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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.

 

The Jeffrey and Sandra Lyons Canadian Film Scholarship – 2022 Call for Applications

Submission Deadline: FRIDAY, NOVEMBER 18, 2022

For over four decades, TIFF has been committed to transforming the way people see the world through film. Central to this commitment is our pledge to preserve and promote Canada’s moving-image culture through educational initiatives and learning opportunities. TIFF is currently accepting applications for the 2022 Jeffrey and Sandra Lyons Canadian Film Scholarship, supporting the development of scholarship or research-creation that activates the archive. The award aims to:

  • increase access to the reference and archival collections of the Film Reference Library (FRL);
  • support research and research-creation that deepens knowledge about Canadian film and media;
  • and strengthen the relationship between cultural and academic institutions in pursuit of knowledge mobilization

TIFF encourages proposals from scholars, researcher-creators, and artists whose project would benefit from the unique collections of the FRL. Applications were previously accepted from MA, PhD, and post-doc students exclusively. In recognition of the interdisciplinary nature of film and media research, and the diversity of methodological approaches within the field, we have expanded the eligibility requirements to include those enrolled in any master’s program who are pursuing related research. 

This Scholarship provides the recipient access to the extensive resources and collections of the FRL for one month between January 2023 and July 2023. On-site access to research materials will be conducted safely and in line with COVID-19 protocols. Digital research may be possible, depending on the Special Collection and the research material requested. The successful applicant will be provided with a stipend of $1,000 CAD, a designated office space, and access to the FRL’s collections in support of their research. Special Collections of particular interest may include the archives of experimental filmmaker Mike Hoolboom; the Conquering Lion Pictures Archive of materials related to the works of filmmakers Clement Virgo and Damon D’Oliveira; the Deepa Mehta Archive; the Prospector Films Collection; the Divani Films collection; the Patricia Rozema Collection; the Bruce McDonald Collection; and the archives of score composer Christopher Dedrick. 

The FRL is the ultimate free resource for filmmakers, students, researchers, screenwriters, and film and television professionals. A proud affiliate member of the International Federation of Film Archives (FIAF), the FRL is dedicated to the preservation of Canada’s cinematic history, maintaining extensive archival and research collections with a focus on Canadian cinema. The collection is a library and archive that includes a comprehensive reference collection on all aspects of filmmaking and cinema studies (books, periodicals, research files, audio-visual materials, photographs), and Special Collections representing over 100 industry figures in Canadian cinema. Visit tiff.net/library to learn more about our collections, access the online catalogue, and browse Special Collections.

The Jeffrey and Sandra Lyons Canadian Film Scholarship is generously supported by the Jeffrey & Sandra Lyons Endowment Fund at TIFF.

As part of TIFF’s commitment to promoting diversity and inclusion in the Canadian film and media industries, we encourage and prioritize applications from equity deserving groups. We encourage you to self-identify in your application. TIFF is an equal-opportunity employer and is committed to providing accommodations in our hiring process for people with disabilities. If you require an accommodation, please inform us in advance and we will work with you to meet your needs.

La Bourse du cinéma canadien Jeffrey et Sandra Lyons – Appel de candidatures 2022

Clôture des candidatures :LE VENDREDI 18 NOVEMBRE 2022

Depuis plus de quatre décennies, le TIFF se voue à transformer la vision du monde, par le biais du cinéma. Au cœur de notre engagement, nous cherchons à préserver et à promouvoir a culture canadienne de l’image en mouvement à l’aide d’initiatives éducatives et de possibilités d’apprentissage. Le TIFF accepte actuellement les candidatures pour la Bourse du cinéma canadien Jeffrey et Sandra Lyons de 2022, afin d’appuyer le développement d’études et de recherche-création qui pourront mettre à profit l’archive. Ce prix vise à :

  • donner l’accès aux collections de références et d’archives de la Bibliothèque de référence cinématographique (Film Reference Library ou FRL, en anglais)
  • soutenir la recherche et la création de recherche qui favorisent l’approfondissement de la connaissance du cinéma et des médias canadiens ;
  • et à renforcer la relation entre les institutions culturelles et académiques pour favoriser la mobilisation du savoir.

Le TIFF encourage les universitaires, chercheurs-créateurs et artistes travaillant sur des projets qui bénéficieraient de l’accès aux collections uniques de la FRL à présenter des propositions. Antérieurement, seulement les candidatures d’étudiants inscrits à un programme de maîtrise, de doctorat ou de post-doctora étaient acceptées. En reconnaissance de la nature interdisciplinaire de la recherche cinématographique et médiatique ainsi que de la diversité des approches méthodologiques dans le domaine, nous avons élargi les critères d’admissibilité afin d’inclure les étudiants inscrits à tout programme de maîtrise qui font des recherches connexes.

Cette Bourse offre au chercheur l’accès aux vastes ressources et collections de la FRL pour une période d’un mois entre janvier 2023 et juillet 2023. L’accès sur place au matériel sera effectué en toute sécurité et conformément aux protocoles de la COVID-19. La recherche numérique peut être possible selon la Collection spéciale et le matériel de recherche demandé. Le candidat retenu recevra une allocation de 1 000 $ CAD, un bureau désigné et l’accès aux collections de la FRL pour soutenir leur recherche. Les Collections spéciales d’intérêt particulier incluent les archives du cinéaste expérimental Mike Hoolboom ; l’archive Conquering Lion Pictures du matériel lié aux œuvres des cinéastes Clement Virgo et Damon D’Oliveira ; l’archive Deepa Mehta ; l’archive Prospector Films ; l’archive Divani Films ; l’archive Patricia Rozema ; l’archive Bruce McDonald ; et les archives du compositeur de musique de film Christopher Dedrick.

La FRL est la ressource ultime pour les cinéastes, étudiants, chercheurs, scénaristes, et professionnels du cinéma et de la télévision. Fier membre affilié de la Fédération internationale des archives du film (FIAF), la FRL se voue à la préservation de l’histoire cinématographique du Canada, par le maintien de vastes collections d’archives et de recherche axées sur le cinéma canadien. La collection est une bibliothèque et une archive comprenant une vaste collection de références sur tous les aspects des études concernant la production de films et le cinéma (livres, périodiques, dossiers de recherche, matériels audiovisuels, photos), ainsi que des Collections spéciales représentant plus de 100 chefs d’industrie du cinéma canadien. Consultez tiff.net/library pour en apprendre davantage sur nos collections, pour accéder au catalogue en ligne et pour découvrir les Collections spéciales. 

La Bourse du cinéma canadien Jeffrey et Sandra Lyons bénéficie du généreux soutien du fonds de dotation Jeffrey & Sandra Lyons au TIFF.

Dans le cadre de l’engagement du TIFF à l’égard de la promotion de la diversité et de l’inclusion dans les industries canadiennes du cinéma et des médias, nous encourageons et priorisons la soumission de demandes de groupes méritant pour l’équité. Nous vous encourageons de vous auto-identifier dans votre demande. Le TIFF souscrit au principe de l’égalité en matière d’emploi et s’engage à accommoder les personnes handicapées dans notre processus d’embauche. Si vous avez besoin de mesures d’adaptation spéciales, veuillez nous en informer à l’avance et nous travaillerons avec vous pour répondre à vos besoins.

 

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

[Version française ci-bas]

BACKGROUND INFORMATION

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

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

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

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

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

1) COPYRIGHT ADVOCACY (CA)

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

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

2) ACCESS & EXHIBITION (AE)

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

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

3) MEDIA APPROPRIATION & REPURPOSING (MAR)

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

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

APPLICATION

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

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

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

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

 

 


 
 
 

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

 

INFORMATIONS CONTEXTUELLES

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

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

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

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

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

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

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

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

2) ACCÈS ET PROJECTIONS (AP)

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

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

3) APPROPRIATION ET RÉUTILISATION DES MÉDIAS (ARM)

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

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

POUR SOUMETTRE SA CANDIDATURE

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

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

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

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

 

WORK & PLAY

 

2022 Literature/Film Association Conference   

New Orleans, Louisiana, USA  

October 20 to October 22, 2022  

Keynote: Vicki Mayer, Tulane University  

 

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

 

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

 

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

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

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

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

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

 

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

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

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

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

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

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

International scholars are strongly encouraged to apply.

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

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

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

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

Media Aesthetics IV:  

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

Institute Format and Application Process 

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

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

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

 

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

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

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

 

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

 

About the Research

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

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

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

Funding

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

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

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

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

The position will begin in June  2022.

How to apply

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

All correspondence should be addressed to:

Professor Janine Marchessault

c/o Dr. Antoine Damiens,  Project Manager

SSHRC Partnership Grant, Archive/Counter-Archive

YORK UNIVERSITY | 2001F  Victor  Phillip  Dahdaleh  Building 4700  Keele  Street ·  Toronto  ON  ·  Canada  ·  M3J 1P3

 

“The chaos of the mind cannot constitute a reply to the providence of the
universe. All it can be is an awakening in the night, where all that can be heard is
anguished poetry let loose. ”
— Georges Bataille, Literature and Evil

Greek Chaos (the gap between heaven and earth) births Gaia (earth) and Eros (sexual desire) which procreate to make other deities. Under the acceleration of modernity we encounter the relentless accumulation of knowledge without understanding or grounding. We sense our own bodies and feel the threat of chaos loom in the mass of ambivalent sensations that rise into our perception. We embrace chaos and its vicissitudes, asking to be demolished by its operations so we can be reborn – or die – anew.

For our inaugural graduate conference we invite you to think of chaos as a space of potential for re-shaping dominant modes of engaging with the world. How does art diffuse or activate chaos? In what ways do mythological formulations of chaos speak to our present moment? How does your artistic/scholarly work respond to, react against, or embrace chaos?

We are seeking traditional and non-traditional forms of presentation: Papers, screenings, performances, animation, workshops, theatre, puppetry, curatorial projects, sound work, poetry, DJA/J sets, light works, papers, live body horror, sculpture, relational aesthetics, stripteases, pataphysical contemplations, weddings, rituals, massages, parties, beckonings, radio plays, podcasts, found drama – as befits a conference on chaos, the options are limitless.

  • Geopolitics and the mapping of chaos
  • Quantum chaos and chaos in scientific fields
  • Gendered and affective dimensions of chaos
  • Competing cosmologies and mythologies of chaos
  • Ontologies of chaos, e.g. Mallarme’s Un coup de dés
  • Chaos magic, conspiracy, and the supernatural
  • Politics of chaos: anarchism and its lineages
  • Performances of chaos, e.g. John Cage
  • Phenomenologies of chaos: noise, pareidolia, madness

Submit proposals of up to 500 words to sccs.filmandmediagraduate@gmail.com by May 10, 2022. The conference will be in-person in Kingston, Ontario. Individual and collaborative proposals are welcome. You can include images and audio in your proposals, and please let us know your tech needs. If you require alternative submission formats, please let us know.

 

FSAC Student Writing Award – ACÉC Prix de l’essai étudiant