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SYNOPTIQUE CALL FOR PAPERS: Institutionalizing Moving Image Archival Training: Analyses, Histories, Theories

SUBMISSION DEADLINE: November 30, 2016

La version française suit.

In 1995, film preservationist Raymond Edmondson titled his essay on the current state of film preservation with the question “Is Film Archiving a Profession?” (Edmondson, 1995). What could be answered with a firm yes nowadays was a more than a justified inquiry twenty years ago. While the need for the organized collection and preservation of moving images had been widely approved and instigated by then, the systematic training and education of archivists had not. Archivists still acquired their skills and knowledge predominantly through hands-on experience on site and widely distributed codes of ethics and “how to” guidelines. Meanwhile, university-based training was limited to occasional seminars, local symposia, and informal internship programs. Today, the situation has drastically changed. Numerous specialized degrees prepare their graduates to work with all kinds of moving images in diverse institutional settings, ranging from local and national archives and museums to software developers and new media corporations, among others.

Yet, the institutionalization of university-based archival training stemmed not only from increased interest in moving image heritage, the expansion of archival networks, or the need to equip students with applicable expertise for careers in the cultural industries. They also emerged in a publicized awareness of the alleged crisis of the moving image in times of the increasing digitization of cultural heritage (Usai, 2001; Elsaesser, 2009). Echoing voices about the possible if not invertible “death of cinema” stimulated scholars to position film within broader conceptual frameworks of media, and encouraged governments to increase funding for preservation programs and expand public access to archival holdings (Frick, 2010). Thus, archival training programs developed at the juncture of widely diverse institutional and public realms and disciplines, and have become sites where these different forces meet to (re)imagine the role and study of moving image heritage in a digital age.

In line with recent studies on the history of film studies (Polan 2007; Wasson and Grieveson 2008; Gauthier, 2011), this issue aims to historicize and investigate the material, intellectual, and institutional history of archival training within and beyond university settings. The aim is to develop a better understanding of the social, political, and cultural forces that have shaped and defined archival training in the past and present. More than the institutionalization of established “best practices”, archival training’s different departmental homes within the humanities, social sciences, and sciences indicate differences in ontological and epistemological conceptualization of moving images and their role in culture. As such, this issue asks how archival training theoretically and practically impacts archives as sites of study as well as central spaces where moving image culture is collected, preserved, and displayed.

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

  • Histories of specific archival training programs
  •  Histories of DIY initiatives providing archival training
  • Archival training and theories of media preservation
  • Analysis of curricula and syllabi used for archival training
  • Histories of specific institutions and publications involved in archival training, e.g. AMIA and the Moving Image, FIAF and The Journal of Film Preservation
  • Early initiatives to establish systematic archival training
  • Archival training and the institutionalization of media preservation
  • Archival training and curation of archives, festivals, museums, art galleries, and art house cinemas
  • Conflicts between theory and practice
  • Mobility of students for and during their training, as well as after their graduation
  • Archival training and film studies, media studies, media archeology, digital humanities, game studies, museum studies, feminist studies, queer theory, etc.
  • Archivist and labor conditions within universities and archives
  • Histories of specific archives from the perspective of archival training
  • Sustainability of archival training programs and governmentality studies in education

Submission Guidelines

Essay submissions for the peer-review section should be approximately 15-30 pages including the bibliography (maximum 7,500 words), and formatted according to The Chicago Manual of Style. All images must be accompanied by photo credits and captions. We also welcome shorter pieces (2-8 pages, maximum 2,000 words) related to archival training for our non-peer review section. This section includes graduates reflecting on the nature and impact of archival training, interviews with professors and archivists involved in archival training, conference and exhibition reports, as well as reviews of books relevant for archival training.

All essays, reports, and other textual materials should be submitted online through the Synoptique website  (www.synoptique.ca). Authors must create a Username and Password in order to submit items online and to check the status of current submissions. Submissions are accepted in either French or English. This link will guide you through the submission process online.

Submission deadline: November 30, 2016

Contacting Synoptique

All questions and inquiries regarding journal submissions can be directed to guest editors Philipp Dominik Keidl and Christian Gosvig Olesen at: editor.synoptique@gmail.com

For the journal’s contribution guidelines, policies, and submission procedures, please visit the Synoptique website: www.synoptique.ca.

 

APPEL À CONTRIBUTIONS
Institutionnalisation de l’archivistique audiovisuelle : analyses, histoire(s) et théories

DATE DE TOMBÉE : 30 novembre 2016

En 1995, le conservateur de films Raymond Edmondson faisait paraître un essai sur l’état de son domaine d’expertise. Pour intituler son ouvrage, il avait choisi une question : Is Film Archiving a Profession?1 (« l’archivage cinématographique est-il une profession? »). De nos jours, nous répondrions « oui », sans hésiter, à cette interrogation. Cependant, il y a une vingtaine d’années, la question était plus que pertinente. En effet, si la nécessité de collecter et de préserver de façon organisée les images en mouvement avait été largement analysée et faisait alors consensus, il n’en allait pas de même de l’éducation et de la formation systématiques des archivistes. Encore aujourd’hui, ces derniers acquièrent compétences et connaissances surtout par l’intermédiaire d’expériences concrètes, effectuées in situ, et de codes de déontologie et de directives pratico-pratiques diffusés tous azimuts. À l’époque, la formation universitaire se limitait à des séminaires occasionnels, à des symposiums locaux et à des stages informels. Depuis, la situation s’est considérablement améliorée. Ainsi, de nombreux programmes d’études spécialisés préparent les futurs diplômés à travailler avec des images en mouvement de toutes sortes, et ce, dans des secteurs des plus diversifiés, notamment : les archives locales ou nationales, les musées et les entreprises qui se spécialisent dans le développement de logiciels ou les nouveaux médias.

Cela dit, l’institutionnalisation de la formation universitaire en archivistique ne résulte pas uniquement d’un intérêt accru pour l’héritage que constituent les images en mouvement, de l’expansion des réseaux archivistiques ou encore de la nécessité de doter les étudiants d’une expertise adéquate afin qu’ils fassent carrière dans le secteur culturel. Elle découle également d’une sensibilisation publique à la suite de la prétendue crise qui a secoué le domaine des images en mouvement parallèlement à la numérisation exponentielle d’éléments du patrimoine culturel2. Les nombreuses voix criant à la possible – voire à l’irrémédiable – « mort du cinéma » ont amené les érudits à replacer, sur le plan médiatique, le film dans un cadre conceptuel élargi. Par ailleurs, elles ont incité les autorités gouvernementales à subventionner plus généreusement les programmes de préservation et à faciliter davantage l’accès public aux fonds d’archives3. Conséquemment, les programmes de formation en archivistique se sont développés à la jonction d’une grande variété de disciplines et de domaines, institutionnels ou publics. À l’ère numérique, ils servent de points de rencontre aux diverses synergies qui s’exercent dans la conception et le renouvellement du rôle et de l’analyse de l’aspect patrimonial des images en mouvement. 

Dans la foulée de récents travaux portant sur l’histoire des études cinématographiques4, le prochain numéro de Synoptique examinera et contextualisera l’itinéraire matériel, intellectuel et institutionnel qu’a emprunté la formation en archivistique, et ce, tant à l’université qu’ailleurs. Nous souhaitons ainsi acquérir une meilleure compréhension des forces sociales, politiques et culturelles qui ont façonné et déterminé la formation en archivistique et qui s’exercent encore aujourd’hui. Au-delà de l’institutionnalisation de « meilleures pratiques » bien établies, l’intégration de la formation en archivistique à des départements universitaires aussi éclectiques que les sciences sociales et humaines, les lettres et les sciences proprement dites témoigne des différences qui se manifestent dans la conceptualisation ontologique et épistémologique des images en mouvement et dans leur fonction culturelle. Par conséquent, ce numéro de Synoptique s’interroge sur les effets théoriques et pratiques de la formation en archivistique audiovisuelle sur les archives, ces lieux d’études, ces carrefours, où les éléments issus de la culture des images en mouvement sont recueillis, préservés et montrés.

Les articles proposés peuvent aborder des sujets variés, notamment les suivants.

  • Récits sur des programmes de formation spécialisés en archivistique
  • Récits sur des projets autonomes de formation en archivistique
  • Formation en archivistique et théories de la préservation des documents
  • Analyse des curriculums et des plans de cours associés à la formation en archivistique
  • Récits sur des organismes axés sur la formation en archivistique et leurs publications spécialisées, comme : l’Association of Moving Image Archivists (AMIA; « association des archivistes d’images en mouvement ») et sa revue, The Moving Image; ou la Fédération internationale des archives du film (FIAF) et son semestriel, The Journal of Film Preservation
  • Premières initiatives de création d’une formation systématique en archivistique
  • Formation en archivistique et institutionnalisation de la préservation des documents
  • Formation en archivistique en relation avec la conservation des archives, les festivals, lesmusées, les galeries d’art ou les salles de cinéma d’art et d’essai
  • Divergences entre théorie et pratique
  • Mobilité des étudiants pour les besoins de leur formation, puis après l’obtention de leur diplôme
  • Formation en archivistique en interaction avec les études cinématographiques, muséales ou féministes, les études ou l’archéologie des médias, les sciences humaines numériques, les études des jeux vidéo, la théorie allosexuelle, etc.
  • Conditions de travail et d’archivage dans les milieux universitaire et archivistique
  • Récits liés à des archives précises et narrés dans une perspective de formation en archivistique
  • Durabilité des programmes de formation en archivistique et en études de la gouvernementalité de l’éducation

Modalités de présentation des contributions

Tout essai destiné à paraître dans la section avec comité de lecture fera entre 15 et 30 pages, y compris la bibliographie, et comptera au plus 7500 mots. Par ailleurs, son format respectera les directives du Chicago Manual of Style. Enfin, toute image sera accompagnée d’une légende et de l’attribution appropriée. Dans la mesure où ils traitent de formation en archivistique, les articles plus courts (soit de 2 à 8 pages et de 2 000 mots ou moins) seront pris en considération pour publication dans la section sans comité de lecture de la revue. Ce volet réunit des analyses réflexives sur la nature et l’impact de la formation en archivistique rédigées par des étudiants des cycles supérieurs, des interviews de professeurs et d’archivistes engagés dans l’enseignement de la discipline, des comptes rendus de colloques et d’expositions, de même que des critiques de livres portant sur la formation en archivistique.

Vous devez proposer en ligne tout essai, compte rendu ou texte d’une autre nature. Rendez-vous sur le site de Synoptique (www.synoptique.ca) pour créer votre compte. Après avoir choisi un nom d’utilisateur et un mot de passe, vous serez en mesure de nous acheminer votre document, qui peut être rédigé en français ou en anglais. (Pour obtenir des précisions sur le processus de présentation en ligne, activez ce lien.) Par la suite, vous pourrez suivre l’état de votre proposition à partir de votre compte d’utilisateur.

Date de tombée : 30 novembre 2016

Nous joindre

Pour toute question ou demande d’information concernant la proposition d’un article à Synoptiquevous pouvez contacter les rédacteurs invités Philipp Dominik Keidl et Christian Gosvig Olesen, à l’adresse editor.synoptique@gmail.com

Pour connaître la politique et les principes directeurs régissant toute collaboration avec Synoptique, de même que la marche à suivre pour proposer un article, consultez le site Web de la revue : www.synoptique.ca.

 

 

https://hr.cf.ryerson.ca/ams/faculty/preview.cfm?posting_id=505976

Film Historian, Film Preservation and Collections Management 

The School of Image Arts in the Faculty of Communication and Design at Ryerson University in Toronto invites applications for a full-time, tenure-track position at the Assistant Professor level, in Film Studies, to teach in the undergraduate film program and the graduate program in Film and Photography Preservation and Collections Management (F+PPCM).

Candidates must hold a PhD in Film Studies, preferably in Film History, or be ABD with a defense date set. Given the burgeoning field of film preservation and collections management, a qualified candidate without a PhD may be considered in exceptional circumstances. The ideal candidate will have a specialization in Film Preservation and Collections Management or a closely related field. The appointment, effective January 1, 2017, is subject to final budgetary approval.

Ryerson’s School of Image Arts is recognized internationally for offering top undergraduate and graduate programs in film and photography. Its curriculum is designed to lead to careers in the film, photography, new media, communications, and the cultural industries. The School’s full-time faculty is made up of dedicated individuals with established professional, research, and teaching experience in their respective areas of expertise.

Our unique two-year graduate program in Film and Photography Preservation and Collections Management is designed to deepen students’ understanding of the history of filmic and photographic media, particularly their social, cultural, and instrumental uses of these media as part of collections and archives. The program provides an integrated plan of study in academic and professional education that equips students to meet current responsibilities and future demands in film and photography preservation and in managing these collections. F+PPCM faculty includes film and photographic historians, scientists, practitioners, curators and other museum professionals.

The successful applicant should have demonstrated expertise in one or more of the following areas: film history with a specialization in film preservation and collections management; library and information science; history of film and media technology; analogue and digital film restoration; media archeology; archival theory; museum studies; cultural heritage; film curation. Practical experience working in or with film archives, or collections management is an asset. Candidates will also be expected to establish new international institutional partners for the program, to liaise with guest scholars and organize symposia that focus on film history and film preservation. The successful candidate is expected to teach a variety of film history courses at both the undergraduate and graduate levels. She or he must provide evidence of high-quality teaching and a strong research profile (e.g. ability to demonstrate and maintain an independent, externally funded research program), as well as the capacity for collaboration and collegial service.

Ryerson University is located in the multicultural heart of downtown Toronto. Candidates must have a demonstrated commitment to upholding the values of equity, diversity, and inclusion as it pertains to service, teaching, and scholarly research and creative activities.

This position falls under the jurisdiction of the Ryerson Faculty Association (RFA). The RFA collective agreement can be viewed at: http://www.ryerson.ca/content/dam/teaching/documents/RFA_CA/RFA_Collective_Agreement-July_1_2011_to_June_30_2015.pdf. The RFA’s website can be found at: www.rfanet.ca. A summary of RFA benefits can be found at:http://www.ryerson.ca/hr/benefits/benefits_by_group/rfa/index.html.

Applicants must submit their application online via the Faculty Recruitment Portal (click on Start Application Process above). Please indicate in your application if you are a Canadian citizen or a permanent resident of Canada. Applications sent by mail, email or fax will not be accepted.

Applicants must include a cover letter, curriculum vitae, two recent samples of scholarly publishing and/or archival work, results of teaching surveys (or equivalent evidence such as a teaching dossier), and three letters of reference. Applicants should arrange for references to be sent directly from referees to Cathy Gullo, Program Manager of the School of Image Arts (cgullo@ryerson.ca). Confidential inquiries can be directed to (bfitzpatrick@ryerson.ca) Chair, School of Image Arts. Deadline for applications is September 15, 2016. 

Ryerson University is strongly committed to fostering diversity within our community. We welcome those who would contribute to the further diversification of our staff, our faculty and its scholarship including, but not limited to, women, visible minorities, Aboriginal people, persons with disabilities, and persons of any sexual orientation or gender identity. Please note that all qualified candidates are encouraged to apply but applications from Canadians and permanent residents will be given priority.

 

ATTENTION GRAD STUDENTS:

2016 GERALD PRATLEY AWARD - LE PRIX GERALD PRATLEY 2016

The Gerald Pratley Award was established in 1991 in tribute to Gerald Pratley‘s (1923-2011) contribution to the advancement of Canadian film studies. The Association invites applications from Honours and Graduate students (MA or PhD) undertaking innovative research in cinema studies that will contribute to the understanding of Canadian/Québec cinema both within this country and elsewhere.

Le Prix Gerald Pratley fut créé en 1991 pour honorer la contribution de M. Pratley à l’avancement des études cinématographiques canadiennes. L’Association sollicite des candidatures soumises par des étudiants des cycles supérieurs (maîtrise ou doctorat) ayant un excellent dossier académique et dont les recherches permettront d’améliorer les connaissances sur le cinéma canadien/québécois au Canada ou à l’étranger.

Value of Award / Valeur du prix: $1000.00

Eligibility – Conditions d’admissibilité:

Students entering or completing a graduate program in Film Studies (or any related discipline) in any recognized post-secondary institution in or outside Canada. Applicants need not be Canadian citizens.

Sont admissibles les étudiants inscrits à un programme d’études supérieures en études cinématographiques (ou toute autre discipline connexe) dans un établissement d’enseignement postsecondaire reconnu situé au Canada ou à l’extérieur du pays. Les candidats n’ont pas besoin d’être citoyens canadiens.

Criteria – Critères de sélection:

The Award will assist with the cost of the student’s continuing studies in the area of Canadian/Québec cinema and is based on the student’s previous academic performance and his or her intentions for a specific paper or body of research on Canadian/Québec cinema. The project should be one that is capable of being completed within one year and the successful candidate is expected to present a paper reporting on the results of his or her project at the FSAC/ACEC annual conference during the Congress of the Social Sciences and Humanities.

Ce prix aidera à payer une partie des coûts liés à une recherche dans le domaine du cinéma canadien/québécois. Le lauréat sera sélectionné sur la base de son dossier académique et sur ses intentions d’écrire un article sur le cinéma canadien/québécois. L’étudiant devra compléter son projet de recherche à l’intérieur d’une année. Il devra également présenter les résultats de ses recherches à la conférence annuelle de la FSAC/ACÉC au cours du Congrès des sciences humaines.

Application Deadline – Date limite pour la présentation des demandes:

31 August 2016 / 31 août 2016

Applications should include – Les dossiers de candidature doivent inclure:

1) a brief research proposal (500 words) including bibliography. 2) two letters of recommendation (by e-mail to dvarga@nscad.ca). 3) one sample of previous work (3000 to 5000 words). 4) official university transcripts or unofficial grade reports (may be scanned to send by e-mail).

1) une courte présentation du projet de recherche (500 mots) incluant la bibliographie. 2) deux lettres de recommendation (par courriel: dvarga@nscad.ca). 3) un exemple de travail antérieur (3000 à 5000 mots). 4) relevés de notes officiels ou des rapports non officiels (peuvent être numérisés pour soumettre par courriel).

Reference Letters should be sent directly by e-mail from the referee. Les lettres de recommendation doivent être envoyées directement de la référence par courriel.

The winning applicant may be asked to supply sealed, official transcripts at a later date. Le candidat gagnant pourrait être prié de fournir des relevés de notes officiels scellés à une date ultérieure.

Ask your Graduate Supervisor for more information about The Gerald Pratley Award. An information poster, part of which is seen above, is available for download in .PDF format (click here). Faculty are encouraged to print-out and post the document in their classrooms and offices.

The award is normally adjudged in August and payable in October upon proof of registration and programme of study. The amount awarded will be at least $1000. It is possible that this sum may be increased, and sources of outside funding are being actively sought by the association.

The association reserves the right not to grant the award if insufficient numbers of applications are received or if none of the applications is deemed worthy of the award.

Demandez à votre directeur de maîtrise ou de thèse pour de plus amples informations concernant le Prix Gerald Pratley. Une affiche d’information est téléchargeable en format PDF (cliquez ici). Nous invitons le personnel des Facultés à imprimer et à afficher ce document dans leurs classes et leurs bureaux.

Le prix est normalement remis en août et payable en octobre moyennant une preuve d’inscription. Le montant décerné sera d’au moins 1000$. Il est possible que cette somme soit augmentée. Des sources extérieures de financement sont activement recherchées par l’association.

L’association se réserve le droit de ne pas accorder de prix si un nombre insuffisant de candidatures sont reçues ou si aucune des candidatures n’est jugée digne de recevoir le prix.

 

 

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La version française suivra

MEL HOPPENHEIM SCHOOL OF CINEMA
FACULTY OF FINE ARTS, CONCORDIA UNIVERSITY 

Limited-Term Appointment in Film Studies 

Concordia University’s Mel Hoppenheim School of Cinema invites applications for one limited-term appointment (LTA) position in Film Studies at the rank of Lecturer or Assistant Professor, effective August 1, 2016 to May 14, 2017.

Limited-term appointment positions are subject to budgetary approval and departmental or unit need. Individuals holding limited-term appointments may be reappointed, given continued funding and need, as well as satisfactory job performance. Together, initial appointments and subsequent reappointments may not exceed 36 months or a span of three consecutive years.

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 has the distinct advantage of being situated in Concordia’s vibrant Faculty of Fine Arts, where faculty and students enjoy numerous cross-disciplinary opportunities, state-of-the-art resources and facilities, and a rich artistic and cultural context for research and study. Currently, our faculty complement includes 26 full-time professors and a talented cadre of part-time instructors, teaching more than 800 students. Our faculty and alumni have strong ties with the Quebec and Canadian film communities, and have been nominated for or won numerous international film awards.

The successful candidate will normally be expected to teach up to six courses (which may include multiple sections of the same course) during their initial appointment and up to seven courses per annum if reappointed. Successful applicants should be prepared to teach an MA seminar in Film History in addition to undergraduate lectures and seminars. Responsibilities will also include active involvement in committee and administrative work.

Candidates for this position should have a PhD in Film Studies or a related field. Preference will be given to applicants who demonstrate scholarly expertise in Film History and an interest in teaching methods and skills of research and analysis that reflect the current state of the field. Although classes are taught in English, fluency in spoken and written French would be considered an asset.

Applications may be submitted electronically to cinema@concordia.ca and consist of a letter of application; curriculum vitae; statement of teaching philosophy; evidence of teaching effectiveness (including course syllabi and evaluations); and the names and contact information of three referees. All short-listed candidates will be required to provide an attestation of terminal degree.

For detailed information about LTA salaries, visit APPENDIX 4 of the 2015-2018 Collective Agreement between Concordia University and the Concordia University Faculty Association:
http://www.concordia.ca/content/dam/concordia/services/hr/docs/agreements/CUFA_Collective_Agreement_2015_2018_EN.pdf 

Paper submissions are also accepted and can be sent to:
Catherine Russell, Professor and Chair
Mel Hoppenheim School of Cinema, Concordia University
Re: Limited-Term Appointment Position in Film Studies
1455 De Maisonneuve Blvd. W., FB 319, Montreal, Quebec, Canada H3G 1M8
Fax: 514-848-4255 

All applications should reach the School of Cinema no later than June 6, 2016. 

Inquiries regarding this position may be directed to:
Catherine Russell, Professor and Chair, Mel Hoppenheim School of Cinema
Email: Katie.Russell@concordia.ca
Tel: 514-848-2424 ext. 4798 

To learn more about working at Concordia, applicants are encouraged to consult:
http://www.concordia.ca/hr/jobs.html 
Faculty of Fine Arts: http://www.concordia.ca/finearts.html
Mel Hoppenheim School of Cinema: http://www.concordia.ca/finearts/cinema.html 

Subject to budgetary approval, we anticipate filling this position for August 1, 2016. Review of applications will begin immediately and will continue until the position is filled. 

All qualified candidates are encouraged to apply; however, Canadian citizens and permanent residents of Canada will be given priority. Concordia University is committed to employment equity.

 

ÉCOLE DE CINÉMA MEL-HOPPENHEIM FACULTÉ DES BEAUX-ARTS DE L’UNIVERSITÉ CONCORDIA
Poste à durée déterminée en études cinématographiques

Remarque : Le masculin est utilisé pour faciliter la lecture.

L’École de cinéma Mel-Hoppenheim de l’Université Concordia offre un poste à durée déterminée de chargé d’enseignement ou de professeur adjoint en études cinématographiques, en vigueur du 1er août 2016 au 14 mai 2017.

Tout poste à durée déterminée est proposé sous réserve des autorisations budgétaires et en fonction des besoins de l’unité ou du département intéressé. Le titulaire d’un tel poste peut être reconduit si son rendement au travail est satisfaisant, si l’unité qui l’emploie continue d’avoir besoin de ses services et si elle dispose toujours des fonds nécessaires. Au total, la nomination initiale et les reconductions subséquentes ne doivent pas excéder 36 mois ou trois années consécutives.

L’École de cinéma Mel-Hoppenheim − le plus grand centre universitaire canadien voué au cinéma d’animation, à la production cinématographique et aux études cinématographiques − jouit d’une prestigieuse réputation internationale. Elle présente l’avantage de faire partie intégrante de la Faculté des beaux-arts de l’Université Concordia, un milieu transdisciplinaire extrêmement dynamique doté d’installations à la fine pointe de la technologie, où professeurs et étudiants évoluent dans un cadre artistique et culturel propice à la recherche et à l’étude. Le corps enseignant compte 26 professeurs à temps plein et une équipe de professeurs à temps partiel talentueux qui enseignent à plus de 800 étudiants. Les professeurs et les diplômés, lauréats de nombreux prix internationaux de cinéma ou mis en nomination, entretiennent des liens étroits avec les milieux cinématographiques québécois et canadien.

Pendant son mandat initial, la personne retenue sera appelée à assumer une charge d’enseignement maximale de six cours (il pourrait s’agir de plusieurs sections d’un même cours), puis de sept cours par année en cas de reconduction. En plus des cours et séminaires de premier cycle, elle devra diriger un séminaire de maîtrise en histoire du cinéma et élaborer des cours portant sur son expertise. En outre, elle participera activement aux travaux de comités et aux tâches administratives.

Les candidats doivent être titulaires d’un doctorat en études cinématographiques ou dans un domaine connexe. La préférence sera accordée à ceux qui possèdent une expertise en histoire du cinéma et cultivent un intérêt pour les méthodes d’enseignement, de recherche et d’analyse en phase avec les connaissances actuelles dans le domaine. Même si les cours se donnent en anglais, l’aisance à parler et à écrire le français constitue un atout.

Le dossier de candidature peut être envoyé par courriel à cinema@concordia.ca. Il comprendra une lettre de motivation; un curriculum vitæ; un énoncé de la philosophie en matière d’enseignement; une preuve des aptitudes à enseigner (y compris des plans et évaluations de cours); enfin le nom et les coordonnées de trois répondants. Les finalistes devront fournir une attestation confirmant l’obtention d’un diplôme terminal.

Pour obtenir de plus amples renseignements sur la rémunération des postes à durée déterminée, veuillez consulter l’ANNEXE 4 de la convention collective de 2015-2018 liant l’Université et l’Association des professeurs de l’Université Concordia : http://www.concordia.ca/content/dam/concordia/services/hr/docs/agreements/CUFA_Convention_collective_2015_2018_FR.pdf

Les dossiers de candidature sur support papier sont également acceptés. Veuillez faire parvenir vos documents à :

Catherine Russell, professeure et directrice
École de cinéma Mel-Hoppenheim, Université Concordia
Objet : Poste à durée déterminée en études cinématographiques
1455, boul. De Maisonneuve Ouest Montréal (Québec) H3G 1M8
CANADA
Télécopieur : 514 848-4255

Les offres de service doivent parvenir à l’école au plus tard le 6 juin 2016.

Veuillez adresser toute question concernant le poste à Catherine Russell, professeure et directrice de l’École de cinéma Mel-Hoppenheim.
Courriel : Katie.Russell@concordia.ca
Téléphone : 514 848-2424, poste 4798

Pour en savoir davantage sur la vie professionnelle à Concordia, consultez la page http://www.concordia.ca/hr/jobs.html

Liens connexes
Faculté des beaux-arts : http://www.concordia.ca/finearts.html
École de cinéma Mel-Hoppenheim : http://www.concordia.ca/finearts/cinema.html

L’entrée en fonction est prévue pour le 1er août 2016, sous réserve des autorisations budgétaires requises. L’examen des candidatures débute immédiatement et se poursuivra jusqu’à ce que le poste soit pourvu.

L’Université Concordia souscrit au principe de l’équité en matière d’emploi. Nous examinerons le dossier de chaque candidat qualifié, mais accorderons la priorité aux Canadiens et aux résidents permanents.

 

CALL FOR PAPERS: Cinema and Technologies of Movement
SYNOPTIQUE Issue Vol. 5, no. 2
SUBMISSION DEADLINE: May 15, 2016
Click here for the CFP 

APPEL À CONTRIBUTIONS: Technologies du Mouvement au Cinéma
SYNOPTIQUE Volume 5, numéro 2
DATE DE TOMBÉE: 15 MAI 2016
Cliquez ici pour accéder au CFP

 

2016 FSAC Annual Conference
May 31 – June 2
University of Calgary
Click here for the final schedule

Conférence annuelle de l’ACÉC 2016
31 mai – 2 juin
l’Université de Calgary
Cliquez ici pour accéder au calendrier final

 

 

 

Assistant Professor – Cinema Production

3-year 9-month term 

Click here for .docx file

The University of Lethbridge, Faculty of Fine Arts, Department of New Media invites applications for a 3-year 9-month term appointment in cinema production at the rank of Assistant Professor, commencing August 1, 2016. This position is subject to the approval of the Board of Governors.

An M.F.A. or equivalent terminal degree is required combined with a demonstrated record of creative activity and/or scholarly research in the area of cinema production, as well as demonstrated excellence in teaching. The ideal candidate will have excellent creative and technical skills utilizing digital cinema and DSLR cameras, lighting and audio production equipment, and a mastery of non-linear editing and other post-production software. Course assignments will consist of primarily undergraduate courses in digital video production, cinematography and lighting, postproduction and visual effects, with the potential for other production or cinema studies courses to be assigned in the candidate’s area of expertise. Additional desirable attributes include demonstrated experience in the areas of production/postproduction sound or documentary production.

The University aspires to hire individuals who have demonstrated excellence in teaching and research/creative activity, and have potential to contribute actively in the Department of New Media and the Faculty of Fine Arts.

The Faculty of Fine Arts offers degree programs in Art, Drama, Music and New Media within a liberal education context. The Department of New Media offers four degree programs: a B.F.A., a combined B.F.A/BMgt., a combined B.F.A./B.Ed., and an M.F.A. in New Media. For more information about the Department of New Media, University of Lethbridge, and the city of Lethbridge please visit our websites at: 

http://www.uleth.ca/finearts/new-media

http://www.uleth.ca

http://www.lethbridge.ca

Applicants should submit a cover letter, curriculum vitae, teaching dossier (including a statement of teaching philosophy and, if possible, sample syllabi and teaching evaluations), and samples of recent research/creative work. Please have three confidential letters of reference from qualified referees sent directly to the Dean of Fine Arts by the closing date. Any electronic documents, images, audio, or video must be submitted on a physical media format (CD/DVD disc, USB drive, etc.) or be available online throughout the period of the search; note that the University of Lethbridge email system does not accept zip files.

Applications must be received by the closing date of April 17, 2016.

Address applications by email or regular mail to:
Dr. Edward Jurkowski, Dean
Faculty of Fine Arts, University of Lethbridge
4401 University Drive
Lethbridge, AB T1K 3M4
Tel: (403) 329-2126
Email: angela.luck@uleth.ca

The position is open to all qualified applicants, although preference is given to Canadian citizens and permanent residents of Canada. The University is an inclusive and equitable campus encouraging applications from qualified women and men, including persons with disabilities, members of visible minorities and Aboriginal persons. 

 

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 (www.filmandhistory.org).
Please e-mail your 200-word proposal by June 1, 2016, to the area chair:

Michelle Martinez
Associate Professor, Sam Houston State University
mmartinez@shsu.edu

 

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 yorkfilmphilosophy@gmail.com 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: https://yorkfilmphilosphy.wordpress.com/

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. 

POSSIBLE THEMES INCLUDE [not limited to]:

  • 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 verging2016@gmail.com, 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: verging2016@gmail.com.

See PDF for more information.

French papers welcomed.