CARNEGIE APPOINTMENT IN HUMANITIES AND COMPUTING – DALHOUSIE UNIVERSITY
The Faculty of Arts and Social Sciences (FASS) at Dalhousie University, in cooperation with the Faculty of Computer Science (FCS) at Dalhousie University and the History of Science and Technology Program (HOST) at the University of King’s College, invite applications for a probationary, tenure-stream Assistant Professor level position in Humanities and Computing.
The successful candidate will teach 2 courses per year in FCS: 1 section each of CSCI 1800 (Computing and Society in History) and CSCI 1801 (Case Studies in Computing and Society) OR 2 sections of either class, with each section having an enrolment of up to 250 students. The faculty member will also have further annual teaching duties in FASS and/or HOST, to be confirmed at time of appointment based upon the teaching load of the chosen FASS home department. A 1 course release will be granted for serving as course director of CSCI 1800 and 1801. This position is a Carnegie appointment, meaning that the colleague will be a member of King’s Faculty rather than of the Dalhousie Faculty Association and will be expected to contribute to the administration of King’s as well as of Dalhousie. The appointment is intended to further a meaningful exchange of ideas and expertise in Humanities and Computing across King’s and Dalhousie, and to ensure that the new colleague has a strong community of support. The new colleague’s home for research purposes, including funding, grant application support, conference travel, etc., will be in FASS and King’s as per existing Carnegie appointment practices, but they will be encouraged to form research collaborations and connections with colleagues in the Faculty of Computer Science as well as with HOST and FASS colleagues. At Dalhousie, their main administrative home will be in FASS, but they may also be expected to contribute to administration within the Faculty of Computer Science: for example, by serving as a FASS representative on relevant FCS committees.
A record of, or demonstrated potential for, excellence in teaching and research in Humanities and Computing (broadly construed) and specific competency in areas relevant to the History of Science and Technology is required. A record of publication will be an asset. Applicants must have in hand, by the start date of the appointment, a Ph.D. in a field appropriate for appointment in a FASS department (see list at https://www.dal.ca/faculty/arts/departments.html). Salary will depend upon qualifications and experience.
Applications should include: a complete curriculum vitae, writing sample, teaching dossier (including evidence of teaching effectiveness), a statement of research and teaching interests and philosophies, and the names and contact information for three referees. All materials must be submitted electronically through https://dal.peopleadmin.ca/postings/5992 . The closing date for applications is June 7, 2021.
GREAT CAREERS. GREAT CHOICE.
All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. Dalhousie University is committed to fostering a collegial culture grounded in diversity and inclusiveness. The university encourages applications from Indigenous persons, persons with a disability, racially visible persons, women, persons of a minority sexual orientation and/or gender identity, and all candidates who would contribute to the diversity of our community. For more information, please visit https://www.dal.ca/hiringfordiversity.
For its third issue, The Neutral is soliciting contributions for ‘The Unhuman’
The human body is already unhuman, populated by a microbiome that sustains its life, and yet, discourses of the unhuman are harnessed to draw the parameters of what it means to be human. This construction of the human depends upon what is jettisoned as unhuman in order to reaffirm the position and borders of what or who is considered human, particularly as marginalized groups are subjected to dehumanization. By the term “unhuman,” we aim to invoke an unmaking of the human or category of the human, in keeping with the proliferation of scholarship that has emerged as a response to the posthuman turn in the humanities and the rise of the anthropocene discourse, both of which have been critiqued for not fully engaging pressing issues such as colonialism, race, capitalism, disability, and more. In this issue of The Neutral, we seek essays that address the unhuman, that think with the unhuman, and in doing so, offer ways of critiquing anthropocentrism, particularly as it is bolstered by a Western, imperialist concept of the human, through moving image media.We also seek to examine how the human is already enfolded within the unhuman, and integrated with its environment, other species, and technology, and imaginings of monstrous and alien life forms.
The distinction between the human and nonhuman animal has long troubled philosophers, including Aristotle, Descartes, Kant, and Heidegger, who have attempted to index attributes that belong to humans alone. Derrida, however, acknowledges the positionality of the animal, an animal that returns one’s gaze. He proposes to examine the relationship between species as an “abyssal rupture,” as a multiplication of differences, which also gestures towards the limitations of what the human can know, and the aporia in its knowledge of other species. And Deleuze and Guattari’s concept of “becoming-animal” which follows their rhizomatic methodology in which they counter prevailing tendencies to categorize organisms according to stable characteristics, instead, opening up to the possibilities of continually shifting relationalities. Other thinkers draw us towards the place where the border of the human collapses, including Julia Kristeva’s abject, Georges Bataille’s eroticism, and Sigmund Freud’s unconscious. Potential papers might ask: How do moving images visualize or theorize the abyssal rupture, or rhizomatic structures? How does film present vegetal or subterrestrial ontologies?
Posthumanism offers philosophical frameworks and practices that have engendered the impetus to decenter traditional human subjectivity and subjecthood, marked temporally as coming after humanism and its search for an essential, universal human subject with sovereign agency. However, the turn towards the study of nonhuman life forms is a premature move for scholars such as Sylvia Wynter and Paul Gilroy, who rightly point out that racialized persons are still struggling to attain recognition of their rights as humans. Afropessimists like Frank B. Wilderson III go further still in asserting that the human is given coherence by anti-Blackness and that the Black/human relation is structurally irreconcilable. Meanwhile, scholars such as Mel Y. Chen take up questions of the nonhuman to illuminate new perspectives on racialized, queer, and differently abled bodies. Potential papers might ask: What limitations or illuminations do discourses of animality, monstrosity, or technologization hold for marginalized populations, and how does moving image media navigate these tensions?
Posthumanism is also symptomatic of a convergence of anti-humanism, post-humanism and post-anthropocentrism within the technological and digital age. Norbert Wiener’s cybernetics or using feedback as a way to communicate with the inhuman produces potentials of understanding technology as systems of interactions. Recognizing sense organs as key components in relations between machine and multispecies life, the use of systems enables a bounded relation of humans, ecology, and machines. Richard Grusin, more recently, in his anthology named The Nonhuman Turn (2015), invites proponents of posthumanism and new materialism to consider that which falls outside the domain of ‘human’ altogether. Contemporary scholarship that emerged in recent years which engages the “other-than-human” often maintains that the continuum between bodies human and nonhuman has been eroded by our ever-increasing entanglements with technology. Yet, it also seems to gesture at the idea that the nonhuman has ultimately always resided within the human. How can we begin to address the ways in which this scholarship remains problematic, for its attempts to expand the prescribed categories of human still perform exclusion? Have we indeed moved past humanism, or simply reworked its main tenets so that it can begin to account for our contemporary moment?
As the representations of what defies “normality,” monsters are aberrations of the human, and such become the site upon which humans work out their anxieties about sexuality, gender, and race. Monstrosity also offers ways of re-examining what constitutes the human, as Jeffrey Jerome Cohen’s “zombie-oriented ontology” emphasizes human corporeality, and thinks through the body as a vessel that has been emptied of its subjecthood. Science fiction also grapples with unhuman life forms, presenting imaginative possibilities of what extra-terrestrial beings might be, from the malevolent forces of epics disaster films to a more nuanced approach that considers the alien as communicating an understanding about what it means to be earthly, to be human, and the human’s responsibilities to its planet. Potential papers might ask: How might we understand horror, sci-fi, and ecocinema in light of thinking beyond the human? What do speculative fictions help us understand about the limitations of being human?
For this issue, ultimately, we ask: What role(s) do film and moving image media play in the construction and/or conceptualization of the unhuman? How does it emerge as both a condition and a discourse? How have the ontological and epistemological pressures that animate the “unhuman” been facilitated, crystallized, and/or reflected by media?
Please submit completed essays between 5,000-7,000 words in length, including endnotes and citations, as a Word document in Chicago style by registering on our website’s submission portal by July 15, 2021.
Pour son troisième numéro, The Neutral sollicite des contributions pour ‘The Unhuman’
La distinction entre l’animal humain et non-humain a longtemps troublé les philosophes, dont Aristote, Descartes, Kant et Heidegger, qui ont tenté d’indexer des attributs qui n’appartiennent qu’aux humains. Derrida, cependant, reconnaît la positionnalité de l’animal, un animal qui renvoie le regard. Il propose d’examiner la relation entre les espèces comme une « rupture abyssale », comme une multiplication des différences, ce qui signale aussi limites de ce que l’homme peut savoir, et l’aporie dans sa connaissance des autres espèces. Et le concept de « devenir-animal » de Deleuze et Guattari qui suit leur méthodologie rhizomatique dans laquelle ils contrarient les tendances dominantes à catégoriser les organismes selon des caractéristiques stables, ouvrant au contraire les possibilités de relationalités en constante évolution. D’autres penseurs nous entraînent vers là où la frontière de l’humain s’effondre, notamment l’abject de Julia Kristeva, l’érotisme de Georges Bataille et l’inconscient de Sigmund Freud. Des articles potentiels pourraient demander: comment les images en mouvement visualisent-elles ou théorisent-elles la rupture abyssale ou les structures rhizomatiques? Comment le film présente-t-il des ontologies végétales ou souterraines?
Le posthumanisme offre des cadres et des pratiques philosophiques qui ont engendré l’élan pour décentrer les subjectivités humaines traditionnelles et la subjectivité elle-même, marquées temporellement comme venant après l’humanisme et sa recherche d’un sujet humain essentiel et universel avec une action souveraine. Cependant, le tournant vers l’étude des formes de vie non humaines est une décision prématurée pour des universitaires tels que Sylvia Wynter et Paul Gilroy, qui soulignent à juste titre que les personnes racialisées ont encore du mal à obtenir la reconnaissance de leurs droits en tant qu’êtres humains. Des « Afro-pessimistes » (issue de l’Afropessimism) comme Frank B. Wilderson III vont encore plus loin en affirmant que c’est l’anti-noirceur qui rend l’humain cohérent et que la relation Noir / humain est structurellement inconciliable. Pendant ce temps, des chercheurs tels que Mel Y. Chen abordent les questions du non-humain pour éclairer de nouvelles perspectives sur les corps racialisés, queer et ayant des capacités différentes et/ou handicaps. Des articles potentiels pourraient demander: quelles limites ou potentiels éclairages les discours sur l’animalité, la monstruosité ou la « technologisation » présentent-ils pour les populations marginalisées, et comment les images en mouvement permettent-elles de surmonter ces tensions?
Le posthumanisme est également symptomatique d’une convergence de l’antihumanisme, du post-humanisme et du post-anthropocentrisme à l’ère technologique et numérique. La cybernétique de Norbert Wiener ou l’utilisation du feedback comme moyen de communiquer avec l’inhumain produit des potentiels de compréhension de la technologie en tant que systèmes d’interactions. Reconnaissant les organes sensoriels comme des éléments clés dans les relations entre la vie des machines et la vie multi-espèces, l’utilisation de systèmes permet une relation délimitée entre les humains, l’écologie et les machines. Richard Grusin, plus récemment, dans son anthologie intitulée The Nonhuman Turn (2015), invite les partisans du posthumanisme et du nouveau matérialisme à considérer ce qui ne relève pas du domaine de « l’humain ». La recherche contemporaine qui a émergé ces dernières années et qui engage « l’autre qu’humain » soutient souvent que le continuum entre les corps humains et non humains a été érodé par nos enchevêtrements toujours croissants avec la technologie. Pourtant, elle semble également suggérer l’idée que le non-humain a finalement et ultimement toujours résidé dans l’humain. Comment pouvons-nous commencer à aborder la manière dont ces courants et discours académiques restent problématiques, car leurs tentatives d’élargir les catégories prescrites d’humains continuent d’exclure? Avons-nous en effet dépassé l’humanisme, ou simplement retravaillé ses principes fondamentaux pour qu’il puisse commencer à rendre compte de notre moment contemporain?
En tant que représentations de ce qui défie la « normalité », les monstres sont des aberrations de l’humain et deviennent ainsi le site sur lequel les humains développent leurs inquiétudes concernant la sexualité, le sexe et la race. La monstruosité offre également des moyens de réexaminer ce qui constitue l’humain, car « l’ontologie orientée zombie » ou « zombie oriented ontology » (dans son anglais original) de Jeffrey Jerome Cohen met l’accent sur la corporéité humaine et pense à travers le corps comme un vaisseau vidé de sa subjectivité. La science-fiction engage aussi des formes de vie inhumaines, présentant des possibilités imaginatives de ce que pourraient être les êtres extraterrestres, des forces malveillantes des films catastrophes et épiques, à une approche plus nuancée qui considère l’extraterrestre comme communiquant une compréhension de ce que signifie être terrestre, être humain, et les responsabilités de l’homme envers sa planète. Des articles potentiels pourraient demander: Comment pourrions-nous comprendre l’horreur, la science-fiction et l’écocinéma à la lumière d’une pensée qui va au-delà de l’humain? Qu’est-ce que les fictions spéculatives nous aident à comprendre sur les limites de l’être humain?
Pour ce numéro, ultimement, nous demandons: quel (s) rôle (s) les médias cinématographiques et de l’image animé jouent-ils dans la construction et / ou la conceptualisation du un-humain? Comment émerge-t-il à la fois comme condition et comme discours? Comment les pressions ontologiques et épistémologiques qui animent le un-humain sont-elles facilitées, cristallisées et / ou reflétées par les médias?
Veuillez soumettre les articles composés entre 5 000 et 7 000 mots, y compris les notes de fin et les citations sous forme de document Word dans le style de Chicago à submission portal avant le 15 juillet 2021.
First Forum Graduate Student Conference 2021
October 21, 22, 28, & 29
Division of Cinema and Media Studies
School of Cinematic Arts, University of Southern California
We’re posting through it. All of it.
- posting on social media
- trolling and shit-posting
- post-theoretical paradigms and movements
- digital labor, content moderation and algorithms
- the postal service and infrastructure
- fans and celebrities
- posters and physical media
- going postal
- doomscrolling and attention economies
- the post-network TV era
- bots and computation
- publics and publicity
- signposting and speech acts
- Postmates and gig economies
- outposts, fence posts, and borders
- posting through it
- job posts and impostor syndrome
Our Call for Posts — The organizing committee of the 2021 First Forum Graduate Student Conference invites our fellow graduate student scholars to submit abstracts that explore the wide range of meanings suggested by the word “posting” as it relates to the fields of cinema and media studies, communication, gender and sexuality studies, ethnic studies, and science and technology studies.
Please email submissions to firstname.lastname@example.org by June 4, 2021.
You can review our submission guidelines at mediafieldsjournal.org.
Call for Submissions
Modularity and Modification
Media Fields: Critical Explorations of Media in Space, Issue 17
To move, media must be flexible. Think, for instance, of the remarkably consistent form of the upscale multiplex that has made a home for global blockbuster cinema in China, Mexico, India, Belgium, and Canada alike. Or consider the efforts of communities who have had to salvage, appropriate, and alter telecommunications infrastructure—developing their own technical expertise in the process—in an effort to bring internet connectivity to remote areas neglected by corporate service providers. While distinct, these examples each raise the question of how media flexibility is underpinned by the tension between modularity and modification.
Modularity involves the repetition, standardization, and recombination of existing forms: exhibitors use the standard form of the multiplex to signify the “world-class” status of their up-to-date cinemas, while amateur technicians rely on widely used antennas, wires, and protocols to plug into existing internet infrastructure. Conversely, modification calls on the ability to adapt given materials (including technologies, practices, ideas, and senses of self) to prevailing conditions: theatre chains grapple with issues of urban development, audiences, and taste cultures as they develop new sites in new locales, while communities adapt technology to the resources they have, the landscapes they inhabit, and the histories they share to make their projects work. In these and other examples, media forge the channels along which modular elements can be disseminated and within which opportunities for modification take root.
Considering these concepts as an entry point for the study of media in space immediately conjures associations with Michel de Certeau’s opposition between strategy and tactics. If modularity offers the opportunity to expand the “proper place” of the powerful and extend the imposed terrain on which the subjected must move, modification suggests the potential to rework that terrain along tactical lines. The modularity of communication infrastructures and media forms might suggest narratives of spatial and temporal compression and, in turn, buttress colonial narratives that render distant, foreign spaces more legible, accessible, or profitable for powerful interests. Conversely, the modification of modular media genres, formats, technologies, and environments evokes profuse examples of narratives of localized or regionalized difference, adaptation, resistance, and even refusal.
Such associations between modularity, modification, power, and resistance do not hold seamlessly, and are useful only to the extent that they are contextualized and questioned. Media scholarship that engages in this work does not necessarily dispense with familiar associations with these concepts but expose the frictions and counternarratives that arise out of close, critical analysis. Reconsidering these associations raises questions including: What are productive ways of conceptualizing modification without fetishizing neoliberal concepts of ingenuity that displace the responsibilities of media institutions and telecommunications services onto individuals? How might we understand corporate modularity as involving forms of differentiation that enable flows of capital and hegemony? Where can we see the activities of user or audience modification being channeled or controlled by powerful interests? In what ways does modularity emerge from individuals, social groups, and communities rather than being imposed on them? Can we uncover or recover cases that subvert binaries associating modularity with the homogenous, the corporate, and the global and modification with the heterogenous, the individual, and the local?
The Media Fields Editorial Collective in the Department of Film and Media at the University of California, Santa Barbara seeks papers that interrogate the imbrication of modularity and modification in spatial practices and imaginaries and put forward thought-provoking examples of how they might be operationalized in the service of today’s media scholarship.
Potential paper topics include, but are not limited to:
- Technological standards and standardization
- Circulating genres and formats
- Digital “modding”
- Film and television “packaging”
- Franchises, sequels, spinoffs, ripoffs, and reboots
- Platform systems and their users
- Communication infrastructures and their nodes
|Posting Date:||May 5, 2021|
|Job Title:||Post-Doctoral Fellow|
|Department:||Film and Media|
|Description of Area or Topic of Research:||Media Archives|
The Vulnerable Media Lab located in the Department of Film and Media at Queen’s University is inviting applications to a 1-year MITACS Accelerate Post-Doctoral Fellowship to work with our partners Reelout Queer Film Festival and Archive/Counter Archive to begin August 1, 2021.
Candidates must have defended their dissertation by July 15th, 2021. (This is a firm deadline)
The successful candidate is expected to focus on research into archival processes, including ethical best practices and community-based methods for digitization, restoration, preservation, metadata production, and data management for analog and/or digital-born media, with particular engagement with LGBTQ2, Indigenous, Black or BIPOC communities in the Americas.
We invite applications from archivists and/or digital humanities interdisciplinary scholars who have earned a doctorate in one of the following areas, in order of priority: media preservation/archival or information studies, museum studies, communications, digital media, cultural studies, art history or related discipline, and have expertise in such fields such as asset/collections management, Indigenous knowledge architectures, digital media production. The position requires that the candidate has strong skills and experience in community arts engagement, and familiarity with open-source content management systems and, ideally, post-production software. Required soft skills include outstanding writing and communication skills, a strong collaborative working style, good time management, and adaptability. Working knowledge of Spanish or French would be considered an asset.
This Post-Doctoral position will include opportunities to produce publications and curate media online and onscreen, participate in conference presentations and directly contribute to content design for VML and Reelout’s platforms, as well as for Archive/Counter-Archive’s hybrid publications. Working with a range of Queen’s partners (including Art Conservation, Queen’s Library and Archives, The Agnes Etherington Art Centre, and the Centre for Advanced Computing) and with graduate students in Cultural Studies, Art History, Art Conservation, and Screen Cultures and Curatorial Studies, the successful candidate will be well positioned to develop their projects and expand their skills. It is expected that the candidate will divide their time between the Vulnerable Media Lab on Queen’s Campus and Reelout’s office in Kingston, with research trips to archives in Toronto.
The Vulnerable Media Lab is a state-of-the-art CFI-funded facility serving as the base for a number of research projects related to Indigenous, BIPOC, 2SLGBTQ+ and women’s histories. The researchers aim to develop methods and processes to ensure this media is preserved and made available according to culturally specific and ethically driven forms of access, thus engaging in new conversations about cultural heritage.
|Start Date and Duration of Appointment:||August 1, 2021-July 31, 2022|
|Required Qualifications:||PhD in one or more of the following areas, in order of priority:media preservation/archival or information studies, museum studies, communications, digital media, cultural studies, art history or related discipline, and have expertise in such fields such as asset/collections management, Indigenous knowledge architectures, digital media curation and design. Strong skills and experience in community arts engagement, and familiarity with open-source content management systems.|
|Required Documentation:||Cover letter describing experience and research intention; CV; names and contact information of two references.|
|Application Deadline:||June 15, 2021|
|Application Procedure:||Apply by email to Dr. Susan Lord, Director of the Vulnerable Media Lab <email@example.com>|
EMPLOYMENT EQUITY: 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.
ACCOMMODATION IN THE WORKPLACE: The University has policies in place to support its employees with disabilities, including an Accommodation in the Workplace Policy and a policy on the provision of job accommodations that take into account an employee’s accessibility needs due to disability. The University will provide support in its recruitment processes to applicants with disabilities, including accommodation that takes into account an applicant’s accessibility needs. If you require accommodation during the interview process, please contact Dr. Susan Lord firstname.lastname@example.org
Anishinaabemowin: Gimaakwe Gchi-gkinoomaagegamig atemagad Naadowe miinwaa Anishinaabe aking
Kanien’keha (Mohawk): UNe Queen’s University e’tho nońwe nikanónhsote tsi nońwe ne Haudenasaunee tánon Anishinaabek tehatihsnónhsahere ne óhontsa.
English: Queen’s University is situated on traditional Haudenosaunee and Anishinaabe territory.
For more information on the history of this land, and why it is important to acknowledge this land and its people, please see this link to the Queen’s Encyclopedia: http://www.queensu.ca/encyclopedia/t/traditional-territories
PSAC Local 901, Unit 2 – email@example.com
Film Studies Association of Canada Graduate Student Essay Prize
(La version française suit ci-dessous)
All current students are invited to submit an essay written as part of their graduate studies as application for the 2021 Film Studies Association of Canada Graduate Student Essay Prize. The recipient will be announced during the FSAC Annual General Meeting during the online annual conference that will be held June 1st through June 3rd 2021.
The selected essay will demonstrate maturity and sophistication of argument, be a clear and direct engagement with the discipline of Film Studies (broadly defined), be provocative and stimulating and have the potential for publication.
- Students must be registered in a graduate program for at least one semester in the school year prior to the deadline.
- If the paper has more than one author, all authors must be registered graduate students and members of the association.
- Papers submitted for review to a scholarly journal (even if not yet accepted) are not eligible.
- Papers are submitted by the author(s), not a supervisor or faculty advisor.
- Students must be fully paid members of FSAC at the time that they submit their paper for consideration. Previous winners may not submit entries.
- Essays resulting from research conducted under the Gerald Pratley Award may not be submitted, but Pratley winners may submit essays on other topics.
Papers are evaluated by a blind-review process.
- Do not include any identifying information of authorship or home institution in the body of the paper.
- Submit by email as MSWord attachment
- Place identifying contact information (author name(s), institution, contact information and essay title) in the body of the email.
- Attach the paper with the title at the top of the first page.
- Double-space and number your pages.
- Essays should fall between 5000 and 7500 words in length.
A committee of executive members of the association, including a graduate student representative, will select the recipient.
The president will receive and distribute the applicants but will not participate in adjudication.
Send applications to: Louis-Paul Willis (firstname.lastname@example.org)
Deadline: May 15th, 2021
The selected paper is expected to be revised and submitted for publication consideration with the Canadian Journal of Film Studies. Feedback from the journal reviewers is a major benefit of this award.
Prix de l’essai étudiant de l’Association canadienne d’études cinématographiques
Les étudiants et les étudiantes présentement inscrit(e)s dans un programme d’études supérieures sont invité(e)s à soumettre un texte critique réalisé dans le cadre de leurs études de 2e et 3e cycle pour le prix du meilleur essai critique de l’Association canadienne d’études cinématographiques. Le gagnant ou la gagnante sera annoncé(e) lors de l’assemblée générale de l’association dans le cadre de la conférence annuelle qui se déroulera en ligne, du 1er au 3 juin 2021.
Le texte primé devra démontrer une maturité et une sophistication critique, offrir clairement et directement une contribution à la discipline des études cinématographiques (au sens large), se distinguer par son originalité, se pertinence et son potentiel de publication.
- Les étudiant(e)s doivent être inscrit(e)s dans un programme de 2e ou 3e cycle depuis au moins un semestre dans l’année académique qui précède l’échéance;
- Si le texte à plus d’un auteur, tous les auteurs doivent être étudiant(e)s et membres de l’association;
- Les articles déjà soumis à des revues scientifiques (et même s’ils n’ont pas encore été acceptés) ne sont pas éligibles ;
- Les articles doivent être soumis par le candidat ou la candidate, et non par le directeur ou la directrice de recherche ou le ou la responsable de l’unité académique;
- Les étudiant(e)s doivent être membres de l’association au moment de soumettre leurs textes au comité. Les gagnant(e)s des années précédentes ne sont pas admis(es);
- Les textes découlant de recherches réalisées dans le cadre du Prix Gerald Pratley ne sont pas admis, bien que des récipiendaires du prix Pratley peuvent soumettre des textes, mais ceux-ci devront porter sur un autre sujet.
Démarche à suivre :
Les articles sont évalués à l’aveugle par un comité de pairs.
- Ne pas inclure des informations d’identification, ni le nom de votre institution dans le corps du texte;
- Le texte doit être joint à un courriel, en format MSWord;
- Le titre doit apparaître au haut de la première page du texte;
- Le texte doit être à double interligne et paginé;
- Les essais doivent compter entre 5000 et 7500 mots.
Un comité formé par des membres de l’exécutif de l’association, comprenant le représentant étudiant, sélectionnera le gagnant ou la gagnante.
Le président recevra et distribuera les candidatures mais ne participera pas au processus d’évaluation.
Envoyez vos soumissions à : Louis-Paul Willis (email@example.com)
Date limite : 15 mai 2021
Il est attendu que le texte sélectionné soit révisé et soumis pour publication à la Revue canadienne d’études cinématographiques. Les retours des évaluateurs de la revue forme un des bénéfices de ce prix.
Canadian Journal of Film Studies – Call for Papers
Special Issue: 16mm and Canadian Film
(Version française ci-bas)
This history of Canadian Cinema is impossible to disentangle from the specific dynamics of the cameras, films, projectors and institutions that constitute the shifting dynamics of what we often just call “16.” Standardized in 1923, this smaller, non-flammable, portable apparatus became the global backbone of a vast range of film practices: amateur, experimental, military, industrial, educational, governmental, religious. As a distribution and performance platform, 16mm films and projectors normalized the place of film in Canadian classrooms, government offices, civic organizations and factories as early as the 1930s, fundamentally shaping how the nation, and its conflicts, would sound and appear thereafter. As a technology of making, 16mm transformed amateur, art/experimental, community, and televisual practices for decades. We invite papers that consider the specifically Canadian legacies of 16mm film, understood capaciously as a family of technologies, practices, institutions, filmmakers, programmers, viewers, and films. Topics may include distribution circuits and film libraries, amateur, educational and industrial films; the legacy of 16mm in direct cinema and the NFB/ONF; the role of 16mm in expanded cinema and experimental forms; its role in Canadian television; practices of the military and government; LGBTQ2+ filmmaking, activism, viewing cultures; 16mm and colonial/settler-colonial/anti-colonialism/anti-racism; and 16mm’s rich image archive as materials for reconceptualizing the past, present and future. Essays on 16mm as found footage, raw material or hand-processed art are also welcome.
In order to accommodate as many kinds of contributions as possible, we are open to essays of varied length and approach. Proposals should be approximately 300 words, indicate anticipated length, include a short bio and should be submitted no later than May 15th, 2021. Contributors will be notified by June 1, 2021 and articles will be due November 30th, 2021. We aim to have this issue out as part of the mounting interest in the 100th anniversary of the 16mm standard.
Send to issue Co-editors:
Liz Czach (firstname.lastname@example.org)
Associate Professor, English and Film Studies, University of Alberta
Haidee Wasson (email@example.com)
Professor, Film and Media Studies, Concordia University, Montreal
Revue canadienne d’études cinématographiques – Appel à contributions
Numéro spécial: 16 mm et cinéma canadien
L’histoire du cinéma canadien est intimement liée à une corrélation singulièrement entre caméra, format filmique, et projecteur interagissant au sein d’institutions qui ont façonné la dynamique de ce que l’on appelle communément le 16mm. Standardisé en 1923, la petite caméra 16mm portable, avec sa pellicule ininflammable, devint l’épine dorsale mondiale d’une ample gamme de pratiques cinématographiques: amateur, expérimentale, militaire, industrielle, éducative, gouvernementale, religieuse. Comme plateforme de distribution et de projection, le 16 mm a normalisé l’utilisation du cinéma dans les salles de classe, les bureaux gouvernementaux, les organisations civiques et les usines du Canada dès les années 1930, influençant fondamentalement la façon dont la nation (et ses conflits) apparaîtrait désormais en son et images. En tant que technologie de production, le 16 mm a transformé les pratiques amateurs, artistiques/expérimentales, communautaires et télévisuelles pendant des décennies.
Nous invitons les chercheurs intéressés à soumettre des articles qui étudient l’héritage spécifiquement canadien du 16 mm, compris au sens large comme un vaste ensemble de technologies, de pratiques, d’institutions, de cinéastes, de programmeurs, de téléspectateurs et de films. Les sujets peuvent inclure :
- les circuits de distribution et les cinémathèques, les films amateurs, éducatifs et industriels;
- l’héritage du 16 mm à l’ONF, en particulier dans l’évolution du cinéma direct;
- le rôle du 16 mm dans le cinéma élargi et les formes expérimentales, à la télévision, ou à des fins militaires et gouvernementales;
- format de prédilection pour la réalisation de films LGBTQ2 +, de films activistes, de films culturels;
- le 16 mm et le colonialisme, l’anticolonialisme et l’antiracisme;
- l’image d’archives comme matériaux de base pour reconceptualiser le passé, le présent et le futur, ou la pellicule 16mm recyclée, manipulée, peinte ou griffonnée.
Afin d’inclure l’éventail de contributions le plus large possible, nous accepterons des articles de longueur et d’approche variées. Les propositions d’environ 300 mots doivent indiquer la longueur prévue de l’article complété et être soumises au plus tard le 15 mai 2021. Veuillez aussi inclure une brève biographie. Les auteurs dont les propositions auront été sélectionnées seront informés avant le 1er juin 2021. Les articles complétés doivent être soumis avant le 30 novembre 2021. Nous espérons que ce numéro spécial sera publié à temps pour célébrer le 100e anniversaire du 16mm en 2023
Veuillez envoyer vos propositions aux deux éditrices invitées:
Liz Czach (firstname.lastname@example.org)
Professeure associée, Études anglaises et cinématographiques,
Université de l’Alberta, Edmonton
Haidee Wasson (email@example.com)
Professeure, Études cinématographiques et médiatiques,
Université Concordia, Montréal
CfP: Science and the Moving Image: Histories of Intermediality
Location: Online (Zoom)
Date: November 2nd and 3rd PM (UK time), 2021
Since the advent of film in the late nineteenth century, moving images have been integral to making and communicating science. A rich interdisciplinary literature has examined such representations of science in the cinema and on television and investigated how scientists have used moving images to conduct research and communicate knowledge. Responding to growing interest in science and the moving image, this online workshop uses the concept of ‘intermediality’ as a starting point to discuss new approaches and methodologies. Intermediality, coined by media scholars to describe the interplay between different media, magnifies their multiple meanings and heterogenous interrelations. Moving images especially invite intermedial analysis because they are often composed of interrelated visuals, speech, music, and text; film can also be cut into stills for reproduction in newspapers, advertisements, and journals. Intermedial approaches thus allow scholars to assess not only the relationship between scientific practices and media forms, but also the afterlives, circulation, and reception of these media in a richer historical context. With its attention to relations and movement between media, intermediality also expands our understanding of the visual cultures of science, including in parts of the world and among groups that are underrepresented in current scholarship. We particularly invite submissions that use intermediality to engage critically with the scope and limits of science and the moving image.
Possible themes might include:
- Processes of translation between different media, including film, television, radio, and print
- Intermedial practices and histories of specific scientific disciplines
- Moving images in science education
- Transnational and comparative approaches to scientific image-making
- Time-lapse, frame-by-frame analysis, and other analytical methods as intermedial practices
- Representations of science in multimedia entertainment industries
- The relationship between moving images of science and the history of empire and colonization
- Amateur uses of moving image media, including citizen science
- The cultural reproduction through scientific images of gender, race, and class.
Keynote speaker: Dr. Tim Boon (Head of Research and Public History, Science Museum Group)
We welcome talks from postgraduate students, early-career researchers and established scholars. We are looking for abstracts (max. 250 words) for 15-20 minute talks, which will be arranged in thematic panels. Submissions should be sent to firstname.lastname@example.org. The deadline for proposals is June 28th, 2021 and we aim to respond to proposals within four weeks.
This workshop will take place online via Zoom and is hosted by postgraduate members of the Department of History and Philosophy of Science and the Faculty of History, University of Cambridge.
Organised by: Miles Kempton, Max Long, Anin Luo
Job posting: LTA – Critical Sexuality Studies in Film and Media Studies.
Deadline: April 23rd
The Mel Hoppenheim School of Cinema, Concordia University, Montreal, is seeking candidates with expertise in LGBTQ+ and feminist approaches to film and media. Applicants must display a strong record of research and teaching across these areas, as well as a commitment to interdisciplinary inquiry. Candidates with experience teaching gender and sexuality as they intersect with issues of race, class, religion, nationality, ethnicity, and disability are especially encouraged to apply. The ideal candidate will value principles of equity, diversity and inclusion, and integrate these into their research, teaching, and service.
The successful candidate’s teaching assignment will include specialized courses on feminist and LGBTQ+ topics, alongside more general Film Studies classes. These courses will contribute to the FMST BFA degree as well as the new and growing BA Major in Interdisciplinary Studies in Sexuality, housed in the Simone de Beauvoir Institute. During the initial appointment, the successful candidate will normally be expected to teach up to six undergraduate lecture courses in Sexuality and Representation, Queer Cinema, Women and Film, and Approaches to Film Studies, and up to seven courses (21 credits) per annum if reappointed. Other responsibilities may include some committee and administrative work.
Qualifications and assets
Applicants should hold a PhD in Film, Media, Cultural Studies, or a related discipline(s), and have teaching experience at the university level that demonstrates commitment to principles of equity, diversity and inclusion. Applicants should also demonstrate success with teaching topics that reflect the current state of the field in gender and sexuality studies. Preference will be given to candidates who demonstrate a successful scholarly record in gender and sexuality studies, and with abilities in a range of approaches to the field. Prior experience indicating academic or community service with the same commitment to diversity and inclusivity will be a recognized strength. Although classes are taught in English, a foundation in French is an asset.
How to apply
Applications should be submitted electronically to email@example.com on or before April 23, 2021. Submissions must clearly identify the job title (Limited Term Appointment in Critical Sexuality Studies in Film and Media) and position code (21_LTA_CINE_M2), and include a cover letter; curriculum vitae; a statement of teaching philosophy and interests; evidence of teaching effectiveness (including course syllabi and evaluations); one example of published scholarly work (a peer-reviewed article/chapter in the area of expertise relevant to this call); and the names and contact information of three referees. All inquiries regarding this position should be directed to Dr. Joshua Neves, Department Hiring Committee Chair, firstname.lastname@example.org. The appointment is expected to commence on August 1, 2021. Review of applications will begin soon after the position has closed, but will continue until the position is filled. Only short-listed candidates will be notified. The department regrets that it cannot consider incomplete applications.
Concordia University is strongly committed to building an equitable and inclusive community, and recognizes the importance of diversity in achieving excellence in teaching and research. As part of this commitment to providing our students with the dynamic, innovative, and inclusive educational environment of a Next‐Generation University, we require all applicants to articulate in their cover letter how their background, as well as lived and professional experiences and expertise have prepared them to teach in ways that are relevant for a diverse, multicultural contemporary Canadian society.
These ongoing or anticipated examples can include but are not limited to:
- teaching about underrepresented populations
- mentoring students from underrepresented backgrounds
- committee work
- offering or organizing educational programming
- participation in training and workshops
Concordia University recognizes the potential impact that career interruptions can have on a candidate’s record of research and will take them into careful consideration in assessing applications and throughout the selection process.
All applicants will receive an email invitation to complete a short equity survey. Participation in the survey is voluntary and no identifying information about candidates will be shared with hiring committees. Candidates who wish to self-identify as a member of an underrepresented group to the hiring committee may do so in their cover letter or by writing directly to the contact person indicated in this posting.
Applicants who anticipate requiring adaptive measures throughout any stage of the recruitment process may contact, in confidence, Nadia Hardy, Interim Deputy Provost and Vice-Provost, Faculty Development and Inclusion at email@example.com or by phone at 514-848-2424, extension 4323.
100 Years of 16mm – Call for Papers
With its devices and materials largely consigned to archives, storage closets, and junk shops, it is easy to forget that 16mm was – for over 50 years – a major global media infrastructure. Considered an ascendant technological platform from the 1920s onward, 16mm was a suite of hardware and software that rapidly wended its way into the operations of government, industry, business, military, schools, museums, and homes. Sold as an amateur’s delight, a mighty military tool of operations, a miraculous business solution and a community organizing device, it transformed realms large and small, public and private, local and global. By mid-century, millions of 16mm cameras and projectors had launched countless new audio-visual forms and created everyday interfaces that reshaped how and what people would see and hear. New kinds of content arose, which appeared in remote as well as common places. Audiences morphed; They could be as small as one but as big as the formal and informal networks that grew to connect them. Colonialist, imperialist, nationalist, and multi-nationalist institutions arose using this non-flammable, highly portable film format. Artists and activists also engaged these small affordable media machines establishing other, and sometimes, counter-pathways. Standardized in 1923, 16mm technologies, institutions, and practices constituted a primary and dominant media substrate for more than half a century, enabling a vast arena of film and media activity.
It’s time for a more fulsome assessment of its legacies.
This IN FOCUS (Journal of Cinema and Media Studies) invites proposals for essays addressing the crucial, generative, and transformative history of 16mm film as a tool of making, storing, preserving, distributing, and showing moving images and sounds. For almost 100 years, this uniquely important film format has upended and reshaped a vast realm of creative, political, governmental, sexual, educational, recreational, informational, and experimental activity. This dossier begins a conversation about its histories and impact, working to catalyze a fuller understanding of this particular moving image/sound infrastructure and the many practices and expressive forms it enabled. Mapping its lasting, diverse and global impacts will be a priority of this IN FOCUS feature. Contributions may take the form of case studies or surveys, conceptual explorations, formal/artistic examinations, or institutional and technological studies.
Please share a brief 150-word abstract or statement of interest by March 31, 2021.
Send to: Haidee Wasson (firstname.lastname@example.org)
Professor, Film and Media Studies, Concordia University, Montreal
Final Essays: 2500 words; due January 1, 2022
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