Call for Papers:
Reframing the Nation: Racialized & Queer Diasporic Women of Colour and Queer Indigenous Canadian Independent Women Filmmakers 1990-2020.
Reframing the Nation is the first critical film anthology from an intersectional Canadian context that is dedicated to a close engagement with the films produced by racialized and queer diasporic women and queer indigenous independent women filmmakers in Canada. This collection charts the cinematic visions and perspectives of first and second generation racialized diasporic and Queer BIack, Indigenous, Women of colour Canadian Independent Women Filmmakers working from 1990-2020. Works considered can be shorts and/or features that are independent Canadian productions.
Independent film tends to reflect an artistic practice that is rooted in personal, political, formal, aesthetic, cultural and/or social concerns, they are typically arts council funded and/or co-produced with other agencies. A central component of independent film is that the filmmaker maintains artistic/editorial control over their work. Comparative papers between Canadian productions and international productions are encouraged.
Please Submit Abstracts (300 words) & short bios (125 words) by November 27, 2020
Notification of acceptance: December 17, 2020
Submission of Papers: 12-15 pages preferred, to a maximum of 5,000 words.
Final Draft Due: June 14, 2021
Please direct all inquiries to: email@example.com (will answer any questions before the abstract deadline)
Submissions may consider the following:
- Documentary, Narrative, Experimental features, short film, hybrid films and activist documentaries with artistic approaches from Intersectional perspectives.
- Cultural identities and diasporic aesthetics: the merging of aesthetics and politics; to explore space/place, fragmented uprooted identities, home and belonging, intersectional identities, politics of displacement, contesting dominant narrative of Canada as a nation etc.
- Theorizing and analyzing diasporic works by Canadian racialized women or queer/trans women of colour, black and indigenous women filmmakers from decolonial, post-colonial, queer diasporic or transnational contexts.
- Thematic or textual analysis of a feature film or (body of films) by a sole woman of colour filmmaker, comparative analyses of two artists or short works by multiple filmmakers
- Aesthetic/formal approaches in documentary, narrative, experimental, and hybrid film
- Historiography of film/video production by women of colour and indigenous women in Canada (1990-2020) you may reference earlier works in passing.
- Festivals & Distributors that supports works by Indigenous women filmmakers and women of colour filmmakers in Canada.
- Reception and audience studies of works produced by Indigenous/women of colour in Canada.
- Thematic analyses of intersectional representations of social justice issues or settler nation
- The decolonial use of technologies (digital and film) in works by Canadian racialized/queer diasporic and indigenous women filmmakers in Canada.
- Queer & Transgender films by Indigenous and women of colour filmmakers in Canada.
Call for papers
The body on the screen and the body of the screen have always formed a compelling and productive pairing. From apparatus theory to production and exhibition histories, these two conceptualizations of cinematic bodies remain valuable avenues for reflecting on the use of images, their visibility, materiality, and presentation. As cinema continues to fracture and expand across our cell phones and living spaces, the screen is increasingly tangible, mobile, and ubiquitous. Like the mobile toys and popular illusions preceding modern cinema, these forms of new media present particular bodies on particular screens. The unifying darkness of the movie theatre is being replaced by a brighter multiplicity of global media objects, at once scattered and reconciled through social media, streaming platforms, and the internet in general. Even as borders and nations are re-entrenched, international connections are being forged. Though research on the body of the screen (in exhibition histories, affect theory, and tactility) and on the body on the screen (in critical theory on the making of race and gender) has proliferated in recent years, bringing the two together will produce a more nuanced consideration of how and who we are watching today.
In Cinephile 15.1, our goal is to bring these two types of bodies into conversation with one another and with ongoing discussions around each conceptualization of cinematic bodies. Our hope is to develop insights as to how bodies are being shown relative to screen technologies. As such, we invite scholarship on cinema’s multiple bodies. This includes papers on screen bodies (sites of exhibition and media histories) as well as bodies on screen (representations of race, gender, sexuality, disability) and especially research joining the two. Special preference will be given to papers discussing visual media.
Possible topics can include (but are not limited to) any of the following:
- Media history and archaeology
- Representation of bodies on screen in terms and at the intersection of gender, race, disability, sexuality
- Materiality of film and the digital, in terms of the image or exhibition technology
- Movement of bodies on screen in dance, pornography, fight sequences, mannerisms
- Encounters between film technology and form
- Representation in Hollywood of celebrity, beauty, norms
- Cross-cultural and international examinations of the body on screen
- Alternative exhibition practices and histories
- Relationship between body and screen, offering sensuality and/or violence
We encourage submissions from graduate students, postdoctoral researchers, and established scholars. Papers should be between 2,000-3,500 words, follow MLA guidelines, and include a detailed works cited page, as well as a short biography of the author. Submissions should be directed toward SUBMISSIONS@CINEPHILE.CA and general inquiries toward INFO@CINEPHILE.CA.
Submissions are due by October 11, 2020.
Cinephile is the University of British Columbia’s film journal, published with the continued support of the Centre for Cinema Studies. Previous issues have featured original essays by such noted scholars as Lee Edelman, Slavoj Žižek, Paul Wells, Murray Pomerance, Ivone Marguiles, Matt Hills, Barry Keith Grant, K.J. Donnelly, and Sarah Kozloff. Since 2009, the journal has adopted a blind review process and has moved to annual publication. It is available both online and in print via subscription and selected retailers.
Incoming editors: Harrison Wade and Kate Wise
Screening Censorship Conference: New Histories, Perspectives, and Theories on Film and Screen Censorship
Ghent, Belgium, October 16-17, 2020
UPDATE: Our conference is going ahead. We also adapt, of course, to the changing world. Based on abstract submissions Screening Censorship Conference will adjust to circumstances, and implement best practices of social distancing and (if needed) virtual attendance to ensure the safety and comfort of delegates, presenters and attendees. The new deadline for abstracts is August 15, 2020. For more information, please contact Daniel Biltereyst (firstname.lastname@example.org) and/or Ernest Mathijs (email@example.com).
Academic keynote speakers:
Professor Richard Maltby (Flinders University, Australia)
Professor Linda Williams (University of California, Berkeley, USA)
Professional keynote speakers:
Manuel Mozos (filmmaker, Portugal)
Rachel Talalay (film director/producer, US/Canada)
Throughout the history of film and cinema, censorship has existed everywhere–in all kinds of shapes, colors, and dimensions. The act of restricting the free production, circulation, screening and consumption of movies was never unique to authoritarian regimes. Age restrictions, film cuttings, bans, industry discouragements, and other types of censorial interventions also occurred in countries where media freedom and the freedom of speech were and are highly regarded principles. Censorship has had far-reaching implications on filmmakers, distributors, exhibitors, and audiences across generations, and across genres. Hard, strict institutional censorship often came alongside implied or ‘suggested’ forms of soft censorship, including, importantly, the self-censorship or audiences disciplined into particular viewership positions.
Today, soft and hard censorship co-exist in even more fluid forms. The acts of banning, regulating, trimming, and tailoring films for ‘harmless’ consumption, by bureaucracies, pressure groups and activists, are frequently embedded within wider debates about media use. But film nonetheless remains a ‘banner issue’, a point of reference for what constitutes screen censorship.
From the long tradition of investigating film censorship onwards, this conference aims at reflecting upon recent changes in policies, strategies and practices of film censorship, both in the past and in today’s media landscape. Amongst the many questions, this conference asks:
What are film history’s lessons from censorship?
What are the contours of censorship today?
Is censorship still a useful concept? How has it changed?
How do new or renewed sensitivities influence censorship today, in terms of gender, ethnicity, sexuality, religion, ageism, ableism?
How do censorships compare, across time, space, genre, and technologies?
What is the role of social media in debates about censorship? How do we define film censorship in times of massive content moderation on social media platforms?
How does film censorship work on different screens: in the theatre, on television, on in-flight, mobile, across multitudes of digital screens?
What are the ‘aesthetics’ of censorship today and what is the function of pastiche, subversion, ‘just joking’, and other kinds of boundary-challenging work?
What do recent controversies and provocations reveal about the evolution of censorship?
What is the relationship between incidents and interventions in production culture, artistic integrity, and censorship?
What is censorship’s relationship with ‘hardcore’ and explicit material, past and now? If censorship is not always a simple matter of repression from above, but of conflicting discursive constructions arising from below, how do we account for the history of the emergence of hard-core pornography beyond thinking of it as the liberalization of censorship?
Screening Censorship also invites reflections on the changing research environment:
What are the tools for studying censorship today?
How have digital technologies affected the study of censorship?
What is the influence of new film and cinema historiography in exploring practices of distributing, screening, consuming and audience’s experiences of film and screen censorship?
Screening Censorship aims to showcase academic and industry voices on the issue of the shifting practices of censoring films on the different screens. The four keynote addresses confirmed for the symposium reflect that goal. The conference is organized in tandem with the 47thInternational Film Fest Ghent (FIAPF accredited, Variety’s top-50 must-attend), and aims to examine how film and cinema censorship, as a concept and as a practice (ad hoc and post hoc), functions 20 years into the 21st Century.
Screening Censorship welcomes contributions for 20-minute presentations from scholars, artists and practitioners whose work pertains to topics and themes of film and screen censorship. We are seeking abstracts for individual papers and panels of three or four contributors on topics including, but not limited to:
Theories, concepts, and discourses on film censorship, control, discipline, silencing, content moderation
New film censorship policies, strategies, tactics, practices
The aesthetics of film censorship, subversion, pastiche
Activism and resistance
Film censorship, audiences and reception
Institutions and power
Comparison, entangled history, histoire croisée
Film censorship and the museum: archives, heritage, platforms
Artistic integrity, interventions, re-use
Film censorship cases, controversies, panics
Digital tools and new methods for doing film censorship research today
Please send abstracts of 300 words and a 100-word biography to Daniel Biltereyst (firstname.lastname@example.org) and Ernest Mathijs (email@example.com) by August 15th, 2020, and address any queries to the same addresses. Abstracts should be submitted following this order: (a) author(s); (b) affiliation; (c) email address; (d) title of abstract; (e) body of abstract; (f) bibliography. E-mails should carry the subject line: Screening Censorship Abstract Submission.
Conference sponsored by Digital Cinema Studies (DICIS, FWO Flanders) in collaboration with The Centre for Cinema and Media Studies (UBC).
Conference venue: Film-Plateau, Paddenhoek 3, Ghent, Belgium. Conference website: www.censorship-symposium.org (under construction)
CFP Transformative Works and Cultures:
Fans demonstrate a broad interest in the past, both of their objects of fandom and their own communities. They collect, catalog, preserve, restore, and publicly display historical artifacts and information in their own archives and museums. They study archival materials and collections, interview witnesses, and read historical scholarship, developing historical narratives and theses. Their research materializes in the form of analog and digital nonfiction media such as print and online publications, documentaries, podcasts, video tutorials, and pedagogical initiatives. Through their work, fans historicize their own fandom and tie it into broader historical questions, connecting to issues like heritage, gender, and the nation. While some fans do this as community historians, focused on small and self-financed groups, others work within large and well-known cultural organizations and businesses, bringing this work into the mainstream.
The goal for this special issue of Transformative Works and Cultures is to explore the question of how fans produce knowledge about the past and actively engage with history. We are particularly interested in essays that show what fans do as historians, such as running publicly accessible archives and museums, and using archival materials for the production of nonfiction media. We want to shift direction from the question of why and how fans are collecting to analyses of why, how, and with what impact fans are creating and disseminating knowledge about the past. Such contributions will further our understanding of how central engagements with the past are to individual and collective fan identities, and how fandom connects to historical debates.
We encourage contributions covering all geographies and forms of fandom, including film, television, music, games, sport, fashion, celebrity culture, themed environments, theatre, dance, and opera. Topics may include, but are not limited to:
Transformative Works and Cultures (TWC, http://journal.transformativeworks.org/) is an international peer-reviewed online Gold Open Access publication of the nonprofit Organization for Transformative Works copyrighted under a Creative Commons License. TWC aims to provide a publishing outlet that welcomes fan-related topics and to promote dialogue between the academic community and the fan community. TWC accommodates academic articles of varying scope as well as other forms that embrace the technical possibilities of the Web and test the limits of the genre of academic writing.
Theory: Conceptual essays. Peer review, 6,000–8,000 words.
Praxis: Case study essays. Peer review, 5,000–7,000 words.
Symposium: Short commentary. Editorial review, 1,500–2,500 words.
Please visit TWC’s website (http://journal.transformativeworks.org/) for complete submission guidelines, or email the TWC Editor (editor [AT] transformativeworks.org).
Contact—Contact guest editors Philipp Dominik Keidl and Abby Waysdorf with any questions or inquiries at fansmakehistory [AT] gmail.com.
Due date—January 1, 2021, for estimated March 15, 2022 publication.
CALL FOR SUBMISSIONS CINEACTION 101
The next issue will focus on two themes.
Film and Radical Politics in the Global Crisis
A plague stalks the world and economies are collapsing. Are we forced to imagine the end of the world and the end of capitalism? What is the relationship of film and media to this terrifying live spectacle? How is it represented? What place and responsibility for radical films and filmmakers? What possible transformative or disastrous outcomes in this moment of contradiction and crisis?
Films and filmmakers have a long history of involvement in moments of social conflict and change, war and revolution. Soviet filmmakers in the Russian revolution, Renoir and the French Popular Front, the avant-garde cinema from Surrealism on, the Hollywood Reds and the blacklist, the NFB in WWll, anti-fascism and Neo-Realism, the Third Cinema of anti-colonial struggles from the fifties on, the enduring impact in both documentary and fiction of the social movements of the sixties and the many New Lefts and more… What is the current state of this radical lineage, what contemporary explorations, what changed role for film and media now. Open to a wide range of subjects and perspectives.
The horror genre remains enduringly popular, especially in this apocalyptic moment, and often politically challenging, in films and television all over the world. We welcome submissions on the genre, particular films, directors, from any national, aesthetic or political perspective.
Deadline: September 1, 2020
Call for Submissions
2020 Annual Graduate Music Conference
Department of Music, University of Alberta
“Revisualizing Sound and Music”
May 15-16, 2020
The Graduate Music Students’ Association (GMSA) of the University of Alberta is pleased to announce a call for submissions for our annual NCounters Graduate Conference. The conference will take place on Friday, May 15 and Saturday, March 16, 2020.
Music visualizes our wildest dreams and imaginations, and revisualizes the finest creations of humanity. At the GMSA’s NCounters Conference, we thrive to inquire and “revisualize” the endless possibilities of music research and discourse. As a multi-formatted conference, we aim to facilitate innovative graduate research by providing a platform and safe space for grad students from everywhere to present their work and engage with fellow researchers in an inclusive and interdisciplinary environment.
We encourage submissions from any topic in the study of music including but not limited to:
– Musicology; ethnomusicology; music theory
– Film and media music; popular music
– Composition; performance
– Music education; music therapy
We also welcome compositions and lecture recitals including but not limited to:
– Composed concert pieces
– Electroacoustic compositions
– Improvised music performances
– Sound Installations (please note that space is limited)
This year, we are delighted to have two distinguished scholars as keynote speakers:
Dr. Emilie LeBel, Assistant Professor of Composition from MacEwan University. She specializes in orchestral music composition, chamber music composition, electronic music, as well as integrated works that apply digital and intermedia concert pieces. She is an affiliated composer at the Toronto Symphony Orchestra. Selected works include Hiraeth (2019, Migration No. 2), Mark Takeshi McGregor, Lutalica, Redshift Records; and Navigational view of South Foreland Point and the Kent Coast, 1840 (2018), in Land’s End Ensemble, Pulling the Light, Centrediscs.
Dr. Brian Fauteux, Assistant Professor of Popular Music from the University of Alberta. His research areas include cultural studies, media studies, film, and is particularly interested in music industries and music radio, which integrate discourses of cultural studies, history, and policies. He is currently working on a SSHRC-funded research that examines copyright and cultural labor issues in the digital music industries. Selected publications include Music in Range: The Culture of Canadian Campus Radio (2015); and “The Radio Host and Piloted Listening in the Digital Age: CBC Radio 3 and Its Online Listening Community” (2017).
Paper presentations are no longer than 20 minutes and lecture recitals should be no longer than 30 minutes, all followed by a 10-minute question period. For compositions, please send submission samples in either an MP3 or MP4 format, or a URL link. If attaching a score, please format it as a PDF file.
Please submit an abstract of no longer than 350 words as a Word or PDF attachment to firstname.lastname@example.org no later than Sunday, March 15, 2020. In the body of the email, please include name, affiliation, contact information and A/V requirements.
If you have any questions, please do not hesitate to contact us at email@example.com. We look forward to your submissions!
CALL FOR PAPER PROPOSALS FOR FSAC 2020
The Annual Conference of the Film Studies Association of Canada
Martin Walsh Memorial Lecture: Sylvia D. Hamilton, Rogers Chair in Communications, University of King’s College
Gerard Pratley Award: Oriane Morriet (Université de Montréal): « L’empathie : le choix des auteurs québécois et canadiens des oeuvres en réalité virtuelle ? »
FSAC is now seeking proposals for the 2020 conference in London, Ontario, on the traditionallands of the Anishinaabek, Haudenosaunee, Lūnaapéewak and Attawandaron (Neutral) people.
We welcome proposals for:
- Individual presentations
- Pre-constituted panels
- Workshops or round-tables
- Screenings, exhibitions and other events—on topics related to the Congress theme, or on any other film or media studies topic
Proposal Submission Deadline: January 15, 2020
Please note that proposals will be only be considered from applicants who are paid up members of the association. Memberships may be obtained/renewed here: http://www.filmstudies.ca/membership
Submit proposals by email to: firstname.lastname@example.org
- In an email, include applicant name, affiliation, short bio (50 words or less), and paper title
- Attach a 500 word abstract (with title) and 3-5 bibliographic references. Abstracts will be blind- reviewed; please do not include name or affiliation in the attachment.
Pre-constituted panels should be submitted by the proposed panel chair and include individual proposals (in the format above) with the title of the proposed panel indicated on each abstract.
Workshop and Roundtable proposals should include the following information:
- Chair’s name, rank/status, institutional affiliation and email address
- Title of workshop or roundtable
- Abstract describing the theme/issue to be considered (350-500 words)
- List of participants including name, rank/status, institutional affiliation, and email
- Description of their contribution
- Four relevant keywords
- 4-6 bibliographic references
* You should plan to participate in a maximum of two forums, neither of which may be the same in kind. For example, you may propose and deliver a paper and submit a workshop proposal, but you may not submit two individual paper proposals (whether single or co- authored).
Additional information and instructions:
- Presentations may be in either English or French.
- Individual presentations are to be no longer than 20 minutes (including clips).
- The length of presentations on panels, workshops, and/or round-tables may vary depending on the specific constitution of the session.
- All proposals will be adjudicated by the Programming Committee.
- All papers presented at the FSAC Conference must be original works. Proposals for previously presented papers will not be accepted.
Graduate Student Funding
• Partial financial compensation for student members’ travel to attend the annual general meeting may be provided by the Association. For more details and the application form, visit http://www.filmstudies.ca/category/grad-students
All conference presentation rooms will have video/data projectors, screens, basic sound systems, and connections for laptop computers.
Conference Organizing Committee
Program Chair: Peter Lester (President, FSAC)
Department of Communication, Popular Culture, and Film, Brock University Office phone: (905) 688-5550 x3822
Local Arrangements Coordinator: Janelle Blankenship Department of English and Writing Studies, Western University Office phone: (519) 661-2111 ext. 87882
APPEL À COMMUNICATIONS POUR LE CONGRÈS DE L’ACÉC 2020
Colloque annuel de l’Association Canadienne d’Études Cinématographiques
2 – 4 juin, 2020
L’Université Western, London, Ontario
Tenu dans le cadre du Congrès des sciences humaines
Le thème du congrès 2020: « Bâtir des passerelles : combattre le colonialisme et le racisme anti-Noirs »
Conférence commémorative Martin Walsh : Sylvia D. Hamilton, Rogers Chair in Communications, University of King’s College
Conférence de prix Gerald Pratley : Oriane Morriet (Université de Montréal) : « L’empathie : le choix des auteurs québécois et canadiens
des oeuvres en réalité virtuelle ? »
L’ACÉC sollicite des propositions de communication pour son colloque annuel qui se tiendra du 2 au 4 juin 2020 à London, Ontario, sur les terres traditionnelles des nations Anishinaabek, Haudenosaunee, Lūnaapéewak et Attawandaron (Neutres).
Nous accueillons des propositions :
- de communication individuelle
- de panel préconstitué
- d’atelier ou de table ronde
- de projection, d’exposition ou de tout autre événement portant sur des sujets liésau thème du colloque ou sur tout autre sujet lié aux études cinématographiques ou médiatiques
Date limite pour soumettre les propositions : 15 janvier 2020
Veuillez prendre note que vous devez être membre de l’Association au moment de la soumission de votre proposition – autrement, votre proposition ne sera pas considérée. Vous pouvez vous inscrire ou renouveler votre inscription ici : http://www.filmstudies.ca/membership?lang=fr
Envoyez vos propositions à : email@example.com
Format des propositions :
• Dans un message électronique, indiquez votre nom, votre affiliation, une courte notice bio-bibliographique (50 mots ou moins) et le titre de votre communication.
• En pièce jointe, attachez votre proposition de communication (500 mots) ainsi que votre titre et 3-5 références bibliographiques. Puisque les propositions seront évaluées à l’aveugle, prière de ne pas inclure votre nom ni votre affiliation dans la pièce jointe.
Pour les panels préconstitués : les propositions seront soumises par le responsable du panel et doivent inclure toutes les propositions individuelles (suivant le format ci- dessous). Vous devez inclure le titre du panel sur chacun des résumés.
Les propositions de table ronde et d’atelier doivent inclure les informations suivantes :
- Nom du responsable de panel, poste/statut, affiliation et adresse courriel
- Titre de l’atelier ou de la table ronde
- Résumé décrivant le thème/sujet qui sera abordé (350-500 mots)
- Liste des participant.e.s incluant leur nom, poste/statut, affiliation, et courriel
- Descriptions des contributions des participant.e.s
- Quatre mots clés
- 4-6 références bibliographiques
* Veuillez noter que vous ne pouvez participer qu’à deux événements du colloque. Ces événements ne doivent pas être de même nature. Par exemple, vous pouvez proposer une communication et un atelier, mais vous ne pouvez pas proposer deux communications (que vous soyez auteur.e unique ou co-auteur.e).
Informations et instructions supplémentaires :
- Les présentations peuvent être en français ou en anglais.
- Les communications individuelles ne doivent pas dépasser 20 minutes (incluant la présentation d’extraits).
- La durée d’un panel, d’un atelier ou d’une table ronde peut varier selon leur organisation.
- Toutes les propositions de communication seront évaluées par le comité organisateur du colloque.
• Toutes les communications présentées à la conférence annuelle de l’ACÉC doivent être originales. Elles ne doivent être pas avoir été publiées ni présentées ailleurs. Les propositions de communications antérieures ne seront pas acceptées.
L’Association sera en mesure de fournir des compensations financières partielles pour le déplacement des membres étudiant.e.s qui seront présent.e.s à l’assemblée générale annuelle. Visitez notre site pour plus de détails et pour accéder au formulaire d’application : http://www.filmstudies.ca/category/grad-students.
Toutes les salles de conférence du colloque seront équipées de projecteurs numériques, d’écrans, de systèmes de son, et de connexions pour les ordinateurs portables.
Comité d’organisation du colloque
Président du programme : Peter Lester (Président, ACÉC)
Department of Communication, Popular Culture and Film, Brock University Téléphone: (905) 688-5550 x3822
Coordonnatrice locale : Janelle Blankenship
Department of English and Writing Studies, Western University Office phone: (519) 661-2111 ext. 87882
6-8 July 2020
At OCAD University, Toronto
Co-Hosted by OCAD University, Ryerson University, and York University
Kara Keeling (University of Chicago) Brian Price (University of Toronto) two more TBA
We invite proposals for presentations on any subject related to film, media and philosophy for the Film-Philosophy Conference 2020 to be held at OCAD University and the TIFF-Bell Lightbox in Toronto. There is no overall theme or specialized topics for the conference. We will instead use a “track” system that provides a number of broad headings to which a presenter may wish to attach their submission. There is, of course, an Open track if you feel that your paper does not fit within any of the other tracks. The tracks for 2020 are (in alphabetic order):
• Affect and Emotion
• The Animal and the Non-Human
• Canadian Cinema
• Documentary and Essay Films
• Emergent Film-Philosophies
• Expanded Cinema, Film Installation,
• Film and Critical Race Theory
• Film-Philosophy Canon
• Film-Philosophy Pedagogy
• Gender and Feminism
• Indigeneity and Fourth Cinema
• New Materialism and Object-Oriented
• New Media and Technologies
• Political Film-Philosophy
• Queer approaches to Film-Philosophy • Realism
• Religion, Secularism, Postsecularism • Workshops
We are only accepting individual proposals for presentations of 20 minutes.
We do not accept group proposals, except for Workshops. We are open to workshops that have alternative and innovative formats that provoke discussion and debate. If you have any ideas for a workshop – in format or content – please contact one of the conference directors before submitting an official abstract via the website.
We invite 300-word abstract proposals to be submitted by 31 January 2020. All abstracts will be considered by at least two members of the conference committee and decisions will be announced in March 2020.
Please direct all enquiries regarding the conference to the conference e- mail: FPToronto2020@gmail.com
From Annihilation to High Life:
Feminist Posthumanism and Postfeminist Humanism in
Contemporary Science Fiction Film
Joint panel of the Posthumanism Research Network and FSAC
Annual Meeting of the Film Studies Association of Canada(FSAC), June 02-04, 2020, University of Western Ontario, London (ON)
Organizers: Julia Empey (WLU) and Russell Kilbourn (WLU)
Deadline for submission of abstracts: January 06, 2020
In 2018 two films were released—Claire Denis’ High Life and Alex Garland’s Annihilation—representing two different poles of contemporary SF film narrative, and two different explorations of specific posthumanist (as well as transhumanist) themes. The two films are similar to the extent that they challenge the Enlightenment Humanist narrative that has dominated Western thought for the last four centuries. Annihilation and High Life can be conceived as two ends of a spectrum of contemporary SF cinema intimately invested in the debates around the posthuman and the critical posthumanities within a feminist critical-theoretical context. The decentring of the human at the core of posthumanist thought has its corollary—indeed, its typological anticipation—in feminism’s de-centring of ‘man.’ That neither of these transformations has entirely succeeded is a problem that informs the story in each of these films, albeit from entirely different perspectives, with a radically different audiovisual language in each case.
In Rosi Braidotti’s (2019) terms, we are now living “the posthuman predicament” resulting from the convergence of the ongoing critique of a Eurocentric Humanist philosophical legacy and the anthropocentric habits of representation it supports. According to Cecilia Åsberg (2018), critical posthumanism is in an important sense exemplified in feminist theory, “long critiquing the centrality of the figure of Man for its gender chauvinism.” Arguably, the (dis-)embodied female could be the ultimate posthuman subject. This panel seeks to place posthumanism and feminism in direct conversation as mediated through contemporary science fiction films. Both posthumanism and feminism aim to counter or dismantle a masculinist, patriarchist Enlightenment Humanism, and SF cinema has been putting these seemingly disparate schools of thought into dialogue for some time now. Where typically the mention of SF in the posthumanist context brings a whole set of (often clichéd) transhumanist tropes to mind—the cyborg, technologically augmented bodies, AI subjectivities, etc.—we encourage instead the submission of papers that either: (a) prioritize analyses of specific examples of contemporary SF cinema that engage in meaningful ways with the burgeoning field of critical posthumanism; or (b) utilize such films as case studies in the interrogation of posthumanist and feminist as well as humanistic ideas. In either case, papers grounded in formal film analysis are strongly encouraged.
Possible topics and films include, but are not limited to:
- Feminist alterities
- Posthuman ecologies
- Posthuman subjectivities
- Gender before and behind the camera in SF film
- Futurism (both Italian and its newer incarnations)
- New materialism
- Gendered cyborgs
- Posthuman femininity/masculinity
- Scarlett Johansson
- Natalie Portman
- Arrival (2016, Denis Villeneuve)
- Blade Runner(1982, Ridley Scott)
- Blade Runner 2049(2017, Denis Villeneuve)
- Ex Machina(2014, Alex Garland)
- Her(2013, Spike Jonze)
- Lucy(2014, Luc Besson)
- Metropolis(1928, Fritz Lang)
- Under the Skin(2013, Jonathan Glazer)
Authors are invited to submit a 500-word abstract for a paper of max. 20 minutes reading time as well as a 250-word biographical note. The deadline for submitting an abstract is Monday January 06, 2020.
Notification of acceptance will be sent by early February.
La version française ci-dessous
22nd Annual FSAC Graduate Colloquium
York University, Friday February 28 – Sunday March 1st, 2020
Call for papers: “Activity”
Keynote address by Dr. Brenda Longfellow, York University
Call for Papers: Activity
Cinema is an active agent: the mutual and reciprocal relationship between moving images and their spectators, the very act of making cinema, is a direct action. Packaged within this making is the action on the screen, the action of the technology capturing and then displaying the cinematic object, and the actions of the spectator. These activities extend well beyond screenings, into production, archiving, theorizing, and distributing; cinema is a collaborative, communal, multi-technological process of creation that spreads itself across vast networks of spectatorship, reception, distribution, imaginaries, and/or activisms. Such cases are woven into the medium’s history: from early Soviet montage articulating class struggle, to the Brechtian cinemas of the late French New Wave, to second wave feminist consciousness raising, and to contemporary practises in interactive documentary and new media, cinema has routinely been considered and used in service of a political modality. In 2020, cinema’s activities are global, streaming over the internet, and able to represent and shape the great forces of our current moment, including, but not limited to, climate catastrophe, mass migration, global civil war, economies of precarious labour, and the ongoing project of settler colonialism. These forces manifest simultaneously as hyper-local, ingrained in the communities their making emerges from, sites where both positive and negative consequences are most intimately felt.
The 22nd Annual FSAC Graduate Colloquium at York University coincides with the Cinema and Media Arts Department’s 50th anniversary. This department was built on a foundation of political praxis, in response to and continuation of this history of a cinema which is inherently political and active. It was in this spirit that in 1985 a collective of York University film professors—including Robin Wood, Andrew Britton, Scott Forsyth, among other notable scholars, critics, and filmmakers—founded CineAction, a self-described “magazine of radical film criticism and theory”. In her editorial contribution to CineAction’s final issue in 2016, co-founder Florence Jacobowitz conceives of the magazine’s approach to film criticism as a kind of political activity, recalling its founding “out of necessity, as a magazine that would publish politicized readings and where theory could be tested against critical practice (instead of simply imposed)”. Consequently, this year we ask for an engagement with the idea of activity and activism in film theory, history, and practise. How is cinema used as a tool of direct action? How does form foster political engagement?
Possible topics include, but are not limited to:
Medium specificity and activism
Cinema and direct action
Worldbuilding and futurisms—imaginations of the world as otherwise
Queer and trans cinemas
Public and participatory art practices—artists intervening in the public sphere
Community media histories
Activist film festivals
Media and pedagogy
Interested students should submit an abstract of no more than 300-500 words through the following form by Friday, January 3rd: https://forms.gle/P8ZKqFtw58Kz1yZV8
22e Colloque annuel de l’ACÉC pour les étudiant-e-s des cycles supérieurs
Université York, Vendredi, 28 février – Dimanche, 1er mars 2020
Appel à conférence : « Activité »
Conférence liminaire : Prof. Brenda Longfellow, Université York
Appel à communication : Activité
Le cinéma est un agent actif : la relation mutuelle et réciproque entre les images en mouvement et leurs spectateurs, l’acte de faire du cinéma, est une action directe. Dans toute cette création se retrouve l’activité que l’on retrouve à l’écran, l’activité derrière la technologie de captation, ainsi que la monstration de l’objet cinématographique, en plus des activités spectatorielles. Ces activités se prolongent bien au-delà de l’écran, dans la production, l’archivage, la théorisation et la distribution ; le cinéma est collaboratif, communal, un procédé de création pluritechnologique qui s’étend jusqu’aux vastes réseaux spectatoriels, de réception, de distribution, de l’imagination, et/ou d’activisme. De tels exemples se tissent dans l’histoire de ce médium : des débuts du montage de l’avant-garde soviétique qui traitaient de la lutte des classes, des théories brechtiennes associées à la nouvelle vague française, de la deuxième vague féministe et de la sensibilisation, jusqu’aux pratiques contemporaines dans le documentaire interactif et des nouveaux médias, le cinéma a toujours été systématiquement considéré et utilisé au service d’une modalité politique. En 2020, les activités cinématographiques sont mondiales, diffusées en continu sur Internet, tout en ayant la possibilité de représenter et de façonner les grandes forces du moment y compris, mais sans s’y limiter, la catastrophe environnementale, l’immigration massive, la guerre civile mondiale, l’économie des emplois précaires, ainsi que les colonies de peuplement actuelles. Ces influences se manifestent simultanément d’un point de vue hyperlocal, enracinées dans les communautés desquelles elles émergent, dont les conséquences, qu’elles soient positives ou négatives, sont intimement liées.
Le 22e Colloque annuel de l’ACÉC pour les étudiants des cycles supérieurs à l’Université York coïncide avec le 50e anniversaire de son département de cinéma et d’arts médiatiques. Ce département a été créé sur des bases de la praxis politique, en réponse et en prolongement de cette histoire d’un cinéma fondamentalement politique et actif. C’était dans cet esprit qu’en 1985, un collectif de professeurs en cinéma de l’Université York incluant Robin Wood, Andrew Britton, Scott Forsyth, avec d’autres spécialistes, critiques et cinéastes, a fondé CineAction, un magazine décrit comme traitant de la critique et de la théorie cinématographique radical. Dans sa contribution éditoriale pour l’ultime numéro de CineAction en 2016, la cofondatrice Florence Jacobowitz mentionne que l’approche envers la critique cinématographique a été conçue comme une sorte d’activité politique, se remémorant ces fondements comme une nécessité en tant que magazine qui publierait des textes politisés où la théorie pourrait être mise à l’épreuve contre la pratique analytique (au lieu de simplement l’imposer). Nous demandons donc, par conséquent, cette année de faire appel à un engagement avec cette idée de l’activité et de l’activisme associée avec la théorie du cinéma, l’histoire et la pratique. Comment le cinéma est-il utilisé en tant qu’outil d’une action directe ? Comment entretenir la promotion d’un engagement politique ?
Les propositions d’article peuvent aborder les sujets suivants, sans s’y limiter :
Spécificité et militantisme du médium
Cinéma et action directe
Construction d’univers et futurisme – imagination d’autres mondes
Cinéma gai et transgenre
Pratiques artistiques publiques ou participatives – artistes intervenant dans la sphère publique
Histoire des médias communautaires
Festivals de films activistes
Média et pédagogie
Les étudiant-e-s intéressé-e-s sont prié-e-s de faire parvenir une proposition comprenant entre 300 et 500 mots en suivant les instructions suivantes d’ici le vendredi 3 janvier 2020 : https://forms.gle/P8ZKqFtw58Kz1yZV8
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