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Assistant Professor in Film Studies – University of Groningen

*Job description*
The Arts, Culture and Media programme of the University of Groningen is looking for a highly motivated full-time Assistant Professor in Film Studies (in Dutch: universitair docent).

The candidate is expected to have a broad expertise in film history, film theory, and film analysis. The position combines teaching (60%) and research (40%): while we expect a willingness to teach in a wide range of areas, the research profile of the candidate can be very specific, adding to the already existing expertise of the film staff or opening it to new perspectives.

We are particularly interested in candidates with an expertise in one or more of the following areas (in no particular order):

Environmental and Ecological Approaches to Cinema
Production Studies/Film Industry Studies
Media Platform Studies/Streaming Media
Animation Studies
Queer Cinema/Gender Studies and Film
Transnational and Global Cinema
Film and Digital Humanities/Digital Methods in Film Studies/Big Data Approaches
Avantgarde Cinema/Experimental Film/Expanded Cinema
Film Festival Studies.

The successful candidate will teach in our Bachelor’s programme in ‘Arts, Culture and Media’ as well as in our international Master’s track ‘Film and Contemporary Audiovisual Media.’ The language of instruction is English. Women and people of color are especially encouraged to apply.

The successful candidate will become a staff member of the Arts, Culture and Media programme, which is responsible for the Bachelor’s programme ‘Arts, Culture and Media’ as well as four tracks in the master’s programme ‘Arts and Culture’: ‘Film and Contemporary Audiovisual Media’; ‘Music, Theatre and Performance Studies’; ‘Arts Policy and Cultural Entrepreneurship’; and ‘Arts, Cognition and Criticism.’ It currently has 21 permanent staff members, five of whom have a focus on film studies. Our highly international staff comprises colleagues from The Netherlands, Belgium, Germany, the US, Canada, Mexico, Hungary, Greece, Israel, Italy, and Denmark. The BA programme has an annual enrolment of around 100–120 students from all parts of the world; the MA programme accepts around 60 national and international students every year (ca. 20-25 have an emphasis on film studies).

Teaching Staff Department of Arts, Culture and Media: https://www.rug.nl/let/onze-faculteit/organisatie/vakgebieden/arts-culture-and-media/teaching-and-research-staff

Research is conducted within the Groningen Institute for the Study of Culture (ICOG – https://www.rug.nl/research/icog/?lang=en) and its research centre Arts in Society (https://www.rug.nl/research/icog/research/research-centres/artsinsociety/). ICOG provides ample support in applying for grants with national and international funding agencies. There is also an annual travel budget for conference participation and other research-related trips.

The successful applicant is expected to:

teach and supervise students in the department’s undergraduate and graduate programmes
participate actively in curriculum development and in the design and administration of course modules, under the supervision of the Head of department
carry out and generate high-quality research in film and audiovisual media
pursue research grants and other forms of external funding
participate actively in international research networks and build international collaborations
participate in the activities of the interdisciplinary research centre Arts in Society and one of its theme groups (such as Art, Medium and Moving Images (https://www.rug.nl/(…)m_-and-moving-images) or Arts, Culture and Cognition (https://www.rug.nl/(…)lture_-and-cognition)).

*Qualifications*

In addition to a number of basic requirements set by the University of Groningen, such as excellent social and communication skills, presentation skills, coaching skills, and a results-oriented attitude, we are looking for candidates who have:

  • acquired a PhD in Film Studies, Cinema Studies, (New) Media Studies or a closely related field (or will have received the PhD by 1 September 2023)
  • an excellent research track record in Film Studies, including relevant book and article publications
  • teaching experience at the university level and proven didactic abilities
  • gained the Dutch University Teaching Qualification (BKO) or is prepared to do so within 2 years
  • the motivation to acquire third-party funding on the national or international level
  • a relevant national and international academic network
  • the willingness to make substantial contributions to the development of the department’s research and educational programmes
  • organisational experience and skills
  • excellent command of English (at least CEFR C1 level for reading, listening, writing, and speaking)
  • the willingness to learn Dutch.

*Organisation*

Since its foundation in 1614, the University of Groningen has established an international reputation as a dynamic and innovative university. In international rankings it regularly features among the best 100 universities in the world (latest Times Higher Education: rank 75). Its 36,000 students, more than 23% of whom are international, are encouraged to develop their own individual talents through challenging study and career paths. The university’s Faculty of Arts is a large, dynamic faculty in the heart of the city of Groningen. It has more than 5,000 students and 700 staff members and offers 16 Bachelor’s programmes and over 40 Master’s specialisations.

*Conditions of employment*

We offer you in accordance with the Collective Labour Agreement for Dutch Universities:

  • a salary, depending on qualifications and work experience, with a minimum of € 3,974 (salary scale 11) to a maximum of € 6,181 (salary scale 12) gross per month for a full-time position. Favourable tax agreements may apply to non-Dutch applicants.
  • a holiday allowance of 8% gross annual income and an 8.3% end-of-the-year allowance
  • a contract length of 18 months, with the possibility for a permanent appointment upon positive evaluation. The position has a 60-40 percent distribution with regard to teaching-research.

We acknowledge that talented prospective staff often have talented partners who also wish to further their careers. The university offers Dual Career Support in order to assist partners of new academic staff in building a new social network and looking for employment, an internship, voluntary work or further study opportunities. For more information, please check: https://www.rug.nl/about-ug/work-with-us/dual-career-support/?lang=en

The conditions of employment comply with the Collective Labour Agreement for Dutch Universities (CAO NU). For more detailed information about working conditions and working for the University of Groningen, please check: https://www.rug.nl/about-ug/work-with-us/new-staff/

The candidate is expected to live and work in Groningen for this position.

*Application*

Applications should include the following:

● a cover letter of 1 page that explains the motivation for applying for this position
● a full curriculum vitae including a full list of publications, acquired external funding, and talks
● a research plan of 1–2 pages that includes future ideas for grant applications
● a teaching mission that also contains descriptions of courses taught and lists teaching qualifications
● the names and contact details of two academic referees.

Applications that are incomplete or are otherwise faulty will not be taken into consideration.

You may apply for this position until 5 December 11:59pm / before 6 December 2022 Dutch local time (CET) by means of the application form.

A first round of online job interviews is expected to be held in January/February 2023. The final round of interviews (either in person in Groningen or online), which will include a short research introduction and guest lecture, will take place in February/March 2023.

Date of entry into employment: 1 September 2023.

The University of Groningen strives to be a university in which students and staff are respected and feel at home, regardless of differences in background, experiences, perspectives, and identities. We believe that working on our core values of inclusion and equality are a joint responsibility and we are constructively working on creating a socially safe environment. Diversity among students and staff members enriches academic debate and contributes to the quality of our teaching and research. We therefore invite applicants from underrepresented groups in particular to apply. For more information, see also our diversity policy webpage: https://www.rug.nl/diversity-and-inclusion/
Our selection procedure follows the guidelines of the Recruitment code (NVP): https://www.nvp-hrnetwerk.nl/nl/sollicitatiecode and European Commission’s European Code of Conduct for recruitment of researchers: https://euraxess.ec.europa.eu/jobs/charter/code

We provide career services for partners of new faculty members moving to Groningen.

Unsolicited marketing is not appreciated.

*Information*

For information you can contact:

Miralda Meulman, Degree Programme Coordinator (for more information on the formal procedure), +31 50 3638950, sec.amc@rug.nl
Dr M. (Miklós) Kiss, Associate Professor of Film Studies/Head of department Arts, Culture & Media, m.kiss@rug.nl,
Please do not use the e-mail address(es) above for applications.

To apply, please visit https://www.rug.nl/about-ug/work-with-us/job-opportunities/?reply=00347-02S0009OFP

 

Film Production, Department of Cinema and Media Arts, The School of the Arts, Media, Performance and Design, York University

The Department of Cinema and Media Arts (CMA) in the School of the Arts, Media, Performance and Design at York University invites highly qualified candidates to apply for a professorial stream tenure-track appointment in Film Production at the Assistant or Associate Professor level, to commence July 1, 2023. Salary will be commensurate with qualifications and experience. All York University positions are subject to budgetary approval.

The Department of Cinema and Media Arts is Canada’s first and foremost film school with four specialized streams of study, premier production facilities, strong industry as well as independent film and media arts community connections, backed by a stellar faculty of internationally renowned filmmakers, screenwriters and scholars.

An MFA in Film Production or equivalent graduate degree is required (MFA equivalent such as BFA with a substantial record of professional experience in film production). We acknowledge that within higher education in Canada, traditional or conventional academic pathways in research can reinforce biases in the filling of faculty posts. We therefore encourage applications that may not fit all of the following qualifications and that challenge our ideas of teaching, scholarship, and research of which we may be unconscious.

We are particularly interested in colleagues who bring experience in facilitating equity, diversity and inclusion practices within their teaching and that may include contexts outside of academia, including artistic praxis and community-based work. A record of professional experience collaborating with IBPOC (Indigenous, Black, People of Colour) artists and communities would be considered a significant asset. York supports
Indigenous research and education through its Indigenous Framework for York University, the  Centre for Indigenous Knowledges and Languages and the Indigenous Council. It is also invested in Advancing Black Research & Scholarship, and recently announced the recipients of the inaugural York Black Research Seed Fund awards.
 
We seek a colleague who can share both practical and theoretical knowledge about the role of image composition, pre-visualization, lighting, camera movement and color in visual fiction storytelling. Within a vibrant and diverse program, the successful candidate will contribute fundamental hands-on practice with studio and location lighting, familiarity with technique and styles in shooting narrative film as well as knowledge of the digital workflow from image capture to master. In these and related areas, the successful candidate will have the opportunity to engage in outstanding, innovative, and, as appropriate, externally funded research-creation at the highest level.

Applicants’ areas of creative research and studio practice should include fiction-based cinematography. We invite candidates to share evidence or promise of research-creation excellence of a recognized international calibre through: a submitted professional practice statement; a record of film and/or digital production which may include significant screenings with major broadcasters and festival presentations; awards and accolades; and strong recommendations from referees of high standing.

Evidence of excellence – or promise of excellence for an early career appointment – in teaching will be provided through: the teaching statement; teaching accomplishments and pedagogical innovations including in high priority areas such as experiential education and technology enhanced learning; evidence of research/professional practice involving teaching (including workshops and masterclasses), teaching evaluations; and strong letters of reference. As the position will involve graduate teaching and supervision, as well as undergraduate teaching, the successful candidate must be suitable for prompt appointment to the Faculty of Graduate Studies.

Colleagues in CMA participate fully in academic life through contributions to artistic research, teaching, service and academic leadership. We seek a colleague invested in teaching core and elective courses in film and digital production, as well as other courses relating to their professional or creative practice. There is also the opportunity to develop courses according to program needs in areas where the candidate has
experience and a demonstrated record of success.

York is a leading international teaching and research university, and a driving force for positive change. Empowered by a welcoming and diverse community with a uniquely global perspective, we are preparing our students for their long-term careers and personal success. Together, we can make things right for our communities, our planet, and our future.

York University has a policy on Accommodation in Employment for Persons with Disabilities and is committed to working towards a barrier-free workplace and to
expanding the accessibility of the workplace to persons with disabilities. Candidates who require accommodation during the selection process are invited to contact the Chair of the Department of Cinema and Media Arts, in the School of the Arts, Media
Performance and Design at fmsearch@yorku.ca.

York University is an Affirmative Action (AA) employer and strongly values diversity, including gender and sexual diversity, within its community. The AA Program, which applies to women, members of racialized groups, Indigenous peoples, persons with disabilities, and those who self-identify as 2SLGBTQ+, can be found at www.yorku.ca/acadjobs or by calling the AA line at 416-736-5713. Applicants wishing to self-identify as part of York University’s Affirmative Action program can do so by
downloading, completing, and submitting this voluntary self-identification form.

All qualified candidates are encouraged to apply; however, Canadian citizens, permanent residents, and Indigenous peoples in Canada will be given priority. No application will be considered without a completed mandatory Work Status Declaration form.

The deadline for receipt of completed applications is December 1, 2022. A letter of application, indicating what rank is being applied for, with updated curriculum vitae, statements of research/professional practice and teaching, teaching evaluations (where available), and the names and contact information of three referees who can provide letters of reference should be submitted. (Full letters will be requested only for short-
listed candidates.) Applications, indicating the name of the position being applied for, should be submitted to fmsearch@yorku.ca.

 

Screenwriting & Transmedia Storytelling, Department of Cinema and Media Arts, The School of the Arts, Media, Performance and Design, York University

The Department of Cinema and Media Arts (CMA) in the School of the Arts, Media, Performance and Design (AMPD) at York University invites highly qualified applicants for a professorial stream tenure-track appointment in Screenwriting & Transmedia Storytelling at the Assistant Professor level, to commence July 1, 2023.

Since its founding as the first University film department in Canada, the Department of Cinema and Media Arts (CMA) has continuously evolved its curriculum, technical resources, and industry alliances to remain relevant and influential in one of the most rapidly growing and changing of all creative, technical, and academic fields. In addition to programs in Film Production and Media Arts, CMA offers the only BFA in
Screenwriting in Canada and is the only Cinema/Film Department with an MFA in Screenwriting in Canada. York’s CMA Department has always been a leader in building technical competence and professional skills, while emphasizing the development of the creative, social, and personal abilities of our students as image-makers, storytellers, activists, collaborators, and as future leaders in the film and digital media landscape with a strong integration of theory and practice.

Candidate Qualifications:

    • Degree:
      • MFA/MA or professional equivalent (such as BFA with a substantial record of professional experience in screenwriting), and a substantial record of ongoing creative activity in the area of dramatic screenwriting, cinema and/or digital production, or a closely related field professional or equivalent.
      • We acknowledge that within higher education in Canada, traditional or conventional academic pathways in research can reinforce biases in the filling of faculty posts. We encourage applications that may not fit all of the following qualifications and that challenge our ideas of teaching, scholarship, and creative research/production. We are particularly interested in colleagues who bring experience in facilitating equity, diversity, and inclusion practices within their teaching and which may include contexts outside of academia, including artistic praxis, collaborative, and community-based work.
    • Research/Creative Expertise:
      • Clearly articulated program of research and/or creative specialization in: dramatic screenwriting preferably in both current (i.e., writing and producing for serial television, feature films) and future-oriented (interactive, transmedia, immersive, web) media. Showrunning experience is an asset.
      • Articulated experience in: filmmaking, including being on-set and working in collaboration with directors and actors in short narrative fiction and/or feature films, television, and future-oriented media.
      • Engaged in outstanding, innovative, and, as appropriate, externally funded creative practice or research at the highest level.
      • Candidates are invited to provide evidence of creative or research excellence, or promise of creative or research excellence, of a recognized international calibre as demonstrated in: the submitted research/professional practice statement; a record of fictional screenwriting, digital and transmedia production which may include significant screenings with major broadcasters, festival presentations, awards and accolades, industry related activities, and strong recommendations from referees of high standing. (Note that full letters of reference will only be solicited from shortlisted candidates.)
    • Teaching:
      • Evidence of excellence, or promise of excellence in teaching, may be provided through: the submitted teaching statement; teaching accomplishments and pedagogical innovations in such areas as experiential education and technically enhanced learning (i.e., interactive screenwriting, multi-platform storytelling); advanced screenwriting workshops, filmmaking, and the inherent collaborative practice, teaching evaluations (where available); strong letters of reference (shortlisted candidates only).
      • We invite applications that demonstrate excellence or clear promise of excellence in teaching university-level courses, a strong commitment to pedagogy and student success, and the capacity to bring both a theoretical and practical orientation to learning and program design in the area of Screenwriting & Transmedia Storytelling. The successful candidate will have the opportunity to teach a range of courses in the Department’s Screenwriting areas and to engage energetically in administering the program collegially in Department governance. This will include supervising graduate students, and generating national and international academic, community, and industry partnerships. We welcome a wide-ranging and inclusive approach to story and storytelling including critical race, post-colonial, Indigenous, Feminist, and other critical approaches to storytelling. A record of professional experience collaborating with IBPOC (Indigenous, Black, People of Colour) artists and communities is a significant asset.
      • Suitability for prompt appointment to the Faculty of Graduate Studies, given that the position will involve graduate teaching and supervision.
      • Applicants will teach a range of courses in the Department’s Screenwriting BFA and MFA programs.

Hiring Policies:

      • Salary will be commensurate with qualifications and experience.
      • All York University positions are subject to budgetary approval.
      • All qualified candidates are encouraged to apply; however, Canadian citizens, permanent residents, and Indigenous peoples in Canada will be given priority.
      • York University has a policy on Accommodation in Employment for Persons with Disabilities and is committed to working towards a barrier-free workplace and to expanding the accessibility of the workplace to persons with disabilities. Candidates who require accommodation during the selection process are invited to contact the Chair of the Department of Cinema and Media Arts at swsearch@yorku.ca.
      • York University is an Affirmative Action (AA) employer and strongly values diversity, including gender and sexual diversity, within its community. The AA Program, which applies to women, members of racialized groups, Indigenous peoples, persons with disabilities, and those who self-identify as 2SLGBTQ+, can be found at www.yorku.ca/acadjobs or by calling the AA line at 416-736-5713. Applicants wishing to self-identify as part of York University’s Affirmative Action program can do so by downloading, completing, and submitting this voluntary
        self-identification form.

Application Components:

      • Due date for completed applications: December 1, 2022
      • Required components: 1) cover letter; 2) current CV; 3) separate statements of research/creative practice and teaching interests; 4) teaching evaluations; 5) sample course outlines; 6) links to works; 5) name and contact information of referees who can provide strong letters of recommendation. Recommendation letters will be solicited from finalists and should address the candidate’s qualifications and experience with regard to the position.
      • Candidates must also download, complete, and submit a Work Status Declaration form. This is a mandatory form and no application will be considered without it.
      • Submit materials: Caitlin Fisher, Chair, Department of Cinema and Media Arts, The School of the Arts, Media, Performance and Design, York University, 4700 Keele Street, Toronto, Ontario M3J 1P3 at swsearch@yorku.ca.

University Context:

 

University of Toronto Quarterly (UTQ) is currently seeking submissions. Established in 1931, UTQ publishes innovative and exemplary scholarship from all areas in the humanities. The journal welcomes articles, in English or French, on art and visual culture, gender and sexuality, history, literature and literary studies, music, philosophy, theory, theatre and performance, religion, and other areas of the humanities not listed here. As an interdisciplinary journal, UTQ favours articles that appeal to a scholarly readership beyond the specialists of a given discipline or field. The editorial board is especially interested, although not exclusively, in research that addresses topics of particular relevance to Canada. UTQ is therefore enthusiastic about submissions in Asian Canadian Studies, Black Canadian Studies, Canadian Literature, Canadian History, Canadian Studies, Diaspora Studies, and Indigenous Studies. The journal, more broadly, embraces research that engages interdisciplinary sites of scholarly inquiry, such as Affect Studies, Black Studies, Critical Disability Studies, Critical Race Studies, Digital Humanities, Environmental Humanities, Media Studies, Medical Humanities, Sound Studies, Transgender Studies, and emergent fields within the humanities. UTQ is published by the University of Toronto Press.

Submissions should normally be between 7,500 and 12,500 words in length inclusive of footnotes and bibliographic material. Additionally, all submissions should be accompanied by an abstract (150-250 words). UTQ’s house style is based upon the MLA Handbook (7th edition), so please format submissions in accordance with MLA bibliographic guidelines. Substantive or discursive amplification should appear in judiciously selected footnotes. All text, including footnotes and Works Cited, should be double-spaced. Please do not justify right margins.

UTQ does not accept research that has already been published, nor does the journal accept submissions currently under consideration elsewhere. The journal does not publish poetry or fiction.

Please anonymize submissions by removing all self-identifying information from the article, including acknowledgements and self-citations (reference your own scholarship as you would any other scholar). When saving the file, remove all personal information from the file on save.

UTQ commissions external reports to assess the quality of each submission. The journal receives numerous submissions and only submissions that the editorial board deems most appropriate for the journal, and most likely to receive recommendations to publish from experts, are sent out for peer review. The review process is doubly anonymous. Authors should expect to receive a response in the form of an editor’s report that collates relevant and useful information drawn from 2 to 3 external reports alongside the internal comments of the editorial board. Peer review takes approximately three to four months.

UTQ regularly publishes special issues on the range of subjects listed above. If interested in proposing a special issue and serving as its guest editor, contact the editor, Professor Colin Hill, at colin.hill@utoronto.ca

Please send all submissions and inquiries to utquarterly@gmail.com

 

The Department of Communication, Media & Film in the Faculty of Arts invites applications for Sessional Instructors to teach the following courses in Winter 2023 (Tuesday, January 3, 2023-Friday, April 28, 2023):

  • FILM 305, LEC 01 – Topics in Genre: Fridays 9:00 – 10:50, Lab B01 Wednesdays 9:00 – 11:45 (Open Modality)
    • Open Modality – may be in person or online, synchronous.
    • Please submit two or more topics that you would be interested in teaching. Topics will be chosen from applications received.
  • FILM 351, LEC 01 – Canadian Film: Fridays 9:00 – 10:50, LAB B01 Wednesdays 9:00 – 11:45 (Open Modality)
    • Open Modality – may be in person or online, synchronous.
  • COMS 393, LEC 01 – Health, Science, and Media: Critical Prspt’v: Mondays and Wednesdays 14:00 – 15:15 (Online, Synchronous)
  • COMS 401, LEC 04 – Special Topics in Com and Media Studies: Mondays and Wednesdays 14:00 – 15:15 (Open Modality)
    • Open Modality – may be in person or online, synchronous.
    • Please submit two or more topics that you would be interested in teaching. Topics will be chosen from applications received.

    Position Requirements:

    • PhD or MFA in a relevant discipline
    • Applicants who have completed their candidacy requirements or who have equivalent professional experience may be considered
    • Experience teaching undergraduate courses at a university level
 

CFP DEADLINE EXTENDED

FOOT 2023 Call for Papers, Performances, and Panels for We Live Together


Submission deadline extended: November 1, 2022

The 31st annual Festival of Original Theatre (FOOT) conference at the University of Toronto’s Centre for Drama, Theatre, and Performance Studies invites proposals to our conference “We Live Together” taking place February 9-11th, 2023.

“We Live Together” is as much a question as a mission statement. This phrase suggests broad responsibility to each other, to the sciences, to supporting movements toward social justice, to realizing indigenous protocols, to engaging with economics, and to fighting for ecosystems.

Together prompts us to grapple with a variety of contradictions between individuality and community, hospitality and hostility, and solidarity and exclusion. Working within these contradictions, we call on performance to create spaces in which we can imagine ways to live a future together. Together as human beings who, despite individuality, desire to connect with one another and with other species in virtual and physical spaces. Together as new communities emerge to demand equity, recognition, and conversation. Together across national and political borders. Together across disciplinary and institutional barriers. Together as lives on a planet facing challenges that require global actions for survival.

We are interested not only in the what, but the how: How do we story-tell and world-build in the academy and outside of it, in theatre spaces and communities, in the virtual and IRL worlds? How do we begin not only to imagine, but also to enact new modes and models of being and living together?

We invite engagements which consider the interactions of bodies, presences, communities, ecologies, economics, and ecosystems, as well as conversations around life and liveness, community and public life, persistence, and survival. We encourage critical reflections on togetherness, the common/commons/undercommons, and conversations around who is included in “we.”

Possible topics include:

  • Artistic collectives and collective creation
  • Intersections and interactions across identities
  • Political solidarity, activism, and performance
  • Performing conflicts and differences
  • Transcultural performances, multilingualism, and globalization
  • Strategies for encounters, sharing, and cohabitation
  • Coexistence across species
  • Utopian imaginations of multiplicity and diversity
  • Technology and social/cultural connections
  • Multiverses and pluriverses
  • Fabulations, storytelling, and world-making

We welcome proposals from students, scholars, practitioners, artists, industry professionals, and adventurers. Presentation formats include:

  • Paper presentation
  • Creative/embodied presentation
  • Curated panel discussion
  • Roundtable discussion
  • Workshop
  • Reading
  • Performance
  • Screening
  • Game

Please prepare a proposal (max 300 words) and biography (max 150 words per participant) to be submitted via our online application forms by no later than November 1, 2022. For applicants proposing a curated panel, you will be responsible for securing the presenters; the conference organizers may assist in the process if needed. If you have any questions, please feel free to contact the organizers at foot2023.cdtps@gmail.com.

Visit UofT.me/FOOT2023.

About FOOT
The Festival of Original Theatre (FOOT) is the annual conference held by the Centre for Drama, Theatre, and Performance Studies at the University of Toronto. Organized by graduate students at the Centre, its goal is to provide scholars and artists an outlet to showcase, critique, review, perform, discuss, and analyze the changing world of drama, theatre, and performance.

 

University of Maryland, College Park / School of Theatre, Dance, and Performance Studies Assistant/Associate Professor of Theatre/Performance History and Historiography (tenure track)

For best consideration, please submit application by 28 November 2022
Questions? Contact Professor James Harding, Chair of the Search Committee, jharding@umd.edu

Position Summary/Purpose of Position:

The University of Maryland School of Theatre, Dance, and Performance Studies (TDPS) is searching for a tenure-track assistant or associate professor of Theatre/Performance History and Historiography to begin August 2023. The successful candidate will be a scholar and teacher of exceptional promise or established reputation and will develop and teach innovative courses in theatre/performance history, historiography, and theory at the graduate and undergraduate levels. The successful candidate will be someone whose research, teaching, and service have prepared them to contribute to diversity and inclusion. We seek scholars of US theatre and/or performance whose primaryfocus is African American/Black, Latin/x, or Asian American theatre. Other areas of expertise might include: feminist theories, minoritarian performance history and theory; history of postcolonial, indigenous and/or diasporic theatres; or, queer theory and performance. We are particularly interested in candidates who are scholar/artists.

This position will begin in Fall 2023, joining six other new artist/scholar faculty lines in 2021 and 2022, that were funded by the creation of the Maya Brin Institute for New Performance. The Maya Brin Institute for New Performance is committed to the exploration of technologically enhanced live performance in all its current, emerging, and future forms. (See announcement here: $9M Gift Founds New Institute for Performance and Technology in the Arts.) The Maya Brin Institute is part of the University of Maryland’s Arts for All initiative, announced in 2021.

Duties:

teaching courses from current curriculum in the MA and PhD program, undergraduate and general education curriculum, and developing of new courses.
The successful candidate will maintain a program of research/creative activity appropriate to the University of Maryland’s standing as the State of Maryland’s flagship institution. The candidate will regularly participate in appropriate national/international forums. The candidate’s research/creative activity should relate to the program’s curriculum and reflect a high standard consistent with and supportive of the mission and initiatives of the School, College, and University. All faculty build their teaching portfolios by teaching general education classes as appropriate to their training and experience. TDPS faculty are actively involved in School governance, the intellectual and artistic life of the School, the College of Arts and Humanities, and the University community.

Minimum Qualifications:

PhD by 22 August 2023 in theatre history, performance studies, critical dance studies, or related field
Documented experience teaching at the university level
Potential to achieve high national/international professional standing in the field
Demonstrated ability to incorporate diverse perspectives and foster the values of inclusivity and diversity into teaching and research
Evidence of the ability to work collegially

Preferred qualifications:

Experience supervising student research
Experience teaching graduate students
Experience teaching in a culturally diverse environment
Experience as a theatre/performance/dance practitioner (e.g. dramaturg, director, choreographer, performer) Experience with institutional service
Proficiency with developing and delivering online courses

Please apply online at https://ejobs.umd.edu (Posting: Assistant Professor, PN F0005943)

Applications should include:
Curriculum vitae
Name, email address, phone number for three current professional references
Research Statement
Teaching statement/pedagogy philosophy
Statement of Contributions to Diversity: a summary of leadership efforts, and past or potential contributions to diversity. (Contributions might include leadership in teaching, mentoring, research, or service towards building an equitable and diverse scholarly or professional environment and/or increasing access or participation of individuals from historically underrepresented groups.)
Optional: Digital portfolio or website

This search is contingent upon the availability of funds.
The University of Maryland, College Park, actively subscribes to a policy of equal employment opportunity, and will not discriminate against any employee or applicant because of race, age, sex, color, sexual orientation, physical or mental disability, religion, ancestry or national origin, marital status, genetic information, political affiliation, and gender identity or expression.
Women, historically underrepresented minorities, LGBTQ+, veterans, and people with disabilities are encouraged to apply.

 

Assistant Professor in Transnational/Global Feminist, Queer, and Trans Studies & Approaches to Literatures, Media, and Cultures

Georgetown University: Main Campus: Georgetown College: English

Location: Main Campus

Description

The Department of English and the Program in Women’s and Gender Studies at Georgetown University invite applications for a tenure-track position at the rank of Assistant Professor to begin in August 2023.

The teaching load is 2 courses per semester, split equally between units, with teaching responsibilities at both the undergraduate and graduate level. Additional responsibilities include service appropriate for jointly-appointed faculty.

We are looking for candidates whose work is in transnational/global feminist, queer, and/or trans studies as it relates to literary, media, and cultural production, in any period or region. We especially welcome applicants with a research and teaching focus in women’s and gender studies; trans, feminist, and queer theory and/or methods; and/or post- and anti-colonialism.

The English Department at Georgetown University houses faculty who specialize in the study of the literary, historical, cultural, and digital and who also work across multiple interdisciplinary units such as African American Studies, American Studies, Catholic Studies, Creative Writing, Disability Studies, Environmental Studies, Film and Media Studies, Global Medieval Studies, Public Humanities, Urban Studies, Women’s and Gender Studies, and Writing Studies. The successful candidate will build on the Department’s existing strengths and enhance its commitment to engaged scholarship. We welcome applicants whose work addresses multiple audiences and tackles issues of public concern.

The Program in Women’s and Gender Studies at Georgetown is a multi-discplinary disciplinary and interdisciplinary program that specializes in critical, feminist, and cross-cultural understandings of women, gender, and power in a global context. Focusing on the interactions and intersections of race, class, (dis)ability, gender, and sexuality, the Women’s and Gender Studies program fosters knowledge about gender and sexuality in all its their diversity and encourages the critical interrogation of traditional academic disciplines. Our faculty specialize in performance studies, queer studies, Black feminisms, biopolitics, sexual politics, transracial and transnational studies, ableism, cultural politics, gender-based violence, public policy, and feminist theory. Our program is home to award- winning teachers, scholars, and activists.

For questions related to this position, please contact: Nadia E. Brown, nb865@georgetown.edu

Qualifications

A Ph.D. in Women’s and Gender Studies, English, or a complementary interdisciplinary field is required prior to appointment start date. Candidates must show strong promise of excellence in teaching as well as research.

Application Instructions

Click on Apply Now to submit the following required materials:

1. Cover Letter

2. CV

Applications completed by November 18, 2022, will receive full consideration. We will contact applicants whose candidacy we wish to pursue further with a request for three letters of recommendation, a writing sample, and sample syllabi, which will be due on December 10, 2022.

Interested applicants should upload their materials via Interfolio.

 

CFP: Exhibition in Crisis, Aniki 10, no. 2

The COVID-19 pandemic has led to a generational crisis for film exhibition around the world, as movie theaters have been forced to close their doors temporarily or permanently, alter their modes of presentation and the parameters of the theatrical experience, and otherwise transform their operations. But COVID-19 is certainly not the first crisis in film exhibition, nor the only one that is currently in progress. For the editors of this special section of Aniki, the pandemic has instead drawn attention to the transformative effect that crises past and present have had on film exhibition as a mode of cultural practice, a set of institutions and actors, and an object of research in film and media studies. In this dossier, we investigate the concept of crisis in the study of film exhibition and the crises that have altered cinemagoing practices over time, opening up opportunities to analyze a broad array of historical and cultural impacts in the process. In this, we follow the work of authors like Laura Baker (1999), Phil Hubbard (2003), and Gary D. Rhodes (2011), who have studied risk, danger, vice, and violence at the cinema; in addition to these issues, we hope to illuminate crisis in its philosophical, existential, and disciplinary forms. In soliciting and selecting papers, we seek to develop an international scope on these issues that is truly global, while remaining open to submissions that study cinemagoing from any geographic location.

Film exhibition’s death has been declared many times in the hundred and twenty years preceding its most recent existential crisis. In assembling this section, we do not wish to replicate narratives of exhibition’s long decay or inevitable demise; instead, we root our development of this dossier in a consciousness of film exhibition as a longstanding cultural experience that has persisted in part due to its changeability, adaptability, and its modulation of crisis. While the exhibition industry is heterogeneous and its fate is still indeterminate, looking beyond exhibition as a highly systematized commercial practice helps us to expand our understanding of the effects of exhibition’s historical crises. In this, we recognize the work of scholars like Anat Helman (2003), Nicholas Balaisis (2014), Donna De Ville (2015), Solomon Waliaula (2018), and James Burns (2021), who have drawn attention to cinemagoing practices that often take shape outside the traditional movie theater industry or film festival circuit. This framing does not preclude moments of loss, degradation, or failure in particular modes of cinemagoing, but nonetheless allows us to grasp crises as coinciding with moments of transition and adaptation instead of the dead ends so often predicted in popular narratives about theatrical exhibition.

This moment of crisis in theatrical exhibition coincides with corresponding crises in film studies and film historiography. The first issue concerns archival access and research. Since the beginning of the pandemic in late 2019, access to global archives has vacillated between impossible and unpredictable. This has had a deleterious and global impact on film historiography and, therefore, the study of theatrical exhibition and moviegoing. In addition, inequities within government and other support of these archives have led to local, regional, and national crises for scholars seeking archival materials. Other crises within the study of film exhibition are evergreen. Recent exhibition research, such as that done by scholars of “new cinema history,” has made major strides in research on cinemagoing forward within film studies (Maltby, Biltereyst and Meers 2011; 2019). But the continued US- and Eurocentrism of film exhibition research in which the largest number of monographs, edited collections, and peer-reviewed articles are written in English and/or focused on issues related to exhibition or moviegoing in Europe or North America is an issue that requires redress. Work by Luciana Corrêa de Araújo (2013), Laura Isabel Serna (2014), Nolwenn Mingant (2015), Lakshmi Srinivas (2016), Laura Fair (2018), and Jasmine Trice (2021) offer compelling examples of the possibilities for global cinema research. Even outside Europe, the United States, and Canada, however, English is still the lingua franca in the large cache of research written on this topic, such as in work from or on Australia, India, and South Africa. Research by Rodrigo Fagundes Bouillet (2020) that brings film exhibition history closer to ethnic-racial relations studies in Brazil, and by Diana Paladino (2018) and Pedro Butcher (2019), on Latin-American histories of film distribution, suggests emerging efforts in this area that we aim to further. With these geographical, linguistic, structural, and other issues in mind, we seek new works from around the world that see an opportunity within our disciplinary and global crises to generate and disseminate new questions, new arguments, and new vistas for research. We also hope to take advantage of the transnational backgrounds of our editors who hail from Brazil, Canada, and the United States and our venue in a multilingual journal to seek new foci and new research written in Portuguese, Spanish, and English. For us, the film exhibition crises of the past, present, and future and the internal crises of archival access and Eurocentrism present opportunities and not just challenges for the creation of new directions and new models of research on film exhibition.

We seek new work on moments of crises for specific exhibition venues:

  • Drive-ins
  • Repertory and second-run theaters
  • Arthouse theaters
  • Microcinema or transitory cinema spaces
  • Multi- and/or megaplexes
  • Nickelodeons
  • Movie palaces
  • Rural and quotidian moviegoing
  • Segregated movie houses

Or specific movie theater-related issues such as:

  • Concurrence with other leisure activities
  • Adaptation to crises (economic, health, social, etc.)
  • Distributor versus exhibitors’ interests
  • Content availability, theatrical windows
  • Exhibition technologies
  • Local films and local theaters
  • Preservation of materials and/or sites
  • Adaptation of theatrical spaces to multiple uses
  • Race, gender, and/or class in cinemagoing practices

We welcome any and all soft inquiries about new or ongoing research that might fit our special issue. Mostly, we are seeking a wide variety of scholars and scholarship to help drive new directions and new questions related to film exhibition precisely at the moment when audiences are rediscovering the importance of collective viewing and in which the film and film exhibition industry are charting a path forward. How might this moment encourage us to think broadly about the crises of the past? How might it encourage us to think broadly about the crises of the moment in the way journalists, executives, and other scholars have over the past three years?

This special section is guest-edited by Rafael de Luna Freire (Universidade Federal Fluminense, Brazil), Charlotte Orzel (University of California, Santa Barbara, USA), and Ross Melnick (University of California, Santa Barbara, USA).

Rafael de Luna Freire is associate professor in the Film and Video Department and in the Film and Audiovisual Program at Fluminense Federal University, in Niterói (Brazil), where he is the head of the Audiovisual Preservation University Lab – LUPA. He also works as curator, researcher and film archivist. He is the author of numerous publications on Brazilian film history, including the books Cinematographo em Nichteroy: história das salas de cinema de Niterói (2012) and O negócio do filme: a distribuição cinematográfica no Brasil, 1907-1915 (2022).

Charlotte Orzel is a doctoral candidate and Chancellor’s Fellow in the Department of Film and Media Studies at the University of California, Santa Barbara who holds an MA in Media Studies from Concordia University. Her doctoral research analyzes the recent history of film exhibition in the United States and Canada and the way shifts in exhibitor practice reflect changing industrial visions of cinemagoers. She has also written about film historiography, IMAX, cinema advertising, and the international ownership of cinema chains, and presented work at conferences hosted by the Society for Cinema and Media Studies, the Canadian Communication Association, the Film Studies Association of Canada, and the Histories of Moviegoing, Exhibition and Reception scholarly network.

Ross Melnick is professor of film and media studies at University of California, Santa Barbara. He was named an NEH Fellow (2015) and an Academy Film Scholar (2017) for his book, Hollywood’s Embassies: How Movie Theaters Projected American Power Around the World (Columbia University Press, 2022). He is also the author of American Showman: Samuel ‘Roxy’ Rothafel and the Birth of the Entertainment Industry (Columbia University Press, 2012), co-editor of Rediscovering U.S. Newsfilm: Cinema, Television, and the Archive (AFI/Routledge, 2018), and co-founder of the Cinema Treasures website.

The deadline for submitting original and complete articles is 15 January 2023.

All submissions received within the deadline will undergo a selection process (by the editors), followed by blind peer review (by external reviewers). The texts should not be longer than 8000 words, and must include, in English and Portuguese (and also Spanish, if that is the language used): a title, an abstract of up to 300 words and a maximum of 6 keywords.

Before submitting your complete article, please read the full instructions here.

For any queries, please contact: aniki@aim.org.pt.

 

UCLA – IN CAHOOTS

Disciplinary Crossings & a Future for Performance Studies

02/15/2023 – 02/17/2023


Online Graduate Student Conference presented by UCLA Department of Theater & the Center for Performance Studies

Call for Papers ————– Due 11/10/2022

Like performance studies, ‘in cahoots’ is a phrase with “murky origins”1 – etymologies have been traced without a clear beginning, perhaps from cohort or cahute (adjacent to cabin or hut). Meaning partnership, colluding, or working together, often in secret, the term itself is in cahoots: cahoots is rarely if ever used as a stand alone word. Similarly, performance studies is never stand alone, but in constant relations with a constellation of fields, from linguistics and anthropology, to queer and critical race theory. This type of conceptual entanglement drives UCLA’s Center for Performance Studies Graduate Student Conference: “In Cahoots: Disciplinary Crossings and a Future for Performance Studies.” Following our 2021 conference theme of ‘Contact,’ we invite graduate students to reflect on the promises and challenges of being “In Cahoots” with multiple discourses, fields, and methods.

New research trends have seen many scholars bringing together odd bedfellows that raise new challenges: How might a keyword track across fields? Is it possible to reconcile the goals of humanities and science? Where is the department “home” for this new brand of research? Performance studies has already positioned itself as a tempestuous and unruly younger sibling amongst longer standing fields. Interdisciplinary by nature, it is an elastic framework that can pierce holes in academic silos. This conference aims to build alliances for interdisciplinary performance scholars working between and across fields. Though our research projects may vary dramatically (and we hope they do) we still grapple with many of the same murky obstacles. This is a unique and intimate conference that will give a platform to these discussions for exciting new scholars working on the bleeding-edge of interdisciplinary research. We will be in cahoots.

What to Submit

Bring your research that is ‘in cahoots’ as an abstract for a 7-10 page paper of your interdisciplinary research, wherever it is. The paper should somehow reflect an approach that blends/incorporates/weaves performance studies + ________.

We will use our research papers as a starting point for conversations around working between fields. Some of our interests include: the challenges and opportunities of interdisciplinary research in performance studies, whether that is practice-as-research, working across multiple departments, or even across methods. Additionally we hope this brings together discussion of potential futures for performance studies from graduate student perspectives, including applying to jobs in outside departments or working with scholars in other fields. (Note: the paper does not have to be about working interdisciplinarily, but rather your experience as the author will fuel such discussions).

Topics & Key questions:

These questions are not for the paper to specifically address, but rather the papers will be a jumping off point for these discussions:

  • State of the field
  • What does your performance studies methodology include?
  • How do we define performance studies as a field (key terms, methodologies, etc). And how can this discipline inform other fields? Which keywords extend across fields?
  • How do other fields inform your understanding of performance studies (and its role in the landscape of the humanities)?
  • How does interdisciplinarity shape your methodology and key terms? To neologism or not to neologism?
  • Problems and possibilities with bringing sciences and humanities together? Other methodological chaos?
  • What are the implications of job market materials when applying outside of theater and performance studies? How do you work across fields, departments, methods?

Apply with an abstract (300 words or less) by 11/10/2022

Submit online @ http://tiny.cc/CPS2023

Contact Devon Baur (dbaur@ucla.edu) or Elizabeth Schiffler
(eschiffler@ucla.edu) with any questions

1 Zimmer, Ben. n.d. “‘Cahoots’: A Term For Hidden Scheming Has Murky Origins.” WSJ. Accessed September 2, 2022.
https://www.wsj.com/articles/cahoots-a-term-for-hidden-scheming-has-murky-origins-11579885683.