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CFP ReFocus: The Films of Xavier Dolan

Ever since his first feature film J’ai tué ma mère premiered at Cannes in 2009, where it received an eight-minute standing ovation and three awards, every film from the prolific and precocious 28 year-old Québécois director Xavier Dolan has generated significant buzz. A recipient of numerous international awards, Dolan has recently taken his career into genre filmmaking (with Tom à la ferme, which premiered at Venice and garnered the prestigious FRIPESCI prize) and to an international level, with his first English-language feature The Death and Life of John F. Donovan now in post-production.

Dolan has undoubtedly been a crucial player in the film festival circuit of the past seven years, and an eloquent spokesperson for Québec’s national cinema within international spheres. Dolan’s involvement with directing, producing, screenwriting, editing, costume design and English subtitling and dubbing make Dolan an exemplar of auteur cinema. Meanwhile, his “very Québécois” profile, combined with the wide circulation of his films in foreign markets, continues to enhance the relevance of Québec’s cultural specificity in wider frameworks of film reception.

As the first book-length anthology on Xavier Dolan, this ReFocus International Directors volume seeks to make an intervention on the global reach of small national and subnational cinemas, and to use Dolan’s cinema as a departure point to reconsider the position of Québec film and cultural imaginary within a global cinematic culture.

I am accepting submissions on any aspect of Dolan’s oeuvre, but am especially looking for chapters on the following:

  • The international reception of Dolan’s films
  • Local/Global reception
  • Millennial filmmaking and reception, as it relates to Dolan
  • Millennial queer filmmaking – Millennial nostalgia in Dolan’s films
  • Specific films, as they relate to any of the above or the following additional topics: sexuality/intimacy, language/accents, women/motherhood, Québec cinema, international circuits/film festivals
  • Your suggestion?

The Films of Xavier Dolan will be one of the scholarly editions to be published by the University of Edinburgh Press in the ReFocus series on international directors. Series editors are Robert Singer, PhD and Gary D. Rhodes, PhD.

Please send your 250-750 word proposal and CV to by May 30, 2017. I welcome initial email enquiries to discuss possible proposals.

Final submissions will be approximately 6000 to 8000 words, in English, referenced in Chicago endnote style, and submitted by October 15, 2017.

Andrée Lafontaine, PhD
Assistant Professor of American Studies
Aichi University, Nagoya


(La version française suit ci-dessous)

The Annual Conference of the Film Studies Association of Canada
May 27 – May 29, 2017
Ryerson University

Held in conjunction with the

Congress 2017 Theme: “From Far and Wide: The Next 150”


Martin Walsh Memorial Lecture: Jesse Wente
“Debwewin: Truth, Reconciliation and Art”

Jesse Wente is Director of Film Programmes at TIFF Bell Lightbox, past programmer for the imagineNATIVE Film + Media Arts Festival and former president of Native Earth Performing Arts, Canada’s oldest Aboriginal theatre company.

Gerald Pratley Award Presentation:
 Rachel Webb Jekanowski (Concordia University)
Entanglements of Resource Extraction in Hudson’s Bay Company Films

Joint Event with: Sexuality Studies Association
An Evening with John Greyson”


FSAC is now seeking proposals for the 2017 conference in Toronto, Ontario (May 27 – 29, 2017). 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: Friday January 6, 2017 (midnight AST) to:

Proposals require a title, keywords and up to 500 word abstract.

This is a blind review portal. Biographical details for the program will be requested with the notice sent to successful applicants.

*If organizing a pre-constituted panel, each paper proposal must be submitted individually with the title of the panel indicated with the abstract.


Please note that in order to be eligible to participate in the conference, all applicants must renew or become members at the time of submission.


* Please note that you should plan to participate in a maximum of two forums, neither of which may be the same in kind. For example, you may propose and deliver a paper and submit a workshop proposal, but you may not submit two individual paper proposals (whether single or co-authored).

Additional information and instructions:

  • Presentations may be in either English or French.
  • Individual presentations are to be no longer than 20 minutes (including clips).
  • The length of presentations on panels, workshops, and/or round-tables may vary depending on the specific constitution of the session.
  • All proposals will be adjudicated by the Programming Committee.
  • All papers presented at the FSAC Conference must be original works. Proposals for previously presented papers will not be accepted.
  • Please note that by submitting a proposal, you are agreeing to the eventual online posting of your abstract on the FSAC website as part of the expanded conference program.
  • 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

Audio-Visual Needs

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

Conference Organising Committee

Program Chair: Darrell Varga (President, FSAC)
Division of Art History and Critical Studies
NSCAD University(Nova Scotia College of Art and Design)
5163 Duke Street, Halifax, Nova Scotia, Canada B3J 3J6
Office Phone: 902-494-8617

Local Arrangements Coordinator: Paul Moore
Department of Sociology
Ryerson University
350 Victoria Street, Toronto, ON
Ph: 416-979-5000 x2604

 *         *          *


Le colloque annuel de L’Association canadienne d’études cinématographiques
du 27 au 29 mai 2017
L’Université Ryerson 

Tenu dans le cadre du

Le thème du Congrès 2017 : « L’épopée d’une histoire : 150 ans vers l’avenir »


Conférence commémorative Martin Walsh: Jesse Wente
“Debwewin: Truth, Reconciliation and Art”
[« Debwewin: Vérité, réconciliation et art »]

Jesse Wente est directeur des programmes de cinéma au TIFF Bell Lightbox, ancien programmeur au Festival imagineNATIVE du film et des arts médiatiques, et ancien président de Native Earth Performing Arts,  la plus ancienne compagnie théâtrale autochtone au Canada.

Conférence de prix Gerald Pratley

: Rachel Webb Jekanowski (Université Concordia)
Entanglements of Resource Extraction in Hudson’s Bay Company Films
[« Les Complications de l’extraction des ressources dans les films de la Compagnie de la baie d’Hudson »]

Événement conjoint avec : L’Association d’études de la sexualité
« Une soirée avec John Greyson »

L’ACÉC sollicite des propositions de communication pour son colloque annuel qui se tiendra du 27 au 29 mai 2017 à Toronto en Ontario. Nous sommes ouverts aux propositions:

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

Date limite pour soumettre les propositions: le vendredi 6 janvier 2017 à l’adresse suivante :

Les propositions doivent être accompagnées d’un titre, des mots clés, et d’un résume de 500 mots au maximum. Il s’agit d’un portail d’examen aveugle alors on vous demandera vos renseignements biographiques lors de l’envoi de l’avis d’acceptation.

* Si vous proposez un panel préconstitué, chaque proposition doit être soumise individuellement ; veuillez inclure le titre du panel avec votre résumé.



* Veuillez prendre note que vous devez être membre (renouvellement ou nouvelle adhésion) de l’association au moment de la soumission de votre proposition – sinon, votre proposition ne sera pas lue.

* Veuillez noter que vous ne pouvez participer qu’à deux événements de la conférence. Ces événements ne doivent pas être de même nature. Par exemple, vous pouvez proposer une communication et un atelier, mais vous ne pouvez pas proposer deux communications (que vous soyez auteur à part entière ou co-auteur).

Informations et instructions supplémentaires :

  • Les présentations peuvent être en français ou en anglais.
  • Les communications individuelles ne doivent pas dépasser 20 minutes (incluant la présentation d’extraits).
  • La durée des communications d’un panel, d’un atelier ou d’une table ronde peut varier selon leur organisation.
  • Toutes les propositions de communication doivent être jugées par le comité organisateur du colloque.
  • Toutes les communications présentées à la conférence annuelle de l’ACÉC doivent être originales. Elles ne doivent être pas avoir été publiées ni présentées ailleurs. Les propositions de communications antérieures ne seront pas acceptées.
  • Veuillez noter qu’en soumettant une proposition de communication, vous acceptez la possibilité de voir votre résumé sur le site Internet de l’ACÉC dans une version étendue du programme de la conférence.
  • L’Association sera peut-être en mesure de fournir des compensations financières partielles pour le déplacement des membres étudiants qui seront présents à l’assemblée générale annuelle. Visitez notre site pour plus de détails et pour accéder au formulaire d’application :

Besoin en matériel audiovisuel

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

Comité organisateur du colloque

Président du programme:

Darrell Varga (Président, ACÉC)
Division of Art History and Critical Studies
NSCAD University (Nova Scotia College of Art and Design)
5163 Duke Street, Halifax, Nova Scotia, Canada B3J 3J6
Téléphone (bureau) : (902) 494-8617

Coordinateur local:

Paul Moore, Department of Sociology
Ryerson University, 350 Victoria Street
Toronto ON, M5B 2K3
Téléphone (bureau) : (416) 979-5000 (x2604)


Appel à communications / Call for paper
19e colloque des cycles supérieurs de l’ACÉC / 19th FSAC Grad Colloquium

Du 15 au 18 février 2017 à l’Université de Montréal
February 15-18 2017 at the University of Montréal

Échéance : 20 novembre 2016
Deadline : November 20, 2016

Les hauts, les bas et les entre-deux du cinéma : naissance et mort des segmentations en études cinématographiques 

English version will follow

Voilà près de quinze ans que chercheurs, journalistes et autres commentateurs réfléchissent sur la prétendue « révolution numérique » et les bouleversements qu’elle a entraînés au niveau de la production, de la distribution et de l’expérience cinématographiques. De cette polarité fondatrice entre le numérique et l’analogique est apparu un ensemble d’oppositions charnières qui façonnent le discours actuel. En effet, les nouvelles plateformes de diffusion et la démocratisation de certains moyens de production ont mis en relief plusieurs « binômes » qui orientent largement — à tort ou à raison — notre compréhension : cinéma/média, spectateur ordinaire/cinéphile/fan, amateur/professionnel, culture savante/culture participatoire, local/global, etc. Toutes ces oppositions ont trouvé voix et racines à travers les différentes approches disciplinaires du cinéma : culturel, esthétique, politique, historiographique, etc.

Apparues entre autres pour faire sens d’un contexte médiatique en pleine mutation, ces oppositions doivent être investiguées de nouveau, afin d’en évaluer le bien-fondé et la portée épistémologique. En s’intéressant non pas tant aux traits hétérogènes et aux disparités qu’aux zones de négociation entre ces concepts, cette édition du colloque s’oriente sur l’étude spécifique des pratiques, des objets et des modes de pensée caractérisés par l’hybridité ou l’intersectionnalité. Il s’agira ainsi non seulement d’outrepasser certaines dichotomies tenaces pour mettre en lumière la diversité et la complexité des pratiques médiatiques actuelles, mais aussi de comprendre le rôle du cinéma dans une « écologie audiovisuelle » qui semble vouloir le redéfinir complètement.

Des présentations abordant les sujets suivants (mais pas seulement) sont encouragées :

  • Les recoupements entre cinéma et d’autres médias (jeux vidéo, réalité virtuelle, littérature, etc.)
  • Le retour à une esthétique ou des moyens de production analogiques dans ou autour des productions numériques et ses effets tant sur la production, l’esthétique, ou le spectateur.
  • Les définitions et redéfinitions de métiers liés à la production cinématographique.
  • Les plateformes de diffusion de contenu vidéo sur le web et leurs effets sur la production amateure et professionnelle, ainsi que leur influence sur les spectateurs (cinéphiles et fans).
  • La production et la consommation d’œuvres de production locales/globales/« glocales »
  • L’intersectionnalité entre la culture savante et de la culture populaire (au niveau de la production du savoir, de la consécration d’œuvres, etc.)
  • Les stratégies d’appropriation corporatiste de contenus audiovisuels produits de manière indépendante ou semi-indépendante
  • Festivals de film, lieux de visionnements de films, etc.
  • Transmédialité des récits

*** Veuillez noter que toutes les propositions abordant d’autres questions que celles énumérées plus haut et/ou réfléchissant sur un autre sujet que celui proposé dans cet appel à communications sont également bienvenues, et sont invitées à être soumises à notre comité scientifique.

Conditions d’admissibilité :
Ce colloque s’adresse exclusivement aux étudiants/es de deuxième et de troisième cycle provenant d’études cinématographiques ou d’autres disciplines connexes. Les étudiants/es intéressés/es sont priés/es d’envoyer un résumé d’environ 300 et 500 mots, en français ou en anglais, au plus tard le 20 novembre 2016 à l’adresse : Dans le courriel de soumission, les étudiants/es sont également priés/es d’inclure :

  • Leur nom
  • Le programme de maîtrise ou de doctorat dans lequel ils/elles sont inscrits/es
  • Leur institution universitaire
  • Le titre provisoire de leur conférence
  • Le résumé de leur présentation
  • Une bibliographie sommaire

Vous devriez recevoir la réponse du comité scientifique d’ici le 15 décembre 2016.

High, Low and Everything in Between:
The Birth and Death of Labels in Film Studies

For some fifteen years now, researchers, journalists and other commentators have discussed the so-called “digital revolution” and the impact it may have had on the production, distribution and experience of cinema. From the initial cleavage between analogue and digital, a set of pivotal oppositions have developed that effectively mould contemporary discourses. New distribution platforms and the democratization of certain production tools have given rise to a number of binary oppositions that often direct—for better or for worst—our understanding: cinema/media, spectator/cinephile/fan, amateur/professional, academic culture/participatory culture, local/global, etc. Every disciplinary approach—whether it is cultural, aesthetic, political, historiographical, etc.—has taken up these pairs of concepts.

These oppositions, which have appeared among other reasons to make sense of a media landscape in the midst of transformation, merit further investigation so that their value and epistemological reach may be reevaluated. By focusing on the zones of transfers and negotiations between these concepts rather than on their differences or unique traits, the 2017 edition of the FSAC graduate colloquium aims to shed some light on the study of practices, objects or modes of thought that are characterized by their hybridity or intersectionality. The goal, therefore, will not only be to go beyond some of these entrenched dichotomies to showcase the diversity and complexity of contemporary media practices, but also to strive to understand the role of cinema within an “audiovisual ecology” that seems to try to change it completely.

Submissions can include, but are not limited to topics such as:

  • Interactions between cinema and other media (video games, virtual reality, literature, etc.)
  • The return to analogue aesthetics or analogue modes of production within digital productions, and its effects on production, aesthetic and the spectator.
  • Definitions and redefinitions of the trades and professions of cinema production
  • Web content distribution platforms and their impact on amateur and professional productions, as well as their influence on spectators (cinephiles and fans)
  • Producing and consuming local, global and global media content
  • Intersections of academic and popular culture (in regards to knowledge creation and to the recognition of media objects, etc.)
  • Corporate strategies for acquiring independent or semi-independent audiovisual production
  • Film festivals, spaces of exhibition, etc.
  • Transmedia narratives

*** Please note that we also welcome proposals that focus on questions other than those enumerated here and/or deal with other topics altogether than the one proposed in this call for papers.

This colloquium is open to graduate students from film studies and similar disciplines exclusively. Interested students must submit a brief abstract (300 to 500 words), in English or French, by November 20, 2016, at the following address: 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 scientific committee will communicate their decision by December 15, 2016.


Appel à contributions :

Printemps 2018

Il y a pratiquement cinq décennies, l’ouvrage révolutionnaire Expanded Cinema (Cinéma élargi) de Youngblood, publié en 1970, inaugurait une nouvelle façon « élargie » d’aborder la culture de l’image en mouvement. Youngblood est généralement reconnu comme le théoricien qui a élaboré le champ des « arts médiatiques », sa pensée englobant non seulement le cinéma et la vidéo en tant que formes artistiques, mais aussi les nouvelles technologies et les processus, en particulier l’art informatique, la cybernétique, l’holographie, l’intermedia et les mass media, ainsi que les effets spéciaux et la synesthétique. Au cours de la dernière décennie, le concept de « screen subjectivity » (subjectivité à l’écran) de Kate Mondloch a fait son apparition, repoussant davantage les limites du sens du « cinéma élargi » de Youngblood aussi bien dans le champ de la théorie que de celui de la pratique (Screens: Viewing Media Installation Art, 2010). Parallèlement, Jackie Hatfield, elle aussi, a joué un rôle prépondérant en redéfinissant le cinéma à l’ère du numérique pour signifier un « vaste discours historique et philosophique », plutôt que le « cinéma » tout court. Une « configuration cinématique », écrit-elle, pourrait inclure l’intermedia, la performance, le spectacle, la vidéo, l’art et la technologie en plus du cinéma, et pourrait être située au sein de la « boîte noire » du théâtre ou du « cube blanc » de la galerie. (Expanded Cinema: Art, Performance, Film, Éd. A.L. Rees, 2011, 262).  Par ailleurs, alors que Janine Marchessault et Susan Lord ont étudié cette explosion de l’écran, « vers des formes de culture immersives, interactives et interconnectées » (Fluid Screens, Expanded Cinema, 2007, 7) sous un angle exclusivement canadien, la Revue canadienne d’études cinématographiques de son côté a, elle aussi, commis un dossier de quatre articles portant sur les écrans élargis, couvrant des sujets tels la vidéo amateur, les jeux vidéo d’arcades et les cultures iphone (20:2, 2011).

En poursuivant ce travail important dans le contexte canadien, ce numéro spécial de la RCÉC/CJFS entend mettre un accent particulier sur les liens entre l’art et le cinéma de part et d’autre de nos cultures d’écrans élargis. Comme l’a relevé Andrew Uroskie, au moment où l’image en mouvement « investit et transforme l’espace de l’art contemporain », son positionnement actuel « hétérogène et parfois ambivalent » dans la galerie et au-delà constitue une question de premier plan pour les éminents spécialistes du cinéma, les conservateurs, les artistes utilisateurs de l’installation immersive (Screen/Space: The Projected Image in Contemporary Art, Éd. Tamara Trodd, 2001, 145).

Le présent numéro « Conservation du cinéma élargi au Canada », sollicite des contributions qui examinent et éclairent, d’un bout à l’autre du pays, le flux d’images à travers les plateformes, les écrans et les espaces, tout en portant une attention particulière aux façons dont ils déconstruisent le cinéma traditionnel et le décomposent en ses différents éléments…(lumière, son, image, performance, etc.), reconfigurent l’écran dans la galerie et au-delà (dans les installations, les festivals, les espaces publics, sur les édifices et lieux du patrimoine,  les paysages, etc.) et plongent le public dans de nouvelles relations de « présence avec l’image » (Jan Holmberg, Cinemas: Journal of Film Studies, 14:1, 2003, 129). Ces thématiques pourraient inclure les travaux d’artistes canadiens de premier plan œuvrant dans le champ du cinéma élargi / des écrans élargis / des subjectivités à l’écran tels Janet Cardiff, Dana Claxton, Stan Douglas, Atom Egoyan, Kent Monkman, entre autres) ; les artistes canadiens émergents et d’autres artistes dont les travaux englobent ces thématiques ; des recherches en cours sur les projets de conservation tant à l’échelle locale que nationale, ainsi que des évènements, petits ou grands, organisés à travers le Canada (tels que Nuits blanches, des activités et programmes individuels ou collaboratifs), qu’ils soient contemporains ou historiques.

Les chercheurs et les conservateurs sont particulièrement encouragés à joindre à leurs contributions le matériel d’appui visuel, tandis que les artistes sont fortement encouragés à élaborer et à mettre en contexte leurs contributions au moyen de concepts et d’une analyse académiques. 


a) Propositions d’articles :

Les propositions d’articles de 300 à 500 mots, accompagnées d’une brève notice biographique de 100 à 150 mots, devront être envoyées à la rédactrice du numéro spécial : Christine.Ramsay@URegina.Ca

Date limite : 15 octobre 2016

Les auteurs dont les propositions seront retenues recevront une confirmation de la rédactrice du numéro spécial le 30 octobre 2016.

b) Articles :

Les propositions retenues à des fins d’articles devront se conformer aux directives indiquées ci-dessous :

Les articles d’une longueur de 20 à 25 pages, soit 5000 à 6250 mots, devront être rédigés en français ou en anglais, en double interligne, y compris les citations en retrait et les notes de fin de texte. Les pages devront être numérotées. Sur une page séparée, seuls le titre de la proposition d’article et le nom de son auteur doivent être indiqués. Par ailleurs, les citations doivent être insérées automatiquement en notes de fin de texte conformément au style Chicago. Les articles, accompagnés d’un résumé de 100 à 150 mots et d’une brève notice biographique, devront être envoyés sous forme de pièces jointes (MS Word) à l’adresse ci-dessous : Christine.Ramsay@URegina.Ca

Date limite : 1 mai 2017 

Veuillez transmettre séparément toute image faisant partie intégrante de votre soumission, sous forme de fichiers en haute résolution (300-dpi). Présentez-les sous forme de figures consécutives (selon le style : Fig. 1 : Légende) et veuillez indiquer la légende et le crédit complet. Il est de la responsabilité des auteurs d’obtenir la permission nécessaire relative à l’exploitation des images, ainsi qu’au droit d’auteur.


Les articles seront soumis à l’examen de la rédactrice du numéro spécial, puis feront individuellement l’objet d’une évaluation à double insu, conformément au processus d’évaluation standard du Comité de rédaction de la Revue canadienne d’études cinématographiques.

Pour de plus amples renseignements au sujet de la RCÉC/CJFS, veuillez consulter le site Web ci-dessous :

Pour de plus amples renseignements concernant les directives de la RCÉC/CJFS au sujet du texte final, veuillez consulter le contenu du lien ci-après : 



Call for Proposals:

Spring 2018

It has been almost five decades since Gene Youngblood’s groundbreaking book from 1970, Expanded Cinema, opened a new, ‘expanded’ way of looking at moving image culture. Youngblood is generally credited with establishing the field of “media arts,” his thinking encompassing not only film and video as art forms, but new technologies and processes as well, such as computer art, cybernetics, holography, inter-media and mass media, special effects and synaesthetics.  In the past decade, Kate Mondloch’s concept of “screen subjectivity” has emerged to further extend the boundaries of Youngblood’s sense of “expanded cinema” in theory and practice (Screens: Viewing Media Installation Art, 2010), while Jackie Hatfield has also been influential in redefining cinema in the digital era to signify a “wide-ranging historical and philosophical discourse,” rather than “film” per se. “A cinematic configuration,” she writes, could involve inter-media, performance, spectacle, video, art and technology in addition to film, and could be located within the ‘black box’ of the theatre or the ‘white cube’ of the gallery (Expanded Cinema: Art, Performance, Film, Ed. A.L. Rees, 2011, 262).  In addition, while Janine Marchessault and Susan Lord have explored this explosion of the screen outward, “toward immersive, interactive, interconnected forms of culture” (Fluid Screens, Expanded Cinema, 2007, 7) from a uniquely Canadian perspective, the Canadian Journal of Film Studies/Revue Canadienne d’études cinématographiques, has itself also produced a dossier of four articles on expanded screens on such topics as home video, video arcades and iphone cultures (20:2, 2011).

In furthering this important work in the Canadian context, this special issue of CJFS/RCDC wishes to focus with particular emphasis on the intersections between art and film across our expanded screen cultures.  As Andrew Uroskie has observed, as the moving image “enters and transforms the space of contemporary art,” its now “heterogeneous and often ambivalent location” in the gallery and beyond is an issue at the forefront for leading screen scholars, curators, and immersive installation artists (Screen/Space: The Projected Image in Contemporary Art, Ed. Tamara Trodd, 2001, 145).

This special issue, “Curating Expanded Cinema in Canada,” invites papers which examine and elucidate, from coast to coast to coast, the flow of images across platforms, screens and spaces as they deconstruct traditional cinema into its component elements (light, sound, image, performance, etc.), reconfigure the screen in the gallery and beyond (in installations, at festivals, in urban public spaces, on heritage buildings and sites, in landscapes, etc.) and immerse audiences in new relationships of “presence with the image” (Jan Holmberg, Cinemas: Journal of Film Studies, 14:1, 2003, 129).  Topics could include leading Canadian artists working in the field of expanded cinema/expanded screens/screen subjectivities (such as Janet Cardiff, Dana Claxton, Stan Douglas, Atom Egoyan, Kent Monkman, among others); emerging and alternative Canadian artists whose work embodies these thematics;  and ongoing work in local to national curatorial projects and events, large or small, across Canada (such as nuit blanches, individual or collaborative programs and activities), whether contemporary or historical.

Scholars and curators are strongly encouraged to include visual support materials with their contributions, while artists are strongly encouraged to frame and contextualize their contributions with academic concepts and analysis. 


a) Proposals:

Please email proposals of 300 to 500 words, including a 100 to 150 word bio, to the Special Issue Editor:

Deadline: October 15, 2016

The Special Issue Editor will reply with acceptances by October 30, 2016. 

b) Essays:

If your proposal is accepted to go forward, please follow these parameters:

  • Papers should be 5000 to 6250 words in length (20-25 pages) in either English or French. 
  • Double-space throughout, including indented quotations and endnotes.  Pages should be numbered. The author’s name should appear only on a separate title page.  Citations should be placed in automated endnotes in the format recommended in the Chicago Manual of Style. Submissions, accompanied by a 100-150 word abstract and brief bio should be sent as email attachments in MS Word to:


Deadline: May 1, 2017

Please include any images separately, as well as embedded in the submission, as high-resolution (300-dpi) files. Label them as consecutive figures (in the style of: Fig. 1: Caption) and include caption and full credit. It is the responsibility of authors to obtain image permissions and copyright.


Papers will be reviewed by the Special Issue Editor, and then individually double-blind reviewed by readers through the standard review process of the Editorial Board of the Canadian Journal of Film Studies/Revue Canadienne d’études cinématographiques.

For further information about CJFS/RCDC, see:

For further information about CJFS/RCDC Guidelines for Final Copy, see:


CALL FOR PAPERS: Cinema and Technologies of Movement
SYNOPTIQUE Issue Vol. 5, no. 2
Click here for the CFP 

APPEL À CONTRIBUTIONS: Technologies du Mouvement au Cinéma
SYNOPTIQUE Volume 5, numéro 2
Cliquez ici pour accéder au CFP


Gods & Heretics: The 2016 Film & History Conference

CFP: Transgressive Filmmakers and Their Films

DEADLINE for abstracts: June 1, 2016

Link to website

Cinematic transgression is about directors challenging or overcoming the status quo in their films, most often through shock and shlock to wake slumbering viewers with (sometimes hidden) social commentary. While each generation has spawned new notions or means of transgression in film, some have remained constant: sex, violence, gore, sacrilege, drugs, race, gender performance, etc. These films frequently are made by a director who is also an embodiment of transgression, whether or not they work within the mainstream system.

How have our constructions of cinematic taboos and transgressions shifted over time, and how do these influence the wider culture? When and how do cinematic transgressors become cinematic (or cultural) heroes and icons? Can a member of the status quo create transgressive work if the product is from their imagination or under their creative control?

This area invites papers that explore contemporary directors (considered, or who could be considered, transgressive), their films, and the ways in which transgression is portrayed (both as a director and their films). Possible themes and topics include, but are not limited to:

  • Portrayals of sexuality
  • Gore, splatter flicks, “roughies,” and exploitation
  • Gender expression and identity
  • Technical elements, including setting, scenery, costuming, etc., and transgression
  • Transgressive directors and the influence on their movies
  • Comedy as a safe exploration of the transgressive
  • Heteronormative directors challenging the status quo
  • The (un)identified threat in the status quo
  • John Waters, David Lynch, Dennis Hopper, Quentin Tarantino, Roger Corman, Ken Russell, and other transgressive figures
  • From transgression to mainstream and back: selling out and going off the rails

Proposals for complete panels (three related presentations) are also welcome, but they must include an abstract and contact information, including an e-mail address, for each presenter. For updates and registration information about the upcoming meeting, see the Film & History website (
Please e-mail your 200-word proposal by June 1, 2016, to the area chair:

Michelle Martinez
Associate Professor, Sam Houston State University


Coming to Terms with Film-Philosophy

Conference plus Special Event and Masterclass with Alain Badiou

York University and TIFF
Toronto, Canada
May 16-17, 2016

Although it has established itself as a sub-discipline or hybrid of film and philosophy in various European formations, film-philosophy is relatively new to North American cinema and media studies. As one of the first in North America to nominate itself under its auspices, this conference explores the mobilization of philosophical discourses and projects relative to the modern event of cinema. More specifically, we seek papers that address the origins of film-philosophy, in addition to its current manifestations and future potentialities.

A highlight of this conference is the “Special Event: Onstage Conversation with Alain Badiou” co-presented with TIFF. Badiou, who has been called the most important philosopher since Gilles Deleuze, is the author of numerous books and articles that have helped define the major questions and contours of philosophy in the 20th and 21st centuries. He has taught at the École normale supérieure and the Collège international de philosophie in Paris, as well as the European Graduate School. In addition to his major philosophical works Being and Event and Logics of Worlds, his recent books translated into English include The Age of the Poets, Controversies: Politics and Philosophy in our Time,Cinema, The Communist Hypothesis, and Wittgenstein’s Anti-Philosophy.

In this onstage conversation moderated by Professor Ian Balfour of York University, Badiou will speak about cinema, the recent events in Paris, and the role that philosophy can play in helping us understand and act in this historic context, accompanied by film clips that will bring further dimensions to some of the discussion’s central themes. In addition, there is a Masterclass with Badiou, where conference presenters will have an exclusive opportunity to further explore the intersections of film and philosophy.

Some of the questions that inform this conference pertain to the concepts and formations within film-philosophy relative to broader discourses and practices in the humanities and beyond. For example: What are the terms that film-philosophy deploys as it stands today? What are the stakes of film-philosophy that it asks of itself in terms of its own legitimization and what is expected of it by the broader discipline of cinema and media studies? What transformations and problems in cinema and media studies does film-philosophy respond to, interrogate, and/or (re)conceptualize?

We seek papers that:

  • historicize and (re)conceptualize the emergence of film-philosophy and/or problematize it as a discipline or approach;
  • situate film-philosophy relative to trends and developments in film and cultural theory, contemporary media studies, new media, and other disciplines in the humanities and social sciences;
  • define and interrogate the concepts of film-philosophy (such as those taken from, for example, phenomenology, deconstruction, or Marxism);
  • ask about the stakes of major contemporary philosophers (Badiou, Deleuze, Cavell, etc.) who engage with cinema as a philosophical model, a problematic field, and/or a set of texts and examples for philosophical speculation;
  • discuss film-philosophy’s stance relative to debates in contemporary developments in queer theory, critical race theory, postcolonial theory, disability studies, environmental studies, and/or animal studies;
  • enact film-philosophy in the engagement of cinematic texts and objects;
  • examine the relationship between the “filmic” (cinematic, visual, temporal, aesthetic) and the “textual” (discursive, written, etc.);
  • explore the politics of film-philosophy, such as the relationship between democracy and film (Badiou, Rancière, etc.) or cinematic ethics (Levinas, Nancy, etc.);
  • map out the contours and terrain of film-philosophy and world cinema(s) (global film-philosophy);
  • consider the relationship between film-philosophy and new trends in philosophy in general, including speculative realism, new materialism, anti-philosophy, and non-philosophy;
  • conceptualize cinematic ethics, metaphysics, ontology, and/or epistemology in light of recent developments in film-philosophy

We also welcome papers that deal with the work of contemporary film theorists who engage with intersections between film and philosophy; for example, Vivian Sobchack, Patricia Pisters, D.N. Rodowick, Noel Carroll, Joan Copjec, Laura Marks, Hito Steyerl, or Steven Shaviro. We also invite filmmakers and media practitioners to present and discuss their work in a film-philosophical context.

“Coming to Terms with Film-Philosophy” will be held in Toronto, Canada May 16-17, 2016.

Please send a 300 word abstract, brief bibliography, and bio (with institutional affiliation, if applicable) as email attachments to by Friday, April 1, 2016. Notifications about acceptance or rejection of proposal will be sent on Monday, April 4.

Conference and Masterclass Registration Fees:

Conference Attendance: $100
Masterclass: $50

Graduate Students and Underemployed:
Conference Attendance: $50
Masterclass: $25

*Masterclass reserved for conference presenters only.

Special Event: Onstage Conversation with Alain Badiou
Monday, May 16 7:00pm at TIFF Bell Lightbox
Adult: $13
Student/Senior: $10.50

NOTE: Special Event: Onstage Conversation with Alain Badiou is free for conference participants.

Conference website:

Organized by the graduate students of Cinema and Media Studies, York University, in partnership with TIFF.


Verging: Technologies/Practices/Aesthetics in Contemporary Documentary
Two-day Symposium (March 18th – 19th), Downtown Toronto

Keynote Speaker: Jonathan Harris (Network Effect & number27) 

The PhD program in Cinema and Media Studies at York University, Toronto, in conjunction with the Department of Cinema and Media Arts’ Future Documentary Lab, welcomes papers and panels discussing the current landscape and changing language of documentary practices across technologies, aesthetics, and audiences. We invite scholars, practitioners, curators and media workers to present. The Symposium intends to interrogate the evolution of documentary in our wired and digital world. We will gather work from traditional documentary, across interactive storytelling, and through augmented and virtual realities. We will ask how and if commercial, artistic, activist, and educational practitioners can and are working together. 

Jonathan Harris is an award winning interactive artist and computer scientist, known for his work with data poetics and storytelling. The co-creator of We Feel Fine, the director of The Whale HuntI Love Your Work, among many others, Harris’s works have redefined documentary storytelling in the digital age. The winner of three Webby awards, his work has also been recognized by AIGA and Ars Electronica. 

The conference organizers welcome, and highly encourage, individual papers, panel suggestions, and alternative presentation formats (workshops and demonstrations) across all disciplines related to the conference theme and to the keynote speakers’ research. Presentations will be 20 minutes in length. 


  • Projection spaces and/or spaces onscreen; questions of installation
  • Cross-disciplinary use of virtual reality (i.e., sciences, medicine, artillery technologies) in artistic and cross-artistic practice (i.e., fine arts, dance, theatre)
  • Classical narrative storytelling vs. non-representational forms
  • Temporality and spatiality
  • Questions of distribution: How do you exhibit for a collective audience? Influence/responsibility of private and/or public funding
  • Historical events’ effects on the cultural & aesthetic standards of documentary practice
  • The praxis and ethics of documenting refugees across borders
  • Addressing the demarcation between documentary filmmaking practices and pedagogy
  • Pedagogical uses, potentials, complexities of VR and/or interactive  

Submissions must be sent by Friday, February 19th by 5PM to, with the required subject line “Proposal [last name] [first name]”. 

Please send the following:

  • An abstract (.pdf format) of no more than 300 words (introducing your research objectives, theoretical framework, and methodology)
  • A brief bio of 100 words. Be sure to state your name and affiliation
  • Please include a working title and partial bibliography of 2-3 sources
  • List equipment needed, if necessary 

Notification of accepted abstracts/panels will be sent by Friday, February 26th. For further inquiries, please do not hesitate to contact:

See PDF for more information.

French papers welcomed.


Call for Expressions of Interest (EOI)

Ecocinema and Water

Under Western Skies
Water: Events, Trends, Analysis 

Mount Royal University, Calgary, Alberta, Canada

September 27 – 30, 2016

This panel invites papers on ecocinema that are in some way connected to water.  Under Western Skies is an interdisciplinary, biennial conference whose past keynote speakers have included Adrian Ivakhiv, Bron Taylor, Vandana Shiva, Donald Worster, Richard Whyte, Patty Limerick, and Gary Paul Nabhan.


Please submit proposals to no later than January 31st, 2016, although general inquiries are welcome at any time.