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Convegno annuale / Annual Conference / Congrès annuel
Orvieto 2019

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

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

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

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

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

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

CAIS Conference 2019 / ACEI Conférence 2019:


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

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

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

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

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

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

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

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

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

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

York University is an Affirmative Action (AA) employer and strongly values diversity, including gender and sexual diversity, within its community. The AA program, which applies to Aboriginal people, visible minorities, people with disabilities, and women, can be found at or by calling the AA office at 416-736-5713. Applicants wishing to self-identify can do so by downloading, completing and submitting the forms found at: Please select the ‘Affirmative Action’ tab under which forms pertaining to Citizenship and AA can be found. All qualified candidates are encouraged to apply; however, Canadian citizens, permanent residents and Indigenous peoples in Canada will be given priority.

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


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


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

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

Congress 2019 Theme: “Circles of Conversation”

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

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

FSAC is now seeking proposals for the 2019 conference in Vancouver, British Columbia (traditional, ancestral, and unceded territories of the xʷməθkʷəy̓əm [Musqueam], Sḵwx̱wú7mesh [Squamish], and sə̓ lílwətaʔɬ [Tsleil-Waututh] First Nations), June 4 – 6, 2019. We welcome proposals for:
  • Individual presentations
  • Pre-constituted panels
  • Workshops or round-tables
  • Screenings, exhibitions and other events—on topics related to the Congress theme, or on any other film or media studies topic.

Proposal Submission Deadline: January 15, 2019

Please note that proposals will be only be considered from applicants who are paid up members of the association. Memberships may be obtained/renewed here:

Submit proposals by email

Proposal format:
  • In an email, include applicant name, affiliation, short bio (50 words or less), and paper title
  • Attach a 500 word abstract (with title) and 3-5 bibliographic references. Abstracts will be blind- reviewed; please do not include name or affiliation in the attachment.

Pre-constituted panels should be submitted by the proposed panel chair, and include individual proposals (in the format above) with the title of the proposed panel indicated on each abstract.

Workshop and Roundtable proposals should include the following information:
  • Chair’s name, rank/status, institutional affiliation and email address
  • Title of workshop or roundtable
  • Abstract describing the theme/issue to be considered (350-500 words)
  • List of participants including name, rank/status, institutional affiliation, and email
  • Description of their contribution
  • Four relevant keywords
  • 4-6 bibliographic references

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

Additional information and instructions:
  • Presentations may be in either English or French.
  • Individual presentations are to be no longer than 20 minutes (including clips).
  • The length of presentations on panels, workshops, and/or round-tables may vary depending on the specific constitution of the session.
  • All proposals will be adjudicated by the Programming Committee.
  • All papers presented at the FSAC Conference must be original works. Proposals for previously presented papers will not be accepted.
Graduate Student Funding
Partial financial compensation for student members’ travel to attend the annual general meeting may be provided by the Association. For more details and the application form, visit

Audio-Visual Needs
All conference presentation rooms will have video/data projectors, screens, basic sound systems, and connections for laptop computers.

Conference Organizing Committee
Program Chair: Peter Lester (President, FSAC)
Department of Communication, Popular Culture, and Film, Brock University
Office phone: (905) 688-5550 x3822

Local Arrangements Coordinator: Christine Evans
Department of Theatre and Film, University of British Columbia
Office phone: (604) 822-3707


Colloque annuelle de l’Association Canadienne d’Études Cinématographiques
4 – 6 juin 2019
de la Colombie-Britannique
 Tenu dans le cadre du Congrès des sciences humaines
Le thème du congrès 2019: « Cercles de conversation »
Conférence commémorative Martin Walsh : Mary Ann Doane (Class of 1937 Professor of Film and Media, UC Berkeley)
Conférence de prix Gerald Pratley : Nikola Stepić (Doctorant, Humanities, Université Concordia – “French Connections: Gay Male Pornography as Virtual Tourism”)
L’ACÉC sollicite des propositions de communication pour son colloque annuel qui se tiendra du 4 au 6 juin 2019 à Vancouver, Columbie-Britannique (les territoires traditionnels, ancestraux et non cédés du peuple xʷməθkʷəy̓əm [Musqueam], Sḵwx̱wú7mesh [Squamish] et sə̓lílwətaʔɬ [Tsleil-Waututh].) Nous accueillons des propositions: 
  • de communication individuelle
  • de panel préconstitué
  • d’atelier ou de table ronde
  •  de projection, d’exposition ou de tout autre événement portant sur des sujets liés au thème du colloque ou sur tout autre sujet lié aux études cinématographiques ou médiatiques 
 Date limite pour soumettre les propositions : 15 janvier 2019
Veuillez prendre note que vous devez être membre de l’Association au moment de la soumission de votre proposition – autrement, votre proposition ne sera pas considérée.  Vous pouvez vous inscrire ou renouveler votre inscription ici :
Envoyez vos propositions à :
Format des propositions : 
  • Dans un message électronique, indiquez votre nom, votre affiliation, une courte notice bio-bibliographique (50 mots ou moins) et le titre de votre communication.
  • En pièce jointe, attachez votre proposition de communication (500 mots) ainsi que votre titre et 3-5 références bibliographiques. Puisque les propositions seront évaluées à l’aveugle, prière de ne pas inclure votre nom ni votre affiliation dans la pièce jointe. 

Pour les panels préconstitués : les propositions seront soumises par le responsable du panel et doivent inclure toutes les propositions individuelles (suivant le format ci-dessous). Vous devez inclure le titre du panel sur chacun des résumés. 

 Les propositions de tables ronde et d’atelier doivent inclure les informations suivantes :
  • Nom du responsable de panel, poste/statut, affiliation et adresse courriel
  • Titre de l’atelier ou de la table ronde
  • Résumé décrivant le thème/sujet qui sera abordé (350-500 mots)
  • Liste des participant.e.s incluant leur nom, poste/statut, affiliation, et courriel
  • Descriptions des contributions des participant.e.s
  • Quatre mots clés
  • 4-6 références bibliographiques

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

Informations et instructions supplémentaires :
  • Les présentations peuvent être en français ou en anglais.
  • Les communications individuelles ne doivent pas dépasser 20 minutes (incluant la présentation d’extraits).
  • La durée d’un panel, d’un atelier ou d’une table ronde peut varier selon leur organisation.
  • Toutes les propositions de communication seront évaluées par le comité organisateur du colloque.
  • Toutes les communications présentées à la conférence annuelle de l’ACÉC doivent être originales. Elles ne doivent être pas avoir été publiées ni présentées ailleurs. Les propositions de communications antérieures ne seront pas acceptées.
Financement étudiant
L’Association sera en mesure de fournir des compensations financières partielles pour le déplacement des membres étudiant.e.s qui seront présent.e.s à l’assemblée générale annuelle. Visitez notre site pour plus de détails et pour accéder au formulaire d’application :     
Matériel audiovisuel
Toutes les salles de conférence du colloque seront équipées de projecteurs numériques, d’écrans, de systèmes de son, et des connexions pour les ordinateurs portables. 
Comité d’organisation du colloque
Président du programme : Peter Lester (Président, ACÉC)
Department of Communication, Popular Culture and Film, Brock University
Téléphone: (905) 688-5550 x3822
Coordonnatrice locale : Christine Evans
Department of Theatre and Film, University of British Columbia
Téléphone : (604) 822-3707



***la version française suit***

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

CFP: “Fluidity”

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

– Jean-Paul Sartre, Being and Nothingness

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

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

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

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

Sample topics might include but are not limited to:

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

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



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

Submissions should include the following information:

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

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


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

AAC : « Fluidité »

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

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

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

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

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

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

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

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

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

Conditions :
Colloque :

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

Les soumissions doivent inclure les informations suivantes :

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

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



21st Annual Graduate Colloquium / 21ème colloque des cycles supérieurs

Carleton University, Ottawa, Mar. 1-3, 2019 / Université Carleton à Ottawa, 1-3 mars 2019

Call for Proposals / Appel à communications

***la version française suit***

The 2019 FSAC Graduate Student Colloquium will be hosted by Carleton University from Friday March 1 to Sunday March 3, on the Carleton University campus in Ottawa. The organising committee is excited to announce a call for proposals from students across Canada and and abroad, studying at the graduate level in film and/or media studies. The conference is not strictly organized around an essential theme and as such we are seeking papers that encompass a broad number of topics within the discipline(s).

This Colloquium is sponsored by the Film Studies Association of Canada. Support is also provided by the Film Studies program, in the School for Studies in Art and Culture, at Carleton University.

This year the Canadian Journal of Film Studies will co-sponsor the Colloquium, and will host a special panel discussion on the topic of academic publishing.

Please submit proposals of no more than 300-500 words, for a presentation of twenty minutes, on any topic in film and/or media studies. Include current or past university or institutional affilliation, degree level (MA or PhD), a brief description of research interests (no more than 50 words), and contact email address. Submit proposals, as an email attachment, in a Word document (or Word-compatible file), to:

The deadline for submissions is Friday, Nov. 30, 2018.

We thank you for your submissions and look forward to your participation in this Colloquium.  

* * *

Le colloque des cycles supérieurs de l’ACÉC 2019 sera organisé par l’Université Carleton du vendredi 1er  mars au dimanche 3 mars, sur le campus de l’Université Carleton à Ottawa. Le comité organisateur est heureux d’annoncer un appel à communications pour les étudiant.e.s et de l’étranger qui étudient aux cycles supérieurs dans la discipline des études cinématographiques ou médiatiques. La conférence ne porte pas sur une thématique en particulier. Nous sommes plutôt à la recherche de propositions sur les différents sujets et approches afférant à nos disciplines.

Le colloque sera coordonné et soutenu par le programme d’études cinématographiques de l’École d’études de l’art et de la culture de l’Université Carleton, avec l’aide de l’Association canadienne d’études cinématographiques.

Pour cette édition, la Revue canadienne de cinématographique fournira un soutien particulier pour le Colloque, et organisera une table ronde spéciale sur le thème de la publication académique.

Les étudiant.e.s intéressé.e.s sont prié.e.s d’envoyer un résumé d’environ 300 à 500 mots pour une présentation de 20 minutes portant sur un sujet d’étude cinématographique ou médiatique. Veuillez inclure votre affiliation universitaire ou institutionnelle, votre niveau universitaire (MA ou PhD), une brève description de vos intérêts de recherche (environ 50 mots) ainsi que votre adresse courriel lors de votre envoie. Insérez votre résumé en pièce jointe au courriel en format Word (ou un fichier compatible avec Word) à l’adresse:

Veuillez envoyer vos résumés avant le vendredi 30 novembre 2018.

Nous vous remercions pour vos contributions et votre participation à ce colloque.


Assistant Professor in Global Cinemas

The Department of Theatre and Film at the University of British Columbia invites applications for a tenure track position at the rank of Assistant Professor in Cinema and Media Studies with a specialization in Global Cinemas to begin July 1, 2019. Situated on the beautiful Point Grey campus in the culturally diverse city of Vancouver, the Department of Theatre and Film offers a full range of undergraduate and graduate programs in Theatre and Film Studies and Practice, which include BA, MA and PhD degrees in Film, and Cinema and Media Studies.

The department is especially interested in candidates with expertise in the cinemas of Asia, Latin America, Africa or other cinematic traditions and film cultures beyond North America and Europe. We also welcome applicants with additional expertise in one of the following areas: media and technology, indigenous cinema, and transnational dynamics of film history, culture and industry formations.

Requirements for the position include a PhD plus evidence or promise of teaching effectiveness and student mentoring at the college or university level. The successful candidate will contribute to a flourishing undergraduate BA in Film Studies and a Master of Arts program in Cinema and Media Studies, as well as a new PhD. program in Cinema and Media Studies which will begin in September 2019. The successful candidate will be expected to maintain an active program of research and publication, participate fully in graduate supervision, and departmental service, which will include the creation of new curriculum.

Applications must include: a letter of application outlining scholarly background and philosophy; an example of their published research, a current curriculum vitae; a one-page statement identifying the applicant’s contributions, or potential contributions, to diversity, and an ability to work with a culturally diverse student body; a statement of teaching philosophy; and evidence of teaching effectiveness (from various sources, e.g., teaching evaluations and/or course syllabi.)

Applications must be submitted online via this link: (please follow the instructions provided on the application page off of our main website) In addition, applicants are required to arrange for three signed, confidential letters of reference to be forwarded as soon as possible after your application is submitted via email to:

Applications and all supporting materials will begin to be reviewed on December 1, 2018 and will continue until the position is filled.

The Department of Theatre and Film maintains an international reputation for excellence with 19 full-time faculty members, numerous part-time faculty as well as guest artists and scholars. Opportunities for multi-disciplinary collaboration are abundant with scholars and artists within the department and across the campus. For more information on the Department of Theatre and Film, go to <>.

This position is subject to final budgetary approval. Salary will be commensurate with qualifications and experience.

Equity and diversity are essential to academic excellence. An open and diverse community fosters the inclusion of voices that have been underrepresented or discouraged. We encourage applications from members of groups that have been marginalized on any grounds enumerated under the B.C. Human Rights Code, including sex, sexual orientation, gender identity or expression, racialization, disability, political belief, religion, marital or family status, age, and/or status as a First Nation, Métis, Inuit, or Indigenous person.

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



Our Monsters: The Serial Killer in Post-9/11 Television

Call for Paper Proposals

 Since 9/11 there has been a significant increase in narratives dealing with serial killers in popular television. During this period, the Middle-Eastern terrorist replaced the serial killer as the archetypal boogeyman and resulted in the serial killer becoming a nostalgic figure of the supposed moral and political simplicity in the United States before 9/11. Though serial killers were represented as Other due to their sinister and murderous actions, they became paradoxically familiar monsters post-9/11, with the racially and culturally different terrorist now taking up the position of ultimate evil Other in popular culture. Series about serial killers such as Showtime’s Dexter (2006-2013), NBC’s Hannibal (2013-2015), A&E’s Bates Motel (2013-2017), Fox’s The Following (2013-2015), BBC’s The Fall (2013-), and Netflix’s Mindhunter (2017-) have all received critical acclaim and garnered large fanbases. What is it about serial killers that has attracted audiences to incite such a boom in these types of narratives? Clearly the serial format of television programming is uniquely suited for the presentation of these characters’ modus operandi, but why has television proven to be such a fertile ground for serial killer narratives in post-9/11 popular culture? Week after week, television audiences invite serial killers into their homes where these characters have not only become accepted, but even adored as protagonists in popular programs. Audience responses to serial killers have gone from being horrified and repulsed by these characters to having not only sympathy for them, but empathy. Serial killer characters were once deemed monsters who were evil, void of all that makes one human. Now, the narrative content and discourse of this kind of television programming has resulted in viewers developing a strong admiration for serial killer characters, which has seemed to produce a morbid identification with them. This potentially indicates a growing understanding of serial killers as in some unsettling way uniquely human in their psychological condition and philosophical worldview rather than simply unredeemingly inhuman. What is it about serial killers that make these characters deeply enlightening representations of the human condition that, although horrifically deviant, reflect complex elements of the human psyche? What caused this strange post-9/11 identification to occur, if indeed viewers are genuinely identifying with these characters? Furthermore, narratives dealing with serial killers have been conspicuously interested in themes related to existential philosophy and human psychology. Why are serial killers so intellectually fascinating to audiences? We invite scholars from any field who are interested in this subject to submit paper proposals of no longer than 500 words on topics related to serial killers on television in post-9/11 popular culture.

Possible topics and case studies include but are not limited to:

  • Series such as Dexter, Hannibal, Bates Motel, The Following, The Fall, Mindhunter, True Detective, The Killing, Aquarius, Criminal Minds, etc.
  • Documentaries and news coverage of serial killers in popular media
  • The popularity of serial killer narratives and how they relate to the cultural psyche in post-9/11 United States
  • The reasons for television’s suitability for serial killer characters during this boom
  • The impact of 9/11 on the audience’s need for such narratives about “familiar monsters”
  • The unique themes each serial killer narrative deals with. For example: Dexter (selfhood, family, masculinity), Hannibal (psychology, friendship, class), Bates Motel (mother-son relationship), The Fall (misogyny, feminism), True Detective (philosophy, religion), etc.
  • The commonalities to be found between different serial killer narratives during this period

 Please submit your paper proposal by November 15, 2018. Notification of acceptance will be sent by early January 2019 for a submission of a full paper of no more than 8,000 words by March 31, 2019. Submit documents to and


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

Hosted by The University of the Bahamas

CfP – Anchoring New Cinema History

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

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

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

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

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

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

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

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

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

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

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

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


Please send abstracts of 250 to 300 words, plus 3 or 4 bibliographic entries, and a 50-word academic biography to conference co-ordinators, Clara Pafort-Overduin ( and Daniela Treveri Gennari (

Updated Information will be posted at:


\\ The English version follows the French version.

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

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

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


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

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

Soumission de candidature

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

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

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

Le dossier de candidature peut être également envoyé sous forme électronique à l’adresse suivante :
Les personnes intéressées trouveront plusieurs informations sur le Département en consultant son site Web à l’adresse :

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

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

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

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


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

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

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


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

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


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

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

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

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

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

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

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




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

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

Position Description

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

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


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


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

About the Faculty and the School of Cinema

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

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

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

How to Apply

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

All inquiries regarding this position should be directed to:

Dr. Haidee Wasson, Professor and Chair, School of Cinema Hiring Committee
Tel: 514-848-2424 ext. 5236

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

Concordia Human Resources-Jobs:

Mel Hoppenheim School of Cinema:

Simone de Beauvoir Institute:

Faculty of Fine Arts:


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

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

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

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

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