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Fellini, Italy, CinemaInternational Conference on the Centenary of Federico Fellini’s Birth (1920-2020)

In the centenary of his birth, the Department of Italian Studies and the Cinema Studies Institute at the University of Toronto,and the Dipartimento di Storia, Antropologia, Religioni, Arte,Spettacolo of Sapienza Università di Roma La Sapienza are delighted to announce a joint conference on the work and legacy of late Italian film master Federico Fellini (1920-2020).

A number of volumes of recent publication have returned to Fellini’s cinema and assessed it from a variety of novel vantage points, testing its resilience against the latest contributions in critical theory and making a compelling case for the need of its reevaluation. For instance, in his Political Fellini: Journey to the End of Italy(Berghahn 2018), Andrea Minuz argues that, contrary to popular belief, the film auteur was not an aloof dreamer, but an artist who was profoundly immersed in his cultural milieu, pondering the questions of his time and responding to it with an honesty that was uncommon, often disarming, and certainly problematic. If Minuz focuses on secular institutions, Alessandro Carrera turns to religion in his Fellini’s Eternal Rome: Paganism and Christianity in the Films of Federico Fellini (Bloomsbury 2018), exploring the uneasy melange of paganism and Christianity in the works of the director, underscoring how life-affirming Franciscanism and repressive Counter-Reformation dogmatism co-exist and clash throughout Fellini’s catalogue. Ottavio Ciro Zanetti’s Tre passi nel genio: Fellini tra fumetto, circo e varietà(Marsilio 2018) focuses on Fellini’s interest in cinema’s sister visual and performing popular arts, of which the director was a both an early practitioner and a lifelong admirer. Moreover, books devoted Fellini’s films still appear in print with regular cadence, from Roberto Chiesi’s monograph 8 ½ di Federico Fellini(Gremese 2018) to Rosita Copioli and Gérard Morin’s edited collection Il Casanova di Fellini: ieri e oggi 1976-2016(Gangemi 2018). As this cursory look at the small sample of 2018 publications illustrates, the academic community is still actively engaged with Fellini’s work, continuing to produce a plethora of interventions aimed at refining at updating the already vast bibliography on the Italian master.

 

This joint bilingual conference seeks papers that (re)assess Fellini’s career and the legacy of his work, examining the complex network of (mediated) significations produced by his artistic collaborations and his personal relationships. Our ultimate goal is to evaluate the present state of Fellininan studies and perhaps anticipate their future developments on both sides of the Atlantic and across scholarly traditions. This event is articulated in two sessions: the first one, hosted by the Università di RomaLa Sapienza, will convene in the Spring of 2020 (25-26 May); the second, at the University of Toronto, will resume the conversation in the Fall of the same year (16-17 October). Confirmed keynote speakers: in Rome, for the Rome session are Stephen Gundle (University of Warwick); Frank Burke (Queen’s University, Emeritus) and Atom Egoyan (Filmmaker) will deliver the address in Toronto. The resulting proceedings will be published by Franco Cesati Editore as part of the Goggio Chair series in Italian Studies.

 

Various avenues of inquiry are welcome, including but not limited to:

 

  • Critical Reception, Film Theory, Film Analysis, Production Studies
  • Case Studies in Distribution and Circulation
  • Interdisciplinarity (Music, Visual Arts, Multi-and-transmedia projects)
  • Screenwriting, Literature, Language
  • History, Fascism, Italian Modernity
  • Architecture and Urbanism
  • Biopolitics and Ecocinema
  • Gender and Sexuality

 

Please submit proposals (250 words max) accompanied by a short bio (150 words max) to FedericoFellini2020@gmail.com by 1 September 2019, indicating for which session (Rome, Toronto, or both) you wish to be considered. Proposals should include a title and up to five keywords. For information about panel topics, assistance with proposals, and other questions about the conference program, please contact the organizing committee. We welcome the presentation or performance of creative works or artifacts. Proposals will be evaluated and selected based on their fit and scientific promise. Participants will be notified by 1 November 2019.

 

Organizing Committee

Andrea Minuz, Università di Roma La Sapienza

Emiliano Morreale, Università di Roma La Sapienza

Jessica Whitehead, University of Toronto

Alberto Zambenedetti, University of Toronto

 

Scientific Committee

Marco Bertozzi (IUAV – Venezia)

Frank Burke (Queen’s University – Emeritus)

Angela Dalle Vacche (Georgia Institute of Technology)

Manuela Gieri (Università della Basilicata)

Stephen Gundle (University of Warwick)

Gaetano Lettieri (Università di Roma La Sapienza)

Emiliano Morreale (Università di Roma La Sapienza)

Federico Pacchioni (Chapman University)

Veronica Pravadelli (Università Roma Tre)

Jaqueline Reich (Fordham University)

Luca Somigli (University of Toronto)

Vito Zagarrio (Università Roma Tre)

 


 

CFP: Italiano

 

Fellini, l’Italia, il cinema.

Convegno Internazionale Per Il Centenario della Nascita di Federico Fellini

(1920-2020)

 

In occasione del centenario della nascita di Federico Fellini (1920-2020), il Department of Italian Studies, il Cinema Studies Institute della University of Toronto, e il Dipartimento di Storia, Antropologia, Religioni, Arte, Spettacolo dell’Università di Roma La Sapienza sono lieti di annunciare un convegno congiunto per invitare gli studiosi a riflettere sull’eredità, le connessioni interdisciplinari e le nuove prospettive di ricerca e interpretazione del cinema di Fellini.

 

Vari studi di recente pubblicazione hanno riesaminato il cinema di Fellini da molteplici punti di vista, alla luce delle teorie e delle prospettive critiche più recenti, indicando in vari modi la necessità di una profonda rilettura di quest’opera. Ad esempio, in Viaggio al termine dell’Italia. Fellini politico(Rubbettino, 2012), Andrea Minuz sostiene che, contrariamente a quanto si è sempre creduto, Fellini non fosse solo un “sognatore distratto” e un “visionario”, ma un artista profondamente immerso nel suo milieu culturale, attento alle questioni culturali e anche politiche dell’Italia in cui è vissuto, alle quali rispondeva con un’onestà a volte disarmante ma certamente problematica. Se Minuz si concentra sulle istituzioni laiche e sul rapporto con la società italiana e la politica, Alessandro Carrera mette in luce invece la complessità della dimensione religiosa: il suo studio, Fellini’s Eternal Rome: Paganism and Christianity in the Films of Federico Fellini (Bloomsbury, 2018), esplora lo scomodo melange di paganesimo e cristianità nell’opera del regista, sottolineando come coesistano in Fellini la vitalità del francescanesimo e il dogmatismo della controriforma. Tre passi nel genio: Fellini tra fumetto, circo e varietà (Marsilio 2018) di Ottavio Ciro Zanetti è invece dedicato all’interesse di Fellini per le arti figurative e performative, in cui il regista si è cimentato all’inizio della sua carriera e di cui, com’è noto, è sempre stato un grande ammiratore. D’altro canto, volumi sul cinema di Fellini continuano a uscire con regolare cadenza, dalla monografia di Roberto Chiesi 8 ½ di Federico Fellini(Gremese 2018) alla curatela di Rosita Copioli e Gérard Morin intitolata Il Casanova di Fellini: ieri e oggi 1976-2016 (Gangemi 2018). La comunità accademica continua pertanto a interessarsi all’opera di Fellini, producendosi in una varietà di interventi che perfezionano e aggiornano la vasta bibliografia già esistente dedicata al maestro.

 

  Questo convegno congiunto (e bilingue) intende quindi dare spazio a proposte costruire nell’orizzonte di una rilettura del cinema di Fellini, esaminandone il sistema di rimandi e di significazioni (mediate) prodotte sia dalle collaborazioni artistiche che dalle relazioni personali e culturali. Gli incontri si propongono così da un lato di fare il punto sullo stato attuale degli studi felliniani, e dall’altro di immaginare sviluppi futuri all’interno delle tradizioni accademiche europee e nordamericane. Gli incontri si svolgeranno in due sessioni: l’Università di Roma La Sapienza ospiterà la prima parte nella primavera del 2020 (25-26 maggio), mentre la University of Toronto chiuderà i lavori nell’autunno dello stesso anno (16-17 ottobre). I keynote che hanno già confermato la loro presenza sono: Stephen Gundle (University of Warwick) a Roma; Frank Burke (Queen’s University, Emeritus) e il regista Atom Egoyan (filmmaker) a Toronto. Gli atti di entrambe le sessioni verranno raccolti in un volume pubblicato da Franco Cesati Editore nella collana Goggio Chair in Italian Studies.

 

Si invitano contributi di ampio respiro tematico, fra cui si segnalano i seguenti possibili approcci:

  • Teoria del cinema e analisi del film
  • Studi sulla produzione, la ricezione e la circolazione internazionale dell’opera di Fellini a partire da singoli case study
  • Interdisciplinarità (musica, arti figurative, progetti multi-e-trans-mediali)
  • Sceneggiatura, letteratura, rapporti tra Fellini e gli scrittori
  • Storia italiana, Fascismo, modernità e modernizzazione
  • Architettura e urbanistica
  • Biopolitica e ecocinema
  • Studi di genere e sessualità

 

Gli interessati a presentare una relazione dovranno inviare un abstract (250 parole max) corredato da una breve nota biografica, (150 parole max) all’indirizzo FedericoFellini2020@gmail.comentro il primo settembre 2019, indicando chiaramente a quale sessione (Roma, Toronto, o entrambi) desiderano partecipate. Le proposte devono includere un titolo e fino a cinque parole chiave. Per informazioni su possibili argomenti, assistenza con le proposte, e altre domande riguardo al programma del convegno, si prega di contattare gli organizzatori. Si sollecitano inoltre proposte di lavori creativi e artefatti. La selezione delle proposte si effettuerà in base alla qualità scientifica e alla pertinenza. L’esito sarà comunicato entro il primo novembre 2019.

 

Comitato Organizzativo

Andrea Minuz, Università di Roma La Sapienza

Emiliano Morreale, Università di Roma La Sapienza

Jessica Whitehead, University of Toronto

Alberto Zambenedetti, University of Toronto

 

Comitato Scientifico

Marco Bertozzi (IUAV – Venezia)

Frank Burke (Queen’s University – Emeritus)

Angela Dalle Vacche (Georgia Institute of Technology)

Manuela Gieri (Università della Basilicata)

Stephen Gundle (University of Warwick)

Gaetano Lettieri (Università di Roma La Sapienza)

Emiliano Morreale (Università di Roma La Sapienza)

Federico Pacchioni (Chapman University)

Veronica Pravadelli (Università Roma Tre)

Jaqueline Reich (Fordham University)

Luca Somigli (University of Toronto)

Vito Zagarrio (Università Roma Tre)

 

 

 

Graduate students, unwaged and sessional instructors wishing to be reimbursed for travel fees to the 2019 FSAC Annual General Meeting are required to fill out the 2019 FSAC Travel Expense Reimbursement Form and send their receipts to treasurer Mike Meneghetti by email before June 30, 2019. 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 Mike Meneghetti par courriel avant le 30 juin 2019. 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 Mike Meneghetti


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 Mike Meneghetti

 

Call For Proposals: The (re)Making of a Movement: New Perspectives on the 1960s Counterculture

Abstract Submission: https://www.humber.ca/liberalarts-ifoa/call-proposals
Contact: daniel.hambly@humber.ca, jennifer.marotta@humber.ca
Submission Deadline: May 30, 2019
Conference Date: October 26-27, 2019
Location: Harbourfront Centre, 235 Queens’ Quay West, Toronto, Canada.
Host: Faculty of Liberal Arts and Sciences and Innovative Learning (FLA), Humber
College and the Toronto International Festival of Authors (TIFA)

Keynote Speaker:

Angela Davis
Activist, Author, Educator, and Scholar
 

It’s been 50 years since 400,000 people descended on Bethel, New York, for an event that became one of the most important cultural touchstones for a generation: Woodstock. As participants in an amorphous social movement the Woodstock Generation came to be defined in opposition to previous generations. Despite growing up in an era of incredible privilege, widespread government social programs, post-war housing and education, and increasing affluence, they rejected, or attempted to redefine traditional values. In theory, supporters of the counterculture rejected individualism, competition, and capitalism. Rejection of monogamy and the traditional nuclear family gave way to a communal ideal—disavowing individualism and private property in favour of shared food, work, sex. As historian Michael Doyle points out, the myth of Woodstock holds that “in a time of military conflict abroad, racial and ethnic strife at home, when a deep social division known as the ‘generation gap’ separated parents from children, nearly half a million young people removed themselves from proximity to these conflicts and went ‘back to the garden’ to try to ‘set their souls free’.” As such, Woodstock carries a certain symbolic weight for participants in the 1960s and 1970s counterculture movement and for anyone who looks back on the past fifty years with a critical eye.

The counterculture movement encompassed: the Civil Rights Movement, Free Speech, the New Left, Anti-war, Anti-nuclear, Feminism, Free school movement, Drug Culture, Environmentalism, Student Activism, Producerism, Gay liberation, the Sexual Revolution, and the rise of Hippies to innovations in fashion, music, film, and literature. The American poet John Perry Barlow once said: “I started out as a teenage beatnik and then became a hippie and then became a cyberpunk. And now I’m still a member of the counterculture, but I don’t know what to call that.” How have the various movements within the counterculture evolved over the past 50 years? What did hippies become? Who was the Sexual Revolution scripted for? How did the Civil Rights movement evolve? How did a generation that “dropped out” re-engage? How was this fringe culture appropriated by marketers? How challenging was it to live an ideal especially in light of the Cold War and rise of Reaganism?

Our conference committee welcomes individual presentation proposals of 300 words, and panel proposals (3 people max) of 900 words, based on any of the above themes.

This will be the sixth annual interdisciplinary conference held by Humber College’s Faculty of Liberal Arts and Sciences and Innovative Learning (FLA) of Toronto in association with the Toronto International Festival of Authors (TIFA), one of the most celebrated literary festivals in the world. It is located at the Harbourfront Centre, one of downtown Toronto’s major cultural and artistic venues.

Submit your proposal online: https://www.humber.ca/liberalarts-ifoa/call-proposals

 

CFP: Digital Feminist Activisms: The Performances and Practices of Online Public Assemblies

Editors: Dr. Shana MacDonald (University of Waterloo), Dr. Milena Radzikowska (Mount Royal University), Dr. Michelle MacArthur (University of Windsor), Brianna I. Wiens (York University)

With the rise of what Jessalyn Keller and Maureen Ryan have called “emergent feminism,” we are witnessing a moment marked by the “sudden reappearance” of strident critiques of gendered inequalities within popular discourse (2018, 2). More often than not, emergent feminisms are amplified online through social media by popular feminism and celebrity endorsements (BanetWeiser 2018, McRobbie 2009), which can problematically promote neoliberal values of individual consumer practices and competitive self-improvement as a forms of empowerment. And yet, access to social media has produced important and critical forms of feminist politics. In Notes Towards a Theory of Performative Assembly, Judith Butler (2015) advances the importance of bodies assembling in space as a form of protest that performatively asserts both “the right to appear” and demands “a livable life” for those in positions of precarity. While feminist visibility in the broader public eye has produced important dialogues, this politics of assembly simultaneously begs the question: “What about those who prefer not to appear, who engage in their democratic activism in another way?” (Butler 2015, 55). There are many valid and powerful reasons as to why feminist activists may want, or be able, to not appear given the dangerous climate of online spaces, rife with the violent misogyny of trolling culture. These forms of publicness and erasure are equally important to consider within current considerations of emergent feminist practices online.

This book seeks to gather provocations, analyses, creative explorations, and/or cases studies of digital feminist practices from a wide range of disciplinary perspectives including, but not limited to, media studies, communication studies, critical and cultural studies, gender and sexuality studies, performance studies, digital humanities, feminist HCI, and feminist STS. The book frames digital feminisms as forms of public assembly that are performative and theatrical; that is, performative in that they can offer, “a process, a praxis, an episteme, a mode of transmission, an accomplishment, and a means of intervening in the world” (Diana Taylor 2003, 15), and theatrical in that they are events that may include characters, plot, the invocation of an audience, and the collective labour of multiple collaborators. In this way, digital feminist practices foster counterpublics––communities that enable “exchanges…distinct from authority” that “have a critical relation to power” (Michael Warner 2002, 56). This book seeks to consider how digital feminist activism uses conventions of assembly, performativity, theatricality, and design to counter the individualizing forces of postfeminist neoliberalism while foregrounding the types of systemic change so greatly needed, but often overlooked, in this climate.

List of possible topics:

  • Feminist hashtag activism; feminist, anti-racist, decolonial, LGBTQ+ hashtag movements
  • Closed virtual feminist communities and safe(r) spaces
  • Feminist and post-feminist forms of digital culture
  • Intersectional feminism online
  • LGBTQ+ digital cultures
  • Black, indigenous, and people of colour (BIPOC) digital cultures
  • Transnational digital feminism
  • Popular and celebrity feminism online
  • Feminist responses to online misogyny
  • Feminism and post-feminism on Instagram and/or Twitter
  • Feminist, queer, and BIPOC meme
  • Feminist, queer, and BIPOC design
  • Gamergate and implications of online misogyny in game culture
  • Methodological and/or theoretical approaches to feminist digital culture

Please submit a 250-350 word abstract, a brief author bio, and any questions to Brianna I. Wiens (bwiens@yorku.ca) by May 30th, 2019. Accepted submissions should be 6000-7000 words and will be due to the editors by November 1, 2019.

References

Banet-Weiser, Sarah. 2018. Empowered: Popular Feminism and Popular Misogyny. Duke University Press.

Butler, Judith. 2015. Notes Toward a Theory of Performative Assembly. Cambridge, Massachusetts. Harvard University Press.

Keller, Jessalynn and Maureen E. Ryan (eds). 2018. Emergent Feminisms: Complicating a Postfeminist Media Culture. Routledge.

McRobbie, Angela. 2008. The Aftermath of Feminism: Gender, Culture and Social Change. Sage.

Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham, NC: Duke University Press.

Warner, Michael. 2002. “Publics and Counterpublics.” Public Culture 14(1): 49-90.

 
TWO DAYS OF CANADA 2019: CANADIAN SCREENS
BROCK UNIVERSITY, ST. CATHARINES, ON
NOVEMBER 7-9, 2019
CALL FOR PAPERS
 
 
Conference Theme
The annual Two Days of Canada conference program committee is seeking proposals for papers that explore the shifting terrain of contemporary Canadian screens. As a reprise of the engaging gathering of scholars and researchers at ‘Two Days of Canada 2006: Television in Canada,’ we hope to survey the current state of research on texts and contexts across the multiple sites and screens that have emerged from within and beyond the traditional terrain of television. Contemporary Canadian screens include television, film, web platforms, social media, digital games and cell phones, among others. How is content being produced, consumed, interpreted, circulated and regulated across these various screen spaces?  What are the historical, social, political, cultural and technological contexts shaping Canadian screen production and consumption?  How can traditional film and television theory be applied to emerging screen texts and practices? What research methodologies and critical approaches are best adapted to the study of contemporary Canadian screens? ‘Two Days of Canada 2019: Canadian Screens’ presents an exciting interdisciplinary venue for exploring these key questions. 
 
Conference Paper Topics
We seek individual paper or panel proposals from scholars and graduate students presenting current research on the topics listed below, or on other themes and topics relevant to the understanding of contemporary Canadian screens. 
  • Shifting practices of screen content production
  • Transnational and transmedia storytelling on Canadian screens
  • Production practices in screen industries
  • Evolving contexts of Canadian screen content policies 
  • Emerging digital content and gaming industries in Canada
  • Canadian fan cultures
  • Screen spaces: proliferation of screens in the built environment
  • Screen genres in Canada
  • Co-production and globalization of Canadian screen content

Submission Format and Deadlines
Please submit a 250-word abstract of your proposed paper, along with a 50-word biographical statement about yourself, to the conference organizers at canadianstudies@brocku.ca. Proposals for a panel of three to five presenters comprised of separate abstracts for each paper are also welcome and may be submitted by a single contact person on behalf of the panel members.  

  • Proposals due August 2nd, 2019
  • Decisions communicated by August 15, 2019
  • Conference registration open on EventBrite, August 15, 2019
  • Early bird registration closes September 30, 2019
  • Final registration closes November 7, 2019  
 
For More Information
  • Contact: canadianstudies@brocku.ca.
  • Conference Program Committee: Marian Bredin, Brian deRuiter, Anthony Kinik, Peter Lester, Sarah Matheson.
 

The Collaborative Research Centre 1015 “Muße. Grenzen, Raumzeitlichkeit, Praktiken”(“Otium: Boundaries, Chronotopes, Practices“) in the context of the project “Immersion and leisure in the theme park: media landscapes near Ontario Place (Toronto, 1971-2011)” led by Prof. Dr. Robin Curtis at the Institute for Media and Cultural Studies at the Albrecht-Ludwigs-Universität in Freiburg, Germany is seeking to immediately fill the position of

Postdoctoral Research Fellow

Fee group 13 TV-L (100 %), starting date: as soon as possible

The research fellow will be employed within a highly dynamic research environment that offers a variety of intellectual stimuli. The position includes challenging tasks in the project “Immersion and leisure in Theme Park: Media Landscapes at Ontario Place (Toronto, 1971-2011)”, which explores how immersion and leisure are connected. In particular, the multimedia exhibition strategies and leisure experiences in the recreation and theme park Ontario Place and the practices of its use will be researched. On the basis of a group of test persons who experienced Ontario Place between 1971 and 1983 as contemporary witnesses, the research project conducted by the postdoctoral researcher will examine the individual practices of using the park. This will be done in close cooperation with the research project of the funding applicant, Robin Curtis, who will reconstruct and analyse the multimedia exhibition configurations in the park.

The tasks of the research assistant include, among others

  • Collaboration in the overall research project on the relationship between immersion and leisure in the Theme Park: Media Landscapes near Ontario Place (Toronto, 1971-2011);
  • Analysis of the practices of the use of the park by means of walking interviews on site in Toronto in 2019;
  • Participation in project publications as well as independent publications in relevant journals and presentations (national/international) in the project context; 
  • Participation in the conception, organization and realization of a conference within the framework of the Collaborative Research Center “Muße”/”Otium.”
  • The project that has just been approved has a shortened duration and this requires a willingness to orient oneself quickly in the already ongoing second approval period of the Collaborative Research Centre.
    Hiring requirements: 
  • Doctorate in media studies, cultural studies and/or empirical cultural studies, (qualitative) sociology, or related subjects;
  • Experience in field research;
  • Good knowledge of software for the management and evaluation of qualitative data (MAXQDA) and willingness to acquire it;
  • Interest in teamwork in a large interdisciplinary research network;
  • Excellent English, basic knowledge of German.

The position is limited until 31.12.2020 (due to the funding of the DFG until the end of the second SFB funding period). Remuneration is according to TV-L E13.

For the position advertised here, we are particularly pleased about applications from women.

Please apply with a cover letter, a CV, a list of publications as well as copies of all certificates of qualification stating the reference number 00000455 by 12.04.2019 at the latest. 

Albert-Ludwigs-University Freiburg
Institute for Media Cultural Studies
Prof. Dr. Robin Curtis
79085 Freiburg im Breisgau

Please direct applications, preferably in electronic form (in a pdf file with a maximum of 10 MB), to sekretariat.curtis@mkw.uni-freiburg.de
For further information please contact Elissa Wittke at +49 761 203-98627 or e-mail elissa.wittke@mkw.uni-freiburg.de

 

Film Studies Association of Canada Graduate Student Essay Prize

(La version française suit ci-dessous)

All current students are invited to submit an essay written as part of their graduate studies as application for the 2019 Film Studies Association of Canada Graduate Student Essay Prize. The recipient will be announced during the FSAC Annual General Meeting during Congress at the University of British Columbia (June 4 to 6).

The selected essay will demonstrate maturity and sophistication of argument, be a clear and direct engagement with the discipline of Film Studies (broadly defined), be provocative and stimulating and have the potential for publication.

Eligibility:

  • Students must be registered in a graduate program for at least one semester in the school year prior to the deadline.
  • If the paper has more than one author; all authors must be registered graduate students and members of the association.
  • Papers submitted for review to a scholarly journal (even if not yet accepted) are not eligible.
  • Papers are submitted by the author(s), not a supervisor or faculty advisor.
  • Students must be fully paid members of FSAC at the time that they submit their paper for consideration. Previous winners may not submit entries.
  • Essays resulting from research conducted under the Gerald Pratley Award may not be submitted, but Pratley winners may submit essays on other topics.

Application process:

Papers are evaluated by a blind-review process.

  • Do not include any identifying information of authorship or home institution in the body of the paper.
  • Submit by email as MSWord attachment
  • Place identifying contact information (author name(s), institution, contact information and essay title) in the body of the email.
  • Attach the paper with the title at the top of the first page.
  • Double-­space and number your pages.
  • Essays should fall between 5000 and 7500 words in length.

A committee of executive members of the association, including a graduate student representative, will select the recipient.

The president will receive and distribute the applicants but will not participate in adjudication.

Send applications to: Peter Lester – plester@brocku.ca
Deadline: April 30, 2019

The selected paper is expected to be revised and submitted for publication consideration with the Canadian Journal of Film Studies. Feedback from the journal reviewers is a major benefit of this award.

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Prix de l’essai étudiant de l’Association canadienne d’études cinématographiques

Les étudiants et les étudiantes présentement inscrit(e)s dans un programme d’études supérieures sont invité(e)s à soumettre un texte critique réalisé dans le cadre de leurs études de 2 e et 3 e cycle pour le prix du meilleur essai critique de l’Association canadienne d’études cinématographiques. Le gagnant ou la gagnante sera annoncé(e) lors de l’assemblée générale de l’association dans le cadre de la conférence annuelle qui se déroulera cette année à l’Université de Colombie-­Britannique (4-­6 juin 2019).

Le texte primé devra démontrer une maturité et une sophistication critique, offrir clairement et directement une contribution à la discipline des études cinématographiques (au sens large), se distinguer par son originalité, se pertinence et son potentiel de publication.

Éligibilité:

  • Les étudiant(e)s doivent être inscrit(e)s dans un programme de 2e ou 3e cycle depuis au moins un semestre dans l’année académique qui précède l’échéance;
  • Si le texte à plus d’un auteur, tous les auteurs doivent être étudiant(e)s et membres de l’association;
  • Les articles déjà soumis à des revues scientifiques (et même s’ils n’ont pas encore été acceptés) ne sont pas éligibles ; • Les articles doivent être soumis par le candidat ou la candidate, et non par le directeur ou la directrice de recherche ou le ou la responsable de l’unité académique;
  • Les étudiant(e)s doivent être membres de l’association au moment de soumettre leurs textes au comité. Les gagnant(e)s des années précédentes ne sont pas admis(es);
  • Les textes découlant de recherches réalisées dans le cadre du Prix Gerald Pratley ne sont pas admis, bien que des récipiendaires du prix Pratley peuvent soumettre des textes, mais ceux-­‐ci devront porter sur un autre sujet.

Démarche à suivre:

Les articles sont évalués à l’aveugle par un comité de pairs.

  • Ne pas inclure des informations d’identification, ni le nom de votre institution dans le corps du texte;
  • Le texte doit être joint à un courriel, en format MSWord;
  • Le titre doit apparaître au haut de la première page du texte;
  • Le texte doit être à double interligne et paginé.
  • Les essais doivent compter entre 5000 et 7500 mots.

Un comité formé par des membres de l’exécutif de l’association, comprenant le représentant étudiant, sélectionnera le gagnant ou la gagnante.

Le président recevra et distribuera les candidatures mais ne participera pas au processus d’évaluation.

Envoyez vos soumissions à : Peter Lester – plester@brocku.ca

Date limite: 30 avril 2019

Il est attendu que le texte sélectionné soit révisé et soumis pour publication à la Revue canadienne d’études cinématographiques. Les retours des évaluateurs de la revue forme un des bénéfices de ce prix.

 

Please find below an updated program for our Annual Conference, Tuesday to Thursday, 4-6 June 2019.

Veuillez trouver ci-dessous un programme mis à jour pour notre colloque annuelle, mardi au jeudi, 4 à 6 juin 2019.

FSAC/ACÉC 2019 Program / Programme [20/05/2019]

 

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Tier II Canada Research Chair in Media, Culture and the Environment
Trent University

Trent University invites applications from emerging scholars with a strong research profile for a Tier II Canada Research Chair (CRC) in Media, Culture, and the Environment. We are interested in candidates working on any subject in the intersection of the environmental humanities, media studies, and cultural studies, and from many different methodological approaches.

As a faculty member appointed to both the Department of Cultural Studies and the Trent School of the Environment (TSE), the CRC will have a strong multi-disciplinary background and the demonstrated potential to collaborate with faculty in the humanities and the social and natural sciences. The successful candidate will develop a personal five-year research plan within a collaborative institutional context: they will teach one or more courses in undergraduate degree programs associated with Cultural Studies and the TSE, and they will supervise graduate students in one or more MA or PhD programs, including Canadian Studies, Cultural Studies, Environmental and Life Sciences, Indigenous Studies, and Sustainability Studies. Additionally, they will benefit from research centres and groups including the Centre for the Study of Theory, Culture, and Politics, the Frost Centre for Canadian Studies and Indigenous Studies, the Institute of Integrative Conservation Biology, and the Communicating Conservation Science Research Group.

As a Tier II CRC, the candidate must be an emerging scholar, which means that they will have received their PhD no more than ten years ago. At the same time, they should be an emerging world-class researcher who has demonstrated the sort of creative research and leadership that can attract, develop and retain excellent students and future researchers. Most importantly, the candidate must propose an original, innovative research program of high quality. Applicants who are more than 10 years from having earned their highest degree (and where career breaks exist, such as maternity, parental or extended sick leave, clinical training, etc.) will have their eligibility for a Tier 2 Chair assessed through the program’s Tier 2 justification process. More information can be found on the Canada Research Chairs’ website.

CRCs are highly competitive research professorships funded by the Government of Canada through the Canada Research Chairs Program. As such, the successful candidate will emphasize research over teaching and administrative responsibilities: CRCs typically teach one course each semester. They will be appointed as a tenure-track Assistant or Associate Professor to Trent University for a five year term, renewable once. The Trent appointment will be conditional on a successful Canada Research Chair nomination.

Application materials must be sent as one pdf file and include the subject line “Tier II CRC in Media, Culture, and the Environment.” By April, 30 2019, applicants should electronically submit the following to Cathy Gates, Director Office of Research and Innovation:

  1. A signed letter of application;
  2. A 5 year research plan (including your intentions for mentoring graduate and post-graduate students);
  3. A teaching philosophy (including your experiences in increasing equity, diversity, an inclusion in previous institutional environments and curricula and in supporting diverse students);
  4. A copy of your three most influential publications;
  5. A current CV;
  6. A completed self-identification form; and
  7. The names of three referees.

We respectfully acknowledge that we are on the treaty and traditional territory of the Mississauga Anishinaabeg. We offer our gratitude to the First Peoples for their care for, and teachings about, our earth and our relations. May we honour those teachings. Recognized as Canada’s outstanding environmental university, Trent has an extensive riverfront campus, including several nature reserves; less than two hours from Toronto, Ontario, it attracts a diverse student body.

Trent University is actively committed to creating an equitable, diverse and inclusive campus community and encourages applications from all qualified candidates. The University especially welcomes applications from the members of the four designated groups (applicants who identify as women, Indigenous people, racialized people, and people with disabilities). Recruitment will be guided by the Canada Research Chairs Equity, Diversity and Inclusion Practices, the Trent University Canada Research Chair Equity, Diversity and Inclusion Action Plan and by the University’s commitment to employment equity and diversity. Training and development activities related to unconscious bias, equity, diversity and inclusion for administrators and faculty involved in the recruitment and nomination processes for chair positions is mandatory.

All Candidates are invited to complete and submit a self-identification form alongside their application. By identifying, CRC applicants allow Trent University, and the Canada Research Chair Program, to measure the levels of diversity and collect data for all groups to ensure any systemic barriers within our policies and processes can be identified. The collected forms, and their associated data, will be kept confidential, and only accessed on a need-to-know basis by members of the selection committee and, for nominees selected, by the Canada Research Chair Program Office.

Trent University recognizes the impacts that interruptions (e.g., parental leave, extended leave due to illness, etc.) can have on a person’s career and research achievements, and these leaves will be carefully considered when reviewing the candidate’s record. Candidates are encouraged to explain in their application how career interruptions may have impacted them.

Trent University offers accommodation for applicants with disabilities in its recruitment processes. If you require accommodation during the recruitment process or require an accessible version of a document/publication, please contact Cathy Gates, Office of Research and Innovation.

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Digital Media Arts and Communication, Tenure-Track Assistant Professor
University of Waterloo

The Department of Communication Arts at the University of Waterloo invites applications for a tenure track Assistant Professor position in digital media arts and communication.

Based in a liberal arts faculty, in a research-intensive university, the Department of Communication Arts has undergraduate programs in Speech Communication, Theatre & Performance, and Digital Arts Communication, and currently serves approximately 200 majors and 150 minors. In addition, the Department delivers approximately 100 sections of communication courses to students from several different programs across the University.

The successful candidate will have an exceptional research and/or practitioner profile, demonstrated excellence in teaching, and a background in digital media/arts and communication. Applicants are expected to have a PhD in hand or be ABD with dissertation near completion. Ideal candidates will bring an ability to contribute to the Digital Arts Communication minor, the Speech Communication major, and courses designed and delivered for students from across the university. In addition, candidates will be expected to contribute to the integration of digital arts practice into courses across the department. It is expected that the candidate will be engaged in scholarship or creative activities associated with digital arts as both a mode of production and an area of theoretical and critical inquiry. In particular, candidates may have expertise in digital design, interactive media, digital storytelling, game design, tangible media, online digital platforms, or some other related area. A demonstrated pedagogical commitment to theoretically informed practice, student-centered learning, and engagement of broad public issues is desirable. Additional expertise in critical race, indigenous, dis/ability, trans, feminist, and/or queer approaches to the practice and study digital media and communication are welcome. Ideal applicants will have a high degree of technological literacy, the ability to secure external funding, collaborative potential with other faculty across the University, the ability to engage in outreach activities with industry in their area and be able to contribute to the growth of the department. The salary range for this position at the Assistant Professor rank is $80,000 to $100,000. Salary will be commensurate with qualifications and experience.

Applications must include the following: letter of application addressed to Dr. Robert Danisch (Department Chair), CV, one sample scholarly publication, evidence of teaching effectiveness, and three confidential letters of recommendation.

Qualified candidates should complete an online application at: http://artsofas.uwaterloo.ca/communication-arts

Deadline to apply: April 18, 2019

The University of Waterloo regards diversity as an integral part of academic excellence and is committed to employment equity and accessibility for all employees. As such, we encourage applications from women, Indigenous (First Nations, Métis and Inuit) peoples, persons with disabilities, members of diverse gender identities, and others who may contribute to the further diversification of ideas. At Waterloo, you will have the opportunity to work across disciplines and collaborate with an international community of scholars and a diverse student body, situated in a rapidly growing community that has been termed a “hub of innovation”. All qualified candidates are encouraged to apply; however, Canadians and permanent residents will receive priority in the recruitment process.

Three reasons to apply: http://uwaterloo.ca/fauw/why