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***English version below***

Appel à propositions de textes
Kinephanos : Revue d’études des médias et de culture populaire
Au-delà de Netflix – Penser la diversité des pratiques et plateformes de télévision en ligne
Sous la direction de Audrey Bélanger & Stéfany Boisvert

Nous sommes à la recherche d’auteurs pour le prochain numéro de Kinephanos qui traite des services de télévision par contournement (over-the-top televisionI) et les plateformes de visonnement en ligne autre que Netflix. Il s’agit d’un numéro multi-disciplinaire, donc nous sommes intéressés par des articles traitant de plusieurs facettes concernant les plateformes de visionnement en ligne (les émissions produites, les stratégies de distribution, les aspects économiques, les catalogues, leur productions maisons, leur cote d’écoute, etc.).

Vous trouverez tous les détails concernant l’appel à propositions de textes dans le document ci-joint ou au
https://www.kinephanos.ca/2018/au-dela-de-netflix-penser-la-diversite-des-pratiques-et-plateformes-de-television-en-ligne-beyond-netflix-studying-the-diversity-of-practices-and-platforms-in-the-era-of-over-the-top-television/.

Nous attendons vos propositions de 500 mots au plus tard le 28 février 2019 au belanger.audrey@uqam.ca et boisvert.stefany@uqam.ca.

Prenez note que la revue Kinephanos accepte les texte en français et en anglais!

Au plaisir de lire vos propositions.

_____

Call for papers
Kinephanos : Journal of media studies and popular culture
Beyond Netflix – Studying the diversity of practices and platforms in the era of over-the-top television
Edited by Audrey Bélanger & Stéfany Boisvert

We are seeking contributions for an upcoming issue of Kinephanos that focuses on over-the-top TV services and streaming platforms other than Netflix. This issue of Kinephanos is multi-disciplinary, and therefore open to articles on any aspect of streaming platforms (their production or distribution strategies, their economics, their catalog, their in-house productions, their audiences, etc.).

There is more information in the attached document or access the website: https://www.kinephanos.ca/2018/au-dela-de-netflix-penser-la-diversite-des-pratiques-et-plateformes-de-television-en-ligne-beyond-netflix-studying-the-diversity-of-practices-and-platforms-in-the-era-of-over-the-top-television/.

If you are interested, please send a 500-word proposal before February 28th 2019 to belanger.audrey@uqam.ca and boisvert.stefany@uqam.ca.

Articles can be in French or in English!

 
***La version française suit ci-dessous***
 
The Canadian Journal of Film Studies is now accepting proposals from prospective editors.
 
Canada’s leading academic peer-reviewed film journal since launching in 1990, the CJFS is published bi-annually by the Film Studies Association of Canada and seeks proposals from prospective editors for a term beginning early 2020.
 
Under the stewardship of outgoing co-editors Marc Furstenau and Jerry White, the CJFS expanded the scope and quality of its scholarship, improved the bilingual character of the journal and, having negotiated a new publishing partnership with the University of Toronto Press, reached new constituencies of readers and contributors both online and in-print.  The Editorial Board thanks them for their service, congratulate them for their success, and looks forward to building upon their achievements with a new editor or editorial team.
 
Responsibilities: The CJFS publishes two issues a year and the Editor is responsible for administering the process by which submissions are received, reviewed, and prepared for publication using a state-of-the-art content management system administered by the University of Toronto Press Journals division.  In partnership with the Chair of the Editorial Board and UTP Journals, the Editor will oversee the design and production of the journal.  In addition, the Editor collaborates with the Editorial Board in the preparation, implementation and review of policy and procedures concerning all operations of the Journal on behalf of the Film Studies Association of Canada.
 
Applications for the position should be received by the Chair of the Editorial Board no later than March 15th, 2019 and include the following:
  1. Statement of Editorial Philosophy: Please provide a letter outlining your editorial vision for the CJFS, its ongoing role within the global community of scholars established by the Film Studies Association of Canada, and any other intellectual, pedagogical or scholarly rationales for your suitability for this position.  If you are proposing a co-editorship, provide a rationale for this structure and clearly outline the individual responsibilities of the prospective co-editors.
  2. Curriculum Vitae: Please enclose a CV and cover letter clearly outlining professional and academic qualifications.  If you are proposing a co-editorship, please enclose a CV for each prospective editor.  Please include details regarding your ability and plans to manage and promote the bilingual features of the journal.
  3. Statement of Institutional Resources: CJFS’s Editor is responsible for providing office space and furnishings, telephone, fax, postal service, photocopying, and computing facilities, as well as other available subventions that facilitate the execution of the Editor’s duties; this might include the availability of student assistants or other editorial support staff at the host institution.  Please provide a description of the level of support you or your institution is willing to provide. 
The new Editor’s term will begin early 2020 with several months set aside for an overlap of the duties with the current editors to ensure a smooth transition. It is expected that the transition of the journal’s editorial offices (such as they are) will be completed no later than Spring 2020.
 
Please submit all proposals via email (mike.baker@sheridancollege.ca) to:
 
Dr. Michael Baker, Chair of the Editorial Board (CJFS-RCÉC)
Faculty of Humanities and Social Sciences
Sheridan College
1430 Trafalgar Road, Oakville, ON  L6H 2L1
 
 
# # # # #
 

La Revue canadienne d’études cinématographiques invite les soumissions de candidature pour le poste d’Éditeur. 

Première revue canadienne de cinéma à comité de lecture universitaire, la RCÉC est publiée deux fois l’an par l’Association canadienne d’études cinématographiques depuis son lancement en 1990. Elle sollicite les propositions d’éditeurs potentiels pour un mandat commençant au début de 2020. Sous la direction des co-éditeurs sortants, Marc Furstenau et Jerry White, la RCÉC a bonifié tant la portée que la qualité de son contenu, mis l’accent sur son caractère bilingue et, après avoir conclu une entente de partenariat avec les Presses de l’Université de Toronto, élargi le lectorar rejoint par ses éditions papier et numérique. Le comité éditorial souhaite les remercier pour leur service, les féliciter pour leur succès et espère pouvoir poursuivre sur cette lancée avec un nouvel éditeur ou une nouvelle équipe éditoriale. 

Responsabilités: La RCÉC publie deux numéros par année et l’éditeur est responsable du processus de réception, de révision et de préparation des soumissions, assisté par un système de gestion de contenu à la fine pointe de la technologie et géré par l’équipe des revues des Presses de l’Université de Toronto. En partenariat avec le président du comité éditorial et UTP, l’éditeur supervisera également la conception et la production de la revue. De plus, l’éditeur collaborera avec le comité éditorial à la préparation, à la mise en œuvre et à la révision des politiques et procédures concernant l’ensemble des opérations de la revue au nom de l’Association canadienne d’études cinématographiques. 

Les candidatures doivent être envoyées au président du comité éditorial au plus tard le March 15th, 2019 et inclure les éléments suivants:

  1. Énoncé de philosophie éditoriale: Veuillez rédiger une lettre décrivant votre vision éditoriale de la RCÉC, son rôle actuel au sein de la communauté internationale de chercheurs établie par l’Association canadienne d’études cinématographiques et toute autre motivation intellectuelle, pédagogique ou universitaire permettant d’évaluer vos qualifications pour ce poste. Les propositions de co-édition devront de plus présenter et justifier le type de collaboration propoosé et définir clairement les responsabilités individuelles des co-éditeurs envisagés.
  1. Curriculum Vitæ: Veuillez joindre un CV et une lettre de présentation indiquant clairement vos qualifications professionnelles et universitaires. Si vous proposez une co-édition, veuillez joindre le CV de chacun des éditeurs potentiels. Veuillez également inclure une description de vos capacités au regard du caractère bilingue de la revue, de même que les grandes lignes de vos plans de gestion et de promotion de cet aspect de la revue.
  1. Énoncé des ressources institutionnelles: L’éditeur de la RCÉC doit être en mesure de fournir à la revue des espaces de bureau, de même que l’ensemble des ressources matérielles nécessaires à son bon fonctionnement (téléphone, fax, photocopie, équipements et réseaux informatiques, services postaux). L’éditeur doit également être en mesure de pouvoir obtenir diverses subventions facilitant ainsi que des autres subventions disponibles facilitant l’exécution des ses tâches. Cela peut inclure l’accès à d’auxiliaires étudiants pouvant assister tant le travail du directeur que celui des autres personnes impliquées dans la gestion de la revue. Veuillez par conséquent décrire le niveau de soutien que vous et votre institution êtes disposés à fournir.

Le nouveau mandat de l’Éditeur débutera au début de 2020. Plusieurs mois réservés au chevauchement des tâches avec les éditeurs actuels afin de garantir une transition en douceur sont envisagés. Il est prévu que la transition du bureau éditorial de la revue (tel qu’il l’est) sera achevée au plus tard au printemps 2020.

Veuillez soumettre votre candidature par courriel (mike.baker@sheridancollege.ca) à:

Dr. Michael Baker, Président du comité éditorial (CJFS-RCÉC)
Faculty of Humanities and Social Sciences
Sheridan College
1430 Trafalgar Road, Oakville, ON  L6H 2L1
 

TENURE-TRACK TEACHING POSITION IN MOVING IMAGE CURATORIAL STUDIES
AVAILABLE 2018/19 Department of Film and Media
Queen’s University, Kingston, ON CAN K7L 3N6

The Department of Film and Media at Queen’s University invites applications from qualified candidates for a position in Moving Image Curatorial Studies at the rank of Assistant Professor commencing July 1, 2019. The candidate must possess a PhD. The candidate will be an outstanding scholar and teacher, with a focus on moving images, media, and screen cultures and a strong interest in curatorial studies.

We seek candidates with an interest in any of the following: new forms of curation and programming within and beyond the gallery, museum, and film festival; community-engaged practices; and archiving in the digital humanities. We are interested in candidates invested in feminist, queer, critical race, and disability studies and activism. The candidate will have demonstrated potential to attract research funding, and a track record of successful publications and collaborative initiatives. The candidate’s research profile will be an asset in attracting students to the Graduate Program in Film, Media and Curatorial Studies, to be launched in 2019, in partnership with Agnes Etherington Art Centre at Queen’s University.

The candidate will be an excellent teacher at all levels of our undergraduate and graduate programs, and will be expected to teach courses across the Film and Media curriculum including new courses in curatorial studies. Experience in graduate teaching and supervision is an asset.

The Department of Film and Media at Queen’s has an outstanding reputation for strong teaching and scholarship, with a 50-year history of 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 the School of Computing in the Computing and the Creative Arts program, and with the Dan School of Drama and Music in the Media and Performance program. The Department is also home to the Vulnerable Media Lab, which engages in remediation of obsolete moving image platforms.

The successful candidate must demonstrate excellence in an active research program, and at least two years of teaching experience. The Department seeks candidates with a strong teaching and research profile. The candidate must be willing to contribute to and participate in departmental and university service.

The University invites applications from all qualified individuals. Queen’s University 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, Canadians 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 and curatorial projects);
  • a statement of research interests;
  • a statement of teaching interests and experience (including teaching outlines and evaluations if
    available);
  • a writing sample of article or chapter length and, if relevant, a representative curatorial portfolio;
  • name and contact details for three letters of reference

The deadline for applications is March 1, 2019. Applicants are encouraged to send all documents in their application packages electronically as PDFs to: Gary Kibbins, Department Head (gk6@queensu.ca).

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-agreement and at http://www.qufa.ca.

 

CFP: Screening #TimesUp: Exploring Rape Culture in Hollywood Film

Editors: Dr. Lisa Funnell (University of Oklahoma) and Dr. Ralph Beliveau (University of Oklahoma)

Beginning in 2017, the #MeToo movement drew attention to the sexual assault, coercion, and harassment experienced by many individuals and especially women working in Hollywood. Over the last two years, actors have come forward to speak about their experiences, condemning the industry for silencing victims while safeguarding predators. This conversation about sexual conduct and safe working spaces has extended into other fields/industries via the #TimesUp movement as greater awareness is being raised about abuse of power and the victimization of employees. While Hollywood is serving as a microcosm for broader social discussions about sexual assault, coercion, and harassment in the workplace, less attention is being directed towards film content—i.e. the products being produced by said industry. As a global cinema, Hollywood creates some of the most profitable films that are widely screened not only in the United States but also across the world. Culture binds individuals and institutions together, shapes public consciousness, and sends powerful messages about what is to be considered appropriate conduct. Over the last 100 years, Hollywood has played a key role shaping social ideas associated with gender, sex, and power.

A consideration of sexual violence in Hollywood film—be it real, threatened, or suggested—is the focus of this anthology. Sexual assault, coercion, and harassment are so pervasive in Hollywood narratives that they often go unnoticed. For instance, rape revenge is not only an exploitation subgenre but also a storyline featured in horror, thriller, road, and criminalist films. The threat of sexual assault is used as a trope to convey the vulnerability of even the strongest and most muscular female heroes in action films while the depiction of sexual harassment and aggression in relation to class differences and workplaces is a frequent narrative element. Moreover, sexual harassment is often depicted as romantic when a rejected “suitor” continues to pursue/stalk their target. Sexual coercion plays a central role in spy films as agents manipulate, intoxicate, and/or force their informants/targets to have sex with them sometimes secretly filming the encounter. And in some cases, filmmakers with a known history of sexual violence continue to work in the industry and produce films that relay troubling messages about appropriate sexual conduct. These films, tropes, and practices work to normalize and naturalize aspects of rape culture oftentimes at the expense of marginal/minority groups.

We are calling for papers exploring any facet of sexual assault, coercion, and harassment in Hollywood film. Some topics include but are not limited to:

  • tropes of sexual violence in specific genres (e.g. rape revenge, action, rom-coms, etc.)
  • historical considerations of sexuality and rape (e.g. classical Hollywood, new Hollywood, etc.)
  • filmmakers who employ excessive/frequent images of sexual violence
  • shifting representations of sexual harassment
  • affirmative consent in film
  • narratives in which rape is justified (e.g. prisoner on prisoner)
  • romanticizing of inappropriate sexual contact (e.g. with minors)
  • myth of the artistic genius
  • rape jokes/gags in film
  • sexual violence against marginal/minority groups (based on race, sexual orientation, class, ability, gender expression, etc.)

Please submit a 250 word abstract along with a brief author bio to Lisa Funnell (lisa.m.funnell@gmail.com) by April 30. Please direct any questions to this email as well.

 

University of Lethbridge

 

Instructor III – New Media/Digital Video
2-year term


The University of Lethbridge’s Department of New Media invites applications for a two-year term appointment in new media/digital video at the rank of Instructor III, commencing July 1, 2019. This position is subject to the approval of the Board ofGovernors.

A M.F.A. or equivalent terminal degree is required, combined with a demonstrated record of excellence in teaching in the area of digital video production and/or other related new media areas. The ideal candidate will have excellent creative and technical skills in digital video – specifically, experience using DSLR cameras, lighting and audio production equipment, and a mastery of non-linear editing and other post-production software. Preference will be given to candidates with expertise within one of the Department’s other areas, which include Web and Graphic Design, Interactive Arts and Design, 3D Computer Graphics, Gaming, and Animation. A demonstrated record of creative activity and/or scholarly research is also an asset. The University aspires to hire individuals who have demonstrated excellence in teaching and research/creative activity, and have the potential to contribute actively in the Department of New Media and the Faculty of Fine Arts.

The course load for this position is 7 courses or equivalent per year. These will include 5 undergraduate courses, including digital video production, cinematography and lighting, postproduction and visual effects, and the potential for other new media courses to be assigned in the candidate’s area of expertise.

Experience in development and delivery of online and/or blended courses is an asset.

The position offers a competitive salary, an excellent benefits package, relocation assistance, access to well-equipped facilities, and the opportunity to work within a dynamic department.

The Faculty of Fine Arts offers degree programs in Art, Drama, Music and New Media within a liberal education context. The Department of New Media offers four degree programs: a B.F.A., a combined B.F.A/BMgt., a combined B.F.A./B.Ed., and a M.F.A. in New Media. The University of Lethbridge acknowledges, recognizes, and deeply appreciates the Siksikaitsitapii (Sik-si-gay-ts-i-da-bee) people’s connection to their traditional territory. We acknowledge that we, as people living and benefitting from Siksikaitsitapii territory, honour the traditions of the people who have cared for this land since time immemorial. We also recognize the diverse population of Aboriginal people that attend the University of Lethbridge and the contributions that Aboriginal peoples have made, both in shaping and strengthening this community. For more information about the Department of New Media, University of Lethbridge, and the city of Lethbridge please visit our websites at:

https://www.uleth.ca/fine-arts/study/new-media
http://www.uleth.ca
http://www.lethbridge.ca

Interested applicants are asked to submit a cover letter, curriculum vitae, teaching dossier (including a statement of teaching philosophy and, if possible, sample syllabi and teaching evaluations), and samples of recent research/creative via the online portal (https://uleth.peopleadmin.ca/postings/3479). Applicants will also be asked to input the names and email contact information of three qualified referees who can assess teaching and research/creative activity. The said referees will then be emailed a link where they will be asked to upload a confidential letter of reference to your application, no later than the closing date of this search.

Applications must be received by the closing date of Monday, February 18, 2019.

Dr. Jackie Rice, Interim Dean
Faculty of Fine Arts, University of Lethbridge
4401 University Drive Lethbridge, AB T1K 3M4
Tel: (403) 329-2126 • Fax: (403) 382-7127
Email: finearts.dean@uleth.ca

The University of Lethbridge hires on the basis of merit and is committed to employment equity and diversity. All qualified persons are encouraged to apply. In accordance with Canadian Immigration requirements, Canadian citizens and permanent residents will be given preference.

 

CineAction

Call for Submissions: Issue 100 – History of the Cinema

This issue explores the significance of the history of the cinema to its identity as an art form and entertainment and an interpretation of the past.

Spike Lee’s BlacKkKlansman integrates film history into the film with references to Birth of A Nation and Gone With the Windto speak of racism in the Hollywood cinema as well as contemporary racism in America. In doing so, he acknowledges the relevance of the medium’s past to the present and into the future. Like Martin Scorsese, Nicolas Winding Refn, Jean Luc Godard and others active in the preservation and promotion of film history, Lee reflects on film history and the shaping of an historical consciousness.

We welcome papers that address film history in the context of an individual film(s), a cinematic movement or a specific director or actor.

Florence Jacobowitz: fjacob@yorku.ca
Richard Lippe: rlippe@yorku.ca

Deadline: February 15, 2019
 
For contributor’s guidelines, see cineaction.ca
 

Convegno annuale / Annual Conference / Congrès annuel
Orvieto 2019

Call for Papers (Session)
Italian Cinema in the Era of #MeToo

“One of the first women to accuse Harvey Weinstein of sexual assault was Italian actress Asia Argento. Hailed in the U.S. for speaking out, she was attacked in her native country by commentators, both male and female.” (NPR Jan. 18, 2018)

According to Tania Modleski, “male power is…consolidated through cycles of crisis and resolution, whereby men ultimately deal with the threat of female power by incorporating it” (O’Rawe 2014, 7). While there is a certain (lamentable) universality to the forms taken by this kind of masculinist incorporation or recuperation of the feminine, on the one hand, or its oppression or negation, on the other, the situation in the Italian cultural context is arguably even more acute than elsewhere. As Stephen Gundle observes, despite changing conceptions of national identity, “feminine beauty has long been associated with Italy, and…‘feminine beauty came to enjoy a near-monopoly of representational functions, symbolic purposes and popular manifestations’” (ibid., 2).

Beginning in 2017, in the wake of the Harvey Weinstein scandal (which Italian actor Asia Argento was amongst the first to break), the ‘#MeToo’ movement emerged in the U.S., quickly spreading around the world. This panel proposes to explore the state of Italian cinema in the era of ‘#MeToo’—whether in terms of style and/or production, reception and/or spectatorship, star studies and/or celebrity culture, cultural vs. film narratives, feminist-psychoanalytic and/or ideological critiques, representation of gender, post-representational approaches, (i.e. affect theory, posthumanist approaches), or other possible topics or approaches. The panel focus is not limited to contemporary Italian film, and historically informed comparisons of older and more recent films are encouraged.

References
Catherine O’Rawe, Stars and Masculinities in Contemporary Italian Cinema, New York, NY: Palgrave Macmillan, 2014.

Please, submit your proposal to Russell Kilbourn, English and Film Studies, Wilfrid Laurier University, rkilbourn@wlu.ca, by February 28, 2019.


CAIS Conference 2019 / ACEI Conférence 2019: http://www.canadiansocietyforitalianstudies.camp7.org/Conference-2019

 

Position Rank: Full Time Alternate Stream – Assistant Lecturer
Discipline/Field: Multi-Platform Screen Storytelling and Producing
Home Faculty: School of Arts, Media, Performance and Design
Home Department/Area/Division: Cinema & Media Arts
Affiliation/Union: YUFA
Position Start Date: July 1, 2019

The Department of Cinema and Media Arts in the School of the Arts, Media, Performance and Design (AMPD), invites applications for an Alternate Stream (teaching-focused) tenure‐track position in Multi-Platform Screen Storytelling and Producing at the Assistant Lecturer level, to commence July 1st, 2019.

The position requires a screenwriter/producer with an established record of professional experience demonstrating exceptional skill telling narrative stories creatively in moving image media. The successful candidate will have a variety of accomplishments as writer and producer, preferably in both current (for example writing and producing for serial television, feature films) and future-oriented (interactive, transmedia, web) media. Directing experience would be an asset.

Demonstrating a grasp of the challenges and opportunities of storytelling in a multi-platform environment, the successful candidate will be qualified to teach a range of courses in the Department’s Screenwriting and Production areas. The ideal candidate will also be able to address the approaches emphasized in our newly-initiated BFA in Media Arts, which offers students an expansive view of contemporary practices across multiple platforms.

The successful candidate will be eligible for prompt appointment to the Faculty of Graduate Studies and will teach a range of undergraduate and graduate courses, affiliating with the Department’s Screenwriting area – recently named “one of the best film programs in North America” in Moviemaker Magazine’s 2017 rankings – to teach students from across the Department and beyond.

The successful candidate will have a PhD or PhD equivalent (typically an MFA/MA with a substantial record of creative activity in the area of dramatic screenwriting and cinema and/or digital production or a closely related field). The successful candidate will demonstrate excellence or clear potential for excellence in teaching university-level courses, a strong commitment to pedagogy and student success, and the capacity to bring a theoretical and practical orientation to learning and program design in the area of Multi-Platform Screen Storytelling and producing. They must be prepared to engage energetically in administering a program area and participating collegially in Department governance. The candidate is expected to provide leadership by fostering collegiality and collaborative production, securing external funding, supervising graduate students, and generating national and international academic, community and industry partnerships. We especially welcome critical race, post-colonial, Indigenous, feminist and other critical approaches to storytelling.

Located in Toronto, Ontario, a world-class center of film and media production, AMPD is one of North America’s leading schools for the arts, offering undergraduate and graduate degree programs in Dance, Design, Computational Arts, Cinema and Media Arts, Music, Theatre, Visual Arts, Art History, Media Studies, Theatre and Performance Studies.

Since its founding as the first University film department in Canada, the Department of Cinema and Media Arts (CMA) has continuously evolved its curriculum, technical resources, and industry alliances to remain relevant and influential in one of the most rapidly growing and changing of all creative, technical, and academic fields. In addition to programs in Film Production and Media Arts, CMA offers the only BFA in Screenwriting in Canada and is the only Cinema/Film Department with an MFA in Screenwriting in Canada. York’s CMA Department has always been a leader in building technical competence and professional skills, while emphasizing the development of the creative, social, and personal abilities of our students as image-makers, storytellers, activists, collaborators and as future leaders in the film and digital media landscape with a strong integration of theory and practice.

York University is helping shape global thinkers who will define tomorrow. Our unwavering commitment to excellence reflects a rich diversity of perspectives and a strong sense of social responsibility that set us apart. As an internationally recognized research university, York’s 11 Faculties and 27 research centres have well-established partnerships with 280+ leading universities worldwide. Located in Toronto, York is the third largest university in Canada, with a strong community of 53,000 students, 7,000 faculty and administrative staff, and more than 275,000 alumni.

Salary will be commensurate with qualifications and experience. All positions at York University are subject to budgetary approval.

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. 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. All qualified candidates are encouraged to apply; however, Canadian citizens, permanent residents and Indigenous peoples in Canada will be given priority.

Deadline for receipt of completed applications is December 10, 2018. Applicants should submit a signed letter of application, a statement of interest outlining professional experience and qualifications, links to works, teaching interests, evidence of excellence in teaching, where available (this may take the form of a teaching dossier which supports excellence and innovation in teaching and include sample course outlines, student rating, teaching reviews, workshop and professional development programs attended or led etc.), and an up-to-date curriculum vitae, all to be sent electronically. Please arrange for three signed confidential letters of reference to be sent to: Caitlin Fisher, Chair, Department of Cinema and Media Arts, The School of the Arts, Media, Performance and Design, York University, 4700 Keele Street, Toronto, Ontario M3J 1P3. Email: caitlin@yorku.ca. Referees should be advised to address the candidate’s qualifications and experience in relation to the position.

 

***La version française suit ci-dessous***

CALL FOR PAPER PROPOSALS FOR FSAC 2019

The Annual Conference of the Film Studies Association of Canada
June 4 – June 6, 2019
University of British Columbia

Held in conjunction with the Congress of the Humanities and Social Sciences

Congress 2019 Theme: “Circles of Conversation”

Martin Walsh Memorial Lecture: Mary Ann Doane (Class of 1937 Professor of Film and Media,UC Berkeley)

Gerard Pratley Award: Nikola Stepić (PhD student in Humanities, Concordia University “French Connections: Gay Male Pornography as Virtual Tourism”)

FSAC is now seeking proposals for the 2019 conference in Vancouver, British Columbia (traditional, ancestral, and unceded territories of the xʷməθkʷəy̓əm [Musqueam], Sḵwx̱wú7mesh [Squamish], and sə̓ lílwətaʔɬ [Tsleil-Waututh] First Nations), June 4 – 6, 2019. 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, 2019

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:conference2019@filmstudies.ca

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. 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

Audio-Visual Needs
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
plester@brocku.ca

Local Arrangements Coordinator: Christine Evans
Department of Theatre and Film, University of British Columbia
Office phone: (604) 822-3707
christine.evans@ubc.ca


APPEL À COMMUNICATIONS POUR LE CONGRÈS DE L’ACÉC 2019

Colloque annuelle de l’Association Canadienne d’Études Cinématographiques
4 – 6 juin 2019
Université 
de la Colombie-Britannique
 
 Tenu dans le cadre du Congrès des sciences humaines
 
Le thème du congrès 2019: « Cercles de conversation »
 
Conférence commémorative Martin Walsh : Mary Ann Doane (Class of 1937 Professor of Film and Media, UC Berkeley)
 
Conférence de prix Gerald Pratley : Nikola Stepić (Doctorant, Humanities, Université Concordia – “French Connections: Gay Male Pornography as Virtual Tourism”)
 
L’ACÉC sollicite des propositions de communication pour son colloque annuel qui se tiendra du 4 au 6 juin 2019 à Vancouver, Columbie-Britannique (les territoires traditionnels, ancestraux et non cédés du peuple xʷməθkʷəy̓əm [Musqueam], Sḵwx̱wú7mesh [Squamish] et sə̓lílwətaʔɬ [Tsleil-Waututh].) 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 liés au thème du colloque ou sur tout autre sujet lié aux études cinématographiques ou médiatiques 
 Date limite pour soumettre les propositions : 15 janvier 2019
 
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 : conference2019@filmstudies.ca
 
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 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.
Financement étudiant
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.     
 
Matériel audiovisuel
Toutes les salles de conférence du colloque seront équipées de projecteurs numériques, d’écrans, de systèmes de son, et des 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 : Christine Evans
Department of Theatre and Film, University of British Columbia
Téléphone : (604) 822-3707
 

 

 

***la version française suit***

The following is a Call for Papers for the Cinema Studies Institute’s Annual Graduate Conference, which will be held January 25th-26th, 2018, at the University of Toronto. Submission procedures are outlined below.

CFP: “Fluidity”

“The fluidity, the tepidity, the bluish color, the undulating restlessness of the water in a pool are given at one stroke, each quality through the others.”

– Jean-Paul Sartre, Being and Nothingness

“The idea of the smallest interval does not apply to figures of the same nature; it implies at least a curve and a straight line, a circle and a tangent. We witness a transformation of substances and a dissolution of forms … A matter more immediate, more fluid, and more ardent than bodies or words.”

– Gilles Deleuze & Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia

Although the notion of fluidity has consistently flowed through modern culture, its recent swelling has separately elicited both promise and trepidation. The dissolution of borders through migration and mass communication has helped grant the possibility of a plastic presence, one not necessarily fixed in a single, or even physical, location. Recognition of open gender expressions and liberated sexualities has given voice and visibility to many who struggled beneath the surface of society. The rise of cryptocurrencies further suggests the ephemeral nature of commerce and the political systems we have built on economic exchange. Rising against fluidity’s multiplicity of forms is an anxious conservatism that disguises its agenda of unbridled neoliberal expansion with rhetoric of stagnation and stillness. From Brexit’s shutting down of European mobility to Donald Trump’s aspiration to define gender through original birth certificates, this movement endeavors to roll back, stand firm, and refuse movement.

With the zoetrope’s invention came the foundational constitution of fluidity within cinema. As media technologies continued to expand, shift, and mutate, the interrelatedness of cinema and fluidity did not evaporate. In an early example of film theory that concerned fluidity, Sergei Eisenstein – reacting to Disney’s animated films – recognized our fluid identification with the plasmatic qualities of the moving image. Consequently, within our aqueous relationship to the cinematic screen, we experience flows of shifting desires and identifications. By seeking to account for fluidity’s dynamic interrelatedness with cinema, fundamental questions are inscribed with novel potential. How does the interwoven nature of representation and the world manifest itself in the flow of time? As the boundary between private space and public arena becomes increasingly blurred, how does one negotiate one’s personae and performances in the changing state of mutual interpretability that is at once more transparent and more obscure? How can we, through interdisciplinary approaches, engage with deconstructing sedimented opinions? By either responding directly to these questions or pursuing entirely distinct avenues of thought, we encourage submissions from students, scholars, and thinkers which examine all modalities and aspects of cinematic experience that assume a fluid form.

Sample topics might include but are not limited to:

  • Theories of Movement
  • Borders; Transnationality; Diaspora
  • Fluids
  • Theories of Intersubjectivity
  • Deconstruction; Post-Structuralism
  • Gender; Sexuality
  • Race
  • Genre Blurring; Intermediality; Interdisciplinarity

Keynote:
Dr. Luka Arsenjuk (Associate Professor of Film Studies, University of Maryland)

Conditions:

Colloquium:

This colloquium is open to both graduate students and independent scholars. Interested parties must submit a brief abstract (300 to 500 words), in English or French, by December 7th, 2018, at the following address: csgraduatestudentunion@gmail.com.

Submissions should include the following information:

  • Your name
  • Level of study
  • Name of your University
  • Title of your presentation
  • Abstract
  • Short bibliography

Following the analysis of submitted proposals, the committee will communicate their decisions by  December 14th, 2018.

 



Vous trouverez ci-dessous un Appel à Contributions pour la Conférence Annuelle des Étudiants des Cycles Supérieurs de l’Institut d’Études Cinématographiques (Cinema Studies Institute), qui se tiendra les 25 au 26 janvier 2018 à l’Université de Toronto. Les procédures de soumission sont également décrites ci-dessous.

AAC : « Fluidité »

« La fluidité, la tiédeur, la couleur bleuâtre, la mobilité onduleuse de l’eau d’une piscine sont données d’un coup au travers les unes des autres et c’est cette interpénétration totale qui se nomme le ceci. »

– Jean-Paul Sartre, L’Être et le Néant

« L’idée du plus petit intervalle ne s’établit pas entre des figures de même nature, mais implique au moins la courbe et la droite, le cercle et la tangente. On assiste à une transformation des substances et à une dissolution des formes, passage à la limite ou fuite des contours, au profit des forces fluides, des flux, de l’air, de la lumière, de la matière qui font qu’un corps ou un mot ne s’arrêtent en aucun point précis. »

– Gilles Deleuze & Félix Guattari, Mille plateaux : Capitalisme et Schizophrénie

Bien que la notion de fluidité ait constamment traversée la culture moderne, son récent gonflement a suscité, séparément, promesse et inquiétude. La dissolution des frontières par la migration et la communication de masse a permis de faciliter la possibilité d’une présence plastique, qui n’est pas nécessairement fixée dans un lieu unique, ni même physique. La reconnaissance des expressions ouvertes de genre et des sexualités libérées a donné voix et visibilité à beaucoup de ceux qui ont lutté sous la surface de la société. Avec l’essor des crypto-monnaies suggère en outre la nature éphémère du commerce et des systèmes politiques que nous avons bâti sur les échanges économiques. S’élever contre la multiplicité des formes de fluidité est un conservatisme anxieux qui dissimule son programme d’expansion néolibérale débridée par une rhétorique de la stagnation et du calme. De la mise en arrêt de la mobilité européenne par le Brexit à l’aspiration de Donald Trump à définir le sexe par le biais les certificats de naissance originaux, ce mouvement s’efforce de revenir en arrière, de rester ferme et de refuser le mouvement.

L’invention du zootrope est à l’origine de la constitution fondamentale de la fluidité au sein du cinéma. Bien que les technologies des médias aient continué de s’étendre, de se transformer et de muter, les liens entre le cinéma et la fluidité, elle, ne s’est pas évaporée. Dans un des premiers exemples de théorie cinématographique concernant la fluidité, Sergei Eisenstein – réagissant aux films d’animation de Disney – a reconnu notre identification fluide avec les qualités plasmatiques de l’image en mouvement. Par conséquent, au sein de notre relation aqueuse avec l’écran cinématique, nous éprouvons des flux de désirs et d’identification changeants. En cherchant à rendre compte de l’interdépendance dynamique de la fluidité avec le cinéma, des questions fondamentales s’inscrivent dans un potentiel nouveau. Comment la nature imbriquée de la représentation et du monde se manifeste-t-elle dans le temps ? Alors que la frontière entre espace privé et espace public devient de plus en plus floue, comment négocier personae et performances dans un état changeant d’interprétabilité mutuelle, à la fois plus transparent et plus obscur ? Comment pouvons-nous, à travers des approches interdisciplinaires, nous engager dans la déconstruction des opinions sédimentées ? En répondant directement à ces questions ou en poursuivant des pistes de réflexion entièrement distinctes, nous encourageons les étudiants, les universitaires, les penseurs et les chercheurs à soumettre leurs observations de toutes modalités et de tout aspects de l’expérience cinématographique se présentant sous une forme fluide.

Les exemples de sujets peuvent inclure, mais ne sont pas limités à :

  • Théories du mouvement
  • Les frontières ; la transnationalité ; la diaspora
  • Les fluides
  • Théories de l’intersubjectivité
  • La déconstruction ; le post-structuralisme
  • Le genre ; la sexualité
  • La race
  • La malléabilité du genre; l’intermédialité ; l’interdisciplinarité

Conférencier principal :
Luka Arsenjuk (professeur associé en études cinématographiques, Université du Maryland)

Conditions :
Colloque :

Ce colloque est ouvert aux étudiants de cycles supérieurs et aux chercheurs indépendants. Les parties intéressées doivent soumettre un bref résumé (300 à 500 mots), en anglais ou en français, au plus tard le 7 décembre 2018, à l’adresse suivante : csgraduatestudentunion@gmail.com.

Les soumissions doivent inclure les informations suivantes :

  • Votre nom
  • Niveau d’études
  • Nom de votre université
  • Titre de votre présentation
  • Résumé
  • Courte bibliographie

Suite à l’analyse des propositions soumises, le comité communiquera leurs décisions au plus tard le 14 décembre 2018.

******