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

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

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/.

CFP: The Aesthetics of Contamination: Oceanic Environments, Identities, Intermedial Research-Creation

Memorial University of Newfoundland and Labrador, 27-29 Oct, 2023

Deadline for Submissions: 31 August, 2023

In close collaboration with the University of Grenoble Alpes, Memorial University in Newfoundland and Labrador, Canada, is organizing an international conference on October 27-29, 2023, on the oceanic environment with a focus on research creation and scholarship. This three-day international conference seeks to examine the aesthetics of contamination through a blue ecocritical lens to explore how the ocean has shaped cultural identities and histories, as well as speculative futures in the face of the global refugee crisis, colonialism, climate crisis, and devastating effects of resource extraction. This conference also aims to enact the linkages between the study of literature, art, and other media and artistic practice as they intersect with blue ecocritical concerns and methods of research. It will look to intermodal practices, scholarship, and research-creation and across disciplines – oceanic literature, visual art, performative art, dance, theory, and criticism – to address the urgent need to examine and curb human impact on our oceanic environments.

The conference is organized around three thematic threads:

I) Oceanic Environments: An Ecocritical Perspective.

Environmental movements today have stemmed from earlier Romantic representations of Nature, as argued by L. Buell in The Environmental Imagination. Current ecocritical concerns originate in the problematic relationship of humans with their environment. Critics across disciplines are engaging with blue ecocriticism to examine environmental issues from an oceanic or aquatic stance (Dobrin; Blackmore and Gomez; Cohen and Quigley; Wardi). Through a focus on oceanic environments, we aim to address how an aesthetics of contamination can shed light on current aquatic realities, including offshore oil production, aquaculture, pollution by plastics and other invasive substances, and environmental threats to biodiversity.

2) Cultural Identities: A Cultural Perspective.

Throughout the current global refugee crisis, shaped by movement and migration, whether forced or voluntary, and exacerbated by climate crisis, some of those representations continue to fuel racism and other exclusionary practices. P. Spiro argues that the very existence of nation-based identities has been unsettled by the emergence of a globalized world that transcends borders (2007). Our conference will consider how climate disasters perpetuated by the global north through resource extraction and other colonialist practices across oceans impact the movement and health of people, including indigenous communities who are uniquely impacted by the colonialization of waters. We aim to highlight how identities are formed in relation to the ocean as a social and economic influence on culture, as well as the convergence of climate-crisis activism and anti-racism.

3) Artistic Contaminations: An Artistic Perspective.

Recent academic work shows that genres and media have porous boundaries. J. Baetens argues that novelization is “a good example of the indirect contamination of one media regime by another” (45). Experimentally and artistically motivated research-creation works are particularly porous and, as N. Loveless explains, are well positioned to foster social activism through engaged reflection. By taking the contamination of waters as our theme and exploring it through intermediality, we join Loveless, who sees research-creation as “a site of generative recrafting” (3). Our aim is to promote more “pedagogically, politically, and affectively sustainable” (Loveless 3) models of knowledge creation and mobilization. We invite scholars and art practitioners working from a wide range of disciplines, perspectives, and research practices to propose papers or panels on topics that intersect with these three threads.

Deadline for abstracts (250 words) and short bio (100 words): 31 August, 2023.
Abstracts and bios are to be sent to englishhead@mun.ca

APPEL À CONTRIBUTIONS: Nouvelles Vues : revue sur les pratiques, les théories et l’histoire du cinéma au Québec

« TRANSFERTS CULTURELS : HOLLYWOOD-QUÉBEC » (NO 25, AUTOMNE 2024)
Dossier sous la direction de Thomas Carrier-Lafleur (Université de Montréal) et Baptiste Creps (Université de Montréal)

Dans son essai Le roman sans aventure (2015), Isabelle Daunais relève une opposition entre le rayonnement international des arts du spectacle québécois et celui, moindre, des arts de la province dits « majeurs » :
L’un des traits les plus frappants de la production artistique québécoise, mais sur lequel, curieusement, personne ne s’est jamais penché́, est la distinction très nette que connaissent dans leur rayonnement les arts « majeurs » que sont la littérature, la peinture, la musique, l’architecture, la philosophie d’un côté, et, de l’autre, les arts du spectacle que sont la chanson, le cirque, la scénographie. Alors que les productions des arts du spectacle circulent avec succès sur toutes les scènes de la planète et qu’elles sont reconnues comme parfaitement en phase avec leur domaine (si elles n’en sont pas les modèles), les œuvres des arts majeurs ne sont pratiquement d’aucune incidence, ne sont considérées importantes ou marquantes par personne au sein de ce qu’on peut appeler avec Milan Kundera le « grand contexte » ou le contexte supranational de ces arts¹.

Ce constat, que d’aucuns pourraient juger polémique, souligne avec justesse l’éclat moderne du monde du spectacle québécois. Il encourage également à interroger la vitalité et l’impact de l’un de ces arts dits « majeurs », d’abord au Québec, mais aussi et surtout à l’étranger, soit celui du cinéma québécois contemporain.

Dans un article intitulé « Le “renouveau” du cinéma québécois » (2005), Christian Poirier se prêtait déjà à cet exercice et mettait en exergue le caractère inédit du succès international critique, public et académique du cinéma québécois du début des années 2000 tel qu’incarné par des figures comme Denys Arcand, Charles Binamé, Louis Bélanger ou Jean-François Pouliot². Dans un texte publié en 2010 aux Cahiers du cinéma, Jean-Pierre Sirois-Trahan estimait quant à lui que, après des années de disette, le cinéma québécois retrouvait enfin l’estime internationale qu’il avait perdue depuis près de quarante ans grâce à une nouvelle génération de cinéastes :

Avec le succès de Xavier Dolan à Cannes et celui de Denis Côté à Locarno, c’est toute une génération de cinéastes qui arrivent en pleine lumière. À ces fortes têtes, il faut ajouter Maxime Giroux, Sophie Deraspe, Myriam Verreault, Henry Bernadet, Stéphane Lafleur et Rafaël Ouellet. Sur la scène internationale où ils cumulent les prix, on n’avait pas vu pareille éclosion depuis la génération des années [19]60 (Claude Jutra, Gilles Groulx, Michel Brault, Jean Pierre Lefebvre et Gilles Carle, génération injustement reléguée aux oubliettes des « cinémas nationaux »)³

En 2011, lors d’une table ronde réunissant des critiques et des universitaires, on tenta alors de définir la « nouvelle vague » de cinéastes désignée par Sirois-Trahan. Côté et Dolan furent à nouveau mentionnés à titre de figure de proue aux côtés d’un troisième cinéaste, dont le style cinématographique est pourtant éloigné des leurs : « Cette réputation grandissante de notre cinéma, si elle découle de la belle réception qu’ont eue de nombreuses œuvres, demeure pour l’instant fondée sur les succès inédits de Xavier Dolan et de Denis Côté, auxquels il faut désormais ajouter Denis Villeneuve, cinéastes de trois générations différentes, aux méthodes et
aux sensibilités aussi très différentes⁴. »

Aujourd’hui, il y a fort à parier qu’un examen, même rapide, de la situation permettrait de confirmer que les hypothèses de « renouveau » ou de « Nouvelle Vague » du cinéma québécois qui taraudaient les critiques et les universitaires à la fin des années 2000 étaient fondées. Au cours de la décennie 2010, le cinéma québécois a séduit hors de ses frontières comme rarement auparavant. Des cinéastes tels que ceux cités préalablement, auxquels s’ajoutent, entre autres, Philippe Falardeau, Ken Scott, Kim Nguyen ou Jean-Marc Vallée, ont rencontré un succès international plus important encore que celui de leurs prédécesseurs et attiré l’attention de l’ogre hollywoodien. Les cinéastes québécois, reconnus pour leurs projets intimistes, de cinéma de genre, de cinéma à grand spectacle aussi bien que pour leurs séries télévisées, semblent désormais être au cœur de la mode hollywoodienne.

C’est sans doute le succès international et académique d’Incendies (Denis Villeneuve, 2010) qui a ouvert la porte d’Hollywood à cette génération de cinéastes, avant le Monsieur Lazhar de Philippe Falardeau sorti un an plus tard. Tandis que les films de ces artistes sont régulièrement distingués aux Oscars et aux Golden Globes, la Hollywood Critics Association a élu Denis Villeneuve « cinéaste de la décennie » et salué ses films Prisoners (2013), Sicario (2015), Arrival (2016) et Blade Runner 2049 (2017), qui sont autant de succès hollywoodiens. Un cinéaste comme Jean-Marc Vallée imprime quant à lui son style aussi bien au cinéma, avec des films comme The Young Victoria (2009), Dallas Buyers Club (2013), Wild (2014) ou Demolition (2015), qu’à la télévision, avec les séries de la chaîne HBO Big Little Lies (2017) et Sharp Objects (2018). Comme c’est le cas pour Villeneuve, le style visuel du cinéaste influe sur ses productions et s’impose comme un modèle pour le grand contexte hollywoodien⁵. Autre point commun entre ces deux cinéastes : ils ont tous les deux la capacité de tourner des productions dont le cachet artistique subjugue et qui paraissent grandioses avec, souvent, un budget assez faible pour la norme hollywoodienne, ce qui est généralement vrai, aussi, pour l’ensemble de la génération de cinéastes adulés à l’international dont nous venons de définir les contours.

Cet engouement d’Hollywood pour le cinéma québécois est-il propre à la période qui s’ouvre à la fin des années 2000 ? Pour répondre à cette question, il paraît nécessaire d’étudier plus en profondeur l’histoire du rapport entre l’univers hollywoodien et la sphère artistique québécoise. Hollywood attire aujourd’hui de nombreux talents québécois au sein de son industrie. En témoigne, outre les cas des cinéastes nommés précédemment, la migration de talents aussi diversifiés que ceux du chef décorateur Patrice Vermette, de la costumière Renée April, de la coloriste Maxine Gervais, du réalisateur et cadreur Stephen Campanelli, du directeur de la photographie Yves Bélanger, du producteur Roger Frappier ou encore de l’actrice Sophie Nélisse. Si l’ampleur actuelle de ce mouvement vers « Tinseltown » semble assez inédite, le départ d’artistes québécois vers Hollywood n’est pas pour autant une nouveauté et trouve de nombreux précédents. Citons par exemple le cas du réalisateur Mack Sennett, un Québécois de naissance qui déménagea à Hollywood tout en conservant des attaches familiales au Québec après y avoir passé l’essentiel de sa jeunesse. Il en va de même pour deux autres talents de l’ère muette et de l’âge d’or d’Hollywood, l’actrice Norma Shearer et son frère Douglas, un célèbre spécialiste des effets spéciaux et de la recherche sonore ayant notamment œuvré une grande partie de sa carrière à la Metro-Goldwyn-Mayer (MGM). Les Shearer firent en effet la transition Montréal-Hollywood (avec une escale à New York pour Norma). Pauline Garon, Geneviève Bujold, Suzanne Cloutier, Fifi D’Orsay sont autant d’actrices québécoises qui traversèrent, non sans succès, l’histoire hollywoodienne. Du côté des acteurs, le Québécois francophone Henri Letondal y rencontra le succès et le Québécois anglophone Glenn Ford devint une star notoire du cinéma hollywoodien classique. C’est dire l’influence durable de certains artistes du Québec sur l’industrie hollywoodienne.

Est-il possible, dès lors, d’établir une généalogie du phénomène québécois à Hollywood, des balbutiements de la « Mecque du cinéma » jusqu’au rayonnement des artistes contemporains ? Et que dire de l’attrait exercé par le Québec sur le cinéma hollywoodien⁶, par exemple dans un film comme Agnès de Dieu (Norman Jewison, 1985), dans lequel Jane Fonda enquête à Montréal au sein du couvent des Petites Sœurs de Marie Madeleine ? Les films américains qui développent leur intrigue au Québec ou qui permettent la rencontre entre stars hollywoodiennes et acteurs.trices québécois.e.s sur les écrans témoignent d’un fort intérêt pour la province qui mérite, lui aussi, d’être mis en perspective. Ainsi, bien que l’ère moderne nous incite à nous pencher de prime abord sur le phénomène québécois à Hollywood, il nous semble pertinent de vouloir dresser une généalogie des transferts culturels entre Hollywood et le Québec.

À cet égard, Nouvelles Vues sollicite pour son numéro thématique « Transferts culturels : Hollywood-Québec » des articles traitant des thématiques évoquées précédemment. Toute proposition qui pourrait offrir de nouvelles perspectives sur les collaborations québéco-hollywoodiennes est également encouragée. Les propositions pourraient traiter plus spécifiquement :

• des artistes québécois œuvrant à Hollywood ;
• des artistes américains ayant œuvré au Québec ;
• des films québécois traitant d’Hollywood ;
• des films hollywoodiens embrassant une thématique québécoise ;
• de l’histoire des collaborations québéco-hollywoodiennes.

Les propositions d’article devront contenir un titre, une brève notice biobibliographique, de même qu’un résumé d’un maximum de 500 mots. Ce résumé devra circonscrire un corpus et mettre en avant une hypothèse de travail suivant l’un des angles ou sujets mentionnés. Le tout devra être envoyé aux trois adresses suivantes : nouvellesvues.qc@gmail.com, thomas.carrier-lafleur@umontreal.ca et baptiste.creps@umontreal.ca au plus tard le 2 octobre 2023. Les auteurs.trices des propositions retenues seront invité.e.s à soumettre un article rédigé en français
ou en anglais et comportant entre 45 000 et 60 000 caractères, espaces comprises, au plus tard le 1er mars 2024. Les articles seront soumis à un processus d’évaluation par les pairs en double aveugle et leur publication sera conditionnelle à leur acceptation par au moins deux évaluations.

Notices biobibliographiques
Baptiste Creps est chercheur postdoctoral à l’Université de Montréal. Il est notamment spécialisé dans l’histoire des formes hollywoodiennes. Il est l’auteur d’une thèse intitulée Naissance d’un néoclassicisme hollywoodien (2021) et d’articles scientifiques qui sont les résultats de recherches transversales entre le cinéma, l’histoire de l’art, la musique, l’histoire du jeu vidéo et celle des nouvelles technologies. Il œuvre actuellement à la rédaction d’un ouvrage consacré au cinéaste Jean-Marc Vallée dont il est le co-auteur avec Thomas Carrier-Lafleur.

Thomas Carrier-Lafleur est chargé de cours à l’Université Concordia et à l’Université de Montréal, où il occupe aussi le poste de directeur adjoint du Laboratoire CinéMédias. Dans une perspective intermédiale qui étudie les processus de transposition écranique des textes littéraires, ses recherches portent sur les littératures française et québécoise ainsi que sur le cinéma québécois. Il est notamment l’auteur de Voir disparaître : une lecture du cinéma de Sébastien Pilote (L’Instant même, 2021) ; Projections croisées : dialogues sur la littérature, le cinéma et la création avec Andrée A. Michaud et Simon Dumas (Figura, 2021) ; Il s’est écarté : enquête sur la mort de François Paradis (Nota bene, 2019 ; avec David Bélanger) ; et de L’œil cinématographique de Proust (Classiques Garnier, 2016). Il est également codirecteur de Nouvelles Vues : revue sur les pratiques, les théories et l’histoire du cinéma au Québec.

Site Web de la revue : https://nouvellesvues.org/.

***
^{1 Isabelle Daunais, Le roman sans aventure (Montréal : Les Éditions du Boréal, 2015) : 7.
2 Christian Poirier, « Le “renouveau” du cinéma québécois », Cités 23.3 (2005) : 165-182.
3 Jean-Pierre Sirois-Trahan, « La mouvée et son dehors : renouveau du cinéma québécois », Cahiers du cinéma, no 660 (octobre 2010) : 76.
4 Martin Bilodeau, Bruno Dequen, Philippe Gajan, Germain Lacasse, Sylvain Lavallée, Marie-Claude Loiselle et Jean-Pierre Sirois-Trahan, « Table ronde : le renouveau du cinéma d’auteur québécois », 24 images no 152 (2011) : 14-22.
5 Lorsque la cinéaste britannique Andrea Arnold reprit la réalisation des épisodes de la deuxième saison de Big Little Lies, cette influence eut des conséquences néfastes sur la liberté artistique de la réalisatrice. Les producteurs de la série n’hésitèrent pas à court-circuiter le style d’Arnold en postproduction afin d’imiter l’esthétique et le montage que Vallée avait mis au point pour la première saison, ce qui suscita un vent de mécontentement dans la communauté cinématographique. Le mot-clic « #ReleaseTheArnoldCut » mit au jour l’injustice, genrée ou simplement opposée au principe de liberté artistique, subie par la cinéaste britannique. Au sujet de cette controverse, voir Aisha Victoria Deeb, « #ReleaseTheArnoldCut is trending after female Director of Big Little Lies was sidelined », Mashable (15 juillet 2019), https://me.mashable.com/culture/6102/releasethearnoldcut-is-trending-after-female-director-of-big-little-lies-was-sidelined.
6 Le numéro « Cinéma québécois et États-Unis » (1997) de la revue Cinémas, qui portait sur l’histoire des liens entre le cinéma québécois et les États-Unis, a déjà quelque peu déblayé cette question. Voir Louise Carrière (dir.), « Cinéma québécois et États-Unis », Cinémas 7.3 (1997), https://www.erudit.org/fr/revues/cine/1997-v7-n3-cine1500366/ (consulté le 25 octobre 2022).}

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CALL FOR SUBMISSIONS: Nouvelles Vues: revue sur les pratiques, les théories et l’histoire du cinéma au Québec

“CULTURAL TRANSFERS: HOLLYWOOD-QUEBEC” (NO. 25, FALL 2024)
Special issue edited by Thomas Carrier-Lafleur (Université de Montréal) and Baptiste Creps (Université de Montréal)

In her essay Le roman sans aventure (“The Novel without Adventure,” 2015), Isabelle Daunais notes the contrast between the international visibility of Quebec performing arts and the lesser visibility of the province’s so-called “major” art forms:
One of the most striking features of Quebec’s artistic production, about which, curiously, no one has ever written, is the very clear difference apparent in the visibility of the “major” arts – literature, painting, music, architecture and philosophy – on the one hand, and the performing arts – popular song, the circus, set design – on the other. While performing arts productions appear successfully on every stage on the planet and are recognized as completely in tune with their field (when they are not seen as models), works in the major arts have practically no impact and are not seen as important or noteworthy by anyone in what Milan Kundera called the “great context,” or the supranational context of these arts.¹

This observation, which some might see as polemical, aptly highlights the modern-day lustre of Quebec’s performing arts. It also encourages us to think about the vitality and impact of one of these so-called “major” arts, first of all within Quebec but also and especially abroad: contemporary Quebec cinema.

In an article entitled “Le ‘renouveau’ du cinéma québécois” (“The ‘Renewal’ of Quebec Cinema,” 2015), Christian Poirier already took up this exercise and highlighted the unusual nature of the critical, public and academic success of Quebec cinema in the early 2000s, as seen in the work of figures such as Denys Arcand, Charles Binamé, Louis Bélanger and Jean-François Pouliot.² In a text published in Cahiers du cinéma in 2010, Jean-Pierre Sirois-Trahan, for his part, estimated that after years of famine, Quebec cinema, thanks to a new generation of filmmakers, was finally recovering the international favour it had lost for nearly forty years:

With the success of Xavier Dolan at Cannes and that of Denis Côté in Locarno, a whole generation of filmmakers is coming into focus. Alongside these strong-minded figures we must add Maxime Giroux, Sophie Deraspe, Myriam Verreault, Henry Bernadet, Stéphane Lafleur and Rafaël Ouellet. Internationally, where their awards pile up, we have not seen such a blossoming since the 60s (Claude Jutra, Gilles Groulx, Michel Brault, Jean Pierre Lefebvre and Gilles Carle, a generation unjustly relegated to the obscurity of “national cinemas”).³

In a panel discussion in 2011, film critics and professors tried to define this “new wave” of filmmakers described by Sirois-Trahan. Côté and Dolan were mentioned again as this wave’s leading lights, alongside a third filmmaker whose style is nevertheless far removed from theirs: “This growing reputation of our cinema, while it derives from the fine reception many films have had, remains for the moment based on the hitherto unseen success of Xavier Dolan and Denis Côté, to whose names we must now add that of Denis Villeneuve: three different generations of filmmakers whose methods and sensibilities are also very dissimilar.”⁴

Today, it is highly like that even a quick analysis of the situation would confirm that the hypotheses around the “renewal” and “New Wave” of Quebec cinema which were on the minds of film critics and professors in the late 2000s were well-founded. In the 2010s, Quebec cinema charmed audiences beyond its borders as it had rarely done before. Filmmakers including those mentioned above, to whom must be added, among others, Philippe Falardeau, Ken Scott, Kim Nguyen and Jean-Marc Vallée, met with even greater international success than that of their predecessors, drawing the attention of the Hollywood ogre. Quebec filmmakers, known for their intimist projects, genre films and spectacular cinema, and just as much for their television series, now appeared to be at the centre of Hollywood fashion.

No doubt the international and academic success of Incendies (Denis Villeneuve, 2010) opened the door to Hollywood for this generation of filmmakers, before Philippe Falardeau’s Monsieur Lazhar, released a year later. Films by these artists are regularly honoured at the Oscars and the Golden Globes, while the Hollywood Critics Association named Denis Villeneuve “filmmaker of the decade” and paid tribute to his films Prisoners (2013), Sicario (2015), Arrival (2016) and Blade Runner 2049 (2017), each a Hollywood success. A filmmaker like Jean-Marc Vallée, for his part, stamps his style on his cinema, with films such as The Young Victoria (2009), Dallas Buyers Club (2013), Wild (2014) and Demolition (2015), and on his work in television, with the HBO series Big Little Lies (2017) and Sharp Objects (2018). As with Villeneuve, Vallée’s style imbues his work and established itself as a model for the broad Hollywood context.⁵ Another point in common between these two filmmakers: they both have the ability to make films whose artistic stamp dominates and which have a spectacular quality, often with a fairly small budget by Hollywood standards. This is generally true for every one of the filmmakers in this internationally-lionized generation whose contours we have just outlined.

Was this infatuation with Quebec cinema on the part of Hollywood limited to the period beginning in the late 2000s? To answer this question, it would appear to be necessary to study in greater depth the history of the relations between the world of Hollywood and the artistic sphere in Quebec. Today Hollywood has attracted numerous Quebec talents to its industry. This can be seen, apart from those filmmakers already mentioned, in the migration of talented people as diverse as the production designer Patrice Vermette, the costume designer Renée April, the colourist Maxine Gervais, the director and camera operator Stephen Campanelli, the director of photography Yves Bélanger, the producer Roger Frappier and the actress Sophie Nélisse. While today the extent of this movement to “Tinseltown” is unlike anything seen before, artists leaving Quebec for Hollywood is nothing new and in fact has numerous precedents. We could mention, for example, the case of the director Mack Sennett, who was born in Quebec and moved to Hollywood, yet preserved family ties in Quebec after spending most of his youth in the province. The same is true of two other Hollywood silent-era and golden-age talents, the actress Norma Shearer and her brother Douglas, a famous specialist in special effects and audio research who spent a large part of his career with Metro-Goldwyn-Mayer (MGM). The Shearer siblings made the Montreal-Hollywood transition after a period of time in New York for Norma. Pauline Garon, Geneviève Bujold, Suzanne Cloutier and Fifi D’Orsay are some of the other Quebec actresses who, not without success, can be found throughout the history of Hollywood. In the case of actors, the French-speaking Quebecer Henri Letondal achieved success there, while the English-speaking Quebecer Glenn Ford became a famous star in classical Hollywood cinema. This gives an idea of the lasting influence of Quebec artists on the Hollywood film industry.

Is it possible, then, to establish a genealogy of the phenomenon of Quebec artists in Hollywood, from the early years of it being the “Mecca of the movies” to today’s high-profile artists? And what can be said about the appeal of Quebec for Hollywood cinema,⁶ in a film such as Agnes of God (Norman Jewison, 1985), for example, in which Jane Fonda carries out an investigation in the Petites Soeurs de Marie Madeleine convent in Montreal? American films which situate their stories in Quebec, or which make possible screen encounters between Hollywood stars and Quebec actors and actresses, illustrate audiences’ strong interest in the province, which also deserves to be put into perspective. Thus while our modern age leads us to examine above all the phenomenon of Quebec in Hollywood, it seems to us to be relevant to draw up a genealogy of cultural transfers between Hollywood and Quebec.

In this respect, for its thematic issue “Cultural Transfers: Hollywood-Quebec,” Nouvelles vues is inviting submissions which address the topics raised above. Every proposal offering new perspectives on Quebec-Hollywood collaborations is also encouraged. More specifically, proposals may address:

• Quebec artists working in Hollywood;
• American artists who have worked in Quebec;
• Quebec films with Hollywood as their topic;
• Hollywood films which have a Quebec theme;
• the history of Quebec-Hollywood collaboration.

Proposals for articles must contain a title, a brief bio-bibliographical note on the author, and a synopsis of no more than 500 words. This synopsis must delineate a body of work and advance a working hypothesis which addresses one of the approaches or topics mentioned. These materials should be sent to the three following addresses: nouvellesvues.qc@gmail.com, thomas.carrier-lafleur@umontreal.ca and baptiste.creps@umontreal.ca no later than 2 October 2023. The authors of accepted proposals will be invited to submit an article in English or French of between 45,000 and 60,000 characters, spaces included, no later than 1 March 2024. Articles will be submitted to a double-blind peer-review process and their publication will be conditional on being accepted by at least two evaluations.

Bio-bibliographic Notes
Baptiste Creps is a post-doctoral researcher at the Université de Montréal specialising in the history of Hollywood film form. He is the author of a dissertation entitled Naissance d’un néoclassicisme hollywoodien (2021) and of scholarly articles arising out of interdisciplinary research into cinema, art history, music, the history of video games and the history of new technologies. He is currently co-authoring a book on the filmmaker Jean-Marc Vallée with Thomas Carrier-Lafleur.

Thomas Carrier-Lafleur is a course instructor at Concordia University and at the Université de Montréal, where he holds the position of deputy director of the Laboratoire CinéMédias. His research addresses French and Quebec literature and Quebec cinema from an intermedial perspective which studies the process of transposing literary texts to the screen. He is the author of volumes such as Voir disparaître: une lecture du cinéma de Sébastien Pilote (L’Instant même, 2021); Projections croisées: dialogues sur la littérature, le cinéma et la création avec Andrée A. Michaud et Simon Dumas (Figura, 2021); Il s’est écarté: enquête sur la mort de François Paradis (Nota bene, 2019, with avec David Bélanger); and L’oeil cinématographique de Proust (Classiques Garnier, 2016). He is also co-director of Nouvelles Vues: revue sur les pratiques, les théories et l’histoire du cinéma au Québec.

Journal website: https://nouvellesvues.org/.

***
^{1 Isabelle Daunais, Le roman sans aventure (Montréal: Les Éditions du Boréal, 2015), 7.
2 Christian Poirier, “Le ‘renouveau’ du cinéma québécois,” Cités 23, no. 3 (2005): 165-82.
3 Jean-Pierre Sirois-Trahan, “La mouvée et son dehors: renouveau du cinéma québécois,” Cahiers du cinéma, 660 (October 2010): 76.
4 Martin Bilodeau, Bruno Dequen, Philippe Gajan, Germain Lacasse, Sylvain Lavallée, Marie-Claude Loiselle and Jean-Pierre Sirois-Trahan, “Table ronde: le renouveau du cinéma d’auteur québécois,” 24 images 152 (2011): 14-22.
5 When the British filmmaker Andrea Arnold directed the episodes of the second season of Big Little Lies, this influence had nefarious consequences for her artistic freedom. The series’ producers did not hesitate to short-circuit Arnold’s style in post-production in order to imitate the aesthetic and editing that Vallée had developed for the first season, giving rise to a wave of discontent in the film community. The hashtag “#ReleaseTheArnoldCut” exposed the injustice, whether gendered or simply contrary to the principle of artistic freedom, which she experienced. On the topic of this controversy, see Aisha Victoria Deeb, “#ReleaseTheArnoldCut is trending after female Director of Big Little Lies was sidelined,” Mashable (15 July 2019), https://me.mashable.com/culture/6102/releasethearnoldcut-is-trending-after-female-director-of-big-little-lies-was-sidelined.
6 The “Cinéma québécois et États-Unis” (1997) special issue of the journal Cinémas, which took up the history of the connections between Quebec cinema and the United States, has already done the groundwork this question to a certain extent. See Louise Carrière, ed., “Cinéma québécois et États-Unis,” Cinémas 7, no. 3 (1997), https://www.erudit.org/fr/revues/cine/1997-v7-n3-cine1500366/ (consulted 25 October 2022).}

Framing Ferrante: Adaptation and Intermediality from Troubling Love to The Lying Life of Adults

The proposed CFP for an upcoming volume with Società Editrice Fiorentina invites analyses of the cinematic and televisual adaptations of Elena Ferrante’s literary works, from Mario Martone’s L’amore molesto (1995) and Roberto Faenza’s I giorni dell’abandono (2005) to Saverio Costanzo’s L’amica geniale series (2018-), Maggie Gyllenhaal’s The Lost Daughter (2021), and Edoardo De Angelis’s Netflix series La vita bugiarda degli adulti (2023). This CFP seeks to build on existing research by considering the literal framing and re-framing of Ferrante on TV and film screens. The aim is to extend and expand upon existing scholarship by considering the older forays into Ferrante adaptation alongside the more recent 21st century remediations. In this respect, the CFP seeks papers that conjoin questions of modality (analog or digital), medium, mediation, and trans-mediation with those of authorship, authority, and gender, around such key issues as genre and influence, commercial vs. independent productions, arthouse vs. “prestige,” etc.

We are particularly interested in the following themes/questions/approaches, focused around the formal-stylistic, structural, generic, and intermedial dimensions of the process of adaptation or remediation:

• To what extent can the cinematic/televisual adaptations be considered autonomously from the novels that inspired them? What fresh light do the audiovisual remediations cast on Ferrante’s narratives?
• Given Ferrante’s meticulous care in conveying women’s experiences, what cinematic/televisual techniques help these female subjectivities come alive on the screen? In what ways does an audiovisual treatment augment this aspect of Ferrante’s poetics?
• Ferrante’s narratives have been read as committed to conveying the “untamed truth” (Frantumaglia 308), the crude lived experience of women’s affective responses in all their intense, unfiltered, authentic reality. How have filmmakers approached the challenge in the various film/TV adaptations of transposing onto the screen the “untamed” or crude quality of this affective reality?
• Furthermore, the characteristically explosive quality in the release of affective responses in Ferrante’s works is often counterbalanced by a tightly controlled narrative structure. Given the radical shift in medium, from page to screen, how is this contrast or tension approximated in the audiovisual versions of Ferrante’s novels?
• Similarly, Ferrante’s signature explosive linguistic energy is often balanced by stillness in her texts. How is such stillness, as a counter to strategically unleashed energy, conveyed through the choice of shots and scenes in the audiovisual adaptations?
• In Frantumaglia Ferrante surmises that a certain dissolving of margins (smarginatura) is necessary to narrate a story: “A story begins when, one after another, our borders collapse” (326). How do the cinematic or televisual versions of Ferrante’s works capture this generative collapse? Or is smarginatura somehow a ‘purely’ literary phenomenon?
• Scholarship has revealed Ferrante’s novels to be highly intertextual works. To what extent does the panoply of literary, mythological, art historical, and other mediatic references find their way into the films/TV series, and how, if at all, are they adapted to the other medium?
• How are the themes of gender and social class restrictions, as well as the political dynamics of the different contexts of Ferrante’s novels, rendered on screen? What difference does it make that Ferrante’s (generally female) protagonists can be literally seen and heard, as embodied by specific actors?
• What is gained, lost, or transformed in Ferrante’s narratives in their transposition to the audiobook format, with only the recorded voice to convey meaning?
• What role is played by subtitles, in languages other than Italian, in the remediation of Ferrante’s texts from page to screen?
• In Ferrante’s works, Naples and the Neapolitan context are often interpreted through the lens of a celebrated porosity (a perception of the city famously proposed by Walter Benjamin), in that the city acts almost as an uncontained extension of the novels’ characters. How is the Neapolitan setting deployed in the various film/TV adaptations? Does Ferrante’s characteristic porosity hold, or do other modalities for the setting arise? What difference does it make to actually see Naples on screen, as opposed to the narrated Naples of Ferrante’s discourse?
• In what ways, if any, do the audiovisual adaptations augment our understanding of the significance of Naples, motherhood, and frantumaglia in Ferrante’s narratives?

Please send a 150-word abstract, a short bio-blurb and a working title by July 15th 2023. Articles will be due on October 30th 2023. Please send your materials and address your inquiries to Russell Kilbourn rkilbourn@wlu.ca and Roberta Cauchi-Santoro rcauchis@uwaterloo.ca

Editor: Ted Nannicelli, University of Queensland

About the Journal
Projections: The Journal for Movies and Mind is an interdisciplinary, peer-reviewed journal that explores how the
mind experiences, understands, and interprets the audiovisual and narrative structures of cinema and other visual media.
Recognizing cinema as an art form, the journal aims to integrate established traditions of analyzing media aesthetics with current
research into perception, cognition, and emotion, according to frameworks supplied by philosophy of mind, phenomenology,
psychology, and the cognitive-and neurosciences. The journal seeks to facilitate a dialogue between scholars in these disciplines
and bring the study of moving image media to the forefront of contemporary intellectual debate.

Manuscript Submission
Submissions are welcomed from a variety of scholarly methods within the humanities and the sciences, from aesthetic to empirical, theoretical, and historical approaches. We especially welcome interdisciplinary approaches that bridge the traditional humanities/sciences division. Accordingly, we invite and consider several forms of submission.

Please review the submission and style guidelines carefully before submitting.

Authors should submit articles as attachments by e-mail, formatted as Microsoft Word or Rich Text Format (RTF) files. Electronic submissions are preferred, but mailed contributions will be reviewed. Please note that all correspondence will be transmitted via e-mail. Submissions without complete and properly formatted reference lists may be rejected. Manuscripts accepted for publication that
do not conform to the Projections style will be returned to the author for amendment.

Authors should submit articles and inquiries or proposals for symposia to the editor, Ted Nannicelli, at t.nannicelli@uq.edu.au. Prospective authors of book review or review essays should send inquiries to the associate editor, Aaron Taylor, at aaron.taylor2@uleth.ca.

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