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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 csgraduatestudentunion@gmail.com 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 csgraduatestudentunion@gmail.com 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
CALL FOR PAPERS

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 www.gvca.ca/context-and-meaning 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
contextandmeaning@queensu.ca

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 (lee.carruthers@ucalgary.ca) and Charles Tepperman (c.tepperman@ucalgary.ca).

 

The Canadian Journal of Film Studies is now accepting proposals from prospective editors.

Canada’s leading academic peer-reviewed film journal since launching in 1990, the CJFS is published bi-annually by the Film Studies Association of Canada and seeks proposals from prospective editors for a term beginning early 2024.

Under the stewardship of outgoing co-editors Liz Czach and André Loiselle, the CJFS reached new constituencies of readers and contributors both online and in-print. The Editorial Board thanks them for their service, congratulate them for their success, and looks forward to building upon their achievements with a new editor or editorial team.

Responsibilities: The CJFS publishes two issues a year and the Editor is responsible for administering the process by which submissions are received, reviewed, and prepared for publication using a state-of-the-art content management system administered by the University of Toronto Press Journals division.

In partnership with the Chair of the Editorial Board and UTP Journals, the Editor will oversee the design and production of the journal. In addition, the Editor collaborates with the Editorial Board in the preparation, implementation and review of policy and procedures concerning all operations of the Journal on behalf of the Film Studies Association of Canada.

Applications for the position should be received by the Chair of the Editorial Board no later than December 15th, 2023 and include the following:

1. Statement of Editorial Philosophy: Please provide a letter outlining your editorial vision for the CJFS, its ongoing role within the global community of scholars established by the Film Studies Association of Canada, and any other intellectual, pedagogical or scholarly rationales for your suitability for this position. If you are proposing a co-editorship, provide a rationale for this structure and clearly outline the individual responsibilities of the prospective co-editors.

2. Curriculum Vitae: Please enclose a CV and cover letter clearly outlining professional and academic qualifications. If you are proposing a co-editorship, please enclose a CV for each prospective editor. Please include details regarding your ability and plans to manage and promote the bilingual features of the journal.

3. Statement of Institutional Resources: CJFS’s Editor is responsible for providing office space and furnishings, telephone, fax, postal service, photocopying, and computing facilities, as well as other available subventions that facilitate the execution of the Editor’s duties; this might include the availability of student assistants or other editorial support staff at the host institution. Please provide a description of the level of support you or your institution is willing to provide.

The new Editor’s term will begin early 2024 with several months set aside for an overlap of the duties with the current editors to ensure a smooth transition. It is expected that the transition of the journal’s editorial offices (such as they are) will be completed no later than June 2024

Please submit all proposals via email (purquhart@wlu.ca) to:

Peter Urquhart, Chair of the Editorial Board
Canadian Journal of Film Studies / La revue canadienne d’études cinématographiques
Communication Studies, Wilfrid Laurier University
75 University Av. W., Waterloo, ON N2L 3C5

La Revue canadienne d’études cinématographiques invite les soumissions de candidature pour le poste d’Éditeur.

Première revue canadienne de cinéma à comité de lecture universitaire, la RCÉC est publiée deux fois l’an par l’Association canadienne d’études cinématographiques depuis son lancement en 1990. Elle sollicite les propositions d’éditeurs potentiels pour un mandat commençant au début de 2024. Sous la direction des co-éditeurs sortants, Liz Czach and André Loiselle la RCÉC élargi le lectorar rejoint par ses éditions papier et numérique. Le comité éditorial souhaite les remercier pour leur service, les féliciter pour leur succès et espère pouvoir poursuivre sur cette lancée avec un nouvel éditeur ou une nouvelle équipe éditoriale.

Responsabilités: La RCÉC publie deux numéros par année et l’éditeur est responsable du processus de réception, de révision et de préparation des soumissions, assisté par un système de gestion de contenu à la fine pointe de la technologie et géré par l’équipe des revues des Presses de l’Université de Toronto. En partenariat avec le président du comité éditorial et UTP, l’éditeur supervisera également la conception et la production de la revue. De plus, l’éditeur collaborera avec le comité éditorial à la préparation, à la mise en œuvre et à la révision des politiques et procédures concernant l’ensemble des opérations de la revue au nom de l’Association canadienne d’études cinématographiques.

Les candidatures doivent être envoyées au président du comité éditorial au plus tard le 15th decembre, 2024 et inclure les éléments suivants:

1. Énoncé de philosophie éditoriale:

Veuillez rédiger une lettre décrivant votre vision éditoriale de la RCÉC, son rôle actuel au sein de la communauté internationale de chercheurs établie par l’Association canadienne d’études cinématographiques et toute autre motivation intellectuelle, pédagogique ou universitaire permettant d’évaluer vos qualifications pour ce poste. Les propositions de co-édition devront de plus présenter et justifier le type de collaboration propoosé et définir clairement les responsabilités individuelles des co-éditeurs envisagés.

2. Curriculum Vitæ:

Veuillez joindre un CV et une lettre de présentation indiquant clairement vos qualifications professionnelles et universitaires. Si vous proposez une co-édition, veuillez joindre le CV de chacun des éditeurs potentiels. Veuillez également inclure une description de vos capacités au regard du caractère bilingue de la revue, de même que les grandes lignes de vos plans de gestion et de promotion de cet aspect de la revue.

3. Énoncé des ressources institutionnelles:

L’éditeur de la RCÉC doit être en mesure de fournir à la revue des espaces de bureau, de même que l’ensemble des ressources matérielles nécessaires à son bon fonctionnement (téléphone, fax, photocopie, équipements et réseaux informatiques, services postaux). L’éditeur doit également être en mesure de pouvoir obtenir diverses subventions facilitant ainsi que des autres subventions disponibles facilitant l’exécution des ses tâches. Cela peut inclure l’accès à d’auxiliaires étudiants pouvant assister tant le travail du directeur que celui des autres personnes impliquées dans la gestion de la revue. Veuillez par conséquent décrire le niveau de soutien que vous et votre institution êtes disposés à fournir.

Le nouveau mandat de l’Éditeur débutera au début de 2024 Plusieurs mois réservés au chevauchement des tâches avec les éditeurs actuels afin de garantir une transition en douceur sont envisagés. Il est prévu que la transition du bureau éditorial de la revue (tel qu’il l’est) sera achevée au plus tard au juin, 2024.

Veuillez soumettre votre candidature par courriel (purquhart@wlu.ca) à:
Peter Urquhart, Chair of the Editorial Board
Canadian Journal of Film Studies / La revue canadienne d’études cinématographiques
Communication Studies, Wilfrid Laurier University
75 University Av. W., Waterloo, ON N2L 3C5

 

Symposium Call
October 23, 5pm EST
CALL FOR PARTICIPANTS

Visions of Care and Collaboration
An online symposium organized in conjunction with the Toronto Queer Film Festival
DATE: March 22-24, 2024
Proposal deadline: October 23, 2023. Submit proposals here.
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 Visions of Care and Collaboration.

Visions of Care and Collaboration brings forward the hope of building a community full of love, respect, and growth. The current state of the world is crumbling with public health abandonment, dirty politics, and pushing bootstraps ideologies of individualism in service of capitalist accumulation and resource hoarding. Visions of Care and Collaboration imagines a world where taking care of each other becomes a revolutionary act: engaging in mutual aid, prioritizing community, and dismantling consumerism. We create space for conversations around needs, necessary changes, and how to develop relationships with each other and our environments. We want to see a world where we acknowledge each other’s struggles, but are there for each other with support and new ways of thinking.

In alignment with the guiding principles of TQFF, we ask that submissions to this symposium uphold the principles of decolonization and liberation for all, by prioritizing Indigenous sovereignty, Black liberation, anti-racism, accessibility, prison abolition, and a borderless world.

The TQFF Symposium invites cross-disciplinary practitioners, both within and outside of media and film arts, to explore topics relevant to the theme of Visions of Care and Collaboration. Creative engagement such as visuals, clips, performances, poetry reading, and other hybrid forms of presentations are highly encouraged. Some considerations include the following:

  • 2Spirit/Queer/Trans world-building;
  • Oral or written traditions;
  • Mythology, or folklore;
  • Disability Justice;
  • COVID, HIV and AIDS activism;
  • Indigenous and Afro-Futurism;
  • Queer resistance as demonstrated within cinematic genres of speculative fiction including horror, sci-fi, fantasy, etc;
  • Non-human kinship;
  • Non-heteronormative love, relationships, and family units;
  • Sex-worker led resistance and collective-care movements;
  • Indigenous language reclamation and land return across Turtle Island;

*A NOTE ABOUT ACADEMIC PAPER SUBMISSIONS:
To keep in line with the intentions of TQFF as an accessible and alternative creative venue, we are at this time discouraging the submission of traditional academic papers and presentations that utilize academic jargon. We recommend presentations that actively engage with what will primarily be a non-academic audience. For those who wish to present research, we require that you indicate the format and content of your presentation.

Everyone is welcome to apply. We highly suggest taking a look at previous programming from our previous years when considering your submission: TQFF Archive

Please submit the following information via our online form by October 23th, 2023.

  • 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

TQFF distinguishes itself from other festivals and arts organizations that serve the LGBTQ2S+ community by focusing on experimentally formal and social-justice focused film and video and by encouraging the submission— and prioritizing the programming—of work by and about Queer and Trans People of Color, Indigenous people, people with disabilities and the work of local, low-income, DIY, and/or emerging filmmakers.

The TQFF Symposium is generously funded by the Canada Council for the Arts, Ontario Arts Council and Toronto Arts Council. You can read more about TQFF on our website.

Instagram: @torontoqueerfilmfestival
Facebook: Toronto Queer Film Festival

 

Assistant Professorship in Creative Industries, University of Glasgow

We are seeking to appoint a Lecturer who will join us in building our dynamic new undergraduate programme in Creative Arts and Industries and who conceives of their research and pedagogy within a creative industries framework. Experience of teaching across the cultural/creative industries is essential, although candidates’ research may be specialized in specific sub-sectors. In particular, we welcome interest from scholars working within Global Majority contexts, popular music, games, social media, publishing or other areas that extend, rather than replicate, current staff specialisms in film, the visual arts and cultural policy (although we will consider strong applications of this order as well).

The candidate will undertake research of international excellence and contribute to knowledge exchange activities relative to the discipline, contribute to learning and teaching, primarily on the Creative Arts & Industries programme and undertake administration and service activities in line with the School/College’s strategic objectives.

Salary will be Grade 7, £39,347 – £44,263 per annum.

This post is full time (35 hrs per week) open ended.

Creative Arts and Industries at Glasgow

Launched in 2022, our Creative Arts and Industries undergraduate programme draws strength from its position within the School of Culture & Creative Arts, including through participation from Theatre Studies, Music, History of Art, Film and Television Studies and the Centre for Cultural Policy Research. This robust and vibrant context affords scope for contributing to the School’s various PGT and PGR ventures and research initiatives. We aim for an inclusive, diverse and equitable learning environment for all staff and students. Our teaching is research-led and incorporates a varied range of assignments, collaborative and individual, that imaginatively looks beyond typical essay briefs.

Follow this link for further details and to apply: https://my.corehr.com/pls/uogrecruit/erq_jobspec_version_4.jobspec?p_id=126868

For further information about the programme:

https://www.gla.ac.uk/undergraduate/degrees/creativeartsindustries/

For further information about the University of Glasgow and the School of Culture & Creative Arts, visit: https://www.gla.ac.uk/schools/cca/

For informal enquires and to share ideas about your application, please contact Kay Dickinson, kay.dickinson@glasgow.ac.uk

Closing date: 25 September 2023

The University of Glasgow is committed to equality, diversity, and inclusion and through this appointment it is our aim to develop candidate pools that include applicants from all backgrounds and communities. For this post, we particularly encourage applications from people from global majority ethnicities, LGBTQ+ identities, and disabled people. Read more on how the University promotes and embeds all aspects of equality and diversity within our Community http://www.gla.ac.uk/myglasgow/humanresources/equalitydiversity.

We are investing in our organisation, and we will invest in you too. Please visit our website https://www.gla.ac.uk/explore/jobs/ for more information.

 

Appel à communications : Colloque Cinéma et psychanalyse

Organisé par Alexis Lussier et Louis-Paul Willis

Figura, Centre de recherche sur les théories et les pratiques de l’imaginaire Université du Québec à Montréal | Université du Québec en Abitibi-Témiscamingue

En 1925, Karl Abraham partageait avec Freud son intérêt pour un projet de film qui devait illustrer la psychanalyse à l’écran. Intitulé Les Mystères d’une âme (1926), le film a été tourné plus tard par Georg Wilhelm Pabst d’après les indications du psychanalyste Hanns Sachs, avec Werner Krauss, déjà connu pour avoir incarné à l’écran le docteur Caligari. Si l’on se souvient de cette histoire, c’est pour revenir à la position de Freud qui n’a jamais approuvé le projet, ni même envisagé que le cinéma puisse illustrer quoi que ce soit qui puisse convaincre de la réalité spécifique dont s’occupe la psychanalyse. « Le projet ne met plaît guère, disait-il. Je ne tiens pas pour possible de présenter nos abstractions de façon plastique.” La position résolument iconoclaste de Freud est saisissante si l’on s’y arrête parce qu’elle repose sur un problème complexe qui dépasse la réalité du cinéma ; à savoir, non pas seulement la transposition plastique de la réalité psychique et des mécanismes de la pensée, mais la possibilité de l’image comme acte de pensée ; question qui reviendra chez Deleuze, notamment. Mais la méfiance de Freud vis-à-vis du cinéma contraste singulièrement avec la suite de l’histoire des théories du cinéma ; depuis les premières études psychanalytiques du cinéma, dans les années 1970 (Oudart, Baudry, Bellour, Mulvey, Heath, Metz), jusqu’aux avancées critiques plus récentes de Copjec, Žižek, Cowie, Flisfeder, De Lauretis et McGowan, depuis les années 1990 à aujourd’hui. D’un Freud iconoclaste et réticent, peu impressionné par l’invention du cinéma, aux théories les plus récentes, issues de la psychanalyse, qu’est-ce qui a changé? Sans doute le cinéma lui-même, mais aussi la psychanalyse, et surtout son apport pour penser l’expérience du cinéma.

Ces questions se complexifient lorsqu’on se penche sur les théories du cinéma et l’histoire des études cinématographiques depuis Lacan. En effet, si les théories du cinéma se tournent vers la psychanalyse lacanienne, dès les années 1970, des problèmes herméneutiques importants persistent à ce jour, particulièrement en lien avec le potentiel qu’offre la pensée de Lacan pour comprendre l’expérience cinématographique. Lacan ne visite que très rarement le fait cinématographique ; à peine le cinéma est-il évoqué dans le séminaire pour illustrer une forme appauvrie de « l’amour-passion », de l’amour courtois — en cela, d’ailleurs le cinéma serait, pour Lacan, l’une des plus récentes manifestations de la muse Polymnie, déesse de l’éloquence, à l’origine, mais aussi déesse d’un éros commun. Ailleurs, il évoque au passage les films de Buñuel, Chaplin, Fellini, Hitchcock, Kurosawa, Malle, Oshima, Renoir ou Resnais, etc., mais chaque fois dans l’optique d’une illustration brève, d’un exemplum, dont les théories du cinéma ont rarement pris la pleine mesure. Plus encore, il apparaît que beaucoup des théories du cinéma réinvestissent la pensée lacanienne dans son plus vaste ensemble (objet a, pulsion, jouissance, etc.) en un geste

herméneutique qui récupère, mais parfois aussi détourne, travestit ou mésinterprète la pensée de Lacan. En résumé, l’histoire des rapports entre psychanalyse et théories du cinéma semble tout à la fois composite et inégale. Tantôt le cinéma semble impropre à rendre compte de la vie psychique et des mécanismes de l’inconscient, selon Freud, tantôt, la psychanalyse trouve au cinéma une illustration de la théorie, un lieu d’applicabilité des concepts, sans nécessairement donner naissance à une réflexion plus fondamentale sur le cinéma lui-même. Tantôt les théories du cinéma construisent tout un ensemble de rapports, entre cinéma et psychanalyse, tantôt les mêmes théories ratent quelque chose à propos de la psychanalyse sans toujours concevoir ce qui, pourtant, serait de nature à intéresser le fait cinématographique.

Dans l’optique d’une réflexion d’ensemble sur les rapports entre cinéma et psychanalyse, nous sollicitons des propositions de communication susceptibles d’interroger les zones de rapprochement, mais aussi les zones d’éloignement, les zones de pertinence, mais aussi les zones de mésentente entre la pensée du cinéma et la psychanalyse. Dans une optique plus élargie, les propositions de communication peuvent porter, mais ne sont aucunement limitées, aux questions suivantes :

– Histoire de la théorie psychanalytique du cinéma
– Évolution de la théorie psychanalytique du cinéma
– Le cinéma après Freud, après Lacan
– Le cinéma et les psychanalystes
– Le cinéma et la cure parlante
– La mésinterprétation des concepts psychanalytiques (regard, désir, jouissance, objet a, sexuation, etc.)
– Théorie psychanalytique du cinéma et herméneutique
– La Screen Theory
– Psychanalyse, cinéma et féminisme
– Les cinéastes et la psychanalyse
– La critique de la théorie psychanalytique du cinéma (la Post-théorie, le cognitivisme, etc.)
– Psychanalyse du cinéma et théories de la réception

Le colloque aura lieu les 2 et 3 mai 2024 à l’Université du Québec à Montréal. Toutes les propositions (1 page) doivent être envoyées avant le 15 novembre 2023 aux deux adresses suivantes, à l’intention d’Alexis Lussier et Louis-Paul Willis, organisateurs du colloque, accompagnées d’une courte notice bio-bibliographique : lussier.alexis@uqam.ca; louis-paul.willis@uqat.ca.

 

BLOCKBUSTERS, SUPERHEROES, ALTENATIVES: FILM, ART AND BUSINESS

This issue is open to a wide range of submissions. We want to consider current and recent state of films and filmmaking in Canada and around the world. From Global Hollywood and the business structure of blockbusters, superhero franchises and changes in marketing and exhibition to critical analysis of genres, directors and particular films. From the rise of Netflix and streaming television to national variations and challenges, theoretical and aesthetic issues and political and social change and struggle.

Submissions and queries to Scott Forsyth sforsyth@yorku.ca

STILL ACCEPTING SUBMISSIONS

 
2nd Global Audiovisual Archiving Conference: Exchange of Knowledge and Practices

Toronto, Canada
12th – 14th July 2024
Presented by Archive/Counter-Archive, Eye Filmmuseum and the Toronto International Film Festival® (TIFF)

Deadline for submissions: Sunday, 1 October 2023

2024 Conference Theme: Building Alliances

(A)rchival endeavors should not be about documenting the past, nor even about imagining the future…but about building a liberatory now.
-Michelle Caswell, Urgent Archives: Enacting Liberatory Memory Work (2021, 13)

(T)he archival impulse could be recast… as the possibility of creating alliances: between text and image, between major and minor institutions, between filmmakers, photographers, writers and computers, between online and offline practices, between the remnant and what lies in reserve, between time and the untimely. These are alliances against dissipation and loss, but also against the enclosure, privatization and thematisation of archives, which are issues of global, and immediate, concern.
– Pad.ma, “10 Theses on the Archive” (2010) https://pad.ma/documents/OH

The biennial Global Audiovisual Archiving Conference is an opportunity for scholars, archivists, artists, curators, filmmakers, students, and film enthusiasts from across the world to gather and explore contemporary professional, artistic, and socio-political issues affecting audiovisual heritage today. The aim of the conference is to broaden the knowledge and connections within the global archival community, leading to new insights into the material and cultural resonances of archival approaches to sound and moving image in different parts of the world.

Audiovisual archives are being redefined by the communities who care for and use them. In the 21st century, new names for archival collections and new approaches to archives are helping to shape collective histories, often informed by a plurality of regional, local, activist, and cultural communities rather than broadly based nationalist identities. These are fostering new understandings of what it means to “decolonize memory institutions” such as public archives, cultural memory centres, galleries, and museums (Thorkelson, 2019) as well as de facto repositories or accidental archives (Cheeka, 2023) such as media distribution centres, co-ops, academic institutions, and public libraries – not to mention all kinds of private and personal archives. The problems that smaller archives face include a lack of space for storage, funds to access digitization technologies (Declercq, 2020; Suárez, 2021), and the specialised labour, informed by archival training in best practices that are often required to safeguard material histories, especially those carried by analogue and born-digital media (Jaillant, 2022; Liebermann, 2021; Moravec, 2021). Often these “best practices” are drawn by richer institutions, without due consideration of or engagement with the contexts, resources, and politics of other regions. Equally important is the reuse and co-creation of media that activates archival materials in novel ways for contemporary audiences in a way that ensures their longevity. There is no doubt that the practices of “doing archives” are “on fire” around the world (Caswell, 2021; Chew et al., 2018; Paalman et al., 2021).

The 2nd Global Audiovisual Archiving Conference invites papers and presentations in a variety of formats that address the challenges and generative opportunities afforded by diverse media archives, from those that are publicly/privately funded to those surviving on very little support. We are especially interested in marginalised audiovisual archives, whether collections vulnerable to disappearance and inaccessibility or archives that are invisible and need to come into being. Central to our conference is the importance of identifying gaps in the field, building bridges, creating archival networks, fostering collaborations (Pretlove, 2021), and uncovering or deepening alliances (Heidiger et al., 2021). Such approaches may be tied to designing practices of care (Campanini, 2023) and pedagogical approaches for the next generation of archivists, artists, activists, humanists, and historians in ways that are inclusive, expansive, liberatory, and that might reinvent and redefine archival language and protocols. The conference also explores the emergence of theoretical questions, and novel ways of understanding history through notions of entanglement (Namhila and Hillebrecht, 2022) and redefinitions of allyship and stewardship that mark a critical paradigm shift in the field of archival studies.

We encourage proposals from participants located in parts of the world and on topics that are underrepresented in conferences related to audiovisual heritage.

The programming committee will be especially interested in proposals that address the following topics which include but are not limited to:

Specialist Archives

  • Human rights frameworks and archives; activist archives; social justice
  • Archival protocols and languages of Indigenous and other communities of traditional knowledge; living archives and ancestral memory; decolonizing practice and policy
  • Women’s archives and networks and feminist ethics of care
  • Queer LGBTQS+ archives and collaborations
  • Critical disabilities in the archives; building accessible archives
  • Mobile archival engagements with remote or underserved communities
  • Enriching metadata on sensitive objects; improving metadata language(s) for enhancing access and collaboration on a global scale

New Approaches to Archiving

  • Decolonizing the archive; decolonial and postcolonial approaches to archiving and archival studies
  • Sustainable approaches to archiving: environments, climate change and disappearing archives, planetary archives
  • Identifying archives at risk and sharing resources

  • Developing new networks, kinships, collaborations, and alliances; sharing resources across political/cultural, economic, and geographic spheres
  • Transnational, transcontinental, translocal archival projects and networks
  • Global repatriation efforts across borders and governments; digital forms of repatriation
  • New approaches to archival pedagogy; training the next generation of archivists
  • Participatory and communal forms of archiving; building sustainable cooperative projects in AV archiving; recognizing the invisible labour(ers) at the archive
  • Addressing financial inequality across archives across borders in neoliberal contexts; finding alternatives to neo-colonial financial structures

Theoretical and Activation Insights

  • Creative activations of archives through artist residencies and community collaborations
  • Building bridges between academic, archival, and cultural communities that use archives
  • Theory building: what can we learn from the new theoretical questions (ontology of the archives), and creative artistic approaches to working with archives?
  • The alternate histories of audiovisual heritage and culture thanks to new, inclusive archival practices
  • The future of archives and archiving; new approaches to digitization; digital archives, platforms, and repositories

Guidelines

You can submit your proposal for a single paper or panel format (panel, roundtable, poster, etc.) online via the Google Form linked below. Proposals received by 1 October 2023 will receive full consideration, and acceptance results will be sent out in December 2023. Among other information, the form will ask for the following:

  • A short biography for all the participating speakers.
  • An abstract for your presentation that will appear in the conference program if your presentation is accepted.
  • A list of your required A/V equipment and details (title, date, length, etc.) for any media you will be presenting.

We welcome presentations in a wide range of formats, including the following:

  • Report or Paper Presentation: Fully prepared papers/reports of 15 minutes that will be grouped with cognate presentations on the panel, with time for Q&A.
  • Panel: A 50-minute session consisting of a panel of three to four individuals who discuss a variety of theories or perspectives on the given topic. Panels are up to 40 minutes of presentation with 10 minutes of Q&A.
  • Show-and-Tell: A 10-minute short presentation of a case study or archival material with 5 minutes of Q&A.
  • Roundtable Discussion: A 50-minute session of informal presentations on a general subject area. Proposals in this category normally include a facilitator who will moderate the session and any discussion.
  • Screening Session: Up to 50-minute screening presentation. The session may include speakers/discussion along with a program of films/media.
  • Poster Presentation: A 5-minute pre-recorded session with a poster image. The poster image will be posted on the conference website. Posters are scheduled five per session slot, and all poster presenters are required to participate in the live Q&A during their session.
  • Evening Screenings: A film program or feature film with a short introduction.

We may discuss with presenters appropriate alteration of a proposed format or duration when this makes curatorial sense for the programme as a whole.

We will consider a number of live or recorded video presentations for those who may be unable to or who choose not to travel. Please direct any questions you may have about your proposal or the submission process to globalarchiving@gmail.com.

Proposal Submission Form:
https://forms.gle/pcveiADtgP7qvLBC7

Travel Grant Program
We have established a limited number of travel grants for speakers at the Global Audiovisual Archiving Conference. The grants, up to $500 each, can be used to partially offset registration and travel costs. To apply, please complete the final Travel Grant Application section of the proposal form, where you will be asked to submit a brief paragraph outlining your financial need and how attending the conference will contribute to your professional development. Please email any questions you might have about these travel grants to globalarchiving@gmail.com.

Registration
For this edition, we offer a hybrid conference format to accommodate everyone. Please note that all presenters must register for the conference and that we do not provide registration or financial compensation for speakers, with the exception of a limited number of travel grants.

Program Committee

  • Keith Bennie (Toronto International Film Festival)
  • May Chew (Concordia University)
  • Almudena Escobar López (Toronto Metropolitan University)
  • Giovanna Fossati (Eye Filmmuseum/University of Amsterdam)
  • Susan Lord (Queen’s University)
  • Janine Marchessault (York University)
  • Natania Sherman (Toronto International Film Festival)
  • Michael Zryd (York University)

Advisory Board

  • Ines Aisengart Menezes (Witness)
  • Carolina Cappa (Elias Querejeta Zine Eskola)
  • Karen Chan (Asian Film Archive)
  • Martino Cipriani (RMIT University Saigon/University of Amsterdam)
  • Tamer El Said (Cimatheque – Alternative Film Centre)
  • Anne Gant (Eye Filmmuseum)
  • Maral Mohsenin (Geneva International Film Festival)
  • Judith Opoku-Boateng (University of Ghana)
  • Nour Ouayda (Filmmaker & Researcher)
  • Asli Ozgen Havekotte (University of Amsterdam)
  • Floris Paalman (University of Amsterdam)
  • Lisabona Rahman (Freelance Moving Image Preservation and Presentation Consultant)
  • Aboubakar Sanogo (Carleton University)
  • Gerdien Smit (Eye Filmmuseum)
  • Stefanie Schulte Strathaus (Arsenal – Institute for Film and Video Art)
  • Juana Suárez (New York University/APEX)
  • Eleni Tzialli (Eye Filmmuseum)
  • Nadine Valcin (Sheridan College)

This event is organised by Archive/Counter-Archive in collaboration with Eye Filmmuseum and the Toronto International Film Festival.

For more information, please visit the following link: www.counterarchive.ca/gava-2024

Bibliography

Pad.ma. “10 Theses on the Archive: Pad.ma April 2010, Beirut.” In Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East, edited by Anthony Downey, 352–363. London & New York: I.B.Tauris, 2015.

Campanini, Sonia. “Accidental Encounters, Incidental Care, and Shared Archival Practices.” In Accidental Archivism: Shaping Cinema’s Futures with Remnants of the Past, edited by Vinzenz Hediger and Stefanie Schulte Strathaus. Lüneburg: meson press, 2023. https://archivism.meson.press/chapters/i-never-wanted-to-be-an-archivist-accidental-archivism-and-biographical-turning-points/accidental-encounters-incidental-care-and-shared-archival/.

Caswell, Michelle. Urgent Archives: Enacting Liberatory Memory Work. London: Routledge, 2021.

Cheeka, Didi. “Accidental Archivism: A Necessary Accident.” In Accidental Archivism: Shaping Cinema’s Futures with Remnants of the Past, edited by Vinzenz Hediger and Stefanie Schulte Strathaus. Lüneburg: meson press, 2023. https://archivism.meson.press/chapters/i-never-wanted-to-be-an-archivist-accidental-archivism-and-biographical-turning-points/accidental-archivism-a-necessary-accident/.

Chew, May, Susan Lord, and Janine Marchessault. “Introduction.” PUBLIC 57 (2018): 5.

Declercq, Brecht. “Feels Like Heaven: Five Major Challenges for Audiovisual Archives in the Era of ‘Full Digitisation.” Flash: News from ICA, 39 (2020): 3-4.

Hediger, Vinzenz, Cheeka, Didi, and Sonia Campanini. “Reconfiguring the Audiovisual Heritage: Lessons from Nigeria.” The Moving Image: The Journal of the Association of Moving Image Archivists, 21, no. 1-2 (2021): 55-76.

Jaillant, Lise. “How can we make born-digital and digitised archives more accessible? Identifying obstacles and solutions.” Archival Science 22 (2022): 417-436.

Liebermann, Yvonne. “Born digital: The Black lives matter movement and memory after the digital turn.” Memory Studies 14, no 4 (2021): 713-732.

Moravec, Michelle. “Feminist Research Practices and Digital Archives.” Archives and New Modes of Feminist Research, edited by Maryanne Dever, 186-201. London: Routledge, 2020.

Ndeshi Namhila, Ellen, and Werner Hillebrecht. “Archival Entanglements: Colonial Rule and Records in Namibia.” Disputed Archival Heritage, edited by James Lowry, 192-210. London: Routledge, 2022.

Paalman, Floris, Giovanna Fossati and Eef Masson. “Introduction: Activating the Archive.” The Moving Image: The Journal of the Association of Moving Image Archivists
, 21, no. 1 & 2 (2021): 1-25.

Pretlove, Lee. “Archives, Activism and Social Media: Building Networks for Effective Collaboration and Ethical Practice.” Archives and Manuscripts 46, no. 2 (2018): 239-241.

Suárez, Juana. “New Buildings, New Pathways: Toward Dynamic Archives in Latin America and the Caribbean.” The Moving Image: The Journal of the Association of Moving Image Archivists, 21, no. 1 & 2 (2021): 26-54.

Thorkelson, Erika. “Archives are adapting to an era of digitization and decolonization.” University Affairs. September 8, 2019. https://www.universityaffairs.ca/features/feature-article/archives-are-adapting-to-an-era-of-digitization-and-decolonization/.