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The Dalhousie Association of Graduate Students in English Presents
Destinations and Departures An Interdisciplinary Graduate Conference
August 11-13, 2022, Dalhousie University, Halifax, Nova Scotia

It’s a dangerous business, […] going out of your door, […] You step into the Road, and if you don’t keep your feet, there is no knowing where you might be swept off to.

—J.R.R. Tolkien

Most of us have started out on a journey—literal, intellectual, emotional—aiming for one destination and arriving somewhere else entirely. When we look back on the path we took to get there, what can we learn about ourselves from how our plans and thinking changed along the way? Moreover, when we look forward to our next destination, do we have any way of knowing where we will arrive?

Many of us have not travelled much—if at all—in the last few years, but that does not make us any less conscious of place, space, movement, and changes. These things continue to impact our lives and our scholarship, whether it is a project that had to rapidly change directions due to the pandemic, or a greater sense of how our lives are shaped by the places we go, have gone, and wish to visit, brought on by staying in one place. Historically, many forces have played a role in forcing, restricting, opening, or limiting movement, whether that be in the form of borders and boundaries, or in the form of expectation and convention.

Our conference this year focuses on the places we go (literally and metaphorically) and the paths we take to get there.

We invite submissions for papers, creative works, or something in between (15 – 20 minutes) from across the disciplines that engage critically with these issues.

Proposed topics include (but are not limited to):

  • Travel Writing
  • Road Literature
  • Tourism
  • Transportation
  • Space and Place in Literature
  • Migration and Trade
  • Boundaries (International, Disciplinary…)
  • Liminality
  • New Disciplinary Directions
  • Changes in Scholarly Writing/Methods
  • Field Work (Surprises, Complications, Successes, Struggles)
  • Public Scholarship
  • Ecosystems
  • Evolution(s)
  • Statistical Modelling
  • Exploration
  • Climate Fiction and/or Dystopia
  • Quest Narratives
  • Utopia as Lost Paradise or Future Achievement
  • Death and Dying
  • Genesis and Apocalypse

Submissions: Please send a 250-word abstract plus a 50-word bio along with your name, current level of graduate study, affiliated university, email address, and current time zone (in UTC) to Panel submissions are also welcome. Please include “Destinations and Departures Conference Abstract” in the subject line.

Deadline: April 3, 2022


The 24th Annual FSAC Graduate Colloquium will be taking place on February 18th and 19th over Zoom, co-hosted by the Cinema Studies Graduate Student Union at University of Toronto and the Graduate Film Student Association at York University.

Please find attached our full schedule, with a slate of panelists from across the globe. We are also proud to welcome Kemi Adeyemi from the University of Washington, who will deliver our keynote presentation on February 18th, entitled “On Black Apathy.”

The link to join the Zoom Webinar has been shared to the FSAC listserv. If you have not received it or if you want to request access to the event, please reach out to


Canadian Journal of Film Studies – Call for Papers 
Special Issue: Climate Change and Cinema: Imagining Failure, or Failure of the Imagination? 


Version française ci-bas

Climate change, and our collective failure to meaningfully meet it head on, is often characterized as a paradigmatic market failure, as well as a failure of democratic politics. But it is equally a failure of the imagination, literary and filmic. Writing in the literary journal Granta in 2003, environmental advocate and author Bill McKibben lamented that climate change “has still to produce an Orwell or a Huxley, a Verne or a Wells, a Nineteen Eighty-Four or a War of the Worlds, or in film any equivalent of On The Beach or Doctor Strangelove. It may never do so.”1 

Fast-forward to 2022 and McKibben’s lament rings no less true, though not for a lack of trying. Beginning with the 2004 film The Day After Tomorrow the steady rise in global temperatures has been accompanied by a spate of films addressing climate change, directly and indirectly, fictionally and factually. Given this “failure” to produce films that have had an actual social, cultural and political impact, we invite papers that critically examine the relationship between cinema and climate change, including but not limited to our personal and political paralysis in the face of escalating socio-ecological calamities and the threat of a sixth mass extinction. How does cinema reflect and refract our predicament? Can – should – film effectively intervene in the climate crisis? Are the documentaries that adopt a “discourse of sobriety”2 of facts and data the best vehicles to galvanize the public into action or is popular cinema a better tool? What is the relationship between film and climate activism, including intersectional climate justice? Conversely, how does cinema continue to fuel business as usual and populist resistance to decarbonization? And what, in turn, does climate change mean for cinema? How we view and think and write about film?      

In order to accommodate as many kinds of contributions as possible, we are open to papers of varied length and approach, and we especially encourage innovative interdisciplinary methods. Proposals should be approximately 300 words, indicate anticipated length, include a short bio, and should be submitted no later than May 1st, 2022. Contributors will be notified by June 1st, 2022. Completed papers will be due January 31st, 2023, with a view to publication in the Fall of 2024.   


Send your proposals to the two guest editors: 

Dr. André Loiselle  
Dean of Humanities  
Professor of Film Studies  
St. Thomas University  

Dr. Jason MacLean 
Assistant Professor, Faculty of Law, University of New Brunswick 
Adjunct Professor, School of Environment and Sustainability, University of Saskatchewan  




Revue canadienne d’études cinématographiques – Appel à contributions 


Numéro spécial : Changement climatique et cinéma : imaginer l’échec ou échec de l’imagination ? 

Le changement climatique, et notre échec collectif à y faire face de manière significative, est souvent caractérisé comme un échec paradigmatique du marché, ainsi qu’un échec des politiques démocratiques. Mais c’est également un échec de l’imagination, littéraire et cinématographique. Dans un article paru en 2003 dans la revue littéraire Granta, l’environnementaliste et auteur Bill McKibben déplore que le problème existentiel du changement climatique « n’ait toujours pas produit un Orwell ou un Huxley, un Verne ou un Wells, un Nineteen Eighty-Four ou une War of the Worlds, ou au cinéma un équivalent de On The Beach ou Doctor Strangelove. Et peut-être que cela n’arrivera jamais1. » 

Vingt ans plus tard et les observations de McKibben semblent toujours vraies, mais non pas parce que personne n’a essayé de relever le défi! Depuis le film The Day After Tomorrow en 2004, l’augmentation constante des températures à l’échelle mondiale a été accompagnée d’une série de films traitant du changement climatique, directement ou indirectement, de manière factuelle ou fictive. Compte tenu de cet « échec » à produire des films ayant eu un véritable impact social, culturel et politique sur cette crise actuelle, nous vous invitons à soumettre des articles qui examinent de manière critique la relation entre le cinéma et le changement climatique, y compris, mais sans s’y limiter, notre paralysie personnelle et collective face à l’escalade des calamités socio-écologiques et à la menace d’une sixième extinction de masse. Comment le cinéma reflète-t-il, et réfracte-t-il, notre atroce situation ? Le cinéma peut-il – devrait-il – intervenir dans la crise climatique ? Les documentaires qui adoptent un « discours de sobriété2 », un discours de faits et de données, sont-ils les meilleurs vecteurs pour mener le public à l’action ou le cinéma populaire est-il un meilleur outil ? Quelle est la relation entre le cinéma et l’activisme climatique, y compris la justice climatique intersectionnelle ? À l’inverse, comment le cinéma continue-t-il d’alimenter le statu quo et la résistance populiste à la décarbonation ? Et que signifie, à son tour, le changement climatique pour le cinéma ? Comment voyons-nous, pensons-nous et écrivons-nous sur le cinémadans un monde profondément affecté par le changement climatique ? 

Afin de favoriser le plus de diversité possible, nous sollicitons des articles de longueur et d’approche variées, et encourageons les méthodes interdisciplinaires novatrices. Les propositions doivent inclure un résumé d’environ 300 mots, indiquer la longueur prévue de l’article, inclure une courte biographie et doivent être soumises au plus tard le 1er mai 2022. Vous serez informé avant le 1er juin 2022 si votre soumission a été acceptée. La date de soumission des articles est le 31 janvier 2023, en vue d’une publication à l’automne 2024. 


Envoyez vos propositions aux deux éditeurs invités : 


André Loiselle 
Doyen des sciences humaines 
Professeur titulaire d’études cinématographiques 
Université Saint-Thomas 


Jason MacLean 
Professeur adjoint, Faculté de droit, Université du Nouveau-Brunswick 
Professeur associé, École d’environnement et de durabilité, Université de la Saskatchewan 



1Bill McKibben, “Worried? Us?” Granta 83 (2003). Amitav Ghosh similarly argues that the climate crisis is also “a crisis of culture, and thus of the imagination.”/ Amitav Ghosh soutient de la même manière que la crise climatique est aussi « une crise de la culture, et donc de l’imagination ». Amitav Ghosh, The Great Derangement: Climate Change and the Unthinkable (University of Chicago Press, 2016). 

2Bill Nichols (1991). Representing Reality: Issues and Concepts in Documentary. Bloomington, IN: Indiana University Press. p.3 


The Unlearning Temporality Graduate Workshop builds on the theme “The temporal diversity of our time, pluralizing and unlearning the modern Western temporal regime,” developed by Professor Birgit Hopfener in the context of the Ruth and Mark Phillips Professorship in Cultural Mediations (ICSLAC, Carleton University).

What are multiple concepts of time, plural and entangled temporal structures and regimes that constitute the present and our contemporary conceptual frameworks of knowing, being, creating art and cultural artifacts, and relating to each other and the world?

This interdisciplinary workshop takes the above question as the starting point to render visible, critique, and “unlearn” (G. Spivak) the universalized modern Western temporal framework. It seeks to facilitate a collaborative learning space to contemplate the cultural and historical multiplicity of temporalities that constitute the present through critical engagements with works of visual art, film, music, literature, etc.

We welcome submissions by graduate students from all disciplines to examine a diverse range of topics, including, but not limited to:

  • Narrative time in works of popular culture (film, television, video games, etc.)
  • Colonialism/De-coloniality and time
  • The impact of COVID-19 on Western conceptions of time
  • Environmental and climate theory and temporality
  • Time and Queer Theory
  • Unlearning Modernity in Scientific Practice

Contributors are invited to present their paper or project for 10 minutes, followed by a collaborative group discussion. We hope to facilitate engaged discussions and collaborative knowledge creation by opening the workshop with an introduction on the nature of the modern temporal regime and the practice of “unlearning,” and a slow looking session of a work of art that engages with the workshop’s themes. The goal is for presenters to collaborate through discussion and reflect on the topic.

Please submit an abstract (250-300 words) along with a short bio(~150 words) addressed to the organizing committee co-chairs Victoria Hawco and Makenzie Salmon by March 1st to

Please include “Name + Temporality 2022 Submission” in the subject line. Participants will be notified by March 15th.


Webdocumentary and historiographical issues

At first glance, the webdocumentary could be classified as a media form that enjoyed an intense but ephemeral craze around 2010. However, its use continues to develop at the turn of the 2020s, but outside of its initial foothold, a particular interest in this heterogeneous and delinearised audiovisual form is gaining ground within research in the humanities and social sciences. This leads us to raise methodological questions and to identify issues that have to do with both the writing of history and public history.

More info :

Among the subjects covered by this call for contributions:

  • feedback on projects carried out in research-creation and/or public history;
  • historiographical or epistemological reflections resulting from the practice of designing interactive documentaries;
  • feedback on methods developed to ensure the sharing of authority between the different actors of the creation teams and the realisation of such historical projects in “shared authority”;
  • perspectives on the tools and forms of work specific to its web objects with the help of existing documentary projects (carried out inside or outside the university framework);
  • explorations of particularly relevant uses of sources in webdocumentaries (critical fabulation, anarchive, oral history, media archaeology);
  • studies on the choices made for the circulation of historical webdocumentaries and on the different methods of conceptualising and implementing the dissemination of projects at different stages of their realisation.

Proposals (maximum one page) and a brief biographical note should be sent before April 1, 2022 to and Papers may be written in English or French. If selected, the article, which should not exceed 35,000 characters, must be written by August 31, 2022.



Webdocumentaire et enjeux historiographiques

À première vue on pourrait classer le webdocumentaire au rayon des formes médiatiques ayant bénéficié d’un engouement aussi intense qu’éphémère autour des années 2010. Son utilisation continue pourtant à se développer au tournant des années 2020, mais en dehors de son ancrage initial, un intérêt particulier pour cette forme audiovisuelle hétérogène et délinéarisée gagnant, en effet, du terrain au sein de la recherche en sciences humaines et sociales. Cela nous conduit à soulever des questionnements d’ordre méthodologiques et à identifier des enjeux qui ont à voir tant avec l’écriture de l’histoire qu’avec l’histoire publique.

Plus d’info :

Parmi les sujets couverts par cet appel à texte :

  • des retours d’expérience sur des projets menés en recherche-création et/ou en histoire publique
  • des réflexions historiographiques ou épistémologiques issues d’une pratique de conception de documentaires interactifs
  • des retours d’expérience sur des méthodes développées pour assurer le partage de l’autorité entre les différents acteurs des équipes de création et la réalisation de tels projets historiques en “autorité partagée”.
  • des mises en perspectives des outils et des formes de travail propres à ses objets web à l’aide de projets documentaires existants (menés à l’intérieur ou à l’extérieur du cadre universitaire)
  • des explorations d’utilisations particulièrement pertinentes des sources dans des webdocumentaires (critical fabulation, anarchive, histoire orale, archéologie des médias)
  • des études revenant sur les choix de mise en circulation des webdocumentaires historiques et sur les différentes méthodes de conceptualisation et de mise en oeuvre de la diffusion des projets, et ce à différentes étapes de leur réalisation.

Les propositions d’articles (une page maximum) ainsi qu’une courte biographie seront envoyées avant le 1er avril 2022 à et Les articles peuvent être rédigés en français ou en anglais. Si la proposition est sélectionnée, l’article, qui ne devra pas dépasser 35 000 signes, devra être rédigé avant le 31 août 2022.

Nonhuman Artists: Challenging Anthropocentrism in Art History

Ninth Annual Wollesen Memorial Graduate Symposium
Organized by the Graduate Union of the Students of Arts
Online and In Person, University of Toronto

Keynote Address: Rebecca Zorach, Northwestern University

The Graduate Union of the Students of Art (GUStA) at the University of Toronto is pleased to present the Ninth Annual Wollesen Memorial Graduate Symposium in cooperation with the Department of Art History.

In art history, notions of artistic creation, identity, and agency are often underpinned by an anthropocentric framework that hampers critical reflection on non-human actors in the making and circulation of images and artefacts. This symposium seeks to explore non-anthropocentric perspectives to artistic practice by confronting the ‘animal’, ‘inorganic’, or even ‘divine’ limits of art-making, and examining the degree to which the works of art both past and present continue to be shaped by agencies and currents of power that resist or exceed human control. We encourage submissions from students and scholars working on visual and material culture in any period or region, as well as those engaging with theoretical insights in eco-criticism, history of science and technology, media theory, archaeology and anthropology.

Examples of research area include, but are not limited to:

  • anthropocentrism in art history
  • political agency of animals in art
  • the limit between art and nature, organic and inorganic in art-making (nature as painter/artist/artisan, lusus naturae, nature print, photography)
  • indigenous place-thought and land-based consciousness
  • the limits of notions such as agency, intentionality, and consciousness and meaningful ways to articulate agency, consciousness or thought proper to images and artefacts
  • material agency; artists ‘listening’ to what their work/material/tool ‘wants’
  • analogies between the artist and their tools (retina/lens, finger/brush, etc.)
  • diverse strategies used to circumvent or relinquish human agency, intention, or willpower in art-making (Acheiropoieta, role of accident and chance, automatism and the unconscious
  • art generated by new digital technologies (e.g. Google Lens, Deep Dream Generator)
  • the dehumanization of artists in political, ideological and colonial contexts

The Ninth Annual Wollesen Memorial Graduate Symposium takes place on March 18, 2022. To allow for flexibility amid ongoing pandemic, the symposium will be arranged in a hybrid format, with in-person meeting held at Hart House, St. George Campus. Speakers participating online have the option of presenting live or submitting a pre-recorded presentation. Presentations are 20 minutes in length, followed by a live discussion period. We will be requesting submissions of completed manuscripts for publication in the symposium proceedings.

Please submit 250-word paper abstracts accompanied by a 100-word bio (.doc/.docx/.pdf) to the Graduate Union of the Students of Art at by February 4, 2022, at 5 PM ET. If you would like to submit a request for an organized panel session consisting of three papers, please ask all authors in the session to submit individual abstracts and send us a separate email containing the names and email addresses of all session speakers. Applicants will receive email notification no later than Friday, February 25, 2022, at 5PM ET.

For more information, please visit Queries regarding submissions should be directed to


The 2022 John Douglas Taylor Conference committee at McMaster University welcomes interdisciplinary proposals for presentations for Diasporic Solidarities: Islands, Intimacies, and Imagining Otherwise. Conference presentations should engage with the complexities of constellating solidarities in so-called North America and in relation to historical and contemporary transnational flows of people, information, and capital with particular focus on the island (including land, movement to-from-and-away, Turtle Island, and more). The conference format will be virtual and synchronous via Zoom webinar. The two-day conference program features a plenary session and several research panel presentations.

Conference Dates: June 9-10, 2022

Please see the full CFP on our website:

Please submit 150-word proposal and 75-word bio to

Proposal Submission Deadline: January 20, 2022


Call for Applications
MA in Film Studies
Carleton University-Canada’s Capital University.
Ottawa, ON  

Carleton University’s Film Studies Program invites applications to its MA program for the 2022-2023 academic year. Applications received by February 1, 2022, will receive priority consideration. Admission decisions will be made by late February-early March. The Program may consider late applications.  

Carleton University’s Film Studies program is a student-centered, globally focused, and interdisciplinary program that teaches critical, theoretical, and historical approaches to cinema and emerging media. Students learn to think analytically and express themselves clearly while developing specialized knowledge about history, aesthetics, and film as a social and cultural practice. Our internationally recognized faculty are engaged in innovative research with numerous books, articles, grants, and awards to their credit. Our program offers a collegial, supportive, and student-friendly atmosphere conducive to success, with a faculty committed to student mentorship.

Areas of faculty expertise include world cinema (e.g. the cinemas of Africa, Asia, Scandinavia, Western Europe, Canada, and the United States), film theory and philosophy, film history, documentary film, and media, Indigenous film and media, video games and new media, queer and transgender media, and sound studies.

Our program welcomes applications from students with an undergraduate degree in Film Studies and cognate disciplines such as Communication, Journalism, Art History, Music, Literature, Indigenous and Canadian Studies, Women’s and Gender Studies, History, etc. Students may supplement their studies with a specialization in African Studies,  the Digital Humanities, or pursue a Graduate Diploma in Curatorial Studies.

During their studies, students may qualify for internships which provide them with practical film- and media-related experience and opportunities to work with Ottawa-area arts institutions, companies, and associations including film festivals (Canadian Film Institute, Ottawa International Animation Festival, InsideOut Ottawa LGBT Film Festival, One World Film Festival, Digi60 Filmmakers’ Festival), archives and museums (Library and Archives Canada, Ingenium: Canada’s Museums of Science & Innovation, Carleton’s Audio-Visual Resource Centre) and film production and exhibition facilities (SAW Video Media Art Centre, Independent Film Cooperative of Ottawa).

Carleton University offers generous and highly competitive funding packages. Admission funding may take the form of one or more of the following: Teaching Assistantships (TAships), Domestic Entrance Scholarships, Merit Scholarships, Donor-Funded Awards Research Assistantships (RA), etc.

Established in 1977, Carleton’s Film Studies is one of the oldest programs in Canada. Members of our faculty helped found the discipline’s professional society, the Film Studies Association of Canada, and have held various offices over the years. Three past presidents of FSAC are members of our faculty, and the association’s journal, The Canadian Journal of Film Studies, was recently housed at Carleton. Present and past members of faculty also serve or have served on the editorial boards of Camera Obscura, JCMS: The Journal of Cinema and Media Studies, Revue Cinémas, Animation Journal, Studies in French Cinema, Journal of Scandinavian Cinema, The Soundtrack, Film History, Performance Matters and Positif, etc.

Carleton University is strongly committed to fostering diversity within its community as a source of excellence, cultural enrichment, and social strength. We welcome those who would contribute to the further diversification of our University including, but not limited to: women; visible minorities; First Nations, Inuit and Métis peoples; persons with disabilities; and persons of any sexual orientation or gender identity and expressions

For more information please visit our website: For questions, please contact Dr. Aboubakar Sanogo, Graduate Supervisor at



Pre-Constituted Panel Calls for Abstracts

Panel proposals for The Annual Conference of the Film Studies Association of Canada (FSAC), May 12-15, 2022. Please review the pre-constituted panel call for abstracts below. If you are interested in applying for any of them send the required abstract and bio to the specific panel chair by January 15th.

Each panel chair will inform you of their decision by January 25th and the abstracts they have selected to be included in their final submission will be sent to the Conference Committee on January 31

If your paper is not selected for the panel you have applied for you are welcome to submit it as an individual paper for the January 31 deadline (see the larger 2022 Conference CFP for more details).


Appel à propositions pour panels préconstitués 

Vous trouverez ci-bas des propositions de panels pour la conférence annuelle de l’Association canadienne d’études cinématographiques (ACÉC), qui se tiendra du 12 au 15 mai 2022. Veuillez consulter les appels à propositions des panels préconstitués ci-dessous. Si vous souhaitez postuler pour l’un d’entre eux, envoyez le résumé et la biographie requis au(x) responsable(s) du panel en question d’ici le 15 janvier 2022.

 Chaque président·e de panel vous informera de sa décision d’ici le 25 janvier. Les propositions ainsi sélectionnées pour être incluses dans leur soumission finale et envoyées au Comité de la conférence le 31 janvier.

 Si votre proposition n’est pas sélectionnée pour le panel pour lequel vous avez postulé, nous vous invitons à la soumettre en tant que présentation individuelle pour la date limite du 31 janvier (voir l’appel général de la Conférence 2022 pour plus de détails).

Panel Call Table of Contents

  1. Reframing the Nation: Racialized/Queer Diasporic Independent Women Filmmakers in Canada
  2. Making Spaces for Repair, Making Room for Other Virtual Reality Futurities
  3. Antenational Cinemas: Rethinking Indigenous and Canadian Images
  4. Social Media as Cinemas of Attraction
  5. Utopies adolescentes à la télévision/TV Teen Utopias
  6. Passages, Transitions, and Transformations: Imagining Intersectional Feminist Media and Film Futures
  7. Living Archives and Counter-Archives in Film, Video, and Media Arts in Canada
  8. Experiments in Independent Film & Media in Canada





1. Reframing the Nation: Racialized/Queer Diasporic  Independent Women Filmmakers in Canada 

This panel is dedicated to a close engagement with films produced by racialized and  queer racialized independent women filmmakers in Canada. It aims to ignite conversations around the often underexamined cinematic visions, perspectives, and  legacies of especially first and second generation racialized/queer women filmmakers  engaged in independent filmmaking between 1980-2020 across Canada. The particular focus is on independent production across all moving image genres and formats,  encapsulating artistic practices rooted in personal, political, aesthetic, cultural,  philosophical, and/or social justice concerns. We hope to explore the fraught relationship  that can arise in independent production between arts funding and policy, and  artistic/creative agency especially for minoritized groups. Further, we are interested in  exploring how queer/queer diasporic women filmmakers contribute to and/or challenge  national and settler narratives through their creative practice.  


Submissions can explore the following: 

  • Theoretical explorations of diasporic works by Canadian racialized women or queer/trans  women of colour, Black and Indigenous women filmmakers from decolonial, post-colonial,  queer diasporic or transnational contexts; 
  • Historiographies of film/video by racialized women filmmakers and queer & trans of colour filmmakers in Canada; 
  • Intersectional critiques of settler nationhood, settler complicities, or homonationalism through the work of racialized women / queer women of colour filmmakers;
  • Relationships and tensions between cultural identities, diasporic aesthetics, and politics;
  • Afro-Indigenous and Asian-Indigenous theories, methodologies, histories, praxis;
  • Diasporic and transnational spatialities; home and belonging, displacement, migration;
  • Thematic, textual, or aesthetic analyses of documentary, narrative, experimental, activist,  and hybrid films (all genres and platforms considered) by queer and racialized women  filmmakers; 
  • Reception/audience studies of works by women of colour in Canada; *Arts and culture policy and their impacts on queer/women of colour production in Canada; *Festivals, distributors and other media organisations that support works by Indigenous  women & women of colour filmmakers in Canada; 
  • Critical and decolonial uses of technologies; 
  • Archival reanimations by queer/women of colour filmmakers and moving image artists;
  • Comparative analyses of Canadian productions and international or transnational productions. 

*We are especially seeking proposals on Black, Caribbean, South Asian and Arab  women filmmakers in Canada. 

Submissions from anyone working in these research  areas will be considered. Please submit an abstract (300 words) & short bio (125 words) by January 15, 2022 to  panel chairs: Dr. Michelle Mohabeer & Dr. May Chew  

**Submissions will also be considered for an upcoming edited anthology on the same theme.  

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2. Making Spaces for Repair, Making Room for Other Virtual Reality Futurities 

Starting from the premise that “empathy” has overdetermined and underserved scholarly and popular discourse about virtual reality (VR), this panel seeks  papers that expand our understanding of what  VR may actually be capable of: as an immersive audiovisual technology, as an artform, and as an aesthetic. To do so, we take as a point of departure the notion that VR, like all media, only works  as an “empathy machine” in limited and highly subjective ways. What other feelings, bodies, and futures might VR and media scholars make room for if we hold other doors open? 


Without turning a blind eye to the racist (Nakamura 2020), ableist (Redden 2018), and appropriative (Yang 2017) foundations of contemporary VR, this panel seeks contributions that will hold these conditions up to new scrutiny and with an eye towards repair. In an effort to rethink some of the central concepts of virtual reality (immersion, presence, interactivity, etc.), we propose to take space, the body, and their interminglings as central objects of study. How can we build spaces within VR that do not reproduce the colonial, racist, or otherwise toxic tendencies of our current world? What kinds of bodies can we make room for in the spaces VR has to offer? Ultimately, what gets made in the imbrication of body, space, and screen in VR experiences?


We encourage submissions that might address topics including, but not limited, to: 

  • Repairing VR’s affective address
  • Rethinking central concepts (immersion, presence, interactivity, etc.)
  • Decolonizing VR spaces 
  • New temporalities in VR/AR
  • Reparative approaches to VR theory
  • Indigenous futurities in VR
  • Afrofuturism and VR
  • VR and emerging affects, structures of feeling, or other sensorial capacities
  • VR and ecocriticism
  • Analyses of VR spaces of maintenance and repair
  • Spaces of/for immersive experience exhibition
  • Public/domestic contexts for experiencing VR
  • Metaverse as space for leisure (and labour)


Proposals should include your name, affiliation, and a short bio (50 words), along with a document listing a title, short abstract (250-350 words), keywords (3-5) and bibliographic references (2-5). 


*Veuillez noter que nous acceptons aussi des propositions en français.

Please send your proposals to Aubrey Anable ( or Philippe Bédard ( by January 15th, 2022.

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3. “Antenational Cinemas: Rethinking Indigenous and Canadian Images” 

How do First Nations, Inuit, Métis, and Canadian cinemas represent, construct, maintain, and challenge  visions of national identity? While this question has been approached through a wide range of  methodologies, a definitive view of what constitutes a Canadian national cinema remains elusive. The  field continues to explore positions that stress fragments, differences, incongruities, and complexities  rather than a coherent historical lineage or homogenous perspective on identity. For Marchessault and  Straw (2019), “the idea that Canadian cinema might reveal or express an essential national identity has  receded from scholarly and critical writing, but the question of what ideas might occupy its place is far  from being resolved” (xxi). This panel seeks to address this opening in field by mapping some of the  critical and practical tendencies of Canadian cinemas in relation to the “antenational” – with “ante-”  stressing before the nation. While this concept may, for some, connote the idea of an anti-national  cinema, my conceptualization of “antenational” does not necessarily foreground as oppositional politics  to national identity, even if some Indigenous or Québec films explicitly embrace such a position in  relation to Canada’s colonial and political history. Instead, antenational cinemas accounts for a  continuum of cinematic pathways that may resist identifying as Canadian, may interrogate the tensions  between feminist and nationalist discourses, may advocate for a distinct nation within a nation, or may  seek acceptance within national discourses and communities. Furthermore, antenational cinema accounts  for BIPOC, Queer, transnational, and diasporic cinemas at a multiplicity of intersections between  Canada, outside, and elsewhere (to mobilize Galt and Schoonover’s framing of Queer Cinemas in the  World). Therefore, papers within this panel should approach and interrogate definitions of national  cinema and Canadian identity. 

Key words: Indigenous cinemas, Canadian cinemas, minoritarian, national cinema, antenational 

Possible topics include: 

  • Indigenous cinemas that mobilize pre-contact and other films as “before” the nation 
  • Women filmmakers who address the spaces between nationalism and feminism 
  • Diasporic and transnational cinemas that map histories “before” the nation 
  • Indigenous cinemas that challenge and interrogate discourses of the Canadian nation state 
  •  Québec cinemas that explore the idea of a nation within a nation 
  • Films from the Prairies or Atlantic that stress differences or similarities (national identity) 
  • Queer cinemas that foreground a “before” the nation that is political or fantastic 
  •  Black Canadian filmmakers who increase representation or confront racism in Canada 
  • BIPOC directors who expose the fallacies of multiculturalism 
  • Early feature films that map alternative potentialities within the history of Canadian cinemas 


Please send proposals to Terrance McDonald ( by 15 January 2022. The proposals should contain: name, affiliation, a short bio (50 words), paper title, and a 250-350-word  abstract, keywords (3-5), and bibliographic references (3-5).

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4. Social Media as Cinemas of Attraction

We are living in a screen saturated culture which, within the demands of the ‘attention economy’ (Goldhaber 1997), continues to turn increasingly to the moving image to hold our gaze. It is hard in these times as film and media scholars not to think of the multiplicitous histories of cinema aesthetics that inform, knowingly or not, thevisual cultures that circulate and go viral across social media platforms like YouTube, Instagram, and TikTok. The integration into Instagram’s design over the last two years of ‘Stories’ and ‘Reels’ as a means of competing with TikTok’s default format of short video vignettes (which is itself a remake of Vine) has led to a developing interest among film and media scholars on how to account for the echoes, appropriations, and remixes of earlier visual histories (Avdeef 2021, Lever, Highfield, Abadin 2020). This panel invites papers that consider the cinematic elements of social media content. This could include anything from the narrative logic of memes to viral videos and trending dance challenges. What about the formation and circulation of these newer moving image practices index prior histories of film and media production? And perhaps most importantly, to what social, cultural, and political effect?


Keywords: social media, cinema, moving image, screen cultures, media histories, aesthetics


Possible topics include but are not limited to:

  • Social media as a 21st century cinema of attractions
  • The avant-garde, experimental, amateur aesthetics of videos online
  • The intersection of fine art and popular culture on social media platforms
  • The use of cinema vocabularies and histories in social media practices
  • Memes as cinematic narrative vignettes
  • The reliance on films, characters, figures in pop culture remixing of digital culture
  • Activist uses of film and media historical practices now
  • The promise and limitations of visual representation in digital cultural spaces
  • The violence of using Black, Indigneous, racialized, and queer bodies as excess in meme and gif cultures
  • The racism, ableism, trans and homophobia of social media algorithms and their impact on digital visual cultural production.


Please send proposals to Shana MacDonald ( by January 15th. Please include in your proposal your name, affiliation, and a short bio (50 words), along with a document listing a title, short abstract (250-350 words), keywords (3-5) and bibliographic references (2-5).


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5. Utopies adolescentes à la télévision

L’adolescence est l’époque du « pas encore », typique des utopies et, en même temps, un moment ayant ses caractéristiques propres, très puissantes. Est-elle l’espace (télévisuel) pour repenser notre futur? Elle est un sujet de plus en plus présent dans les séries télé récentes : pensons à Euphoria, Genera+ion, Sex Education, Dear White People, We Are Who We Are, Never Have I Ever, SKAM, la permanence de la franchise Degrassi au Canada et, au Québec, Le Chalet, La vie compliquée de Léa Olivier, L’Académie... Le territoire est en pleine expansion, remodelant un genre bien connu au cinéma et à la télévision, entre nostalgie et utopie. Les séries arrivent à raconter la dimension microscopique du quotidien des ados tout en construisant une tension vers l’avenir — à la fois une manière de repousser la fin et d’y tendre — que la narration en épisodes réalise bien. De plus, l’expérience d’une série est parcourue par une puissante incertitude qui s’allie bien à l’état d’hésitation, désorientation et maladresse de l’adolescence. Pour ce qui concerne les questions représentées, la Génération Z est le lieu d’une attention plus forte envers la diversité, le féminisme, le changement climatique et devient un nouveau terrain pour un renouvellement des thématiques. S’agit-il simplement de stratégies de marché, ou d’un espace politique pour une façon de faire les choses différemment ? Qu’est-ce que le concept d’utopie queer peut mettre à jour dans le panorama contemporain des études télévisuelles et médiatiques ? 

Mots-clés : télévision, séries, adolescence, queer, utopie, publics, futur

Thèmes possibles: 

  • L’adolescence et le futur de la télévision; 
  • L’adolescent.e des séries comme sujet politique;
  • Les caractéristiques formelles des séries portant sur l’adolescence;
  • Les séries adolescentes comme exemple de « télévision queer »;
  • Les publics des séries qui représentent des ados;
  • Le lien avec les réseaux sociaux, dans la série et dans son dispositif transmédiatique;


Des contributions portant sur ces questions (ou d’autres!) à partir de la perspective de l’esthétique télévisuelle, des études culturelles, queer, ou de production, y compris avec une approche transnationale, sont les bienvenues. 



TV Teen Utopias

Adolescence is the age of the “not there yet”, typical of utopias, and, at the same time, it is a time with its specificities. Is it the (televisual) space for rethinking our future? Teenagers are more and more present in recent TV series: think of Euphoria, Genera + ion, Sex Education, Dear White People, We Are Who We Are, Never Have I Ever, SKAM, the permanence of the Degrassi franchise in Canada and, in Quebec, Le Chalet, La vie compliquée de Léa Olivier, The Academy … The territory is in full expansion, reshaping a genre well known in cinema and television, between nostalgia and utopia. TV series manage to display the microscopic dimension of the daily life of teenagers while building a tension towards the future – both a way of postponing the end and reaching for it – that serial storytelling achieves well. In addition, the experience of a series is riddled with a powerful uncertainty that combines well with the hesitation, disorientation and awkwardness, also typical of adolescence. Regarding the issues represented, Generation Z is the place of greater attention to diversity, feminism, climate change and becomes a new ground for a renewal of themes. Are these just market strategies, or is it the political space for a way to do things differently? What can the concept of queer utopia bring to light in the contemporary television and media studies panorama?


Keywords: television, series, adolescence, queer, utopia, audiences, future

Possible themes:

  • Adolescence and the future of television;
  • The adolescent series as a political subject;
  • The formal characteristics of the series dealing with adolescence;
  • Teenage series as an example of “queer television”;
  • Audiences of series that represent teenagers;
  • The link with social networks, in the series and in its transmedia system;


Contributions addressing these issues (or others!) From the perspective of television aesthetics, cultural, queer, or production studies, including a transnational approach, are welcome.

Please send proposals to Marta Boni ( by January 15th. Please include in your proposal your name, affiliation, and a short bio (50 words), along with a document listing a title, short abstract (250-350 words), keywords (3-5) and bibliographic references (2-5).

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6. Passages, Transitions, and Transformations: Imagining Intersectional Feminist Media and Film Futures 

Feminist film and media studies have made important interventions into heteronormative histories by indexing the space(s), place(s), and labour of women and nonbinary people within film and media in ways that interrogate the seemingly objective neutrality of their canons. At the same time, some of the most popular forms of feminism, in both the past and present, have focused on a white feminine figure that obscures other social inequities (Banet Weiser 2018; Daniels 2016) and does not challenge existing social relations (Gill 2017). Popular signifers of white feminism overlook the significant and long-standing contributions of Black, Indigenous, and racialized feminist and queer activists that have radically disrupted dominant forms of representation and cultural work. Notably, these kinds of (in)visibility within and across  the screens of social media platforms, media, and films are at the fore of contemporary feminsit media scholarship. Reflecting on these histories and on-going tensions, this panel invites submissions that broadly seek to identify, explore, interrogate, and/or imagine intersectional feminist (Collins 1990, 2017,  2019; Crenshaw 1989, 1991) film and media scholarship, methods, practices, and tools from both the past and present that may be adapted and extended upon as we look to develop more equitable and sustainable futures in our scholarly, activist, and creative practices.  

Keywords: Intersectional feminism; feminist media studies; feminist film studies; digital  activism; methodology; practice  

Possible topics include but are not limited to:  

  • Creative explorations and analyses on the continuities, contradictions, and comparisons  between (the passing of) time, space, and place and their impacts on feminist activist media and film;  
  • Queer and feminist media and film and postcolonial, Indigenous, and Afrofuturist theories, methodologies, case studies, praxes, and applications;  
  • Critical analyses of the feminist, queer, racialized, and decolonial politics and uses of  technologies;  
  • Archival, aesthetic, thematic, creative, and critical analyses of feminist, queer,  postcolonial, and anti-racist film and media;  
  • Analyses, case studies, and theorizations of how feminists create, use, and circulate digital artifacts that contribute to the formation of their own communities and digital assemblies; 
  • Articulations and analyses of feminist, queer, decolonial, postcolonial, and anti-racist digital stories and artifacts and the circulation of these stories and artifacts among a  variety of digital platforms, media, and spheres of power;  
  • Explorations of feminist, queer, postcolonial, decolonial, and anti-racist media protest  and resistance and the ways that they foster collective action and coalitional affinities.  

Please send proposals to Brianna Wiens ( by January 15th. In your  proposal, please include your name, a short bio (50 words), submission title, a short abstract  (250-350 words), keywords (3-5) and bibliographic references (2-5).


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7. Living Archives and Counter-Archives in Film, Video, and Media Arts in Canada 

Archives are generally associated with things that are dead and static but digital media are impacting the very meaning and location of archives along with the production of more dynamic and diverse histories. Since the archival turn in the early 1990s (generally attributed to the rise of the internet and the expansion of local area networks globally), artists and digital humanists, often working in collaboration with archivists, have been at the forefront of developing new ways to animate and create archives both public and private. Artists are using film and media archives to disrupt traditional forms of history, collection, and national narrative. New approaches to celluloid, video, and digital media are process oriented, participatory, and performative. Archives used in this way foster new living ecologies of entanglement that are generating more complex epistemological models of memory and place.

Archive/Counter-Archive: Activating Canada’s Audiovisual Heritage is a SSHRC Partnership Grant research-creation project dedicated to activating and remediating audiovisual archives created by Indigenous Peoples (First Nations, Métis, Inuit), the Black community and People of Colour, women, LGBT2Q+ and immigrant communities. Political, resistant, and community-based, counter-archives disrupt conventional narratives and enrich our histories. For the purposes of this project, we have defined counter-archives as political, ingenious, resistant, and community-based. They are embodied differently and have explicit intention to historicize differently, to disrupt conventional national narratives, and to write difference into public accounts. They seek to counter the hegemony of traditional archival institutions that have normally neglected or marginalized women, Indigenous, Inuit and Métis Peoples, the LGBT2Q+ community, and immigrant communities. This panel invites presentations on research and research-creation related to the themes and approaches of Archive/Counter-Archive.

Keywords: archives and counter-archives; archival film, video, and media; community media; media by women, Indigenous, Inuit and Métis Peoples, the LGBT2Q+ community, and immigrant communities.

Please send proposals to Antoine Damiens ( by January 15th. In your  proposal, please include your name, a short bio (50 words), submission title, a short abstract  (250-350 words), keywords (3-5) and bibliographic references (2-5).


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8. Experiments in Independent Film & Media in Canada

Abstract: The current vibrancy of the independent film and media arts sector in Canada and globally is evident. This panel seeks presentations on experimental and independent film, video, and media production, distribution, and exhibition in Canada. Experimental film, video art, and digital media enjoy a rich tradition of scholarship and criticism. This panel also seeks papers on films and media at the margins of these forms: how has experimentation taken place in independent narrative, documentary, industrial, and community media? Co-ops and other artist-run centres operate at the grassroots level to provide access to film and media production, distribution, and exhibition for local communities, including minoritized groups who started separate organizations when excluded from government, industry, and existing independent film and media sectors. Less subject to commercial pressures, the independent sector facilitated a greater degree of formal and cultural innovation and experimentation, enabling new ways of working, including forms of non-hierarchal organization. The independent sector sought to leverage collective power to access resources, and also may teach us about how discourses of gender, sexuality, race, Indigeneity, and ability operate in relation to larger institutions in government (including arts councils), industry, academia, the art world, and archives. How have production histories, distribution ventures, and exhibition sites performed experimental gestures against social and aesthetic convention? The panel is also open to considerations of alternative forms of criticism, innovative archival histories, and contemporary gallery and museum installations and performance. We invite panelists to incorporate an anti-racist approach and an equity, diversity, and inclusion (EDI) lens to expand Canadian film and media arts history to make it more inclusive of the diversity of – and within – the grassroots cultural communities that engaged in independent experimentation across multiple media forms.


Keywords: experimental film & media; independent film & media; BIPOC voices in film & media history in Canada; community media; film & media cooperatives

Please send proposals to Michael Zryd ( by January 15th. In your  proposal, please include your name, a short bio (50 words), submission title, a short abstract  (250-350 words), keywords (3-5) and bibliographic references (2-5).


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Call for Papers: A Teaching Companion to Silent Cinema
Edited by Liz Clarke and Martin Johnson

Due by Dec. 15, 2021

Film studies programs big and small have a common course: film history. While programs divide film history courses in different ways—some by time period, others by geography—they all address, if only for a few weeks, silent cinema. These courses are rarely taught by researchers of silent film, and a reliance on textbooks and allusions to the best known silent films mischaracterize the period. In A Teaching Companion to Silent Cinema, we hope to challenge these narratives of the first decades of cinema through rich, engaging short essays on films that expand our sense of the very possibilities of the medium. This collection will take what silent film researchers already know–that the period from film’s invention in the late 19th century to the transition to sound in the 1930s is among the diverse, dynamic, and complex–and make films that more fully represent this period accessible to teachers and students of film history.

Canonical histories of silent cinema have, with few exceptions, focused on films made by white men in the United States and Europe. Filmmakers such as D.W. Griffith, Charlie Chaplin, and Sergei Eisenstein are lionized, while women, people of color, and filmmakers from small nations are ignored. Historical epics and slapstick comedies are celebrated, while a multitude of other genres and modes of filmmaking are skipped entirely. Although scholars, archivists, and critics are actively seeking to correct these oversights in their research, writing, and programming, the most widely used textbooks in the field continue to emphasize this older narrative. When students and teachers seek out diverse films, they often have trouble finding material to contextualize what they’re seeing, particularly short essays focused on individual films.

With this call, we are seeking essays (3,500 to 5,000 words) on feature films, and notes (1,000 to 1,500 words) on short films that represent the diversity of silent film cultures. These scholarly essays will provide context to the film, information about the filmmakers, background information, and a concise analysis of the film. These texts can be used to complement commonly used film history textbooks or in conjunction with theoretical essays. A few guidelines:

  • One proposal per submitter. We want this collection to reflect the diversity of scholarship in the field as well.
  • Proposed films should be readily available to instructors, through DVD, BluRay, digital repositories, or other sources.
  • Ideally, your proposal should discuss a film that you have successfully screened to undergraduates. We are seeking to introduce students to films that will excite and engage them.
  • We are seeking essays that challenge our sense of the film canon, while remaining accessible. While we welcome all proposals, here is a non-exhaustive list of some of the films we would like to include:
    • Mario Roncoroni, Filibus (1915), Italy
    • Enrique Rosas, The Grey Automobile (1919), Mexico
    • Francis Ford, The Craving (1918), USA
    • Frances Marion, The Love Light (1922), USA
    • Oscar Micheaux, The Symbol of the Unconquered (1920), USA Jean Epstein, Coueur Fidèle (1923), France
    • Robert Wiene, The Hands of Orlac (1924), Austria
    • Lotte Reiniger, The Adventures of Prince Achmed (1926), Germany Dorothy Davenport, Linda (1929), USA
    • Teinosuke Kinugasa, A Page of Madness (1926), Japan
    • Wu Yonggang, The Goddess (1934), China
    • Mário Peixoto, Limite (1930), Brazil
    • Norbert A. Myles, The Daughter of Dawn (1920), USA Holger-Madsen, Trip to Mars (1918), Denmark
    • Marion E. Wong’s The Curse of Quon Gwon (c. 1916-17), USA Cleo Madison, Eleanor’s Catch (1916), USA
    • Yevgeni Bauer, The Dying Swan (1917), Russia
    • E.A. Dupont, Piccadilly (1929), UK


Please send 300-word proposals, a 50-word bio, and access information for the feature-length or short film you would like to discuss to and by December 15, 2021. Acceptances will be sent by January 17, 2022, and essays will be due by May 30, 2022.

proposals, a 50-word bio, and access information for the feature-length or

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