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Please note we are continuing to look for qualified contract instructors for two courses in the Fall 2022 academic term.

As a general rule, the minimum qualification is a Ph.D. in the appropriate field, and previous teaching experience in the subject area at the University level. Terms and conditions of employment are set out in the Collective Agreement between Carleton University and CUPE Local 4600, unit 2.

The modality of this course is determined by the University (in-person, online, or hybrid). If public health restrictions allow, the planned mode of delivery for all FILM courses will be in-person. In the event public health authorities impose public health restrictions, part or all of this course may need to be delivered online as required by the University and as directed by public health authorities. 

The courses for which contract instructors are currently being sought are:

Fall 2022 term (September to December)

FILM 3810 [0.5 credit] Sound in Film and Media

FILM 4201 [0.5 credit] Selected Topics in National Cinema

Further information can be found here: FILM 2022-2023 Job Posting

This posting will close by July 8, 2022.

 

CALL FOR PARTICIPANTS:
MEDIA ACCESS & COPYRIGHT WORKING GROUPS 2022-2023

[Version française ci-bas]

BACKGROUND INFORMATION

In 2021, FSAC established a Media Access and Copyright (MAC) Working Group with a mandate to continue, and possibly expand, FSAC’s copyright advocacy work and develop guidelines on best practices related to access and use of media for scholarly purposes.

Over the 2021-22 academic year, the MAC group discussed a variety of opportunities and concerns that require targeted efforts (some of which fall outside the original MAC mandate). The group identified the following three areas of focus that encompass the opportunities and issues raised:

  1. Advocacy: Advocating for changes to the Canadian Copyright Act
  2. Access and Exhibition: Exploring issues and best practices pertaining to accessing and exhibiting media in educational settings
  3. Appropriation/Repurposing: Developing guidelines for videographic work that uses fair dealing and other user’s rights provided in copyright legislation.” (2021-22 MAC Working Group Summary Report, https://bit.ly/macsum, pg. 1)

The MAC group made a motion to FSAC that a dedicated working group be created for each of the above areas of focus, to continue work on the recommendations outlined in their 2021-22 final report. This motion was supported at the 2022 FSAC Annual General Meeting.

For each of these working groups, the FSAC Executive seeks 5-10 members who will include Black, Indigenous, racialized scholars and makers, as well as LGBTQ+, gender, and regionally diverse scholars and makers.

1) COPYRIGHT ADVOCACY (CA)

Mandate: The CA Working Group will focus on collaborative advocacy efforts for changes to the Canadian Copyright Act. Key issues requiring advocacy are outlined in the “Advocacy” section of the 2021-22 MAC Working Group Summary Report (https://bit.ly/macsum).

Duties: We anticipate this group will meet approximately monthly over the 2022-23 academic year to devise advocacy strategies and engage in advocacy work.

2) ACCESS & EXHIBITION (AE)

Mandate: The AE Working Group will focus on developing best practice guidelines related to the access and exhibition of media for scholarly purposes. Key recommendations for the activities of this group are outlined in the “Access and Exhibition” section of the 2021-22 MAC Working Group Summary Report (https://bit.ly/macsum).

Duties: We anticipate the group will meet approximately monthly over the 2022-23 academic year to investigate current and potential practices that facilitate access to, and exhibition of, media for scholarly purposes. The group will also develop related guidelines for use in educational, research and library settings.

3) MEDIA APPROPRIATION & REPURPOSING (MAR)

Mandate: The MAR Working Group will develop a best practices guide on lawful appropriation and repurposing of media in educational and research settings. For details on the recommended activities and focus of this group, please see the “Appropriation/Repurposing” section of the 2021-22 MAC Working Group Summary Report (https://bit.ly/macsum).

Duties: We anticipate the group will meet approximately monthly over the 2022-23 academic year to develop a guide for lawful appropriation and repurposing of media in educational and research contexts.

APPLICATION

Interested volunteers are encouraged to sign up for any of the above working groups no later than July 15, 2022: https://bit.ly/3zYAFzi.

Please indicate in your expression of interest if you would be interested to serve as chair of the working group.

For further information, or to send notification that you have signed up for one or more working groups, please email current MAC Co-chairs Rumi Graham (grahry@uleth.ca) and Aaron Taylor (aaron.taylor2@uleth.ca).

Please note: In July 2022, the full MAC report, including the rationale for its recommendations, will be made available in the Copyright section of the FSAC website: https://www.filmstudies.ca/category/news/copyright

 

 


 
 
 

APPEL À LA PARTICIPATION : GROUPES DE TRAVAIL SUR L’ACCÈS AUX MÉDIAS ET SUR LE DROIT D’AUTEUR 2022-2023

 

INFORMATIONS CONTEXTUELLES

En 2021, l’ACÉC a établi un groupe de travail sur l’Accès aux médias et le droit d’auteur (DAAM) avec comme mandat de poursuivre et peut-être d’élargir le travail de défense des droits d’auteurs de l’ACÉC ainsi que de développer des lignes directrices sur les meilleures pratiques quant à l’accès aux médias et leur utilisation à des fins académiques.

Au cours de l’année universitaire 2021-22, le groupe de travail DAAM a mené des discussions sur une variété d’opportunités et de préoccupations qui requièrent une attention ciblée (dont certaines dépassent le mandat original du DAAM). Le groupe a pu identifier les trois domaines d’intérêt suivants qui regroupent les opportunités et les enjeux soulevés :

  1. La revendication : la revendication de changements à la loi canadienne sur le droit d’auteur.
  2. L’accès et la projection : l’exploration des enjeux et des meilleures pratiques concernant l’accès et la projection de médias dans des contextes pédagogiques.
  3. L’appropriation et la réutilisation des médias : le développement de ligne directrices pour l’utilisation équitable d’œuvres audiovisuelles et autres droits d’utilisateurs prévus par la loi sur la défense du droit d’auteur. (Résumé du rapport de 2021-22 du groupe de travail sur l’accès aux médias et le droit d’auteur (DAAM), https://bit.ly/macsum, page 1).

Le groupe de travail DAAM a présenté une motion à l’ACÉC pour qu’un groupe de travail dédié à chacun des domaines d’intérêt énoncés ci-haut soit formé afin de continuer le travail en lien avec les recommandations de son rapport final de 2021-22. Cette motion fut appuyée à l’assemblée Générale de l’ACÉC en 2022.

Pour chacun de ces groupes de travail, le conseil exécutif de l’ACÉC recherche entre 5 et 10 membres incluant des universitaires et cinéastes/vidéastes noir(e)s, autochtones et racisé(e)s, ainsi que ceux/celles qui sont LGBTQ+ et/ou de genres, de sexes et de provenances régionales diversifiés.

1) LA MODIFICATIONS DES DROITS D’AUTEUR (DA)

Mandat : Le groupe de travail sur le droit d’auteur (DA) se concentrera sur des efforts de revendications collaboratives pour demander des modifications à la loi canadienne sur le droit d’auteur. Les éléments clés qui font l’objet de ces demandes sont décrits dans la
section « Revendications » du rapport final du groupe de travail DAAM complété en 2021-22 (https://bit.ly/macsum).

Tâches : Nous anticipons que ce groupe se rencontrera environ une fois par mois pendant l’année universitaire 2022-23 afin d’élaborer des stratégies de revendication et de les mettre en action.

2) ACCÈS ET PROJECTIONS (AP)

Mandat : Le groupe de travail sur l’accès et les projections des médias (AP) se concentrera sur le développement de lignes directrices quant aux meilleures pratiques concernant l’accès aux médias et leur projection à des fins pédagogiques. Les recommandations clefs concernant les activités de ce groupe sont décrites dans la section « accès et projections » du résumé du rapport 2021-22 du groupe de travail DAAM (https://bit.ly/macsum).

Tâches : Nous anticipons que le groupe de travail se réunira environ une fois par mois pendant l’année universitaire 2022-23 afin d’étudier les pratiques actuelles et potentielles qui facilitent l’accès aux médias et leur projection à des fins académiques. Le groupe développera également des directives reliées à leur utilisation en contextes d’enseignement, de recherche et dans les bibliothèques.

3) APPROPRIATION ET RÉUTILISATION DES MÉDIAS (ARM)

Mandat : Le groupe de travail sur l’appropriation et la réutilisation des médias (ARM) développera un guide sur les meilleures pratiques quant à l’appropriation et la réutilisation légale des médias en milieux pédagogiques et de recherche. Pour plus de détails sur les activités recommandées et le domaine d’intérêt de ce groupe, veuillez consulter la section « appropriation/réutilisation » du résumé du rapport 2021-22 du groupe de travail DAAM (https://bit.ly/macsum).

Tâches : Nous anticipons que ce groupe se réunira environ une fois par mois durant l’année universitaire 2022-23 afin de développer un guide sur les meilleures pratiques quant à l’appropriation et la réutilisation légale des médias en milieux pédagogiques et de recherche.

POUR SOUMETTRE SA CANDIDATURE

Les personnes intéressé(e)s sont encouragé(e)s à se porter volontaire pour travailler au sein des groupes décrits ci-hauts avant le 15 juillet 2022: https://bit.ly/3zYAFzi.

Veuillez indiquer dans votre demande si vous seriez intéressé(e) à servir en tant que président(e) du groupe de travail qui vous intéresse.

Pour plus d’information, ou pour nous informer que vous êtes inscrit(e) dans un ou plusieurs groupe(s) de travail, veuillez s’il vous plaît contacter les co-présidents actuels du DAAM : Rumi Graham (grahry@uleth.ca) et Aaron Taylor (aaron.taylor2@uleth.ca).

Veuillez noter : En juillet 2022, le rapport complet du DAAM, y compris le raisonnement derrière ses recommandations, sera rendu disponible dans la section droits d’auteurs du site web de l’ACÉCM: https://www.filmstudies.ca/category/news/copyright

 

The Dept. of English & Film Studies at Wilfrid Laurier University seeks CTF instructors for the following courses.

 
For more information, including application instructions, click on the title of each course or browse Laurier’s Job Search portal
 
Applications are due June 29. Questions may be directed to the dept. chair, Dr. Russell Kilbourn, at rkilbourn@wlu.ca . 
 

FS102: Film and the Image

Term: Winter (January 1 – April 30, 2023)

Days/Times: Tues./Thurs. 4:00 – 5:20 pm

Anticipated Class Size: 60

Summary: An introduction to the analysis of the film image, with emphasis on the role of visual style (mise-en-scène, editing, cinematography) in relation to cinema’s various historical, cultural, and technological contexts. NOTE: screenings are run outside of class time.

 

FS234: Hollywood Auteurs

Term: Winter (January 1 – April 30, 2023)

Days/Times: Mon./Wed. 2:30 – 3:50 pm

Anticipated Class Size: 55

Summary: A study of the development of the themes and techniques in the work of at least three major film directors whose work is or was produced primarily within Hollywood. Special consideration will be given to directors who have been lauded as auteurs despite working within the collaborative environment of the Hollywood industry. Filmmakers to be studied may include Howard Hawks, John Ford, Alfred Hitchcock, Steven Spielberg, and Kathryn Bigelow. NOTE: screenings are run outside of class time.

 

FS251: Film Comedy

Term: Fall (September 1 – December 31, 2022)

Days/Times: Tues./Thurs. 5:30 – 6:50 pm

Anticipated Class Size: 55

Summary: A study of film comedies and comedy genres in the silent and sound eras, with special attention to American and European cinemas. NOTE: screenings are run outside of class time.

 

FS309L: Film and Digital Technology

Term: Fall (September 1 – December 31, 2022)

Days/Times:  Mon./Wed. 8:30 – 9:50 am

Anticipated Class Size: 50

Summary: A survey of the use of digital technologies in the production, distribution, and exhibition of global cinemas. Topics may include digital cinematography, special effects, and streaming platforms. NOTE: screenings are run outside of class time.

 

WORK & PLAY

 

2022 Literature/Film Association Conference   

New Orleans, Louisiana, USA  

October 20 to October 22, 2022  

Keynote: Vicki Mayer, Tulane University  

 

We are excited to return to in-person conferencing this fall with an examination of work and play, broadly conceived. Holding the annual conference of the Literature/Film Association in New Orleans raises questions of labor and leisure in relation to adaptation in the study of literature, film, and media. Not only has the city served as the home to writers and filmmakers, but it also has become a major media capital in its own right, enticing television and film production with tax incentives and its distinctive culture. As “work” and “play” have motivated a good deal of recent scholarship across literature, film, and media studies, we invite presentations that put these concerns in conversation with adaptation, broadly defined. While we welcome papers on any aspect of film and media studies, we are especially interested in presentations that address one or more of the following concerns regarding work or play:  

 

  • the work behind adapting into a different medium  
  • labor and cultural production  
  • authorship and adaptation  
  • the workplace as cultural intersection/metaphor in literature, film, and media  
  • production studies and below-the-line labor  
  • play in cultural production  
  • teaching adaptation and adapting teaching  
  • labor, social change, and adaptation  
  • adaptation as textual play  
  • gameplay as adaptation  
  • games as adaptations or adapting games  
  • play in analyzing and interpreting text  
  • plays as adaptations or adapting plays into a different medium  
  • performance as adaptation  

 

We also have significant interest in general studies of American and international cinema, film and technology, television, new media, and other cultural or political issues connected to the moving image. In addition to academic papers, presentation proposals about pedagogy or from creative writers, artists, and filmmakers are also welcome.  

Vicki Mayer is Professor of Communication at Tulane University. Her research encompasses media and communication industries, their political economies, infrastructures, and their organizational work cultures. Her publications seek to theorize and illustrate how these industries shape workers and how media and communication work shapes workers and citizens. Her theories inform her work in the digital humanities and pedagogy, most recently on ViaNolaVie and NewOrleansHistorical. Her books include Producing Dreams, Consuming Youth: Mexican Americans and Mass Media; Below the Line: Producers and Production Studies in the New Television Economy; and Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy.  

Please submit your proposal via this Google Form by July 1, 2022. You will receive a confirmation email within 48 hours. If you have any questions or concerns, contact Pete Kunze atlitfilmconference@gmail.com. Accepted presenters will be notified by August 1, and the conference program will be available by August 15 to enable travel planning. We also anticipate a professionalization pre-conference event.

The conference hotel rate of $199/night is available at the Four Points Sheraton French Quarter. The conference registration fee is $200 ($150 for students and retirees) before October 1, 2022 and $225 ($175 for students and retirees) thereafter. All conference attendees must also be current members of the Literature/Film Association. Annual dues are $20. To register for the conference and pay dues following acceptance of your proposal, select your registration and click on the PayPal “Buy Now” button below that will take you to where you can sign in to your PayPal account and complete the transaction.  

Presenters will be invited to submit their work to the Literature/Film Quarterly for potential publication. For details on the journal’s submission requirements, visit here.  

 

The Institute of Theater, Film and Media Studies of the Goethe University Frankfurt am Main offers at the Research Training Group “Configurations of Film” a position as a Post-Doc position (E13 TV-G-U) in the time frame: September 1 st, 2022 – June 30th , 2026.

The salary grade is based on the job characteristics of the collective agreement applicable to Goethe University (TV-G-U).

The Research Training Group “Configurations of Film” funded by the German Research Foundation studies the current transformations of media culture with a focus on moving images in the areas of its usages, its formations and its locations. The program combines historical with theoretical perspectives and analyzes a wide variety of different configurations of films outside and beyond the classical dispositif of cinema.

The Post-Doc scholars will pursue their own research related to the program’s research areas. They will oversee working groups with the Ph.D. candidates and will be involved in the planning and realization of the group’s study program. The work in the Research Training Group necessitates a residency in Frankfurt.

Applicants should hold a Ph.D. in film studies or media studies or in a related field. Excellent written and spoken command of English is required. Applicants whose first language is not German must demonstrate proficiency in German; operating languages are English as well as German.

Applications should include a letter of motivation, CV, copies of degrees and diplomas, a two- to three-pages abstract of the current research project, and a bibliography. The abstract should identify the relation of the project to the research areas of the program. It should also include information about the current status of the project and a time frame.

International scholars are strongly encouraged to apply.

We are committed to promoting the careers of underrepresented applicants. Women, individuals with disabilities, as well as applicants of underrepresented sexual orientations, socioeconomic classes and minority groups are especially encouraged to apply.

Applications should be submitted electronically (in PDF form) to applications-configurations@tfm.uni-frankfurt.de by July 7th, 2022. Applications should be addressed to the director of the program, Prof. Dr. Vinzenz Hediger, Institut für Theater-, Film- und Medienwissenschaft, Norbert-Wollheim-Platz 1, 60323 Frankfurt a. M.

For more information on the program: www.configurations-of-film.org

 

WORK & PLAY

 

2022 Literature/Film Association Conference   

New Orleans, Louisiana, USA  

October 20 to October 22, 2022  

Keynote: Vicki Mayer, Tulane University  

 

We are excited to return to in-person conferencing this fall with an examination of work and play, broadly conceived. Holding the annual conference of the Literature/Film Association in New Orleans raises questions of labor and leisure in relation to adaptation in the study of literature, film, and media. Not only has the city served as the home to writers and filmmakers, but it also has become a major media capital in its own right, enticing television and film production with tax incentives and its distinctive culture. As “work” and “play” have motivated a good deal of recent scholarship across literature, film, and media studies, we invite presentations that put these concerns in conversation with adaptation, broadly defined. While we welcome papers on any aspect of film and media studies, we are especially interested in presentations that address one or more of the following concerns regarding work or play:  

 

  • the work behind adapting into a different medium  
  • labor and cultural production  
  • authorship and adaptation  
  • the workplace as cultural intersection/metaphor in literature, film, and media  
  • production studies and below-the-line labor  
  • play in cultural production  
  • teaching adaptation and adapting teaching  
  • labor, social change, and adaptation  
  • adaptation as textual play  
  • gameplay as adaptation  
  • games as adaptations or adapting games  
  • play in analyzing and interpreting text  
  • plays as adaptations or adapting plays into a different medium  
  • performance as adaptation  

 

We also have significant interest in general studies of American and international cinema, film and technology, television, new media, and other cultural or political issues connected to the moving image. In addition to academic papers, presentation proposals about pedagogy or from creative writers, artists, and filmmakers are also welcome.  

Vicki Mayer is Professor of Communication at Tulane University. Her research encompasses media and communication industries, their political economies, infrastructures, and their organizational work cultures. Her publications seek to theorize and illustrate how these industries shape workers and how media and communication work shapes workers and citizens. Her theories inform her work in the digital humanities and pedagogy, most recently on ViaNolaVie and NewOrleansHistorical. Her books include Producing Dreams, Consuming Youth: Mexican Americans and Mass Media; Below the Line: Producers and Production Studies in the New Television Economy; and Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy.  

Please submit your proposal via this Google Form by July 1, 2022. You will receive a confirmation email within 48 hours. If you have any questions or concerns, contact Pete Kunze atlitfilmconference@gmail.com. Accepted presenters will be notified by August 1, and the conference program will be available by August 15 to enable travel planning. We also anticipate a professionalization pre-conference event.

 

The conference hotel rate of $199/night is available at the Four Points Sheraton French Quarter. The conference registration fee is $200 ($150 for students and retirees) before October 1, 2022 and $225 ($175 for students and retirees) thereafter. All conference attendees must also be current members of the Literature/Film Association. Annual dues are $20. To register for the conference and pay dues following acceptance of your proposal, select your registration and click on the PayPal “Buy Now” button below that will take you to where you can sign in to your PayPal account and complete the transaction.  

 

Presenters will be invited to submit their work to the Literature/Film Quarterly for potential publication. For details on the journal’s submission requirements, visit here.  

 
Call for Graduate Student Applicants: Media Aesthetics IV
 
2022 Summer Institute in Rhetoric and Public Culture 
Northwestern University, Evanston, IL 60208 
In Person 
July 18–22, 2022 
 
The deadline for applications is Thursday June 9, 2022 
 

Media Aesthetics IV:  

The annual Rhetoric and Public Culture Summer Institute at Northwestern University is scheduled to be held on July 18-22, 2021 (with arrival July 17 and departure July 23).  
 
Institute conveners are Dilip Gaonkar (Rhetoric and Public Culture, Northwestern University) and James J. Hodge (English, Northwestern University). 
 
This year’s theme is Media Aesthetics.      
                                 
What does it mean to study and to theorize media today? What does it mean to study aesthetic texts and experience in a global media ecology no longer dominated by the long-standing paradigmatic forms of the disciplines of art history, literary studies, and cinema studies (painting, the novel, film) but rather by a panoply of multimedia forms (video games, digital art, social media, sound media)? What are the key sites of inquiry and the best theoretical resources for thinking through the saturation of contemporary life, politics and culture by media technologies? The challenges facing critical investigations into these questions are legion and daunting: from climate change and intense social inequities to divisive politics and more. Keeping these larger contexts and issues in mind, the summer institute will host a week of lecture and discussion on the topic of “media aesthetics.” In choosing “media aesthetics,” we affirm that big questions may be addressed at the levels of individual and collective experience and, moreover, as questions of mediation specific to a vast and uneven field of aesthetic forms circulating in global networks. Further, this seminar affirms the role of artworks and aesthetic experience more broadly as key sites of encounter. For the past several decades if not since at least the 1960s aesthetic production in its institutional manifestations has become more varied, less medium specific, and perhaps more fruitfully approached in a comparative manner. One key development here concerns the increasing and uneven ways in which the boundaries between more institutionally-sanctioned forms of aesthetic production and more ordinary vernaculars of experience have come to be understood as permeable and newly articulated and entangled. Taking aesthetics in its Greek sense of aisthesis (perception or feeling), we affirm the significance of methodologies and approaches such as affect theory, queer theory, phenomenology, Black studies, and psychoanalysis over and above approaches valorizing technology as such. Taking note of many local interventions in theoretical approaches to media studies, however, the summer institute asks what affinities and commonalities these often-disconnected discourses share.  
 

Institute Format and Application Process 

The institute will consist of five days of presentations and discussions led by visiting scholars and Northwestern faculty. This year’s visiting scholars include: Ramon Amaro (University College London), Bishnu Ghosh (University of California, Santa Barbara), Jean Ma (Stanford University), Bhaskar Sarkar (University of California, Santa Barbara), and Aarthi Vadde (Duke University). 
 
The institute is sponsored by the Center for Global Culture and Communication (CGCC), an interdisciplinary initiative of Northwestern University’s School of Communication. The CGCC will subsidize transportation (up to $250), lodging (double-occupancy), and some meals (breakfast and lunch every day and two group dinners) for admitted students. 
 
Applicants should send a brief letter of nomination from their academic advisor, along with a one-page statement explaining their interest in participating in this year’s institute, to the summer institute coordinator Vidura Bahadur (ViduraBahadur2023@u.northwestern.edu)We will adopt a policy of rolling admissions. Priority will therefore be granted to strong applications that are submitted in a timely fashion, preferably by June 9, 2022. All inquiries should be directed to Vidura Bahadur. 
 
 
Faculty Bios: 
 

Ramon Amaro is Lecturer in Art and Visual Cultures of the Global South at University College London. His writing, research and practice emerge at the intersections of Black Study, psychopathology, digital culture, and the critique of computational reason. He draws on Frantz Fanon’s theory of sociogenic alienation to problematise the de-localisation of the Black psyché in contemporary computational systems, such as machine learning and artificial intelligence. Ramon’s research pulls away from notions of psychic negation, as set forth by the Fanonian model of representation, to investigate alternative modes of relation between race and technology. His ultimate aim is to develop new methodologies for the study of race and digital culture. Ramon is the author of The Black Technical Object: On Machine Learning and the Aspiration of Black Being (Sternberg/MIT Press, 2022). He is a founding member of the Queer Computing Consortium (QCC), which investigates the “languages” of computation in its role in shaping locally embedded community practices. 

Bishnupriya Ghosh is Professor of English and Global Studies at the University of California, Santa Barbara. She teaches environmental media and global postcolonial studies. Much of her early scholarly work interrogated the relations between the global and the postcolonial; area studies and transnational cultural studies; popular, mass, and elite cultures. While publishing essays on literary, cinematic, and visual culture in several collections and journals such asboundary 2, Journal of Postcolonial Studies, Public Culture and Screen, in her first two books, Ghosh focused on contemporary elite and popular cultures of globalization: When Borne Across: Literary Cosmopolitics in the Contemporary Indian Novel (Rutgers UP, 2004)  and Global Icons: Apertures to the Popular (Duke UP, 2011). In the last decade, Ghosh turned to risk distributions and their relationship to media. She has written several essays on the subject and has co-edited collection (with Bhaskar Sarkar), The Routledge Companion to Media and Risk (2020). She is working now on a monograph entitled The Virus Touch: Theorizing Epidemic Media, which considers how mediatic processes detect and compose epidemics as crises events.  
 
Jean Ma is Professor in the Department of Art and Art History and the Denning Family Director of the Stanford Arts Institute at Stanford University. She has published books on the temporal poetics of Chinese cinema (Melancholy Drift: Marking Time in Chinese Cinema), singing women on film (Sounding the Modern Woman: The Songstress in Chinese Cinema), and the relationship of cinema and photography (Still Moving: Between Cinema and Photography). She is the coeditor of “Music, Sound, and Media,” a book series at the University of California Press. Her writing has appeared in Camera Obscura, Criticism, Film Quarterly, Grey Room, Journal of Chinese Cinemas, and October. Her forthcoming book At the Edges of Sleep: Moving Images and Somnolent Spectators was the recipient of an Andy Warhol Foundation Arts Writer Book Grant.  
 
Bhaskar Sarkar is Professor of Film and Media Studies at the University of California, Santa Barbara. He is the author of Mourning the Nation: Indian Cinema in the Wake of Partition (Duke University Press, 2009). He has coedited the collections Documentary Testimonies: Global Archives of Suffering (Routledge, 2009), Asian Video Cultures: In the Penumbra of the Global(Duke University Press, 2017), and The Routledge Handbook of Media and Risk (Routledge, 2020). He has also coedited two journal special issues: Postcolonial Studies (2005), on “The Subaltern and the Popular”; and BioScope: South Asian Screen Studies (2012), on “Indian Documentary Studies.” At present, he is completing a monograph titled “Cosmoplastics: Bollywood’s Global Gesture.” He has also begun work on two additional monographs: one about piratical practices in the Global South, and another on queer underground club cultures in millennial Los Angeles. 
 
Aarthi Vadde is Associate Professor of English at Duke University. She works in the field of 20th-21st century Anglophone literature. She looks at how literary history interfaces with theories of internationalism, the history of computation, and media studies more generally. Her book Chimeras of Form: Modernist Internationalism beyond Europe, 1914-2016 was published by Columbia UP in 2016 and won the ACLA’s 2018 Harry Levin Prize for outstanding first book in the field of comparative literature. Her book in progress is called “We the Platform: Contemporary Literature after Web 2.0.” In it, she considers how technical and rhetorical shifts in the formulation of the World Wide Web (from network to platform) are shaping contemporary literary culture and popular literacy practices. In addition to her monograph projects, Vadde is co-editor of a volume on the history of literary criticism entitled The Critic as Amateur (Bloomsbury Academic 2019), an open-access cluster of essays entitled Web 2.0 and Literary Criticism (Post45), and the Palgrave Handbook of 20th and 21st Century Literature and Science.  She is the co-host of Novel Dialogue, a podcast about how novels are made and what to make of them. Scholarly articles have appeared in Comparative Literature, Modernism/Modernity, New Literary History, NOVEL, and PMLA amongst others. 
 
The Screen Cultures Graduate Student Association of Northwestern University invites our fellow graduate scholars to submit abstracts for this year’s Backward Glances conference with the theme of “Saturation,” which will be held in person, September 30-October 1. Our keynote speakers will be Professors Anna Kornbluh and Cáel Keegan. 
 
Proposals of no more than 300 words are due by June 15th. Please see our complete CFP below for more details.
 
———————————————————————————————
 
 
Backward Glances 2022: Saturation
The Screen Cultures Graduate Student Conference 
Department of Radio/Television/Film, Northwestern University
September 30th-October 1st, 2022, in person
Keynote Speakers: Professors Anna Kornbluh (University of Illinois Chicago) and Cáel Keegan (Grand Valley State University)
Submission Deadline: June 15, 2022
 
Backward Glances, Northwestern University’s biennial graduate student media and historiography conference, returns in 2022 to engage the concept of Saturation. Broadly defined as a particularly intense mediated experience or an inability to absorb additional material, saturation operates as a way of thinking about the excesses of representation in, and our encounters with, media both past and present. 
 
From the 24/7 news cycle, to Zoom, to Peak TV, to TikTok, we live in an age of total media saturation. Drawing on this sense of ‘media overload,’ this year’s conference  invokes saturation as a heuristic for theorizing and historicizing media past and present. How, for example, does the concept of saturation differently operate on aesthetic, narrative, and industrial levels? What does it mean when “no more can be added”? How does saturation as a property of the image “color” our encounters with media? And how might saturation help us understand  historical shifts in screen media cultures?
 
We invite inventive explorations of media that embrace both the qualitative and quantitative ambiguities at work in the concept of saturation. Presentations may engage the theme of saturation broadly construed, including topics such as, but certainly not limited to:
  • Opulence
  • Excess
  • Serialities
  • Performance
  • Framing and containment
  • Immersive media
  • Intensities of image
  • Ecologies
  • Realism
  • Late capitalism
  • Color technologies & race
  • Phenomenology
  • Sensory experience
 
We invite scholarship from across disciplines and methodologies, backward-, forward-, and present-facing. For consideration, please submit a document that includes paper title and a 300-word abstract to backwardglancesconference@gmail.com by June 15, 2022. In the body of the submission email, please include a 100-word bio including your name and institutional affiliation. Please send your abstract as an email attachment in .doc, .docx, or .pdf format and do not include any identifying information in the file containing your abstract. Participants will be notified by early July.
 
Anna Kornbluh, University of Illinois Chicago
Anna Kornbluh’s research and teaching interests center on Victorian literature and Critical Theory, with a special emphasis in formalism, Marxism, psychoanalysis, and theory of the novel.  She is the author of The Order of Forms: Realism, Formalism, and Social Space (University of Chicago 2019),  Marxist Film Theory and Fight Club (Bloomsbury “Film Theory in Practice” series, 2019), and Realizing Capital: Financial and Psychic Economies in Victorian Form (Fordham UP 2014).  Her current research concerns impersonality, objectivity, mediation, and abstraction as residual faculties of the literary in privatized urgent times.  She is the founding facilitator of two scholarly cooperatives: V21 Collective and InterCcECT.
 
Cáel Keegan, Grand Valley State University
Dr. Keegan is a cultural theorist of transgender/queer media and literature. He is primarily interested in the aesthetic forms transgender and queer people have created and how those forms shape our popular lifeworlds. He is the elected Secretary of the Queer Caucus of the Society for Cinema and Media Studies and has appeared on Michigan Radio and in the Vice Guide to Cinema’s episode on “New Trans Cinema.” Dr. Keegan teaches courses in queer, transgender, and feminist theories, popular and visual cultures, American studies, and LGBTQ cultures/identities/histories.
 
NOS-HS Workshop: “Cinema as space of encounters before, during and after WWII”

29-30 Sep. 2022, Kristiansand, Norway

For many people in the 20th century, going to the movies was not just a leisure activity, but a necessity. As embodiment of democratic mass culture, movie theatres offered information and entertainment to everybody, regardless of age, gender, class, ethnic or religious background, even though the cinema-going practices were socially distinct and fragmented. People went to the movies for multiple reasons: to be entertained, to learn what was going on in the world and in the community, to find consolation, reassurance, or encouragement, to connect socially or find privacy in the dark, to be noticed or to disappear in the crowd. 

The workshop “Cinema as space of encounters before, during and after WWII” is the first in the workshop series “Cinema, War and Citizenship at the Northern Periphery: Cinemas and their audiences in the Nordic countries, 1935–1950”. It asks how the Second World War altered the cinema-going experiences and the social functions of the movie theatre. The Nordic countries were affected very differently by the war. While Denmark and Norway were occupied by Nazi Germany, Iceland was first occupied by British and then by US forces. Finland fought alongside Nazi Germany and then against it, while Sweden remained officially neutral, but experienced a large influx of refugees from neighbouring countries. The movie theatre became a battleground between different factions of society. At the same time, the movie theatres became a space of cultural encounters with the enemy or the ally, both on screen and in the auditorium.

How did the war and occupation alter the cinema-going experiences and habits? How did it change the cinema landscape and social functions of cinema? Did the audience practices and cinemas revert to prewar conditions, or did the end of the war mark a rupture with the past and a transition to something new? What role did cinema play in the construction of the Nordic post-war societies which had experienced the war very differently? These are some of the questions we seek to address in the first workshop.

Workshop theme

In the workshop we want to discuss how different social groups and individuals experienced and used the cinema especially in the Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden) before, during and after WWII (1935-50). The focus is on the audiences and the cinema as space. Neglected aspects, such as rural cinema audiences, or the operation of mobile cinemas, are of particular interest.

Potential topics for presentations (but not limited to):

  • Cinema as social space of cultural encounters and conflicts
  • Local cinema-going habits before, during and after the war – breaks and continuities
  • Experiences and memories of cinema-going
  • Social composition of audiences
  • The cinema as physical site and its links to other venues
  • Developments of the cinema landscape
  • The operation and use of mobile cinemas
  • Methodology and the use of sources – problems and possibilities

The workshop is funded by the Nordic Research Councils in the Humanities and Social Sciences (NOS-HS) exploratory workshop grant. Its goal is to establish a transdisciplinary network of scholars and non-academic experts (e.g., archivists, librarians, museum educators, etc.) to foster and strengthen research on cinema history in the North. We encourage specifically early-career scholars and postgraduate students to apply. Our aim is to publish a selection of papers in a themed issue of Journal of Scandinavian CinemaHistorical Journal of Radio, Film and Television or Kosmorama.

 

Confirmed keynotes:

Prof. Daniela Treveri Gennari (Oxford Brookes University)

Dr. Mona Pedersen (Anno Museum Kongsvinger, Norway)

Dr. Jessica Whitehead (University of Toronto)

 

Application:

Please submit an abstract of up to 300 words, a short CV and list of publications to maria.fritsche@ntnu.no by 22 May 2022.

The number of participants will be limited to approx. 20 persons to allow for fruitful discussion and exchange. Accommodation in Kristiansand and meals will be provided, travel costs (economy flights and/or public transport) will be reimbursed. For any queries regarding a potential topic or the workshop, please contact Prof. Maria Fritsche (maria.fritsche@ntnu.no).

 

Deadline for abstract: 22 May 2022.

Letters of acceptance17 June 2022

Workshop date: 29–30 September 2022

 Venue: ARKIVET Peace and Human Rights Center, Vesterveien 4, 4616 Kristiansand, Norway

 

 

 

Archive/Counter-Archive and Public Journal are pleased to announce a competition for a one-year MITACs Accelerate Postdoctoral Fellowship position hosted by York University and Public Access Journal of interdisciplinary art.

Archive/Counter-Archive: Activating Canada’s Moving Images Heritage is a six-year SSHRC Partnership Grant dedicated to researching and remediating audiovisual archives created by women, Indigenous Peoples, the LGBTQ2+ community and immigrant communities. Political, resistant, and community-based, counter-archives disrupt conventional narratives and enrich our histories. The project’s research is committed to finding solutions for safekeeping Canada’s audiovisual heritage. We seek to research and remediate audiovisual heritage that is most vulnerable to disappearance and inaccessibility, fostering a community and network dedicated to creating best practices and cultural policies.

PUBLIC is an interdisciplinary journal with a core focus on visual art. It strives to be an accessible, smart and beautiful journal about art with the timeliness and visual interest of a magazine, but the longevity of a book. PUBLIC maintains an enduring and esteemed profile in the periodicals market with its demonstrated commitment to publishing works, both written and visual, that are innovative and challenging, forward-thinking and critical, and engage both internationally and locally inflected perspectives. The journal devotes each 180+ – page, perfect-bound semi-color issue to a contemporary problem or theme and features content that combines critical writing, rich illustration throughout, and artist portfolios. PUBLIC stands apart from other publications by being conceived as a hybrid intellectual and creative forum that investigates how theoretical and critical issues intersect with art and public culture.

 

MITACs is a national, not-for-profit organization that builds partnerships between academia and industry. MITACs Postdoctoral Fellowships bring academic expertise into a partner organization, working on a specific project related to your area of research.

 

About the Research

The successful candidate is expected to focus on research into emerging hybrid media publication platforms that integrate print and online media in creative, engaging and critical ways.  A focus on Knowledge Mobilization for Archive/Counter-Archive’s case studies, working group outputs and artist residencies will be the primary means for testing content through diverse social media platforms and interfaces. Research outcomes will directly inform the future publishing practices of Public as the journal evolves with online readership and engagement.

We invite applications from, in particular, interdisciplinary scholars who have earned a doctorate in communications, media studies, archival or information studies, digital media, or art history, and have expertise in such fields such as creative publishing, online outreach/engagement, communications, and digital media design. The position requires that the candidate has strong skills and experience in research creation, knowledge translation, community arts engagement, and familiarity with social media, video hosting and marketing platforms. An understanding of open-source web content management systems is an asset. Required soft skills include outstanding writing and communication skills, a strong collaborative working style, good time management, and adaptability.

This postdoc position will include opportunities to produce publications, participate in conference presentations and directly contribute to content design for Archive/Counter-Archive’s hybrid publications. It is expected that the candidate will divide their time between York University and Public, also housed at York University’s campus.

Funding

The MITACs Postdoc will receive an annual salary of $45,000.00 office space at York University, use of a computer and full access to York University Libraries. They will be supervised by Professor Michael Zryd in the Department of Cinema and Media Arts and will work closely with Public’s Editorial Board.

Duration: One year, with a possible 1-year renewal.

Candidates must have defended their dissertation by May 1st 2022.  (This is a firm deadline)

Applications are due Monday May 13, 2021 at 5:00PM EST.

The position will begin in June  2022.

How to apply

Applicants should forward a cover letter, a brief research statement (maximum 1 page), curriculum vitae, as well as the names of three academic references in one PDF document to Dr. Antoine Damiens, Archive/Counter-Archive Project Manager at adamiens@yorku.ca

All correspondence should be addressed to:

Professor Janine Marchessault

c/o Dr. Antoine Damiens,  Project Manager

SSHRC Partnership Grant, Archive/Counter-Archive

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