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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.

 

Tenure-track Position – Film Studies, University of Calgary

The Department of Communication and Culture invites applications for a tenure- track position at the rank of Assistant Professor, effective July 1, 2015. The area of specialization is Film Studies.

The Film Studies Program has a rapidly growing undergraduate major in the Faculty of Arts at the University of Calgary. Applicants are expected to teach undergraduate courses in the Film Studies program’s core areas as well in as their area of expertise, and teach and supervise students in the Communication and Culture graduate program in areas related to both Communications Studies and Film Studies. The incumbent will be expected to maintain an active research program, leading to peer-reviewed scholarly publications and research grant funding, while engaging in university service and with the community.

The successful candidate will possess a PhD in Film Studies or related field and demonstrate a strong record of or potential for scholarly research and teaching excellence at the post-secondary level. Expertise in one or more of the following areas will be an asset: international screen cultures; documentary film; technology and/or animation; media industries.

Applications in PDF format should include an application letter with a clear statement of citizenship/immigration status; a detailed curriculum vitae; a statement of research interests and expertise; a teaching dossier with sample course outlines, a concise statement of teaching philosophy and evidence of teaching excellence; one to two samples of peer-reviewed scholarly work (not more than 30pp total); and three academic letters of reference sent directly to the department by the deadline below. To facilitate the review process, applicants are encouraged to limit their dossier to these materials..

To ensure full consideration, complete applications (including all reference letters) must be submitted by November 15, 2014, to: 

Dr. Barbara Schneider, Department Head
Department of Communication and Culture
Faculty of Arts
University of Calgary
Room 320 Social Sciences Bldg.
2500 University Drive NW
Calgary, AB T2N 1N4
E-mail:  krystle.monahan@ucalgary.ca

 

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. The University of Calgary respects, appreciates, and encourages diversity.

Electronic submissions in PDF format for both the application and the letters of reference are encouraged. To learn more about the Department of Communication and Culture and this position please visithttp: www.comcul.ucalgary.ca

Additional Information
About the University of Calgary
The University of Calgary is a leading Canadian university located in the nation’s most enterprising city. The university has a clear strategic direction to become one of Canada’s top five research universities by 2016, where innovative teaching and groundbreaking research go hand in hand, and where we fully engage the communities we both serve and lead. The strategy is called Eyes High, inspired by our Gaelic motto, which translates to ‘I will lift up my eyes’.

To succeed as one of Canada’s top universities, where new ideas are created, tested and applied through first-class teaching and research, the University of Calgary needs more of the best minds in our classrooms and labs. We’re increasing our scholarly capacity by investing in people who want to change the world, bringing the best and brightest to Calgary to form a global intellectual hub and achieve advances that matter to everyone. 

About Calgary
Named a cultural capital of Canada and one of the best places to live in the world, Calgary is a city of leaders in business, community, philanthropy and volunteerism. Calgarians benefit from the strongest economy in the nation and enjoy more days of sunshine per year than any other major Canadian city. Calgary is less than an hour’s drive from the majestic Rocky Mountains and boasts the most extensive urban pathway and bikeway network in North America.

 

Assistant Professor

Faculty of Arts – Department of English & Film Studies, New Media Studies

Competition No. – A110424038
Closing Date – Oct 31, 2014

 

The Department of English and Film Studies at the University of Alberta invites applications for a tenure-track appointment at the rank of Assistant Professor in the area of New Media Studies.

Applicants should hold a PhD or be close to completion and will have a superior teaching and research/publication record relevant to the field. They will propose an innovative programme of research and outline how it complements existing areas of scholarly and pedagogical strength by helping to forge new links between the English-, film-, and cultural-studies streams of our large, diverse department. We seek applications from persons qualified to undertake teaching and research in one or more of the following areas: digital and online culture, adaptation theory, transmedia studies and remediation, convergence culture and new media industries. Responsibilities will include undergraduate and graduate teaching/supervision, as well as administrative/committee work.

The University of Alberta aims to be one of the world’s great universities, by transforming learning, leading ground-breaking research, and uplifting society through new knowledge, leadership, and service. The University plays a key role in the cultural, educational, and business life of the province of Alberta and Canada as a whole, through the impact of its integrated mandate of teaching, research, and community service. It serves over 39,000 students in close to 400 undergraduate, graduate and professional programs (www.ualberta.ca). The Faculty of Arts is the oldest faculty on campus and one of the largest research and teaching centres in western Canada (www.arts.ualberta.ca).  The University’s main campus is located in Edmonton, the vibrant, cosmopolitan capital of the province of Alberta.  The Edmonton metropolitan area is the sixth largest in the country with a population of approximately one million (www.edmonton.ca) and an outstanding quality of life.  It is located only a few hours’ drive from Banff and Jasper National Parks, which offer skiing in winter and excellent hiking and sightseeing in summer.

To apply online, please submit a cover letter (include the names of three referees), a curriculum vitae, a teaching dossier, if available (please attach under the statement of teaching/research interests option), and a writing sample to a maximum of 20 pages (please attach  under the list of publications option). Further, applicants are expected to contact their referees and arrange to have them send their letters of reference to the attention of the Chair, Dr. Peter Sinnema; these letters can be submitted via email to the Executive Assistant, Roberta Zopf at zopf@ualberta.ca

For further information concerning the position or the Department, please contact the Chair, Dr. Peter W. Sinnema, at peter.sinnema@ualberta.ca.

 

How to Apply:

Apply Online 

Note: Online applications are accepted until midnight Mountain Standard Time of the closing date.

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. If suitable Canadian citizens or permanent residents cannot be found, other individuals will be considered.

The University of Alberta hires on the basis of merit. We are committed to the principle of equity in employment. We welcome diversity and encourage applications from all qualified women and men, including persons with disabilities, members of visible minorities, and Aboriginal persons.

http://careers.ualberta.ca/Competition/A110424038/

 

Requisition Title: Lecturer – Film and Media Studies – 1401146
Job Field: Limited Term (Lecturer)
Faculty / Division: Faculty of Arts and Science
Department: Cinema Studies Institute
Campus: St. George (downtown Toronto)
Job Posting: Jun 9, 2014
Job Closing: Jul 10, 2014

Description:

The University of Toronto’s Cinema Studies Institute (at Innis College) invites applications for a three-year limited-term teaching-stream appointment at the rank of Lecturer to begin August 1, 2014 or shortly thereafter and end June 30, 2017.

The Cinema Studies Institute is seeking applicants with extensive knowledge of film and media studies. The successful candidate will teach courses in cinema and related media at the undergraduate level in the Cinema Studies Institute (CSI). Ideally, the candidate will be equipped to teach courses currently offered by the Institute, a listing of which appears on the Institute website [http://www.utoronto.ca/cinema/undergradcourses.html]. Candidates must demonstrate evidence of excellence in teaching and have at least three years of experience teaching at the post-secondary level. The successful candidate will have a Ph.D. in Cinema Studies (or a related discipline) by time of appointment or shortly thereafter.

In particular, the candidate should have experience teaching larger, lecture-based survey courses and supervising teaching assistants. Areas that the candidate should have expertise in teaching include: introductory film analysis, film history, film theory, American cinema, and cinema and technology. While this position requires general knowledge of the fundamentals of film and media studies, candidates should also demonstrate specialization in an area that would complement CSI’s current course offerings.

Salary to be commensurate with qualifications and experience.

All qualified candidates are invited to apply online through the following link https://utoronto.taleo.net/careersection/10050/jobdetail.ftl?job=1401146 . Submission guidelines can be found at: http://uoft.me/how-to-apply .We recommend combining documentation into one or two files in PDF/MS Word format.

Applications should include:

1) a cover letter of no more than two single-spaced pages, and containing a concise articulation of the candidate’s teaching philosophy;
2) a curriculum vitae;
3) a teaching dossier containing a list of courses taught, course syllabi, and teaching evaluations;
4) an example of published scholarship not exceeding twenty pages.

Candidates should also arrange to have three letters of recommendation focusing on their teaching abilities sent directly to cinema.studies@utoronto.ca .

The deadline for applications is July 10, 2014.

For more information about the Cinema Studies Institute, please consult http://www.utoronto.ca/cinema .
All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given
priority.

The University of Toronto is strongly committed to diversity within its community and especially welcomes
applications from visible minority group members, women, Aboriginal persons, persons with disabilities, members
of sexual minority groups, and others who may contribute to the further diversification of ideas.

 

SYNOPTIQUE Call For Papers

OUT OF THE DARK STACKS AND INTO THE LIGHT:

RE-VIEWING THE MOVING IMAGE ARCHIVE FOR THE 21st CENTURY

 

The archive, as a concept, an action, and a physical repository of historical traces and material fragments, has a central place within contemporary film and moving image studies. The archive is not only a location for historical research; it also functions as a source of images and materials to be mined by filmmakers and media artists. Many studies of the archive have focused on these two dominant approaches to the use and formulation of moving image archives, especially in studies of documentary and avant-garde compilation or found footage cinema. Increasingly, film and media scholars are also turning to the archive to revise histories of film theory, film production, and its distribution and circulation, especially in post-colonial, historiographical, and transnational film scholarship. As such, the archive becomes as much a site of struggle and contested histories, as it is a site of creative inspiration and cultural preservation.

 

With the transnational and global turn in film scholarship, a greater analysis of the circulation and display of archival materials and moving images is necessary to understand how archival access might impact the current assessment of global and local shifts. In this special issue on the moving image archive, we wish to focus on both the sites of archival preservation and display of moving images (including museums, art galleries, institutional archives, private collections, and the Internet), as well as the circulatory and creative networks that connect them. In doing so, we intend to bring questions of circulation and exhibition into dialogue with the archive, in addition to a focus on the archive as a concept and method of artistic practice.

 

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

  • Archival preservation, access, technologies, and practice
  • Archive as concept or methodology (landscape as archive, Internet archive, etc.)
  • Archival images in experimental films, videos, and games (compilation, found footage, database films, etc.)
  • Archives, gesture, sound, and performance
  • Digital archives and digitalization of archival materials
  • Documentary and the evidentiary uses of archival moving images
  • Colonial and postcolonial archives
  • Community organizations and archival display
  • Critiques of archival theory, media studies theory, and film theory
  • Global flows and circulation of archival materials and images
  • Institutional histories of a specific archive
  • New media, remix cultures, and the archive
  • Queer and feminist archives
  • Spaces of display and archival practice (museums, non-theatrical spaces, online databases, etc.)

 

Essay submissions for the peer-review section should be approximately 15-30 pages including the bibliography (maximum 7,500 words), and formatted according to MLA guidelines. This special issue is invested in exploring the archive in all its conceptual and practical manifestations, so we also welcome shorter pieces (2-8 pages, maximum 2,000 words) related to archival images or practice for our non-peer review section. This section includes conference or exhibition reports, book reviews, research creation pieces related to archival images or practice (including video essays, photograph series, and other digital projects accompanied by an explanatory text), and interviews with artists or archival practitioners.

 

All submissions must be in either French or English. Papers should be submitted by October 10, 2014. A link on www.synoptique.ca will guide you through the submission process. Feel free to contact us with any questions you may have at: editor.synoptique@gmail.com.

 

Please note the following two job postings on the WLU Faculty of Arts website (below):

http://www.wlu.ca/page.php?grp_id=317&p=3142 (click on Faculty of Arts, click through to page 4). 

Click to download PDFs

Wilfrid Laurier Job #1 (The business of film)

Wilfrid Laurier Job #2 (Screenwriting and directing)

 

Visible Evidence 21

New Delhi

December 11-14, 2014  

CALL FOR SUBMISSIONS:

Visible Evidence, the annual scholarly conference on documentary film, media, culture and poli9cs–interdisciplinary, interna/onal and indispensable–is now 21!

Inaugurated at Duke University in 1994, Visible Evidence has met annually ever since–in Canada, the UK, France, Germany, the Netherlands, Brazil, Australia, and most recently in Sweden, as well as in the US (eleven 9mes).

This year the conference will be held in New Delhi, India from December 11 to 14 2014. Co-hosted by Jawaharlal Nehru University and Jamia Millia Islamia, the conference will be held at the India Interna9onal Centre, Max Mueller Marg, New Delhi. In 2014 we are mee9ng in Asia for the first 9me, and for the second 9me only in the global south!

Visible Evidence 21, as is tradi9onal, will feature a range of panels, workshops, plenary sessions, screenings and special events around documentary, its prac9ces, histories and theories.

Proposals for panels, workshops, presenta9ons, screenings and individual papers are solicited according to the following guidelines and themes.

Please check out www.visibleevidence21.org for informa9on about travel arrangements, the conference site, and registra9on, etc.

Themes

Proposals may address any aspect of documentary screen cultures, histories and prac9ces by engaging with, but are not restricted to, the following themes (we aim for a broad, diverse and inclusive scope for this first Asian VisEv):

Documentary /Art: Exploring new spaces, narra9ves, rela9onships and audiences
Documentary/Social Sciences: Engaging with poli9cs, methodologies, ethics and evidence
Documentary/Selves: Addressing autobiographies, memoirs, home-movies, confessions and self-fashioning
Documentary/Ci9es: Crowds and communi9es, onscreen and offscreen. Documentary/ Pedagogies: Making as teaching, producing as mentorship. Documentary/Affect: Bodies, sensa9ons, feelings and rela9onships Documentary/Trash: Shame, gossip, scandal, exploita9on and the sensa9onal Documentary/Sexuality and Gender: Diversity, dissidence and disclosure
Documentary/Produc9on: Prac9ces and authors; screenings, streamings and (emergent) pla\orms
Documentary/Economies: Techno-materiali9es, virtuali9es, fes9vals and archives
Documentary/Modes: Fic9on, anima9on, performance, voice and hybridity
Documentary/Violence: Trauma, tes9mony, index, performance and memory
Documentary/Truths: Analog to digital, cinéma-vérité to docu-menteur, phones and phoneys
Documentary/Transna9onal: Migra9ons, transgressions, diasporas, scapes and refugees Documentary/Environment: Interven9ons, debates, exposures
Documentary/Archives: Memory, preserva9on, restora9on, historiography Documentary/Ac9vism: Transforma9on, mimesis, witness.
Documentary/South Asia: Historicising state, independent, experimental and regional interven9ons… iden9fying parallels in other postcolonial traditions.  

Panel, Workshop and Papers: Guidelines and Deadlines

We invite submissions of pre-constituted panels, pre-constituted workshops and individual paper proposals.  Each panel and workshop session is allotted 90 min. Each panel will have three papers of not more than 20 min followed by discussion. Workshops, usually addressing  practice-related issues, will feature 4 to 6 opening statements (totalling up to 30 min of prepared material), setting the stage for an exchange of ideas and skills  among workshop participants.

Proposed panels and workshops may be pre-constituted either through public calls for submissions, or through individual solicitation by interested convenors.

Panel and workshop calls may be posted publicly by interested convenors on the Conference Website (coming soon) until May 1, 2014. Convenors must notify selected participants by May 15, 2014. Convenors of pre-constituted panels and workshops are expected to submit proposals in standard format (see below) both for the event as a whole and for each individual contributions (for example a submission for a pre-constituted may be up to 8 pages in length, and for a workshop up to 14 pages).

 

Deadline for all open call individual paper proposals and pre-constituted panels and workshops: June 1, 2014. Participants will be notified of their acceptance or not around June 23.

 

Submission Format:

Proposals for panel papers and workshop contributions include a descriptive title, an abstract (of 250-300 words), biblio- /filmography (5 or 6 items maximum) and brief bio (150 words maximum). The proposal should not exceed two pages.

In all individual proposals for panel contributions, please indicate whether or not, in the instance that the panel is rejected, you would like your individual proposal to be considered as an open call submission.

Please submit your proposal by the above deadlines as a PDF document to ve21newdelhi@gmail.com.

Website address: www.visibleevidence21.org

Deadline Summary:

March 1: Call for papers

April 1: Conference website operative.

May 1*: End date for solicitation by interested convenors for participation in pre-constituted panels and workshops.

May 15: Convenors notify participants of pre-constituted panels and workshops.

June 1: Deadline for all submissions of individual paper proposals (open call) and preconstituted panels and workshops.

June 23: Notification of acceptances for Visible Evidence 21.

December 11: Welcome to Delhi! Conference begins.

*Because of our delay in setting up our website, we are allowing some slight flexibility around the May 1 and May 15 deadlines for preconstituted panels and workshops; however the June 1 and June 23 deadlines are unchanged.

Organizing committee: 

Jawaharlal Nehru University: Ira Bhaskar, Ranjani Mazumdar, Veena Hariharan, Kaushik Bhaumik

Jamia Millia Islamia: Shohini Ghosh, Sabeena Gadihoke

University of Pittsburgh: Neepa Majumdar

Concordia University: Thomas Waugh.

for further information visit www.visibleevidence21.org

 

DOWNLOAD the Call for Papers

 

SYNOPTIQUE Call For Papers

OTHER NETWORKS : EXPANDING FILM FESTIVAL PERSPECTIVES

Only in the last twenty years have Film and Media scholars begun to grant film festivals significant attention. Bill Nichols’ seminal text “Global Image Consumption in the Age of Late Capitalism” (1994) is often cited as the first attempt at theorizing these complex phenomena. The initiative to bring Global Studies into contact with Film Studies has been followed by a number of scholars, some of whom contributed to the organization of the sub-field of film festival studies. As they were part of the discussion of global flows though, film festival networks were simultaneously thought as an alternative circuit for film distribution.

 

Synoptique  seeks to expand the conversation by proposing a special issue designed to encourage new frameworks for thinking about film festivals as a multi-faceted film industry and institution in an increasingly interconnected, or conversely disconnected, world. We welcome papers that experiment with new approaches to studying film festivals and their networks. We are particularly interested in interventions that take into account the multiplicity of scales often left out by, or subordinated to, the global focus that kicked off the scholarship on the topic, including the region or the diasporic. In addition, we believe that renewed attention to non-European and non-A-list film festivals, as well as historical perspectives, can contribute to illuminating the complexity of actors involved in film festivals, and question the festivals’ economical and political roles.  Thinking of the variety of existing festival circuits also entails theorizing networks as disrupted, open, or even incoherent and unstable. This special issue is therefore seeking to position film festivals within a variety of contemporary and historical networks so as to appreciate the multiple ways in which they contribute to shape film cultures. To this end, we invite submissions by scholars and festival professionals. Festival reports as well as interviews, will also be considered.  Submissions can include, but are not limited to topics such as:

 

-      online film festivals
-      formal and informal networks
-      non-European and non A-list film festivals and their networks
               -      film festivals and tourism
-      film festivals and national, regional or diasporic cinemas
-      issues of programming, the politics of film selection
-      Approaches to the study of film festivals (e.g. Transnational vs. Global Studies)
-      film festivals and activism
-      film festivals and global cinema
-      how prizes, awards, competitions, and premiers influence programming
-      minorities film festivals (queer, LGBT, diaspora)
-      film festivals and narrow topics (e.g. bicycles, human rights, food, etc.)
-      film presentations as a part of festivals not solely devoted to film, or, conversely, other events offered within film festivals
-      film festivals and their audiences (as participants, spectators, consumers)
-      changes in long-running festivals due to shifts in politics, economics, demographics or
       technology

 

Submissions should be approximately 15-30 pages (interviews and reports may be shorter), written in either English or French, formatted according to MLA guidelines. Papers should be submitted by April 3rd, 2014. A link on www.synoptique.ca will guide you through the submission process. Feel free to contact us at editor.synoptique@gmail.com should you have any questions.

SYNOPTIQUE Appel à contributions

LES AUTRES RÉSEAUX : ÉLARGIR LES PERSPECTIVES SUR LES FESTIVALS DE CINÉMA

Ce n’est que ces vingt dernières années que la recherche en études cinématographiques et médiatiques a commencé à porter attention aux festivals de cinéma. Le texte fondateur de Bill Nichols, « Global Image Consumption in the Age of Late Capitalism » (1994), est souvent cité comme étant le premier à tenter de théoriser ces phénomènes complexes. Le rapprochement entre les études sur la mondialisation et les études cinématographiques a offert de fait bon nombre de nouveaux terrains de recherche, dont celui du champ d’étude des festivals de cinéma. Cependant, alors qu’ils étaient inscrits dans le dialogue sur les flux mondiaux, les réseaux des festivals de cinéma ont au même moment été pensés comme un circuit alternatif pour la distribution des films.

Synoptique cherche à enrichir le débat universitaire en proposant un numéro spécial qui encourage la création de nouveaux cadres théoriques pour penser les festivals de cinéma comme une industrie et une institution aux facettes multiples, dans un monde de plus en plus connecté – ou déconnecté. Nous accueillons toute contribution qui expérimente de nouvelles approches pour étudier les festivals de cinéma et leurs réseaux. Nous sommes particulièrement intéressés par des interventions qui prennent en compte la multiplicité des échelles souvent oubliées ou subordonnées aux logiques mondiales qui ont présidé à la création de ce champ d’étude, ainsi le régional ou le diasporique. De plus, une nouvelle attention portée aux festivals non-européens ou autres que de catégorie A, ainsi qu’à des perspectives historiques, contribuerait à mettre en valeur la complexité des acteurs impliqués dans les festivals de cinéma, et questionnerait le rôle économique mais aussi politique des festivals. Penser la variété des circuits de festivals mène donc aussi à théoriser ces réseaux comme discontinus, ouverts, ou encore incohérents et instables. Ce numéro spécial vise donc à situer les festivals dans une variété de réseaux historiques et contemporains afin d’apprécier les multiples façons dont ils ont influencé les cultures cinématographiques. À cette fin, nous accueillons des contributions d’universitaires et de professionnels des festivals. Les comptes-rendus de festivals ainsi que les entretiens seront aussi pris en compte. Les soumissions peuvent inclure, mais ne sont pas limitées à des sujets tels que :

  • -  festivals de cinéma en ligne
  • -  réseaux formels et informels
  • -  les réseaux des festivals non européens et autres que de catégorie A
  • -  les festivals de cinéma et le tourisme
  • -  les questions de programmation et les politiques de sélection des films
  • -  festivals de cinéma et activisme
  • -  l’influence des prix, récompenses, compétitions et primeurs sur la programmation
  • -  festivals de cinéma pour les minorités (queer, LGBT, diaspora)
  • -  les festivals de cinéma et les sujets précis (cf. cyclisme, droits humains, nourriture, etc..)
  • -  projections intégrées dans des festivals autres que de cinéma, et inversement, événements extérieursintégrés dans les festivals de cinéma
  • -  les festivals de cinéma et leur public (en tant que participant, spectateur et consommateur)
  • -  les changements dans les festivals installés à cause de revirements politiques, économiques outechnologiques.

Les contributions doivent faire entre 15 et 30 pages environ (les entretiens et comptes-rendus peuvent être plus courts), être écrites en anglais ou français, et respecter le style de formatage MLA. Les textes doivent être soumis au pus tard le 3 avril 2014. Vous serez guidée dans la démarche par un lien sur le site de Synoptique www.synoptique.ca. N’hésitez pas à nous contacter pour toute question à l’adresse suivante: editor.synoptique@gmail.com.

 

The first Dalhousie-Université de Paris 3 Summer Institute in Film Studies will bring together Haligonian and Parisian researchers for three days of seminars and four evenings of screenings, which will be followed by a mini-conference for graduate students. Our topic will be “Global/Local Film.” Each day will feature one seminar in English and one in French, along with a mid-day screening session connected to those seminars’ topics. We will also feature free public screenings of The Artist (Michael Hazanavicus, France, 2011), Nostalgia de la luz (Patricio Guzmán, France/Chile, 2011), and Arctic Defenders (John Walker, Canada, 2013, with John Walker in attendance), along with a programme of political documentaries curated by Halifax-based filmmaker Sylvia Hamilton. 

Interested graduate students should apply with a preliminary abstract of a paper that they will work on during the Summer Institute. Seminars will be held on 8-10 July. On 11 July, the Halifax- based core faculty members will hold office hours, and graduate students will have access to workspace at Dalhousie’s Interdisciplinary Studies house. The Summer Institute will conclude with a daylong mini-conference on 14 July where students will present their papers in a workshop environment.

There will be three $1000 bursaries plus a registration fee waiver available for graduate students coming from outside of Halifax (this will be paid as an expense-style reimbursement after the Institute is over). Those interested in being considered for the bursaries should include a CV as well as an abstract with their application. They should apply (without the registration fee) no later than 1 April 2014. Those who apply for a bursary but are not selected will be able to register with the early fee as late as the first day of the Institute.

Core faculty: Shannon Brownlee (Dalhousie), Laurent Creton (Paris 3), Raphaëlle Moine (Paris 3), Emmanuel Siety (Paris 3), Jennifer VanderBurgh (Saint Mary’s), Jerry White (Dalhousie)

Contact: Jerry White, Dalhousie University – Jerry.White@dal.ca

 

Le tout premier Institut d’été Dalhousie-Université de Paris 3 consacré aux études cinématographiques réunira des chercheurs haligoniens et parisiens pendant trois journées de séminaires ponctuées de quatre soirées de projections, lesquelles seront suivies par une mini-conférence pour étudiants des cycles supérieurs. Le thème retenu pour cet événement est : « Global/Local Film – Le cinéma entre le global et le mondial ». En point d’orgue de chaque journée, un séminaire en français et un autre en anglais, ainsi qu’une séance de projection à la mi-journée en lien avec les problématiques abordées lors de ces séminaires. Seront également présentées trois projections publiques gratuites à savoir : The Artist de Michael Hazanavicus (France, 2011), Nostalgia de la luz de Patricio Guzmán, (France- Chili, 2011), Arctic Defenders de John Walker (Canada 2013, en présence du réalisateur), ainsi qu’un programme de documentaires politiques rédigé par Sylvie Hamilton, cinéaste basée à Halifax. 

Les étudiants des cycles supérieurs intéressés sont priés de joindre à leurs dossiers de demande un exemplaire du résumé préliminaire de la communication qu’ils présenteront lors de l’Institut d’été. Les séminaires auront lieu du 8 au 10 juillet 2014. Le 11 juillet, les membres du corps professoral d’Halifax offriront à leurs bureaux des heures de disponibilité, selon un horaire qui sera communiqué aux étudiants participants en temps utile ; ces derniers auront accès à un espace de travail au Centre d’études interdisciplinaires de Dalhousie University. Les travaux de l’Institut d’été s’achèveront par une mini-conférence d’une journée – le 14 juillet – au cours de laquelle les étudiants seront invités à présenter leurs communications dans un environnement d’atelier.

Trois bourses d’un montant de 1000 $ seront octroyées, en plus d’une exemption de paiement des frais d’inscription, exclusivement pour les étudiants des cycles supérieurs venant d’autres villes qu’Halifax. Ces paiements qui se feront sous forme de remboursements au titre des frais engagés ne débuteront pas avant la fin de l’Institut d’été. Les candidats qui souhaitent être considérés pour ces bourses doivent manifester leur intérêt au moment  la soumission de leur demande, qui devra être accompagnée d’un CV et d’un résumé de leur communication. Ces étudiantes devront transmettre leur demande (sans frais d’inscription) au plus tard le 1er avril 2014. Toutefois, les candidats aux bourses qui ne seront pas sélectionnés pourront toujours s’inscrire et bénéficier d’un tarif réduit (inscription à l’avance), à condition que ces personnes s’acquittent des frais exigibles au plus tard le premier jour de l’Institut d’été.

Corps professoral:  Shannon Brownlee (Dalhousie), Laurent Creton (Paris 3), Raphaëlle Moine (Paris 3), Emmanuel Siety (Paris 3), Jennifer VanderBurgh (Saint Mary’s), Jerry White (Dalhousie)

Contact: Jerry White, Dalhousie University – Jerry.White@dal.ca