Accepting applications for an MA and PhD in
Screen Cultures and Curatorial Studies
Application deadline: January 31, 2021
Launched in the Fall of 2019, Screen Cultures and Curatorial Studies is a collaboration between theDepartment of Film and Media and Agnes Etherington Art Centre, and offers a unique opportunity for a funded one-year MA and a four-year PhD. The program’s three strongly interconnected areas of focus—studies, production, and curation —are designed to stimulate inventive dialogue in ways that ensure their respective influence, and in ways that open exciting points of access to multiple disciplinary formations. This collaborative tripartite structure is not offered in any other film, media, cinema, art or communication MA or PhD program in Ontario.
Housed in the state-of-the-art Isabel Bader Centre for the Performing Arts and the Agnes Etherington Art Centre, the MA and PhD in Screen Cultures and Curatorial Studiesare unique because of their linkage to adjacent disciplines: film and media studies and, more generally, the study of screen cultures, film and media production, and curatorial studies and practice. These multidisciplinary programs provide students with a wide range of educational and professional opportunities, including academia, arts management, programming, media production (from mainstream media, to artistic and activist production), and curating.
Faculty members in the program straddle scholarly, programming, curation and creative practices. A rich program of visiting scholars, filmmakers, artists, and curators — in the core professional development and elective courses — provide opportunities for practice-based learning, allowing students to integrate new knowledge gained from other graduate-level coursework and to implement newly acquired skills in and beyond the gallery, festival and museum. A focused yearly Summer Institute brings together renowned scholars and practitioners, as well as Graduate students from other universities for intensive and focused study program.
Exhibition is available to students at the Art & Media Lab in The Isabel Bader Centre, the Agnes Etherington Art Centre, the Union Gallery (on an application basis), and/or online, to accommodate curatorial projects. The Vulnerable Media Lab offers opportunities for restoration, remediation and curation of media collections. The program offers seed funding for MA and PhD screen cultures curatorial projects (up to $350.00 per student). PhD students can also apply to the Dean’s project fund for up to $3000.
- Film, Media and Screen Cultures
- Experimental Media
- Curatorial Studies
- Moving Image Production (Narrative, Documentary, Experimental, Animation, Open Media)
- Film, Media and Performance Studies
- Historical and Contemporary Film and Media
- Archives, Curation, and Remediation
- National Cinemas, Cultural Institutions and Curatorial Events
- Feminist, Critical Race, Indigenous and LGBTQ2+ Screen Cultures
- Environmental film and media
To start an application go to School of Graduate Studies
M.A. in English and Film Studies
Ph.D. in English and Film Studies
Graduates from our programs have continued on into careers as university professors, librarians, editors, marketing and communications officers, filmmakers and producers, advertising and graphic design specialists, teachers, and lawyers. Students appreciate our department’s caring, close-knit community, our efforts to integrate research and teaching, and the high level of individual attention they receive from our faculty. All students in our programs are fully-funded with a combination of TAships and scholarships. Canadian students are encouraged to apply for Ontario Graduate Scholarships and SSHRC Graduate Scholarships.
M.A. in English and Film Studies
The M.A. can be completed in an intensive 8-month program (coursework only) or 12-month program (coursework + Professional Skills Practicum). The Professional Skills option provides M.A. students with direct work experience and practical applications of their skills. Students in this option have worked for The New Quarterly journal, Laurier’s Office of Communications and Public Affairs, and the Grand River Film Festival. We also offer a Major Research Paper option that can be completed in the summer term.
M.A. Student Funding
Students with a minimum average of B+ are guaranteed a highly competitive funding package of at least $14,500 per year as well as teaching experience in our first-year introductory courses in English or Film Studies.
Our Ph.D. program provides students a unique opportunity to pursue rigorous, specialized research in either Literary Studies or Film Studies, or to take advantage of the rich intellectual and theoretical confluence between the two disciplines. We are deeply committed to the academic and professional development of our students. Students are given the opportunity to professionalize through their teaching, presentations, colloquia, research, and assistantships. Our areas of strength include Canadian literature, Asian cinema, feminist and gender theory, American cinema, Victorian literature, affect and memory studies, popular culture, and digital media. Students have access to the Tri-University Library system and an extensive film collection.
- Women and Crime in Fiction and Film
- Topics in Canadian Literature
- Dangerous Medieval Sexualities
- Mapping South Asian Canadian Literature
- Posthuman(ist) Memory in Film and Fiction
- Topics in Romantic Literature and the Victorian Novel
- Film Historiography
- Graphic Novel Adaptation Films
The Transgender Media Lab (TML) at Carleton University investigates the aesthetic, political, and cultural work of audiovisual media created by transgender, Two Spirit, nonbinary, intersex, and gender-nonconforming filmmakers and artists. As part of that investigation, the lab is building the Transgender Media Portal, a collaborative digital tool that will enable new ways of analyzing these works and their circulation while making information about them available to trans arts communities and the public.
This year we have 5 positions for new graduate students!
MA: Transgender Media Lab Fellowship (x 2!)
We are seeking two MA students to conduct original thesis research on some aspect of transgender, Two Spirit, nonbinary, intersex and/or gender-nonconforming film- and video-making in Canada or the United States and to contribute to the development of the Transgender Media Portal. Host program: Film Studies at Carleton University. For more info on this position see: https://carleton.ca/transmedialab/2020/tml-ma-fellowships/
MA: Contributor Experience Designer
We are seeking an incoming MA student to lead the user experience and interface redesign for the Transgender Media Portal and to manage volunteer contributor outreach and training. We welcome applicants who are applying to these or other degree programs: Communication, Computer Science, Digital Transformation & Innovation, Feminist & Gender Studies, or Information Studies at the University of Ottawa. For more information on this position see: https://carleton.ca/transmedialab/2020/contributor-experience-designer/
MA: Transgender Digital Privacy and Security Analyst
We are seeking an incoming MA student to design and analyze approaches to digital privacy and security for the Transgender Media Portal. Host program: Human-Computer Interaction at Carleton University. For more information on this position see: https://carleton.ca/transmedialab/2020/privacy-and-security-position/
PhD: Front End Developer & Analyst
We are seeking an incoming PhD student to lead front end development and analysis for the Transgender Media Portal. We welcome applicants who are applying to the following or other degree programs: Communication, Computer Science, Digital Transformation & Innovation, Feminist & Gender Studies, or Information Studies at the University of Ottawa, or Communication, Computer Science, Cultural Mediations, or Information Technology at Carleton University. For more information on this position see: https://carleton.ca/transmedialab/2020/developer-analyst/
These positions are run in collaboration with the Humanities Data Lab at the University of Ottawa and the Security and Privacy Interactions Research Lab at Carleton University. Questions? Feel free to reach out to TML director Laura Horak at firstname.lastname@example.org.
Call for Applications
MA in Film Studies
Carleton University-Canada’s Capital University.
Carleton University’s Film Studies Program invites applications to its MA program for the 2021-2022 academic year. Applications received by February 1, 2021 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 or the Digital Humanities.
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. For fall 2021, we are also offering additional fellowships through our new Transgender Media Lab initiative: https://carleton.ca/transmedialab/2020/tml-ma-fellowships/.
Established in 1977, Carleton’s Film Studies is one of the oldest and most prestigious 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 especially encourage and welcome submissions from 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 email@example.com.
The Graduate Program in Communication and Media Studies in the Department of Communication, Media and Film at the University of Calgary is now accepting applications from prospective MA and PhD students for September 2021. The application deadline is December 1, 2020.
Our growing program offers opportunities for interdisciplinary media and communications studies research across several areas, including:
-Digital media cultures, platforms, & politics
-Feminist media studies
-Film and visual cultures
We also have several exciting research initiatives launching, including the new Environmental Media Lab: https://www.environmentalmedialab.com
We offer competitive funding packages and affordable living in a diverse urban center at the foot of the Rocky Mountains.
Call for Applications:
Graduate Degrees in Film/Cinema & Media Studies at York University
- MA in Cinema & Media Studies
- MFA in Film Production or Screenwriting
- Joint MA-MBA or MFA-MBA with Schulich School of Business
- PhD in Cinema and Media Studies
Applications are invited to the Graduate Program in Film/Cinema & Media Studies at York University. Applicants who apply by January 15, 2021 will be given first consideration. Applicants will be contacted by late February – early March 2021. Late applications may be considered.
Since our inception in 1980 as Canada’s first Graduate Program in Film, our community of award-winning faculty, supportive staff, outstanding students, and successful alums has stimulated comprehensive, interdisciplinary, and rigorous engagement with the moving image in all its forms, both historical and contemporary.
Building on York’s longstanding commitment to deliver innovative and accessible post-graduate training and rooted in the centre of English Canadian film and media culture and production, the Graduate Program in Film/Cinema & Media Studies offers a curriculum that encourages dynamic and collaborative interactions between creative artists and scholarly researchers.
In our two-year MA and MFA programs, flexible, interdisciplinary, student-centred curriculum allows students the freedom to fulfill their unique academic, creative and professional aspirations with ample time to benefit from York University’s rich tradition of being at the vanguard of interdisciplinary research, media creation, knowledge mobilization, and dedication to social justice, diversity, equity, and sustainability.
Canada’s most respected graduate MFA in Film Production and Screenwriting leads students to confront the challenges posed by the fast-changing worlds of digital cinema and transmedia platforms. The MA in Cinema & Media Studies emphasizes the critical study of a broad range of film and media in a small cohort of highly motivated students. Each student creates an individually tailored program from our dynamic range of courses, and from our diverse workshops, partnerships, internships, and research labs. Together students engage evolving theories and practices of global and local cinema and media, including new directions in post-colonial, feminist, queer, Indigenous, and underground expression, and media forms like film, television, games, and expanded cinema like augmented and virtual reality. Expertly guided by chosen faculty, the MFA program culminates in the creation of an original Thesis project, while the MA program has a Major Research Paper as its capstone.
Domestic Master’s students receive base funding of $10,000/year + York’s $1000 FGS Healthcare Bursary. With York University’s emphasis on access in higher education, our graduate students pay the lowest graduate tuition in Ontario. Admission scholarships and awards are also available. In recent years, over 70% of MA & MFA students have received additional funding through awards like CGS-M ($17,500/year) and OGS ($15,000/year), usually in their second year, in part due to the Program’s emphasis on strong professional development, including grant writing. MFA students are provided with in-kind equipment/services grants from a wide range of Toronto co-ops, equipment houses and post-production facilities, and production grants from donors.
Teaching, publication, and professional academic development are key components of the PhD, a minimum four-year degree with guaranteed funding for five years. In addition to generous York professional development funds, our students receive national, provincial and university-widescholarships and awards. Current PhD students includeVanier, Elia and Trillium scholars, and numerous SSHRC and OGS doctoral awards.
Outstanding faculty are leaders in their fields; three faculty members are current or former Canada Research Chairs and all of our faculty participate actively in international and Canadian festivals, conferences, and publish widely. Many of our faculty pursue interdisciplinary research methodologies, including research creation, an increasingly popular option in the PhD program.
Our students, faculty, and large alumni network are part of Toronto’s lively and diverse film and media culture and its many opportunities for festival programming, curation, symposia, and lectures. The City of Toronto, housing Canada’s most important media industry infrastructure, provides students with exceptional opportunities for field placements, access to film screenings, museums and galleries, festivals (over 100 film festivals occur each year, including the Toronto International Film Festival, Hot Docs, Reel Asian, and Images Festival, and resources like the Liaison of Independent Filmmakers (LIFT), the Ontario Archives (now housed on York University campus), TIFF’s Film Reference Library, and other unique research collections.
In the MA & PhD programs, we welcome applicants with educational backgrounds in Cinema/Film Studies, Media Studies, Communications, Cultural Studies, Digital Media, Art History, English, Women’s Studies, Queer and Sexuality Studies, History, Comparative Literature, Philosophy, Education, Urban Studies, and other disciplines that nurture research in sound and moving image media. The MFA film production and screenwriting program is catered mainly towards mid-career filmmakers with a track record in producing media.
For students preparing for a future in the media industries, we also offer a 3-year joint MA/MBA or MFA/MBA degree with the world-renowned Schulich School of Business. Most students undertaking the joint degrees take their first year in the Graduate Program in Film/Cinema & Media Studies, and start the MBA portion in their second year.
Each year the program selects a small group of exceptional students to join its vigorous and stimulating intellectual community, where students attend small and engaging seminars and receive close attention from faculty supervisors. Our degree programs provide specialized training for careers in academic, research, and government organizations and arts and entertainment industries (television, film, new media, including festivals), and in jobs in producing, programming and curation, teaching, critical writing and publishing, publicity, among others.
Students interested in the PhD programs are encouraged to contact Prof. Janine Marchessault, PhD Graduate Program Director, firstname.lastname@example.org. Students interested in the MFA and MA program are encouraged to contact Prof. Manfred Becker, MFA/MA Graduate Program Director, email@example.com. For questions related to the application process please contact Kuowei Lee, Graduate Program Assistant, firstname.lastname@example.org.
APPLICATION DEADLINE: JANUARY 15, 2021
THE FSAC STUDENT WRITING AWARD
AWARD FOR OUTSTANDING ABILITY IN FILM AND MEDIA SCHOLARSHIP
(La version française suit ci-dessous)
The Film Studies Association of Canada is again offering an award for the best essay submitted by a student member. The FSAC Student Writing Award recognizes graduate students who show outstanding ability in film and media scholarship. Essays, in French or English, must study moving images, broadly defined to include film, television, video, or digital media. All disciplinary and interdisciplinary approaches are invited, provided the essay has the potential to contribute to the discipline of film studies.
Authors must have been enrolled in a graduate program for at least one semester this year, and must be an FSAC member at the time of submission. Essays prepared by students to fulfill course requirements may be submitted, although each student may enter only one essay. All submissions must be sent electronically, preferably from the student’s university e-mail account. Files must be formatted as double-spaced, typewritten docx or PDF documents, not exceeding 7,500 words including endnotes, bibliographies and appendices. The essay document must be anonymous. Identifying information must be provided only in the body of the submission e-mail message, which should list (1) the author’s name, (2) the title of the essay, (3) mailing and phone contact information, and (4) the student’s university, graduate program, and degree status.
Submissions cannot be already published or submitted for publication. A committee of executive members of the association, including a graduate student representative, will select the recipient. The president will receive and distribute the applicants but will not participate in adjudication.
The winning essay will receive suggestions from the jury to facilitate and encourage revision for peer-review with the Canadian Journal of Film Studies.
Application Deadline: May 22, 2020
Forward application to: Peter Lester – email@example.com
ASSOCIATION CANADIENNE D’ÉTUDES CINÉMATOGRAPHIQUES – PRIX DE L’ESSAI ÉTUDIANT
L’Association canadienne d’études cinématographiques encore offrir un prix récompensant le meilleur essai soumis par un membre étudiant. Ce prix de l’essai étudiant de l’ACEC vise à encourager les étudiants faisant preuve d’un grand potentiel, ainsi qu’à souligner la contribution des étudiants des cycles supérieurs à l’avancement de la recherche sur le cinéma et les médias. Les essais rédigés en français ou en anglais, et portant sur des sujets liés au cinéma, à la télévision, à la vidéo, aux images en mouvement ou aux médias numériques sont admissibles. Toutes les approches disciplinaires et interdisciplinaires sont admises dans la mesure où elles contribuent à l’avancement de la discipline des études cinématographiques.
Les participants doivent avoir été inscrits dans un programme d’études supérieures pendant au moins une session cette année, et être membres en règle de l’ACEC au moment de la soumission des essais. Les essais rédigés dans le cadre de cours et de séminaires sont admissibles, mais un seul essai par participant sera accepté. Chaque candidature doit être soumise par courrier électronique, et de préférence être acheminée à partir de l’adresse courriel institutionnelle du participant. Les essais doivent avoir été rédigés à double interligne, sauvegardés dans des fichiers de formats docx ou PDF, et ne pas dépasser 7 500 mots, incluant les notes de fin, la bibliographie et les annexes. Les fichiers contenant les essais doivent être anonymes, tandis que les courriels accompagnant chaque candidature doivent contenir (1) le nom de l’auteur, (2) le titre de l’essai, (3) l’adresse postale et le numéro de téléphone de l’auteur, de même que (4) son université d’attache, son programme d’études, et son niveau d’avancement.
Les essais présentés au concours ne doivent pas avoir été préalablement soumis à des publications ou publiés. Un comité formé par des membres de l’exécutif de l’association, comprenant le représentant étudiant, sélectionnera le gagnant ou la gagnante. Le président recevra et distribuera les candidatures mais ne participera pas au processus d’évaluation.
L’auteur de l’essai gagnant recevra des suggestions du jury du concours visant à préparer son évaluation par le comité de lecture du Revue canadienne d’études cinématographiques.
Date limite : 22 mai 2020
Envoyez vos soumissions à : Peter Lester – firstname.lastname@example.org
Call for Submissions
2020 Annual Graduate Music Conference
Department of Music, University of Alberta
“Revisualizing Sound and Music”
May 15-16, 2020
The Graduate Music Students’ Association (GMSA) of the University of Alberta is pleased to announce a call for submissions for our annual NCounters Graduate Conference. The conference will take place on Friday, May 15 and Saturday, March 16, 2020.
Music visualizes our wildest dreams and imaginations, and revisualizes the finest creations of humanity. At the GMSA’s NCounters Conference, we thrive to inquire and “revisualize” the endless possibilities of music research and discourse. As a multi-formatted conference, we aim to facilitate innovative graduate research by providing a platform and safe space for grad students from everywhere to present their work and engage with fellow researchers in an inclusive and interdisciplinary environment.
We encourage submissions from any topic in the study of music including but not limited to:
– Musicology; ethnomusicology; music theory
– Film and media music; popular music
– Composition; performance
– Music education; music therapy
We also welcome compositions and lecture recitals including but not limited to:
– Composed concert pieces
– Electroacoustic compositions
– Improvised music performances
– Sound Installations (please note that space is limited)
This year, we are delighted to have two distinguished scholars as keynote speakers:
Dr. Emilie LeBel, Assistant Professor of Composition from MacEwan University. She specializes in orchestral music composition, chamber music composition, electronic music, as well as integrated works that apply digital and intermedia concert pieces. She is an affiliated composer at the Toronto Symphony Orchestra. Selected works include Hiraeth (2019, Migration No. 2), Mark Takeshi McGregor, Lutalica, Redshift Records; and Navigational view of South Foreland Point and the Kent Coast, 1840 (2018), in Land’s End Ensemble, Pulling the Light, Centrediscs.
Dr. Brian Fauteux, Assistant Professor of Popular Music from the University of Alberta. His research areas include cultural studies, media studies, film, and is particularly interested in music industries and music radio, which integrate discourses of cultural studies, history, and policies. He is currently working on a SSHRC-funded research that examines copyright and cultural labor issues in the digital music industries. Selected publications include Music in Range: The Culture of Canadian Campus Radio (2015); and “The Radio Host and Piloted Listening in the Digital Age: CBC Radio 3 and Its Online Listening Community” (2017).
Paper presentations are no longer than 20 minutes and lecture recitals should be no longer than 30 minutes, all followed by a 10-minute question period. For compositions, please send submission samples in either an MP3 or MP4 format, or a URL link. If attaching a score, please format it as a PDF file.
Please submit an abstract of no longer than 350 words as a Word or PDF attachment to email@example.com no later than Sunday, March 15, 2020. In the body of the email, please include name, affiliation, contact information and A/V requirements.
If you have any questions, please do not hesitate to contact us at firstname.lastname@example.org. We look forward to your submissions!
La version française ci-dessous
22nd Annual FSAC Graduate Colloquium
York University, Friday February 28 – Sunday March 1st, 2020
Call for papers: “Activity”
Keynote address by Dr. Brenda Longfellow, York University
Call for Papers: Activity
Cinema is an active agent: the mutual and reciprocal relationship between moving images and their spectators, the very act of making cinema, is a direct action. Packaged within this making is the action on the screen, the action of the technology capturing and then displaying the cinematic object, and the actions of the spectator. These activities extend well beyond screenings, into production, archiving, theorizing, and distributing; cinema is a collaborative, communal, multi-technological process of creation that spreads itself across vast networks of spectatorship, reception, distribution, imaginaries, and/or activisms. Such cases are woven into the medium’s history: from early Soviet montage articulating class struggle, to the Brechtian cinemas of the late French New Wave, to second wave feminist consciousness raising, and to contemporary practises in interactive documentary and new media, cinema has routinely been considered and used in service of a political modality. In 2020, cinema’s activities are global, streaming over the internet, and able to represent and shape the great forces of our current moment, including, but not limited to, climate catastrophe, mass migration, global civil war, economies of precarious labour, and the ongoing project of settler colonialism. These forces manifest simultaneously as hyper-local, ingrained in the communities their making emerges from, sites where both positive and negative consequences are most intimately felt.
The 22nd Annual FSAC Graduate Colloquium at York University coincides with the Cinema and Media Arts Department’s 50th anniversary. This department was built on a foundation of political praxis, in response to and continuation of this history of a cinema which is inherently political and active. It was in this spirit that in 1985 a collective of York University film professors—including Robin Wood, Andrew Britton, Scott Forsyth, among other notable scholars, critics, and filmmakers—founded CineAction, a self-described “magazine of radical film criticism and theory”. In her editorial contribution to CineAction’s final issue in 2016, co-founder Florence Jacobowitz conceives of the magazine’s approach to film criticism as a kind of political activity, recalling its founding “out of necessity, as a magazine that would publish politicized readings and where theory could be tested against critical practice (instead of simply imposed)”. Consequently, this year we ask for an engagement with the idea of activity and activism in film theory, history, and practise. How is cinema used as a tool of direct action? How does form foster political engagement?
Possible topics include, but are not limited to:
Medium specificity and activism
Cinema and direct action
Worldbuilding and futurisms—imaginations of the world as otherwise
Queer and trans cinemas
Public and participatory art practices—artists intervening in the public sphere
Community media histories
Activist film festivals
Media and pedagogy
Interested students should submit an abstract of no more than 300-500 words through the following form by Friday, January 3rd: https://forms.gle/P8ZKqFtw58Kz1yZV8
22e Colloque annuel de l’ACÉC pour les étudiant-e-s des cycles supérieurs
Université York, Vendredi, 28 février – Dimanche, 1er mars 2020
Appel à conférence : « Activité »
Conférence liminaire : Prof. Brenda Longfellow, Université York
Appel à communication : Activité
Le cinéma est un agent actif : la relation mutuelle et réciproque entre les images en mouvement et leurs spectateurs, l’acte de faire du cinéma, est une action directe. Dans toute cette création se retrouve l’activité que l’on retrouve à l’écran, l’activité derrière la technologie de captation, ainsi que la monstration de l’objet cinématographique, en plus des activités spectatorielles. Ces activités se prolongent bien au-delà de l’écran, dans la production, l’archivage, la théorisation et la distribution ; le cinéma est collaboratif, communal, un procédé de création pluritechnologique qui s’étend jusqu’aux vastes réseaux spectatoriels, de réception, de distribution, de l’imagination, et/ou d’activisme. De tels exemples se tissent dans l’histoire de ce médium : des débuts du montage de l’avant-garde soviétique qui traitaient de la lutte des classes, des théories brechtiennes associées à la nouvelle vague française, de la deuxième vague féministe et de la sensibilisation, jusqu’aux pratiques contemporaines dans le documentaire interactif et des nouveaux médias, le cinéma a toujours été systématiquement considéré et utilisé au service d’une modalité politique. En 2020, les activités cinématographiques sont mondiales, diffusées en continu sur Internet, tout en ayant la possibilité de représenter et de façonner les grandes forces du moment y compris, mais sans s’y limiter, la catastrophe environnementale, l’immigration massive, la guerre civile mondiale, l’économie des emplois précaires, ainsi que les colonies de peuplement actuelles. Ces influences se manifestent simultanément d’un point de vue hyperlocal, enracinées dans les communautés desquelles elles émergent, dont les conséquences, qu’elles soient positives ou négatives, sont intimement liées.
Le 22e Colloque annuel de l’ACÉC pour les étudiants des cycles supérieurs à l’Université York coïncide avec le 50e anniversaire de son département de cinéma et d’arts médiatiques. Ce département a été créé sur des bases de la praxis politique, en réponse et en prolongement de cette histoire d’un cinéma fondamentalement politique et actif. C’était dans cet esprit qu’en 1985, un collectif de professeurs en cinéma de l’Université York incluant Robin Wood, Andrew Britton, Scott Forsyth, avec d’autres spécialistes, critiques et cinéastes, a fondé CineAction, un magazine décrit comme traitant de la critique et de la théorie cinématographique radical. Dans sa contribution éditoriale pour l’ultime numéro de CineAction en 2016, la cofondatrice Florence Jacobowitz mentionne que l’approche envers la critique cinématographique a été conçue comme une sorte d’activité politique, se remémorant ces fondements comme une nécessité en tant que magazine qui publierait des textes politisés où la théorie pourrait être mise à l’épreuve contre la pratique analytique (au lieu de simplement l’imposer). Nous demandons donc, par conséquent, cette année de faire appel à un engagement avec cette idée de l’activité et de l’activisme associée avec la théorie du cinéma, l’histoire et la pratique. Comment le cinéma est-il utilisé en tant qu’outil d’une action directe ? Comment entretenir la promotion d’un engagement politique ?
Les propositions d’article peuvent aborder les sujets suivants, sans s’y limiter :
Spécificité et militantisme du médium
Cinéma et action directe
Construction d’univers et futurisme – imagination d’autres mondes
Cinéma gai et transgenre
Pratiques artistiques publiques ou participatives – artistes intervenant dans la sphère publique
Histoire des médias communautaires
Festivals de films activistes
Média et pédagogie
Les étudiant-e-s intéressé-e-s sont prié-e-s de faire parvenir une proposition comprenant entre 300 et 500 mots en suivant les instructions suivantes d’ici le vendredi 3 janvier 2020 : https://forms.gle/P8ZKqFtw58Kz1yZV8
Call for Proposals
The 2020 Carleton University Film Studies Graduate Student Colloquium will be held on Friday, March 6 and Saturday, March 7, 2020, in Ottawa. The organizing committee is excited to announce a call for proposals from students across Canada and studying at the graduate level in film and/or media studies. The conference is not strictly organized around an essential theme and as such we are seeking papers that encompass a broad number of topics within the discipline(s).
This colloquium is sponsored by the Film Studies program, located in the School for Studies in Art and Culture at Carleton University.
The colloquium’s keynote speaker is Susan Lord, a current professor in the Department of Film and Media at Queen’s University in Kingston, Ontario. She is interested in feminism, critical theory, and vulnerable media. Currently she is the Director of the Vulnerable Media Lab, and archival project that collects media from groups such as women and Indigenous peoples. Her Keynote Address will occur on the evening of March 6.
Please submit proposals of no more than 300-500 words, for a presentation of twenty minutes, on any topic in film and/or media studies. Include current or past university or institutional affiliation, degree level (MA or PhD), a brief description of research interests (no more than 50 words), and contact email address. Submit proposals, as an email attachment, in a Word document (or Word-compatible file), to:
The deadline for submissions is Monday, January 6, 2020.
We thank you for your submissions and look forward to your participation in this Colloquium.
The 2020 Student Colloquium Organizing Committee
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