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HoMER 2019 CfP Conference 2019, Nassau, The Bahamas, 26–28 June 2019

Hosted by The University of the Bahamas

CfP – Anchoring New Cinema History

Deadline for proposals, 15 November 2018
Letters of acceptance/rejection, 1 December 2018

The HoMER Network invites submissions for general paper entries, as well as a designated roundtable, panels, and workshops to be presented at the 2019 conference, which will take place at The University of the Bahamas from 26-28 June 2019.

New Cinema History, as an approach focusing “on the circulation and consumption of film” and examining “cinema as a site of social and cultural exchange” (Richard Maltby, 2011) has turned out to be very productive. It brought together both young and veteran scholars who believed that it was more fruitful writing film history with an eye for the social, economic and geographical aspects of cinema cultures, than merely an art history of the moving image or a critical reading of films. At the last HoMER@NECS conference in Amsterdam, members of the panel ‘New Cinema History: What’s Next?’ called for more theoretical and methodological grounding of our research. In the Homer 2019 conference Anchoring New Cinema History we would like to start answering that call. Presentations are welcome to critically explore the conference theme of Anchoring New Cinema History through the interdisciplinary lens of academic Film and Cinema Studies, Social Geography, Memory Studies and Economic History, etc.

Since its beginning the HoMER network has been instrumental in bringing together researchers working in the New Cinema History tradition, not just as a platform to present their work but also as place to meet colleagues to collaborate with. In the upcoming HoMER conference we propose to stress the network function of HoMER, both in welcoming young scholars as in creating interdisciplinary opportunities for collaborative work. The 2019 HoMER conference aims to exploit the established strong connections of people, and places the HoMER network can offer, in order to invite new and old members to engage in new collaborative research. This will be articulated in two main streams:

1. SPACES and PLACES – Connections and comparisons (either pre-constituted panels or individual papers)

The SPACES andPLACES Stream of the conference will aim to investigate the geography of cinema. This can be expressed both through the exploration of familiar and new spaces of cinemas, such as cinema theatres but also pop-up cinemas, community cinemas, and virtual cinemas. It will also include both well researched geographical areas and new territories and locations, such as South and Central America, Africa, Central Asia and South-East Asia. These new uncharted territories will be of great value on their own to reconnoitre the position of different countries in relation to cinema practises. They will also provide connections and comparisons with existing body of work on Europe, America, Canada and Australia.

By looking at this extended geography of cinema, possible topics and questions to explore might include (but are certainly not limited to):

  1. Environment, space, and place
  2. Cinemas and urban transformations, transition and change
  3. Cinema practices, policies and external bodies (local authorities, communities, self regulating associations)
  4. Memories and topographical references

2. THEORIES AND METHODOLOGIES – (special discussion sessions and presentations)

The THEORIES AND METHODOLOGIES Stream of the HoMER conference will provide an opportunity to reflect on and discuss some key areas of research within the HoMER network, with the aim of suggesting new directions in the field and developing new theoretical and methodological approaches, or reintroducing and adapting existing approaches that proved to be useful. These key areas can be suggested by members when submitting a paper proposal (or just by emailing the HoMER Co-ordinators). A dedicated session of this stream will include:

Small group discussion (1 hour) on the key areas, followed by presentations (10 min) to the HoMER participants and a further discussion (20 min). Possible key areas to explore might include (but are certainly not limited to): Cinema and Memory; the Economics and business of film; Programming and film popularity; Paratextual analysis; the Digital challenge; Distribution and spreading of films; Impact of research to non-academic audiences.

Moreover, in a speed dating session, junior researchers will be given the opportunity to team up with experts to discuss their individual methodological and theoretical concerns. If you are interested in this (both juniors and experts), please email the Co-ordinators.

Submissions

Please send abstracts of 250 to 300 words, plus 3 or 4 bibliographic entries, and a 50-word academic biography to conference co-ordinators, Clara Pafort-Overduin (c.pafort-overduin@uu.nl) and Daniela Treveri Gennari (dtreveri-gennari@brookes.ac.uk).

Updated Information will be posted at: http://homernetwork.org/

 

\\ The English version follows the French version.

Professeur ou professeure en Économie du cinéma et des médias
Faculté des Arts et des sciences
Département d’histoire de l’art et d’études cinématographiques

Description du poste
Le Département d’histoire de l’art et d’études cinématographiques sollicite des candidatures pour un poste de professeur.e à temps plein au rang d’adjoint.e en Économie du cinéma et des médias.

Fonctions
La personne retenue sera appelée à enseigner aux trois cycles, à encadrer des étudiants aux études supérieures, à superviser des stages, à poursuivre des activités de recherche, de publication et de rayonnement ainsi qu’à contribuer aux activités de l’institution.

Exigences

  • Doctorat en études cinématographiques ou dans une discipline pertinente pour le poste.
  • Expérience dans l’enseignement universitaire
  • Dossier de publications et de recherche en économie du cinéma et des médias
  • Compétence pour dispenser des cours relatifs au cinéma et aux médias dans leurs dimensions socio-économiques : la production, l’exploitation, les publics et la diffusion.
  • Avoir une connaissance suffisante de la langue française (écrite ou parlée) ou être
    déterminé à l’apprendre *

Informations sur le poste
No d’affichage: FAS 09-18 /10
Période d’affichage: Jusqu’au 5 novembre 2018 inclusivement
Traitement: L’Université de Montréal offre un salaire concurrentiel jumelé à une gamme complète d’avantages sociaux.
Date d’entrée en fonction: Le ou après le 1er août 2019

Soumission de candidature

  • Le dossier de candidature doit être constitué des documents suivants:
    • une lettre de motivation
    • un curriculum vitæ
    • un des évaluations d’enseignement au niveau universitaire (si disponibles)
    • choix de trois publications ou de travaux de recherche récents
  • Le dossier doit également comporter trois lettres de recommandation. Celles-ci doivent être transmises directement par leur auteur au Département.

Le dossier de candidature et les lettres de recommandation doivent parvenir à la directrice du Département d’histoire de l’art et d’études cinématographiques au plus tard le 9 novembre 2018 à l’adresse suivante :

Madame Suzanne Paquet, directrice
Département d’histoire de l’art et d’études cinématographiques, Pavillon Lionel-Groulx
Faculté des arts et des sciences – Université de Montréal
C. P. 6128, succursale Centre-ville
Montréal (QC) H3C 3J7

Le dossier de candidature peut être également envoyé sous forme électronique à l’adresse suivante : pascale.roussel.1@umontreal.ca
Les personnes intéressées trouveront plusieurs informations sur le Département en consultant son site Web à l’adresse : https://histart.umontreal.ca/accueil/

________________________________________
*Politique linguistique de l’Université de Montréal
L’Université de Montréal est une université québécoise de langue française, à rayonnement international. Dans le cadre du renouvellement de son corps professoral, elle intensifie le recrutement des meilleures spécialistes dans le monde et s’assure par ailleurs que, conformément à la Politique linguistique de l’Université de Montréal, les professeurs qu’elle recrute qui ne maîtrisent pas le français à leur entrée en fonction bénéficient d’un programme de soutien à l’apprentissage de la langue française.

Privilège de confidentialité des candidatures
Les procédures de nomination en vigueur à l’Université de Montréal prévoient que tous les dossiers de candidature peuvent être consultés par les membres de l’Assemblée des professeurs. Toute personne désirant que sa candidature demeure confidentielle jusqu’à l’établissement de la liste restreinte de recrutement (candidats retenus pour entrevue) est priée de le mentionner dans sa lettre de motivation.

Programme d’accès à l’égalité en emploi
Par l’entremise de son programme d’accès à l’égalité en emploi, l’Université de Montréal invite les femmes, les Autochtones, les minorités visibles, les minorités ethniques et les personnes handicapées à soumettre leur candidature. Lors du recrutement, nos outils de sélection peuvent être adaptés selon les besoins des personnes handicapées qui en font la demande. Soyez assurés de la confidentialité de cette information. L’Université prône l’inclusion et la diversité de son personnel et encourage également les personnes de toutes orientations et identités sexuelles à poser leur candidature.

Exigences en matière d’immigration
Nous invitons tous les candidats qualifiés à postuler à l’UdeM. Conformément aux exigences de l’immigration au Canada, veuillez noter que la priorité sera toutefois accordée aux citoyens canadiens et aux résidents permanents.

 


Professor in Economics of Film and Media
Département d’histoire de l’art et d’études cinématographiques
Faculté des arts et des sciences

Job description
The Département d’histoire de l’art et d’études cinématographiques is seeking applications for a full-time tenure-track position at the rank of Assistant Professor in Economics of Film and Media.

Responsibilities
The appointed candidate will be expected to teach at all three levels of the curriculum, supervise graduate students, oversee internships, engage in ongoing research and publication, and contribute to the academic life and reputation of the University.

Requirements

  • Ph.D. in Film Studies or another discipline related to the position.
  • Strong publication record in the economics of film and media.
  • Teaching experience at university level.
  • Expertise in the delivery of courses relating to the socio-economic dimensions of film and media including production, distribution and reception.
  • Adequate knowledge of the French language (written and spoken) or a strong commitment to achieving the proficiency level required*.

Information about the position
Posting number: FAS 09-18 /10
Deadline: November 9, 2018 inclusively.
Treatment: The Université de Montréal offers competitive salaries and a full range of benefits.
Starting date: On or after August 1, 2019

Application

  • The application must include the following documents:
    • a cover letter
    • a curriculum vitæ
    • copies of recent publications and research
    • teaching evaluations at the university or college level (if available)
  • Three letters of recommendation are also to be sent directly to the department chair by the referees.

Application and letters of recommendation must be sent to the chair of the Département d’histoire de l’art et d’études cinématographiques at the following address:

Madame Suzanne Paquet, Chair
Département d’histoire de l’art et d’études cinématographiques, Pavillon Lionel-Groulx
Faculté des arts et des sciences — Université de Montréal
C. P. 6128, succursale Centre-ville
Montréal (QC) H3C 3J7

The complete application should be sent preferably in electronic form to the following email : pascale.roussel.1@umontreal.ca
For more information about the Department, please consult its Web site at: https://histart.umontreal.ca/accueil/
___________________________________
* Language Policy
Université de Montréal is a Québec university with an international reputation. French is the language of instruction. To renew its teaching faculty, the University is intensively recruiting the world’s best specialists. In accordance with the institution’s language policy, Université de Montréal provides support for newly-recruited faculty to attain proficiency in French.

Confidentiality
The Université de Montréal application process allows all regular professors in the Department to have access to all documents unless the applicant explicitly states in her or his cover letter that access to the application should be limited to the selection committee. This restriction on accessibility will be lifted if the applicant is invited for an interview.

Equal Access Employment Program
Through its Equal Access Employment Program, Université de Montréal invites women, Aboriginal people, visible and ethnical minorities, as well as persons with disabilities to apply. During the recruitment process, our selection tools will be adapted to meet the needs of people with disabilities who request it. Be assured of the confidentiality of this information. Université de Montréal is committed to the inclusion and the diversity of its staff and also encourages people of all sexual and gender identities to apply.

Immigration Requirements
We invite all qualified candidates to apply at UdeM. However, in accordance with immigration requirements in Canada, please note that priority will be given to Canadian citizens and permanent residents.

 

THE MEL HOPPENHEIM SCHOOL OF CINEMA

FACULTY OF FINE ARTS, CONCORDIA UNIVERSITY

Tenure-Track Faculty Position in Critical Sexuality Studies in Film and Media

Concordia University’s Mel Hoppenheim School of Cinema in the Faculty of Fine Arts invites applications for a full-time, tenure-track faculty position in Critical Sexuality Studies in Film and Media to begin August 1, 2019.


Position Description

Film Studies at Concordia University is an internationally renowned leader in scholarship and curriculum devoted to the study of sexuality, gender, and queer film and media. Having participated as a co-founder and co-leader of the Minor in Interdisciplinary Studies in Sexuality since its establishment in 1999, the program has drawn hundreds of students to Montreal over the past twenty years. Integral to Film Studies and its undergraduate and graduate programs are pioneering courses that address the role of cinema and media in sexuality and queer study. Notably, Concordia hosted the first undergraduate class in North America devoted to the study of HIV as a cultural and political phenomenon and actively maintains the Queer Media Database (www.mediaqueer.ca).

We are seeking candidates with expertise in LGBTQ+ approaches to film and media. Applicants must display an outstanding record of research and teaching across these areas, as well as a strong commitment to interdisciplinary inquiry and the support of diverse communities. The ideal candidate will value intersectionality and integrate this into their research, teaching, and service.  


Responsibilities

The successful candidate will be expected to teach specialized courses on LGBTQ+ topics alongside more general Film Studies classes. Their courses will contribute to the new BA Major in Interdisciplinary Studies in Sexuality, housed in the Simone de Beauvoir Institute. Other responsibilities include the supervision of MA and PhD theses, serving on graduate committees, in addition to performing suitable administrative duties. Over time, the selected candidate will actively embrace program stewardship and engage in committee work at the department and Faculty levels.


Qualifications

Applicants should hold a PhD in Film, Media, Cultural Studies, or a related discipline(s), have substantial teaching experience at the university level, and demonstrate an active program of research exemplified by a record of publications across the relevant fields. We require a candidate with the ability to mentor students at the undergraduate and graduate levels. Prior experience of service and commitment to diversity and inclusivity will stand as a high priority. Although classes are taught in English, a foundation in French is deemed an asset.


About the Faculty and the School of Cinema

With over 4,000 students, faculty, and staff, the Faculty of Fine Arts is among the five largest art and design schools in North America. Montréal, our home, is exceptional: with 170,000 university students, a vibrant cultural scene, and the most affordable tuition in Canada, the city ranks among the top ten best destinations in the world for tertiary education. While supporting a significant Anglophone population, Montréal is the second largest French-speaking city after Paris. North America’s number one choice for international events and festivals, Montréal was the first metropolis to be designated a UNESCO City of Design by the Global Alliance for Cultural Diversity. Nestled in the heart of this pulsing city, embraced by a dynamic research university, the Faculty of Fine Arts benefits from extraordinary access to brilliant practitioners, thriving venues, cross-cultural perspectives, and an extensive network of outstanding facilities for research and production.

Taking advantage of our place within the rich fabric of a research university and our long history as one of the premiere sites in Canada for the study and creation of the arts and arts-based scholarship, the Faculty of Fine Arts is currently engaged in a transformative moment in which pedagogical, conceptual, theoretical, and material practices find resonance with a significant diversity of approaches. In our university community, live performance, historical research, methodological innovation, theoretical scholarship, technical experimentation, skills-based production, community fieldwork, as well as traditional and digital fabrication are equally valued. In addition to curricular experimentation, the formation of significant research centres and external partnerships in the Faculty of Fine Arts have enriched opportunities for faculty and students.

The Mel Hoppenheim School of Cinema—Canada’s largest university-based centre for the study of film animation, film production and film studies—is highly regarded around the world. The School hosts programs in Film Studies, Film Production, and Film Animation. Among the degrees offered are a BFA in Film Studies, a BFA in Art History and Film Studies, MAs in Film Studies and Cinematic Arts, and a PhD in Film and Moving Image Studies that attracts a diverse and international student body.


How to Apply

Applications should be submitted electronically to filmstudies.cinema@concordia.ca on or before November 15, 2018. Submissions must consist of a cover letter; curriculum vitae; a statement of teaching philosophy and interests; evidence of teaching effectiveness (including course syllabi and evaluations); one example of published scholarly work (a peer-reviewed article/chapter in the area of expertise relevant to this call); and the names and contact information of three referees. Short-listed candidates will be required to provide an attestation of terminal degree. The department regrets that they cannot consider incomplete applications.

All inquiries regarding this position should be directed to:

Dr. Haidee Wasson, Professor and Chair, School of Cinema Hiring Committee
Email: haidee.wasson@concordia.ca
Tel: 514-848-2424 ext. 5236

To learn more about working at Concordia, applicants are encouraged to consult the following webpages:

Concordia Human Resources-Jobs: http://www.concordia.ca/hr/jobs.html

Mel Hoppenheim School of Cinema: http://www.concordia.ca/finearts/cinema.html

Simone de Beauvoir Institute: http://www.concordia.ca/artsci/sdbi.html

Faculty of Fine Arts: http://www.concordia.ca/finearts.html

 

Subject to budgetary approval, we anticipate filling this position, normally at the rank of Assistant Professor, for August 1, 2019. Appointments at a more senior level will also be considered. Review of applications will begin on November 15, 2018 and continue until the position is filled.

Concordia University is strongly committed to employment equity within its community, and to recruiting a diverse faculty and staff. The University encourages applications from all qualified individuals, including women, members of visible minorities, Indigenous persons, members of sexual minorities, persons with disabilities, and others who may contribute to diversification; candidates are invited to self-identify in their applications. All qualified candidates are encouraged to apply; however, Canadians and Permanent Residents will be given priority. 

To comply with the Government of Canada’s reporting requirements, the University is obliged to gather information about applicants’ status as either Permanent Residents of Canada or Canadian citizens. Applicants need not identify their country of origin or current citizenship; however, all applications must include one of the following statements:

Yes, I am a citizen or permanent resident of Canada; or

No, I am not a citizen or permanent resident of Canada.

 

Two Posts in Film and Media at Queen’s University! Please circulate widely and direct all queries to Professor Gary Kibbins, Dept. Head, gk6@queensu.ca

1) Film and Media – Assistant Professor (Media Studies)

The Department of Film and Media at Queen’s University invites applications from suitably qualified candidates for a tenure-track position in Media Studies at the rank of Assistant Professor commencing July 1, 2019. The successful candidate will hold a PhD and will be an outstanding scholar and teacher with a strong and active research program in critical media theory and/or digital media theory and at least two years of teaching experience.

The successful candidate will have interdisciplinary and transnational links in their research program, demonstrated potential for research funding and publication, and a track record for collaborative initiatives. The successful candidate’s research profile should be strong enough to attract graduate students to the Graduate Program Film and Media, which will be launched in 2019. They must be willing to contribute to departmental and university service.

The successful candidate will be an excellent teacher at all levels of our undergraduate and graduate programs. While this is an open call position, we are especially interested in candidates with interests in areas including, but not limited to: social media; digital arts; television; gaming; theories of expanded media; media and cultural studies; and/or advertising and consumer culture. Candidates with expertise in these areas with a focus on gender studies, LGBTQ2S studies, and/or critical race studies are especially encouraged to apply.

The Department of Film and Media at Queen’s has an outstanding reputation of strong teaching and scholarship, with a 50-year history based in a commitment to the intersection of theory and practice. The Department is housed in the Isabel Bader Centre for the Performing Arts, a state-of-the-art facility with teaching and learning environments including a production studio, film screening theatre, sound recording studio, and a digital lab. The Department of Film and Media has collaborations with Computing (with a program called Computing and the Creative Arts) and the Dan School of Music and Drama (with the Stage and Screen program).

Candidates must have a PhD in hand, demonstrated excellence in an active research program, and at least two years teaching experience. The Department is interested in candidates with a very strong teaching and research profile.

The University invites applications from all qualified individuals. Queen’s is committed to employment equity and diversity in the workplace and welcomes applications from women, visible minorities, Aboriginal peoples, persons with disabilities, and LGBTQ persons. All qualified candidates are encouraged to apply; however, in accordance with Canadian immigration requirements, Canadian citizens and permanent residents of Canada will be given priority.

To comply with federal laws, the University is obliged to gather statistical information as to how many applicants for each job vacancy are Canadian citizens / permanent residents of Canada. Applicants need not identify their country of origin or citizenship; however, all applications must include one of the following statements: “I am a Canadian citizen / permanent resident of Canada”; OR, “I am not a Canadian citizen / permanent resident of Canada”. Applications that do not include this information will be deemed incomplete.

A complete application consists of:

  • A cover letter (including one of the two statements regarding Canadian citizenship / permanent resident status specified in the previous paragraph);
  • A current Curriculum Vitae (including a list of publications);
  • The names and contact information for three (3) referees;
  • A research dossier with three (3) writing samples;
  • A teaching dossier with at least two outlines for courses previously taught;
  • Course evaluations, and any other relevant materials the candidate wishes to submit for consideration.

Please arrange to have applications sent by email only directly to: Professor Gary Kibbins, Head of the Department of Film and Media at gk6@queensu.ca. The deadline for applications is December 14, 2018.

The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during the interview process, please contact Professor Gary Kibbins at gk6@queensu.ca.

Academic staff at Queen’s University are governed by a Collective Agreement between the University and the Queen’s University Faculty Association (QUFA), which is posted at http://queensu.ca/facultyrelations/faculty-librarians-and-archivists/collective-agreementand at http://www.qufa.ca. Remuneration will be in accordance with the Collective Agreement, and appointments are subject to funding or enrolment criteria.

2) Film and Media – Associate Professor (Cinema Studies)

The Department of Film and Media at Queen’s University invites applications from suitably qualified candidates for a position in Cinema Studies at the rank of Associate Professor commencing July 1, 2019. The successful candidate will hold a PhD in Film or a cognate discipline, and will be an outstanding scholar and teacher with an active research project in Cinema Studies and Theory, and at least six years teaching experience. The Department seeks scholars with strong teaching and research profiles.

The successful candidate will have interdisciplinary and transnational links in their research program, a successful history of securing Tri-Council (or comparative) research funding, and demonstrated experience in academic administration. The successful candidate will also have a significant and international publication record, and a track record for collaborative initiatives. The successful candidate’s research profile should be strong enough to attract graduate students to the Graduate Program Film and Media, which will be launched in 2019. They must be willing to contribute to departmental and university service.

The successful candidate will be an excellent teacher at all levels of our undergraduate and graduate programs and have demonstrated experience in production-based assignments in film studies courses. The candidate will have significant research expertise and a publication history in at least two of the following areas: transnational environmental film and media; film and media para-materials (artists’/filmmakers’ written statements and associated discourse); film and public/counter-public spheres; the interface between the analog and the digital in experimental film and media. Experience in curating film and media programs is an asset.

The Department of Film and Media at Queen’s has an outstanding reputation of strong teaching and scholarship, with a 50-year history based in a commitment to the intersection of theory and practice. The Department is housed in the Isabel Bader Centre for the Performing Arts, a state-of-the-art facility with teaching and learning environments including a production studio, film screening theatre, sound recording studio, and a digital lab. The Department of Film and Media has collaborations with Computing (with the Computing and the Creative Arts program) and the Dan School of Music and Drama (with the Stage and Screen program).

The University invites applications from all qualified individuals. Queen’s is committed to employment equity and diversity in the workplace and welcomes applications from women, visible minorities, Aboriginal peoples, persons with disabilities, and LGBTQ persons. All qualified candidates are encouraged to apply; however, in accordance with Canadian immigration requirements, Canadian citizens and permanent residents of Canada will be given priority.

To comply with federal laws, the University is obliged to gather statistical information as to how many applicants for each job vacancy are Canadian citizens / permanent residents of Canada. Applicants need not identify their country of origin or citizenship; however, all applications must include one of the following statements: “I am a Canadian citizen / permanent resident of Canada”; OR, “I am not a Canadian citizen / permanent resident of Canada”. Applications that do not include this information will be deemed incomplete.

A complete application consists of:

  • A cover letter (including one of the two statements regarding Canadian citizenship / permanent resident status specified in the previous paragraph);
  • A current Curriculum Vitae (including a list of publications);
  • The names and contact information for three (3) referees;
  • A research dossier with three (3) writing samples;
  • A teaching dossier with at least two outlines for courses previously taught;
  • Course evaluations, and any other relevant materials the candidate wishes to submit for consideration.

Please arrange to have applications sent by email only directly to: Professor Gary Kibbins, Department Head at gk6@queensu.ca by October 19, 2018.

The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during the interview process, please contact Professor Gary Kibbins, Department Head of Film and Media at gk6@queensu.ca.

Academic staff at Queen’s University are governed by a Collective Agreement between the University and the Queen’s University Faculty Association (QUFA), which is posted at http://queensu.ca/facultyrelations/faculty-librarians-and-archivists/collective-agreementand at http://www.qufa.ca. Remuneration will be in accordance with the Collective Agreement, and appointments are subject to funding or enrolment criteria.

 

The Cinema Studies Institute in the Faculty of Arts and Science at the University of Toronto, St. George campus invites applications for a full-time, tenure-stream position at the rank of Assistant Professor in the area of Race and Media. The position will be effective July 1, 2019, or shortly thereafter.

Candidates must have earned a Ph.D. in Film Studies, Film and Media Studies, or another discipline related to the position as described by the date of appointment or shortly thereafter, with a demonstrated record of excellence in both teaching and research.

The successful candidate will be expected to teach in the undergraduate and graduate programs at the Cinema Studies Institute, in both required core courses and more specialized electives; to supervise and mentor students; to participate in affairs at the Institute; and to pursue innovative and independent research at the highest international level while establishing an outstanding and competitive research program that will expand our current research strengths.  For more information on the Cinema Studies Institute, visit http://www.cinema.utoronto.ca/.

We are seeking applicants with expertise in the roles that race and racialization play in film and media cultures, across local, national, and/or global contexts. In particular, we encourage cinema and media studies scholars who also work in Indigenous studies, Black studies, diaspora studies, and/or postcolonial studies to apply, but we welcome applicants with other methods of approach or areas of specialization as well.

Excellence in research should be demonstrated through the quality of the writing sample submitted as part of the application, a record of publications or forthcoming publications in top-ranked and field-relevant academic journals, a record of presentations at significant conferences, awards and accolades, evidence of an innovative research program, and strong endorsements by referees of high standing.

Excellence in teaching should be demonstrated through a record of teaching accomplishments, letters of reference, and a teaching dossier including a statement of teaching philosophy, sample course syllabi, and teaching evaluations, submitted as part of the application.

Salary will be commensurate with qualifications and experience.

The University of Toronto is one of the world’s top research-intensive universities and, with its multicultural student body and cosmopolitan setting, it offers the opportunity to teach, conduct research, and live in one of the world’s most diverse and dynamic cities.

All qualified candidates are invited to apply by clicking on the link below. Application materials must include a cover letter, a curriculum vitae, a statement outlining current and future research interests, a writing sample of no more than 10,000 words, and a teaching dossier (consisting of a statement of teaching philosophy, sample syllabi, and teaching evaluation data).

Applicants must also arrange to have at least three external referees send letters of recommendation (signed and on institutional letterhead) directly to the Institute via email to Denise Ing, Assistant to the Institute’s Director, at cinema.director@utoronto.ca.

All application materials and reference letters must be received before the closing date of November 1, 2018. Submission guidelines can be found at: http://uoft.me/how-to-apply. We recommend combining attached documents into one or two files in PDF/MS Word format. If you have questions about this position, please contact Denise Ing at cinema.director@utoronto.ca.

The University of Toronto is strongly committed to diversity within its community and especially welcomes applications from racialized persons/persons of colour, women, Indigenous/Aboriginal People of North America, persons with disabilities, LGBTQ persons, and others who may contribute to the further diversification of ideas.

As part of your application, you will be asked to complete a brief Diversity Survey. This survey is voluntary. Any information directly related to you is confidential and cannot be accessed by search committees or human resources staff. Results will be aggregated for institutional planning purposes. For more information, please see http://uoft.me/UP.

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.

In order to apply, please visit https://utoronto.taleo.net/careersection/10050/jobdetail.ftl?job=1803789&lang=en

 

 

Graduate students, unwaged and sessional instructors wishing to be reimbursed for travel fees to the 2018 FSAC Annual General Meeting are required to fill out the 2018 FSAC Travel Expense Reimbursement Form and send their receipts to treasurer Kass Banning by email before June 15, 2018. For more information and answers to common questions, please see the FAQ below.

Les membres étudiants, chargés de cours et travailleurs précaires de l’ACÉC souhaitant se faire rembourser une partie des frais de déplacement à l’AGA doivent remplir le formulaire de remboursement de frais de déplacement et envoyer leurs reçus à la trésorière Kass Banning par courriel avant le 15 juin 2018. Pour de plus amples informations, veuillez consulter la FAQ ci-bas.

 


FAQ

If I couldn’t attend the AGM can I still apply for travel reimbursement if I attended the conference?
NO. The grant is explicitly to fund travel to the AGM.

 

Can I include receipts for accommodation, conference fees, meals, etc.?
NO. 
The grant is explicitly to fund travel only to the AGM.

 

Can I include all travel receipts to the AGM site including ground transportation such as buses and taxis to and from the airport?
NO. Priority is given to reimbursing you for your primary means of travel (flight, or long-distance bus or train) to the AGM. Additional travel to/from the airport, train station, etc. will not be funded.

How much will I receive?
DEPENDS. There is a limited pool of funding and all eligible applications will receive funding, but how much depends on the number of requests.
In the past few years, requests have exceeded the funding and applicants have received a portion of their travel costs reimbursed.

 

Is the funding competitive?
NO. Everyone who is eligible will receive funding with priority given to students.

 

I’m tenured faculty. Can I apply?
YES. However, you will only be reimbursed if there is funding remaining after all student requests have been reimbursed first. (In past years, there have been no remaining funds after all the student requests are filled).

 

What kind of receipts do you require?
Electronic tickets are fine. Boarding passes if they have the ticket amount. Any bus or train ticket stub that indicates the cost of the ticket is acceptable. You should keep a copy of all travel receipts submitted.

 

Can I still get reimbursed if I drove?
Yes. However, we don’t count mileage. Send in the gas receipt(s) for the date you departed and the day of your return trip.

 

All other inquiries please email k.banning@u.toronto.ca


 

La Foire aux questions

 

Si je n’ai pu assister à l’AGA, puis-je déposer une demande de remboursement de frais de déplacement si, par contre, j’ai assisté au Congrès?
NON. La bourse s’applique explicitement au remboursement de frais de déplacement liés à l’AGA.

 

Puis-je inclure des reçus pour l’hébergement, les frais de congrès, les repas, etc.?
NON. 
La bourse s’applique explicitement et uniquement au remboursement de frais de déplacement liés à l’AGA.

 

Puis-je inclure tous les reçus de déplacement vers le site de l’AGA, y compris le transport terrestre, par exemple les bus et les taxis aller-retour de l’aéroport?
NON. La priorité est accordée au remboursement de vos moyens de transport principaux (vol, bus ou train de grand parcours) à l’AGA. Le transport additionnel (aller-retour à l’aéroport, la gare, etc.) ne sera pas remboursé.

 

Combien vais-je recevoir?
ÇA DÉPEND. Les fonds sont limités et toutes les demandes admissibles recevront un remboursement, mais la somme dépend du nombre de demandes. Au cours des dernières années, les demandes ont dépassé les fonds et les demandeurs ont été remboursés en partie pour leurs frais de déplacement.

 

Le remboursement se fait-il sur une base de concours?
NON. Quiconque est admissible recevra un remboursement et les étudiant(e)s seront remboursé(e)s en priorité.

 

Je suis professeur titulaire. Puis-je faire une demande?
OUI. Toutefois, on ne vous remboursera que s’il reste des fonds une fois que toutes les demandes étudiantes auront été remboursées. Au cours des dernières années, aucun fonds n’est resté après le remboursement aux étudiant(e)s.

 

Quel type de reçu exigez-vous?
Les billets électroniques sont acceptés. Les cartes d’embarquement le sont également si le prix du billet y est inscrit. Tout coupon de bus ou de train qui indique le coût du billet est accepté. Vous devriez conserver une copie de tous les reçus de déplacement soumis.

 

Puis-je être remboursé(e) si je suis venu(e) avec mon auto?
OUI. Toutefois, nous ne tenons pas compte du kilométrage. Prière de nous envoyer le ou les reçus d’essence pour la date de votre départ et celle de votre retour.

 

Pour toute autre question, envoyez un courriel à k.banning@u.toronto.ca

 

2018 FSAC Conference
Click here for the schedule

Le colloque annuel de L’ACÉC, 2018
Cliquez ici pour accéder au programme

 

York University is conducting an extensive search for a Dean, School of the Arts, Media, Performance & Design to take office July 2018 or as soon as possible thereafter, and invites expressions of interest, applications, and nominations.

Home to 53,000 students, York University has an established international reputation as a research-intensive university committed to collegial self-governance, social justice, equity, inclusivity, and diversity. Established in 1959, York has two campuses in the Greater Toronto Metropolitan Region and an upcoming state-of-the-art campus in the City of Markham. As a comprehensive university with 11 Faculties and Schools, 24 research centres, and 280 worldwide partnerships, York is a vibrant intellectual community focused on the highest academic quality, outstanding teaching and learning and student experience, cutting-edge research, and engagement with local, national and international communities. Please visit www.yorku.ca for additional information about the University.

The School of the Arts, Media, Performance & Design (AMPD) is not only one of North America’s premier professional and research institutions, but also has evolved over the years as a leader that emphasizes practice and practice-based research in the arts, digital media and computational arts, and design. Home to 110 faculty members and 2500 undergraduate and 350 graduate students, AMPD is a thriving interdisciplinary environment for creativity and artistic practice, research, and learning in up-to-date facilities. Undergraduate, masters (including MA, MFA, and MDes programs), and doctoral degrees are offered in a range of areas including dance, digital media, cinema and media studies, design, music, performance studies, theatre, and visual art and art history. AMPD welcomes leading arts practitioners and scholars, offers its students unique opportunities to interact with Toronto’s diverse arts community, and will be a significant contributor to innovative programming at the new Markham campus. Please visit http://ampd.yorku.ca for more information.

Reporting to the Vice-President Academic & Provost and a member of York’s senior administration, the Dean of the School of the Arts, Media, Performance & Design is the School’s chief academic and administrative officer, providing strategic direction, academic planning leadership and administrative oversight. The new Dean will lead AMPD to further excellence in teaching, research and service, raise its impact and reputation, and provide leadership in a challenging educational environment by developing key academic priorities and the strategies needed to advance them.

The successful candidate will possess the academic/creative profile and leadership experience to build on the School’s strengths and develop new directions for undergraduate, graduate, and postdoctoral education and research. Experience in and knowledge of a creative and performance arts or cultural sector environment, as well as a relevant advanced degree, is required. With a record of building strong teams and promoting innovative interdisciplinary activities, the new Dean will possess an open and collegial style, a creative approach to problem solving, and outstanding management, communication and interpersonal skills. The new Dean will be able to promote excellence, equity, diversity and inclusion amongst all faculty, staff and students, and have the capacity to build and sustain positive working relationships with a wide variety of internal and external stakeholders.

York University is an Affirmative Action (AA) employer and strongly values diversity, including gender and sexual diversity, within its community. The AA program, which applies to Aboriginal people, visible minorities, people with disabilities, and women, can be found at http://acadjobs.info.yorku.ca/ or by calling the AA office at 416-736-5713. All qualified candidates are encouraged to apply; however, Canadian citizens and Permanent Residents, and others legally entitled to work in Canada for York University will be given priority.

Applicants wishing to self-identify can do so by downloading, completing and submitting the forms found at: http://acadjobs.info.yorku.ca/. Please select the “Affirmative Action” tab under which forms pertaining to Citizenship and AA can be found.

In accordance with the Accessibility for Ontarians with Disabilities Act (AODA), accommodation will be provided by both Laverne Smith & Associates and York University throughout the recruitment process to applicants with disabilities.

Consideration of potential candidates will begin immediately and will continue until the role is successfully filled. Applications should include a letter of introduction, curriculum vitae, and the names of three references (who will not be contacted without consent of the candidate), and may be forwarded electronically, in confidence, to the University’s executive search consultants:

Laverne Smith & Associates Inc.
YorkAMPD@lavernesmith.com

 

Call for papers for a special issue of the journal Arts titled “Memory, Affect, and Cinema.”
Guest editor: Dr. Russell J. A. Kilbourn

http://www.mdpi.com/journal/arts/special_issues/memory_affect_cinema.

Dear Colleagues,

The intersection of memory and cinema is a robust field of research, but the confluence of memory and affect remains underexplored. While memory and emotion are deeply interconnected, affect and emotion are distinct. Affect theory needs to take account of memory studies, particularly in relation to aesthetics and ethics, on the one hand, and to ideology and politics, on the other.

More inclusive and more ‘primal’ than emotion, affect in the context of memory manifests on a spectrum with nostalgia at one end and trauma at the other. In-between lies everything from melancholic detachment to the most ethical empathy. Today’s fascination with affect short-circuits critical reflection, reducing Deleuze’s complex treatment (in Cinema 1) of affect in the movement-image. Film-memory scholars need to think critically about the opposing of thought and emotion, image and body, signification or mediation, (or representation) and affective pre-cognition. For Ruth Leys, affect theory in its post-Deleuzean form is characterized by its resistance to representation and the privileging of consciousness. Theorists of affect are interested primarily in the traumatic-affective effects of media on the viewer. According to Cathy Caruth, where trauma negates the possibility of conscious representation (and therefore memory), the body registers the unspeakable experience affectively, in a manner that precedes representation. Ironically, this somatic registration, manifesting involuntarily in flashbacks and dreams, when translated cinematically demands visual representation. (Indeed, there would be no psychological ‘flashback’ were it not for cinema’s photographic origins.) As in trauma studies, the representability of traumatic experience is a key question for film studies.

At the other end of the memory/affect/cinema spectrum is nostalgia. Apart from spectator nostalgia for specific historical periods or styles, discussions of the intersection of film and memory have generally focused on commercial genre films rather than art cinema. Nostalgia continues to be invoked in a pejorative sense, influencing popular thinking about memory. ‘Memory is not commonly imagined as a site of possibility for progressive politics’, writes Alison Landsberg. ‘More often, memory, particularly in the form of nostalgia, is condemned for its solipsistic nature, for its tendency to draw people into the past instead of the present’. Svetlana Boym distinguishes between ‘restorative’ and ‘reflective’ nostalgia, however, where the latter allows for a combination of critical irony and melancholic longing. Restorative nostalgia, however, is a constitutive feature of many contemporary popular cultural narratives. Rather than an historical consciousness that might allow for individually and socially progressive political action, postmodern pop culture gives us collective memory as often as not packaged in nostalgic terms. Among the first to connect the contemporary fascination with memory and archives with affect and emotionality, Pam Cook re-values nostalgia in relation to both objective ‘History’ and subjective memory, substituting for Jameson’s ‘nostalgia film’ the transnational ‘nostalgic memory film’. This allows us to see that such films can have a usefully heuristic—and therefore potentially emancipatory—if not a properly political impact upon the spectator.

This guest-edited Special Issue aims to provide a cutting-edge perspective on contemporary scholarship examining the intersection of memory and affect in cinema, in terms of either the nostalgic or the traumatic end of the spectrum—or, most productively, from both at once. We invite 3000–5000 word scholarly articles on the theme by 15 August 2018. Potential topic areas could include:

  • nostalgia in/and film
  • trauma in/and film
  • reflective nostalgia as ‘antidote’ to traumatic memory
  • the memory-productive vs. the memory-reflexive film (Astrid Erll)
  • restorative vs. reflective nostalgia (Boym)
  • from Holocaust studies to trauma theory (Caruth)
  • from trauma theory to affect (Leys)
  • from ‘nostalgia film’ to the transnational ‘nostalgic memory film’ (Cook)
  • nostalgia in/and the ‘heritage film’ (Andrew Higson)
  • melodrama, memory, affect
  • Deleuze, the affection image, melodrama
  • the affection image and classical film style
  • the affection image and art cinema?
  • post-cinematic affect and memory (Shaviro)
  • post-affective cinema and memory
  • trauma and the possibility of (visual) representation
  • the ‘universalization of trauma’ and postmemorial ‘affiliative’ affect in the film viewer-as-victim (Richard Crownshaw)
  • second-order trauma (as negative correlative of postmemory)
  • the psychology and/or neuroscience of memory and cinematic viewing.

Dr. Russell J. A. Kilbourn
Guest Editor 

 

CALL FOR PAPER PROPOSALS FOR FSAC 2018

(La version française suit ci-dessous)

The Annual Conference of the Film Studies Association of Canada May 29 – May 31, 2018 University of Regina

Held in conjunction with the CONGRESS OF THE HUMANITIES AND SOCIAL SCIENCES

Congress 2018 Theme: “Gathering Diversities”

  FSAC is now seeking proposals for the 2018 conference in Regina, Saskatchewan (Treaty 4 Territory), May 29 – 31, 2018.  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).

 

New Deadline for Proposal Submission : 31 January 2018

  See NOTE on the deadline for the special Congress 2018 Graduate Student Fund below.

Submit proposals by email to: jennifer.vanderburgh@smu.ca
Subject heading: FSAC 2018 Proposal

Proposal format:

  • 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. As abstracts will be blind- reviewed, please do not include name or affiliation.

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 be submitted with the subject line “FSAC 2018 Workshop/Roundtable Proposal” and 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

* Please note that proposals will be only be considered from applicants who are paid up members of the association.

* Please also note that 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.
  • Please note that by submitting a proposal, you are agreeing to the eventual online posting of your abstract on the FSAC website as part of the expanded conference program.

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
  • This year, the University of Regina is contributing a limited number of $500 Travel Awards to participating Graduate Students who apply for funding by 28 Feb, 2018. For details, visit https://www.congress2018.ca/student-funding

NOTE:

The Congress Travel Award funding portal opens on 15 January and closes 28 February, and will be disbursed on a first-come-first-served basisuntil funds are depleted. It will be circumspect to apply promptly when the portal opens on 15 January. In order to apply you must have submitted a paper proposal at the time you apply for the award, including paper title and the association to which you submitted (FSAC #242). Congress will notify successful applicants in early March, at which point Congress will ask for proof that your paper was accepted by the deadline of March 30.

 

Audio-Visual Needs

All conference presentation rooms will have video/data projectors, screens, Windows-based computers, basic sound systems, connections for laptop computers and DVD players.

 

Conference Organizing Committee

Program Chair: Jennifer VanderBurgh (President, FSAC)
Department of English, Saint Mary’s University

Office Phone: 902-420-5718

jennifer.vanderburgh@smu.ca

 

Local Arrangements Coordinator: Christine Ramsay

Faculty of Media, Art, and Performance, University of Regina

Office Phone: 306-585-4210

Christine.Ramsay@uregina.ca

 

 

 


 

APPEL À COMMUNICATIONS POUR LE CONGRÈS DE L’ACÉC 2018

Conférence annuelle de l’Association Canadienne d’Études Cinématographiques 29-31 mai 2018 Université de Regina

Tenu dans le cadre du CONGRÈS DES SCIENCES HUMAINES

Le thème du congrès 2018: « Diversités convergentes »

  L’ACÉC sollicite des propositions de communication pour son colloque annuel qui se tiendra du 29 au 31 mai 2018 à Regina, Saskatchewan (Territoire du traité no. 4). Nous accueillons des propositions :

  • de communication individuelle
  • de panels préconstitués
  • d’atelier ou de table ronde
  • de projection, d’exposition ou de tout autre événement portant sur des sujets liés au thème du colloque ou sur tout autre sujet lié aux études cinématographiques ou médiatiques

 

Nouvelle date limite pour soumettre les propositions : 31 janvier 2018

  Voir la NOTE ci-dessous pour la date limite des bourses de déplacement pour les étudiant.es dans le cadre du Congrès 2018.

Envoyez vos propositions à : jennifer.vanderburgh@smu.ca
Sujet : FSAC 2018 Proposal / Proposition ACÉC 2018

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 tables rondes et d’ateliers doivent être envoyées avec le sujet « Proposition atelier/table ronde ACÉC 2018 » et 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 prendre note que vous devez être membre (renouvellement ou nouvelle adhésion) de l’Association au moment de la soumission de votre proposition – autrement, votre proposition ne sera pas lue.

* Veuillez noter que vous ne pouvez participer qu’à deux événements de la conférence. 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 unique ou co-auteur).

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 des communications 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.
  • Veuillez noter qu’en soumettant une proposition de communication, vous acceptez la possibilité de voir votre résumé sur le site Internet de l’ACÉC dans une version étendue du programme de la conférence.

Financement étudiant

L’Association sera en mesure de fournir des compensations financières partielles pour le déplacement des membres étudiants qui seront présents 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.

Cette année, l’Université de Regina offrira exceptionnellement un nombre limité de bourses de voyage de 500$ aux étudiant.es qui participeront au Congrès et qui appliqueront pour le financement avant le 28 février 2018. Pour plus de détails, visitez : https://www.congres2018.ca/financement-etudiant

NOTE : Le portail pour soumettre une bourse de voyage pour étudiant ouvre le 15 janvier et se ferme le 28 février.

Les bourses seront octroyées sur un principe de premier arrivé, premier servi, jusqu’à épuisement des fonds. Il serait pour cette raison judicieux de penser présenter une demande au moment où le portail s’ouvrira, le 15 janvier. Pour cela, vous devrez avoir soumis une proposition au moment d’appliquer pour la bourse, incluant le titre de la présentation et l’association à laquelle vous l’avez soumise (FSAC #242). Le Congrès avisera les candidatures sélectionnées en début mars, moment auquel il faudra fournir une preuve d’acceptation avant la date limite du 30 mars.

Matériel audiovisuel Toutes les salles de conférence du colloque seront équipées de projecteurs numériques, d’écrans, d’ordinateurs PC, de systèmes de son, de connexions pour les ordinateurs portables et de lecteurs DVD.

Comité d’organisation du colloque

Présidente du programme : Jennifer VanderBurgh (Présidente, ACEC)
Department of English, Saint Mary’s University
Téléphone: 902-420-5718
jennifer.vanderburgh@smu.ca

Coordonnatrice locale : Christine Ramsay
Faculty of Media, Art, and Performance, University of Regina
Téléphone : 306-585-4210
Christine.Ramsay@uregina.ca