Conference, we thrive to inquire and “revisualize” the endless possibilities of music research and discourse. As a multi-formatted conference, we aim to facilitate innovative graduate research by providing a platform and safe space for grad students from everywhere to present their work and engage with fellow researchers in an inclusive and interdisciplinary environment.
We encourage submissions from any topic in the study of music including but not limited to:
– Musicology; ethnomusicology; music theory
– Film and media music; popular music
– Composition; performance
– Music education; music therapy
We also welcome compositions and lecture recitals including but not limited to:
– Composed concert pieces
– Electroacoustic compositions
– Improvised music performances
– Sound Installations (please note that space is limited)
This year, we are delighted to have two distinguished scholars as keynote speakers:
Dr. Emilie LeBel, Assistant Professor of Composition from MacEwan University. She specializes in orchestral music composition, chamber music composition, electronic music, as well as integrated works that apply digital and intermedia concert pieces. She is an affiliated composer at the Toronto Symphony Orchestra. Selected works include Hiraeth (2019, Migration No. 2), Mark Takeshi McGregor, Lutalica, Redshift Records; and Navigational view of South Foreland Point and the Kent Coast, 1840 (2018), in Land’s End Ensemble, Pulling the Light, Centrediscs.
Dr. Brian Fauteux, Assistant Professor of Popular Music from the University of Alberta. His research areas include cultural studies, media studies, film, and is particularly interested in music industries and music radio, which integrate discourses of cultural studies, history, and policies. He is currently working on a SSHRC-funded research that examines copyright and cultural labor issues in the digital music industries. Selected publications include Music in Range: The Culture of Canadian Campus Radio (2015); and “The Radio Host and Piloted Listening in the Digital Age: CBC Radio 3 and Its Online Listening Community” (2017).
Paper presentations are no longer than 20 minutes and lecture recitals should be no longer than 30 minutes, all followed by a 10-minute question period. For compositions, please send submission samples in either an MP3 or MP4 format, or a URL link. If attaching a score, please format it as a PDF file.
Please submit an abstract of no longer than 350 words as a Word or PDF attachment to firstname.lastname@example.org no later than Sunday, March 15, 2020. In the body of the email, please include name, affiliation, contact information and A/V requirements.
If you have any questions, please do not hesitate to contact us at email@example.com. We look forward to your submissions!
CALL FOR PAPER PROPOSALS FOR FSAC 2020
The Annual Conference of the Film Studies Association of Canada
Martin Walsh Memorial Lecture: Sylvia D. Hamilton, Rogers Chair in Communications, University of King’s College
Gerard Pratley Award: Oriane Morriet (Université de Montréal): « L’empathie : le choix des auteurs québécois et canadiens des oeuvres en réalité virtuelle ? »
FSAC is now seeking proposals for the 2020 conference in London, Ontario, on the traditionallands of the Anishinaabek, Haudenosaunee, Lūnaapéewak and Attawandaron (Neutral) people.
We welcome proposals for:
- Individual presentations
- Pre-constituted panels
- Workshops or round-tables
- Screenings, exhibitions and other events—on topics related to the Congress theme, or on any other film or media studies topic
Proposal Submission Deadline: January 15, 2020
Please note that proposals will be only be considered from applicants who are paid up members of the association. Memberships may be obtained/renewed here: http://www.filmstudies.ca/membership
Submit proposals by email to: firstname.lastname@example.org
- In an email, include applicant name, affiliation, short bio (50 words or less), and paper title
- Attach a 500 word abstract (with title) and 3-5 bibliographic references. Abstracts will be blind- reviewed; please do not include name or affiliation in the attachment.
Pre-constituted panels should be submitted by the proposed panel chair and include individual proposals (in the format above) with the title of the proposed panel indicated on each abstract.
Workshop and Roundtable proposals should include the following information:
- Chair’s name, rank/status, institutional affiliation and email address
- Title of workshop or roundtable
- Abstract describing the theme/issue to be considered (350-500 words)
- List of participants including name, rank/status, institutional affiliation, and email
- Description of their contribution
- Four relevant keywords
- 4-6 bibliographic references
* You should plan to participate in a maximum of two forums, neither of which may be the same in kind. For example, you may propose and deliver a paper and submit a workshop proposal, but you may not submit two individual paper proposals (whether single or co- authored).
Additional information and instructions:
- Presentations may be in either English or French.
- Individual presentations are to be no longer than 20 minutes (including clips).
- The length of presentations on panels, workshops, and/or round-tables may vary depending on the specific constitution of the session.
- All proposals will be adjudicated by the Programming Committee.
- All papers presented at the FSAC Conference must be original works. Proposals for previously presented papers will not be accepted.
Graduate Student Funding
• Partial financial compensation for student members’ travel to attend the annual general meeting may be provided by the Association. For more details and the application form, visit http://www.filmstudies.ca/category/grad-students
All conference presentation rooms will have video/data projectors, screens, basic sound systems, and connections for laptop computers.
Conference Organizing Committee
Program Chair: Peter Lester (President, FSAC)
Department of Communication, Popular Culture, and Film, Brock University Office phone: (905) 688-5550 x3822
Local Arrangements Coordinator: Janelle Blankenship Department of English and Writing Studies, Western University Office phone: (519) 661-2111 ext. 87882
APPEL À COMMUNICATIONS POUR LE CONGRÈS DE L’ACÉC 2020
Colloque annuel de l’Association Canadienne d’Études Cinématographiques
2 – 4 juin, 2020
L’Université Western, London, Ontario
Tenu dans le cadre du Congrès des sciences humaines
Le thème du congrès 2020: « Bâtir des passerelles : combattre le colonialisme et le racisme anti-Noirs »
Conférence commémorative Martin Walsh : Sylvia D. Hamilton, Rogers Chair in Communications, University of King’s College
Conférence de prix Gerald Pratley : Oriane Morriet (Université de Montréal) : « L’empathie : le choix des auteurs québécois et canadiens
des oeuvres en réalité virtuelle ? »
L’ACÉC sollicite des propositions de communication pour son colloque annuel qui se tiendra du 2 au 4 juin 2020 à London, Ontario, sur les terres traditionnelles des nations Anishinaabek, Haudenosaunee, Lūnaapéewak et Attawandaron (Neutres).
Nous accueillons des propositions :
- de communication individuelle
- de panel préconstitué
- d’atelier ou de table ronde
- de projection, d’exposition ou de tout autre événement portant sur des sujets liésau thème du colloque ou sur tout autre sujet lié aux études cinématographiques ou médiatiques
Date limite pour soumettre les propositions : 15 janvier 2020
Veuillez prendre note que vous devez être membre de l’Association au moment de la soumission de votre proposition – autrement, votre proposition ne sera pas considérée. Vous pouvez vous inscrire ou renouveler votre inscription ici : http://www.filmstudies.ca/membership?lang=fr
Envoyez vos propositions à : email@example.com
Format des propositions :
• Dans un message électronique, indiquez votre nom, votre affiliation, une courte notice bio-bibliographique (50 mots ou moins) et le titre de votre communication.
• En pièce jointe, attachez votre proposition de communication (500 mots) ainsi que votre titre et 3-5 références bibliographiques. Puisque les propositions seront évaluées à l’aveugle, prière de ne pas inclure votre nom ni votre affiliation dans la pièce jointe.
Pour les panels préconstitués : les propositions seront soumises par le responsable du panel et doivent inclure toutes les propositions individuelles (suivant le format ci- dessous). Vous devez inclure le titre du panel sur chacun des résumés.
Les propositions de table ronde et d’atelier doivent inclure les informations suivantes :
- Nom du responsable de panel, poste/statut, affiliation et adresse courriel
- Titre de l’atelier ou de la table ronde
- Résumé décrivant le thème/sujet qui sera abordé (350-500 mots)
- Liste des participant.e.s incluant leur nom, poste/statut, affiliation, et courriel
- Descriptions des contributions des participant.e.s
- Quatre mots clés
- 4-6 références bibliographiques
* Veuillez noter que vous ne pouvez participer qu’à deux événements du colloque. Ces événements ne doivent pas être de même nature. Par exemple, vous pouvez proposer une communication et un atelier, mais vous ne pouvez pas proposer deux communications (que vous soyez auteur.e unique ou co-auteur.e).
Informations et instructions supplémentaires :
- Les présentations peuvent être en français ou en anglais.
- Les communications individuelles ne doivent pas dépasser 20 minutes (incluant la présentation d’extraits).
- La durée d’un panel, d’un atelier ou d’une table ronde peut varier selon leur organisation.
- Toutes les propositions de communication seront évaluées par le comité organisateur du colloque.
• Toutes les communications présentées à la conférence annuelle de l’ACÉC doivent être originales. Elles ne doivent être pas avoir été publiées ni présentées ailleurs. Les propositions de communications antérieures ne seront pas acceptées.
L’Association sera en mesure de fournir des compensations financières partielles pour le déplacement des membres étudiant.e.s qui seront présent.e.s à l’assemblée générale annuelle. Visitez notre site pour plus de détails et pour accéder au formulaire d’application : http://www.filmstudies.ca/category/grad-students.
Toutes les salles de conférence du colloque seront équipées de projecteurs numériques, d’écrans, de systèmes de son, et de connexions pour les ordinateurs portables.
Comité d’organisation du colloque
Président du programme : Peter Lester (Président, ACÉC)
Department of Communication, Popular Culture and Film, Brock University Téléphone: (905) 688-5550 x3822
Coordonnatrice locale : Janelle Blankenship
Department of English and Writing Studies, Western University Office phone: (519) 661-2111 ext. 87882
6-8 July 2020
At OCAD University, Toronto
Co-Hosted by OCAD University, Ryerson University, and York University
Kara Keeling (University of Chicago) Brian Price (University of Toronto) two more TBA
We invite proposals for presentations on any subject related to film, media and philosophy for the Film-Philosophy Conference 2020 to be held at OCAD University and the TIFF-Bell Lightbox in Toronto. There is no overall theme or specialized topics for the conference. We will instead use a “track” system that provides a number of broad headings to which a presenter may wish to attach their submission. There is, of course, an Open track if you feel that your paper does not fit within any of the other tracks. The tracks for 2020 are (in alphabetic order):
• Affect and Emotion
• The Animal and the Non-Human
• Canadian Cinema
• Documentary and Essay Films
• Emergent Film-Philosophies
• Expanded Cinema, Film Installation,
• Film and Critical Race Theory
• Film-Philosophy Canon
• Film-Philosophy Pedagogy
• Gender and Feminism
• Indigeneity and Fourth Cinema
• New Materialism and Object-Oriented
• New Media and Technologies
• Political Film-Philosophy
• Queer approaches to Film-Philosophy • Realism
• Religion, Secularism, Postsecularism • Workshops
We are only accepting individual proposals for presentations of 20 minutes.
We do not accept group proposals, except for Workshops. We are open to workshops that have alternative and innovative formats that provoke discussion and debate. If you have any ideas for a workshop – in format or content – please contact one of the conference directors before submitting an official abstract via the website.
We invite 300-word abstract proposals to be submitted by 31 January 2020. All abstracts will be considered by at least two members of the conference committee and decisions will be announced in March 2020.
Please direct all enquiries regarding the conference to the conference e- mail: FPToronto2020@gmail.com
From Annihilation to High Life:
Feminist Posthumanism and Postfeminist Humanism in
Contemporary Science Fiction Film
Joint panel of the Posthumanism Research Network and FSAC
Annual Meeting of the Film Studies Association of Canada(FSAC), June 02-04, 2020, University of Western Ontario, London (ON)
Organizers: Julia Empey (WLU) and Russell Kilbourn (WLU)
Deadline for submission of abstracts: January 06, 2020
In 2018 two films were released—Claire Denis’ High Life and Alex Garland’s Annihilation—representing two different poles of contemporary SF film narrative, and two different explorations of specific posthumanist (as well as transhumanist) themes. The two films are similar to the extent that they challenge the Enlightenment Humanist narrative that has dominated Western thought for the last four centuries. Annihilation and High Life can be conceived as two ends of a spectrum of contemporary SF cinema intimately invested in the debates around the posthuman and the critical posthumanities within a feminist critical-theoretical context. The decentring of the human at the core of posthumanist thought has its corollary—indeed, its typological anticipation—in feminism’s de-centring of ‘man.’ That neither of these transformations has entirely succeeded is a problem that informs the story in each of these films, albeit from entirely different perspectives, with a radically different audiovisual language in each case.
In Rosi Braidotti’s (2019) terms, we are now living “the posthuman predicament” resulting from the convergence of the ongoing critique of a Eurocentric Humanist philosophical legacy and the anthropocentric habits of representation it supports. According to Cecilia Åsberg (2018), critical posthumanism is in an important sense exemplified in feminist theory, “long critiquing the centrality of the figure of Man for its gender chauvinism.” Arguably, the (dis-)embodied female could be the ultimate posthuman subject. This panel seeks to place posthumanism and feminism in direct conversation as mediated through contemporary science fiction films. Both posthumanism and feminism aim to counter or dismantle a masculinist, patriarchist Enlightenment Humanism, and SF cinema has been putting these seemingly disparate schools of thought into dialogue for some time now. Where typically the mention of SF in the posthumanist context brings a whole set of (often clichéd) transhumanist tropes to mind—the cyborg, technologically augmented bodies, AI subjectivities, etc.—we encourage instead the submission of papers that either: (a) prioritize analyses of specific examples of contemporary SF cinema that engage in meaningful ways with the burgeoning field of critical posthumanism; or (b) utilize such films as case studies in the interrogation of posthumanist and feminist as well as humanistic ideas. In either case, papers grounded in formal film analysis are strongly encouraged.
Possible topics and films include, but are not limited to:
- Feminist alterities
- Posthuman ecologies
- Posthuman subjectivities
- Gender before and behind the camera in SF film
- Futurism (both Italian and its newer incarnations)
- New materialism
- Gendered cyborgs
- Posthuman femininity/masculinity
- Scarlett Johansson
- Natalie Portman
- Arrival (2016, Denis Villeneuve)
- Blade Runner(1982, Ridley Scott)
- Blade Runner 2049(2017, Denis Villeneuve)
- Ex Machina(2014, Alex Garland)
- Her(2013, Spike Jonze)
- Lucy(2014, Luc Besson)
- Metropolis(1928, Fritz Lang)
- Under the Skin(2013, Jonathan Glazer)
Authors are invited to submit a 500-word abstract for a paper of max. 20 minutes reading time as well as a 250-word biographical note. The deadline for submitting an abstract is Monday January 06, 2020.
Notification of acceptance will be sent by early February.
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