CALL FOR PARTICIPANTS:
MEDIA ACCESS & COPYRIGHT WORKING GROUPS 2022-2023
[Version française ci-bas]
BACKGROUND INFORMATION
In 2021, FSAC established a Media Access and Copyright (MAC) Working Group with a mandate to continue, and possibly expand, FSAC’s copyright advocacy work and develop guidelines on best practices related to access and use of media for scholarly purposes.
Over the 2021-22 academic year, the MAC group discussed a variety of opportunities and concerns that require targeted efforts (some of which fall outside the original MAC mandate). The group identified the following three areas of focus that encompass the opportunities and issues raised:
- Advocacy: Advocating for changes to the Canadian Copyright Act
- Access and Exhibition: Exploring issues and best practices pertaining to accessing and exhibiting media in educational settings
- Appropriation/Repurposing: Developing guidelines for videographic work that uses fair dealing and other user’s rights provided in copyright legislation.” (2021-22 MAC Working Group Summary Report, , pg. 1)
The MAC group made a motion to FSAC that a dedicated working group be created for each of the above areas of focus, to continue work on the recommendations outlined in their 2021-22 final report. This motion was supported at the 2022 FSAC Annual General Meeting.
For each of these working groups, the FSAC Executive seeks 5-10 members who will include Black, Indigenous, racialized scholars and makers, as well as LGBTQ+, gender, and regionally diverse scholars and makers.
1) COPYRIGHT ADVOCACY (CA)
Mandate: The CA Working Group will focus on collaborative advocacy efforts for changes to the Canadian Copyright Act. Key issues requiring advocacy are outlined in the “Advocacy” section of the 2021-22 MAC Working Group Summary Report ().
Duties: We anticipate this group will meet approximately monthly over the 2022-23 academic year to devise advocacy strategies and engage in advocacy work.
2) ACCESS & EXHIBITION (AE)
Mandate: The AE Working Group will focus on developing best practice guidelines related to the access and exhibition of media for scholarly purposes. Key recommendations for the activities of this group are outlined in the “Access and Exhibition” section of the 2021-22 MAC Working Group Summary Report ().
Duties: We anticipate the group will meet approximately monthly over the 2022-23 academic year to investigate current and potential practices that facilitate access to, and exhibition of, media for scholarly purposes. The group will also develop related guidelines for use in educational, research and library settings.
3) MEDIA APPROPRIATION & REPURPOSING (MAR)
Mandate: The MAR Working Group will develop a best practices guide on lawful appropriation and repurposing of media in educational and research settings. For details on the recommended activities and focus of this group, please see the “Appropriation/Repurposing” section of the 2021-22 MAC Working Group Summary Report ().
Duties: We anticipate the group will meet approximately monthly over the 2022-23 academic year to develop a guide for lawful appropriation and repurposing of media in educational and research contexts.
APPLICATION
Interested volunteers are encouraged to sign up for any of the above working groups:
Please indicate in your expression of interest if you would be interested to serve as chair of the working group.
For further information, or to send notification that you have signed up for one or more working groups, please email current MAC Co-chairs Rumi Graham (grahry@uleth.ca) and Aaron Taylor (aaron.taylor2@uleth.ca).
Please note: In July 2022, the full MAC report, including the rationale for its recommendations, will be made available in the Copyright section of the FSAC website: https://www.filmstudies.ca/category/news/copyright
APPEL À LA PARTICIPATION : GROUPES DE TRAVAIL SUR L’ACCÈS AUX MÉDIAS ET SUR LE DROIT D’AUTEUR 2022-2023
INFORMATIONS CONTEXTUELLES
En 2021, l’ACÉC a établi un groupe de travail sur l’Accès aux médias et le droit d’auteur (DAAM) avec comme mandat de poursuivre et peut-être d’élargir le travail de défense des droits d’auteurs de l’ACÉC ainsi que de développer des lignes directrices sur les meilleures pratiques quant à l’accès aux médias et leur utilisation à des fins académiques.
Au cours de l’année universitaire 2021-22, le groupe de travail DAAM a mené des discussions sur une variété d’opportunités et de préoccupations qui requièrent une attention ciblée (dont certaines dépassent le mandat original du DAAM). Le groupe a pu identifier les trois domaines d’intérêt suivants qui regroupent les opportunités et les enjeux soulevés :
- La revendication : la revendication de changements à la loi canadienne sur le droit d’auteur.
- L’accès et la projection : l’exploration des enjeux et des meilleures pratiques concernant l’accès et la projection de médias dans des contextes pédagogiques.
- L’appropriation et la réutilisation des médias : le développement de ligne directrices pour l’utilisation équitable d’œuvres audiovisuelles et autres droits d’utilisateurs prévus par la loi sur la défense du droit d’auteur. (Résumé du rapport de 2021-22 du groupe de travail sur l’accès aux médias et le droit d’auteur (DAAM), , page 1).
Le groupe de travail DAAM a présenté une motion à l’ACÉC pour qu’un groupe de travail dédié à chacun des domaines d’intérêt énoncés ci-haut soit formé afin de continuer le travail en lien avec les recommandations de son rapport final de 2021-22. Cette motion fut appuyée à l’assemblée Générale de l’ACÉC en 2022.
Pour chacun de ces groupes de travail, le conseil exécutif de l’ACÉC recherche entre 5 et 10 membres incluant des universitaires et cinéastes/vidéastes noir(e)s, autochtones et racisé(e)s, ainsi que ceux/celles qui sont LGBTQ+ et/ou de genres, de sexes et de provenances régionales diversifiés.
1) LA MODIFICATIONS DES DROITS D’AUTEUR (DA)
Mandat : Le groupe de travail sur le droit d’auteur (DA) se concentrera sur des efforts de revendications collaboratives pour demander des modifications à la loi canadienne sur le droit d’auteur. Les éléments clés qui font l’objet de ces demandes sont décrits dans la
section « Revendications » du rapport final du groupe de travail DAAM complété en 2021-22 ().
Tâches : Nous anticipons que ce groupe se rencontrera environ une fois par mois pendant l’année universitaire 2022-23 afin d’élaborer des stratégies de revendication et de les mettre en action.
2) ACCÈS ET PROJECTIONS (AP)
Mandat : Le groupe de travail sur l’accès et les projections des médias (AP) se concentrera sur le développement de lignes directrices quant aux meilleures pratiques concernant l’accès aux médias et leur projection à des fins pédagogiques. Les recommandations clefs concernant les activités de ce groupe sont décrites dans la section « accès et projections » du résumé du rapport 2021-22 du groupe de travail DAAM ().
Tâches : Nous anticipons que le groupe de travail se réunira environ une fois par mois pendant l’année universitaire 2022-23 afin d’étudier les pratiques actuelles et potentielles qui facilitent l’accès aux médias et leur projection à des fins académiques. Le groupe développera également des directives reliées à leur utilisation en contextes d’enseignement, de recherche et dans les bibliothèques.
3) APPROPRIATION ET RÉUTILISATION DES MÉDIAS (ARM)
Mandat : Le groupe de travail sur l’appropriation et la réutilisation des médias (ARM) développera un guide sur les meilleures pratiques quant à l’appropriation et la réutilisation légale des médias en milieux pédagogiques et de recherche. Pour plus de détails sur les activités recommandées et le domaine d’intérêt de ce groupe, veuillez consulter la section « appropriation/réutilisation » du résumé du rapport 2021-22 du groupe de travail DAAM ().
Tâches : Nous anticipons que ce groupe se réunira environ une fois par mois durant l’année universitaire 2022-23 afin de développer un guide sur les meilleures pratiques quant à l’appropriation et la réutilisation légale des médias en milieux pédagogiques et de recherche.
POUR SOUMETTRE SA CANDIDATURE
Les personnes intéressé(e)s sont encouragé(e)s à se porter volontaire pour travailler au sein des groupes décrits ci-hauts avant le 15 juillet 2022: .
Veuillez indiquer dans votre demande si vous seriez intéressé(e) à servir en tant que président(e) du groupe de travail qui vous intéresse.
Pour plus d’information, ou pour nous informer que vous êtes inscrit(e) dans un ou plusieurs groupe(s) de travail, veuillez s’il vous plaît contacter les co-présidents actuels du DAAM : Rumi Graham (grahry@uleth.ca) et Aaron Taylor (aaron.taylor2@uleth.ca).
Veuillez noter : En juillet 2022, le rapport complet du DAAM, y compris le raisonnement derrière ses recommandations, sera rendu disponible dans la section droits d’auteurs du site web de l’ACÉCM: https://www.filmstudies.ca/category/news/copyright
WORK & PLAY
2022 Literature/Film Association Conference
New Orleans, Louisiana, USA
October 20 to October 22, 2022
Keynote: Vicki Mayer, Tulane University
We are excited to return to in-person conferencing this fall with an examination of work and play, broadly conceived. Holding the annual conference of the Literature/Film Association in New Orleans raises questions of labor and leisure in relation to adaptation in the study of literature, film, and media. Not only has the city served as the home to writers and filmmakers, but it also has become a major media capital in its own right, enticing television and film production with tax incentives and its distinctive culture. As “work” and “play” have motivated a good deal of recent scholarship across literature, film, and media studies, we invite presentations that put these concerns in conversation with adaptation, broadly defined. While we welcome papers on any aspect of film and media studies, we are especially interested in presentations that address one or more of the following concerns regarding work or play:
- the work behind adapting into a different medium
- labor and cultural production
- authorship and adaptation
- the workplace as cultural intersection/metaphor in literature, film, and media
- production studies and below-the-line labor
- play in cultural production
- teaching adaptation and adapting teaching
- labor, social change, and adaptation
- adaptation as textual play
- gameplay as adaptation
- games as adaptations or adapting games
- play in analyzing and interpreting text
- plays as adaptations or adapting plays into a different medium
- performance as adaptation
We also have significant interest in general studies of American and international cinema, film and technology, television, new media, and other cultural or political issues connected to the moving image. In addition to academic papers, presentation proposals about pedagogy or from creative writers, artists, and filmmakers are also welcome.
Vicki Mayer is Professor of Communication at Tulane University. Her research encompasses media and communication industries, their political economies, infrastructures, and their organizational work cultures. Her publications seek to theorize and illustrate how these industries shape workers and how media and communication work shapes workers and citizens. Her theories inform her work in the digital humanities and pedagogy, most recently on ViaNolaVie and NewOrleansHistorical. Her books include Producing Dreams, Consuming Youth: Mexican Americans and Mass Media; Below the Line: Producers and Production Studies in the New Television Economy; and Almost Hollywood, Nearly New Orleans: The Lure of the Local Film Economy.
Please submit your proposal via this Google Form by July 1, 2022. You will receive a confirmation email within 48 hours. If you have any questions or concerns, contact Pete Kunze atlitfilmconference@gmail.com. Accepted presenters will be notified by August 1, and the conference program will be available by August 15 to enable travel planning. We also anticipate a professionalization pre-conference event.
The conference hotel rate of $199/night is available at the Four Points Sheraton French Quarter. The conference registration fee is $200 ($150 for students and retirees) before October 1, 2022 and $225 ($175 for students and retirees) thereafter. All conference attendees must also be current members of the Literature/Film Association. Annual dues are $20. To register for the conference and pay dues following acceptance of your proposal, select your registration and click on the PayPal “Buy Now” button below that will take you to where you can sign in to your PayPal account and complete the transaction.
Presenters will be invited to submit their work to the Literature/Film Quarterly for potential publication. For details on the journal’s submission requirements, visit here.
The Institute of Theater, Film and Media Studies of the Goethe University Frankfurt am Main offers at the Research Training Group “Configurations of Film” a position as a Post-Doc position (E13 TV-G-U) in the time frame: September 1 st, 2022 – June 30th , 2026.
The salary grade is based on the job characteristics of the collective agreement applicable to Goethe University (TV-G-U).
The Research Training Group “Configurations of Film” funded by the German Research Foundation studies the current transformations of media culture with a focus on moving images in the areas of its usages, its formations and its locations. The program combines historical with theoretical perspectives and analyzes a wide variety of different configurations of films outside and beyond the classical dispositif of cinema.
The Post-Doc scholars will pursue their own research related to the program’s research areas. They will oversee working groups with the Ph.D. candidates and will be involved in the planning and realization of the group’s study program. The work in the Research Training Group necessitates a residency in Frankfurt.
Applicants should hold a Ph.D. in film studies or media studies or in a related field. Excellent written and spoken command of English is required. Applicants whose first language is not German must demonstrate proficiency in German; operating languages are English as well as German.
Applications should include a letter of motivation, CV, copies of degrees and diplomas, a two- to three-pages abstract of the current research project, and a bibliography. The abstract should identify the relation of the project to the research areas of the program. It should also include information about the current status of the project and a time frame.
International scholars are strongly encouraged to apply.
We are committed to promoting the careers of underrepresented applicants. Women, individuals with disabilities, as well as applicants of underrepresented sexual orientations, socioeconomic classes and minority groups are especially encouraged to apply.
Applications should be submitted electronically (in PDF form) to applications-configurations@tfm.uni-frankfurt.de by July 7th, 2022. Applications should be addressed to the director of the program, Prof. Dr. Vinzenz Hediger, Institut für Theater-, Film- und Medienwissenschaft, Norbert-Wollheim-Platz 1, 60323 Frankfurt a. M.
For more information on the program: www.configurations-of-film.org
Media Aesthetics IV:
Institute Format and Application Process
Ramon Amaro is Lecturer in Art and Visual Cultures of the Global South at University College London. His writing, research and practice emerge at the intersections of Black Study, psychopathology, digital culture, and the critique of computational reason. He draws on Frantz Fanon’s theory of sociogenic alienation to problematise the de-localisation of the Black psyché in contemporary computational systems, such as machine learning and artificial intelligence. Ramon’s research pulls away from notions of psychic negation, as set forth by the Fanonian model of representation, to investigate alternative modes of relation between race and technology. His ultimate aim is to develop new methodologies for the study of race and digital culture. Ramon is the author of The Black Technical Object: On Machine Learning and the Aspiration of Black Being (Sternberg/MIT Press, 2022). He is a founding member of the Queer Computing Consortium (QCC), which investigates the “languages” of computation in its role in shaping locally embedded community practices.
- Opulence
- Excess
- Serialities
- Performance
- Framing and containment
- Immersive media
- Intensities of image
- Ecologies
- Realism
- Late capitalism
- Color technologies & race
- Phenomenology
- Sensory experience
Archive/Counter-Archive and Public Journal are pleased to announce a competition for a one-year MITACs Accelerate Postdoctoral Fellowship position hosted by York University and Public Access Journal of interdisciplinary art.
Archive/Counter-Archive: Activating Canada’s Moving Images Heritage is a six-year SSHRC Partnership Grant dedicated to researching and remediating audiovisual archives created by women, Indigenous Peoples, the LGBTQ2+ community and immigrant communities. Political, resistant, and community-based, counter-archives disrupt conventional narratives and enrich our histories. The project’s research is committed to finding solutions for safekeeping Canada’s audiovisual heritage. We seek to research and remediate audiovisual heritage that is most vulnerable to disappearance and inaccessibility, fostering a community and network dedicated to creating best practices and cultural policies.
PUBLIC is an interdisciplinary journal with a core focus on visual art. It strives to be an accessible, smart and beautiful journal about art with the timeliness and visual interest of a magazine, but the longevity of a book. PUBLIC maintains an enduring and esteemed profile in the periodicals market with its demonstrated commitment to publishing works, both written and visual, that are innovative and challenging, forward-thinking and critical, and engage both internationally and locally inflected perspectives. The journal devotes each 180+ – page, perfect-bound semi-color issue to a contemporary problem or theme and features content that combines critical writing, rich illustration throughout, and artist portfolios. PUBLIC stands apart from other publications by being conceived as a hybrid intellectual and creative forum that investigates how theoretical and critical issues intersect with art and public culture.
MITACs is a national, not-for-profit organization that builds partnerships between academia and industry. MITACs Postdoctoral Fellowships bring academic expertise into a partner organization, working on a specific project related to your area of research.
About the Research
The successful candidate is expected to focus on research into emerging hybrid media publication platforms that integrate print and online media in creative, engaging and critical ways. A focus on Knowledge Mobilization for Archive/Counter-Archive’s case studies, working group outputs and artist residencies will be the primary means for testing content through diverse social media platforms and interfaces. Research outcomes will directly inform the future publishing practices of Public as the journal evolves with online readership and engagement.
We invite applications from, in particular, interdisciplinary scholars who have earned a doctorate in communications, media studies, archival or information studies, digital media, or art history, and have expertise in such fields such as creative publishing, online outreach/engagement, communications, and digital media design. The position requires that the candidate has strong skills and experience in research creation, knowledge translation, community arts engagement, and familiarity with social media, video hosting and marketing platforms. An understanding of open-source web content management systems is an asset. Required soft skills include outstanding writing and communication skills, a strong collaborative working style, good time management, and adaptability.
This postdoc position will include opportunities to produce publications, participate in conference presentations and directly contribute to content design for Archive/Counter-Archive’s hybrid publications. It is expected that the candidate will divide their time between York University and Public, also housed at York University’s campus.
Funding
The MITACs Postdoc will receive an annual salary of $45,000.00 office space at York University, use of a computer and full access to York University Libraries. They will be supervised by Professor Michael Zryd in the Department of Cinema and Media Arts and will work closely with Public’s Editorial Board.
Duration: One year, with a possible 1-year renewal.
Candidates must have defended their dissertation by May 1st 2022. (This is a firm deadline)
Applications are due Monday May 13, 2021 at 5:00PM EST.
The position will begin in June 2022.
How to apply
Applicants should forward a cover letter, a brief research statement (maximum 1 page), curriculum vitae, as well as the names of three academic references in one PDF document to Dr. Antoine Damiens, Archive/Counter-Archive Project Manager at adamiens@yorku.ca
All correspondence should be addressed to:
Professor Janine Marchessault
c/o Dr. Antoine Damiens, Project Manager
SSHRC Partnership Grant, Archive/Counter-Archive
YORK UNIVERSITY | 2001F Victor Phillip Dahdaleh Building 4700 Keele Street · Toronto ON · Canada · M3J 1P3
“The chaos of the mind cannot constitute a reply to the providence of the
universe. All it can be is an awakening in the night, where all that can be heard is
anguished poetry let loose. ”
— Georges Bataille, Literature and Evil
Greek Chaos (the gap between heaven and earth) births Gaia (earth) and Eros (sexual desire) which procreate to make other deities. Under the acceleration of modernity we encounter the relentless accumulation of knowledge without understanding or grounding. We sense our own bodies and feel the threat of chaos loom in the mass of ambivalent sensations that rise into our perception. We embrace chaos and its vicissitudes, asking to be demolished by its operations so we can be reborn – or die – anew.
For our inaugural graduate conference we invite you to think of chaos as a space of potential for re-shaping dominant modes of engaging with the world. How does art diffuse or activate chaos? In what ways do mythological formulations of chaos speak to our present moment? How does your artistic/scholarly work respond to, react against, or embrace chaos?
We are seeking traditional and non-traditional forms of presentation: Papers, screenings, performances, animation, workshops, theatre, puppetry, curatorial projects, sound work, poetry, DJA/J sets, light works, papers, live body horror, sculpture, relational aesthetics, stripteases, pataphysical contemplations, weddings, rituals, massages, parties, beckonings, radio plays, podcasts, found drama – as befits a conference on chaos, the options are limitless.
- Geopolitics and the mapping of chaos
- Quantum chaos and chaos in scientific fields
- Gendered and affective dimensions of chaos
- Competing cosmologies and mythologies of chaos
- Ontologies of chaos, e.g. Mallarme’s Un coup de dés
- Chaos magic, conspiracy, and the supernatural
- Politics of chaos: anarchism and its lineages
- Performances of chaos, e.g. John Cage
- Phenomenologies of chaos: noise, pareidolia, madness
Submit proposals of up to 500 words to sccs.filmandmediagraduate@gmail.com by May 10, 2022. The conference will be in-person in Kingston, Ontario. Individual and collaborative proposals are welcome. You can include images and audio in your proposals, and please let us know your tech needs. If you require alternative submission formats, please let us know.
Visions of Change: A CMF Graduate Student Conference
https://news.ucalgary.ca/news/visions-change-cmf-graduate-student-conference
May 10 – May 11 2022, 11:30 am to 3:30 pm
Online via Zoom
(Potential in-person social events on May 11) *
This year’s CMF Graduate Student Conference theme is Visions of Change. We chose this theme to focus on research that is forward-looking and evokes new perspectives. In light of the struggles we have faced globally and within our own communities in the past two years, we believe that it is more imperative than ever to spotlight critical, creative, and hopeful scholarship.
- What do we mean by ‘vision’?
We chose the word vision to represent our desire to envision a brighter future ahead in our society and in scholarship, through inspiring, insightful, and innovative research.
- Why ‘change’?
If the past two years of this pandemic have taught us anything, it is recognizing the importance of ongoing transformations in communication, media, technology, and culture in our everyday lives. We are eager to showcase work that critically reflects on the changes we have experienced as a society, and that is ingrained with revolutionary hope, positivity, and inclusivity.
CALL FOR PAPERS
This is a call for papers for the Visions of Change conference. Please submit your proposal here by the proposal submission deadline on March 31, 2022.
Below are some examples of topics you may wish to present on for this year’s Visions of Changeconference:
- Media and activism (anti-racism, feminism, anticolonialism, etc.)
- Representations and power in media
- Popular culture in the media, and media identities (influencers, etc.)
- New media industries (social media platforms, etc.)
- Cinema, documentary, photography, and sound as mediums of change
- Algorithmic media
- Digital citizenship
- The digital divide and inequities to access
- Censorship and other challenges to journalism and reporting
These are only some topics you may wish to address during the conference this year; proposal submissions that fall under the umbrella of this year’s theme are encouraged even if they do not directly address one of the topics listed.
The Visions of Change conference welcomes any proposal submissions for the following presentation formats:
- Short talks (200-word abstract): A shorter presentation, lasting 5 minutes in duration. An ideal option for a presenter that desires to share and discuss an idea or research-in-progress work that may not be fully developed or completed. First-time presenters, senior undergraduate students and MA students are all encouraged to apply.
- Long talks (300-word abstract): A longer presentation, lasting 10-15 minutes in duration. An ideal option for a presenter seeking to share and discuss a more developed analysis on a research topic of their choosing.
- We also welcome proposals for alternative formats. Proposal submissions should include a short description of the desired format and time allotment (minimum 5 minutes and maximum 20 minutes) in addition to the accompanying 200-word proposal/abstract. While it is not guaranteed, we will try our best to accommodate an alternative format.
Please, note that time will be set aside for a Q&A session after the presentation(s).
While writing your proposal, all applicants are asked to consider an equity, diversity, and inclusivity (EDI) framework in their submission. Please ensure that you have completed the EDI pledge in your proposal form. More information regarding the EDI framework can be found on the webpage for the University of Calgary’s Office of Equity, Diversity, and Inclusion here.
If you have any questions about this CFP, please reach out to Berenice Cancino (berenice.cancino@ucalgary.ca) or Xenia Reloba de la Cruz (xenia.relobadelacruz@ucalgary.ca).
Thank you and we look forward to your submissions!
—
*This conference will be held online (via Zoom) out of an abundance of caution because of the evolving and uncertain circumstances surrounding the COVID-19 pandemic and its impact on public health restrictions and the safety of potential participants in the city of Calgary. The feasibility of organizing optional in-person social events as part of the CMF Graduate Student Conference will be determined at a later date and will be conveyed to conference participants.
Moving/Pictures
Program in Film and Media Studies at the University of Pittsburgh
Keynote Speaker: Haidee Wasson of Concordia University
Date: September 23-24
The University of Pittsburgh Film and Media Studies Program is pleased to announce “Moving/Pictures,” its eleventh Annual Graduate Student Conference.
Conventional historiographical and theoretical assumptions in film history and media archaeology have often belied the stability of their apparatuses, objects, and spaces of reception. Yet even in the “classical” period, scholars have unearthed a fluid moving image ecology that has been easy for us to overlook in favor of a supposedly canonical and rigid exhibition/apparatus structure. Along with Charles Acland, Ariel Rogers, Alison Griffiths, and others, Haidee Wasson has worked in the past decade to turn the field’s attention to film and media’s longstanding formal, cultural, and technological history in classrooms, museums, prisons, planetariums, shopping centers, airplanes, trains, and elsewhere. This turn has encouraged us to consider the cinema theater as but one site in a panoply of historically contingent spaces of media encounter.
Rather than treating the proliferation of moving image media in diffuse and dispersed spaces as a contemporary phenomenon abetted by the digital, Moving/Pictures encounters the cinematic as a media ontology permanent only in its flux. Seeking scholarship on exhibition practices, portability, technology, reception, transportation, architecture, and the general relationship of media to its locations and spaces, the conference calls on participants who take seriously the transience of film and media. The transience of media across borders takes on new forms and shapes, forcing us to contend with even more global multiplicities of moving image contexts. In the dialectic between the stability of the “picture” and the unfixedness of “moving,” this conference seeks a productive scholarly tension.
- Exhibition Histories
- Theories and Spaces of Reception
- “Useful Cinema”
- Nontheatrical Cinema
- Television and New Media outside the home
- Stereoscopy and the Sensorium
- Urban/Rural Geography
- Distribution Networks
- Film Promotion/Exhibitional Decoration
- Travelling Cinemas
- Cinema and the Body
- Haptics and Movement
- Museums, Film and Musealization
- Avant Garde and Video Art Practices and Spaces
- Borders and Transience
- International Media Flows
- Global Exhibition Networks
- The Museum as a Cinematic Space
- Film Curatorship
- Portable film and media technologies
- Paratexts and Paratextual Film Cultures
- Guerilla and Underground Cinema
Interested graduate students should submit abstracts (maximum 300 words) – along with biographies (maximum 100 words), institutional/departmental affiliations, and current email – to pittfilmgradconference@gmail.com by June 15th, 2022. For more information, please contact the Pitt Film and Media Studies Graduate Student organization at the above email.
Accessibility arrangements: The Conference has traditionally been an in-person event, giving participants the opportunity to connect with their peers. However, academic travel presented a challenge to graduate students of all abilities well before the COVID-19 related restrictions emerged. Considering the steady improvement of COVID-conditions in the USA, we are planning the conference as an in-person event with some papers delivered through synchronous Zoom presentations. Successful applicants will be encouraged to visit the University of Pittsburgh and give their papers in-person, but we hope to accommodate a number of remote speakers through this format.
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