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CFP: Michelle Yeoh: Everything and Everywhere on Global Screens

Edited by: Lisa Funnell, Wayne King Tung Wong, and Dorothy Wai Sim Lau

Michelle Yeoh is a global popular culture icon whose career spans eras, genres, mediums, and entertainment/media systems. From her rise to transnational stardom performing her own stunts the golden era of Hong Kong action cinema to her crossover projects in well-known Hollywood/American blockbusters, Michelle Yeoh’s career has been defined by passion, hard work, and resilience as she has navigated the many barriers – social, political, cultural, financial – that have historically delimited Asian women on international screens. Her perseverance, craft, and expanding star power led to her casting in Everything, Everywhere, All at Once (2022) and she made history as the first Asian woman to win the Oscar for Best Actress for her performance in the film. As she enters into her early 60s, she is seeing no shortage of roles and opportunities, and she continues to headline these projects while opening doors for other Asian women to follow in her footsteps.

In light of her extensive and expansive career that spans over 60 films and television shows, this anthology offers the first comprehensive and critical consideration of her entire body of work – exploring both popular and lesser known performances. We are looking for papers on a range of topics including but not limited to:

  • Hong Kong eras – girls with guns, action films, comedies, dramas
  • Transnational Co-productions
  • Crossover films – Bond films, Hollywood/British blockbusters
  • Mythical Films production company
  • Asian American film and performance
  • Marvel
  • US television – Star Trek Discovery, The Brothers Sun
  • animation and video game performances
  • identity and performance
  • transnational stardom and reception
  • barriers – race, ethnicity, nationality, gender, etc.

Please submit a 250 word abstract along with a CV to by March 15, 2024. Please direct any questions or inquiries to this email as well.


Job Posting: Wilfrid Laurier, Department of English and Film Studies: TT Professional Teaching Position (PTP) in Film Production

The Department of English and Film Studies at Wilfrid Laurier University, Waterloo campus, invites applications for a tenure-track Professional Teaching Position (PTP) at the rank of Assistant Professor in Film Production beginning July 01, 2024 (depending on the availability of the candidate), subject to budgetary approval.

The primary expectations of this PTP will be a demonstrated commitment to teaching excellence and educational motivation, along with a demonstrated commitment to service to the University and the academic community, and to scholarly and/or professional activity.

The successful candidate will have a strong record of film production and expertise in digital video editing, 3D animation, and preferably audio production in film, television, video games, or related media. In addition, the candidate will have teaching experience at the post-secondary school level in courses such as digital video editing, 3D animation, and preferably audio production and/or industry experience in digital video editing, 3D animation, and preferably audio production. Expertise in IBPOC, LGBTQ+, or diasporic cinemas is an asset. The successful candidate will teach six courses, over three terms per year, including the production courses FS272: Intro to 3D Animation, FS373: Advanced 3D Animation, FS370: Intro to Video Editing, and FS371: Advanced Video Editing. In addition, it would be an asset if the candidate could teach other existing production courses (i.e., FS275: The Business of Film and FS374: Screenwriting and Directing), develop new courses in film production, and/or teach required Film Studies courses FS101: Film and Narrative, FS102: Film and the Image, FS103: Film and Genre, FS240: Film History to 1950, and FS241: Film History since 1950.

The PTP in Film Production will support the curriculum objectives of the Film Studies (FS) program and enhance our students’ learning experience. The candidate will be an emerging leader in the field, with a vision to make film production at Laurier internationally competitive. The Film Studies Program at Laurier provides students with an excellent grounding in film history, film genres, national cinemas, critical theory, and industry practices. More broadly, the FS program equips students with skills of communication, collaboration, critical thinking, and problem-solving. In these ways, the FS program prepares students for the highly competitive workforce in creative media production, teaching, festival programming, and other forms of outreach. In addition to the skills imparted by the academic study of film, Laurier’s Film Studies program offers courses in production that develop students’ practical skills to prepare them for creative careers and employment in the film and television industry. The PTP appointment will support these objectives and pursue research in pedagogy. In addition to service to the department, faculty, and university, the successful candidate may contribute to the mentorship of students by serving as faculty liaison to student film clubs and festivals, helping to coordinate the annual Undergraduate Film Symposium, and/or assisting in the promotion of the Film Studies program, and of campus film culture in general.

Aligned with Laurier’s Action Plan for Equity, Diversity, and Inclusion and Indigeneity, the Department of English and Film Studies is strongly committed to the principles of Equity, Diversity and Inclusion in our hiring process and consideration of candidates with lived experience. We strongly encourage applications from candidates from diverse and equity-deserving groups to apply.

Wilfrid Laurier University is a leading Canadian university renowned for its learning environment and student-focused educational experience. As a comprehensive university with more than 19,000 students, Laurier has grown rapidly in research intensity while at the same time preserving its well-earned reputation for undergraduate and graduate teaching and learning excellence. With a multi-campus and multi-community culture, Laurier offers students an exceptional range and depth of more than 100 academic programs taught by award-winning lecturers across nine faculties.

For more information about working at Laurier as well as the Department of English and Film Studies, applicants are encouraged to visit the institution’s web pages:

Department of English and Film Studies

Waterloo Campus


  • Qualification—Required:   MFA or PhD in Film Studies, Film/Video Production, or related field (in hand as of July 01, 2024)
  • Qualification—Required: University or college teaching experience in film production, digital video editing, 3D animation, and/or audio production
  • Qualification—Preferred: Expertise in IBPOC, LGBTQ+, or diasporic cinemas


  • A cover letter addressing your credentials relative to the minimum and preferred qualifications listed above
  • Curriculum vitae
  • A Teaching portfolio (max 15 pages) that may include teaching philosophy, sample syllabi, student evaluations, teaching awards, or record of pedagogical development A digital portfolio of creative work including at least 1-2 long form or 3-4 short form samples
  • Names and contact information of three references who may be solicited to provide confidential letters of recommendation


Electronic submission of applications will be accepted until Monday, March 11, 2024 at 11:59pm. Click the ‘Apply now’ button at the top right corner of this page: Tenure-Track (PTP) Assistant Professor – Film Studies (

Diversity and creating a culture of inclusion is a key pillar of Wilfrid Laurier University’s Strategic Academic Plan and is one of Laurier’s core values. Laurier is committed to increasing the diversity of faculty and staff and welcomes applications from qualified members of the equity-deserving groups. Indigenous candidates who would like to learn more about equity and inclusive programming at Laurier are welcome to contact the Office of Indigenous Initiatives at . Candidates from other equity-deserving groups who would like to learn more about equity and inclusive programming at Laurier are welcomed to contact Equity and Accessibility at

All qualified candidates are encouraged to apply; however, as per Canadian immigration laws, Canadians and permanent residents will be given priority. To comply with the Government of Canada’s reporting requirements, the University is obligated to gather information about applicants’ status as either Permanent Residents of Canada or Canadian citizens. Applicants need not identify their country of origin or current citizenships; however, all applicants must include one of the following statements in their cover letter:

Yes, I am a current citizen or permanent resident of Canada;

No, I am not a current citizen or permanent resident of Canada.

Members of designated groups must self-identify to be considered for employment equity. Candidates may self-identify, in confidence, to Renée Ellis (, Senior Administrative Officer, Faculty of Arts.  Further information on the equity policy can be found at WLU Equity Policy

Applicants are encouraged to address any career interruptions or special circumstances that may have affected their record of research and teaching, in accordance with SSHRC and NSERC definitions and guidelines. To obtain a copy of this job description in an accessible format, please contact Wilfrid Laurier’s Human Resources Office (  

The Faculty of Arts wishes to thank all applicants for their interest. All applications shall be reviewed and considered under a set of criteria established by the Department Search Committee and a short list of candidates shall be interviewed. Only those applicants selected for the short list will be contacted.



virtual colloquium, april 12-13, 2024

“Art respects the masses …” (Theodor Adorno, Aesthetic Theory)

The theme of this year’s online synchronous* FMSAC Graduate Colloquium is “MASS.” The OED offers many definitions of mass, including: “a dense aggregation of objects having the appearance of a single, continuous body”; “to form or gather into a mass; to collect, arrange, or bring together in masses”; and “a solid and distinct object occupying space.” As something as small and singular, like the mass of an atom, to something as extensive and totalizing as mass culture, “MASS” invites us to think about multitudes and singularities in, with, and through film and other media forms.

Sample topics include, but are not limited to:
• Mass media, platform studies, social media, Massive Multiplayer Gaming (MMOS)
• Frankfurt School on mass ornament, mass reproducibility, mass culture
• Representation in mass media
• Religious mass, ritual, and cult
• Weight, size, volume, scale, and density
• Mass extinction, plagues, pandemic media, and Anthropocene
• Amass, collection, accumulation, and critical mass
• Mass production, capitalism, globalization, logistics, and infrastructure
• STS, mass effect, mass spectrometry, visuality and perception of mass(es), and computational mass
• Feminist, decolonial, LGBTQIA+ studies, BIPOC studies, and accessibility studies
• Animal and more-than-human, posthumanist, and environmental studies
• Diasporic cinemas and mobility studies
• Reception studies and spectatorship
• Film and media within mass (social or political) movements

We welcome English and French submissions from independent scholars, postdoctoral fellows, and graduate students worldwide. Proposals welcome for individual presentations (~10 mins.), research creation projects, and video essays (~5 mins.). Interested parties must submit a 300-word abstract and a 100-word biography to by January 15, 2024.

Notifications of acceptance will be sent out by early-February.
* This event is taking place online to ensure greater accessibility and reduce the environmental impacts of annual conference travel amidst the climate emergency.


colloque virtuel,

du 12 au 13 avril 2024

« L’art respecte les masses… »
(Theodor Adorno, Théorie esthétique)

Le thème du colloque en ligne (synchrone)* des diplômés de l’ACÉCM en 2023 est la/les « MASSE(S) ». Le Grand Robert de la langue française offre de nombreuses définitions de masse, y compris : « Accumulation de nombreux éléments distincts (mais généralement de même nature) réunis en un ensemble perçu comme une totalité » ; « Ensemble nombreux (de personnes ou d’animaux) assemblés » ; « L’ensemble qui fait corps, la majorité » ; et « Être, chose qui fait impression par sa puissance, sa taille, son volume, son poids ».

S’appliquant à un objet aussi petit et singulier que la masse d’un atome, comme à quelque chose d’aussi étendu et totalisant que la culture de masse, la/les « MASSE(S) » nous invite à penser aux multitudes et aux singularités dans, avec et à travers le cinéma et d’autres formes de médias.

Les exemples de sujets possibles comprennent les suivants, sans toutefois s’y limiter :
• Les médias de masse, les études de plate-forme, les médias sociaux, les jeux massivement multijoueurs (les MMO)
• L’École de Francfort sur l’ornement de la masse, la reproduction de masse, la culture de masse
• La représentation dans les médias
• La messe religieuse, le rituel et le culte
• Le poids, la taille, le volume, l’échelle et la densité
• Les extinctions massives, les pestes, les médias pandémiques et l’Anthropocène
• L’accumulation, le fait de collectionner, et la masse critique
• La production de masse, le capitalisme, la mondialisation, la logistique et les infrastructures
• Les études des sciences et des techniques (STS), les effets de masse, la spectrométrie de masse, la visualité et la perception de la ou des masses et la masse computationnelle
• Les études féministes, décoloniales, LGBTQIA+, PANDC et sur l’accessibilité
• Les études animales et plus qu’humaines, posthumanistes et environnementales
• Les cinémas diasporiques et les études de la mobilité
• Les études de réception et des spectateurs
• Les films et médias au sein des mouvements de masse (sociaux ou politiques)

Nous accueillons les soumissions en anglais et en français de chercheurs.euses indépendant.e.s, de chercheurs.euses postdoctoraux.les et d’étudiant.e.s diplômé.e.s du monde entier. Les propositions de communications individuelles (~ 10 minutes), de projets de création de recherche et d’essais vidéo (~ 5 minutes) sont les bienvenues. Veuillez soumettre un résumé de 300 mots et une biographie de 100 mots à d’ici le 15 janvier 2024. Les avis d’acceptation seront envoyés d’ici le début de février.

* Cet événement se déroule en ligne pour assurer une plus grande accessibilité et pour réduire les impacts environnementaux des déplacements en contexte d’urgence climatique.



Le Département d’histoire de l’art et d’études cinématographiques de l’Université de Montréal sollicite des candidatures pour un poste de professeur ou professeure à temps plein au rang d’adjoint en cultures visuelles coréennes avec une spécialité en études télévisuelles et/ou cinématographiques.

La personne retenue sera appelée à enseigner aux trois cycles, à encadrer des étudiants et des étudiantes aux études supérieures, à poursuivre des activités de recherche, de publication et de rayonnement, ainsi qu’à contribuer aux activités de l’institution.

Rattachée au Département d’histoire de l’art de d’études cinématographiques, la personne retenue exercera la moitié de sa tâche d’enseignement-cours au Centre d’études asiatiques (CETASE) et pourrait être appelée à contribuer à son fonctionnement.

Entrée en fonction: 1er juin 2024
Période d’affichage: Jusqu’au 10 janvier 2024.
Salaire et conditions de travail selon la convention collective du SGPUM.


  • Doctorat en études de la télévision, du cinéma, ou dans un domaine connexe;
  • Excellent dossier de publication dans le domaine des études télévisuelles et/ou cinématographiques coréennes;
  • Le dossier doit témoigner d’un rayonnement auprès des experts du domaine, par exemple, en contenant des publications en coréen, anglais, et/ou en français;
  • Aptitude démontrée pour offrir un enseignement universitaire de grande qualité;
  • Bonne connaissance de la langue coréenne;
  • Avoir une connaissance suffisante de la langue française ou être déterminé ou déterminée à l’apprendre une fois en poste, par l’entremise du programme de soutien à l’apprentissage de la langue française offert par l’UdeM, en vertu de la Politique linguistique de l’Université de Montréal.

Comment postuler? Voir le document en pièce jointe ici.

The Department of Art History and Film Studies at the Université de Montréal invites applications for a full-time faculty position at the rank of Assistant in Korean Visual Cultures, with a specialty in television and/or film studies.

The successful candidate will be called upon to teach at all three levels, supervise graduate students, pursue research, publication and outreach activities, and contribute to the institution’s activities.

Attached to the Department of Art History and Film Studies, the successful candidate will carry out half of his/her teaching duties at the Centre d’études asiatiques (CETASE), and may be called upon to contribute to its operations.

Start date: June 1, 2024
Posting period: Until January 10, 2024.

Salary and working conditions in accordance with the SGPUM collective agreement.


  • PhD in television studies, film studies, or related field;
  • Excellent publication record in the field of Korean television and/or film studies;
  • The record must demonstrate outreach to experts in the field, for example, by containing publications in Korean, English, and/or French;
  • Demonstrated ability to provide high-quality university teaching;
  • Good knowledge of the Korean language;
  • Have sufficient knowledge of the French language or be determined to learn it once in post, through the French language learning support program offered by UdeM, under the Université de Montréal Language Policy.

How to apply? See attached document here.


The dates for this conference have been moved to March 21-22, 2024, in order to double-up with this year’s Crossing Borders, a multi-disciplinary student conference.

As a result, the CFP for the Two Days of Canada conference is being circulated once again, with a new deadline for proposals: February 2, 2024.

Call for papers – By February 2, 2024.
Liminal spaces: Two Days of Rural Canada
Seeing Canada though a rural lens; the places in‐between

When considering Canada, most people think of Canadian cities or the wonder of its vast wilderness. We often overlook, sometimes literally, rural Canada, those spaces in‐between. We fly over them and drive through them, but don’t often stop to consider what the people and the places contribute to Canada as a nation. While most of Canada’s landmass is rural, more than 80% of its population is urban, leading to this significant social disconnect.

This conference will consider the world between the cities and the wilderness, those liminal spaces, and the people, culture, politics, and issues of concern within them. We invite scholars from a range of disciplines who are examining life in rural Canada. Topics can include but need not be restricted to the following themes:

  • Immigration in rural Canada
  • Indigenous communities in rural Canada
  • Canada’s rural politics
  • Socializing in rural Canada
  • Health care in rural Canada
  • History of rural spaces in Canada
  • Rural‐urban tensions

We invite individual papers or panel proposals.

For an individual paper proposal, please submit an abstract of your presentation (maximum 250 words) and a one‐page CV identifying institutional affiliation and key scholarly contributions.

For a panel proposal, please provide a brief abstract for each presentation (max 250 words each) and a brief overview of the theme of the panel (max 250 words) along with short biographies of each presenter (also max 250 words). We expect all sessions to be maximum 90 minutes regardless of the number of presenters in a proposed panel.

We welcome and encourage students, so do not be deterred if your CV is yet to be filled with the remarkable contributions you will someday make.

Please send all proposals and inquiries to Dan Malleck, Director, Centre for Canadian Studies through the Centre’s email address: by February 2, 2024.


Call for Papers: Reorienting the Sublime

McGill University
Department of Art History and Communication Studies
Graduate Student Symposium

Deadline for Submissions: December 29, 2023

“The sublime is something added that expands us, overstrains us, and causes us to be both here, as dejects, and there, as others and sparkling. A divergence, an impossible bounding. Everything missed, joy—fascination” — Julia Kristeva, Powers of Horror.

The Department of Art History and Communication Studies at McGill University is pleased to invite submissions for the Annual Graduate Symposium “Reorienting the Sublime,” to be held on Thursday, April 4 and Friday, April 5, 2024.

The sublime has held a steady yet complex position within the discourse of art history and visual culture, and encourages a consideration of its relationship to media and communication studies. Its perhaps best known form can be traced to Edmund Burke in the 18th century, who defined the sublime through a dual emotional quality of attraction and fear, which Immanuel Kant honed to describe a magnitude of unlimited feeling that humans are unable to possess. Jacques Lacan, who follows from a Freudian notion of the sublime as a positivised or aestheticised counterpart to the uncanny, also suggests that the “sublime object” points us towards that which has the power to de-realise and dematerialize, revealing the contradictions at the center of a law.

As such, the sublime has provided a rife affective terrain for artists to draw from that could elicit awe, power, and a certain delight in transgressing limitation. It has also offered a useful framework to think through the meanings and affects circulating new communication technologies, which are often simultaneously feared and viewed as opportunities for human transcendence. At the same time, the sublime has provided the means to bolster colonial understandings of “taming the unknown” and efforts to seek command of that which appears to be out of order. What can be said of the sublime as revelatory, a call to re-translate or re-visit the foundational systems of meaning which structure the world and our place in it? How might we position the sublime in relation to contemporary politics, culture, and technologies? In what ways do awe, terror, beauty, and overwhelm play into our current objects of research, and how might these aspects of sublimity reorient the objects and approaches within our fields of study?

Following this history of contestation, our symposium seeks to consider the state of the sublime today and how its discourse continues to take shape within the interdisciplinary realms of art history and communication studies. We invite papers from all periods of art history, communication studies, and related disciplines to consider these questions, as well as the following topics as prompts for further thought:

  • Beyond the worldly, transcendence, (dis)embodiment
  • Affect, desire, aversion, horror, tragedy
  • Consumption, glut, excess, control
  • Technological sublime
  • Hyperreality, capitalist/cyber/digital sublime
  • Landscape painting, romanticism, colonial origins and post-colonial critiques
  • Gestalt, Gesamtkunstwerk
  • Historical reconfigurations of Kant, Burke, Hegel, Lacan, etc.
  • Incomprehensibility, inspiration, confusion
  • The non-human, anthropocene, pre-linguistic
  • (Against) the uncanny, the beautiful, the harmonious

The Art History and Communication Studies Graduate Symposium committee invites proposals for fifteen-minute-long paper presentations. Current and recently graduated Masters, Doctoral, and Postdoctoral students from various Humanities fields whose research addresses this year’s theme are encouraged to apply. Applicants should submit an abstract of no more than 300 words with the title of the paper, along with a separate document that includes a 250-word bio, to by Friday, December 29, 2023. Please include your full name, affiliation, and contact information in your bio. A blind panel will be reviewing all submissions, so please ensure that your name and other identifying marks do not appear in the abstract document.

While we encourage in-person participation at the symposium, we will have limited spots for presentations over Zoom. If you would like to be considered for a virtual presentation, please indicate so in your abstract, in addition to any other accommodations or considerations you would like the committee to know of.

Sofia Di Gironimo, Marcus Prasad (Co-Chairs), and the AHCS Graduate Symposium Committee
McGill University | Montreal, Quebec


CFP: Cinephile 18.1 – (Un)recovering Lost Futures

The late cultural theorist Mark Fisher asks, “how long can a culture persist without the new?” For Fisher, the postmodern future under capitalist realism, “harbours only reiteration and re-permutation” (6-7). In capitalism’s inability to look beyond itself, media culture has become excessively nostalgic and “incapable of generating any authentic novelty” (63). Accordingly, one can observe a certain malaise surrounding media’s inability to imagine new and alternative futures.

Music, fashion, film, T.V., and digital media have all primarily engaged in nostalgia rather than an imagination of the future. What’s more, this nostalgia has been formalized through an aestheticization of the past — fashion and style trends mimic 70s, 80s, and 90s culture, while the emulation of film grain in digital cinema is more common. One need not look further than recent cultural touchstones such as eighties exploitation in Stranger Things (2016) and Joker (2019), greatest hits soundtracks in Baby Driver (2017) and Guardians of the Galaxy (2014), and contemporary sampling practices evident in Jack Harlowe’s “First Class” to find that innovation in form and material is no longer embraced by the mainstream. Instead, these media foreground the past such that nostalgic pastiche and aesthetic remediation is the text.

We thus echo the statement that opened this call for papers: How long can a culture persist without the new? We call for research that queries the new. Where is it, what is it, for whom does it exist, and when will it come? We call for papers across various disciplines that consider the political, theoretical, and philosophical implications of this cultural malaise – and its potentially opposing forces – as they interface with changing digital media and technology, minor and major cinema, postcolonialism and marginalized identities, algorithms and artificial intelligence, and other cultural phenomena. Papers that are submitted to issue 18.2 of Cinephile may consider but are not limited to the following questions:

1. How might novel forms like social media or artificial intelligence help imagine novel futures? While emulating the past has become a cultural obsession, how does the shift from analogue to digital media enable or disable our capacity to imagine the new?

2. If there is a ‘new’ to imagine, for whom does it exist?

3. Where might we find the new?

4. Is it more apparent in certain parts of the world and, if so, what are the ethical implications of making such a claim?

5. What new forms of pedagogical approaches can we use while teaching with new media?

We encourage submissions from graduate students, postdoctoral researchers, and established scholars. Papers should be between 2,000-3,500 words, follow MLA guidelines, and include a detailed works cited page, as well as a short biography of the author. Submissions should be directed toward SUBMISSIONS@CINEPHILE.CA indicating the intended issue and general inquiries toward INFO@CINEPHILE.CA.

Submissions are due by January 6th 2024.

Cinephile is the University of British Columbia’s film journal, published with the continued support of the Centre for Cinema Studies. Cinephile and UBC Vancouver are located on the traditional, ancestral, and unceded territory of the Musqueam, Squamish, and Tsleil-Waututh Nations of the Coast Salish peoples. Caring for this land since time immemorial, the culture, history, and traditions of the Coast Salish people are inextricable with these regions and enduring in these spaces. Cinephile acknowledges its identity as a product of settler violence and colonization and is committed to learning and engaging with Indigenous voices and histories on the UBC campus. Previous issues have featured original essays by such noted scholars as Lee Edelman, Slavoj Zizek, Paul Wells, Murray Pomerance, Ivone Marguiles, Matt Hills, Barry Keith Grant, K.J. Donnelly, Robert Stam, and Sarah Kozloff. Since 2009, the journal has adopted a blind review process and has moved to annual publication. It is available both online and in print via subscription and selected retailers.

Incoming editors: Will Riley and Liam Riley

Indicative Bibliography

Brinkema, Eugenie. The Forms of the Affects. Duke University Press, 2014.

Brown, William. Non-cinema: Global Digital Film-making and the Multitude. Bloomsbury Academic, 2018. Accessed 10 September 2023.

Culp, Andrew. Dark Deleuze. Translated by Achim Szepanski, Laika Verlag, 2017. Accessed 10 September 2023. Deleuze, Gilles. “Postscript on the Societies of Control.” October, vol. 59, 1992, pp. 3-7.

Denson, Shane. Discorrelated Images. Duke University Press, 2020. Accessed 10 September 2023.

Dery, Mark. “Black to the Future: Interviews with Samuel R. Delany, Greg Tate, and Tricia Rose.” Flame Wars: The Discourse of Cyberculture, Duke University Press, 1994. Accessed 10 September 2023.

Fisher, Mark. Capitalist Realism: Is There No Alternative? Zero Books, 2009.

Fisher, Mark. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. Zero Books, 2014.

Wilderson, Frank B. Afropessimism. WW Norton, 2020. Accessed 10 September 2023.

Zuo, Mila. Vulgar Beauty: Acting Chinese in the Global Sensorium. Duke University Press, 2022. Accessed 10 September 2023.


Call for Papers: FRAGMENTATION
Version française ci-bas.

2024 Annual Graduate Student Conference
University of Toronto Cinema Studies Institute
Friday, February 2nd to Saturday, February 3rd, 2024

Keynote address by Dr. Maggie Hennefeld, University of Minnesota

At 24, 48, 60, or 120 fragments per second, photographic images unite to create the movies. With discrete pieces at its basis, cinema has always been a disjointed art form, resting upon the illusion of fluidity that continually comes into being before the eyes of spectators. Classical Hollywood cinema’s attempts to deny or evade this reality have been met with equally dedicated experimental practices that sought to utilize cinema’s segmented nature. From Luis Buñuel’s surrealist cross-cutting in Un Chien Andalou to Stan Brakhage’s poetic abstractions in Mothlight, the filmic fragment is exposed and presented as an object of fascination in its own right. In the age of the digital, disjuncture has only been further accentuated on the level of pixels and glitches by a new generation of artists. As avant-garde filmmakers have struggled since the onset of cinema with the pieces that are held together as moving images, scholars have sought to likewise understand the implications of an art form whose popular manifestations rest upon the denial of its fragmentation.

Cinema’s ability to suture discrete images, places, and bodies together has come to the forefront of film theory from psychoanalysis through post-structuralism and into the realm of digital media studies in the 21st century. The connected fragments of moving images parallel Max Horkheimer and Theodor Adorno’s description of the post-Enlightenment world of abstraction, where segmentation precedes a subsequent ideological unification. Meanwhile, according to Mary Ann Doane, the unification on-screen of discrete parts of the human body through the correlation between an actor’s/actress’s image and voice staves off our “fear of fragmentation.” As digitalization reduces the film fragment from frame by frame to pixel by pixel, our ability to grasp the technicity behind the moving image apparition is complicated and obfuscated further and further. Shane Denson’s work on discorrelation highlights that “moving images mediate our transition into a world of media not cut to human measure.”

The Cinema Studies Institute at the University of Toronto’s 2024 Graduate Conference seeks submissions that attempt to address the inheritance of the fragment in cinema and media. As moving images morph, the question “What is the stuff that films are made of?” remains relevant for emerging scholars. How do we utilize the unveiling of the disjuncture of cinema’s underpinnings in contemporary theorizations? Are there alternative ways for uniting cinema’s photographic fragments that could still be called “film”? How can the suture of fragmented bodies on-screen provide ways to foster empathy and social change? Does the fragmentation of cinema allow for a unification of fragmented and diasporic communities? How does cinema’s position in the 21st century depend upon its ability to be taken apart and put together again, frame by frame, fragment by fragment?

Sample topics might include but are not limited to:

  • Abstraction
  • Apocalyptic imagery, earthquakes, a broken/fragmented Earth
  • Archival Fragments/Fragmented Archives
  • Assemblage/montage
  • Audience fragmentation
  • Borders/boundaries
  • Categorization disagreements within genre fandoms (audience/spectatorship)
  • Digital Afterlives
  • Discorrelation
  • Ephemerality/the ephemeral
  • Experimental film
  • Fragmentation and Diaspora
  • Fragmentation and Form
  • Fragmentation and violence
  • Fragmented bodies
  • Fragmented geographies
  • Fragmented self, personal/collective memory
  • Fragments & Genre (i.e. abject, uncanny, etc.)
  • Glitch Aesthetics
  • Historiographical Frameworks/Historiographical Disagreement
  • Identity and/or Ways of Being
  • In and beyond the frame
  • Media archaeology/ruminations
  • Mediation/re-mediation
  • Politics & the fragment
  • Post-cinema
  • Reception histories
  • Refractions (as through fragmented glass)/Light/Colour
  • Soundscapes/the voice

We welcome English and French submissions from independent scholars and graduate students worldwide. Applicants must submit a brief abstract (300-500 words) and a bio of 50-100 words to by November 24, 2023. Conference acceptances will be sent out by the end of December.

Submissions should provide the following information:

  • Name & pronouns
  • Level of study and name of institution (if applicable)
  • Title
  • Abstract
  • Bio
  • 3-5 item bibliography

Appel à Contributions: FRAGMENTATION

À 24, 48, 60 ou 120 fragments par seconde, les images photographiques s’unissent pour créer les films. Basé sur des pièces autonomes, le cinéma a toujours été une forme d’art parcellaire, reposant sur l’illusion de fluidité qui se réalise sans cesse devant les yeux des spectateurs. Les tentatives du cinéma classique hollywoodien de nier cette réalité ou y échapper ont été contrecarrées par des tentatives expérimentales tout aussi dévouées, cherchant à utiliser la nature segmentée du cinéma. Du montage alterné surréaliste chez Luis Buñuel dans Un Chien Andalou aux abstractions poétiques de Stan Brakhage dans Mothlight, l’image filmique est exposée et présentée comme un objet de fascination en elle-même. À l’ère du numérique, la disjonction n’a fait que s’accentuée au niveau des pixels et des bogues par une nouvelle génération d’artistes. De la même façon que les cinéastes d’avant-garde se sont acharnés sur les pièces rassemblées sous forme d’images animées, les académiciens ont cherché à comprendre les implications d’une forme d’art dont les manifestations populaires sont fondées sur le déni de sa fragmentation.

Dans le XXIe siècle, la capacité du cinéma à suturer ensemble des images, des lieux et des corps distincts s’est retrouvée au premier plan de la théorie du cinéma, de la psychanalyse au post-structuralisme et dans le domaine des études de médias numériques. Les fragments d’images animées liées entre elles sont parallèles à la description par Max Horkheimer et Theodor Adorno d’un monde d’abstraction qui suit le siècle de lumières, où la segmentation précède une unification idéologique ultérieure. Pendant ce temps, selon Mary Ann Doane, l’unification à l’écran de parties distinctes du corps humain grâce à la corrélation entre l’image et la voix d’un acteur/actrice écarte notre « peur de la fragmentation. » Alors que la numérisation réduit la fragmentation du film d’image par image à pixel par pixel, notre capacité à saisir la technicité derrière l’apparition d’images animées est de plus en plus compliquée et obscurcie. Les travaux de Shane Denson sur la discorrélation soulignent que “les images animées médiatisent notre transition vers un monde médiatique inapte aux mesures humaines.”

La Conférence 2024 des cycles supérieurs de l’Institut d’études cinématographiques à l’Université de Toronto est à la recherche de soumissions qui tentent de répondre à l’héritage du fragment dans le cinéma et les médias. À mesure que les images animées se transforment, la question “De quoi sont faits les films?” reste pertinente pour les chercheurs émergents. Comment utiliser la révélation de la disjonction des fondations du cinéma dans les théorisations contemporaines? Existe-t-il d’autres moyens d’unir les fragments photographiques du cinéma que l’on pourrait encore qualifier de “film”? Comment la suture des corps fragmentés à l’écran peut-elle fournir des méthodes favorisant l’empathie et la transformation sociale? La
fragmentation du cinéma permet-elle une unification de communautés fragmentées et diasporiques? Comment la position du cinéma au XXIe siècle dépend-elle de sa capacité à être démontée et reconstituée, image par image, fragment par fragment?

Les sujets peuvent inclurent, mais ne sont pas limités à:

  • L’Abstraction
  • L’Imagerie apocalyptique, les tremblements de terre, une Terre brisée/fragmentée
  • Fragments d’Archivage/Archives Fragmentées
  • Assemblage/montage
  • Fragmentation des spectateurs
  • Frontières/Limites
  • Désaccords autour des catégorisations dans le fandom du genre (audience/spectateurs)
  • Les « afterlives » numériques
  • Décorrélation
  • L’Éphémère
  • Le Cinéma expérimental
  • Fragmentation et Diaspora
  • Fragmentation et Forme
  • Fragmentation et Violence
  • Corps fragmentés
  • Géographies fragmentées
  • La fragmentation du soi, mémoire individuelle/collective
  • Fragments et Genre (i.e. l’abject, l’inquiétante étrangeté, etc.)
  • Esthétiques du Glitch
  • Les Cadres Historiographiques/Désaccords Historiographique
  • L’identité et/ou Façons d’être
  • Dans et au-delà du cadre
  • Archéologie médiatique/ruminations
  • Médiation/remédiation
  • La politique et le fragment
  • Post-cinéma
  • Historicisation de la réception
  • Réfractions (projections de verre fragmentée)/Lumière/Couleur
  • Le paysage sonore/la voix

Nous acceptons des soumissions francophones et anglophones d’étudiants aux cycles supérieurs et chercheurs indépendants de partout dans le monde. Les parties intéressées doivent soumettre un bref résumé (300-500 mots), ainsi qu’une brève biographie de 50-100 mots à jusqu’à le 24 novembre 2023. Les acceptations de la conférence seront envoyées avant la fin du décembre.

Les soumissions doivent inclure l’information suivante :

  • Nom-Prénom
  • Niveau d’études et nom d’institution (le cas échéant)
  • Titre
  • Résumé
  • Biographie
  • 3-5 pièces de bibliographie

The Graduate Visual Culture Association at Queen’s University

Context & Meaning XXIII:
Present | Past

We are pleased to announce the twenty-third annual Context and Meaning Graduate Student Conference, hosted by the Queen’s University Department of Art History and Art Conservation from Friday, February 9th to Saturday, February 10th, 2024.

How do we look at the past? How does the past shape our present–or vice versa? Such questions were particularly apt in the aftermath of the Second World War, when Theodor Adorno popularized the concept of Vergangenheitsbewältigung (“coming to terms with the past”) to explore how post-war Germans examined their role in the conflict. However, scholars such as Max Czollek and Peter Chametzky have indicated cracks in Germany’s apparent success in grappling with its complicated past. Both swap out the “past” in Adorno’s formulation for “present,” proposing instead “Gegenwartsbewältigung,” whereby our debates about the past are often proxies for coming to terms with the present. History is produced in the present, as historians of visual culture are well aware. Studies have highlighted the subjective and emotional position of the scholar towards their temporally displaced objects of study and considered how such objects are interpreted, disseminated, and canonized according to contemporary concerns. Scholars have also considered temporality in visual culture by emphasizing the ephemerality of material objects, the time-bound processes of art and image making, and how images and artworks can be read as records of their origins. Indeed, it is high time to take time seriously.

By selecting the theme of Present | Past for the twenty-third annual Context and Meaning conference, the Graduate Visual Culture Association at Queen’s University seeks to engender dialogues about how time is experienced and constructed, how we view the past through a contemporary lens, and how artworks, images, and other objects of visual culture mediate history.

Some potential topics that we hope to explore include, but are by no means limited to:

  • The persistence of colonial structures in present cultural production
  • Biases and absences in museum and archival collections
  • The roles of art, cinema, and visual/material culture in mediating time
  • Moves to re-centre marginalized groups in our narratives of the past
  • Nostalgia and national mythologizing using artists, artworks, and design
  • Discourses around public monuments and commemorative projects
  • Approaches to diversifying art historical knowledge and pedagogy
  • Rehanging of public art collections and “hacking” the museum
  • Conflicts between historical knowledge and contemporary demands in art conservation
  • Documentation of personal and social histories through craft
  • Appropriations and uses of images in politics and activism
  • Artworks dealing with time, history, and ephemerality

Context and Meaning XXIII intends to provide an inclusive forum for multi-disciplinary academic discussion on visual and material culture. We encourage paper submissions from students and scholars with a broad range of backgrounds and approaches whose work employs visual culture for interpreting the past and present. Submissions are welcome from current graduate students, as well as those who have completed their graduate
studies within the last two years. We seek to assemble a diverse group of scholars in order to foster interdisciplinary discussions, and expect submissions from fields including anthropology, architecture, art and design history, classics, conservation, economics, education, environmental studies, film and media studies, gender and sexuality studies, history, Indigenous studies, Jewish studies, language and cultural studies, literary
studies, material culture studies, music, museum studies, philosophy, policy studies, political studies, religious studies, screen cultures and curatorial studies, sociology, and theatre.

If you are interested in participating in Context and Meaning XXIII, being held from Friday, February 9th to Saturday, February 10th, please visit to submit an abstract of no more than 300 words with the title of your paper and a 150-word bio. As we hope to again host a hybrid conference, you will be prompted to indicate your preference to present either in-person or online. Presenters will be asked to deliver a 15-minute presentation that will be followed by a panel discussion period. The deadline to submit an abstract will be at the end of day, Monday, November 20th, 2023. Thank you to all who apply!

Nicholas Markowski and Peter Sproule
Conference Co-Chairs
Context & Meaning XXIII

Graduate Visual Culture Association
Department of Art History and Art Conservation
Ontario Hall, Queen’s University
Kingston, Ontario, K7L 3N6, Canada
Queen’s University is situated on the territory of the Haudenosaunee and Anishinaabek.

Ne Queen’s University e’tho nońwe nikanónhsote tsi nońwe ne Haudenosaunee tánon Anishinaabek tehatihsnónhsahere ne óhontsa.
Gimaakwe Gchi-gkinoomaagegamig atemagad Naadowe miinwaa Anishinaabe aking.


CFP: “Revisiting a Golden Era: Canadian Cinema of the 1980s and 90s”

Call for essay proposals for an edited volume about Canadian films, filmmakers, and film culture (for submission to McGill-Queens University Press)
Edited by Lee Carruthers and Charles Tepperman

This volume proposes a reconsideration of the aesthetic, cultural, and industrial development of motion pictures in Canada between (approximately) the years 1980 and 2000. This period has often been described as a ‘golden era’ of Canadian cinema, seeing the rise to prominence of a new generation of Canadian filmmakers and the emergence of new institutions to support them. Piers Handling has characterized this phenomenon as the emergence of a distinctive Canadian cinema that is “esoteric, diverse, and multifaceted.” As he writes, Canadian cinema was newly mobilized in this phase through festivals, finding an equal standing with literature: “Cronenberg, Arcand, Egoyan and Maddin stood shoulder-to-shoulder with Atwood, Ondaatje, Martel and Richards.” Significantly, this emergence also coincided with the maturation of academic Film Studies in Canada, a parallel development that resulted in robust critical and scholarly responses. While the films and film contexts of this period were much discussed in the 80s, 90s and early 2000s, they demand a new assessment.

We invite essay submissions about Canadian cinema of the 1980s and 90s, deploying established critical approaches (textual and cultural analysis, stylistic analysis) as well as new critical methods (such as transmedia and transnational analyses, data-based research, and media industry studies). The collection particularly values close readings of the films of this period, reassessed through the lens of the present, which might serve as exemplary essays for undergraduate and graduate coursework. We encourage reassessments that are critically agile and historiographical in approach, reflecting on the distance that separates us from these films and filmmakers and also the discourses and methods that scholars have brought to them.

Articles may address French-, English-, and/or Indigenous-language filmmaking, and films and film cultures from diasporic communities and international co-productions. We ask these contributions to consider the following questions: What does it mean to (re)consider this film / filmmaker / topic in our current moment? What does this reconsideration show us about Canadian cinema of the 1980s and 90s and about contemporary film practice? How do contemporary critical / theoretical / methodological / historiographical resources freshly illuminate the topic, forming contrasts and continuities with earlier examinations? How, for example, do recent conceptualizations of (trans)national cinema, decolonization, anti-racism, gender, and/or media industries reposition our perspective on the films/contexts of Canadian cinema in this period?

Contributions can be in various forms and may include short essays (4000-5000 words), long essays (6000-8000), and interviews.

Possible topics:

  • reconsideration of a prominent film or filmmaker ie) Atom Egoyan, David Cronenberg, Denys Arcand, Patricia Rozema, Léa Pool, Deepa Mehta, Don McKellar, Alanis Obomsawin, Robert Lepage, François Girard, Micheline Lanctôt, John Greyson, Robert Morin, Guy Maddin and others.
  • consideration of a film, filmmaker, or context that has been overlooked by scholars but that can be productively retrieved for the present
  • Indigenous filmmaking, decolonization
  • gender, cultural difference, and diversity in Canadian cinema
  • queer and LGBTQ films and cultures
  • examination of film styles, trends, genres, popular cinema, and art cinema
  • film festivals (rise of TIFF, other festivals)
  • film policy (CCA, Telefilm, tax credits)
  • film distribution and exhibition (theatrical, community, TV)
  • independent, avant-garde, and experimental film in Canada
  • developments in documentary film
  • video, transmedia, new media
  • film culture, audiences, and reception
  • co-productions, transnational cinema in the Canadian context
  • local scenes, regional contexts
  • other topics related to Canadian cinema in the 1980s and 90s

Article proposal/abstract (300-400 words + bibliography/filmography) will be due on January 15, 2024. Final essays will be due by Sept 1, 2024.

Please send your proposals and inquiries to Lee Carruthers ( and Charles Tepperman (