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For its third issue, The Neutral is soliciting contributions for ‘The Unhuman’

The human body is already unhuman, populated by a microbiome that sustains its life, and yet, discourses of the unhuman are harnessed to draw the parameters of what it means to be human. This construction of the human depends upon what is jettisoned as unhuman in order to reaffirm the position and borders of what or who is considered human, particularly as marginalized groups are subjected to dehumanization. By the term “unhuman,” we aim to invoke an unmaking of the human or category of the human, in keeping with the proliferation of scholarship that has emerged as a response to the posthuman turn in the humanities and the rise of the anthropocene discourse, both of which have been critiqued for not fully engaging pressing issues such as colonialism, race, capitalism, disability, and more.  In this issue of The Neutral, we seek essays that address the unhuman, that think with the unhuman, and in doing so, offer ways of critiquing anthropocentrism, particularly as it is bolstered by a Western, imperialist concept of the human, through moving image media.We also seek to examine how the human is already enfolded within the unhuman, and integrated with its environment, other species, and technology, and imaginings of monstrous and alien life forms.

The distinction between the human and nonhuman animal has long troubled philosophers, including Aristotle, Descartes, Kant, and Heidegger, who have attempted to index attributes that belong to humans alone. Derrida, however, acknowledges the positionality of the animal, an animal that returns one’s gaze. He proposes to examine the relationship between species as an “abyssal rupture,” as a multiplication of differences, which also gestures towards the limitations of what the human can know, and the aporia in its knowledge of other species. And Deleuze and Guattari’s concept of “becoming-animal” which follows their rhizomatic methodology in which they counter prevailing tendencies to categorize organisms according to stable characteristics, instead, opening up to the possibilities of continually shifting relationalities. Other thinkers draw us towards the place where the border of the human collapses, including Julia Kristeva’s abject, Georges Bataille’s eroticism, and Sigmund Freud’s unconscious. Potential papers might ask: How do moving images visualize or theorize the abyssal rupture, or rhizomatic structures? How does film present vegetal or subterrestrial ontologies?

Posthumanism offers philosophical frameworks and practices that have engendered the impetus to decenter traditional human subjectivity and subjecthood, marked temporally as coming after humanism and its search for an essential, universal human subject with sovereign agency. However, the turn towards the study of nonhuman life forms is a premature move for scholars such as Sylvia Wynter and Paul Gilroy, who rightly point out that racialized persons are still struggling to attain recognition of their rights as humans. Afropessimists like Frank B. Wilderson III go further still in asserting that the human is given coherence by anti-Blackness and that the Black/human relation is structurally irreconcilable. Meanwhile, scholars such as Mel Y. Chen take up questions of the nonhuman to illuminate new perspectives on racialized, queer, and differently abled bodies. Potential papers might ask: What limitations or illuminations do discourses of animality, monstrosity, or technologization hold for marginalized populations, and how does moving image media navigate these tensions?

Posthumanism is also symptomatic of a convergence of anti-humanism, post-humanism and post-anthropocentrism within the technological and digital age. Norbert Wiener’s cybernetics or using feedback as a way to communicate with the inhuman produces potentials of understanding technology as systems of interactions. Recognizing sense organs as key components in relations between machine and multispecies life, the use of systems enables a bounded relation of humans, ecology, and machines. Richard Grusin, more recently, in his anthology named The Nonhuman Turn (2015), invites proponents of posthumanism and new materialism to consider that which falls outside the domain of ‘human’ altogether. Contemporary scholarship that emerged in recent years which engages the “other-than-human” often maintains that the continuum between bodies human and nonhuman has been eroded by our ever-increasing entanglements with technology. Yet, it also seems to gesture at the idea that the nonhuman has ultimately always resided within the human. How can we begin to address the ways in which this scholarship remains problematic, for its attempts to expand the prescribed categories of human still perform exclusion? Have we indeed moved past humanism, or simply reworked its main tenets so that it can begin to account for our contemporary moment?

As the representations of what defies “normality,” monsters are aberrations of the human, and such become the site upon which humans work out their anxieties about sexuality, gender, and race. Monstrosity also offers ways of re-examining what constitutes the human, as Jeffrey Jerome Cohen’s “zombie-oriented ontology” emphasizes human corporeality, and thinks through the body as a vessel that has been emptied of its subjecthood. Science fiction also grapples with unhuman life forms, presenting imaginative possibilities of what extra-terrestrial beings might be, from the malevolent forces of epics disaster films to a more nuanced approach that considers the alien as communicating an understanding about what it means to be earthly, to be human, and the human’s responsibilities to its planet. Potential papers might ask: How might we understand horror, sci-fi, and ecocinema in light of thinking beyond the human? What do speculative fictions help us understand about the limitations of being human?

For this issue, ultimately, we ask: What role(s) do film and moving image media play in the construction and/or conceptualization of the unhuman? How does it emerge as both a condition and a discourse? How have the ontological and epistemological pressures that animate the “unhuman” been facilitated, crystallized, and/or reflected by media? 

Please submit completed essays between 5,000-7,000 words in length, including endnotes and citations, as a Word document in Chicago style by registering on our website’s submission portal by July 15, 2021.



Version Française

Pour son troisième numéro, The Neutral sollicite des contributions pour ‘The Unhuman’

La distinction entre l’animal humain et non-humain a longtemps troublé les philosophes, dont Aristote, Descartes, Kant et Heidegger, qui ont tenté d’indexer des attributs qui n’appartiennent qu’aux humains. Derrida, cependant, reconnaît la positionnalité de l’animal, un animal qui renvoie le regard. Il propose d’examiner la relation entre les espèces comme une « rupture abyssale », comme une multiplication des différences, ce qui signale aussi limites de ce que l’homme peut savoir, et l’aporie dans sa connaissance des autres espèces. Et le concept de « devenir-animal » de Deleuze et Guattari qui suit leur méthodologie rhizomatique dans laquelle ils contrarient les tendances dominantes à catégoriser les organismes selon des caractéristiques stables, ouvrant au contraire les possibilités de relationalités en constante évolution. D’autres penseurs nous entraînent vers là où la frontière de l’humain s’effondre, notamment l’abject de Julia Kristeva, l’érotisme de Georges Bataille et l’inconscient de Sigmund Freud. Des articles potentiels pourraient demander: comment les images en mouvement visualisent-elles ou théorisent-elles la rupture abyssale ou les structures rhizomatiques? Comment le film présente-t-il des ontologies végétales ou souterraines?

Le posthumanisme offre des cadres et des pratiques philosophiques qui ont engendré l’élan pour décentrer les subjectivités humaines traditionnelles et la subjectivité elle-même, marquées temporellement comme venant après l’humanisme et sa recherche d’un sujet humain essentiel et universel avec une action souveraine. Cependant, le tournant vers l’étude des formes de vie non humaines est une décision prématurée pour des universitaires tels que Sylvia Wynter et Paul Gilroy, qui soulignent à juste titre que les personnes racialisées ont encore du mal à obtenir la reconnaissance de leurs droits en tant qu’êtres humains. Des « Afro-pessimistes » (issue de l’Afropessimism) comme Frank B. Wilderson III vont encore plus loin en affirmant que c’est l’anti-noirceur qui rend l’humain cohérent et que la relation Noir / humain est structurellement inconciliable. Pendant ce temps, des chercheurs tels que Mel Y. Chen abordent les questions du non-humain pour éclairer de nouvelles perspectives sur les corps racialisés, queer et ayant des capacités différentes et/ou handicaps. Des articles potentiels pourraient demander: quelles limites ou potentiels éclairages les discours sur l’animalité, la monstruosité ou la « technologisation » présentent-ils pour les populations marginalisées, et comment les images en mouvement permettent-elles de surmonter ces tensions?

Le posthumanisme est également symptomatique d’une convergence de l’antihumanisme, du post-humanisme et du post-anthropocentrisme à l’ère technologique et numérique. La cybernétique de Norbert Wiener ou l’utilisation du feedback comme moyen de communiquer avec l’inhumain produit des potentiels de compréhension de la technologie en tant que systèmes d’interactions. Reconnaissant les organes sensoriels comme des éléments clés dans les relations entre la vie des machines et la vie multi-espèces, l’utilisation de systèmes permet une relation délimitée entre les humains, l’écologie et les machines. Richard Grusin, plus récemment, dans son anthologie intitulée The Nonhuman Turn (2015), invite les partisans du posthumanisme et du nouveau matérialisme à considérer ce qui ne relève pas du domaine de « l’humain ». La recherche contemporaine qui a émergé ces dernières années et qui engage « l’autre qu’humain » soutient souvent que le continuum entre les corps humains et non humains a été érodé par nos enchevêtrements toujours croissants avec la technologie. Pourtant, elle semble également suggérer l’idée que le non-humain a finalement et ultimement toujours résidé dans l’humain. Comment pouvons-nous commencer à aborder la manière dont ces courants et discours académiques restent problématiques, car leurs tentatives d’élargir les catégories prescrites d’humains continuent d’exclure? Avons-nous en effet dépassé l’humanisme, ou simplement retravaillé ses principes fondamentaux pour qu’il puisse commencer à rendre compte de notre moment contemporain?

En tant que représentations de ce qui défie la « normalité », les monstres sont des aberrations de l’humain et deviennent ainsi le site sur lequel les humains développent leurs inquiétudes concernant la sexualité, le sexe et la race. La monstruosité offre également des moyens de réexaminer ce qui constitue l’humain, car « l’ontologie orientée zombie » ou « zombie oriented ontology » (dans son anglais original) de Jeffrey Jerome Cohen met l’accent sur la corporéité humaine et pense à travers le corps comme un vaisseau vidé de sa subjectivité. La science-fiction engage aussi des formes de vie inhumaines, présentant des possibilités imaginatives de ce que pourraient être les êtres extraterrestres, des forces malveillantes des films catastrophes et épiques, à une approche plus nuancée qui considère l’extraterrestre comme communiquant une compréhension de ce que signifie être terrestre, être humain, et les responsabilités de l’homme envers sa planète. Des articles potentiels pourraient demander: Comment pourrions-nous comprendre l’horreur, la science-fiction et l’écocinéma à la lumière d’une pensée qui va au-delà de l’humain? Qu’est-ce que les fictions spéculatives nous aident à comprendre sur les limites de l’être humain?

Pour ce numéro, ultimement, nous demandons: quel (s) rôle (s) les médias cinématographiques et de l’image animé jouent-ils dans la construction et / ou la conceptualisation du un-humain? Comment émerge-t-il à la fois comme condition et comme discours? Comment les pressions ontologiques et épistémologiques qui animent le un-humain sont-elles facilitées, cristallisées et / ou reflétées par les médias?

Veuillez soumettre les articles composés entre 5 000 et 7 000 mots, y compris les notes de fin et les citations sous forme de document Word dans le style de Chicago à submission portal avant le 15 juillet 2021.

Tagged with:

First Forum Graduate Student Conference 2021
October 21, 22, 28, & 29
Division of Cinema and Media Studies
School of Cinematic Arts, University of Southern California


We’re posting through it. All of it.
  • posting on social media
  • trolling and shit-posting
  • post-theoretical paradigms and movements
  • digital labor, content moderation and algorithms
  • the postal service and infrastructure
  • fans and celebrities
  • posters and physical media
  • going postal
  • doomscrolling and attention economies
  • the post-network TV era
  • post-Covid-19
  • bots and computation
  • publics and publicity
  • signposting and speech acts
  • Postmates and gig economies
  • outposts, fence posts, and borders
  • post-production
  • posting through it
  • job posts and impostor syndrome


Our Call for Posts — The organizing committee of the 2021 First Forum Graduate Student Conference invites our fellow graduate student scholars to submit abstracts that explore the wide range of meanings suggested by the word “posting” as it relates to the fields of cinema and media studies, communication, gender and sexuality studies, ethnic studies, and science and technology studies.

While posting might immediately refer to the work of participating in digital networks and the increasingly visible labor, affect, and resources that participation demands, we invite submissions that touch upon a range of mediums, methodologies, and approaches, from post-production to the postal service. “Post-“ might suggest the numerous post-intellectual moments scholars speculate we have been entering and exiting since the 1970s. Yet, even the formation of these post-modern, feminist, racial, historical moments themselves have been called into question, leading some to ask if we are now in the post-post-modern, the post-post-feminist era or if there was anything “new” about these moments in the first place. Meanwhile, many of us try to imagine a post-Covid era as old and new social arrangements struggle to emerge. The tireless Twitter troll and commenter on the human condition @Dril asks us to consider “posting ethically, within reason,” a position the organizing committee asks applicants to take seriously as they reflect on the multivalent meanings of “posting.” Clearly, the novel social, historical, and political arrangements that make posting and the “post-” meaningful are being reevaluated by people across a wide range of contexts that invite scholarly attention and interrogation.
In order to encourage attendance, reduce burnout, and ensure the health and safety of participants, students, and the broader Los Angeles community, First Forum 2021 will be a virtual conference, with panels and events held over two weeks on October 21, 22, 28, and 29.
Submissions should include an abstract (-300 words) and a short biography (-150 words). Conference presentations will be 15-20 minutes. Applicants must submit their materials by June 9, 2021 to Please include “Name + First Forum 2021 Submission” in the subject line. We warmly welcome non-traditional projects, including but not limited to, video essays and art exhibitions alongside traditional academic papers.
Posting Date: May 5, 2021
Job Title: Post-Doctoral Fellow
Department: Film and Media
Description of Area or Topic of Research: Media Archives


The Vulnerable Media Lab located in the Department of Film and Media at Queen’s University is inviting applications to a 1-year MITACS Accelerate Post-Doctoral Fellowship to work with our partners Reelout Queer Film Festival and Archive/Counter Archive to begin August 1, 2021.


Candidates must have defended their dissertation by July 15th, 2021.  (This is a firm deadline)

The successful candidate is expected to focus on research into archival processes, including ethical best practices and community-based methods for digitization, restoration, preservation, metadata production, and data management for analog and/or digital-born media, with particular engagement with LGBTQ2, Indigenous, Black or BIPOC communities in the Americas.


We invite applications from archivists and/or digital humanities interdisciplinary scholars who have earned a doctorate in one of the following areas, in order of priority: media preservation/archival or information studies, museum studies, communications, digital media, cultural studies, art history or related discipline, and have expertise in such fields such as asset/collections management, Indigenous knowledge architectures, digital media production. The position requires that the candidate has strong skills and experience in community arts engagement, and familiarity with open-source content management systems and, ideally, post-production software. Required soft skills include outstanding writing and communication skills, a strong collaborative working style, good time management, and adaptability. Working knowledge of Spanish or French would be considered an asset. 

This Post-Doctoral position will include opportunities to produce publications and curate media online and onscreen, participate in conference presentations and directly contribute to content design for VML and Reelout’s platforms, as well as for Archive/Counter-Archive’s hybrid publications. Working with a range of Queen’s partners (including Art Conservation, Queen’s Library and Archives, The Agnes Etherington Art Centre, and the Centre for Advanced Computing) and with graduate students in Cultural Studies, Art History, Art Conservation, and Screen Cultures and Curatorial Studies, the successful candidate will be well positioned to develop their projects and expand their skills. It is expected that the candidate will divide their time between the Vulnerable Media Lab on Queen’s Campus and Reelout’s office in Kingston, with research trips to archives in Toronto. 


The Vulnerable Media Lab is a state-of-the-art CFI-funded facility serving as the base for a number of research projects related to Indigenous, BIPOC, 2SLGBTQ+ and women’s histories.  The researchers aim to develop methods and processes to ensure this media is preserved and made available according to culturally specific and ethically driven forms of access, thus engaging in new conversations about cultural heritage.


Remuneration: $55,000
Start Date and Duration of Appointment: August 1, 2021-July 31, 2022
Required Qualifications: PhD in one or more of the following areas, in order of priority:media preservation/archival or information studies, museum studies, communications, digital media, cultural studies, art history or related discipline, and have expertise in such fields such as asset/collections management, Indigenous knowledge architectures, digital media curation and design. Strong skills and experience in community arts engagement, and familiarity with open-source content management systems.
Required Documentation: Cover letter describing experience and research intention; CV; names and contact information of two references. 
Application Deadline: June 15, 2021
Application Procedure: Apply by email to Dr. Susan Lord, Director of the Vulnerable Media Lab <>



EMPLOYMENT EQUITY: The University invites applications from all qualified individuals.  Queen’s is strongly committed to employment equity, diversity, and inclusion in the workplace and encourages applications from Black, racialized/visible minority and Indigenous/Aboriginal people, women, persons with disabilities, and 2SLGBTQ+ persons.


ACCOMMODATION IN THE WORKPLACE: The University has policies in place to support its employees with disabilities, including an Accommodation in the Workplace Policy and a policy on the provision of job accommodations that take into account an employee’s accessibility needs due to disability. The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during the interview process, please contact Dr. Susan Lord


Anishinaabemowin: Gimaakwe Gchi-gkinoomaagegamig atemagad Naadowe miinwaa Anishinaabe aking


Kanien’keha (Mohawk): UNe Queen’s University e’tho nońwe nikanónhsote tsi nońwe ne Haudenasaunee tánon Anishinaabek tehatihsnónhsahere ne óhontsa.


English: Queen’s University is situated on traditional Haudenosaunee and Anishinaabe territory.


For more information on the history of this land, and why it is important to acknowledge this land and its people, please see this link to the Queen’s Encyclopedia: 


PSAC Local 901, Unit 2 –



postdoc job posting VML


Film Studies Association of Canada Graduate Student Essay Prize

(La version française suit ci-dessous)


All current students are invited to submit an essay written as part of their graduate studies as application for the 2021 Film Studies Association of Canada Graduate Student Essay Prize. The recipient will be announced during the FSAC Annual General Meeting during the online annual conference that will be held June 1st through June 3rd 2021.

The selected essay will demonstrate maturity and sophistication of argument, be a clear and direct engagement with the discipline of Film Studies (broadly defined), be provocative and stimulating and have the potential for publication. 


  • Students must be registered in a graduate program for at least one semester in the school year prior to the deadline.
  • If the paper has more than one author, all authors must be registered graduate students and members of the association.
  • Papers submitted for review to a scholarly journal (even if not yet accepted) are not eligible.
  • Papers are submitted by the author(s), not a supervisor or faculty advisor.
  • Students must be fully paid members of FSAC at the time that they submit their paper for consideration. Previous winners may not submit entries. 
  • Essays resulting from research conducted under the Gerald Pratley Award may not be submitted, but Pratley winners may submit essays on other topics.

Application process:

Papers are evaluated by a blind-review process.

  • Do not include any identifying information of authorship or home institution in the body of the paper.
  • Submit by email as MSWord attachment
  • Place identifying contact information (author name(s), institution, contact information and essay title) in the body of the email.
  • Attach the paper with the title at the top of the first page.
  • Double-space and number your pages.
  • Essays should fall between 5000 and 7500 words in length.


A committee of executive members of the association, including a graduate student representative, will select the recipient.

The president will receive and distribute the applicants but will not participate in adjudication.

Send applications to: Louis-Paul Willis (

Deadline: May 15th, 2021

The selected paper is expected to be revised and submitted for publication consideration with the Canadian Journal of Film Studies. Feedback from the journal reviewers is a major benefit of this award.



Prix de l’essai étudiant de l’Association canadienne d’études cinématographiques

Les étudiants et les étudiantes présentement inscrit(e)s dans un programme d’études supérieures sont invité(e)s à soumettre un texte critique réalisé dans le cadre de leurs études de 2e et 3e cycle pour le prix du meilleur essai critique de l’Association canadienne d’études cinématographiques. Le gagnant ou la gagnante sera annoncé(e) lors de l’assemblée générale de l’association dans le cadre de la conférence annuelle qui se déroulera en ligne, du 1er au 3 juin 2021.

Le texte primé devra démontrer une maturité et une sophistication critique, offrir clairement et directement une contribution à la discipline des études cinématographiques (au sens large), se distinguer par son originalité, se pertinence et son potentiel de publication.

Éligibilité :

  • Les étudiant(e)s doivent être inscrit(e)s dans un programme de 2e ou 3e cycle depuis au moins un semestre dans l’année académique qui précède l’échéance; 
  • Si le texte à plus d’un auteur, tous les auteurs doivent être étudiant(e)s et membres de l’association;
  • Les articles déjà soumis à des revues scientifiques (et même s’ils n’ont pas encore été acceptés) ne sont pas éligibles ;
  • Les articles doivent être soumis par le candidat ou la candidate, et non par le directeur ou la directrice de recherche ou le ou la responsable de l’unité académique; 
  • Les étudiant(e)s doivent être membres de l’association au moment de soumettre leurs textes au comité. Les gagnant(e)s des années précédentes ne sont pas admis(es);
  • Les textes découlant de recherches réalisées dans le cadre du Prix Gerald Pratley ne sont pas admis, bien que des récipiendaires du prix Pratley peuvent soumettre des textes, mais ceux-ci devront porter sur un autre sujet. 


Démarche à suivre :

Les articles sont évalués à l’aveugle par un comité de pairs. 

  • Ne pas inclure des informations d’identification, ni le nom de votre institution dans le corps du texte;
  • Le texte doit être joint à un courriel, en format MSWord;
  • Le titre doit apparaître au haut de la première page du texte;
  • Le texte doit être à double interligne et paginé;
  • Les essais doivent compter entre 5000 et 7500 mots.


Un comité formé par des membres de l’exécutif de l’association, comprenant le représentant étudiant, sélectionnera le gagnant ou la gagnante.

Le président recevra et distribuera les candidatures mais ne participera pas au processus d’évaluation.

Envoyez vos soumissions à : Louis-Paul Willis (

Date limite : 15 mai 2021

Il est attendu que le texte sélectionné soit révisé et soumis pour publication à la Revue canadienne d’études cinématographiques. Les retours des évaluateurs de la revue forme un des bénéfices de ce prix.


CfP: Science and the Moving Image: Histories of Intermediality 

Location: Online (Zoom)

Date: November 2nd and 3rd PM (UK time), 2021


Since the advent of film in the late nineteenth century, moving images have been integral to making and communicating science. A rich interdisciplinary literature has examined such representations of science in the cinema and on television and investigated how scientists have used moving images to conduct research and communicate knowledge. Responding to growing interest in science and the moving image, this online workshop uses the concept of ‘intermediality’ as a starting point to discuss new approaches and methodologies. Intermediality, coined by media scholars to describe the interplay between different media, magnifies their multiple meanings and heterogenous interrelations. Moving images especially invite intermedial analysis because they are often composed of interrelated visuals, speech, music, and text; film can also be cut into stills for reproduction in newspapers, advertisements, and journals. Intermedial approaches thus allow scholars to assess not only the relationship between scientific practices and media forms, but also the afterlives, circulation, and reception of these media in a richer historical context. With its attention to relations and movement between media, intermediality also expands our understanding of the visual cultures of science, including in parts of the world and among groups that are underrepresented in current scholarship. We particularly invite submissions that use intermediality to engage critically with the scope and limits of science and the moving image.


Possible themes might include:

  • Processes of translation between different media, including film, television, radio, and print
  • Intermedial practices and histories of specific scientific disciplines
  • Moving images in science education
  • Transnational and comparative approaches to scientific image-making
  • Time-lapse, frame-by-frame analysis, and other analytical methods as intermedial practices
  • Representations of science in multimedia entertainment industries
  • The relationship between moving images of science and the history of empire and colonization
  • Amateur uses of moving image media, including citizen science
  • The cultural reproduction through scientific images of gender, race, and class. 


Keynote speaker: Dr. Tim Boon (Head of Research and Public History, Science Museum Group)

We welcome talks from postgraduate students, early-career researchers and established scholars. We are looking for abstracts (max. 250 words) for 15-20 minute talks, which will be arranged in thematic panels. Submissions should be sent to The deadline for proposals is June 28th, 2021 and we aim to respond to proposals within four weeks.

This workshop will take place online via Zoom and is hosted by postgraduate members of the Department of History and Philosophy of Science and the Faculty of History, University of Cambridge.

Organised by: Miles Kempton, Max Long, Anin Luo

MITACS Post-Doctoral Fellowship in Hybrid Media Publication Platforms
Version française ci-bas


Archive/Counter-Archive and Public Journal are pleased to announce a competition for a two-year MITACS Accelerate Post-Doctoral Fellowship position hosted by York University and Public Access Journal of interdisciplinary art.

Please share widely with your networks.

TIMELINE: Expected to begin June 1st, 2021
LOCATION: Toronto, Ontario Canada
SUPPORT: $45,000.00, office space at York University, use of a computer, and full access to York University Library

APPLY BY FRIDAY MARCH 19, 5PM EST – full details:  + see attached PDF

Candidates must have defended their dissertation by May 1st 2021.  (This is a firm deadline)

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

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

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

If you have any questions, please contact Aimée Mitchell at

PDF: EN – MITACS Post-Doctoral Fellowship in Hybrid Media Publication Platforms



Bourse Postdoctorale MITACS sur les plateformes de publications médiatiques hybrides

Archive/Contre-Archive et le collectif Public Journal sont fiers d’annoncer le concours d’une bourse postdoctorale de MITACS Accélération d’une durée de deux ans, un poste offert par l’Université York et par Public Access Journal sur les arts interdisciplinaires.

Veuillez circuler sur vos réseaux.

DATE: Commencement le 1er juin 2021
LIEU: Toronto, Ontario Canada
FINANCEMENT: 45 000$, un espace de bureau à l’Université York, l’utilisation d’un ordinateur et un accès complet aux bibliothèques de l’Université York

Les soumissions doivent être déposées avant le VENDREDI 19 MARS 2021 à 17h00 HNE. Pour plus de détails: + consulter le PDF ci-joint.
Les candidats·es doivent avoir défendu leur thèse d’ici le 1er mai 2021. (Il s’agit d’un délai ferme)
Il est prévu que le travail de recherche du ou de la candidat·e choisi·e se concentre sur les plateformes de publications médiatiques hybrides qui intègrent la publication écrite et numérique de façon créative, intéressante et critique. Une emphase sur La mobilisation du savoir sur les études de cas d’Archive/Contre-Archive et sur les résultats de leur groupe d’étude, ainsi que sur leurs artistes en résidences sera préconisée afin de mettre à l’essai du contenu sur différentes interfaces et plateformes de médias sociaux. Les résultats de recherche informeront directement Public sur les prochaines pratiques de publication à mesure que le journal évolue avec la fidélité du lectorat en ligne.
Nous invitons les chercheurs·euses interdisciplinaires qui détiennent un doctorat en communication, en études médiatiques, archivistique ou de l’information, en média numérique, ou en histoire de l’art, et ceux et celles qui possèdent une expertise dans des champs tels que la publication créative, le rayonnement en ligne, les communications et le design de média numérique. Le ou la candidat·e retenu·e pour le poste doit posséder de fortes compétences et une excellente expérience en recherche-création, dans l’application de connaissances et la transmission du savoir, un engagement dans les arts communautaires, ainsi qu’une familiarité avec les réseaux sociaux et l’hébergement de vidéos et les différentes plateformes de marketing. Une bonne compréhension de la gestion de systèmes de contenus web en code ouvert est un atout. Les compétences personnelles requises incluent une habileté exceptionnelle dans l’écriture et la communication, un style de travail faisant davantage appel à la collaboration, une bonne gestion du temps et une facilité d’adaptation.
Cette opportunité de postdoctorat offrira des possibilités de publications, de participer à des conférences et de contribuer directement à la conception de contenu pour les publications hybrides d’Archive/Contre-Archive. Il est prévu que le ou la candidat·e divisera son temps entre l’Université York et Public, qui est également situé sur le campus de l’Université York.
Pour toute question, veuillez contacter Aimée Mitchell:


A message from the organizers:

It’s our pleasure to announce the schedule for the 23rd Annual FSAC Graduate Student Colloquium. This year’s theme is ‘Spectre.’ It will be hosted by the University of Toronto’s Cinema Studies Institute and take place between Friday, January 29th and Saturday, January 30th. Dr. David Marriott from Penn State University will deliver the keynote presentation at 6:15 pm on Friday, January 29th. The colloquium will be taking place on Zoom Webinar and all are invited. Here are the log-in details:

Day One:
Zoom ID: 831 8161 4061
Passcode: spectre21

Day Two:
Zoom ID: 857 1310 6724
Passcode: spectre21

Please see the attached schedule for more details.

Additionally, there will be a virtual Zoom afterparty on Saturday, January 30th at 8:00pm. Log-in information will be shared during the colloquium. 

We hope to see you there! 



Call for applications: MA and PhD programs in Film and the Moving Image, Mel Hoppenheim School of Cinema, Concordia University, Montreal.

Deadline: February 1, 2021


The MA in Film and Moving Image Studies is a two-year program that gives students time to build a breadth of knowledge about cinema’s past and future. It also gives you a chance to consider its close relations with other media forms, from television through video and digital platforms. It provides you with a stimulating environment to examine film and the moving image as a political, social, cultural and artistic medium. Students have the opportunity to complete the program in a course-and-MA-thesis stream or in a course-only stream. 



The PhD in Film and Moving Image Studies provides an ideal environment for students to deepen their understanding of cinema and other moving image media from a wide variety
of historical, cultural and theoretical perspectives. It fosters interdisciplinarity in research and teaching, while being deeply rooted in the discipline of film and media studies and the aesthetic, philosophical, social and political debates that shape it. Seminars are designed exclusively for doctoral students and cover a robust range of scholarship recognizing the value of pluralism in moving image research. 


If you have any questions regarding thesis programs, you may reach out to our GPD,  Marc Steinberg (  film

Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters where we gratefully live, work and learn. 


La version française ci-dessous

23rd Annual Film Studies Association of Canada Graduate Colloquium University of Toronto Cinema Studies Institute
Friday January 29 – Saturday January 30, 2021 (Virtual)
Call for papers: “SPECTRE”

Keynote address by Dr. David Marriott, Penn State University

The year 2020 has been shrouded by the spectre of crises, from the novel coronavirus, to ongoing racial injustice and colonial violence. The impact of this year has sent reverberations through the ways in which we gather, research, think, make and consume art, and indeed, how we survive. The spectral seems to be an apt mode for contemplating the conditions that hover over our times, and that continue to haunt the cinema and its study.

Film scholars have long tracked the ghostliness of the cinematic. For example, Katherine Groo asks us to consider the absence and decay of film and its celluloid im/materiality as a part of its ontology. In Zoological Surrealism, James Cahill attests to the power of film to reanimate the dead, while Canadian scholar Andrew Burke’s recent work looks at how contemporary Canadian film is haunted by traces of the 1970s. The onscreen body, too, persists as a phantasmagoric figure. For Maggie Hennefeld, the spectral encapsulates the transfiguring, miniaturising embodiment of early film comediennes, while Eliza Steinbock calls upon the “shimmer” to envision the illusory, astonishing visibility of both cinema and transgender embodiment. Cinema’s legacy of racial imagery also continues to haunt its image-making practices; in Black Skin, White Masks, Frantz Fanon famously wrote: “I can’t go to the movies without encountering myself. I wait for myself. Just before the film starts, I wait for myself,” a passage taken up by Kara Keeling in her article “In the Interval.” The spectre of film’s racial imaginary also cannot be separated from the continued presence of systemic anti-Black violence, a spectre that is all too real.

Finally, since Derrida conceptualized the neologism “hauntology” in his 1993 Spectres of Marx, many scholars, like those aforementioned and beyond the discipline of media studies, have engaged with spectres. Indeed, this conference also asks, in what ways are we haunted by the spectre of spectre? How is the spectral contained and rendered by filmic practices, or by film’s ontology? How does the spectral inhabit onscreen bodies and map across visions of marginalisation, terror, and violence? What is the cinema continuously haunted by, and how does this haunting rear its head?

Sample topics may include but are not limited to:

  • The paranormal and ghostliness
  • Systemic violence/legacies of violence
  • Im/materiality, un/reality, absence/presence
  • Dis/embodiment
  • Repetition and temporality
  • Memory, trauma, loss, fear, anxiety
  • Surface
  • Derrida/hauntology
  • Legacies of film history and historic film scholarship/methods

Interested graduate students must submit a brief abstract (300 to 500 words) as a .PDF file, in English or French, by Monday, December 7th, 2020, to:

Submissions should include the following information:

  • Your name
  • Level of study
  • Name of your University
  • Title of your presentation
  • Abstract
  • Short bibliography

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L’année 2020 a été enveloppée par le spectre de différentes crises, du coronavirus aux injustices raciales et violences coloniales. Cette année a des répercussions sur nos façons de nous rassembler, de faire de la recherche, de penser, de faire et de consommer de l’art, et bien sûr, sur nos façons de survivre. Le spectral semble être un mode adéquat pour contempler les conditions qui planent au-dessus de notre époque, et qui continuent à hanter le cinéma et son étude.

Les chercheurs en Études Cinématographiques ont depuis longtemps adressé l’aspect fantomatique du cinématographique. Par exemple, Katherine Groo nous amène à considérer l’absence et la désintégration des films ainsi que l’im/matérialité du celluloïd comme partie intégrante de leur ontologie. Dans Zoological Surrealism, James Cahill affirme le pouvoir filmique de réanimer les morts, alors que le travail récent du chercheur canadien Andrew Burke s’intéresse à la façon dont les films contemporains canadiens sont hantés par les traces des années 70. Le corps filmé persiste lui aussi en tant que figure fantasmagorique. Pour Maggie Hennefeld, le spectral encapsule la corporalité transfigurée et miniaturisée des comédiennes des films des premiers temps, alors que Eliza Steinbock abord la notion de « shimmer » pour explorer l’illusoire et stupéfiante visibilité de la corporalité à la fois cinématographique et transgenre. L’héritage d’imagerie raciale du cinéma continue également de hanter ses pratiques imageantes; on se souvient de ce passage, dans Peau Noire, Masques Blancs, où Frantz Fanon déclare : « Impossible d’aller au cinéma sans me rencontrer. Je m’attends. À l’entracte, juste avant le film, je m’attends », un passage que reprend Kara Keeling dans son article « In the interval. » Le spectre de l’imaginaire racial du cinéma ne peut également se séparer de la présence continuelle de la violence systémique anti-noire, un spectre beaucoup trop réel.

Finalement, depuis que Derrida a conceptualisé le néologisme « hantologie » dans son livre de 1993 Spectres de Marx, plusieurs chercheurs, autant ceux mentionnés qu’au- delà des études médiatiques, ont engagé la notion de spectres. Ainsi, cette conférence demande également de quelle manière nous sommes hantés par le spectre du spectre? Comment le spectral est-il contenu et rendu par l’ontologie et les pratiques filmiques? Comment est-ce que le spectral habite les corps filmés, et comment est-ce qu’il cartographie au travers des imageries de marginalisation, de terreur et de violence? De quoi le cinéma est-il constamment hanté, et quelles sont les nouvelles actualisations de cette hantise?

Les sujets peuvent inclures, mais ne sont pas limités à :

  • Le paranormal et le fantomatique
  • La violence systémique/l’héritage violent
  • L’im/matérialité, l’ir/réalité, l’absence/la présence
  • L’in/corporalité
  • La répétition et la temporalité
  • La mémoire, le traumatisme, la perte, la peur, l’anxiété
  • La surface
  • Derrida/Hantologie
  • L’héritage de l’histoire cinématographique; l’étude et méthode historique

Soumissions :

Les parties intéressées doivent soumettre un bref résumé (de 300 à 500 mots) en .PDF, en anglais ou en français, d’ici le 7 décembre 2020 à l’adresse courrielle suivante :

Les soumissions doivent inclure les informations suivantes :

  • Votre nom
  • Niveau de scolarité
  • Institution d’attache
  • Titre de votre présentation
  • Votre résumé
  • Une courte bibliographie

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