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Job Posting: Postdoctoral Fellow

Area of Research: Black Feminist Thought 


The Department of Gender Studies at Queen’s University seeks a postdoctoral fellow specializing in Black Feminist Thought. The postdoctoral fellow will be an emerging scholar with expertise in any area(s) of black feminist thought (such as but not limited to black and black diaspora feminism, African feminism, Caribbean feminism, black feminist and queer studies, black trans studies, black feminist geographies, black feminist cultural production [music, poetry, fiction, visual arts], black feminist activism and organizing). In addition to supporting a wider research program on black creative methodologies, as faculty member in the Department of Gender Studies, the candidate will also support the new Program in Black Studies through teaching and service. Scholar-activists and scholar-creatives are encouraged to apply. 

Applicant Details 

Applicants must have a PhD in hand by June 15, 2022. 

Application Materials

  • An updated curriculum vitae
  • One scholarly paper and/or excerpts from a creative portfolio
  • A statement (1,500 words or less) describing the proposed research project
  • Two confidential letters of reference (sent directly to us before the deadline)
  • Graduate Transcript(s)

In addition, the impact of certain circumstances that may legitimately affect a nominee’s record of research and creative achievement will be given careful consideration when assessing the nominee’s research productivity. Candidates are encouraged to provide any relevant information about their experience and/or career interruptions.

Please send all materials to Taylor Cenac:

Salary: $60K  
Closing Date: February 1, 2022 
Supervisor: Katherine McKittrick
Expected start date: July 1, 2022
Term: One year  

About Queen’s University 

Post-doctoral fellows are represented under the collective agreement between PSAC 901, Unit 2 and Queen’s University.  Post-doctoral fellows are eligible for pregnancy and/or parental leave as defined in the Employment Standards Act. Additionally, employees may be eligible for some reimbursement of Eligible Childcare Expenses incurred under the Childcare Benefit Plan. For more information on postdoctoral benefits, see PSAC 901, Unit 2 Collective Agreement

Additional information about Queen’s University can be found on the Faculty Recruitment and Support website. The University is situated on the traditional territories of the Haudenosaunee and Anishinaabe, in historic Kingston on the shores of Lake Ontario. Kingston’s residents enjoy an outstanding quality of life with a wide range of cultural, recreational, and creative opportunities. Visit Inclusive Queen’s for information on equity, diversity, and inclusion resources and initiatives.

The University invites applications from all qualified individuals.  Queen’s is strongly committed to employment equity, diversity, and inclusion in the workplace and encourages applications from Black, racialized/visible minority and Indigenous/Aboriginal people, women, persons with disabilities, and 2SLGBTQ+ persons.

To comply with federal laws, the University is obliged to gather statistical information as to how many applicants for each job vacancy are Canadian citizens/permanent residents of Canada. Applicants need not identify their country of origin or citizenship; however, all applications must include one of the following statements: “I am a Canadian citizen/permanent resident of Canada”; OR, “I am not a Canadian citizen/permanent resident of Canada.” Applications that do not include this information will be deemed incomplete.

The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that accounts for an applicant’s accessibility needs. Candidates requiring accommodation during the recruitment process are asked to contact:


Accepting applications for an MA and PhD in

Screen Cultures and Curatorial Studies

Queen’s University


Application deadline: January 31, 2022


Launched in the Fall of 2019, Screen Cultures and Curatorial Studies is a collaboration between the Department of Film and Media and Agnes Etherington Art Centre and offers a unique opportunity for a funded one-year MA and a four-year PhD. The program’s three strongly interconnected areas of focus—studies, production, and curation —are designed to stimulate inventive dialogue in ways that ensure their respective influence, and in ways that open exciting points of access to multiple disciplinary formations.  This collaborative tripartite structure is not offered in any other film, media, cinema, art or communication MA or PhD program in Ontario.

Housed in the state-of-the-art Isabel Bader Centre for the Performing Arts and the Agnes Etherington Art Centre, the MA and PhD in Screen Cultures and Curatorial Studies are unique because of their linkage to adjacent disciplines: film and media studies and, more generally, the study of screen cultures, critical theory, film and media production, and curatorial studies and practice. These multidisciplinary programs provide students with a wide range of educational and professional opportunities, including academia, arts management, programming, media production (from mainstream media to artistic and activist production), and curating. 

Faculty members in the program straddle scholarly, programming, curation, archiving, and creative practices. A rich program of visiting scholars, filmmakers, artists, and curators — in the core professional development and elective courses — provide opportunities for practice-based learning, allowing students to integrate new knowledge gained from other graduate-level coursework and to implement newly acquired skills in and beyond the gallery, festival and museum. A focused yearly Summer Institute brings together renowned scholars and practitioners, as well as Graduate students from other universities for intensive and focused study program.  

Exhibition is available to students at the Art & Media Lab in The Isabel Bader Centre, the Agnes Etherington Art Centre, the Union Gallery (on an application basis), and/or online, to accommodate curatorial projects. The Vulnerable Media Lab offers opportunities for restoration, remediation and curation of media collections. The program offers seed funding for MA and PhD screen cultures curatorial projects (up to $350.00 per student). PhD students can also apply to the Dean’s project fund for up to $3000. 


Research Areas

  • Film, Media and Screen Cultures
  • Experimental Media
  • Curatorial Studies 
  • Moving Image Production (Narrative, Documentary, Experimental, Animation, Open Media, Digital Media)
  • Film, Media and Performance Studies
  • Historical and Contemporary Film and Media
  • Archives, Curation, and Remediation
  • National and Transnational Cinemas, Cultural Institutions and Curatorial Events
  • Feminist, Critical Race, Indigenous and LGBTQ2+ Screen Cultures
  • Environmental Film and Media 


To learn more, please visit our website.

To start an application, go to School of Graduate Studies website.

Any questions? Contact Stephanie Wilson, Graduate Assistant, or Gary Kibbins, Graduate Chair.


Call for Applications: Graduate Degrees in Film/Cinema & Media Studies at York University



  • MA in Cinema and Media Studies
  • PhD in Cinema and Media Studies
  • MFA in Film Production or Screenwriting
  • Joint MA-MBA or MFA-MBA with the Schulich School of Business.

Domestic applicants who apply by January 15, 2022 will be given first consideration. Applicants will be contacted by late February – early March 2022. Late applications may be considered.

Apply here for MFA and here for MA/PhD

Since our inception in 1980 as Canada’s first Graduate Program in Film, our community of award-winning faculty, supportive staff, outstanding students, and successful alums has stimulated comprehensive, interdisciplinary, and rigorous engagement with the moving image in all its forms, both historical and contemporary.

Building on York’s longstanding commitment to deliver innovative and accessible post-graduate training and rooted in the centre of English Canadian film and media culture and production, the Graduate Program in Film/Cinema & Media Studies offers a curriculum that encourages dynamic and collaborative interactions between creative artists and scholarly researchers.

In our two-year MA and MFA programs, flexible, interdisciplinary, student-centred curriculum allows students the freedom to fulfill their unique academic, creative and professional aspirations with ample time to benefit from York University’s rich tradition of being at the vanguard of interdisciplinary research, media creation, knowledge mobilization, and dedication to social justice, diversity, equity, and sustainability.

Canada’s most respected graduate MFA in Film Production and Screenwriting leads students to confront the challenges posed by the fast-changing worlds of digital cinema and transmedia platforms. The MA in Cinema & Media Studies emphasizes the critical study of a broad range of film and media in a small cohort of highly motivated students. Each student creates an individually tailored program from our dynamic range of courses, and from our diverse workshops, partnerships, internships, and research labs. Together students engage evolving theories and practices of global and local cinema and media, including new directions in post-colonial, feminist, queer, Indigenous, and underground expression, and media forms like film, television, games, and expanded cinema like augmented and virtual reality. Expertly guided by chosen faculty, the MFA program culminates in the creation of an original Thesis project, while the MA program has a Major Research Paper or Research-Creations Project as its capstone.

Domestic Master’s students receive base funding of $10,000/year + York’s $1000 FGS Healthcare Bursary. With York University’s emphasis on access in higher education, our graduate students pay the lowest graduate tuition in Ontario. Admission scholarships and awards are also available. In recent years, over 50% of MA & MFA students have received additional funding through awards like CGS-M ($17,500/year) and OGS ($15,000/year), usually in their second year, in part due to the Program’s emphasis on strong professional development, including grant writing. MFA students are provided with in-kind equipment/services grants from a wide range of Toronto co-ops, equipment houses and post-production facilities, and production grants from donors.

Teaching, publication, and professional academic development are key components of the PhD, which provides guaranteed funding for five years. In addition to generous York professional development funds, our students receive national, provincial and university-wide scholarships and awards. Current PhD students include Vanier, Elia, Trillium scholars, and numerous SSHRC and OGS doctoral awards.

Outstanding faculty are leaders in their fields and have won numerous teaching awards; three faculty members are current or former Canada Research Chairs and all of our faculty participate actively in international and Canadian festivals, conferences, and publish widely. Many of our faculty pursue interdisciplinary research methodologies, including research creation, an option in the PhD program.

Our students, faculty, and large alumni network are part of Toronto’s lively and diverse film and media culture and its many opportunities for festival programming, curation, symposia, and lectures. The City of Toronto, housing Canada’s most important media industry infrastructure, provides students with exceptional opportunities for field placements, access to film screenings, museums and galleries, festivals (over 100 film festivals occur each year, including the Toronto International Film Festival, Hot Docs, Reel Asian, and Images Festival, and resources like the Liaison of Independent Filmmakers (LIFT), the Ontario Archives (housed on York University campus), TIFF’s Film Reference Library, and other unique research collections.

In the MA & PhD programs, we welcome applicants with educational backgrounds in Cinema/Film Studies, Media Studies, Communications, Cultural Studies, Digital Media, Art History, English, Women’s Studies, Queer and Sexuality Studies, History, Comparative Literature, Philosophy, Education, Urban Studies, and other disciplines that nurture research in sound and moving image media. The MFA film production and screenwriting program is catered mainly towards mid-career filmmakers with a track record in producing media.

For students preparing for a future in the media industries, we also offer a 3-year joint MA/MBA or MFA/MBA degree with the world-renowned Schulich School of Business. Most students undertaking the joint degrees take their first year in the Graduate Program in Film/Cinema & Media Studies, and start the MBA portion in their second year.

Each year the program selects a small group of exceptional students to join its vigorous and stimulating intellectual community, where students attend small and engaging seminars and receive close attention from faculty supervisors. Our degree programs provide specialized training for careers in academic, research, and government organizations and arts and entertainment industries (television, film, new media, including festivals), and in jobs in producing, programming and curation, teaching, critical writing and publishing, publicity, among others.

Students interested in the MA or PhD programs are encouraged to contact Prof. Michael Zryd, PhD Graduate Program Director,

Students interested in the MFA program are encouraged to contact Prof. Manfred Becker, Graduate Program Director,

For questions related to the application process please contact Kuowei Lee, Graduate Program Assistant,


Graduate Program in Film/Cinema & Media Studies
Department of Cinema and Media Arts
School of the Arts, Media, Performance and Design
York University
Centre for Film and Theatre 224
4700 Keele St.
Toronto, ON M3J 1P3 CANADA
Tel: 416-736-2100 x 22174



English version below

Héros et Héroïnes ordinaires: micro et macro-résistances dans les films de fiction après 2001

(Conférence, Queen’s University, Kingston, Canada, 22 et 23 octobre 2022)


A hero is an ordinary individual who finds the strength to persevere and endure in spite of overwhelming obstacles.




Cette conférence internationale bilingue (français-anglais) a pour objectif d’examiner de façon critique les micro/macro-résistances des héros et héroïnes ordinaires sur grand écran quand ceux-ci font face à des évènements (fictionnels ou non) remettant en question leur relation à leur quotidien et leur environnement.

Le terme « héro » dérive du grec ancien hếrôs (« chef de guerre ») et du latin classique heros (« demi-dieu »). Comme l’indiquent les textes fondateurs d’Homère (L’Iliade) et de Virgile (L’Énéide), les individus héroïques se distinguent de leurs pairs soit par leurs qualités exceptionnelles, tels un mérite et un courage supérieurs, soit par leur nature quasi divine, fruit des amours entre un dieu/une déesse et un.e mortel.le. Comme le montrent Franco et al. (2016), la figure du héros, mais aussi les études portant sur ce dernier, ont beaucoup évolué ces dernières années. Par exemple, Becker et Eagly (2004) décrivent le héros ou l’héroïne comme un individu prenant des risques physiques dans le but de protéger une ou plusieurs personnes. Pour Koben (2013), le héros et l’héroïne sont à comprendre comme des personnes à la croisée de « l’héroïsme physique » et de l’héroïsme social : il s’agit d’individus qui prennent conscience de leur mortalité et qui, au service d’un principe, prennent des risques sérieux et/ou parviennent à surmonter des épreuves importantes. Franco et Zimbardo (2006), quant à eux, soulignent que le héros n’est plus nécessairement originaire d’une élite, mais que, au contraire, ses actes sont devenus banals (« the banality of heroism »).

Il semblerait alors que le concept d’héroïsme ordinaire repose sur une tension fondamentale : les héros et héroïnes sont devenus banals et exceptionnels à la fois, ancrés dans une réalité sociale qu’ils incarnent et dépassent. Par exemple, les membres du corps médical qui, durant les premières vagues de la COVID-19, s’acquittent de leurs tâches dans un contexte inédit et dangereux, sont des héros tandis qu’à son décès, Jean-Paul Belmondo, l’une des stars du cinéma français, est décrit comme « un héros à l’apparence de M. Tout-le-monde » (Frodon 2021). Le superhéros qu’a contribué à populariser le cinéma hollywoodien n’a certainement pas perdu de son importance et de son attrait (pour preuve, le succès de la franchise Marvel Cinematic Universe) mais celui-ci coexiste désormais avec des confrères et des consœurs nettement plus discrets, mais tout aussi porteurs de sens (personnel, philosophique, politique, idéologique). 

Dans quels univers cinématographiques les héros et les héroïnes ordinaires évoluent-ils ? Y a-t-il des liens entre les héros ordinaires et les genres cinématographiques ? Quels sont les obstacles qu’ils doivent surmonter au sein de diégèses plus réalistes que celles des films de super-héros ? Comment ces individus héroïques se situent-ils vis-à-vis du collectif et du systémique ? Comment les héros ordinaires tentent-ils de dépasser leur condition et de surmonter des obstacles de nature personnelle (maladie etc.), systémique (précarité économique, discriminations etc.), historique (guerres, conflits etc.) ? Quelles sont les résistances (micro et macro) que ces personnages ont à leur disposition ? 

Faisant face à des situations personnelles ou collectives exceptionnelles, poussant les protagonistes à transgresser et sortir de leur condition de détresse, d’oppression et d’aliénation parfois extrême, les protagonistes cherchent à déployer les moyens adéquats afin de surpasser les obstacles que le récit leur présente : dans le contexte de films réalistes, quelles sont les résistances possibles face à l’adversité, cette dernière pouvant être incarnée par 1) une idéologie (le racisme, l’homophobie, le sexisme, le capacitisme, l’âgisme, etc.), 2) un système économique (le néolibéralisme, le communisme ou autres), 3) une crise politique majeure (un conflit, une guerre, une élection dystopique), ou 4) un cataclysme naturel (un tremblement de terre) ? Comment un personnage peut-il survivre, résister et se rebeller contre ce qui lui est présenté sans valider, par sa bravoure et sa détermination, ce qui l’opprime : par exemple, comment la protagoniste de Louise Wimmer (Mennegun, 2011) vivant dans sa voiture et cherchant désespérément un logement, peut-elle arriver à ses fins grâce à sa force morale et sa résilience sans justifier le système économique l’ayant transformée par la force des choses en héroïne ordinaire ? Comment les individus subissant le colonialisme et ses multiples effets délétères parviennent-il à résister par de grandes et petites actions sans être réduits au silence et sans se contenter de rôles de figurants comme dans The Mission (R. Joffé, 1986) ? Mais aussi comment le cinéma lui-même (de par son esthétique, ses moyens de production accessibles, l’éthique des cinéastes) peut-il constituer un outil de résistance pour des cultures minoritaires (telles la culture latinx, québécoise ou et autochtone) ?

Nous ne cherchons pas ici à glorifier davantage la bravoure et l’individualisme, important aussi bien dans la psychologie et les actions du héros traditionnel que dans les sociétés néolibérales, mais au contraire à souligner certains paradoxes, tensions et contradictions inhérents à l’héroïsme ordinaire au sein de fictions cinématographiques contemporaines après 2001. Si nous nous intéressons particulièrement ici au contexte francophone, nous acceptons des propositions touchant à d’autres cinématographies et à des contextes nationaux divers sans oublier tous types de diversité.     

Certains des thèmes et des films pouvant faire l’objet d’une présentation sont les suivants:

  • Précarité économique (Louise Wimmer, C. Mennegun, 2012; Deux jours, une nuit, (J-P et L. Dardenne, 2014);
  • Maladies (120 battements par minute, R. Campillo, 2017; Amour, M. Haneke, 2012).  
  • Cataclysmes et apocalypse (Les Fils de l’homme/Children of Men, A. Cuaron, 2006 The Road / La Route, J. Hillcoat, 2009). 
  • Catastrophes naturelles (The Impossible, J. Bayona, 2012; Snow Therapy / Force Majeure, R. Östlund 2015). 
  • Attentats (L’Attentat, Z. Doueiri, 2012; 11 septembre, 9/11, M. Guigui, 2017). 
  • Épidémies (Blindness, F. Meirelles, 2008; Contagion, S. Soderberg, 2011; Dernier Train pour Busan/Train to Busan, Sang-Ho Yeon, 2016; Blood Quantum, J. Barnaby, 2020).
  • Invasions (A Quiet Place/Sans un bruit, J. Krasinski, 2018; District 9, N. Blomkamp, 2009)
  • Deuil et trauma personnel (17 fois Cécile Cassart, C. Honoré, 2002; Frantz, F. Ozon, 2016; Incendies, D. Villeneuve, 2010, Wild, J-M Vallée, 2014, The Tree of Life T. Malick, 2011; Persépolis (Marjane Satrapi, 2007).   
  • Colonialisme (Rhymes for Young Ghouls, J. Barnaby, 2013; Rustic Oracle, S. Bonspille Boileau, 2019; La Rivière sans repos, M-H Cousineau et M. Ivalu, 2019; Before Tomorrow, M-H Cousineau et M. Ivalu, 2008; Moolaade, O. Sembene, 2004; Beans, T. Deer, 2020). 
  • Cultures minoritaires et intégration (L’Ange de Goudron, D. Chouinard, 2001; Monsieur Lazhar, P. Falardeau, 2011; Avant les rues, C. Leriche, 2016; Le N**, R. Morin, 2002; Le Marais, K. N’guyen, 2002). 


Les propositions en anglais ou français doivent inclure un titre, une brève biographie ainsi qu’un résumé d’un maximum de 500 mots. Le résumé doit identifier un corpus et se situer dans la continuité des axes ou sujets suggérés. Les propositions doivent être envoyées à Karine Bertrand (, Florian Grandena ( et Mercédès Baillargeon ( d’ici le 15 janvier 2022.

La conférence s’appuiera sur un modèle bimodal afin d’accommoder celles et ceux ne pouvant se rendre au campus de Queen’s University (Kingston, Canada). Les participants devront s’acquitter de frais d’inscription de 75$ (pour celles et ceux participant via Zoom) et de 150$ (pour celles et ceux intervenant en présentiel) avant le 1er juin 2022. Les frais d’inscription sont destinés au financement de la conférence, la location des locaux et du matériel technologique.


Comité d’organisation (groupe de recherche EPIC).

Mercédès Baillargeon, Professeur agrégée, University of Maryland (États-Unis)
Karine Bertrand, Professeur agrégée, Queen’s University (Canada).
Florian Grandena, Professeur agrégé, Université d’Ottawa (Canada).
Claire Gray, Doctorante, University of Edinburgh (Grande Bretagne).
Pierre-Luc Landry, Professeur adjoint, University of Victoria (Canada).
Dina Salha, Professeur adjoint, Université d’Ottawa (Canada).



Everyday Heroes and Heroines: Micro and Macro-Resistances in Post-2001 Feature Films

Conference to be held at Queen’s University, Kingston, Ontario, Canada, October 22-23, 2022


A hero is an ordinary individual who finds the strength to persevere and endure in spite of overwhelming obstacles.



This international and bilingual (in both French and English) conference aims to critically examine the micro/macro-resistance of ordinary cinematic heroes and heroines when they face events (fictional or not) that call into question their relationship to their daily lives and their environment.

The term “hero” derives from the ancient Greek hếrôs (“warlord”) and from the classical Latin heroes (“demigod”), as indicated by the foundational texts of Homer (The Iliad) and Virgil (The Aeneid). In both cases, individuals possess positive qualities that distinguish them from their peers, such as superior merit and courage, or an almost divine person, the fruit of the loves between a god/goddess and a mortal. As indicated by Franco et al. (2016), the figure of the hero has considerably evolved in recent years. For exaple, Becker and Eagly (2004) describe the hero or heroine as an individual taking physical risks in order to protect one or more people. For Koben (2013), the hero and the heroine are to be understood as people at the crossroads of “physical heroism” and social heroism: they are individuals who become aware of their mortality and who, in the service of a principle, take serious risks and/or manage to overcome important tests.Franco and Zimbardo (2006), for their part, point out that the hero is no longer necessarily from an elite. Rather, heroic acts have become banal (“the banality of heroism”).

Therefore, it seems that the concept of ordinary heroism relies on a fundamental tension: heroes have become both ordinary and exceptional yet they are anchored in a social reality that they also transcend. For example, during the first waves of COVID-19, members of the medical profession carried out their tasks in an unprecedented and dangerous context and are widely considered to be heroes. In the same way, Jean-Paul Belmondo, a well-known star of French cinema, was described right after his death as “a hero in the appearance of Mr. Everybody” (Frodo 2021). The Hollywood superhero has certainly not lost its cultural importance and its appeal (for proof, see the success of the Marvel Cinematic Universe franchise) but it coexists with protagonists which are much more discreet, but that carrier of diverse meanings (personal, philosophical, political, ideological).

It is thus the ordinary heroes and heroines that interest us – especially their various representations and expressions in contemporary post-2001 non-Hollywood cinema. In what cinematic universes do they evolve? Are there any connections between ordinary heroes and cinematic genres? What obstacles do they face on screen that are more realistic than those in superhero movies? How do these heroic individuals position themselves vis-à-vis the collective and the systemic? How do ordinary heroes try to overcome their conditions as well as obstacles of a personal (illness, etc.), systemic (economic precariousness, discrimination etc.) or historical (wars, conflicts etc.) nature?

Confronted with exceptional personal or collective situations, protagonists within these works transgress and escape their condition of distress, oppression and sometimes extreme alienation. They seek to deploy the appropriate means in order to overcome the obstacles presented to them by the story. In the context of realist films, whose heroes are not “extraordinary,” what are the possible resistances in the face of adversity? This adversity is embodied by either 1) an ideology (racism, homophobia, sexism, ableism, ageism, etc.), 2) an economic system (neoliberalism, communism or other), 3) a major political crisis (a conflict, a war, a dystopian election), or 4) a natural cataclysm (an earthquake). How can a character survive, resist and rebel against what is presented to him by force without validating (through his bravery and determination) what oppresses him? For example, how can the protagonist of Louise Wimmer (Mennegun, 2012), a woman living in her car and desperately seeking accommodation, achieve her ends thanks to her moral strength and resilience without justifying the economic system that transformed her by necessity into an ordinary heroine? How do individuals and communities facing colonialism and its multiple effects manage to resist through large and small actions without being silenced and without contenting themselves with minor roles or depictions, as it is the case in the movie The Mission (R. Joffé, 1986)? Finally, how can cinema itself (through its aesthetics, the means of production now accessible, the ethics of filmmakers) constitute a tool of resistance for minority cultures (such as Latin, Quebec and Indigenous cultures, disabled and queer, to name but a few)?

We do not seek here to further glorify bravery and individualism, important in the psychology and the actions of the traditional hero and the neoliberal societies. On the contrary, we mean to underline the paradoxes, the tensions, and the contradictions inherent to “ordinary” heroism within post-2001 contemporary fictional cinema. This conference is particularly interested in the French-speaking context, but we accept proposals concerning other film landscapes and various national contexts, including all types of diversity without any exception.

Some of the themes and films that can be presented are:

  • Economic insecurity: Louise Wimmer (dir. Cyril Mennegun, 2012); Deux jours, une nuit (dir. J-P and L. Dardenne, 2014).
  • Diseases: 120 Beats Per Minute (dir. Robin Campillo, 2017); Amour (dir. Michael Haneke, 2012).
  • Cataclysms and the Apocalypse: Children of Men (dir. Alfonso Cuaron, 2006), The Road (dir. John Hillcoat, 2009).
  • Natural disasters: The Impossible (dir. J. A. Bayona, 2012); Force Majeure (dir. Ruben Östlund 2015).
  • Attacks: The Attack (dir. Ziad Doueiri, 2012); 9/11 (dir. Martin Guigui, 2017).
  • Epidemics: Blindness (dir. Fernando Meirelles, 2008); Contagion (dir. Stephen Soderberg, 2011); Last Train for Busan (dir. Sang-Ho Yeon, 2016); Blood Quantum (dir. Jeff Barnaby, 2020).
  • Invasions: A Quiet Place (dir. John Krasinski, 2018); District 9 (dir. Neill Blomkamp, ​​2009).
  • Mourning and personal trauma: Seventeen Times Cécile Cassart (dir. Christophe Honoré, 2002); Frantz (dir. François Ozon, 2016); Incendies (dir. Denis Villeneuve, 2010); Wild (dir. Jean-Marc Vallée, 2014); The Tree of Life (dir. Terrance Malick, 2011); Persepolis (dir. Marjane Satrapi, 2007).
  • Colonialism: Rhymes for Young Ghouls (dir. Jeff Barnaby, 2013); Rustic Oracle (dir. Sonia Bonspille Boileau, 2019); La Rivière sans repos (dir. Marie-Hélène Cousineau and Madeleine Ivalu, 2019); Before Tomorrow (dir. Marie-Hélène Cousineau and Madeleine Ivalu, 2008); Moolaade (dir. Ousmane Sembene, 2004); Beans (dir. Tracey Deer, 2020).
  • Minority cultures and integration: L’Ange de Goudron (dir. Denis Chouinard, 2001); Monsieur Lazhar (dir. Philippe Falardeau., 2011); Before The Streets, (dir. Chloé Leriche, 2016); Le N ** (dir. Robert Morin, 2002); Le Marais (dir. Kim N’guyen, 2002).


The submissions in English or in French must include a title, a brief biography as well as an abstract of a maximum of 500 words. The abstract must delineate a corpus and put forward a thesis following one the angles or subjects suggested. The submissions can be sent to Prof. Karine Bertrand (, Prof. Florian Grandena ( and Prof. Mercédès Baillargeon ( by January 15, 2022.

The conference will likely be held following a bimodal mode, to accommodate participants who cannot join us. Fees of $75.00 (for those joining us via zoom) and of $150.00 (for participants present in Kingston) will be asked, to be paid before June 1, 2022. These fees will help us pay for conference organization, space and technology.



Franco, S. Allison, E. Kinsella, A. Kohen and M. Langdon (2016), “Heroism Research: A Review of Theories, Methods, Challenges, and Trends”.

Becker, S. W., & Eagly, A. H. (2004). The heroism of women and men. American Psychologist, 59 (3), 163-178.

Franco, Z., & Zimbardo, P. (2006). The Banality of Heroism. Greater Good, Fall / Winter, 30-35.


Organising committee (EPIC research group) 

Mercédès Baillargeon, Associate Professor, University of Maryland (United States).
Karine Bertrand, Associate Professor, Queen’s University (Canada).
Florian Grandena, Associate Professor, University of Ottawa Canada).
Claire Gray, PhD Candidate, University of Edinburgh (United Kingdom).
Pierre-Luc Landry, Assistant Professor, University of Victoria (Canada).
Dina Salha, Assistant Professor, University of Ottawa, (Canada).


First Annual Black Feminist Theory Summer Institute

August 1-5, 2022

Life. Living. Alive.

Duke University
Department of Gender, Sexuality, and Feminist Studies Convener: Jennifer C. Nash

The Department of Gender, Sexuality, and Feminist Studies at Duke University invites applications from graduate students (MA, MFA, and/or PhD-track) for a five-day Black Feminist Theory Summer Institute. The institute will focus on interdisciplinary Black feminist scholarship that attends to Black life and living. Graduate students will have the opportunity to engage closely with prominent scholars. Students will also be invited to share their scholarly work in fifteen-minute presentations. Keeping with the theme of sustaining life, we will work to produce a cross-institution community of scholars working in the field of Black feminist theory.

Institute Faculty:

La Marr Jurelle Bruce (University of Maryland)
Sarah Jane Cervenak (University of North Carolina, Greensboro) Sharon Holland (University of North Carolina)
LaMonda Horton-Stallings (Georgetown University)
Justin Mann (Northwestern University)
Emily Owens (Brown University)
Kevin Quashie (Brown University)
Samantha Pinto (University of Texas, Austin)

Application Process:

Twenty participants will be accepted into the Black Feminist Theory Summer Institute, ten
from Duke University and ten from other colleges and universities. We welcome applications from all graduate students with an interest in Black feminist theory, broadly defined. To apply, submit your CV, a 1,000-word description of your research interests, and a brief statement of how the Summer Institute will benefit your work. Please list one reference and their contact information (reference letters are not required). Assemble this into one PDF document and send it to: The due date for applications is December 30, 2021. Successful applicants will be notified by January 21, 2022.

Details of Participation:

Participants from institutions outside the Durham area will arrive on July 31, 2022 and depart on August 6, 2022. Lodging is provided free of charge for out-of-town students from Sunday to Saturday. Each out-of-town participant will receive $350 toward travel expenses, and ground transportation from airport to lodging is provided. All participants will be provided with breakfast and lunch from Monday to Friday, and we will have a collective dinner on Thursday evening.

The academic sessions begin on the morning of Monday, August 1st and end in the afternoon on Friday, August 5th. Sessions run from approximately 9:00 am to 3:30 pm. All participants are expected to be on time, to attend all sessions, and to complete assigned readings.


Version française ci-bas



May 12-15


The Annual Conference of the Film Studies Association of Canada

Held in conjunction  with the Congress of the Humanities and Social 2022


Congress Theme: Transitions

Association Theme: Screen Futurities


Martin Walsh Memorial Lecture: TBA

Sylvia D. Hamilton Dialogues: TBA


2022 Gerald Pratley Award: Ylenia Olibet, Concordia University

“Minor Transnationalism in Quebec’s Women Cinema: Diasporic Filmmaking Practices.”


Proposal Submission Deadline: January 31, 2022

Submit proposals by email to:


The Film Studies Association of Canada acknowledges that members of the association predominantly live and work in locations across Turtle Island. The association recognizes and respects the histories, languages, and cultures of First Nations, Métis, and Inuit across Turtle Island. This acknowledgment is part of the association’s desire to centre shared conversations around how scholarly practices can act as a part of reconciliation and use these conversations as a guiding principle of our association’s work.

FSAC wishes to explicitly encourage participation in the association of scholars and makers most impacted by structural racism, colonialism, misogyny, ableism, trans- and homophobia, including those considering joining for the first time or those who are returning and are looking for a supportive intellectual and creative community base. As FSAC continues to try and make meaningful structural change, it welcomes input and participation at every level of the association from being a member, conference presenter or panel chair, to taking on leadership roles within the executive and in working groups.

FSAC is now seeking proposals for the 2022 virtual conference hosted in conjunction with Congress. The Conference Committee is committed to ensuring the programming of anti-racist and anti-colonial approaches to research, scholarship, pedagogy, archiving, and other institutional practices related to the study of film and media. Proposals on these topics are especially welcome.

In an elaboration of the Congress theme ‘Transitions,’ the FSAC 2022 theme Screen Futurities welcomes scholarly presentations that consider the possible and preferred futures we hold for our film and media landscapes. The conference seeks papers that take up the concept of futurities broadly as it applies to any screen media. The concept of futurity invites reflections on temporality and a recognition of many key sites of struggle or indeterminacy in the present. We invite projects on film, media, and social and visual movements that centre futurity in theory and practice as a way to engage our media of study as they transform and shift within the digital era.

Temporalities including futurity are crucial to our collective witnessing of necessary shifts and reckonings within our political and institutional spheres. They help orient our scholarship towards acknowledging and actively undoing the ongoing violence and harms perpetrated against racialized, gendered, and other marginalized communities. To this end, the theme encourages scholarly work on the overlaps between film, media, and social and visual movements that centre futurity in both theory and practice including Afrofuturism, Indigenous futurism, queer, trans, and feminist futurisms, and eco-futurisms.


Proposals submitted to the conference committee may take up topics related to the conference theme or on any other film or media studies topic.

The FSAC 2022 conference will occur in a virtual format as a synchronous online gathering of paper presentations, panels, workshops, roundtables, and screenings through the Congress video conferencing platform.


Please note that proposals will only be considered from applications who are paid-up members of the association.  Black, Indigenous, and racialized members of the association can renew their membership at no cost. 

Memberships may be obtained/renewed here:


The conference committee welcomes proposals for:

  • Individual presentations
  • Pre-Constituted panels
  • Workshops or roundtables
  • Screenings, exhibitions or other virtual events


Options for participation and submission instructions:

  1. Pre-Constituted Panels: For the 2022 Conference, we strongly encourage the construction of pre-constituted panels to ensure a greater coherence and dialogue across those with aligned scholarly interests. Please submit a call for your pre-constituted panel to the Conference email by December 15 for the Conference Committee to circulate to the larger membership on your behalf. This call should include a working title, 250-350-word outline of the thematic focus, list of keywords, bullet-point list of possible topics included under the panel theme, and contact information for panel chair.We will circulate the cluster of panel calls for participation to the membership on your behalf by December 17, 2021 and will set a deadline for submission to panel chairs by January 15, 2022 in order to ensure that anyone not accepted at the time can revise their submission for the individual paper deadline of January 31, 2022. Please submit your final curated pre-constituted panel to the Conference Committee by January 31, 2022.

Pre-constituted panels should be submitted by the proposed panel chair and include:

    • A Cover email including panel chair’s name, position, institutional affiliation, and email address
    • Title of the proposed panel
    • 250-350-word abstract outlining the panel focus
    • Keywords (3-5)
    • Title of papers and brief abstracts (150 words) included
  1. Individual Paper Proposal format: 
    • In an email include applicant name, affiliations, short bio (50 words), and paper title
    • Attach a 250–350-word abstract (with title)
    • Keywords (3-5) and bibliographic references (2-5)
    • **Individual paper abstracts will be blind-reviewed; please do not include name or affiliation in the attachment 
  1. Workshop and Roundtable proposals should include the following information:
    • Chair’s name, position, institutional affiliation, and email address
    • Title of workshop or roundtable 
    • 250–350-word abstract describing theme/focus being considered and format it will take
    • Keywords (3-5)
    • List of participants including name, position, institutional affiliation, and email
  1. Screen-based events:
    • Artist(s)’ name(s), position, institutional affiliation and email address
    • Title of film, media, event as appropriate
    • 250-350-word abstract describing theme/focus of event and/or synopsis of film or media to be presented and the medium and presentation format it will take.
    • Keywords (3-5)
    • Any special technology requests or requirements


Please submit paper, workshop, roundtable, and screen-based event proposals to the Conference Committee by January 31, 2022


Additional information

  • Presentations may be either in English or French.
  • Organizers and convenors of workshops and roundtables seeking broad inclusion from FSAC members and should feel free to use the FSAC listserv to solicit interest.
  • You can participate in a maximum of two presentations, neither of which can be the same kind (i.e., you may propose a paper and a workshop proposal but not two of either kind regardless of whether they are single or co-authored).
  • Individual presentations are no longer than 15 minutes (clips included). Length of workshops, roundtable presentations, and screen-based events may vary depending on the session for a preferred maximum of 2-2.5 hrs.
  • All proposals will be adjudicated by the Conference Committee.
  • All papers presented at the FSAC conference must be original works. Proposals for previously presented papers will not be accepted.
  • Following last year’s conference’s successful Book Launch and closing party, we will make more casual breakout rooms available throughout the conference for increased social engagements.


Graduate Student Funding

  • Partial financial compensation for student members is normally dedicated to travel expenses. Given that this conference is virtual, you may apply for this year only to reduce your conference fees instead. More details and the application form will be posted in January at

Audio-Visual Needs

  • The FSAC Conference Committee will work closely with the membership to ensure we support your needs running presentations and will provide a ‘how-to’ FAQ sheet in the spring in anticipation of the conference.


Conference Program Chair: Shana MacDonald (President, FSAC)

Department of Communication Arts, University of Waterloo or








12-15 mai


Colloque annuel de l’Association Canadienne d’Études Cinématographiques

Tenu dans le cadre du Congrès des sciences humaines

Thème du congrès : Transitions

Thème de l’association : Futurités écraniques

Conférence commémorative Martin Walsh : (annonce à venir)
Dialogues Sylvia D. Hamilton Dialogues : (annonce à venir)


Conférence liée au prix Gerald Pratley 2021 : Ylenia Olibet, Concordia University

“Minor Transnationalism in Quebec’s Women Cinema: Diasporic Filmmaking Practices.”


Date de tombée pour les propositions : 31 janvier 2022

Envoyez vos propositions à :


L’Association Canadienne d’Études Cinématographiques reconnaît que les membres de l’association vivent et travaillent principalement dans des endroits situés à travers l’Île de la Tortue. L’association reconnaît et respecte l’histoire, les langues et les cultures des Premières Nations, des Métis et des Inuits de l’Île de la Tortue. Cette reconnaissance s’inscrit dans l’objectif de l’association de mettre de l’avant des conversations communes sur la façon dont les pratiques savantes peuvent contribuer aux efforts de réconciliation et d’utiliser ces conversations comme principe directeur du travail de notre association.

L’ACÉC souhaite encourager explicitement la participation à l’association des pens·eur·euse·s et créateu·r·ice·s les plus touché·e·s par le racisme systémique, le colonialisme, la misogynie, le capacitisme, la trans- et l’homophobie, y compris ceux qui envisagent de se joindre à nous pour la première fois ou qui y reviennent et recherchent une communauté de soutien intellectuelle et créative. Alors que l’ACÉC continue d’essayer d’apporter des changements systémiques importants, elle accueille favorablement les commentaires et la participation à tous les niveaux de l’association, qu’il s’agisse d’être membre, présentat·eur·rice de conférence ou président·e de groupe d’expert·e·s, d’assumer des rôles de leadership au sein de l’exécutif et des groupes de travail.

L’ACÉC est présentement à la recherche de propositions pour la conférence virtuelle 2022 organisée conjointement avec le Congrès. Le Comité de conférence s’engage à assurer la programmation d’approches antiracistes et anticoloniales de la recherche, de la pédagogie, de l’archivage et d’autres pratiques institutionnelles liées à l’étude du cinéma et des médias. Les propositions sur ces sujets sont particulièrement les bienvenues.

Dans une élaboration du thème du Congrès « Transitions », le thème de l’ACÉC 2022 Futurités écraniques accueille des présentations qui considèrent les futurs possibles et préférés que nous tenons pour nos paysages cinématographiques et médiatiques. La conférence est à la recherche de présentations qui examinent le concept de « futurité » au sens large, tel qu’il s’applique à tous les médias écraniques.  Le concept de futurité invite à la réflexion sur la temporalité et à la reconnaissance de nombreux sites clés de lutte ou d’indétermination dans le présent. Nous invitons des projets sur le cinéma, les médias et les mouvements sociaux et visuels qui centrent le concept de futurité dans la théorie et la pratique comme un moyen d’engager notre média d’étude alors qu’ils se transforment et se déplacent dans l’ère numérique.

Les temporalités, y compris la futurité, sont cruciales pour notre témoignage collectif des changements nécessaires et des comptes à rendre dans nos sphères politiques et institutionnelles. Elles aident à orienter notre recherche vers la reconnaissance et la déconstruction active de la violence et des préjudices encore perpétrés contre les communautés racisées, genrées et autres communautés marginalisées. À cette fin, le thème encourage les projets portant sur les chevauchements entre le cinéma, les médias et les mouvements sociaux et visuels qui recentrent la futurité dans la théorie et la pratique, y compris l’afrofuturisme, les futurismes autochtones, les futurismes queer, trans et féministes, et les éco-futurismes.


Les propositions soumises au comité de la conférence peuvent reprendre des sujets liés au thème de la conférence ou porter sur tout autre sujet d’études cinématographiques ou médiatiques.

La conférence 2022 de l’ACÉC se tiendra dans un format virtuel sous la forme d’un rassemblement synchrone en ligne de présentations individuelles, de panels, d’ateliers, de tables rondes et de projections via la plate-forme de vidéoconférence du Congrès.


Veuillez noter que seules les propositions soumises par des membres dont l’adhésion à l’association est en règle seront considérées. Les membres de l’association ressortant des communautés Noires, Autochtones et racisées peuvent renouveler leur adhésion sans frais. 

Les adhésions peuvent être obtenues / renouvelées ici :


Le comité de la conférence accueille favorablement les propositions pour :

  • Présentations individuelles
  • Panels préconstitués
  • Ateliers ou tables rondes
  • Projections, expositions ou autres événements virtuels


Options de participation et instructions de soumission :

  1. Panels préconstitués : Pour la Conférence 2022, nous encourageons fortement la construction de panels préconstitués pour assurer une plus grande cohérence et un dialogue entre individus partageant des intérêts de recherche. Veuillez soumettre un appel pour votre panel préconstitué à l’adresse courriel de la Conférence d’ici le 15 décembre pour que le Comité de la Conférence puisse le distribuer à l’ensemble des membres en votre nom. Cet appel devrait inclure un titre temporaire, un aperçu de 250-350 mots de l’objectif thématique du panel, une liste de mots-clés, une liste de sujets possibles sous le thème du panel et les coordonnées du/de la président·e du panel.Nous distribuerons les appels à panels préconstitués aux membres de l’association en votre nom d’ici le 17 décembre2021 et fixerons une date limite pour la soumission aux président·e·s de panel d’ici le 15 janvier 2022 afin de s’assurer que toute personne non acceptée à ce moment-là puisse réviser sa soumission pour la date butoir pour les propositions individuelles, soit le 31 janvier 2022. Veuillez soumettre votre panel préconstitué finalisé au Comité de la conférence d’ici le 31 janvier 2022.

Les panels préconstitués devraient être soumis par le/la président·e du panel proposé et inclure :

    • Un courriel d’introduction comprenant le nom, le poste, l’affiliation institutionnelle et l’adresse courriel du/de la président·e du panel
    • Le titre du panel
    • Un résumé de 250-350 mots décrivant l’objectif du panel
    • Mots-clés (3-5)
    • Titre des présentations et résumés (150 mots)

2. Format de la proposition individuelle : 

    • Dans un courriel, incluez le nom de l’appliquant, les affiliations, une courte biographie (50 mots) et le titre de la présentation
    • Joindre un résumé de 250 à 350 mots (avec titre)
    • Mots-clés (3-5) et références bibliographiques (2-5)
    • **Les propositions individuelles seront évaluées à l’aveugle; veuillez ne pas inclure le nom ou l’affiliation dans la pièce jointe

3. Les propositions d’ateliers et de tables rondes devraient comprendre les renseignements suivants :

    • Nom, poste, affiliation institutionnelle et adresse courriel du/de la président·e
    • Titre de l’atelier ou de la table ronde
    • Résumé de 250 à 350 mots décrivant le thème / l’orientation envisagée et le format prévu
    • Mots-clés (3-5)
    • Liste des participant·e·s, y compris leur nom, leur poste, leur affiliation institutionnelle et leur courriel

4. Événements spéciaux :

    • Nom(s), poste, affiliation institutionnelle et adresse électronique de l’artiste(s)
    • Titre du film, des médias, de l’événement, le cas échéant
    • Résumé de 250-350 mots décrivant le thème / la visée de l’événement et / ou le synopsis du film ou des médias à présenter, de même que le support et le format de présentation qu’il prendra.
    • Mots-clés (3-5)
    • Toute demande ou exigence technologique spéciale

Veuillez soumettre vos propositions de présentations, de panels, d’ateliers, de tables rondes et d’événements spéciaux au Comité de la conférence d’ici le 31 janvier 2022.


Informations complémentaires :

  • Les présentations peuvent être en français ou en anglais.
  • Les organisat·eur·rice·s d’ateliers et de tables rondes ne devraient pas hésiter à utiliser la liste d’envoi de l’ACÉC afin de solliciter des gens dans l’ensemble de l’association.
  • Vous pouvez participer à un maximum de deux activités, dont aucune ne peut être du même genre (c.-à-d. que vous pouvez proposer une proposition et un panel, mais pas deux de l’un ou l’autre type, qu’ils soient uniques ou co-écrits).
  • Les présentations individuelles devraient durer un maximum de 15 minutes (clips inclus). La durée des ateliers, des présentations de tables rondes et des événements spéciaux peut varier selon la session, jusqu’à un maximum de 2-2,5 heures idéalement.
  • Toutes les propositions seront jugées par le Comité de la conférence.
  • Toutes les présentations à la conférence ACÉC doivent être originales. Les propositions présentées précédemment ne seront pas acceptées.
  • Pour donner suite au succès de la soirée de clôture et de lancement de livre de l’an dernier, nous rendrons disponibles plus de salles de réunion décontractées tout au long de la conférence pour favoriser les rencontres sociales.

Financement des étudiant·e·s des cycles supérieurs :

  • Une compensation financière partielle pour les membres étudiants est normalement consacrée aux frais de déplacement. Étant donné que cette conférence est virtuelle, vous pouvez postuler pour cette année uniquement pour réduire vos frais de conférence à la place. Plus de détails et le formulaire de demande seront affichés en janvier à

Besoins audiovisuels :

  • Le comité de la conférence de l’ACÉC travaillera en étroite collaboration avec les membres pour s’assurer que nous soutenons vos besoins en organisant des présentations et en fournissant un document d’instruction au printemps en prévision de la conférence.

Présidente du programme de la conférence : Shana MacDonald (Présidente, ACÉC)

Department of Communication Arts, University of Waterloo or


Job Title:
Professors, Bachelor of Film and Television (Part-time)
Faculty of Animation, Arts and Design
Oakville, Ontario, Canada
Application Deadline:
November 30, 2021
Job Number:


Sheridan is looking for outstanding individuals to join our faculty team in the Bachelor of Film and Television. This program offers students a comprehensive set of practical and critical thinking/writing skills, as well as knowledge in the Canadian film and television industries.  We are looking for part-time professors who can demonstrate a commitment to EDI-D (equity, diversity, inclusion and decolonization) in their teaching or professional practice for the following courses:

  • MEDA13796 Introduction to Post-Production – To view the course outline, click HERE 
  • MEDA13314 Introduction to Directing – To view the course outline, click HERE
  • MEDA27028 TV Production Process 2 – To view the course outline, click HERE
  • MEDA20065 Digital Interactive Storytelling – To view the course outline, click HERE
  • VDES10146 Visual Effects Integration – To view the course outline, click HERE
  • BUSM34049 Business of Film and Television 1 – To view the course outline, click HERE
  • MEDA43314 Film Theory & Criticism – To view the course outline, click HERE

To view course outlines, visit:

Sheridan professors are responsible for developing an effective learning environment for students while respecting their diverse cultural and educational backgrounds, experiences, and individual learning styles.  

What You’ll be Doing

  • Delivering course curriculum in classroom and/or online, which includes ensuring student awareness of course objectives, approach and evaluation techniques;
  • Tutoring and academic counselling of students, while evaluating student progress/achievement and assuming responsibility for the overall assessment of the students’ work within assigned courses;
  • Defining, evaluating and validating learning outcomes and designing appropriate strategies and tools for assessing student learning;
  • Developing individualized instruction and multi-media presentations and incorporating technology into the learning process where applicable;
  • Attending periodic faculty meetings.

About You
You have a passion for sharing your knowledge with others and contributing to the advancement of your field. 

You respect equity and diversity and value participating in and creating safe and inclusive environments at work and in the community.

You have excellent communication and interpersonal skills and enjoy working as part of a team.

You are an agile individual with an ability to respond and adapt to change while using your problem-solving skills to most appropriately and effectively support each student’s unique needs.

The successful candidate(s) will also meet the following qualifications: 

  • Master’s Degree in Film Studies, Communication Studies or a related field required for:
    • MEDA13796 Introduction to Post-Production 
    • MEDA13314 Introduction to Directing 
    • MEDA27028 TV Production Process 
    • VDES10146 Visual Effects Integration
  • PhD in Film Studies, Communication Studies or a related field preferred for: 
    • BUSM34049 Business of Film and Television 1 
    • MEDA20065 Digital Interactive Storytelling
  • PhD in Film Studies, Communication Studies or a related field required for: 
    • MEDA43314 Film Theory & Criticisim
  • Applicants who can demonstrate a commitment to EDI-D (equity, diversity, inclusion and decolonization) in their teaching or professional practice will be given preference.
  • Minimum of 3 years related professional experience.
  • Practical experience in filmmaking would be an asset.
  • Experience with Adobe Premiere for MEDA13796 Introduction to Post-Production would be an asset.
  • Experience with Adobe Premiere, Adobe After Effects, Photoshop and DaVinci Resolve for MEDA27028 TV Production Process 2 would be an asset.
  • Experience in Multi-Camera Production (i.e. writing, producing, directing, switcher, graphics) for MEDA27028 TV Production Process 2 would be an asset.
  • Experience with online learning tools (i.e. Blackboard, Google Classroom), teaching with Zoom or a similar platform.
  • Experience in teaching and curriculum development at the post-secondary level.

Who We Are:

At Sheridan, we are passionate about the transformational role we play in people’s lives.  Our graduates enjoy a well-deserved reputation for their ability to succeed in the workplace from day one. This is a testament to Sheridan’s dedicated and caring faculty and staff, who have strong ties to industry and ensure our students have hands-on learning experiences and the best possible preparation for their future careers. We’re building a new, ground-breaking model of higher education — one that prepares graduates with the hard and soft skills to navigate change in a complex world.  As a member of the Sheridan community, you will have the opportunity to shape our teaching and learning experience and help prepare the future leaders of tomorrow.

Other Details
Campus Location: Trafalgar (may be assigned activities at any Sheridan campus) once normal campus operations resume. 
Reference #: J1121-1170
Employee Group: Non-full-time Faculty
Salary Range: Based on relevant educational qualifications and experience 
Start Date:  January 10, 2022
Application Deadline: November 30, 2021 

Sheridan is deeply committed to promoting diversity, advancing equity and fostering a culture of inclusion. Therefore, we invite applications from marginalized and equity-seeking groups. Persons with a disability may contact the Human Resources department to request accommodation at any stage of the recruitment process.

You may be asked to provide copies of your educational credentials at the time of interview. Upon hire, we require official confirmation of educational credentials and Canadian equivalency assessments, if applicable.


APL 2022—May 26-29


Call for Papers


One must have a mind of winter
To regard the frost and the boughs Of the pine-trees crusted with snow

– Wallace Stevens, “The Snow Man”


When, in his Preface to Lyrical Ballads (1802), William Wordsworth insisted that an “overbalance of pleasure” entails the “circumstance of meter,” he confirmed a philosophical assumption far older than Kant’s theory of the sublime. The pervasive assumption—which, today, can be tracked in an on-going “affective turn” (necessarily entangled in matters of form and style)—is that the artificial makes possible an understanding of the natural.

But Wordsworth was writing in the twilight of the Industrial Revolution—or what is arguably the dawn of the Anthropocene. For this reason alone, we might be justified in dismissing his romantic conception of poetry as mere “correlationism”—what Ian Bogost caustically defines as the “the tradition of human access that seeps from the rot of Kant.” Faced with the impending consequences of climate change, withering biodiversity, proliferating microplastics, etc.—is it not finally time (as various “new materialists” have asserted) to undo Kant’s “Copernican revolution” and, thus, the primacy of human perception within the nature of things? But what are the alternatives? To approach Quentin Meillassoux’s “great outdoors” we must employ very human tools, such as carbon dating and mathematics. To know and describe Bogost’s various non-human “things” we must resort—à la romanticism—to “metaphorism.” As in Aristotle, phúsis remains inextricable from tékhnē: from art, from technology. Or, to follow Derrida, the latter persists as an inescapable supplement.

In our efforts to surmount the problem of “human access,” do we therefore risk repeating (even more blindly) the violence and immorality of anthropocentrism? If so, is our only option to re-approach nature paradoxically via its antithesis: solar panels and wind turbines that can save us from green-house gases; virtual simulations that can measure distance better than any animal eye; digital photography and narrative structures that might preserve the nature of indigenous life; genetic engineering that can dissolve the distinction between nature and its others? Should we then re-consider the moral roadblocks embodied in our narrative and philosophical efforts to imagine the posthuman—from Mary Shelley’s monster and Philip K. Dick’s androids to Donna Haraway’s cyborgs and Octavia Butler’s aliens?

Surrounded by the sublime weight and majesty of the Rocky Mountains in Banff, Canada, these are the questions we hope to address—as we attempt to “think” (yet again) Nature: Animal, Moral, Technological.

Potential topics might include, but are not limited to:

  • The Meaning of nature and the natural
  • Conceptions of the beautiful and the sublime
  • Humanity’s domination and subordination of nature
  • The role of philosophy and/or literature in an ongoing environmental crisis
  • Literature and/or philosophy as forms of environmental activism
  • The possibility of defining the very “nature” we seek to protect
  • Biodiversity and/as the polyphonic or heteroglot text
  • The rise and efficacy of so-called new materialisms (including thing theory, object-oriented ontology/philosophy, speculative realism/materialism, actor-network theory, etc.)
  • The rise and efficacy of eco-criticism in literary and cultural criticism, including ecofeminism
  • The link between new materialism and postcritique, or “surface reading”
  • Literary depictions and/or philosophical considerations of cybernetics, genetics, and/or conceptions of post- and/or transhumanism
  • Affect and its relation to narrative/mimetic form
  • Animal-human-machine relations; speciesism
  • The nature of race and racism
  • Sex and gender, biology and interpellation
  • Psychoanalytic conceptions of the unconscious, drives (vs. instincts), polymorphous perversity, etc.
  • Biopsychology and essentialism
  • Indigenous cultures and approaches to nature
  • The role of technology in studies of the natural (from the natural sciences to anthropology and ethnography)
  • Writing or filming “nature”
  • The post-postmodern nostalgia for authenticity; efforts to surmount “the precession of simulacra”
  • The nature of morality; the moral obligation to nature
  • Ontology today
  • Phúsis and/as tékhnē
  • Implications, dating, and meaning of the Anthropocene


Proposals for individual papers, panels (of 3-4 participants), or roundtables of (5-6 participants) can be submitted on the APL website (, or via the following link.

Proposals (for individual papers, panels, or roundtables) should be no more than 300 words. Proposals should also include a title and a short biographical description of each participant. Bios should be no more than 75 words.

The deadline for submissions is Dec 15, 2021.

Please send questions to the conference organizers: Alain Beauclair ( & Josh Toth (


The 31st International Screen Studies Conference, organised by the journal Screen, will be programmed by Screen Editors Professor Karen Lury and Professor Alastair Phillips.  


Our confirmed keynote speakers are: 

Professor Mary Ann Doane (University of California, Berkeley)  

Dr Racquel J. Gates (Columbia University)   

Dr Amy Holdsworth (University of Glasgow)  


The Editors welcome proposals for papers, audiovisual essays, and pre-constituted three-person panels on any subject for this year’s conference.   

We are particularly keen to encourage contributors to a programming strand titled ‘Screen Aesthetics’ with the aim of renewing our engagement with traditional and emerging models of interpretation in relation to the textual and affective qualities of film, television and digital moving image media.   

We invite papers or audiovisual essays addressing any aspect of this topic, whether this be the specific properties of the screen (including sound), or contextual approaches concerning moving image reception, production, circulation, and history.  

We are especially keen on welcoming innovative approaches that lend themselves to the creative potential of the online conference format or that address the pedagogical and research challenges of the accelerated digital moment coming into view following the pandemic.  

The deadline for submitting proposals is 31st January 2022.  Please visit our website for full submission details and to download proposal templates. Note that submissions for pre-constituted panels will be considered, but not prioritised. 

The Editors are disappointed not to be able to welcome you in person to Glasgow next summer but given the ongoing uncertainties in relation to the pandemic, have decided to hold the conference online for one more year only. 


Congrès virtuel 14–17 mai 2022

L’adaptation – roman/film, BD/film, théâtre/film, film/littérature

Les responsables de l’atelier :
Marie Pascal, University of Western Ontario,
Jeri English, University of Toronto,

Il appert que, de nos jours, un grand nombre des films produits sont des « adaptations » cinématographiques. Pourtant, la recherche concernant le dialogue texte-film est si peu avancée que l’adaptation n’est toujours pas, à ce jour, considérée comme une discipline à part entière et est reléguée aux marges des départements de cinéma. Quant aux chercheurs et chercheuses qui tentent d’en étudier les spécificités et les apports, et de théoriser sur ce qui pourrait s’avérer unediscipline riche, ils ou elles aront toutes les peines du monde à se revendiquer de l’un et de l’autre des deux pôles (hypo vs hyper)— des études littéraires et cinématographiques.

Bien qu’elle soit prolifique, la critique n’a pourtant jamais mené à un consensus en ce qui concerne le terme même d’« adaptation ». Dès 1948, dans « Pour un cinéma impur. Défense de l’adaptation », André Bazin explique que les premiers films sont « emprunt et pillage » (p. 87) de la littérature, ce qui, paradoxalement, s’avère profitable aux deux. S’attaquant à une attitude anti-adaptation généralisée, il explique qu’« il est absurde de s’indigner des dégradations subies par les chefs d’œuvres littéraires à l’écran, du moins, au nom de la littérature. Car si approximatives que soient les adaptations ne peuvent pas faire de tort à l’original auprès de la minorité qui le connaît et l’apprécie» (p. 93) Georges Bluestone (1957) parle de « métamorphose » et Marie-Claire Ropars-Wuilleumer (1998) actualise tour à tour les termes « translation », « médiation », « mutation », « transécriture », et « réécriture » (p. 131). Quelques années plus tôt, dans Ecraniques (1990), elle avait rappelé la force du lien texte/film en se focalisant sur la manière dont le second poursuit et complète le premier : « l’écriture cinématographique s’est construite dans le sillage de l’écriture littéraire ; mais en empruntant à la littérature ses matières et ses modes, elle lui retourne l’image agrandie, déformée, démultipliée de son fonctionnement » (p. 12-3).

Au cours d’un colloque sur la « transécriture », André Gaudreault et Philippe Marion (1998) proposent le néologisme « intermédialité » (p. 31) pour revendiquer d’une part l’idée que chaque sujet est doté de « sa propre configuration intrinsèque » et rappeler d’autre part, à l’instar de Bazin, que « plus les qualités de l’œuvre sont importantes et décisives, plus l’adaptation en bouleverse l’équilibre, plus aussi elle exige de talent créateur pour reconstruire» (p. 97). Suivant la même idée, André Gardiès (1998) définit le texte comme un « réservoir d’instructions » (p. 68) et substitue « transécriture » à « adaptation ». Après avoir rappelé la multitude de termes péjoratifs utilisés par les détracteurs de l’adaptation dans Literature Through Film (2005), Robert Stam propose plusieurs concepts qui, l’éloignant de toute aspiration éventuelle à la fidélité, pourraient lui être substitués (parmi lesquels figurent : « actualisation », « détournement », « dialogisation », « transmutation », « cannibalisation », « incarnation », « lecture critique » et « performance »). Enfin, dans A Theory of Adaptation (2006), Linda Hutcheon élicite trois définitions de l’adaptation, qui apparait à la fois comme un « produit formel », un « procédé de création », et un « procédé de réception » (nous soulignons). Au pied de cette surenchère terminologique et définitoire, il reste étonnant de conclure que peu de critiques se concentrent sur les enjeux mêmes de cette métamorphose d’un récit littéraire en récit cinématographique, ce que nous proposons de faire dans cet atelier.

Pour conserver le statut intermédial, interculturel, intertextuel et ludique de notre discipline balbutiante, nous invitons des propositions (250-300 mots) dont l’objet sera d’élaborer une théorie personnelle concernant l’adaptation ou de mettre en regard deux visages d’un même récit (roman et film ; BD et film ; pièce de théâtre et film ; film et littérature, pour ne citer que ces exemples). Si la terminologie est libre, nous donnerons la préférence aux présentations établissant un cadre théorique préalable à leur analyse. Parmi les pistes de réflexion possibles, nous proposons les axes suivants :

  • Théorie de l’adaptation : proposition de grilles d’analyse, études quantitatives, etc.
  • Musique et adaptation
  • Du film au texte
  • Évolution de la narration entre texte et film, film et texte
  • Désirs de continuations
  • Études de cas de dialogues texte/film (théorisation préalable attendue) : roman/film, théâtre/film, nouvelle/film, BD/film

Date limite pour l’envoi des propositions (titre, résumé de 250-300 mots, adresse, affiliation et notice bio-bibliographique de 150 mots) : le 15 décembre 2021

Le colloque annuel 2022 de l’APFUCC sera virtuel et se tiendra dans la cadre du Congrès de la Fédération des sciences humaines. Les personnes ayant soumis une proposition de communication recevront un message des personnes responsables de l’atelier avant le 15 janvier 2022 les informant de leur décision. L’adhésion à l’APFUCC est requise pour participer au colloque. Il est également d’usage de régler les frais de participation au Congrès

des Sciences humaines ainsi que les frais de conférence de l’APFUCC. De plus amples informations vous seront envoyées à ce sujet. Vous ne pouvez soumettre qu’une seule proposition de communication, présentée en français (la langue officielle de l’APFUCC), pour le colloque 2022.


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