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CFP: The Neutral Graduate Journal – “INHERITANCE”
*DEADLINE EXTENDED*
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: www.theneutraljournal.com
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 theneutralcinemajournal@gmail.com with the subject line “Inheritance Submission” and with your name and affiliation included in the body of the email by July 19, 2024.
JOB POSTING: LECTURER/ASSISTANT PROFESSOR IN CINEMA AND MEDIA STUDIES (50%, LIMITED TERM), DALHOUSIE UNIVERSITY
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 https://www.dal.ca/dept/hr/employment_equity/fair-hiring-practices.html.
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:
https://dal.peopleadmin.ca/postings/16275
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 book.reviews@synoptique.ca 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 book.reviews@synoptique.ca.
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
Co-Editors-in-Chief
Synoptique: An Online Journal of Film and Moving Image Studies
www.synoptique.ca
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
https://jobs.utoronto.ca/job/Toronto-Assistant-Professor%2C-Teaching-Stream-CLTA-Printing-History%2C-Culture-and-Practice-ON/579457717/
Assistant Professor, Research Stream (CLTA) in Media History
https://jobs.utoronto.ca/job/Toronto-Assistant-Professor-Contractually-Limited-Term-Appointment-Media-History-ON/579457817/
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: https://ojs.library.carleton.ca/index.php/J-ICSLAC/index
Please email proposals of approximately 300-500 words to scaffoldjournal@gmail.com, 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: https://ojs.library.carleton.ca/index.php/J-ICSLAC/announcement/view/57
If you are interested in contributing as a peer reviewer, please follow this link: https://ojs.library.carleton.ca/index.php/J-ICSLAC/announcement/view/48
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.
Responsibilities
- 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.
Qualifications
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 mru.ca/AcademicPlan.
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: https://mtroyalca.hua.hrsmart.com/hr/ats/Posting/view/2650
Tenure Track Position in Fiction and Documentary Directing and Editing
Toronto Metropolitan University – School of Image Arts
Located in downtown Toronto, the largest and most culturally diverse city in Canada and on the territory of the Anishinaabeg, Haudenosaunee and the Wendat Peoples, the School of Image Arts in the Creative School at Toronto Metropolitan University (formerly Ryerson University) invites applications for a tenure track position at the rank of Assistant Professor, subject to final budgetary approval. The normal start date for this position is July 1, 2024. Candidates who need to be considered for a later start date may also be considered.
The successful candidate will engage in a combination of teaching, scholarly research or creative activity and service duties while maintaining an inclusive, equitable, and collegial work environment across all activities.
The School of Image Arts is seeking an experienced content creator and storyteller in film with proven expertise in directing and editing in both fiction and documentary. The role is ideal for candidates actively engaged in the film industry, committed to sharing their knowledge with next generation filmmakers and mentoring beyond the classroom to assist students in entering the Canadian film industry.
Due to the interdisciplinary nature of the School of Image Arts’ curriculum, the successful candidate will teach in both the School of Image Arts and the RTA School of Media. The position also includes curriculum development across undergraduate and graduate programs. The successful candidate will pursue a strong, innovative research program or creative activity that is externally funded and that produces cutting-edge, high-quality results.
The successful candidate will hold a Master’s degree (MFA, or equivalent) in a related field with relevant professional experience and will have experience working with students from diverse backgrounds and a demonstrated commitment to experiential learning. In addition, the successful candidate must present evidence of the following:
- extensive experience directing and editing fiction and documentary film, television, streaming, and/or emerging media;
- significant professional experience and background in story development for documentary and narrative scripted productions;
- leadership experience in film production or in related organizations and institutions;
- professional experience in editing and post production management and industry standard workflows;
- deep connections with the Canadian and international film industries, with a record of active engagement with the film industry and professional organizations;
- strong emerging scholarly research and/or creative activity that is current, innovative and impactful as evidenced by, but not limited to, peer-reviewed publications, presentations at academic conferences, community and professional work, grants, research related awards and creative production that contributes to the visibility and prominence of the discipline;
- an ability to serve as a mentor and professional liaison for students;
- evidence of high-quality teaching, demonstrated ability to teach a range of core film editing and production courses as well as courses related to the production of documentary and fiction narrative student films;
- commitment to our values of equity, diversity, and inclusion as it pertains to service, teaching, and scholarly research or creative activities, including a demonstrated ability to make learning accessible and inclusive for a diverse student population; and
- an ability and willingness to contribute to collegial service, leadership and a desire to help shape the future direction of the School.
This position falls under the jurisdiction of the Toronto Metropolitan Faculty Association (TFA) [www.tfanet.ca]. Visit us at www.torontomu.ca/faculty-affairs to view the TFA collective agreement and a summary of TFA benefits.
School of Image Arts
The School of Image Arts offers undergraduate and graduate (Master’s) programs to students of diverse backgrounds. The School’s professionally-focused undergraduate curriculum supports programs in Photography and Film and it is recognized as a national and international centre for creative innovation in the study, production, exhibition, and research of film, photography and digital arts. Its innovative graduate programs include the MFA in Documentary Media, the MA in Film + Photographic Preservation and Collections Management and an interdisciplinary program in Scriptwriting and Story Design (MFA).
The School of Image Arts is committed to the principles of equity, diversity and inclusion, and to the development of an increasingly diversified faculty. The School strongly encourages applications from candidates who self-identify as Black, racialized (also referred to as visible or racial minorities), First Nations, Métis and Inuit Peoples and Indigenous Peoples of North America, persons with disabilities, and those who identify as women and/or 2SLGBTQ+. Further, all candidates are encouraged to provide details of how their lived experiences inform their work.
Working at TMU
At the intersection of mind and action, Toronto Metropolitan University is on a transformative path to become Canada’s leading comprehensive innovation university. At TMU, we believe that equity, diversity and inclusion are integral to this path; our current Academic Plan outlines each as core values and we work to embed them in all that we do.
We invite you to explore the range of benefits and supports available to faculty, including access to our diverse faculty and staff networks.
How to Apply and Deadline
A full description of the position is available on the Faculty Recruitment Portal.
Applicants must submit their application online through the portal by clicking on “Start Application Process” to begin. Applications, consisting of the following, must be received by March 29, 2024. The position will remain open until filled:
- a letter of application;
- a curriculum vitae;
- a statement of research interests;
- a teaching dossier and results of teaching evaluations; and
- names and contact information of three individuals who may be contacted for references.
- a one-page statement on past, current and/or planned contributions to equity, diversity and inclusion (EDI) such as, but not limited to: research/ teaching that incorporates a focus on underrepresented groups; inclusive pedagogies; public engagement activities that reach out to marginalized communities; mentoring students from underrepresented groups.
Please note that all qualified candidates are encouraged to apply; however, applications from Canadians and permanent residents will be given priority, in accordance with Canadian immigration regulations.
Contacts
Any confidential inquiries about the opportunity can be directed to Blake Fitzpatrick, the Department Hiring Committee Chair at: bfitzpatrick@torontomu.ca.
Assistant Professor (Tenure-Track) – Film Production
The Faculty of Media, Art, & Performance at the University of Regina invites applications for a tenure-track position at the rank of Assistant Professor in Film Production (Department of Film) commencing July 1, 2024.
Applicants must hold an MFA in Film/Media Production, possess university or college teaching experience in film production, and have an active creative research practice with expertise in dramatic filmmaking and animation. The successful candidate will teach various undergraduate and graduate courses in any combination of dramatic film, animation, darkroom photography, audio production, and screenwriting. Service to the Department, as well as to Faculty and university-wide committees, is also expected.
The University of Regina is located in the heart of a vibrant and increasingly diverse, mid-sized city in the centre of the beautiful Canadian prairies on Treaty 4 Territory with a presence in Treaty 6, the territories of the Nêhiyawak, Anihšināpēk, Dakota, Lakota, and Nakoda peoples, and the traditional homeland of the Métis/Michif Nation.
The Department of Film at the University of Regina is the only university between Western Ontario and Vancouver to offer a BFA in Film Production. We also offer MFA and MA programs and BA and BA Honours degrees in Film Studies. The Department of Film is dedicated to teaching film in an interdisciplinary environment within the Faculty of Media, Art, and Performance.
The University has a student population 16,000+ and is home to 10 faculties, including many academic departments and program areas. These units have established national and international reputations for excellence and innovative programs leading to bachelor’s, master’s, and doctoral degrees. The University has three federated colleges: First Nations University of Canada, Campion College, and Luther College. Our colleges bring further excellence and diversity to the educational experiences we offer.
With a faculty complement of 35 full-time professors, including some of the most celebrated contemporary artists in the country, the Faculty of Media, Art, and Performance enjoys a long-standing reputation as one of Western Canada’s foremost environments for artistic research at the undergraduate and graduate levels. Emphasizing the importance of studio production and theory, we offer BA, BFA, BMus, MMus, MA, MFA, and an Interdisciplinary Studies PhD in Media and Artistic Practices. MAP has numerous international partnership universities, with many innovative mobility initiatives for faculty and students in Mexico City and the UK, among other locations. MAP is now home to a new Canada Research Chair in Socially Engaged Theatre (Tier II) and the SaskPower Chair in Cultural Heritage.
Please apply for this position at: https://urcareers.uregina.ca/postings/14851
The deadline for all application documents is March 21, 2024
Further information about the Department of Film and Faculty of Media, Art, and Performance can be found at http://www.uregina.ca/mediaartperformance
All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. We value diversity in the workplace.
CALL FOR PAPERS
SYNOPTIQUE ISSUE 11.1
“TEACHING MEDIA ARCHIVES”
Synoptique is inviting submissions for a special issue entitled “Teaching Media Archives.” This special issue will explore strategies to activate student interest in archives and media preservation, bridging a gap between film and media education and the archival profession. These strategies may be those that teachers and archivists have implemented or merely envisioned, and can encompass curricular or extracurricular courses, programs, initiatives, or activities. We welcome academic articles as well as annotated syllabi, informal reflections on teaching, interviews, roundtable discussions, and more.
The proliferation of dozens of streaming sites has made all of film history seem easily within reach. Further, digitized access to archival materials through projects like the Media History Digital Library means students can undertake archival research without ever setting foot into a physical archive or speaking to an archivist. In context with these changes, how can the behind-the-scenes work of media preservation be made more visible? How can we raise awareness of the practices and politics that determine which media artifacts are preserved and made available and which are not—whose histories are documented and whose are forgotten? How are instructors responding to these needs and collaborating with archivists to bring students into the archive, and the archive into the classroom?
While there has been significant interest in archival education as of late—evidenced not least by a recent special issue of Synoptique on the institutionalization of media archival graduate programs—less attention has been paid to the practical realities of pedagogy and instruction. What actually happens in the classroom? How do you “teach media archives”? We want to address this gap by devoting this special issue to exploring how we might envision media archival education today, sometimes with limited or no access to physical archives, and always balancing hands-on learning and practice with theory and history.
We invite scholars of all levels and disciplines who engage with media archives (defined broadly) and pedagogy (defined broadly) to contribute traditional peer-reviewed articles as well as alternative formats–including creative work, personal reflections, thought pieces, interviews, roundtable discussions or debates, annotated syllabi or assignments, and more. Suggested topics may include, but are not limited to:
- working with archival media as primary research documents, as creative source material, and as heritage artifacts
- the materiality of media and technological obsolescence
- the politics of the “canon”
- community archiving and counter-archives
- debates about naming—who gets to call themselves archives or archivists?
- media-archival education and social justice
- interventions into archival theory and/or practice
- student-led preservation and/or programming initiatives
- the preservation of student films
- internships, fellowships, assistantships, etc.
- pursuing the archival profession without access to archives, preservation, or conservation classes
- the personal DVD or home media collection as archive and the role of physical media in pedagogy
- archival education at the intersection of film and media studies, art history, archaeology, library and information science, museum studies, and more
- the value of an MLIS or other professional degree
- the impact and effects of COVID-19 on media archives’ past, present, and future
- making archival instruction—and the archival profession—accessible and inclusive to students from historically underrepresented groups, whether based on class, disability, ethnicity, gender, race, sexuality, or other socioeconomic factors
Reviews of relevant recent books, films, conferences, or other events are also welcome. Please do not hesitate to contact us with any questions regarding your submission ideas.
Essays submitted for peer review should be approximately 5,500-7,500 words. Submissions for the non-reviewed section should be approximately 1,500-3,500 words. Reviews should be approximately 2,000 words. All submissions must conform to Chicago author-date style (17th ed.). Video essays submitted for peer review are also accepted. All images must be accompanied by photo credits and captions.
Creative works and interventions in the form of digital video, still imagery, or other multimedia forms will be hosted or embedded on the Synoptique website, and/or otherwise linked to in the PDF version of the journal.
Submissions may be written in either French or English.
Please submit completed essays or works to the journal editors (editor@synoptique.ca) and copy the issue guest editors, Hugo Ljungbäck (hugo@ljungback.se) and Christian Balistreri (christianbalistreri14@gmail.com), by March 15, 2024. We will send notifications of acceptance by April 15, 2024.
CFP: Michelle Yeoh: Everything and Everywhere on Global Screens
Edited by: Lisa Funnell, Wayne King Tung Wong, and Dorothy Wai Sim Lau
Michelle Yeoh is a global popular culture icon whose career spans eras, genres, mediums, and entertainment/media systems. From her rise to transnational stardom performing her own stunts the golden era of Hong Kong action cinema to her crossover projects in well-known Hollywood/American blockbusters, Michelle Yeoh’s career has been defined by passion, hard work, and resilience as she has navigated the many barriers – social, political, cultural, financial – that have historically delimited Asian women on international screens. Her perseverance, craft, and expanding star power led to her casting in Everything, Everywhere, All at Once (2022) and she made history as the first Asian woman to win the Oscar for Best Actress for her performance in the film. As she enters into her early 60s, she is seeing no shortage of roles and opportunities, and she continues to headline these projects while opening doors for other Asian women to follow in her footsteps.
In light of her extensive and expansive career that spans over 60 films and television shows, this anthology offers the first comprehensive and critical consideration of her entire body of work – exploring both popular and lesser known performances. We are looking for papers on a range of topics including but not limited to:
- Hong Kong eras – girls with guns, action films, comedies, dramas
- Transnational Co-productions
- Crossover films – Bond films, Hollywood/British blockbusters
- Mythical Films production company
- Asian American film and performance
- Marvel
- US television – Star Trek Discovery, The Brothers Sun
- animation and video game performances
- identity and performance
- transnational stardom and reception
- barriers – race, ethnicity, nationality, gender, etc.
Please submit a 250 word abstract along with a CV to lisa.m.funnell@gmail.com by March 15, 2024. Please direct any questions or inquiries to this email as well.
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