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Job Posting: Postdoctoral Fellow
Area of Research: Black Feminist Thought
Description
The Department of Gender Studies at Queen’s University seeks a postdoctoral fellow specializing in Black Feminist Thought. The postdoctoral fellow will be an emerging scholar with expertise in any area(s) of black feminist thought (such as but not limited to black and black diaspora feminism, African feminism, Caribbean feminism, black feminist and queer studies, black trans studies, black feminist geographies, black feminist cultural production [music, poetry, fiction, visual arts], black feminist activism and organizing). In addition to supporting a wider research program on black creative methodologies, as faculty member in the Department of Gender Studies, the candidate will also support the new Program in Black Studies through teaching and service. Scholar-activists and scholar-creatives are encouraged to apply.
Applicant Details
Applicants must have a PhD in hand by June 15, 2022.
Application Materials
- An updated curriculum vitae
- One scholarly paper and/or excerpts from a creative portfolio
- A statement (1,500 words or less) describing the proposed research project
- Two confidential letters of reference (sent directly to us before the deadline)
- Graduate Transcript(s)
In addition, the impact of certain circumstances that may legitimately affect a nominee’s record of research and creative achievement will be given careful consideration when assessing the nominee’s research productivity. Candidates are encouraged to provide any relevant information about their experience and/or career interruptions.
Please send all materials to Taylor Cenac: taylor.cenac@queensu.ca
Salary: $60K
Closing Date: February 1, 2022
Supervisor: Katherine McKittrick
Expected start date: July 1, 2022
Term: One year
About Queen’s University
Post-doctoral fellows are represented under the collective agreement between PSAC 901, Unit 2 and Queen’s University. Post-doctoral fellows are eligible for pregnancy and/or parental leave as defined in the Employment Standards Act. Additionally, employees may be eligible for some reimbursement of Eligible Childcare Expenses incurred under the Childcare Benefit Plan. For more information on postdoctoral benefits, see PSAC 901, Unit 2 Collective Agreement.
Additional information about Queen’s University can be found on the Faculty Recruitment and Support website. The University is situated on the traditional territories of the Haudenosaunee and Anishinaabe, in historic Kingston on the shores of Lake Ontario. Kingston’s residents enjoy an outstanding quality of life with a wide range of cultural, recreational, and creative opportunities. Visit Inclusive Queen’s for information on equity, diversity, and inclusion resources and initiatives.
The University invites applications from all qualified individuals. Queen’s is strongly committed to employment equity, diversity, and inclusion in the workplace and encourages applications from Black, racialized/visible minority and Indigenous/Aboriginal people, women, persons with disabilities, and 2SLGBTQ+ persons.
To comply with federal laws, the University is obliged to gather statistical information as to how many applicants for each job vacancy are Canadian citizens/permanent residents of Canada. Applicants need not identify their country of origin or citizenship; however, all applications must include one of the following statements: “I am a Canadian citizen/permanent resident of Canada”; OR, “I am not a Canadian citizen/permanent resident of Canada.” Applications that do not include this information will be deemed incomplete.
The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that accounts for an applicant’s accessibility needs. Candidates requiring accommodation during the recruitment process are asked to contact: taylor.cenac@queensu.ca.
Accepting applications for an MA and PhD in
Screen Cultures and Curatorial Studies
Queen’s University
Application deadline: January 31, 2022
Launched in the Fall of 2019, Screen Cultures and Curatorial Studies is a collaboration between the Department 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 Studies are unique because of their linkage to adjacent disciplines: film and media studies and, more generally, the study of screen cultures, critical theory, 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, archiving, 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.
Research Areas
- Film, Media and Screen Cultures
- Experimental Media
- Curatorial Studies
- Moving Image Production (Narrative, Documentary, Experimental, Animation, Open Media, Digital Media)
- Film, Media and Performance Studies
- Historical and Contemporary Film and Media
- Archives, Curation, and Remediation
- National and Transnational Cinemas, Cultural Institutions and Curatorial Events
- Feminist, Critical Race, Indigenous and LGBTQ2+ Screen Cultures
- Environmental Film and Media
To learn more, please visit our website.
To start an application, go to School of Graduate Studies website.
Any questions? Contact Stephanie Wilson, Graduate Assistant, or Gary Kibbins, Graduate Chair.
Call for Applications: Graduate Degrees in Film/Cinema & Media Studies at York University
- MA in Cinema and Media Studies
- PhD in Cinema and Media Studies
- MFA in Film Production or Screenwriting
- Joint MA-MBA or MFA-MBA with the Schulich School of Business.
Domestic applicants who apply by January 15, 2022 will be given first consideration. Applicants will be contacted by late February – early March 2022. Late applications may be considered.
Apply here for MFA and here for MA/PhD
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 or Research-Creations Project 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 50% 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, which provides guaranteed funding for five years. In addition to generous York professional development funds, our students receive national, provincial and university-wide scholarships and awards. Current PhD students include Vanier, Elia, Trillium scholars, and numerous SSHRC and OGS doctoral awards.
Outstanding faculty are leaders in their fields and have won numerous teaching awards; 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 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 (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 MA or PhD programs are encouraged to contact Prof. Michael Zryd, PhD Graduate Program Director, zryd@yorku.ca.
Students interested in the MFA program are encouraged to contact Prof. Manfred Becker, Graduate Program Director, bmanfred@yorku.ca.
For questions related to the application process please contact Kuowei Lee, Graduate Program Assistant, filmgpa@yorku.ca.
APPLICATION DEADLINE: JANUARY 15, 2022
futurestudents.yorku.ca/graduate/programs/cinema-and-media-studies
futurestudents.yorku.ca/graduate/programs/film
Graduate Program in Film/Cinema & Media Studies
Department of Cinema and Media Arts
School of the Arts, Media, Performance and Design
York University
Centre for Film and Theatre 224
4700 Keele St.
Toronto, ON M3J 1P3 CANADA
Tel: 416-736-2100 x 22174
film.gradstudies.yorku.ca
Version française ci-bas
CALL FOR PAPER PROPOSALS FOR FSAC 2022
May 12-15
The Annual Conference of the Film Studies Association of Canada
Held in conjunction with the Congress of the Humanities and Social 2022
Congress Theme: Transitions
Association Theme: Screen Futurities
Martin Walsh Memorial Lecture: TBA
Sylvia D. Hamilton Dialogues: TBA
2022 Gerald Pratley Award: Ylenia Olibet, Concordia University
“Minor Transnationalism in Quebec’s Women Cinema: Diasporic Filmmaking Practices.”
Proposal Submission Deadline: January 31, 2022
Submit proposals by email to: conference2022@filmstudies.ca
The Film Studies Association of Canada acknowledges that members of the association predominantly live and work in locations across Turtle Island. The association recognizes and respects the histories, languages, and cultures of First Nations, Métis, and Inuit across Turtle Island. This acknowledgment is part of the association’s desire to centre shared conversations around how scholarly practices can act as a part of reconciliation and use these conversations as a guiding principle of our association’s work.
FSAC wishes to explicitly encourage participation in the association of scholars and makers most impacted by structural racism, colonialism, misogyny, ableism, trans- and homophobia, including those considering joining for the first time or those who are returning and are looking for a supportive intellectual and creative community base. As FSAC continues to try and make meaningful structural change, it welcomes input and participation at every level of the association from being a member, conference presenter or panel chair, to taking on leadership roles within the executive and in working groups.
FSAC is now seeking proposals for the 2022 virtual conference hosted in conjunction with Congress. The Conference Committee is committed to ensuring the programming of anti-racist and anti-colonial approaches to research, scholarship, pedagogy, archiving, and other institutional practices related to the study of film and media. Proposals on these topics are especially welcome.
In an elaboration of the Congress theme ‘Transitions,’ the FSAC 2022 theme Screen Futurities welcomes scholarly presentations that consider the possible and preferred futures we hold for our film and media landscapes. The conference seeks papers that take up the concept of futurities broadly as it applies to any screen media. The concept of futurity invites reflections on temporality and a recognition of many key sites of struggle or indeterminacy in the present. We invite projects on film, media, and social and visual movements that centre futurity in theory and practice as a way to engage our media of study as they transform and shift within the digital era.
Temporalities including futurity are crucial to our collective witnessing of necessary shifts and reckonings within our political and institutional spheres. They help orient our scholarship towards acknowledging and actively undoing the ongoing violence and harms perpetrated against racialized, gendered, and other marginalized communities. To this end, the theme encourages scholarly work on the overlaps between film, media, and social and visual movements that centre futurity in both theory and practice including Afrofuturism, Indigenous futurism, queer, trans, and feminist futurisms, and eco-futurisms.
Proposals submitted to the conference committee may take up topics related to the conference theme or on any other film or media studies topic.
The FSAC 2022 conference will occur in a virtual format as a synchronous online gathering of paper presentations, panels, workshops, roundtables, and screenings through the Congress video conferencing platform.
Please note that proposals will only be considered from applications who are paid-up members of the association. Black, Indigenous, and racialized members of the association can renew their membership at no cost.
Memberships may be obtained/renewed here: https://www.filmstudies.ca/membership
The conference committee welcomes proposals for:
- Individual presentations
- Pre-Constituted panels
- Workshops or roundtables
- Screenings, exhibitions or other virtual events
Options for participation and submission instructions:
- Pre-Constituted Panels: For the 2022 Conference, we strongly encourage the construction of pre-constituted panels to ensure a greater coherence and dialogue across those with aligned scholarly interests. Please submit a call for your pre-constituted panel to the Conference email by December 15 for the Conference Committee to circulate to the larger membership on your behalf. This call should include a working title, 250-350-word outline of the thematic focus, list of keywords, bullet-point list of possible topics included under the panel theme, and contact information for panel chair.We will circulate the cluster of panel calls for participation to the membership on your behalf by December 17, 2021 and will set a deadline for submission to panel chairs by January 15, 2022 in order to ensure that anyone not accepted at the time can revise their submission for the individual paper deadline of January 31, 2022. Please submit your final curated pre-constituted panel to the Conference Committee by January 31, 2022.
Pre-constituted panels should be submitted by the proposed panel chair and include:
-
- A Cover email including panel chair’s name, position, institutional affiliation, and email address
- Title of the proposed panel
- 250-350-word abstract outlining the panel focus
- Keywords (3-5)
- Title of papers and brief abstracts (150 words) included
- Individual Paper Proposal format:
-
- In an email include applicant name, affiliations, short bio (50 words), and paper title
- Attach a 250–350-word abstract (with title)
- Keywords (3-5) and bibliographic references (2-5)
- **Individual paper abstracts will be blind-reviewed; please do not include name or affiliation in the attachment
- Workshop and Roundtable proposals should include the following information:
-
- Chair’s name, position, institutional affiliation, and email address
- Title of workshop or roundtable
- 250–350-word abstract describing theme/focus being considered and format it will take
- Keywords (3-5)
- List of participants including name, position, institutional affiliation, and email
- Screen-based events:
-
- Artist(s)’ name(s), position, institutional affiliation and email address
- Title of film, media, event as appropriate
- 250-350-word abstract describing theme/focus of event and/or synopsis of film or media to be presented and the medium and presentation format it will take.
- Keywords (3-5)
- Any special technology requests or requirements
Please submit paper, workshop, roundtable, and screen-based event proposals to the Conference Committee by January 31, 2022
Additional information:
- Presentations may be either in English or French.
- Organizers and convenors of workshops and roundtables seeking broad inclusion from FSAC members and should feel free to use the FSAC listserv to solicit interest.
- You can participate in a maximum of two presentations, neither of which can be the same kind (i.e., you may propose a paper and a workshop proposal but not two of either kind regardless of whether they are single or co-authored).
- Individual presentations are no longer than 15 minutes (clips included). Length of workshops, roundtable presentations, and screen-based events may vary depending on the session for a preferred maximum of 2-2.5 hrs.
- All proposals will be adjudicated by the Conference Committee.
- All papers presented at the FSAC conference must be original works. Proposals for previously presented papers will not be accepted.
- Following last year’s conference’s successful Book Launch and closing party, we will make more casual breakout rooms available throughout the conference for increased social engagements.
Graduate Student Funding
- Partial financial compensation for student members is normally dedicated to travel expenses. Given that this conference is virtual, you may apply for this year only to reduce your conference fees instead. More details and the application form will be posted in January at https://www.filmstudies.ca/category/grad-students
Audio-Visual Needs
- The FSAC Conference Committee will work closely with the membership to ensure we support your needs running presentations and will provide a ‘how-to’ FAQ sheet in the spring in anticipation of the conference.
Conference Program Chair: Shana MacDonald (President, FSAC)
Department of Communication Arts, University of Waterloo
president@filmstudies.ca or shana.macdonald@uwaterloo.ca
APPEL À COMMUNICATIONS POUR LE CONGRÈS DE L’ACÉC 2022
12-15 mai
Colloque annuel de l’Association Canadienne d’Études Cinématographiques
Tenu dans le cadre du Congrès des sciences humaines
Thème du congrès : Transitions
Thème de l’association : Futurités écraniques
Conférence commémorative Martin Walsh : (annonce à venir)
Dialogues Sylvia D. Hamilton Dialogues : (annonce à venir)
Conférence liée au prix Gerald Pratley 2021 : Ylenia Olibet, Concordia University
“Minor Transnationalism in Quebec’s Women Cinema: Diasporic Filmmaking Practices.”
Date de tombée pour les propositions : 31 janvier 2022
Envoyez vos propositions à : conference2022@filmstudies.ca
L’Association Canadienne d’Études Cinématographiques reconnaît que les membres de l’association vivent et travaillent principalement dans des endroits situés à travers l’Île de la Tortue. L’association reconnaît et respecte l’histoire, les langues et les cultures des Premières Nations, des Métis et des Inuits de l’Île de la Tortue. Cette reconnaissance s’inscrit dans l’objectif de l’association de mettre de l’avant des conversations communes sur la façon dont les pratiques savantes peuvent contribuer aux efforts de réconciliation et d’utiliser ces conversations comme principe directeur du travail de notre association.
L’ACÉC souhaite encourager explicitement la participation à l’association des pens·eur·euse·s et créateu·r·ice·s les plus touché·e·s par le racisme systémique, le colonialisme, la misogynie, le capacitisme, la trans- et l’homophobie, y compris ceux qui envisagent de se joindre à nous pour la première fois ou qui y reviennent et recherchent une communauté de soutien intellectuelle et créative. Alors que l’ACÉC continue d’essayer d’apporter des changements systémiques importants, elle accueille favorablement les commentaires et la participation à tous les niveaux de l’association, qu’il s’agisse d’être membre, présentat·eur·rice de conférence ou président·e de groupe d’expert·e·s, d’assumer des rôles de leadership au sein de l’exécutif et des groupes de travail.
L’ACÉC est présentement à la recherche de propositions pour la conférence virtuelle 2022 organisée conjointement avec le Congrès. Le Comité de conférence s’engage à assurer la programmation d’approches antiracistes et anticoloniales de la recherche, de la pédagogie, de l’archivage et d’autres pratiques institutionnelles liées à l’étude du cinéma et des médias. Les propositions sur ces sujets sont particulièrement les bienvenues.
Dans une élaboration du thème du Congrès « Transitions », le thème de l’ACÉC 2022 Futurités écraniques accueille des présentations qui considèrent les futurs possibles et préférés que nous tenons pour nos paysages cinématographiques et médiatiques. La conférence est à la recherche de présentations qui examinent le concept de « futurité » au sens large, tel qu’il s’applique à tous les médias écraniques. Le concept de futurité invite à la réflexion sur la temporalité et à la reconnaissance de nombreux sites clés de lutte ou d’indétermination dans le présent. Nous invitons des projets sur le cinéma, les médias et les mouvements sociaux et visuels qui centrent le concept de futurité dans la théorie et la pratique comme un moyen d’engager notre média d’étude alors qu’ils se transforment et se déplacent dans l’ère numérique.
Les temporalités, y compris la futurité, sont cruciales pour notre témoignage collectif des changements nécessaires et des comptes à rendre dans nos sphères politiques et institutionnelles. Elles aident à orienter notre recherche vers la reconnaissance et la déconstruction active de la violence et des préjudices encore perpétrés contre les communautés racisées, genrées et autres communautés marginalisées. À cette fin, le thème encourage les projets portant sur les chevauchements entre le cinéma, les médias et les mouvements sociaux et visuels qui recentrent la futurité dans la théorie et la pratique, y compris l’afrofuturisme, les futurismes autochtones, les futurismes queer, trans et féministes, et les éco-futurismes.
Les propositions soumises au comité de la conférence peuvent reprendre des sujets liés au thème de la conférence ou porter sur tout autre sujet d’études cinématographiques ou médiatiques.
La conférence 2022 de l’ACÉC se tiendra dans un format virtuel sous la forme d’un rassemblement synchrone en ligne de présentations individuelles, de panels, d’ateliers, de tables rondes et de projections via la plate-forme de vidéoconférence du Congrès.
Veuillez noter que seules les propositions soumises par des membres dont l’adhésion à l’association est en règle seront considérées. Les membres de l’association ressortant des communautés Noires, Autochtones et racisées peuvent renouveler leur adhésion sans frais.
Les adhésions peuvent être obtenues / renouvelées ici : https://www.filmstudies.ca/membership
Le comité de la conférence accueille favorablement les propositions pour :
- Présentations individuelles
- Panels préconstitués
- Ateliers ou tables rondes
- Projections, expositions ou autres événements virtuels
Options de participation et instructions de soumission :
- Panels préconstitués : Pour la Conférence 2022, nous encourageons fortement la construction de panels préconstitués pour assurer une plus grande cohérence et un dialogue entre individus partageant des intérêts de recherche. Veuillez soumettre un appel pour votre panel préconstitué à l’adresse courriel de la Conférence d’ici le 15 décembre pour que le Comité de la Conférence puisse le distribuer à l’ensemble des membres en votre nom. Cet appel devrait inclure un titre temporaire, un aperçu de 250-350 mots de l’objectif thématique du panel, une liste de mots-clés, une liste de sujets possibles sous le thème du panel et les coordonnées du/de la président·e du panel.Nous distribuerons les appels à panels préconstitués aux membres de l’association en votre nom d’ici le 17 décembre2021 et fixerons une date limite pour la soumission aux président·e·s de panel d’ici le 15 janvier 2022 afin de s’assurer que toute personne non acceptée à ce moment-là puisse réviser sa soumission pour la date butoir pour les propositions individuelles, soit le 31 janvier 2022. Veuillez soumettre votre panel préconstitué finalisé au Comité de la conférence d’ici le 31 janvier 2022.
Les panels préconstitués devraient être soumis par le/la président·e du panel proposé et inclure :
-
- Un courriel d’introduction comprenant le nom, le poste, l’affiliation institutionnelle et l’adresse courriel du/de la président·e du panel
- Le titre du panel
- Un résumé de 250-350 mots décrivant l’objectif du panel
- Mots-clés (3-5)
- Titre des présentations et résumés (150 mots)
2. Format de la proposition individuelle :
-
- Dans un courriel, incluez le nom de l’appliquant, les affiliations, une courte biographie (50 mots) et le titre de la présentation
- Joindre un résumé de 250 à 350 mots (avec titre)
- Mots-clés (3-5) et références bibliographiques (2-5)
- **Les propositions individuelles seront évaluées à l’aveugle; veuillez ne pas inclure le nom ou l’affiliation dans la pièce jointe
3. Les propositions d’ateliers et de tables rondes devraient comprendre les renseignements suivants :
-
- Nom, poste, affiliation institutionnelle et adresse courriel du/de la président·e
- Titre de l’atelier ou de la table ronde
- Résumé de 250 à 350 mots décrivant le thème / l’orientation envisagée et le format prévu
- Mots-clés (3-5)
- Liste des participant·e·s, y compris leur nom, leur poste, leur affiliation institutionnelle et leur courriel
4. Événements spéciaux :
-
- Nom(s), poste, affiliation institutionnelle et adresse électronique de l’artiste(s)
- Titre du film, des médias, de l’événement, le cas échéant
- Résumé de 250-350 mots décrivant le thème / la visée de l’événement et / ou le synopsis du film ou des médias à présenter, de même que le support et le format de présentation qu’il prendra.
- Mots-clés (3-5)
- Toute demande ou exigence technologique spéciale
Veuillez soumettre vos propositions de présentations, de panels, d’ateliers, de tables rondes et d’événements spéciaux au Comité de la conférence d’ici le 31 janvier 2022.
Informations complémentaires :
- Les présentations peuvent être en français ou en anglais.
- Les organisat·eur·rice·s d’ateliers et de tables rondes ne devraient pas hésiter à utiliser la liste d’envoi de l’ACÉC afin de solliciter des gens dans l’ensemble de l’association.
- Vous pouvez participer à un maximum de deux activités, dont aucune ne peut être du même genre (c.-à-d. que vous pouvez proposer une proposition et un panel, mais pas deux de l’un ou l’autre type, qu’ils soient uniques ou co-écrits).
- Les présentations individuelles devraient durer un maximum de 15 minutes (clips inclus). La durée des ateliers, des présentations de tables rondes et des événements spéciaux peut varier selon la session, jusqu’à un maximum de 2-2,5 heures idéalement.
- Toutes les propositions seront jugées par le Comité de la conférence.
- Toutes les présentations à la conférence ACÉC doivent être originales. Les propositions présentées précédemment ne seront pas acceptées.
- Pour donner suite au succès de la soirée de clôture et de lancement de livre de l’an dernier, nous rendrons disponibles plus de salles de réunion décontractées tout au long de la conférence pour favoriser les rencontres sociales.
Financement des étudiant·e·s des cycles supérieurs :
- Une compensation financière partielle pour les membres étudiants est normalement consacrée aux frais de déplacement. Étant donné que cette conférence est virtuelle, vous pouvez postuler pour cette année uniquement pour réduire vos frais de conférence à la place. Plus de détails et le formulaire de demande seront affichés en janvier à https://www.filmstudies.ca/category/grad-students
Besoins audiovisuels :
- Le comité de la conférence de l’ACÉC travaillera en étroite collaboration avec les membres pour s’assurer que nous soutenons vos besoins en organisant des présentations et en fournissant un document d’instruction au printemps en prévision de la conférence.
Présidente du programme de la conférence : Shana MacDonald (Présidente, ACÉC)
Department of Communication Arts, University of Waterloo
(Version française ci-bas)
Call for Papers — Canadian Game Studies Association/L’Association Canadienne d’Études des Jeux (CGSA/ACÉJ) 2022 Annual Conference
The 2022 Canadian Game Studies Association (CGSA/ACÉJ) annual conference will be held May 31 to June 4 through a virtual format. This virtual format will build on lessons from the 2021 conference and combine pre-recorded paper and panel presentations with synchronous Q&A discussion sessions.
Even as a virtual conference, as an organization CGSA/ACÉJ is made possible by infrastructure and resources located in the unceded territories of the xʷməθkʷəy̓əm (Musqueam),Sḵwx̱wú7mesh (Squamish), and Sel̓íl̓witulh (Tsleil-Waututh) Nations, and from various institutions located across Turtle Island. As a direct beneficiary of this ongoing colonial violence, CGSA/ACÉJ affirms its commitment to support marginalized scholars and creators and proactively make space for studies of gender, race, sexuality, ability, class, and other forms of diversity in games and gaming cultures.
Building from our 2021 conference, Solidarity and Social Justice in Game Studies, and with the hope of helping transform the Federation of Humanities and Social Science’s commitments to anti-racism and decolonization into practice, this year’s conference theme is ACTION! We invite submissions that work toward an anti-racist and decolonial game studies. In this sense of ACTION! papers and panels might study racism and coloniality in games, resistance on the part of players and other actors in the game cultures, or use approaches that decenter Western epistemologies and challenge white supremacy. ACTION! also highlights a critical dimension of games and gaming: the interactive or participatory element of a player at play. Papers and panels thinking about this sense of ACTION!might examine forms, contexts, and/or sites of interaction, how players, developers, and others in gaming scenes act on games, and/or games as social action. Accepted papers and panels that address either senses of the theme ACTION! will be highlighted in special sessions throughout the conference.
We also invite submissions from researchers in any disciplines in the humanities and social sciences working on any topic related to games, digital or analog.
Graduate student submissions and submissions from scholars outside of Canada are welcome and encouraged! CGSA/ACÉJ accepts submissions in both English and French, but please note that most presentations and social events will be in English. Additionally, presenters are asked to limit their submissions to no more than 1 paper as first author and no more than 1 workshop or other event.
Black and/or Indigenous graduate students accepted to the conference will be able to register at no cost.
Submission Guidelines:
For help preparing abstracts, including recommendations for works cited, please refer to this guide (available in English only). Please also note that all submissions must be anonymized and should include at least 3 references.
This year we will be accepting proposals for three kinds of submissions:
Individual Paper Submissions
For individual paper submissions please submit an anonymized abstract no longer than 500 words (excluding references). We welcome presentations that take advantage of the virtual conference format.
Panel Submission
For panel submissions please include a 250-word panel overview and 250 words (excluding references) describing each individual presentation. The panel organizer/chair should assemble all materials and submit as a single anonymized submission to EasyChair. When submitting the panel to EasyChair, the organizer/chair should be listed as corresponding author, and all other panel participants should be listed as co-authors.
Workshops/Other Formats
CGSA/ACÉJ welcomes other types of submissions including workshops, demonstrations, fishbowls, etc, especially those that take advantage of the virtual conference format or might be uniquely possible in a virtual conference format. Please contact the CGSA/ACÉJ 2022 organizers in advance of the deadline with a brief summary of your proposed submission, anticipated equipment needs, and an estimated length of time requested.
Deadline for submission is Monday January 10th by midnight EST.
Please submit all proposals via EasyChair:
https://easychair.org/conferences/?conf=cgsaacj2022
Appel à communications — Colloque 2022 de Association Canadienne d’Études des Jeux / Canadian Game Studies Association (ACÉJ/CGSA)
Le colloque annuel de l’Association canadienne d’études des jeux (ACÉJ/CGSA) se déroulera du 31 mai au 4 juin 2021, en format virtuel. Cette formule sera basée sur les leçons que nous avons apprises lors du colloque de 2021, et comprendra à la fois des communications et des panels pré-enregistrés, et des séances de question/discussion en mode synchrone.
Bien que notre colloque se déroule en format virtuel, il reste que l’ACÉJ/CGSA en tant qu’association est possible grâce aux infrastructures et aux ressources situées sur les territoires non cédés des nations xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish) et Sel̓íl̓witulh (Tsleil-Waututh), et de diverses institutions situées à travers l’île de la Tortue. En tant que bénéficiaire direct de cette violence coloniale continue, l’ACÉJ/CGSA affirme son engagement à soutenir les universitaires et les créateurs.trices marginalisés.es et à créer de façon proactive un espace pour l’études des genres, des ethnicités, des sexualités, des capacités, des classes et d’autres formes de diversité dans les jeux et leurs cultures.
Dans le même esprit que notre conférence de 2021, Solidarité et justice sociale en études des jeux, et dans l’espoir d’aider à transformer les engagements envers l’antiracisme et la décolonisation de la Fédération des sciences humaines en pratique, le thème du colloque de cette année est ACTION! Nous encourageons des soumissions qui cherchent à créer des études des jeux antiracistes et anticoloniales. En ce sens, les soumissions et panels d’ACTION! peuvent étudier le racisme et la colonialité dans les jeux, la résistance des joueur.euse.s et de d’autres acteur.rice.s au sein des cultures des jeux, ou une approche qui décentralise les épistémologies occidentales et remet en question la suprématie blanche. ACTION! met également en évidence une dimension critique du jeu et du gaming :l’élément interactif ou participatif observable dans la pratique de jeu des joueur.euse.s. Des soumissions et des panels se penchant sur le thème de l’ACTION! pourraient examiner les formes, contextes ou espaces d’interaction, la façon dont les joueur.euse.s, les développeur.euse.s et autre acteur.rice.s de la scène vidéoludique influencent les jeux, ou les jeux en tant qu’action sociale. Les papiers et les panels acceptés qui abordent l’un ou l’autre des sens du thème ACTION! seront mis de l’avant au sein de sessions plénières durant le colloque.
Nous invitons aussi les chercheurs.e.s de toutes les disciplines des sciences humaines et sociales travaillant sur les jeux vidéo ou les jeux traditionnels à soumettre une communication.
Nous encourageons les étudiants.e.s des cycles supérieurs à soumettre une proposition! L’ACÉJ/CGSA accepte des soumissions autant en anglais qu’en français, mais veuillez noter que la plupart des présentations, ainsi que les événements sociaux, seront en anglais. Qui plus est, les présentateurs.trice.s sont priés.e.s de se limiter à une seule présentation en tant que premier auteur.e et un seul atelier.
Les étudiants des cycles supérieurs noirs et/ou autochtones acceptés au colloque pourront s’inscrire sans frais.
Directive pour la soumission de propositions :
Pour de l’aide dans la préparation des résumés, incluant des recommandations pour votre liste de références, veuillez vous référer à ce guide (disponible en anglais seulement). Veuillez également noter que toutes les soumissions doivent être anonymisées et inclure au minimum 3 sources.
Cette année, nous acceptons trois types de communication :
Proposition de communication individuelle
Veuillez soumettre un résumé anonyme d’au plus 500 mots (excluant les références). Nous accueillons les présentations qui profitent du format virtuel du colloque.
Panel
Veuillez soumettre un résumé de 250 mots de l’ensemble du panel et une description de chaque présentation individuelle de 250 mots (excluant les références). L’organisateur.rice du panel doit rassembler tous les documents et les joindre en une seule proposition via Easy Chair. Lors de la soumission à Easy Chair, l’organisateur.rice doit être indiqué comme premier.ère auteur.e et les autres participant.e.s du panel comme co-auteur.e.s.
Atelier / Autres formats
L’ACÉJ accueille d’autres types de soumissions, notamment les ateliers, les tables rondes, etc., en particulier ceux qui profitent aux mieux du format virtuel de la conférence, ou qui ne pourraient être réalisés qu’en format virtuel. Veuillez contacter les organisateur.rice.s du colloque de l’ACÉJ avant la date limite en offrant un bref résumé de votre proposition, l’équipement nécessaire et une approximation du temps requis pour votre activité.
Date limite pour soumettre votre communication : 10 janvier 2022 à minuit, heure normale de l’est (HNE).
Veuillez soumettre toutes vos propositions via Easychair:
CALL FOR PARTICIPANTS
Queer Futurisms
An online symposium organized in conjunction with the Toronto Queer Film Festival
April 22nd-24th, 2022
An online symposium organized in conjunction with the Toronto Queer Film Festival
April 22nd-24th, 2022
Proposal deadline: December 15th, 2021.
Everyone is welcome to apply. This is a paid opportunity for all involved.
Everyone is welcome to apply. This is a paid opportunity for all involved.
The Toronto Queer Film Festival is seeking proposals for its annual Symposium around the theme of Queer Futurisms.
Queer Futurisms seeks to explore the future possibilities of 2Spirit/Queer/Trans existence and those who dream these possibilities for all of us through their art – be it through: speculative fiction, sci-fi, automythography, documentary, biography, etc.
In alignment with the guiding principles of TQFF, we ask that submissions to this symposium prioritize the principles of decolonization. How a decolonized existence can be realized for all in the future includes Indigenous sovereignty, Black liberation, anti-racism, accessibility for all, prison abolition, and a borderless world. TQFF seeks your perspectives and experiences on how we, as individuals, and through communal efforts, can shape the future.
Submissions to Queer Futurism symposium may consider the questions: What will resistance look like in the future? How will 2Spirit/Queer/Trans people thrive in the future? What forms of kinship are guiding us into the future we want? What forms of intimacy/relationships/sex are creating new possibilities for us? What does aging look like for 2Spirit/Queer/Trans people? How does fiction create possibilities for world-building?
As ever, TQFF’s mandate remains to decolonize Queer and Trans art and media histories and practices. This symposium seeks projects with a unique perspective that frame their work in a critical, anti-oppressive, and future-bound model. We are interested in papers, workshops, roundtables, readings, performances that critically engage and reckon with and through media and the arts.
This is an artist-run festival. At TQFF, we commit to ethical treatment of artists in two concrete ways: we do not charge submission fees, and pay all those participating in the festival (whether screening, moderating, and/or speaking) fees according to IMAA & CARFAC standard rates.
The TQFF Symposium is generously funded by the Toronto Arts Council, the Ontario Arts Council, and the Canada Council for the Arts.
Topics for the Symposium could include, but are not limited to:
- Current, or historical uses of speculative fiction that inspire world-building;
- Black speculative fiction;
- Afro-Futurism;
- Honoring the communal care and lives of Black, Indigenous, and POC trans women, non-binary, and gender non-conforming people, who have created foundational queer movements in history;
- Sex-worker led resistance movements;
- HIV and AIDS activism;
- Language reclamation;
- Disability justice movements and accessibility;
- Oral or written traditions, folklore, or stories;
- Exploring and realizing AI technologies, VR, space, time travel, etc;
- The distinct futurisms of Queer/2Spirit Indigenous people across Turtle Island, and around the world;
- Queer and/or Indigenous histories of organizing resistance and how this continues to influence future generations;
- Care that occurs in queer spaces and what it means to create a queer space;
- Anti-racism/decolonization in artistic practices and/or arts organizations;
- Envisioning the future of queer and trans resistance;
- Solidarity & allyship both within the 2Spirit/Queer/Trans; communities and beyond;
- New technologies/ New Media as they are explored by artists and filmmakers.
*A NOTE ABOUT ACADEMIC PAPER SUBMISSIONS:
To keep in line with the intentions of TQFF as an accessible and alternative creative venue for Queer people from all walks of life, we are at this time discouraging the submission of traditional academic paper presentations. Examples of this may include academic papers that utilize institutionally focused language and academic jargon and reading directly from academic-focused papers. As such, we recommend presentations that eschew the typical academic-focused reading and that, instead, actively engage with what will primarily be a non-academic audience. Utilizing creative engagement such as visuals, clips, performances, and other hybrid forms of presentations is highly encouraged. For those who wish to present research, we require that you indicate the format and content of your presentation.
To keep in line with the intentions of TQFF as an accessible and alternative creative venue for Queer people from all walks of life, we are at this time discouraging the submission of traditional academic paper presentations. Examples of this may include academic papers that utilize institutionally focused language and academic jargon and reading directly from academic-focused papers. As such, we recommend presentations that eschew the typical academic-focused reading and that, instead, actively engage with what will primarily be a non-academic audience. Utilizing creative engagement such as visuals, clips, performances, and other hybrid forms of presentations is highly encouraged. For those who wish to present research, we require that you indicate the format and content of your presentation.
FURTHER INFORMATION ABOUT SUBMISSIONS:
While papers, roundtables, workshops, moderated discussions, etc. are welcome, we especially encourage more creative formats and engagements including but not limited to: arts-based research, multimedia presentations, poetry, performances, music, readings, artist talks, and other presentation formats that innovate and encourage online participation. As a symposium organized as a part of the Toronto Queer Film Festival, we are particularly interested in contributions that engage in some way with queer and trans-media and/or art practices.
We highly suggest taking a look at previous programming from our previous years when considering your submission: https://torontoqueerfilmfest.com/symposium-2021/
As a grassroots organization embedded within our communities, the Toronto Queer Film Festival encourages contributions from folks across our community – not just academics embedded within academic institutions, but also independent scholars, activists, artists, community members, and other people with lived experience that would provide valuable perspectives to discussions on global queer liberation, art, and media.
Everyone is welcome to apply.
Please submit the following information via our online form by December 15th, 2021.
- Name
- Affiliation (Institutional, collectives, ad-hoc groups, etc., if applicable)
- Presentation format (i.e. paper, roundtable, workshop, creative)
- Presentation title
- 250-word abstract
- The email address you can be contacted at
- Accessibility needs
This symposium will be held online. We are particularly interested in submissions that take full advantage of the capabilities of online platforms. Individual papers and presentations should be no more than 15 minutes. Roundtables, workshops, panels, etc., should be no more than 1 hour, including an opportunity for Q&A. We will also accept submission for proposals with shorter durations (i.e. lightning talks, microsessions, Pecha Kucha, etc).
Only selected participants will be notified of their acceptance by January 31st, 2022.
Submit your proposal here: https://torontoqueerfilmfest.com/submissions-2022/
Silly Media
The 17th Annual Graduate Student Conference, April 22-23, 2022 Department of Cinema and Media Studies, University of Chicago
“Well maybe it is stupid, but it’s also dumb!”
— Patrick Star, “The Camping Episode,” SpongeBob SquarePants (2004)
This conference takes its cue from the late Lauren Berlant in proposing “a counterpolitics of the silly object,”1 where studying popular media in the humanities entails handling silly, erratic, ephemeral, trivial, worthless, and even “disgusting” artifacts. The silly object often presents itself as being about nothing more than itself. In contrast to carnival, camp, satire, and absurdity, according to Jeffrey Weinstock, “silliness is gentler and takes on smaller targets. It plays acceptingly with the given world in ways we hadn’t realized or remembered were possible.”2 Rather than functioning as cogent or caustic social critique, it often presents itself as uncomplicated and ostensibly lacking a political dimension. In its seeming worthlessness, according to the OED, the silly is that which “provokes sympathy or compassion; that is to be pitied; unfortunate, wretched.”3 As Sara Ahmed also notes, the “etymology of silliness is striking. It comes from the word sael, originally meaning blessed, happy, or blissful. The word mutates over time; from blessed to pious, to innocent, to harmless, to pitiable, to weak and feeble. From the blessed to the feeble: we learn from the depressing nature of the genealogy of silliness.”4 Silliness thus negotiates both negative affects and “inappropriately positive affects” as its attraction inheres in its appearance of un-recuperability and “worthless happiness.”5 So, then, what does one do with something, as we have construed it here, that simply seems silly? And in trying to “do something” with silliness, is it possible to avoid recuperating it into a project of seriousness?
Not much work has taken up “silliness” as a key term. When it is taken up, however, it is often in a marginal way and simply used in place of “low taste” or the “bad object.” The “Silly Media” conference proposes a reinvestment in the aesthetics and politics of silliness and its objects. How does the silly register in and through different affects, forms, genres, modes, styles, structures, technics, etc.? What are its locations and modes of address? What contrary epistemologies and counterpolitics might emerge when we reimagine the “waste materials of everyday communication”6 as pivotal to the construction and experience of a public? The texts that constitute a “silly archive,” or “the small, the inconsequential, the antimonumental, the micro, the irrelevant,” as Jack Halberstam contends, “do not make us better people or liberate us from the culture industry, but they might offer strange and anticapitalist logics of being and acting and knowing, and they will harbor covert and overt queer worlds.”7 Similarly, Racquel Gates offers a detour from the serious objects of black visual culture. Pointing to rapper Flavor Flav and comedian Katt Williams, key “bad objects” of black popular culture typically viewed as black men “acting foolish for the pleasure of white audiences,” Gates embraces the silly counter-politics of these figures, arguing that these “negative representations serve as the repository for all of the feelings that positive images cast aside.”8 For these scholars, the “silly object” is an unstable object of cultural weight and consequence; it is the everydayness, ephemerality, and popularity of such texts that makes them worth reading.
Further embracing the silliness of all art, as Fredric Jameson does in his turn to Theodor Adorno’s “astonishing insistence on the deeper mindless silliness or ‘simplicity’ of all true art,”9 this conference asks if we must erode the possibility of the silly to engage with it. Instead of making the silly serious, can we make the serious silly? Can we embrace the possibility of failure and incoherence in our own work? This conference finally proposes that cinema and media scholars more deeply consider questions of disposition, feeling, and affect in our critical work. As scholars, we feel differently about our current position and pandemic moment: “instead of remaining serious in the face of self-doubt, ridicule, and broader ecological crisis,” as Nicole Seymour suggests, this conference hopes to embrace “the sense of our own absurdity, our uncertainty, our humor, even our perversity.”10 For is it a bad sign that defenders of the humanities become tongue-tied so quickly when non-academics ask what the humanities are, and why we should value them in crisis times? Perhaps the answers are downright silly.
Keynote Speaker: Racquel J. Gates, Associate Professor of Film at Columbia University
Potential paper topics might include, but are not limited to:
- Silliness and/as Genre, Style, Mode, Register, or Aesthetic Category
- Silliness and/as Affect, Minor Feelings, Negative Emotions, Inappropriately Positive Affects
- Queer and Trans* Forms of Negativity, Failure, Anti-Productivity, Inefficiency
- Blackness and the Popular Image, the Failed and Foolish, the Silly Objects of Afro-Pessimism
- Children’s Media, Cuteness, Wonder, Animation, Silly Symphonies, Gross-Up Close-Ups
- Horror Studies, Laughing and Screaming, Slashers, Shlock, Shock, Sleaze, and Trash Aesthetics
- Comedy Studies, Silent-Era Slapstick, Zaniness, Goofiness, Cringe, Gross-Out, Stoner Humor
- Porn Studies, Porn and Silly Registers, Only Fans and Virtual Sex Work, Fan Fiction
- Social Media, Silly Citizenship, Tik Tok, Letterboxd, Dank Memes, Cursed Images, CreepyPasta
- Pandemic Humor, COVID-19 Memes, Silliness in a (Post-)Pandemic, Nervous Laughter
- Digital Aesthetics of Failure, Inefficiency, Wasted Time, Buffering, Glitch, Noise, Decay
- Sound Studies, Sound Art, Popular Music Videos, Vaporwave, Accelerated Aesthetics
- Art History, Fluxus Art, Silly Social Disruption, Experimental Art Performances
- Avant-Garde Film and Cuteness, Lightness, Boredom, Slowness
- Crip Approaches to Silliness, Crip Humor, Disabling vs Disability Humor, “Freak Shows”
- Television Studies and Low Theory, Reality TV, Cooking Competitions, Game Shows
- Game Studies, Fun, Play, Casual Games, Fumblecore, “Queergaming” and Inefficiency
- Irreverence and Ecocriticism, Anti-sentimental Expressions of Environmentalism, Queer Ecology
- Silliness and Scholarly Seriousness in the Humanities and Media Studies
Please submit an abstract (~300 words) along with a short bio (~150 words) to the organizing committee co-chairs Basil Dababneh, Avery LaFlamme, Nicolas Rueda-Sabater, and Joel Sutherland by February 1, 2022. Email submissions to sillymedia2022@gmail.com. Please include “Name + Silly Media 2022 Submission” in the subject line. Conference presentations will be 15-20 minutes. We warmly welcome non-traditional, silly modes of presentation that can embody the spirit of the conference alongside traditional academic papers. Participants will be notified by mid-March. This conference will be held entirely in person.
1. Lauren Berlant, The Queen of America Goes to Washington City (Duke UP: Durham, 1997), 12.
2. Jeffrey Weinstock, “Bubba Ho-Tep and the Seriously Silly Cult Film,” in Science Fiction Double Feature: The Science Fiction Film as Cult Text (Liverpool UP; Liverpool, 2015), 235.
3. “silly, adj. 4.”. OED online. October 2021. Oxford English Dictionary.
4. Sara Ahmed, The Promise of Happiness (Duke UP: Durham, 2010), 220.
5. Sara Ahmed, The Promise of Happiness (Duke UP: Durham, 2010), 220.
6. Lauren Berlant, The Queen of America Goes to Washington City (Duke UP: Durham, 1997), 12.
7. Jack Halberstam, The Queer Art of Failure (Duke UP: Durham, 2011), 20-21.
8. Racquel Gates, Double Negative: The Black Image and Popular Culture (Duke UP: Durham, 2018), 2.
9. Frederic Jameson, Late Marxism: Adorno, or, the Persistence of the Dialectic (Verso: London, 1990), 145.
10. Nicole Seymour, “Toward an Irreverent Ecocriticism,” Journal of Ecocriticism 4 no.2 (2012), 57.
The following is a Call for Papers for the 24th Annual Film Studies Association of Canada Graduate Colloquium, co-hosted by the University of Toronto and York University, to take place online on 18/19 February 2022. Submission guidelines are outlined below.
(Version française ci-bas)
CFP: Altered States
Nothing exists that doesn’t have this senseless sense – common to flames, dreams, uncontrollable laughter – in those moments when consumption accelerates, beyond the desire to endure.
– Georges Bataille, The Impossible
But there is another way of going to the movies… by letting oneself be fascinated twice over, by the image and by its surroundings… ready to fetishize not the image but precisely what exceeds it>: the texture of the sound, the hall, the darkness, the obscure mass of the other bodies, the rays of light, entering the theatre, leaving the hall; in short, in order to distance, in order to ‘take off,’ I complicate a ‘relation’ by a ‘situation.’
The experience of an altered state requires some sort of excess, where things become too much and the line between pleasure and pain is blurred. In political terms, to alter or revolt against the state implies an excess of action and affect, towards a possible change in the order of things. Faced with the disintegration of our institutions, ongoing environmental degradation, and endemic colonial and racial violence, we risk falling into cynicism and a fatalistic acceptance of dissolution and collapse. Meanwhile, a surreal feeling pervades as the pandemic confines us to our ‘private’ spaces amidst ongoing digitization that frustrates any sense of a public/private divide. When do film and media catalyze altered states, in their many iterations? How can media that resists conventional form destabilize our perception? What does it mean to be altered by another or by an experience?
While the theme of altered states immediately invites questions of interiority and subjectivity, we welcome submissions that work through a wide range of media and methodologies, including psychoanalytic and affect theories to new media analyses of state-generated impingements. How can we realize Barthes’ evocation of the potential for cinema and media to “fascinate us twice over, by the image and by its surroundings?” Vivian Sobchack famously asks us to consider the correspondence between cinematic representation and embodied perception, naming coenaesthesia “the potential and perception of one’s whole sensorial being.” Moving beyond
representation, Scott Richmond takes up the possibility for fascination and dis/re-orientation and conceives of cinema as an aesthetic technology where the intentional object is the spectator’s body, making illusions and hallucinations central to cinema’s modulation of perception.
Scholars of gender and technology like Donna Haraway describe this increasing imbrication of subjective experience and technology under capitalism as “an imaginative resource” and a potential site for the transformative potential necessary to surmount our seeming impasse. When thinking through ways of “staying with the trouble,” Frank B. Wilderson III might suggest an improvisational imperative, so as “to stay in the hold of the ship, despite fantasies of flight.” Historically, moving image makers have navigated the use of technology for resistance and decolonization. Following Walter Benjamin, it is “only when in technology body and image so interpenetrate that all revolutionary tension becomes bodily collective innervation, and all the bodily innervations of the collective become revolutionary discharge.” Revolutionary Third Cinema manifesto authors Fernando Solanas and Octavio Getino place anti-imperialism at the “service of life itself, ahead of art; dissolve aesthetics in the life of society: only in this way, as [Frantz] Fanon said can decolonization become possible.” As Dziga Vertov urges, “WE believe that the time is at hand”!
While altered states of consciousness may initially evoke subjective experiences, these modes are deeply relational. We hope to draw upon recent approaches from Black and Indigenous studies, queer and trans studies, and other decolonial perspectives to address altered states through an intersectional lens. As such, we invite papers from film and media studies, visual studies, and other related fields. In addition to traditional conference presentations, we welcome video essays and other writerly and artistic explorations of our theme.
Keynote: Kemi Adeyemi (University of Washington)
Sample topics might include, but are not limited to:
- Abstraction and experimentation
- Abjection
- Abeyance, liminality, thresholds
- Blackness and ontology
- Consciousness and simulation
- Deleuzoguattarian becomings
- Governmentality and surveillance
- Gender and sexuality
- (Im)possibility
- Indigeneity and Indigenous futurisms
- Mental health in moving images
- Mysticism & the occult
- Noise, (in)coherence, and sonic affect
- Perception and hallucination
- Relationality and entanglement
- Revolutionary cinema
- Substances, psychedelics, and repetitive impulses
- Transgressing boundaries between inside and outside, self and other, subject and object
We welcome English and French submissions from independent scholars and graduate students worldwide. Interested parties must submit a brief abstract (300-500 words) and a bio of 50-100 words to csgraduatestudentunion@gmail.com by 17 December 2021.
Submissions should provide the following information:
- Name
- Level of study and name of institution (if applicable)
- Title
- Abstract/Bio
- 3-5 item bibliography
La présente est un appel à contribution pour la 24e conférence annuelle des cycles supérieurs de l’Association canadienne d’études cinématographiques, co-présenté par l’Université de Toronto et l’Université York, qui se tiendra virtuellement les 18 et 19 février 2022. Les conditions de soumissions sont décrites ci-dessous.
Appel à contributions: États Altérés
Rien n’existe qui n’ait ce sens insensé – commun aux flammes, aux rêves, aux fous-rires – en ces moments où la consumation se précipite, au-delà du désir de durer.
– Georges Bataille, L’Impossible
Mais il est une autre manière d’aller au cinéma… en s’y laissant fasciner deux fois : par l’image et par ses entours… prêt à fétichiser, non l’image, mais précisément ce qui l’excède : le grain du son, la salle, le noir, la masse obscure des autres corps, les rais de la lumière, l’entrée, la sortie : bref, pour distancer, « décoller », je complique une relation par une « situation ».
– Roland Barthes, « En sortant du cinéma »
L’expérience d’un “état altéré” requiert une sorte d’excès où les choses deviennent trop et où la ligne entre le plaisir et la douleur devient ténue. En termes politiques, se révolter contre l’état (ou tenter de l’« altérer ») implique un excès d’action et d’affect vers un changement possible dans l’ordre des choses. Devant la désintégration de nos institutions, la dégradation continue de l’environnement, et l’endémie d’une violence coloniale et raciale, nous risquons le cynisme et l’acceptation fatale de la dissolution et de l’effondrement. Pendant ce temps, un sentiment surréel s’installe alors que la pandémie nous confine à des espaces « privés », durant une période où le numérique empêche la distinction même du public et du privé. Quand est-ce que le cinéma et les autres médias catalysent les états altérés, dans leurs différentes déclinaisons? Comment est-ce que les différents textes, dans leur résistance aux formes conventionnelles, déstabilisent notre perception? Qu’est-ce que signifie une forme d’état altéré provoquée par autrui, ou par une expérience?
Bien que le thème d’un état altéré invite immédiatement des questionnements d’intériorité et de subjectivité, nous accueillons des soumissions qui engagent un vaste éventail de médias et de méthodologies, des théories psychanalytiques et affectives aux analyses des nouveaux médias face à l’ingérence de l’état. Comment pouvons-nous réaliser le potentiel du cinéma à nous fasciner « deux fois : par l’image et par ses entours », comme l’évoque Barthes? Vivian Sobchack nous demande notoirement de considérer la correspondance entre la représentation cinématographique et la perception incarnée, nommant la coenesthésie « le potentiel et la perception de notre propre être sensoriel ». Allant au-delà de la représentation, Scott Richmond engage la possibilité de la fascination et de la dés/ré-orientation et conçoit le cinéma en tant que technologie esthétique qui a pour objet intentionnel le corps même du spectateur, faisant de l’illusion et de l’hallucination une partie intégrante de la modulation perceptive engendrée par le cinéma.
Les recherches à l’intersection du genre et de la technologie, comme les travaux de Donna Haraway, décrivent la croissante imbrication de la technologie et de l’expérience subjective sous le capitalisme en tant que « ressource imaginative », ainsi que comme un site de transformation potentiel nécessaire pour surmonter notre apparente impasse. En pensant à des façons de « vivre avec le trouble », Frank B. Wilderson III suggérerait sans doute une impérative d’improvisation, de façon à « rester dans la cale du navire, malgré les fantaisies de fuite ». Historiquement, les faiseurs d’images animées ont exploré l’utilisation de la technologie à des fins de résistance et de décolonisation. Selon Walter Benjamin, c’est seulement « lorsque le corps et l’espace d’images s’interpénétrent en elle [la collectivité] si profondément que toute tension révolutionnaire se transformera en innervation du corps collectif, toute innervation corporelle de la collectivité en décharge révolutionnaire, alors seulement la réalité sera parvenue à cet autodépassement qu’appelle le Manifeste communiste ». Les auteurs du manifeste pour un cinéma de libération dans le Tiers Monde Fernando Solanas et Octavio Getino placent l’anti-impérialisme au service de la vie même, avant l’art; il s’agit de « dissoudre l’esthétique dans la vie sociale, telle sont… les sources à partir desquelles, comme aurait dit [Frantz] Fanon, la décolonisation sera possible. » Tel que Dziga Vertov l’exhorte : « NOUS croyons que le temps est proche »!
Bien que les états de conscience altérés évoquent initialement des expériences subjectives, ces modes sont profondément relationnels. Nous espérons nous appuyer sur les approches récentes des études Noires et Autochtones, des études queer et trans, et d’autres perspectives décoloniales, de manière à adresser les états altérés sous un angle intersectionnel. Ainsi, nous invitons des contributions des études cinématographiques et médiatiques, des études en culture visuelle, et tout autre domaine qui adresse les états altérés. En plus des présentations traditionnelles, nous accueillons les essais vidéographiques et autres explorations écrites et artistiques de notre thème.
Conférencière d’honneur: Kemi Adeyemi (Université de Washington)
Les sujets peuvent inclure, mais ne sont pas limités à :
- L’abstraction et l’expérimentation
- L’abjection
- La liminalité, les seuils
- Les études noires et l’ontologie
- Conscience et simulation
- Les devenirs Deleuzoguattarien
- La surveillance et la gouvernementalité
- Genres et sexualités
- (Im)possibilité.e.s
- Autochtonie et futurismes autochtones
- La santé mentale dans les images en mouvements
- Le mysticisme et l’occulte
- Le bruit, l’(in)cohérence et les affects soniques
- Perception et hallucination
- La relationalité et l’enchevêtrement
- Le cinéma révolutionnaire
- Substances, psychédéliques, et impulsions répétitives
- La transgression des limites entre l’intérieur et l’extérieur, entre soi et autre, sujet et objet
Nous acceptons des soumissions francophones et anglophones de chercheurs indépendants et d’étudiants aux cycles supérieurs de partout dans le monde. Les parties intéressées doivent soumettre un bref résumé (de 300 à 500 mots), ainsi qu’une brève biographie de 50 à 100 mots à csgraduatestudentunion@gmail.com d’ici le 17 décembre 2021.
Les soumissions doivent inclure les informations suivantes :
- Votre nom
- Niveau de scolarité et nom de l’institution d’attache (si applicable)
- Titre de la présentation
- Résumé et biographie
- Une courte bibliographie (3 à 5 titres)
Call for Proposals Reminder:
FOOT30: Hopeful Positions, or: Playing in Precarity
UPDATED OCTOBER 20: U of T was under censure for six months, but it has been temporarily put on hold. In November there will be a vote to formally lift the censure. We now welcome submissions from external applicants, and encourage folks to read about the censure to make their decision to submit accordingly. Should circumstances change, we will notify all applicants as soon as possible.
The upcoming 30th anniversary of FOOT (Forum of Original Theatre/Theory/Thought) Conference (Feb. 17-18, 2022), organized by graduate students at the Centre for Drama, Theatre and Performance Studies (CDTPS) at the University of Toronto (U of T), invites proposals for this year’s theme: Hopeful Positions, or: Playing in Precarity.
Hope is both a noun and a verb. One can have it. One can be it. One can practice it. If, as Kathleen Gallagher argues, hope is a practice rather than a state of being or possession (2015, p. 423), then Hopeful Positions asks if, when, how and performing new creative work participates in this practice. Perhaps hope is ignited by disaster, loss, uncertainty; perhaps it is precipitated by joyfulness, play, intimacy. Perhaps it ignites these conditions. Like hope, play is also a noun and a verb. Beyond its definition as a unit of theatre, play is commonly associated with freedom, fun, and games. For some, to be hopeful or playful is naïve, out of touch with reality, disillusioned; for others, it is brave, strategic, beautiful. Out of play and hopefulness come a messy performance of competing ideals around nationalism, citizenship, intimacy, aesthetics, kinship, survival.
If hope and play are practices, then Hopeful Positions asks if, when, and how performing new creative work participates in this practice. Where can a play and playing take us? What does it mean to be hopeful? Playful? What do you hope for? What are the connections between hope, play, and precarity? If institutional power does not get in the way, what do you intend for your work to do? What do we learn when things get in the way? What (or who) is in your way? How do you play with it?
We invite proposals for papers, performances, installations, workshops, panels, or other forms of presentation that explore these. Proposals might explore:
New and renewed precarities in the arts, academia, elsewhere
Impact of ‘hybrid’ modes of interaction on global communities
Performance for socio-political engagement/intervention
Performance during/after the pandemic or crisis
Personal narratives and storytelling
Devising and collective creation
Games, sports, and roleplay
Comedy, improvisation, and surprise
Performances of hope, joy, utopianism, optimism
Performativities of race, gender, class, sexuality
Indigenous sovereignty, resurgence, futurity
Climate justice and environmental crises
Hopes for the Arts and Humanities, U of T, or CDTPS
We invite proposals from U of T graduate and undergraduate students, faculty, and staff from a variety of fields in the Humanities and Social Sciences beyond Drama, Theatre and Performance Studies. These may include English and Cultural Studies, Comparative Literature, Cinema and Media Studies, Women and Gender Studies, and Education.
Our aim is for this to be a hybrid online/in-person conference. However, in the spirit of precarity, we continue to monitor the ever-changing situation and will implement a contingency plan whereby the conference may proceed fully online. Participants who select to present in-person are advised to prepare for such reorientations. The conference organizers will inform all participants of a final decision by December 15, 2021.
Please submit a proposal (max 300 words) and biography (max 200 words per participant) via our online application forms by October 30, 2021. For applicants proposing a curated panel, you will be responsible for securing your presenters; the conference organizers may assist if needed. For more information, please visit the FOOT30 website or email foot30.cdtps@gmail.com.
Please submit proposals for papers at this link.
Please submit proposals for performances at this link.
Please submit proposals for curated panels at this link.
Call for Articles on AR and VR in Storytelling
The Writing Platform is looking to commission articles of approx 750 to 2,000 words on creating stories with augmented and virtual reality technologies. This might include the use of AR and VR in fiction and non-fiction literature, journalism, theatre, movies, and games as well as articles that explore AR and VR as tools to promote existing works or as alternatives for live social events (e.g. face-to-face meetings with authors).
We are looking for papers that examine forms such as: AR stories in which you become one of the protagonists (e.g. Wonderscope), VR experiences in which spoken and written word plays an important role (e.g.The Chalk Room) or VR poetry and VR experiences that blend spoken poetry with dance (e.g. VR Nightsss), AR books and comics (e.g. Modern Polaxis), VR theatre and opera (e.g. The Under Presents: The Tempest), performances that blend VR with interaction between the performer and spectator (e.g. Draw Me Close), holographic theatre (e.g. Chronicle Of Light Year) and live augmented reality glasses performances (e.g. Verrat der Bilder), as well as AR and VR games (e.g. Pokémon Go! or Virtual Virtual Reality). We are also interested in articles on VR experiences that can be used for therapeutic purposes (e.g The Wayback), VR and AR documentaries (e.g. The Waiting Room), VR and AR literary adaptations (e.g. Metamorphosis VR) or VR literary archives (e.g. Digital Fiction Curios), and many more.
We are interested in the ways in which technologies can produce new forms of storytelling and are also keen to receive articles focusing on expanding and diversifying audiences for immersive storytelling experiences as well as on the ethics of using new technologies and platforms in storytelling.
The deadline for submission of proposals and ideas for articles has been extended to 1st November 2021. Articles will be published on The Writing Platform website late 2021/early 2022. Once your proposal is accepted we will negotiate a deadline for the full submission with you.
Your proposed article might fit into one of the following categories:
Resource: for example, a how-to guide for practitioners about creating stories with any AR/VR tool
Research: for example, an overview of a collaborative research project on AR and VR in storytelling or an examination of the impact of using VR and AR on enhancing audience immersion
Experience: for example, an account of a VR and AR experience that you have experienced or developed
News: for example, highlighting a new project or opportunity in the VR/AR field that our readers might not have heard of before
Projects: a case study of an especially innovative or inspiring project with impactful outcomes
We have a small commissioning fund for freelancers (£100 per article).
To propose an article, email Agnieszka Przybyszewska (a.przybyszewska@bathspa.ac.uk) with a 100 word overview of your idea and tell us which category or categories it would best fit into.
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