Currently viewing the category: "News"

Click here for PDF
Cliquez ici pour accéder au fichier PDF

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.

 

The Department of Culture and Language Studies in the Faculty of Arts at the University of New Brunswick, Fredericton, New Brunswick (Canada), invites applications for a tenure track appointment at the rank of Assistant Professor in Media and Culture. The start date of the position is July 1, 2016.\ 

We seek a candidate with a PhD in Media Studies (or a related discipline) completed at the time of application. The candidate’s area of specialization should contribute to the department’s strengths in film studies and film production and/or game studies and game design. An active research profile in the field of media and cultural studies, and an excellent teaching record are also required. Candidates’ experience in the media arts and content creation would be an asset. 

The successful candidate’s research and teaching areas will contribute to the existing departmental areas of specialization and help develop the core cultural studies curriculum shared between our Media Arts & Cultures program and the department’s new Comparative Cultural Studies program. Teaching assignments will include foundational undergraduate courses in media studies, film studies, game studies, media production and/or popular culture as well as new courses related to their specific areas of specialization. The successful candidate will contribute actively to curriculum development within the department in shaping the future of media and cultural studies at UNB. 

Media Arts & Cultures at UNB is an interdisciplinary program that combines critical and creative work, encouraging students to become both scholars of media and authors of media. Bringing together perspectives from the social sciences, humanities, and fine arts, and grounded in the Canadian tradition of communication studies, it is built around the assumption that critical thinking about today’s media cultures benefits significantly from practical experience with the processes and technologies of cultural production. Candidates are encouraged to examine the Media Arts & Cultures program’s distinct mix of critical and creative course offerings (available on our website) and consider how they might contribute to and enhance our existing program offerings. 

Applicants are asked to electronically submit a letter of application and a C.V. (in either PDF or Word formats) tocals@unb.ca. In addition, candidates should arrange for three letters of reference to be sent electronically under separate cover before the deadline to the attention of Dr. Anette Guse, Chair, Dept. of Culture and Language Studies, UNB Fredericton, cals@unb.ca. 

Position is subject to final budgetary approval. 

Please note: writing samples, teaching dossiers, and sample syllabi will only be requested of those selected for further consideration by the hiring committee. 

Closing Date for Applications: Feb. 15, 2016.

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. Applicants should indicate current citizen status. 

THE UNIVERSITY OF NEW BRUNSWICK IS COMMITTED TO THE PRINCIPLE OF EMPLOYMENT EQUITY.
Scott Preston
Assistant Professor, Media & Film Studies
Department of Culture and Media Studies
Faculty of Arts
University of New Brunswick
Fredericton, NB, Canada
spreston@unb.ca

http://www.brocku.ca/hr/careers/position_detail.php?id=1746

 

Call for Expressions of Interest (EOI)

Ecocinema and Water

Under Western Skies
Water: Events, Trends, Analysis 

Mount Royal University, Calgary, Alberta, Canada

September 27 – 30, 2016

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

See http://skies.mtroyal.ca/

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

 

Reel Limits: (Re)Conceptualizing Cinematic Space, Bodies and Landscape

KEYNOTE SPEAKER: KAY DICKINSON
Associate Professor, Concordia University

CONFERENCE DATES: MARCH 11 & 12, CARLETON UNIVERSITY, OTTAWA

Rapidly evolving technologies and postmodern conceptions of media have made the definition of cinematic space difficult to articulate. This conference will address this quandary by looking at the differences between what is new, what is the same, and the current fluidity of cinema. Inspired by the changing dynamics in the discourse of cinema, we are looking to reevaluate the cinematic by considering what all cinematic space and the material objects that comprise that space might encompass.

Specific topics might include but are not limited to:

  • The relationship between people and lived spaces.
  • New conceptions of bodies and landscape, possibly due to queer theory or “ecocriticism.”
  • Technological affect within filmic worlds.
  • The affect of specific cultural and temporal milieus on clusters of films and filmmakers.
  • The interdependence of filmmakers and institutions such as film industries and festivals.
  • The changing interface of cinema due to the emergence of cross-platform media.

Proposals should include a 300 word abstract, a working title, name and institutional affiliation, a working bibliography of 2-3 sources.

Please email proposals to reellimitsconference2015@gmail.com by December 14, 2015.

Students of Film Studies and all disciplines are invited to submit proposals and share their research at this conference.