Posts by: webmaster

Call for Submissions, Issue 104 The Art Film

Issue 104 Call for Submissions: The Art Film
Queries and submissions to and
Deadline Oct. 15, 2024

In the last few years, a revival of the art film is evident in films like Glazer’s Zone of Interest, Kaurismäki’s Fallen Leaves, Wenders’ A Perfect Day, Triet’s Anatomy of a Fall, and even, one might argue, last year’s blockbusters, Gerwig’s Barbie and Nolan’s Oppenheimer. The resurgence of the art film is significant as it extends beyond commercialism, considering authorship, style, a personal voice, often challenging the audience to participate and engage in an active way. It also attests to a cinema that still attracts an audience willing and eager to experience a screening in a theatre.

In the next issue, we welcome submissions on the subject of the art film, past and present, considering the permeable boundaries between art and entertainment.


Archive/Counter-Archive is thrilled to share the final schedule and registration information for the Global Audiovisual Archiving Conference: Building Alliances (GAVA), which will take place at the iconic TIFF Lightbox in downtown Toronto. This event promises to be an exceptional gathering of experts, enthusiasts, and innovators in the fields of media archiving and heritage.

Please direct any questions that you might have about the conference schedule or registration details to

Conference Details:
Location: TIFF Lightbox, 350 King St W, Toronto, ON M5V 3X5
Dates: July 12-14

The Global Audiovisual Archiving Conference: Building Alliances (GAVA) is a collaborative event and outreach program co-organized by Archive/Counter-Archive, the Eye Filmmuseum, and the Toronto International Film Festival that aims to foster an international network around AV community archives from parts of the world that have historically been left out of mainstream archival discussions. GAVA will bring together archival specialists from across Canada and around the world with a wide range of expertise, experience, and engagement with media archives at an equally wide variety of scales. The discussions, presentations, screenings, video series, workshops, and tours that comprise this project will largely focus on community archives and archival projects by activists and artists. The focus on marginalized audiovisual archives is imperative and directly linked to the urgency of the current situation.

Schedule Now Available:

The full conference program is now available on our website ( Please note that in addition to the three main days of the conference (July 12-14), there will also be an opening reception at Toronto Metropolitan University on the evening of July 11 and a full-day tour of several local Toronto archives on July 15 that is being coordinated by Cléo Sallis-Parchet (York University). We will be sending out more details about registering for the archival tour shortly, but in the meantime, please reach out to if you are interested in attending.

Registration Now Open:
Registration is now open for GAVA ( You may register for the conference through the Toronto International Film Festival’s website via the links listed below. After clicking the links, you will be redirected to a Ticketmaster portal that will include in-person and remote registration options. In-person tickets for the full conference are priced at $100, with student/remote tickets available for $50. For those where these fees would pose a financial barrier that would prevent you from participating, we invite you to contact to apply for a fee waiver. Don’t miss this opportunity to engage with industry leaders and explore the latest in audiovisual archiving!


International Graduate Summer Institute

In addition to the main conference, we are also very excited to announce the Archive/Counter-Archive GAVA Summer Institute GS/FILM 5700 A SICI Global Audiovisual Archiving: Building Alliances, Curating Difference (Tues-Thurs online June 25-Aug 1). The course is offered online, and organized through York University’s Graduate Program in Cinema & Media Studies/Film. It is open to graduate students from other Canadian and international universities.

For more information about this online course and if you are interested in registering for (or auditing) this course, please email and before June 14th with “FILM 5700 SICI enrollment” in the subject line.



Symposium: Film Festivals: Borders, Identities, Solidarities
University Ca’ Foscari of Venice
November 4–6, 2024

This symposium aims to explore how the issues of borders, identities and solidarities have been tackled by and through film festivals. As a repetitive practice happening in regular intervals and at the same place, film festivals operate as ‘places of memory’ of a particular kind (Nora, 1984 [1997]). As such, they provide an institutional framework for the cultural memories they preserve and produce through their programmes. By the default of cultural memory creation (Assmann, 1995), their influence becomes long-term and wide encompassing, moving far beyond from their actual time and place. In addition, thanks to the engagement of diverse festival actors (journalists, critics, industry representatives, politicians, etc.) the narratives that they create reach diverse categories of society, not limited to those present at the screening. The influence created in such a way becomes especially important in the times of political and military conflicts and social turbulences, when not only various kinds of liberties, but also people’s lives, can be threatened. With this in mind, this symposium aims to bring together scholars working on diverse aspects of film festival studies to discuss interrelations between film festivals and the questions of borders, identities and solidarities. In the current context of political and social upheavals, and social movements for civil rights, the symposium will explore the capacity of film festivals to operate not simply as spaces for cinematic representation related to borders and identities, but how they have (or may become) vehicles for forging solidarities, past, present and future.

We welcome submissions in the following (non-exhaustive) topic areas:

– Film festivals and political propaganda
– Film festivals as places for expression of solidarity
– Film festivals, cultural memory and national identity
– Film festivals and gender identity
– Definitions of film festivals’ identity
– Borderland film festivals
– Borders and boundaries in film festival programmes

Submissions may be individual or for panels of three papers. We are inviting proposals from participants from diverse ranges of career levels, from doctoral students to established scholars.

Please submit your proposals – 250-word abstracts for 20-minute presentations – to by July 5, 2024. Notifications of acceptance will be sent by August 15, 2024.

The symposium is organized by Dr Dunja Jelenkovic and Prof. Marco Dalla Gassa in the framework of the project CBA TRIESTE (The Cinematic Battle for the Adriatic: Films, Frontiers, and the Trieste Crisis) which has received funding from the European Union’s Horizon 2020 research and innovation programme, under the Marie Skłodowska-Curie grant agreement No. 101020692 (MSCA-IF-EF).

For any inquiries, please contact (please put “CBA TRIESTE Symposium“ as the email subject).


CFP: Performance and Experience: A Collection of Essays on Acting by Non-Actors in the Cinema
Proposed by Catherine Russell

Actors without training who play characters in fiction films are usually referred to as non-professionals or non-actors and have come to proliferate in independent cinema and “global art cinema.” Little scholarly work has been devoted to this phenomenon, but the study of non-professional acting can be a rich avenue of investigation into the role of the body in film aesthetics and the human interactions that underpin film production. Beyond neorealism, it can help us understand the role of experience in filmmaking, and the power dynamics implicit in the situation of filmmaking. Walter Benjamin understood film performance as a primal encounter between the human body and the technology of cinema, and thus as an allegory for the people-machine encounter that has subsequently evolved into the digitization of everyday life.

Non-professional acting marks multiple borderlines between fiction film and documentary and between film and the performance arts including dance, music, circus, sports and rodeo. Non-professional acting is a means of giving drama an ethnographic aspect; and also a means of bringing ethnography into the realm of speculation and fiction. Non-professional acting flags the critical question of film labour, not only as an issue of compensation and workplace protection, but equally as an issue of aesthetics and anti-corporate, anti-celebrity being.

The legacy of neorealism established the realist aesthetics of these films, and the discourse of liberal humanism that underpins the discourse around casting and performance style as well. Robert Bresson referred to his non-professional performers as “models” and, like Andre Bazin, felt that they were only useful for one performance. More recently, directors have adopted a more humane and collaborative attitude toward the people cast in their films who are not (yet) movie stars. Sean Baker refers to his actors as “first timers,” leaving a space for them to pursue an acting career should they choose to do so. Others, such as Zacharias Kunuk, work in collaboration with a specific community who perform in his films.

While film acting has received a great deal of scholarly attention, the bulk of this work has been devoted to star studies, and the performances of well-known actors. Some work on film labour has begun to address issues of non-professional film performance, and in 2024, two monographs on the topic were published by Catherine O’Rawe (The Non-Professional Actor (Bloomsbury) and Miguel Gaggiotti Nonprofessional Film Performance (Palgrave-MacMillan), laying the groundwork for more considered discussion of the aesthetics, politics and effects of non-professional film performance. While the most innovative filmmaking defies boundaries between fiction, documentary, experimental and essayistic modalities, this collection will emphasize the roles of untrained actors in dramatic fiction, looking at actors performing characters who are not necessarily “themselves,” no matter how closely aligned their characters and themselves may be.

In 2017 Film at Lincoln Centre programmed a series of films featuring non-professional actors. While it is by no means an exhaustive list of all the relevant films, it may be a good starting point to consider the scope of the topic.

Proposals for films and performers who are women, Black, Indigenous or racialized, or from the Global South are especially welcome, although all proposals will be considered.

Possible approaches to the topic of non-professional film performance include:
1. Discussion of the casting and aftermath of individuals cast in fiction films.
2. Close analysis of performances, including “amalgams” of professional and non-
3. Relationships between directors and non-professional actors
4. Contracts, legal documents and other labour arrangements
5. Non-professional actors and digital cultures
6. Reality television
7. Ethical issues raised in specific productions
8. Dramatic fiction in amateur filmmaking
9. Dramatic fiction in visual anthropology
10. Philosophical effects of non-professional performance
11. Performance studies and non-professional film acting
12. Non-professional acting and the legacy of neorealism
13. An interview with a director about their work with non-professional actors
14. An interview with a performer in a fiction film who can be considered “non-professional.”

Proposals should be 300 words, accompanied by a short bio and a bibliography.

Please send to by July 15

I have provisional interest from Routledge for a publication. Translation of previously published essays or interviews will also be considered. Please don’t hesitate to contact me for additional information. If all goes well, final essays will be expected in Summer 2025.


CFP: The Neutral Graduate Journal – “INHERITANCE”

The Neutral is a peer-reviewed media studies journal based out of the Cinema Studies Institute at the University of Toronto. The Neutral is committed to a diversity of disciplinary approaches and media objects of study. It is published online at:

For its fourth issue, The Neutral is soliciting contributions for ‘Inheritance‘.

“writing philosophy is for me finding a language in which I understand philosophy to be inherited, which means telling my autobiography in such a way as to find the conditions of that language.”

Stanley Cavell, A Pitch of Philosophy

“But as for me, who am I (following)?”

Jacques Derrida, The Animal That I Therefore Am

Inheritance is always a live concern in our work: in who and what we choose to inherit, or feel we cannot but inherit, or feel we must struggle to disinherit despite their proximity to us, or not realize we have inherited because of that proximity.Jacques Derrida put this problem at its most foundational, asking “But as for me, who am I (following)?”, tying our very sense of ourselves to those who we come after. Christina Sharpe, in her configuration of The Wake, highlights the insistence of “the past that is not past” as it “reappears, always, to rupture the present.” We live in the long afterlife of slavery and the continued re-entrenchments of colonialism, misogyny, homophobia, anti-blackness, and transphobia, which force inheritances on us while also highlighting the essential inheritances we do not have access to by way of genocide, epidemic, and crisis. For this issue of The Neutral, we invite contributors to take up the theme of inheritance in all its myriad configurations. In doing so, participants are encouraged to consider and confront the ways that we rely on who and what came before us, and how we live out those inheritances in our work through citation, inspiration, or focus.

For inspiration in cinema studies, we may look to the work of Jane Gaines and Monica Dall’asta, which demonstrates how evoking the image of women in early cinema requires inheriting the signs and traces they left through their labour. Or we could look to Tom Gunning, who, in inheriting cinema’s “forgotten futures,” finds possibilities for imagining new futures for cinema today. Stanley Cavell configured his theory of genre precisely as a problem of inheritance, “the members of a genre share the inheritance of certain conditions, procedures and subjects and goals of composition… something I think of as bearing the responsibility of the inheritance.”

In light of this, we seek submissions that investigate both the historicity of the media we study as well as our own historical position and what it means to bear responsibility for our inheritances. What keeps us returning to and drawing from certain thinkers, certain traditions, certain films? How do we take up the inheritances of those we are indebted to? What is at stake when we make our inheritances explicit and thus bring ourselves into our work? What does it mean to be indebted to that which we want to disavow, but feel we cannot?

In the simplest terms, for this issue we seek work that takes every citation seriously. How does the act of looking backward help us to look forward?

Please submit completed essays between 5000-7000 words in length, including endnotes and citations as a Word document in Chicago style to with the subject line “Inheritance Submission” and with your name and affiliation included in the body of the email by July 19, 2024.



The Fountain School of Performing Arts (FSPA) at Dalhousie University invites applications for a ten-month (50% FTE) limited-term appointment in Cinema & Media Studies, at the rank of Lecturer/Assistant Professor, commencing August 1, 2024. The position is subject to budgetary approval.

The successful candidate’s duties may include but are not limited to teaching three undergraduate classes; the candidate will also be expected to contribute to administrative service within the Fountain School of Performing Arts.

Applicants must have or be near completion of a PhD in Cinema and Media Studies or a related field. They must also have an active research profile and evidence of effective teaching at the post-secondary level.

Applicants are invited to apply online with a curriculum vitae and a cover letter expressing interest. Short-listed candidates will be contacted for their statement of research and their teaching interests and philosophies, evidence of teaching effectiveness (formal course evaluations), and the contact information for three referees (applicants selected for further consideration will be notified before referees are contacted). The successful candidate will teach a large-enrolment, second-year course on Popular Cinema, a mid-sized, third-year course on a Film Director or Directors of their choice, and a fourth-year Special Topics seminar on a topic of their choice. In your cover letter, please indicate your preferred topics for the last two classes.

The deadline for applications is May 17, 2024.

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.

Dalhousie University commits to achieving inclusive excellence through continually championing equity, diversity, inclusion, and accessibility. The university encourages applications from Indigenous persons (especially Mi’kmaq), persons of Black/African descent (especially African Nova Scotians), and members of other racialized groups, persons with disabilities, women, and persons identifying as members of 2SLGBTQIA+ communities, and all candidates who would contribute to the diversity of our community. For more information, please visit

If you require any support for the purpose of accommodation, such as technical aids or alternative arrangements, please let us know of these needs and how we can be of assistance. Dalhousie University is committed to ensuring all candidates have full, fair, and equitable participation in the hiring process. Our complete Accommodation Policy can be viewed here.

A full description of the position is available here:


Synoptique is soliciting proposals for book reviews for our upcoming issue 11.1, which is a special issue with the topic “Teaching Media Archives.” We invite reviewers to propose reviews for both the themed and general review sections. If you are interested in writing a review for this issue, please contact with a short proposal (maximum 250 words) outlining the title, author, and publication information for your proposed book as well as your qualifications for reviewing it.

We are particularly interested in receiving proposals for the following books:

  • Accidental Archivism: Shaping Cinema’s Futures with Remnants of the Past, edited by Vinzenz Hediger and Stefanie Shulte Strathaus. Meson Press, 2023. Online.
  • Archival Film Curatorship: Early and Silent Cinema from Analog to Digital, by Grazia Ingravalle. Amsterdam University Press, 2023. 240 pages.
  • Bootlegging the Airwaves: Alternative Histories of Radio and Television Distribution, by Eleanor Patterson. University of Illinois Press, 2024. 208 pages.
  • Le cinéma dans l’oeil du collectionneur, edited by André Habib, Louis Pelletier, and Jean-Pierre Sirois-Trahan. University of Montreal Press, 2023. 344 pages.
  • The Documentary Filmmaker’s Intuition: Creating Ethical and Impactful Non-fiction Films, by Shannon Walsh. Routledge, 2023. 256 pages.
  • Exploring Past Images in a Digital Age: Reinventing the Archive, edited by Nezih Erdogan and Ebru Kayaalp. Amsterdam University Press, 2023. 258 pages.
  • How Film Histories Were Made: Materials, Methods, Discourses, edited by Malte Hagener and Yvonne Zimmermann. Amsterdam University Press, 2023. 530 pages.
  • Incomplete: The Feminist Possibilities of the Unfinished Film, edited by Alix Beeston and Stefan Solomon. University of California Press, 2023. 374 pages.
  • Physical Characteristics of Early Films as Aids to Identification, by Camille Blot-Wellens. Indiana University Press, 2022. 336 pages.
  • Recollecting Lotte Eisner: Cinema, Exile, and the Archive, by Naomi DeCelles. University of California Press, 2022. 238 pages.
  • Reel Change: A History of British Cinema from the Projection Box, by Richard Wallace and Jon Burrows. John Libbey Publishing, 2022. 256 pages.
  • Sustainable Resilience in Women’s Film and Video Organizations, by Rosanna Maule. Routledge, 2023. 264 pages.
  • Tales from the Vaults: Film Technology over the Years and across Continents, edited by Louis Pelletier and Rachael Stoeltje. International Federation of Film Archives, 2023. 342 pages.
  • Teaching Through the Archives: Text, Collaborations, and Activism, edited by Tarez Samra Graban and Wendy Hayden. Southern Illinois University Press, 2022. 354 pages.

We will also consider proposals for other recent scholarly books related to the discipline of Film and Media Studies, so long as they have not been reviewed in a previous issue of Synoptique. Proposals are due no later than Friday, April 26 and should be sent to

We accept submissions in both English and French. Final reviews must conform to the specifications outlined in our Submission Guidelines.

Jared Aronoff and Thomas Gow

Synoptique: An Online Journal of Film and Moving Image Studies


The Book & Media Studies program at St. Michael’s College in the University of Toronto has a pair of three-year contractually limited term appointment (CLTA) postings up until April 29, 2024.

Assistant Professor, Teaching Stream (CLTA) in Printing History, Culture and Practice

Assistant Professor, Research Stream (CLTA) in Media History


CFP: The Power of Horror Compels You: Exploring Historic and Modern Iterations of Horror

Jack Halberstam argued of Bram Stoker’s seminal horror text that “Dracula is otherness itself.”In doing so, he contextualized the novel’s configuration of the period’s social anxieties toward sexuality, modernity, and antisemitism through the vampire figure. Further, Halberstam suggests that “Dracula is indeed not simply a monster, but a technology of monstrosity,” encompassing a perspective of the horror genre which recognizes its fundamental capacity to express anxieties and fears about the contemporary world.

Written eight decades before Dracula, Frankenstein often earns Mary Shelley the title “the mother of science fiction.” At the same time, this novel also converges around conventions of Gothic fiction and horror to express anxieties about modern technology and science and its relationship to the human, concepts which remain integral to contemporary examples of the genre across mediums.

When writing about modern horror Mikal Gaines reflects how the genre has largely evolved beyond its historical depictions of Black and BIPOC individuals as casualties or monsters to the driving force of the story. Gaines addresses how racism in Jordan Peele’s Get Out functions as the monster, and narrativizes the horror of racialization. Per Gaines’ argument, Peele draws on the tradition in the horror genre of complicating perspectives on race or class, as many argue George Romero’s original Night of the Living Dead film did.

The standards of monstrosity of a particular era manifest in its films, television series, novels, games, and other materials in or adjacent to the horror genre. The definition of horror or monstrousness changes continuously according to the evolution of culture and societal norms and as generic themes and modes of horror enter into the broader cultural consciousness. This call for papers seeks articles that explore what contemporary horror deems monstrous, in what ways, and how this presentation has changed over time. We hope to present an interdisciplinary exploration of how the horror genre has influenced aspects of contemporary culture, including its narratives across media forms and beyond media.

Possible topics for exploration include but are not limited to:

  • A close reading of modern (2010 and later) horror novels, films, television series, or games that critically analyze their relationship to modernity
  • The evolution of an archetype: how have depictions of original horror icons (the vampire, the zombie, Frankenstein, etc.) changed over time? How have they been typified, particularly in their more modern iterations?
  • The transition of depictions of horror icons across media – how have depictions of, for example, zombies, changed across media, such as in the Night of the Living Dead film, the Walking Dead comic or TV series, the Last of Us video game?
  • Real-world ‘horror’ (climate themes, pandemic themes)
  • How have modern horror video games tackled their subjects compared to older iterations in the same or similar series?
  • Topics that explore how horror conventions change across media modes
  • The true crime phenomenon – the rise in popularity of true crime media and its influence on the broader cultural consciousness
  • Exploring the aesthetic differences in presentations of horror across different media modes
  • Compare the evolution of horror in different national contexts
  • Address the lineage of horror in relation to its Gothic origins to a contemporary understanding of the genres

We are seeking articles of 5000-7000 words for publication in the next issue of Scaffold: the Journal for the Institute of Comparative Studies of Literature, Art, and Culture, an open-access graduate student journal. Articles will be double-blind, peer-reviewed, and published digitally through OJS. More information can be found here:

Please email proposals of approximately 300-500 words to, including a brief author bio, by April 29th 2024. Accepted authors will be informed by early May, with full articles due for review by August 5th 2024.

For those interested in submitting, here is the information:

If you are interested in contributing as a peer reviewer, please follow this link:


Job: Assistant Professor – Film Studies, Mount Royal University (Applicant Review Begins: 31 March 2024)

Mount Royal University is accepting applications for a full-time tenure track position at the rank of Assistant Professor in the area of Film Studies to commence July 1, 2024, subject to budgetary approval.

New faculty are hired into one of two work patterns. The teaching/scholarship/service pattern (TSS) focuses on teaching with the requirement that the faculty member establish and maintains a research program and is involved in service to the Mount Royal community. The teaching service pattern (TS) has a focus on teaching and service only. The successful candidate for this position will be hired into the teaching/scholarship/service pattern (TSS). There is an option to change work patterns after tenure. The TSS  pattern typically requires faculty members to teach six three-credit three-hour classes per academic year. The average class is approximately 30 students.

Research and service opportunities may include supervision of research assistants or Honours students. The Office of Research, Scholarship and Community Engagement (ORSCE) provides support for research and scholarly activities.


  • Teaching courses in Film Studies;
  • Hosting visiting filmmakers and film scholars;
  • Fostering ties to film communities;
  • Engaging with local, national, and international Film Studies and filmmaking organizations;
  • Collaborating effectively with full-time and contract faculty members on curriculum re-development and educational innovation;
  • Remaining current in areas of teaching responsibility;
  • Contributing to program, university, and community service; and
  • Participating in the General Education program.

A Ph.D. in Film Studies is required, as is an emerging or established body of scholarly work in Film Studies. The following would be considered assets: filmmaking experience, connections to film/digital storytelling communities, or additional areas of expertise relevant to our program.
The successful candidate must possess the ability to teach several undergraduate Film Studies courses currently offered in the Mount Royal University Calendar. There will also be the opportunity to develop new courses in one’s areas of expertise. In addition, any of the following would strengthen a candidate’s application:

  • Successful previous post-secondary teaching experience in courses related to Film Studies;
  • Experience in curriculum development (e.g., creating courses, lectures, learning activities, and assignments); and
  • Demonstrated commitment to enhancing diversity and diversity awareness.

About MRU
Mount Royal University is situated on an ancient and storied land that is steeped in ceremony and history that, until recently, was occupied exclusively by people indigenous to this place. With gratitude and reciprocity, we acknowledge the relationships to the land and all beings, and the songs, stories and teachings of the Siksika Nation, the Piikani Nation, the Kainai Nation, the Îethka Stoney Nakoda Nation (consisting of the Chiniki, Bearspaw and Goodstoney Nations), the people of the Tsuut’ina Nation, and the Métis.

Founded in 1910 and located in Calgary, Alberta, Canada, Mount Royal University grew into a vibrant college in the 1930s and became a mid-sized university in 2009. Over this time Mount Royal University has built a reputation for providing students with a robust liberal education foundation. Mount Royal University’s vision is to provide an exceptional undergraduate educational experience for students. Mount Royal University has also carved out a distinct niche by offering smaller class sizes, exceptional education experiences, and unique undergraduate programs. Currently, more than 15,000 credit students choose from 13 bachelor’s degrees and 38 majors.

A student-focused undergraduate university built on teaching excellence, we are known for our top-calibre programs, high-quality teaching and learning experience, robust delivery of liberal education, scholarly teaching, experiential learning and undergraduate research. Learn more at
We are committed to removing barriers and fostering the inclusion of voices that have been historically underrepresented or discouraged in our society. In support of our belief that diversity in our faculty and staff enriches the work, learning and research experiences for the entire campus community, we strongly encourage members of the designated groups (women, Indigenous Peoples, persons with disabilities, members of visible minorities, and diverse sexual orientation and gender identities) to apply and self-identify.

About the Faculty of Arts
The Department of English, Languages, and Cultures, Faculty of Arts at Mount Royal University invites applications for a tenure track position which will commence July 1, 2024, subject to final budgetary approval, at the Rank of Assistant Professor.
The Faculty of Arts houses the following departments: Economics, Justice and Policy Studies; English, Languages, and Cultures; Humanities; Interior Design; Psychology; General Education;  and Sociology and Anthropology. The Faculty of Arts houses more than 2,000 students seeking degrees in Anthropology, Criminal Justice, English, History, Interior Design, Policy Studies, Psychology, and Sociology, and offers over 30,000 seats in Arts courses each year. In addition, the Faculty of Arts offers 26 minors over a diverse range of disciplines and teaches a large majority of courses associated with General Education foundation courses. Arts faculty have received national and international recognition for their teaching and research, hold Tri-Council grants, publish books, and disseminate research in top-ranked academic journals.

About the Department of English, Languages, and Cultures
Building on its history at Mount Royal and its location in Calgary, the Department of English, Languages, and Cultures is passionately committed to the study of writing as well as of literary and filmic texts. The Department offers a degree program in the Bachelor of Arts (English), with streams for a Major in English as well as the Honours degree. It also offers Minors in Film Studies, Creative Writing, Environmental Humanities, English, Spanish, and French.
The Film Minor currently involves students choosing from 13 dedicated film offerings and a number of options in cognate disciplines. The minor carries strong potential for growth given the overwhelming popularity of film courses on campus. Past graduates have gone on to film schools, graduate degrees in film studies, and jobs where their background in film studies plays a role. Current film instructor initiatives in the Department include exploring collaborations with film schools; connecting students to local filmmaker communities and arts administration opportunities communities; and providing local and national forms of critical reception for the high number of Hollywood and American independent films shot in Alberta.

We value supportive learning, inclusiveness, and equity, with a strong tradition of smaller class sizes, which allow for personalized learning and enhanced student participation. Our award-winning faculty offer a rich variety of both traditional and cutting edge courses, with a strong emphasis on developing the critical and creative writing of our students. We read the text not just to find out what it says, but to see how it works—how it shapes our critical and ethical sensibilities, our awareness of culture and tradition, and our identities as peoples in communities larger than ourselves.

What We Offer
Talented and committed employees are the driving force behind student success. We strive to be an employer of choice among Canadian post-secondary institutions.

At Mount Royal University, we recognize that people are a combination of many intersecting identities; we work to cultivate an environment that welcomes the whole person, and harnesses the strength that is available in our diversity, creating a rich and inclusive workplace.
Investing in the learning and development of our employees benefits the individual and the University. A variety of services, resources and programs encourage a healthy, productive workplace. Mount Royal University offers a competitive total compensation package including health and dental benefits, pension, health and personal spending accounts, paid vacation, winter holiday closure, personal days and a free membership in our fully equipped recreation centre.
Our campus offers the convenience of a full medical clinic, dentist and pharmacy, as well as a variety of wellness services such as physiotherapists and massage therapists. Campus Recreation offers many activities, including personal training, fitness classes, climbing, aquatics, sports and certifications for students, employees and the public.

Apply Here: