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HUMOROUS > DISRUPTIONS

Humour and Technologies of Disruption in Feminist Media Theory and Practice

SUBMISSION DEADLINE: December 31, 2015 

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Appel à contributions : SYNOPTIQUE Volume 5, numéro 1 (cliquer pour télécharger)

HUMOUR > PERTURBATIONS
L’humour et les technologies de perturbation dans la théorie et les pratique médiatiques féministes

Date de tombée : 31 décembre 2015

www.synoptique.ca

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CALL FOR PAPERS

“Xavier Dolan, Queer Nations, and World Cinema:

Locating the Intimate within the Global”

DEADLINE EXTENDED TO APRIL 29, 2015

With the Jury Prize acceptance speech given at Cannes 2014 and the major buzz generated by his latest feature Mommy, 25-year-old Québécois director Xavier Dolan brought his cinema to the attention of audiences and critics from all around the world. Four times in competition at Cannes since 2009 (with J’ai tué ma mère) and once in official competition at Venice with Tom à la ferme (2013), Dolan has been a crucial player in the film festival circuit for the past five years, and a spokesperson for the inventiveness of Quebec cinema in the international context.

Dolan’s “very Québécois” profile combined with the wide circulation of his films in foreign markets continues to enhance the relevance of Quebec’s cultural specificity in wider frameworks of film reception. Meanwhile, his prolific output provides a growing corpus from which rich thematic, socio-political and aesthetic approaches can be considered. With this in mind, Synoptique is devoting a special issue to Dolan’s work and its relevance both for Québec and world cinema. We therefore invite you to submit texts that transcend the classic “auteurist” approach, instead using Dolan’s cinema as a lens through which to explore a broader range of issues that situate it at the crossroads of contemporary cultural, political and cinematic concerns in the interdisciplinary field of film studies.

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

- National and trans-national cinemas as they relate to youth and queer filmmaking

- Film festivals, networks and circulation

- Language and accents in (trans)national cinemas

- Autobiographical fiction, theories of adaptation, the appropriation of source texts

- Local/global reception

- Queer spectatorships

- Screen acting, performance, directing actors

- The cinema of small nations

- Representations of the family, tradition, contemporary Québec, urban and rural

contexts, diversity

- Queer and border transgressions

- Bodies, desires, fantasies and identity politics

Submissions should be approximately 15-30 pages (3,500-7,500 words), written in either English or French, and formatted according to MLA guidelines. Papers should be submitted by April 15th, 2015. A link on www.synoptique.ca will guide you through the submission process. Feel free to contact us at editor.synoptique@gmail.comshould you have any questions.

Kester Dyer, Andrée Lafontaine and Fulvia Massimi, Guest Editors.

 

Click to download the Call for Papers for this year’s Affect Conference in Winnipeg, Manitoba (18-20 September). 

The deadline to apply is April 6, 2015.

 

IMA JOB POSTING 2014-15

The School of Image Arts invites applications for a tenure-track position at the Assistant Professor level. The appointment, effective July 1, 2015, is subject to final budgetary approval.

Ryerson’s School of Image Arts in the Faculty of Communication & Design is recognized internationally as a top undergraduate and graduate school offering specializations in film and photography. The curriculum in the School of Image Arts program 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 who have established a solid educational, professional, research, and teaching background in their respective areas of expertise.

The successful candidate will teach a variety of production-oriented courses in the undergraduate Integrated Digital Option, play a key role in the development of this innovative curriculum as well as teach and supervise in either or both of the graduate programs in Documentary Media and Film and Photography Preservation and Collections Management.

The successful applicant will be an image-based interdisciplinary artist/scholar with a record of artistic and/or documentary productions, exhibitions, and publications engaging with any of the following areas of expertise: creative coding, web-based media, social media platforms as storytelling tools, sound art and emerging sonic environments, or mobile imaging technologies and locational art. The successful candidate’s scholarly or creative activities will be situated within a hybrid, interactive space addressing 21st-century image-based productions and research-creation.

As the School continues to expand its scholarly and creative activities, the successful candidate should demonstrate the ability of establishing a solid independent, externally funded research-creation agenda that is dynamic, productive, critical and applied scholarly/creative research. The successful candidate has a capacity to engage in collaborative projects and collegial service. The successful candidate will ideally hold a PhD in research-creation or be close to obtaining one. In exceptional cases, a candidate holding an MFA with a significant professional and creative profile will be considered. The successful candidate has demonstrated teaching excellence at the undergraduate and graduate level and curriculum development experience will be considered an asset.

Candidates should submit a letter of application, a CV and contact information for three referees to Cathy Gullo, Program Manager, School of Image Arts, Ryerson University, 350 Victoria Street, Toronto, ON M5B 2K3. Applications can be submitted electronically to cgullo@ryerson.ca. Please also include a statement of research interests, a teaching dossier including a teaching philosophy and evidence of teaching effectiveness (course evaluations), and access to a sample portfolio of work. Please indicate in your application if you are a Canadian citizen or a permanent resident of Canada.  Priority will be given to candidates who apply on or before January 15, 2015; however, applications will continue to be accepted until the position is filled.

This position falls under the jurisdiction of the Ryerson Faculty Association (RFA). The RFA collective agreement can be viewed at: http://www.ryerson.ca/teaching/employment_resources/rfa.html
The RFA’s website can be found at: http://www.rfa.ryerson.ca/ 

A summary of RFA benefits can be found at: http://www.ryerson.ca/hr/benefits/benefits_by_group/rfa/index.html

Ryerson University is known for innovative programs built on the integration of theoretical and applied learning. More than 100 undergraduate and graduate programs are distinguished by a professionally focused curriculum and strong emphasis on excellence in teaching, research and creative activities. Ryerson is also a leader in adult learning, with the largest university-based continuing education school in Canada. Ryerson University is located in the multi-cultural heart of downtown Toronto.

The 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.

https://hr.cf.ryerson.ca/ams/faculty/preview.cfm?posting_id=502733

 

TEACHING POSITION AVAILABLE – 2015/16, 2016/17 and 2017/18

Three-year Term Adjunct

Department of Film and Media

Queen’s University, Kingston, ON CAN K7L 3N6

 

The Department of Film and Media at Queen’s University invites applications from suitably qualified candidates for a three-year Term Adjunct position in New Media. The candidate would teach the equivalent of four 3-unit courses (typically 2 per term) and be remunerated on a course-by-course basis. The candidate would also be expected to perform departmental service and will be remunerated separately for this service. A three-year Term Adjunct is a position remunerated for teaching and service only.

 

The courses to be taught are in the areas of digital media production and studies. The candidate must have a well-developed new media practice, with a specialization in areas such as cross-platform, gaming and/or other modes of multi-media. The individual will have basic facility for teaching scripting, directing, editing and cinematography. This individual would be offered a slate of courses that will include a newly configured FILM 250: Fundamentals of Production (see below), FILM 410: Multimedia (theory and practice), and a third-level critical new media studies course in their area. Typically 3rd level courses enroll 40 and 4th level enroll 20 students.

 

FILM 250 is a full-year course on the fundamentals of film and media production team-taught by a group of qualified instructors. These instructors are drawn from a pool of qualified faculty members, including the Term Adjunct. The Term Adjunct will be part of the FILM 250 team at least for the first two years of the appointment.  A full Teaching Assistant and Technician support are provided to FILM 250.  Second term is focused more on practicing the skills learned in first term, thus fewer weekly classes are scheduled.

 

These are on-campus courses taught at the new Isabel Bader Centre for the Performing Arts, a state-of-the-art facility with teaching and learning environments including a production studio, film screening theatre, sound recording studio, and a digital lab.  The Department of Film and Media has collaborations with Computing (with a program called Computing and the Creative Arts), Music, Drama (with the Stage and Screen program), and the BFA in Visual Arts, as well as the Graduate Program in Cultural Studies. The Department is developing an interdisciplinary undergraduate program in Cultural Studies.  The Department of Film and Media at Queen’s University has a 45-year history based in a commitment to the intersection of theory and practice.

 

Candidates must have at minimum an MA or an MFA, a well-developed new media practice and at least two years of teaching experience, including filmmaking and new media. Experience with university or community arts service is an asset.  The Department is interested in candidates with a very strong teaching profile. The departmental service will range from work with standing committees, as well as ad hoc committees that help to connect students to cultural organizations in the City of Kingston. The courses are fall/winter term courses and the appointment is for the period July 1, 2015 to June 30, 2018.

 

The University invites applications from all qualified individuals.  Queen’s University is committed to employment equity and diversity in the workplace and welcomes applications from women, visible minorities, aboriginal people, persons with disabilities, and persons of any sexual orientation or gender identity.  All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.

 

The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during this process, please contact: Department of Film and Media, Linda Graham: linda.graham@queensu.ca, 613-533-6000 x 77013.

The academic staff at Queen’s University are governed by the Collective Agreement between the Queen’s University Faculty Association (QUFA) and the University, which is posted at http://www.queensu.ca/provost/faculty/facultyrelations/qufa/collectiveagreement.html. Remuneration will be in accordance with the Collective Agreement, and appointments are subject to funding or enrolment criteria. f

 

Applications should include a complete and current curriculum vitae, names and contact information for two (2) referees, an art/research dossier, a teaching dossier with at least one outline for a course previously taught, course evaluations, and any other relevant materials the candidate wishes to submit for consideration such as a letter of intent.  Please arrange to have applications sent by email only directly to:

 

Dr. Susan Lord, Head

Department of Film and Media

Queen’s University

filmhead@queensu.ca

                                               

Applications will be received until December 15, 2014.  Review of applications will commence shortly thereafter, and the final appointment is subject to budgetary approval.  Additional information about the Department of Film and Media can be found at http://www.queensu.ca/FILM.

Posted: October 7, 2014

Click to download as a PDF

 

The Jeffrey and Sandra Lyons Canadian Film Scholarship

2015 Call for Applications

Application deadline: November 14, 2014

Click to download PDF

For nearly four decades, TIFF has been committed to transforming the way people see the world, through film. Central to this commitment is our pledge to provide our patrons educational resources and initiatives that promote moving image culture. Towards that goal, TIFF’s Film Reference Library (FRL) is dedicated to collecting, preserving and presenting Canadian film within a global context; and TIFF’s Higher Learning programme provides mentorship and advocacy for post-secondary students, faculty, and emerging practitioners by cultivating a forum to enhance the educational and professional opportunities available to these core groups. An extension of both these initiatives is the Jeffrey and Sandra Lyons Canadian Film Scholarship (“The Scholarship”) for the development of scholarly contributions related to Canadian film.

TIFF is currently accepting applications for the 2015 Scholarship. This opportunity provides graduate students access to the extensive resources in the TIFF FRL for one month between the period of January 2015 to August 2015. The successful applicant will be given a stipend of $1,000 CDN, a designated office space, and the opportunity to connect with other TIFF professionals and participate in Higher Learning programming held in TIFF’s year-round venue, TIFF Bell Lightbox. The Jeffrey and Sandra Lyons Canadian Film Scholarship is generously supported by the Jeffrey & Sandra Lyons Endowment Fund at TIFF.

The FRL is the ultimate resource for filmmakers, students, researchers, screenwriters and film and television professionals. A proud affiliate member of the International Federation of Film Archives (FIAF), the FRL maintains the world’s largest resource of English-language Canadian film and film-related materials as well as a wide range of local, national and international film resources, including over 22,000 book titles, 100 magazine titles, 12,000 film and television reference viewing copies, 60,000 film productions files which include presskits, photographs, clippings, and more. The FRL has extensive Special Collections with a focus on Canadian cinema. These rich archives are accessible to those who wish to contribute to the field of Canadian film scholarship. To learn more about TIFF FRL Special Collections, please visit our website (http://www.tiff.net/education/film-reference-library/special-collection-list).

Eligibility

To be considered for The Scholarship, the following eligibility requirements must be met by the applicant:

  1. Must be enrolled in a full-time MA, PhD, or post-doctoral programme at an accredited post-secondary institution and studying Canadian film.
  2. Must be completing research on Canadian film. It must be clearly demonstrated through the application that the applicant’s research would benefit from the TIFF FRL holdings.
  3. Applicants must be legally eligible to work in Canada as part of their studies.

Terms

  • The Scholarship will be awarded on a full-time basis, for a consecutive period of between four and eight weeks. Research must be completed within eight months of the awarding of The Scholarship. It will be completed in Toronto at TIFF Bell Lightbox, Reitman Square, 350 King Street West.
  • The Scholarship must be acknowledged in the appropriate section of the master thesis or dissertation, during any presentations at conferences or academic institutions, and in any publications emanating from research completed at the FRL. Copies of these publications must be forwarded to the Film Reference Library to be catalogued in its holdings.
  • The Scholarship stipend of $1,000 CDN is intended to provide partial support for the costs related to travel and living expenses for the duration of The Scholarship.
  • The successful applicant is encouraged to take part in the academic life at TIFF Bell Lightbox (e.g. Higher Learning events, TIFF Cinematheque lectures and screenings).

Selection Criteria

The following criteria will be used to determine the successful candidate:

  1. The importance of the topic
  2. The originality and sophistication of the methodological approach
  3. Feasibility of the research objectives
  4. The applicant’s need for the Film Reference Library’s collection(s)
  5. Scholarly record and career trajectory of the applicant

Application components

To be considered for the Jeffrey and Sandra Lyons Canadian Film Scholarship, applicants should supply the following:

  1. A Statement of Interest of no more than 1,000 words describing your current research and how you believe the TIFF FRL holdings and resources will benefit you.
  2. Curriculum Vitae
  3. Two letters of recommendation sent directly to the TIFF Bell Lightbox from two referees. Appropriate recommenders include past or current employers, or faculty members who can speak to your scholarly work. Recommenders must state: how long he/she has known the applicant and in what capacity.
  4. Timeline of research project and a list of the topics you are researching.

Applicants, please submit all application components as a PDF or Word document (we do not accept Cloud hosting or File Sharing programs), by 5pm on November 14, 2014 to the attention of Scholarship Committee: Jeffrey and Sandra Lyons Canadian Film Scholarship. TIFF Email:  careers@tiff.net *Please note The Scholarship name in the subject line*

Referees, please submit your letters of recommendation as a PDF or Word document (we do not accept Cloud hosting or File Sharing programs), by 5pm on November 14, 2014 to the attention of Scholarship Committee: Jeffrey and Sandra Lyons Canadian Film Scholarship. TIFF Email:  careers@tiff.net *Please indicate the name of the applicant as well as The Scholarship in the subject line*

We thank everyone who applies for their interest, but only candidates selected for an interview will be contacted. No telephone or walk-in inquiries please. All applications are considered confidential.

TIFF is an equal opportunity employer.

TIFF is a charitable, not-for-profit cultural organization whose mission is to transform the way people see the world, through film. Its vision is to lead the world in creative and cultural discovery through the moving image.

Click to download PDF

 

Call for Papers – Version Française ci-dessous

PROPAGANDA-CENSORSHIP-DIGITAL MEDIA

FILM STUDIES ASSOCIATION OF CANADA
17th ANNUAL GRADUATE COLLOQUIUM

FEBRUARY 27-28, 2015

UNIVERSITY OF REGINA

Keynote Lecture by Dr. Will Straw, Director, McGill Institute for the Study of Canada, McGill University

Submission deadline: Monday, December 15th 2014*

Propaganda is pervasive in contemporary society, and has generated a considerable body of artefacts and theories which attempt to explain them. In fact, it is thanks to its role as propaganda during WWI that cinema became a legitimate art. By the end of the 1930s, its mobilizational potential was taken seriously by all countries with established film industries, and continued to be valued during the Cold War, thus generating speculations that cinema has an inherent structural and technological predisposition for distortion – both of optics and of meaning (Paul Virilio). Nowadays, because of ubiquitous screen media outlets, we have witnessed an unprecedented proliferation of conspiracy theories as an alternative form of (dis) information or propaganda. Moreover, since its emergence as a mass media phenomenon, film propaganda has always already been associated with (self) censorship and surveillance. Therefore, at the 2015 FSAC Grad Colloquium, we invite discussion of the complex – even paradoxical – relationship between film/media arts (and film language), on the one hand, and propaganda, surveillance, (self) censorship and conspiracy theories, on the other – from both contemporary and historical points of view.

Papers and possible topics may include, but are not limited to:

- Historical role of film propaganda, surveillance and (self) censorship
- Theoretical approaches to film propaganda
- Conspiracy cinema
- Conspiracy theories on film and in social media
- Censorship and self-censorship in cinema and in social media
- Censorship, self-censorship and the evolution of film language
- Surveillance on film
- Surveillance and (self) censorship
- Contemporary cinematic forms of propaganda and consensus building
- The filmmaker as propagandist
- Digital technology and propaganda
- Cinematography, film sound and editing in service of propaganda
- Propaganda in narrative cinema or avant-garde film or computer games

*Submissions are invited from all English and French speaking graduate students (MA & PhD), in Film and Media Studies or a related discipline. PLEASE NOTE THAT PROPOSALS ON TOPICS other than the colloquium’s official theme ARE ALSO WELCOME. Please submit an abstract of no more than 250 words. Be sure to include your name, degree, academic affiliation, e-mail address, as well as the title of your presentation. Abstracts should be sent to: Philippe.Mather@uregina.ca. Please write “Grad Colloquium 2015” in the subject heading of the e-mail, and upload the abstract as an attachment (in either Word or PDF format). Notices of acceptance will be sent by January 2015.

Click here to download the Call for Papers 

PROPAGANDE – CENSURE - MÉDIAS NUMÉRIQUES

ASSOCIATION CANADIENNE D’ÉTUDES CINÉMATOGRAPHIQUES
17e COLLOQUE ANNUEL DES ÉTUDIANTS DE 2e ET 3e CYCLES
27-28 FÉVRIER 2015

UNIVERSITÉ DE RÉGINA

Discours d’ouverture prononcé par le Dr. Will Straw, Directeur de l’Institut d’études canadiennes de McGill, Université McGill.

Date limite de soumission: lundi, le 15 décembre 2014*

La propagande est largement répandue dans la société contemporaine, ayant produit un large corpus d’artefacts et de théories qui tentent de les comprendre. En fait, c’est grâce à son rôle de propagande pendant la première guerre mondiale que le cinéma est devenu un art légitime. Dès la fin des années trente, son pouvoir de mobilisation fut prise au sérieux par toutes les nations dotées d’une industrie cinématographique, et continua d’être appréciée pendant la guerre froide. Certains en conclurent que le cinéma est caractérisé par une prédisposition structurelle et technologique à la distortion optique et sémantique (Paul Virilio). De nos jours, à cause de l’omniprésence des écrans médiatiques, on peut observer une prolifération sans précédent de théories conspirationnistes qui servent d’”information” ou de propagande. De plus, depuis son apparition au sein des mass média, la propagande cinématographique a toujours déjà été associée avec la censure et la surveillance. Ainsi, au colloque 2015 de l’ACEC pour les étudiants de 2e et de 3e cycles, nous invitons les participants à débattre d’une question complexe, voire paradoxale, soient les rapports entre les arts filmiques (leurs langages respectifs) d’une part, et la propagande, la surveillance, la censure et l’auto-censure, et les theories du complot d’autre part, de points de vue contemporains et historiques à la fois.

Les présentations et sujets potentiels peuvent inclure, sans s’y limiter:
-Le rôle historique du film de propagande, de la surveillance et de la censure
-Les approches théoriques du film de propagande
-Le cinéma conspirationniste
-Les théories du complot concernant le cinéma et les médias sociaux
-La censure, l’auto-censure et l’évolution du langage cinématographique
-La surveillance au cinéma
-La surveillance et l’auto-censure
-La propagande cinématographique contemporaine comme recherche d’un consensus
-Le cinéaste comme propagandiste
-La technologie numérique et la propagande
-La caméra, le son, et le montage au service de la propagande
-La propagande dans le cinéma narratif ou d’avant-garde, ou dans les jeux vidéos

*Tous les étudiants de 2e et 3e cycles en études de cinéma ou toute discipline connexe, pouvant s’exprimer en anglais ou en français, peuvent soumettre une présentation. PRIÈRE DE NOTER que les propositions ne correspondant pas à la thématique du colloque SONT ÉGALEMENT ACCEPTABLES. Veuillez faire parvenir un résumé de votre présentation (maximum : 250 mots). Assurez-vous d’inclure votre nom, diplôme, affiliation académique, courriel, ainsi que le titre de votre présentation. Les résumés doivent être envoyés à : Philippe.Mather@uregina.ca. Veuillez indiquer « Colloque 2015 – 2e et 3e cycles » dans la section « Objet » du courriel et inclure le résumé de la présentation en pièce jointe (format Word ou PDF). Un avis d’acceptation sera envoyé en janvier 2015.

 

Peter Morris Prize

The Film Studies Association of Canada/ Association canadienne d’études cinématographiques and the Canadian Journal of Film Studies/Revue canadienne d’études cinématographiques (CJFS/RCÉC) are pleased to announce the inauguration of the biennial Peter Morris Prize for the best essay published in the journal. Click here for more information…

 

Carleton University
School for Studies in Art and Culture
Assistant Professor, Film Studies (Tenure-Track)
(Closing Date: October 6 or until the position is filled)

Carleton University Film Studies, located in the School for Studies in Art and Culture, invites applications for a tenure-track position at the rank of Assistant Professor beginning July 1, 2015.

Applicants must have solid scholarly expertise in digital cinema and media. In addition, practical experience in digital film and media would be a strong asset. The successful candidate will be expected to teach a range of undergraduate and M.A. courses, as well as to supervise graduate students. Applicants must have a Ph.D., a strong commitment to scholarship as reflected in publications, an active research profile and demonstrated excellence in teaching.

Please submit your complete application electronically in four (4) separate files including: 1) a cover letter; 2) curriculum vitae; 3) sample publications; and 4) a teaching dossier.  In addition, applicants should arrange for three (3) letters of reference to be sent separately.

Your application should be sent electronically to:

Dr. William Echard
Acting Director, School for Studies in Art and Culture
Carleton University
Attention: laurie.jaeger@carleton.ca

Applications will be considered starting October 6 until the position is filled.

Located in Ottawa, Ontario, Carleton University is a dynamic and innovative research and teaching institution committed to developing solutions to real world problems by pushing the boundaries of knowledge and understanding daily.  Its internationally recognized faculty, staff, researchers, and librarians provide more than 27,000 full- and part-time students from every province and more than 100 countries around the world with academic opportunities in more than 65 programs of study. Carleton’s creative, interdisciplinary, and international approach to research has led to many significant discoveries and creative work in science and technology, business, governance, public policy, and the arts.

Minutes from downtown, Carleton University is located on a beautiful campus, bordered by the Rideau River and the Rideau Canal. With over 12 national museums and the spectacular Gatineau Park close by, there are many excellent recreational opportunities for individuals and families to enjoy. The City of Ottawa, with a population of almost one million, is Canada’s capital city and reflects the country’s bilingual and multicultural character. Carleton’s location in the nation’s capital provides many opportunities for research with groups and institutions that reflect the diversity of the country.

Carleton University is strongly committed to fostering diversity within its community as a source of excellence, cultural enrichment, and social strength. We welcome those who would contribute to the further diversification of our University including, but not limited to, women, visible minorities, Aboriginal peoples, persons with disabilities, and persons of any sexual orientation or gender identity.  Those applicants that are selected for an interview will be requested to contact the Chair of the Search Committee as soon as possible to discuss any accommodation requirements. Arrangements will be made to accommodate requests in a timely manner.

All qualified candidates are encouraged to apply. Canadians and permanent residents will be given priority.  All positions are subject to budgetary approval.

 

CALL FOR PAPERS

Imagining Crisis
York University Cinema & Media Studies Graduate Student Conference 2014
Toronto, Canada
November 21-23, 2014

 

Midway into the second decade of the 21st century, the term crisis has emerged as a dominant signifier, descriptor, and instrument of provocation and analysis. Crisis marks both a separation and a turning point, a break and a place of decision. In this light, crisis can be a critical tool, a means through which to imagine change, a site in which to work at questioning established limits (social, political, epistemological, ontological). As spaces of potential intervention in the given state of affairs, crises emerge from within and against a great variety of transitional moments, marking them as endpoints and/or origins.

Crisis can also be seen as the raison d’être of contemporary systems of control under neoliberal “24/7” capitalism. Indeed, in a world of “posts” (post: 911, “Axis of Evil”, economic collapse, Egyptian Revolution, Snowden, etc.), where economic, governmental, and mediatic forces of continuity now arguably absorb and integrate rupture and exception into their norms, have we reached a kind of crisis point of the very notion of crisis? Are we “post-crisis”? “Imagining Crisis” takes as its starting point the question of the crisis of crisis, and how to imagine  crisis — to take on a crisis of the imagination — in way specific to our contemporary moment.

What kinds of questions and contingent answers does crisis — or the crises specific to our time, to our academic, activist, and artistic practices — provoke? Conversely, how can we question the very notion of crisis, or use crisis to imagine and bring into being new forces? How does crisis make things politically and socially visible; and how does crisis as a critical term reveal itself?

Crisis can offer cinema and media studies scholars, filmmakers, media artists, and activists of many stripes an experimental and diagnostic space for critique and research. For example: is film studies reaching a crisis point in terms of its role in academia or in relation to significant changes in its purported object of study (celluloid film and/or digital video)? For media artists, are the institutions of the art gallery or the film festival at a point of transformation or obsolescence? Do social media sites like Facebook and Twitter present necessary challenges  to or opportunities for political and social activism? The multiplicity of ways in which crises present themselves as spurs and challenges to imagination and image technologies, as well as how crisis itself needs to be interrogated as a useful (or not) analytical term, is what “Imagining Crisis” seeks to begin to map out.

Topics for discussion and papers may include but are not limited to: 

- film as a (cultural) object in a state of transformation, decay, and/or mutation;

- academic and disciplinary transformations and the challenges they pose to critical thought, practice and pedagogy;

- representations of ecological and environmental development and disaster in film and media;

- changes in social (sexual, moral, etc.) conventions as represented in film and television programs;

- the roles of attention, participation and/or boredom in the contemporary mediascape;

- the representation and/or the critical analysis of precarious labour and identities (immaterial and manual labour, union busting, small studios, etc.);

- changes in media platforms and social networks and how they have affected the practice of film criticism, history, and/or analysis;

- navigating the blurring of boundaries between privacy and publicity;

- temporality and historical change as located in/through media objects and discourses;

- the human, the animal, the posthuman, and the cyborg as (post)historical subjects.

 

We welcome papers that engage with the work of contemporary scholars and theorists like, but not limited to, McKenzie Wark, Rosi Braidotti, Alexander Galloway, Eugene Thacker, Wendy Chun, and Benjamin Noys. We also welcome filmmakers, media practitioners, and activists to present and discuss their work. 

The confirmed Keynote Speaker for “Imagining Crisis” is McKenzie Wark, author of A Hacker ManifestoGamer Theory50 Years of Recuperation of the Situationist InternationalThe Beach Beneath the Street, and The Spectacle of Disintegration, among others. He is a Professor at the New School for Social Research and Eugene Lang College in New York City.

 

Please send a 300 word abstract, brief bibliography, and bio (with institutional affiliation, if applicable) as email attachments by September 28, 2014 to imaginingcrisis@gmail.com 

Notifications about acceptance or rejection of proposal will be sent by October 1, 2014.

 

“Imagining Crisis” will be held at York University, Toronto, Canada from November 21-23, 2014. 

The conference is cosponsored by Sensorium: Centre for Digital Arts & Technology, York University.