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virtual colloquium, april 12-13, 2024

“Art respects the masses …” (Theodor Adorno, Aesthetic Theory)

The theme of this year’s online synchronous* FMSAC Graduate Colloquium is “MASS.” The OED offers many definitions of mass, including: “a dense aggregation of objects having the appearance of a single, continuous body”; “to form or gather into a mass; to collect, arrange, or bring together in masses”; and “a solid and distinct object occupying space.” As something as small and singular, like the mass of an atom, to something as extensive and totalizing as mass culture, “MASS” invites us to think about multitudes and singularities in, with, and through film and other media forms.

Sample topics include, but are not limited to:
• Mass media, platform studies, social media, Massive Multiplayer Gaming (MMOS)
• Frankfurt School on mass ornament, mass reproducibility, mass culture
• Representation in mass media
• Religious mass, ritual, and cult
• Weight, size, volume, scale, and density
• Mass extinction, plagues, pandemic media, and Anthropocene
• Amass, collection, accumulation, and critical mass
• Mass production, capitalism, globalization, logistics, and infrastructure
• STS, mass effect, mass spectrometry, visuality and perception of mass(es), and computational mass
• Feminist, decolonial, LGBTQIA+ studies, BIPOC studies, and accessibility studies
• Animal and more-than-human, posthumanist, and environmental studies
• Diasporic cinemas and mobility studies
• Reception studies and spectatorship
• Film and media within mass (social or political) movements

We welcome English and French submissions from independent scholars, postdoctoral fellows, and graduate students worldwide. Proposals welcome for individual presentations (~10 mins.), research creation projects, and video essays (~5 mins.). Interested parties must submit a 300-word abstract and a 100-word biography to by January 15, 2024.

Notifications of acceptance will be sent out by early-February.
* This event is taking place online to ensure greater accessibility and reduce the environmental impacts of annual conference travel amidst the climate emergency.


colloque virtuel,

du 12 au 13 avril 2024

« L’art respecte les masses… »
(Theodor Adorno, Théorie esthétique)

Le thème du colloque en ligne (synchrone)* des diplômés de l’ACÉCM en 2023 est la/les « MASSE(S) ». Le Grand Robert de la langue française offre de nombreuses définitions de masse, y compris : « Accumulation de nombreux éléments distincts (mais généralement de même nature) réunis en un ensemble perçu comme une totalité » ; « Ensemble nombreux (de personnes ou d’animaux) assemblés » ; « L’ensemble qui fait corps, la majorité » ; et « Être, chose qui fait impression par sa puissance, sa taille, son volume, son poids ».

S’appliquant à un objet aussi petit et singulier que la masse d’un atome, comme à quelque chose d’aussi étendu et totalisant que la culture de masse, la/les « MASSE(S) » nous invite à penser aux multitudes et aux singularités dans, avec et à travers le cinéma et d’autres formes de médias.

Les exemples de sujets possibles comprennent les suivants, sans toutefois s’y limiter :
• Les médias de masse, les études de plate-forme, les médias sociaux, les jeux massivement multijoueurs (les MMO)
• L’École de Francfort sur l’ornement de la masse, la reproduction de masse, la culture de masse
• La représentation dans les médias
• La messe religieuse, le rituel et le culte
• Le poids, la taille, le volume, l’échelle et la densité
• Les extinctions massives, les pestes, les médias pandémiques et l’Anthropocène
• L’accumulation, le fait de collectionner, et la masse critique
• La production de masse, le capitalisme, la mondialisation, la logistique et les infrastructures
• Les études des sciences et des techniques (STS), les effets de masse, la spectrométrie de masse, la visualité et la perception de la ou des masses et la masse computationnelle
• Les études féministes, décoloniales, LGBTQIA+, PANDC et sur l’accessibilité
• Les études animales et plus qu’humaines, posthumanistes et environnementales
• Les cinémas diasporiques et les études de la mobilité
• Les études de réception et des spectateurs
• Les films et médias au sein des mouvements de masse (sociaux ou politiques)

Nous accueillons les soumissions en anglais et en français de chercheurs.euses indépendant.e.s, de chercheurs.euses postdoctoraux.les et d’étudiant.e.s diplômé.e.s du monde entier. Les propositions de communications individuelles (~ 10 minutes), de projets de création de recherche et d’essais vidéo (~ 5 minutes) sont les bienvenues. Veuillez soumettre un résumé de 300 mots et une biographie de 100 mots à d’ici le 15 janvier 2024. Les avis d’acceptation seront envoyés d’ici le début de février.

* Cet événement se déroule en ligne pour assurer une plus grande accessibilité et pour réduire les impacts environnementaux des déplacements en contexte d’urgence climatique.


The Soundtrack journal is soliciting calls for a special issue devoted to sound and music in games. How is the soundtrack of games similar to or different from that of film or other time-based image? What new approaches to loop-based composition have been developed? How does sound scale, from smart phone game apps to immersive home environments? What are the implications for pedagogy, when sound design programs have traditionally been developed in relation to film and video? These and other questions are fair game for this special themed issue.

The Soundtrack is a multi-disciplinary journal which brings together research in the area of sound and music in relation to moving image. We are calling for articles from a range of approaches – theoretical, historical, industrial, aesthetic or technological – that fit the theme of ‘Game Sound and Music.’ Professional sound designers and composers are also invited to submit.

Contributions (5000–6000 words for major papers, 1000–3000 words for reviews and shorter articles) should include original work of a research or developmental nature and/or proposed new methods or ideas that are clearly and thoroughly presented and argued. We also welcome relevant book reviews and artist statements (up to 1000 words). Articles should be formatted according to the Intellect Style Guide, which can be downloaded from:,name=journalresources/

Submissions should be submitted as Word files, and include abstract, keywords and short bio, references in Harvard format, endnotes rather than footnotes, and emailed to

Deadline for submissions: June 1st 2013


FSAC 15th Annual Graduate Student Colloquium

CALL FOR PAPERS: Transitions and Translations: New Approaches to the Moving Image

Hosted by Mel Hoppenheim School of Cinema at Concordia University

Montréal, Québec

March 1-2, 2013


La version française suit.

The ever-increasing mobility of film and moving images within contemporary digital technologies are leading to their reexamination in disciplines as varied as art history, communications, media studies, cultural studies, and film studies. As moving images splinter and scurry onto innumerable platforms that cross all national borders, we chase these objects of scholarly investigation across disciplinary boundaries and theoretical frameworks in our attempts to conceptualize these historical transitions of media forms and the questions they raise.  This contemporary shift has reignited scholarly interests in the very notions of transition and translation, prompting new investigations into film history, theory, aesthetics, and the very discipline of film studies.  The 15th Annual FSAC Colloquium invites contributions from graduate students testing new approaches towards these moments of transition and objects of change.

Possible topics could include but are not limited to:

  • Global networks of circulation
  • Movement across media platforms
  • Technological shifts in historical context
  • Non-theatrical exhibition
  • Film Festivals
  • Experimental and avant-garde cinemas
  • Interdisciplinary approaches to Film Studies
  • Globalization and media
  • Archives and the digital age
  • Multimedia and digital research practices
  • Liminality and in-betweenness
  • Gender transgression in film and media
  • Translation and subtitling practices
  • Ephemeral media
  • Imaging technologies in scientific practice
  • Media and the changing public sphere
  • Remixes and remakes
  • Paradigms shifts within film and media theory

Submissions are invited in both English and French from graduate students (MA, MFA, and PhD) in film, media, and television studies or in other disciplines with research focused on visual culture and the moving image.  Please submit an abstract (300 words maximum) and the title of your presentation; be sure to include your name, degree and academic affiliation.

Abstracts should be sent to:  Please include “FSAC Transitions and Translations” as the subject of the email and include the abstract as an attachment in either Word, Rich-Text, or PDF format.

Abstracts must be submitted by December 5, 2012.

Notices of acceptance will be sent by early January 2013.


For more information, go to:


The Transitions and Translations Colloquium will be coordinated and supported by the Department of Film Studies, the Department of Communication Studies, and the Humanities Doctoral Program at Concordia University, in cooperation with the Film Studies Association of Canada.


15e Colloque annuel de l’ACÉC pour les étudiants des cycles supérieurs

APPEL À PROPOSITIONS : Transitions et traductions: nouvelles approches de l’image en mouvement

Organisé par l’école de cinéma Mel Hoppenheim de l’Université Concordia

Montréal, Québec
Le 1er et 2 mars 2013

La mobilité toujours plus grande des films et de l’image en mouvement au sein des technologies numériques contemporaines mène à une reconsidération et une réécriture de celles-ci à travers des disciplines aussi variées que l’histoire de l’art, les études des médias, les études culturelles et les études cinématographiques. Alors que l’image en mouvement vole en éclats et qu’elle se précipite sur de très nombreuses plateformes qui transcendent les frontières nationales, nous cherchons ces sujets de recherches universitaires qui vont au-delà des limites des disciplines et des cadres théoriques et qui tentent de conceptualiser ces transitions historiques et formelles des médias et les questions qu’elles soulèvent. Ce changement a ravivé les intérêts académiques au sein même du domaine des études cinématographiques, de son histoire, de sa théorie et de son l’esthétique. Le 15e Colloque annuel de l’ACÉC sollicite des propositions de communications des étudiants des cycles supérieurs qui s’intéressent à ces moments de transition et à ces objets en changement et qui proposent de nouvelles approches par rapport à ceux-ci.

Les contributions peuvent, mais ne doivent pas nécessairement, aborder les sujets suivants:

  • les réseaux de circulation mondiaux
  • les mouvements entre les différentes plateformes médiatiques
  • les changements technologiques dans un contexte historique
  • la diffusion hors des salles de cinéma
  • les festivals de cinéma
  • les cinémas expérimentaux et d’avant-garde
  • les approches interdisciplinaires du cinéma
  • les médias et la mondialisation
  • les archives et l’ère du numérique
  • les multimédias et les recherches pratiques sur le numérique
  • le liminal et l’entre-deux
  • les transgressions du «gender» dans les films et les médias
  • la traduction et les sous-titres
  • les médias éphémères
  • l’imagerie des technologies dans les pratiques scientifiques
  • les remix et les remakes
  • les changements de paradigmes dans les théories du cinéma et des médias

Les étudiants des cycles supérieurs (maîtrise ou doctorat) en études cinématographiques et médiatiques, en études télévisuelles ou toute autre discipline dont la recherche porte sur la culture visuelle et à l’image en mouvement sont invités à envoyer leurs propositions de communications en français ou en anglais. Veuillez soumettre un résumé (300 mots maximum) et le titre de votre présentation. Assurez-vous également d’inscrire votre nom, votre diplôme et votre affiliation universitaire.

Merci de faire parvenir votre proposition à l’adresse suivante, en indiquant « ACÉC transitions et traductions » en objet de votre courriel, et de joindre votre propositon en format Word, Rich-Text ou PDF.


La date limite pour soumettre votre proposition est le 5 décembre 2012.

Les avis d’acceptation seront envoyés début janvier 2013.


Pour plus d’information :


Le colloque « transitions et traductions » sera coordonné et soutenu par le Department of Film Studies, le Department of Communication Studies, et l’Humanities Doctoral Program de l’Université Concordia, en coopération avec l’Association canadienne d’études cinématographiques.


Broadcasting Taste:  The Emergence of Popular Film Criticism on English-Canadian Radio

Zoë Constantinides

The Gerald Pratley Award address for 2013 will consider the history of film criticism on English-Canadian radio, from the CBC’s appointment of Gerald Pratley himself as resident film critic in 1948 to the proliferation of critics on commercial and community radio and, recently, in do-it-yourself podcasts. The employment of Pratley as a professional critic formalized the presence of film discourse on the radio and helped establish the importance of cinema as a national cultural pursuit. Continuedchanges in the vocation and status of the film critic prompt investigation into this figure’s ambivalent place in the cultural landscape, adjacent to the academy, at some remove from the industry, and in uneasy dialogue with moviegoers. Operating variously in local, regional, national, and global registers, critics on the radio articulate salient notions of a Canadian cinema community to a broad, non-specialized audience. This talk will map the occupations and preoccupations of popular critics—at once celebrated tastemakers and dubious authorities—across a range of familiar and unexpected sites of national and transnational cinema culture.


Zoë Constantinides is a PhD Candidate in Communication Studies at Concordia University in Montreal. Her research interests include media history, cultural policy, and media piracy. Her doctoral research investigates forms of popular film discourse and the role of critics in Canadian cinema culture. She teaches media studies in the Humanities Department at Champlain College – Lennoxville.


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


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


Exemplarity and Film

Silvestra Mariniello

« In the final analysis the series of data which a man produces as such, as reality that represents itself and acts, is called anexample, and this is the difference between the language of natural reality and the language of human reality. The first only produces data; the second, along with the data, also produces an example. Audiovisual techniques capture man in the act in which he gives the example (willing or not). »                         Pasolini, The End of the Avant-Garde (1966).


From Pasolini’s remarks on exemplarity in this 1966 essay, as well as from Hanna Arendt’s philosophy of action as developed in The Human Condition, I will investigate how rhetoric distinguishes between two kinds of examples (exemplum), both also belonging in film: 1) the discursive one: a particular narrative genre, one of the three discursive devices of persuasion, “the figure that most clearly and explicitly attempts to shore up the inside of discourse by gesturing toward its outside, toward some commonly recognized basis in a reality shared by speaker and listener, reader and writer” as Lyons puts it; 2) the exemplary individual. My research thus explores, with reference to different films, the point where the two exempla converge and the exemplary individual in film attracts the viewer in his/her sphere of action. Through montage, sound, rhythm, acting, light, depth of field, camera angles and movements, an encounter (Deleuze) becomes possible with the Other (character/actor) when we see his/her face (Lévinas, Butler) and his/her example inspires us. In fact what interests me the most, and what will be at the core of my paper, is the nature of action, the ways of representing and reproducing action, the cinematographic mediation of action and agency (P.P. Pasolini, S. Cavell) in order to understand why and how action becomes exemplary, attracts the viewer into its sphere (Bergson). Focusing on the audiovisual “writing” of action, should allow us to address positive as well as negative exemplarity. Finally in the last part of my talk I would like to open up toward another part of my research dealing with the exemplarity of film itself, no longer the exemplarity in film, but of film. Because of its way of looking and because it imposes a way of looking, film would be exemplary of the age that generated it and which, at the same time, was generated by it. (Casetti, Ishaghpour, Godard).


Silvestra Mariniello is Professor at the Université de Montréal in the Department of Art History and Film Studies, where she has served as director of the Research Center on Intermediality.  She has published several articles and a book on Pasolini. She has recently co-edited two volumes, L’électricité. Déployement d’un paradigme, which is forthcoming at the University of Ottawa Press, and Appareils et intermédialité, published in 2007 by L’Harmattan. Her latest essay is “Changer de table d’opération” for the Mexican journal Acta Poetica. Other titles include: “L’écoute de l’ange” on Wim Wenders; “Devenir et opacité dans Un thé au Sahara de Bernardo Bertolucci”; “La voix et la parole”; “La litéracie de la différence”; and “Médiation et responsabilité.”


The Martin Walsh Memorial Lecture

FSAC-ACÉC was founded in 1976 by a group of university professors dedicated to “foster and advance the study of the history and art of film and related fields” in Canada. Among them was Martin Walsh, in whose honour the annual Martin Walsh Memorial Lecture is named. A British expatriate who taught film studies at the University of Western Ontario in London, Ontario, Walsh was a scholar of avant-garde practices who wrote The Brechtian Aspect of Radical Cinema, published posthumously under the editorship of Keith M. Griffiths (London: BFI, 1981). He was also the first President of the Film Studies Association of Ontario (FSAC-ACÉC’s precursor), and an enthusiastic contributor to the original Take One magazine. Like his friend, the artist Greg Curnoe, he was a member of the London Centennial Wheelers, and in 1977 he died tragically in a road accident. In 1978 the Martin Walsh Memorial Lecture was inaugurated by Walsh’s colleagues and friends to commemorate his life and work. Each year an internationally recognized film scholar is invited to the Annual Conference of FSAC-ACÉC to speak about their current research.


This letter was prepared by Dr. Paul Moore (President, FSAC), Associate Professor of Sociology, Ryerson University, Toronto on behalf of the membership of the Film Studies Association of Canada in response to recent cuts to Library & Archives Canada and the elimination of the National Archival Development Program.

Cliquez sur ici pour le document bilingue de PDF.

Click here for the bilingual PDF document.



Le programme de la conférence 2012 de l’ACÉC est maintenant disponible. [update: 05/29/2012]


La conférence se déroulera du mercredi 30 mai au vendredi 1er juin 2012.


The FSAC 2012 Conference schedule is now available. [mise à jour: 05/29/2012]


The conference is scheduled from Wednesday, May 30 to Friday, June 1, 2012.


FSAC 2012 Conference Abstracts are now available. Please click here.


Les résumes d’ACÉC 2012 sont maintenant disponsibles. Cliquez ici


Cinephile 7.2, “Contemporary Realism,” is now available. Released in conjunction with the 14th Annual FSAC/ACÉC Graduate Student Colloquium, this issue resituates the notion of filmic realism for a post-film era. Featuring original articles by Ivone Margulies and Richard Rusthon, with 35mm photos by Hanahlie Beise.

For more information, please visit


14th Annual FSAC Graduate Student Colloquium | 14e Colloque annuel de l’ACÉC pour les étudiants des cycles supérieurs
Hosted by the Department of Theatre & Film at the University of British Columbia

February 18th – 19th, 2012

Keynote: “Artless Singing”,  Prof. Claudia Gorbman (University of Washington-Tacoma)

The Department of Theatre & Film at the University of British Columbia is proud to host the 14th Annual Film Studies Association of Canada Graduate Colloquium. The event hosts graduate students from Canada and abroad for an intensive two-day meeting focused on their research and provides an opportunity for attendees to network with individuals from other graduate programs. The colloquium serves as a stepping stone for the presentation of research at larger meetings and international conferences.

14th Annual FSAC-ACÉC Graduate Student Colloquium program


Le Department of Theatre & Film de l’University of British Columbia est excité pour accueillir le 14e Colloque annuel de l’ACÉC pour les étudiants des cycles supérieurs. Cet événement rassemble des étudiants du Canada et de l’étranger pour une rencontre intensive de deux jours portant sur leur recherche. Le colloque permet aux étudiants de tisser des liens avec des gens issus d’autres programmes d’étude et sert de point de départ pour la présentation de résultats de recherche à des rencontres de plus grande envergure ou des conférences internationales.

Cliquez sur ici pour le programme.