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CFP: Cinephile 18.1 – (Un)recovering Lost Futures

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

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

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

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

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

3. Where might we find the new?

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

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

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

Submissions are due by January 6th 2024.

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

Incoming editors: Will Riley and Liam Riley

Indicative Bibliography

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

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

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

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

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

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

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

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

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

 

Call for Papers: FRAGMENTATION
Version française ci-bas.

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

Keynote address by Dr. Maggie Hennefeld, University of Minnesota

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

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

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

Sample topics might include but are not limited to:

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

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

Submissions should provide the following information:

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

Appel à Contributions: FRAGMENTATION

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

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

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

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

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

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

Les soumissions doivent inclure l’information suivante :

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

The Graduate Visual Culture Association at Queen’s University

Context & Meaning XXIII:
Present | Past
CALL FOR PAPERS

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

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

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

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

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

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

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

Nicholas Markowski and Peter Sproule
Conference Co-Chairs
Context & Meaning XXIII
contextandmeaning@queensu.ca

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

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

 

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

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

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

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

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

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

Possible topics:

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

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

Please send your proposals and inquiries to Lee Carruthers (lee.carruthers@ucalgary.ca) and Charles Tepperman (c.tepperman@ucalgary.ca).

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1. Énoncé de philosophie éditoriale:

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

2. Curriculum Vitæ:

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

3. Énoncé des ressources institutionnelles:

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

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

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

 

University of North Carolina Wilmington
Department of Film Studies
Assistant Professor

The Department of Film Studies at the University of North Carolina Wilmington (UNCW) is seeking a tenure-track Assistant Professor, starting August 2024. The successful candidate will teach a variety of undergraduate and graduate courses in their areas of research as well as some of the department’s core courses in film art, film theory, film historiography, and world cinema. The department seeks candidates whose work will expand our existing historical and/or international coverage, and applicants should address this qualification in their letter of interest. The candidate will join a department with a strong commitment to diversity and inclusivity and will be expected to contribute actively to these efforts.

Qualifications: Candidates must possess a PhD in film studies or a related discipline. ABD will be considered; however, PhD must be obtained within the first academic year of employment. Strong preference will be given to candidates with a PhD in film studies awarded prior to August 2024. Applicants should also demonstrate potential for teaching excellence and scholarly productivity.

The UNCW Film Studies Department prepares students to participate in a world increasingly shaped by moving pictures. Through courses that offer a foundation for understanding cinema—and its relation to culture, history, technology, and aesthetics—Film Studies teaches students to create and analyze moving images, to produce research, and to make art. One of the premiere departments at UNCW, Film Studies combines critical studies with production and recently launched integrated MA and MFA programs. The department draws on the rich social and cultural heritage of the coastal city of Wilmington. Film festivals and conferences, local and visiting scholars and filmmakers, and an assortment of independent and international film screenings together create a vibrant film community. The Film Studies department hosts the journal and has a robust working relationship with area filmmaking professionals and EUE Screen Gems Studios. A Research 2 public institution, UNCW is consistently recognized for academic excellence by publications such as U. S. News & World Report and The Princeton Review.

Using the link below, applicants will upload a letter of interest, curriculum vitae, and a writing sample of no more than 30 pages. Applicants must also list three professional references, who will be asked to upload their letters directly to the online portal. Adobe PDF attachments are required.

https://jobs.uncw.edu/postings/29895

The application deadline is November 20. For questions about the position, contact Professor Todd Berliner at berlinert_at_uncw.edu or Professor Lani Akande at akandel_at_uncw.edu. For questions about the online application, contact Lauren Babson at babsonl_at_uncw.edu or 910-962-3220.

UNC Wilmington actively fosters a diverse and inclusive working and learning environment and is an equal opportunity employer. Candidates from underrepresented racial, ethnic, or other minority groups, veterans, and people with disabilities are strongly encouraged to apply.

 

Department of Culture & Media Studies: Assistant Professor, Community-Engaged Media Arts
Academic Employment Opportunity #23-11

UNB Fredericton

Closing Date: November 10, 2023

The Department of Culture and Media Studies in the Faculty of Arts at the University of New Brunswick, Fredericton, New Brunswick (Canada), invites applications for a tenure track appointment at the rank of Assistant Professor.

The start date of the position is July 1, 2024. This position is subject to final budgetary approval.

We seek a scholar-practitioner of media and cultural studies with expertise in film production, whose research and filmmaking demonstrate a commitment to community-engaged practice and inquiry with an emphasis on working with and representing equity-seeking groups. A PhD in Film or Media Studies (or related discipline) or a terminal degree in their area of specialization is required. Candidates should have demonstrated evidence of exceptional, nationally and/or internationally recognized achievement in community-engaged mediamaking practices and national/international exhibition. An active research profile in the field of media and cultural studies, and post-secondary teaching experience would be strong assets.

The successful candidate’s research and teaching areas will support our existing departmental areas of specialization and help strengthen and consolidate our core curriculum. They will teach film and media production at all levels (including camera, sound, lighting, editing and pre-production), oversee the program’s technical needs, supervise internships, develop projects, secure funding, and create innovative community-learning opportunities that benefit students and shape the future of media and cultural studies at UNB. Candidates will be expected to demonstrate capacity to apply principles of decolonizing, equity, diversity, and inclusion in their pedagogy.

Media Arts & Cultures is an interdisciplinary program that combines critical and creative work, encouraging students to become scholars and authors of media. Bringing together perspectives from the social sciences, humanities, and fine arts, and grounded in the Canadian tradition of communication studies, the program is built around the assumption that critical thinking about contemporary media cultures benefits significantly from practical experience with the processes and technologies of cultural production. Housed in the Eaton Multimedia Centre, the program features smart classrooms, a 24-seat computer lab, and a production studio, all recently renovated. Along with a Minor in Music and a variety of language courses, our department also houses a Comparative Cultural Studies program with an international and comparative focus in which students pursue the study of culture and cultural expression as significant meaning making.

Applicants are asked to submit a letter of application, a C.V. (either PDF or Word format) and a link to a digital portfolio/reel electronically to cams@unb.ca. In addition, candidates should arrange for three letters of reference to be sent electronically under separate cover to the attention of Dr. Sophie Lavoie, Chair, Dept. of Culture & Media Studies, UNB Fredericton, cams@unb.ca.

Please note: writing samples, teaching dossiers, and sample syllabi will be requested only from those selected for further consideration by the hiring committee.

Closing Date for Applications: November 10, 2023.

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority. Applicants should indicate current citizenship status.

Short-listed candidates will be required to provide satisfactory proof of credentials including appropriately certified translations of credentials into English, as applicable

The University of New Brunswick is committed to employment equity and fostering diversity within our community and developing an inclusive workplace that reflects the richness of the broader community that we serve. The University welcomes and encourages applications from all qualified individuals who will help us achieve our goals, including women, visible minorities, Aboriginal persons, persons with disabilities, persons of any sexual orientation, gender identity or gender expression. Preference will be given to Canadian citizens and permanent residents of Canada.

 

Tenure-Track Position in Film and Moving Image Studies, Mel Hoppenheim School of Cinema

Job title: Tenure-Track Position in Film and Moving Image Studies, Mel Hoppenheim School of Cinema
Position code: 23_T_CINE_M
Date posted: September 29, 2023
Application deadline: November 15, 2023
Advertised until: Position is filled

Position description

The Mel Hoppenheim School of Cinema in the Faculty of Fine Arts invites applications for a tenure-track position in Film and Moving Image Studies at the rank of Assistant Professor to begin August 1, 2024. Duties include teaching undergraduate (BFA) and graduate (MA & PhD) courses in the Film and Moving Image Studies area. The incumbent will be asked to teach a 2/2 load and should be prepared to supervise graduate students, serve on graduate supervisory committees, and perform administrative duties. Over time, the successful candidate will actively engage in program stewardship and participate in committee work at the Department, Faculty and University levels. In addition to teaching and service, faculty members are expected to maintain an active research profile.

Qualifications and assets

Applicants for this position must have a PhD in Film Studies, Media Studies, or a cognate discipline (or be completed by the start date of the appointment). The successful candidate will have teaching experience at the university level and demonstrate an active program of research as well as a record of publications. Prior activities demonstrating leadership, service, and commitment to diversity will be considered assets. We are seeking candidates with expertise in the field of Film and Moving Image Studies whose research and teaching focuses on methodologies and issues of racial and ethnic diversity, equity, and inclusion. Preference will be given to candidates whose research approaches histories and/or theories of film, television, and other moving image media through the critical perspectives of race, ethnicity, indigeneity, intersectionality, decoloniality, disability and/or diasporic studies. The ideal candidate will be a scholar working in the burgeoning fields of Indigenous Studies, Black Studies, and Critical Race Studies in the Americas and beyond in the areas of film, television, and moving image media, with a research profile that addresses underrepresented groups or geographical areas, (trans)cultural perspectives and modes of artistic or media-based political activism and dissent including but not limited to anti-Black and anti-Indigenous racisms, legacies of colonialism, and other forms of systemic oppression.

The main criteria for selection are scholarly and teaching excellence. The successful candidate will provide evidence of high-quality scholarly output that demonstrates potential for independent research leading to peer assessed publications and the securing of external research funding, as well as strong potential for outstanding teaching contributions at both the undergraduate and graduate levels. Candidates are encouraged to share any career interruptions or personal circumstances that may have had an impact on their career goals in their letter of application. These will be carefully considered in the assessment process. The Mel Hoppenheim School of Cinema values diversity among its faculty and strongly encourages applications from women and members of underrepresented groups. Concordia University is an English-language institution of higher learning at which the primary language of instruction and research is English. Since this position supports academic functions of the university, proficiency in English is required. Working knowledge of French, including reading and grading student work in French, is an asset.

How to apply

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

Yes, I am a citizen or permanent resident of Canada.

or

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

Applications should be submitted electronically to jobs.cinema@concordia.ca on or before November 15, 2023, but will continue to be reviewed until the position is filled. Only shortlisted candidates will be notified. Submissions should consist of a single PDF file that is identified with the candidate’s name and position code (23_T_CINE_M), and includes the following items in the order specified below: 

  • A cover letter outlining interest for the position, past and current research, as well as excellence in teaching
  • A current curriculum vitae indicating all academic achievements (including awards and accolades), research grants, and all relevant professional experience
  • Evidence of teaching effectiveness—e.g., teaching evaluations (if applicable), sample assignments, and syllabi of at least two courses taught (undergraduate and graduate if applicable) 
  • Evidence of scholarship that includes up to two representative refereed articles, book chapters, or dissertation chapters
  • A statement on Equity, Diversity, and Inclusion regarding pedagogy
  • The names and contact information of three referees
  • A declaration stating either: “Yes, I am a citizen or permanent resident of Canada” or “No, I am not a citizen or permanent resident of Canada”

All inquiries regarding this position may be directed to Dr. Martin Lefebvre, Chair, Mel Hoppenheim School of Cinema at martin.lefebvre@concordia.ca.

Concordia University is strongly committed to building a diverse, equitable, and inclusive community, and recognizes the importance of inclusion 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.

Possible examples to demonstrate a diverse experience may include, but are not limited to:

  • teaching about underrepresented populations
  • community-based research
  • mentoring students from underrepresented backgrounds
  • offering or organizing educational programming
  • participation in training and workshops

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.

Adaptive measures

Applicants who anticipate requiring adaptive measures throughout any stage of the recruitment process may contact, in confidence, Anna Barrafato, Accessibility Change Lead: anna.barrafato@concordia.ca or by phone at 514.848.2424 extension 3511.

 

Symposium Call
October 23, 5pm EST
CALL FOR PARTICIPANTS

Visions of Care and Collaboration
An online symposium organized in conjunction with the Toronto Queer Film Festival
DATE: March 22-24, 2024
Proposal deadline: October 23, 2023. Submit proposals here.
Everyone is welcome to apply. This is a paid opportunity for all involved.

The Toronto Queer Film Festival is seeking proposals for its annual Symposium around the theme of Visions of Care and Collaboration.

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

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

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

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

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

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

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

  • Name
  • Affiliation (Institutional, collectives, ad-hoc groups, etc., if applicable)
  • Presentation format (i.e. paper, roundtable, workshop, creative)
  • Presentation title
  • 250-word abstract
  • The email address you can be contacted at
  • Accessibility needs

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

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

Instagram: @torontoqueerfilmfestival
Facebook: Toronto Queer Film Festival

 

Assistant Professor, Teaching Stream – Black Canadian Studies

Date Posted: 09/11/2023
Closing Date: 10/30/2023, 11:59PM ET
Req ID: 32583
Job Category: Faculty – Teaching Stream (continuing)
Faculty/Division: Faculty of Arts & Science
Department: University College & Transitional Year Programme
Campus: St. George (Downtown Toronto)

Description:
University College at the Faculty of Arts & Science and the Transitional Year Programme (TYP) at the University of Toronto invite applications for a full-time, teaching stream appointment in the field of Black Canadian Studies. The appointment will be at the rank of Assistant Professor, Teaching Stream, with an expected start date of July 1, 2024. It will be a joint appointment between University College in the Faculty of Arts & Science (51%) and the Transitional Year Programme (49%).

Applicants must have earned a PhD degree in a field related to Canadian Studies or a cognate area in either the Humanities or Social Sciences, by the time of appointment or shortly thereafter, with a clearly demonstrated record of excellence in teaching. We seek a candidate who has an established record as an outstanding instructor and is enthusiastic about the opportunity to enjoy a long-term career in teaching at the University of Toronto. We seek candidates whose teaching interests complement and enhance our existing departmental strengths. We seek candidates with a demonstrated ability to teach on topics relating to Black Canadian Studies, but also more broadly with respect to race and ethnicity in Canada, and how these intersect with other forms of identity, such as gender, sexuality, disability, and/or class as well as colonialism and imperialism, see https://www.uc.utoronto.ca/black-canadian-studies.

Candidates must have teaching experience in a degree-granting program, and/or postsecondary access program, including lecture preparation and delivery, curriculum development, and the development of online course materials and lectures. In addition, the successful candidate will be expected to participate in program discussions regarding the curriculum in both TYP and Canadian Studies, as well as engage in undergraduate mentorship with an aim to foster a vibrant intellectual community for undergraduates in both programs. Evidence of excellence and innovation in teaching and a commitment to excellent pedagogical inquiry can be demonstrated through teaching accomplishments, awards and accolades, presentations at significant conferences, the teaching dossier submitted as part of the application (with required materials outlined below) as well as strong letters of references from referees of high standing.

The candidate should also have experience teaching writing, research methods and/or analytic skills to traditional and non-traditional undergraduate university students who may have faced barriers to access university education due to race, indigeneity, class, gender, sexual orientation, ability and/or migrant/refugee identifications and histories. For these reasons, we request evidence of engagement in the scholarship of teaching, learning, and pedagogy related to development of writing and other skills across the curriculum. Candidates are expected to show evidence of a commitment to equity, diversity, inclusion, and the promotion of a respectful and collegial learning and working environment that is demonstrated through the application materials.

Salary will be commensurate with qualifications and experience.

The Faculty of Arts and Science at the University of Toronto (St. George Campus) has both a collegiate and departmental structure. University College is the founding college of the University and has a long-standing commitment to supporting its diverse body of around 5500 undergraduate students so that they can excel intellectually, while also engaging in the wider world. Canadian Studies is an interdisciplinary undergraduate program, which includes a minor in Asian Canadian Studies as well as hosting a Certificate in Black Canadian Studies. In addition to Canadian Studies, University College sponsors two other innovative undergraduate programs – Cognitive Science and Health Studies – and is affiliated with the Centre for Drama, Theatre and Performance Studies, and the Mark S. Bonham Centre for Sexual Diversity Studies. For more information about the Canadian Studies Program, see https://www.uc.utoronto.ca/canadianstudies.

The Transitional Year Programme is a full-time, eight-month access-to-University program intended for adults who do not have the formal qualifications for university admission. It is meant for those who did not have an opportunity to finish high school because of financial problems, family difficulties or other circumstances beyond their control. The Program actively encourages applications from members of the Indigenous, Black and LGBTQ communities, sole-support parents, persons with disabilities, neurodiversity, and individuals from working-class backgrounds of all ethnicities. Admitting about 50 students each year, TYP provides each student with academic advising, access to social work and counselling support, need-based bursaries, and space to work, socialize, and be with other students in their program. For more information about the Transitional Year Program, see http://typ.utoronto.ca/.

All qualified candidates are invited to apply by clicking on the link below. Applications must submit a cover letter; curriculum vitae; writing sample; and a complete teaching dossier to include a strong teaching statement, sample syllabi and course materials and, teaching evaluations. Equity and diversity are essential to academic excellence. Candidates are therefore also asked to submit a 1‐2 page statement of contributions to equity and diversity, which might cover topics such as (but not limited to): research or teaching that incorporates a focus on underrepresented communities, the development of inclusive pedagogies, or the mentoring of students from underrepresented groups.

Applicants must provide the name and contact information of three references. The University of Toronto’s recruiting tool will automatically solicit and collect letters of reference from each once an application is submitted (this happens overnight). Applicants, however, remain responsible for ensuring that referees submit letters (on letterhead, dated, and signed) by the closing date. At least one reference letter must primarily address the candidate’s teaching.

Submission guidelines can be found at http://uoft.me/how-to-apply. Your CV and cover letter should be uploaded into the dedicated fields. Please combine additional application materials into one or two files in PDF/MS Word format. If you have any questions about this position, please contact the Program Director, Professor Robert Diaz (robert.diaz@utoronto.ca).

All application materials, including reference letters, must be received by 11:59 PM EST, Monday, October 30th 2023.

All qualified candidates are encouraged to apply; however, Canadians and permanent residents will be given priority.

Diversity Statement

The University of Toronto embraces Diversity and is building a culture of belonging that increases our capacity to effectively address and serve the interests of our global community. We strongly encourage applications from Indigenous Peoples, Black and racialized persons, women, persons with disabilities, and people of diverse sexual and gender identities. We value applicants who have demonstrated a commitment to equity, diversity and inclusion and recognize that diverse perspectives, experiences, and expertise are essential to strengthening our academic mission.

As part of your application, you will be asked to complete a brief Diversity Survey. This survey is voluntary. Any information directly related to you is confidential and cannot be accessed by search committees or human resources staff. Results will be aggregated for institutional planning purposes. For more information, please see http://uoft.me/UP.

Accessibility Statement
The University strives to be an equitable and inclusive community, and proactively seeks to increase diversity among its community members. Our values regarding equity and diversity are linked with our unwavering commitment to excellence in the pursuit of our academic mission.

The University is committed to the principles of the Accessibility for Ontarians with Disabilities Act (AODA). As such, we strive to make our recruitment, assessment and selection processes as accessible as possible and provide accommodations as required for applicants with disabilities.

If you require any accommodations at any point during the application and hiring process, please contact uoft.careers@utoronto.ca.