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The Department of English at Bishop’s University is seeking candidates to teach ENG 170 Introduction to Film in the Winter 2022 semester.
Course Description: The creation of films and what happens when we view a film are complex and fascinating phenomena. The course provides a basic understanding of the vocabulary of and approaches to narrative cinema. Each week’s subject of study is applied to a number of specific films.
Salary: prorated at $8 ,163.30 (* adjust for 2020-2021); travel expenses may be reimbursed for those having to commute from a distance
NOTE: We ask that all application materials be submitted in a single PDF document. Applications should include a cv and a short statement on course delivery and content.
Interested candidates are requested to forward inquiries and applications to Dr. Shawn Malley, Chair of English at smalley@ubishops.ca by 20 September 2021.
This appointment is in accordance with the Collective Agreement for Contract Faculty, for which the Association of Professors of Bishop’s University (APBU) is the exclusive bargaining agent.
Sensing the Archive – Exploring the digital (im)materiality of the moving image archive
Frames Cinema Journal Issue 19, Winter 2022
Guest Editor: Catherine Russell
Shrunken film strips, faded footage, distorted sound, and a harsh vinegar scent; such lamentable deterioration exposes the material vulnerabilities of audio-visual heritage which often determine the work of archivists and conservators. With constant changes in the technology of access have come profound changes to the world of dusty boxes, narrow strip-lit and high-stacked aisles, and data stored in obscure and obsolescent formats. At the same time, audio-visual materials offer new sensory modes of historiography. What kinds of historical knowledge lie within these resources and how can they be revived?
Mass digitisation has transformed the ways in which we can access, understand, and interact with histories stored in audio-visual media. Digitisation highlights the tangibility of the medium, and the fluidity of the material. Archives have always had their absences and lacunae, but digital materiality – or immateriality – produces new instabilities that require novel ways of approaching audio-visual heritage. How does our sensory experience of film history change due to the digital turn? What kind of research behaviours and patterns can this process enhance, and what kinds of research are inhibited?
Media scholars have examined how the digital turn has enabled a new circulation of moving images, challenging traditional film historical narratives by disrupting the exclusivity of physical access and written documents as the prerequisites for conducting film history. Building on this body of work, Issue 19 of Frames Cinema Journal seeks to examine the sensorial experience of archival instabilities to consider the implications of digital audio-visual archives. Frames invites considerations of the sensory properties of archives as well as their relation to cultural histories and archival studies to contribute critically to the flourishing academic discourse on digital humanities.
Topics to discuss and analyse phone footage may include, but are certainly not limited to:
- Archival materiality and preservation
- Archives and sensorial experience
- Archive footage and the sense of place
- Anarchival materiality
- Archives and modes of film practice, including ethnographic, fiction, and experimental.
- Absences in the archive
- Archival footage in fiction films
- Amateur film archives
- Paratextual archives
- Interface and the archive
- Curatorial practices
- Climate and the archive
- The archive and the post-pandemic world
Notes for Contributors:
Proposal abstracts should be no more than 250 words and must be accompanied by an indicative bibliography. A brief third-person bio of approx. 150 words should be provided along with the abstract. Abstracts for video essays are especially encouraged, and should follow the same guidelines. The bibliography should include anticipated sources for moving images.
Abstracts should be sent through as Word Documents and titled “Frames Issue 19 Author First name Author Surname” (e.g. Frames Issue 19 Esther Shub).
Please submit your proposal to Lucia Szemetová and Jacob Browne at framesjournal@gmail.com.
Frames accepts a variety of written pieces for submission, such as:
- Feature Articles, which are research essays that engage in theoretical, practical, pedagogical, and/or historical analysis of the visual narrative in film or related digital media. Feature Articles are typically between 5,000-7,000 words in length, inclusive of footnotes, but exclusive of the bibliography.
- Point-of-View (POV) Featurettes, which are shorter research essays which seek to examine or express a specific critique about a theme in a more succinct fashion. These could include experiences with moving-image archives in digital or material contexts. Point-of-View (POV) Featurettes are typically between 1,000-3,000 words in length, inclusive of footnotes, but exclusive of the bibliography.
- Film Featurettes, which are shorter research essays, discuss and review one film in detail. Film Featurettes are typically between 1,000-3,000 words in length, inclusive of footnotes, but exclusive of the bibliography.
- Book Reviews, which are essays that provide a scholarly critique of the latest texts in the field. The text choice may range from the theoretical and the practical to the pedagogical and the historical. Book Reviews are typically 1,000-1,500 words in length, inclusive of footnotes, but exclusive of the bibliography. If you would like to publish a book review, please contact our Book Review Editor, Anushrut Ramakrishnan Agrwaal, at ara5@st-andrews.ac.uk.
Frames also accepts and encourages video essay submissions:
- Video essayscan be of varying length and should be discussed with the editors on a case-by-case basis. Video essay submissions must be sent to the editors in the form of a link using an online platform (Vimeo, YouTube, etc.).
All submissions to Frames should not be under consideration elsewhere, and should be original and previously unpublished.
Please refer to our Submissions page for more details.
Timetable for Issue 19:
Abstract Proposal Deadline: 17/09/2021
Abstract Decision Announcement: 27/09/2021
First Draft Deadline: 21/11/2021
Editorial Review: 22/11/2021 – 12/12/2021
Final Copy Deadline: 21/01/2022
Intended Publication Week: 31/01/2022
Abstracts are to be submitted no later than Friday, September 17, 2021, as they will not be considered after that. Authors should expect to be notified of the editorial committee’s decision by Monday, September 27, 2021.
If you have any questions, do not hesitate to contact us at framesjournal@gmail.com.
Screen Storytelling:
The Works of Shonda Rhimes
Edited by Anna Weinstein
This edited volume on the works of Shonda Rhimes will be the first book in a new series to be published by Bloomsbury Academic. Seeking 250-word abstracts for previously unpublished essays on television series created by Rhimes. Final essays will be 3,000-3,500 words, written for an audience of student readers, and will be due in the Spring of 2022.
The SCREEN STORYTELLING series is designed for students, professors, and enthusiastic consumers of film, television, and new media who seek information about contemporary and historically significant screenwriters that is both accessible and critically rigorous. The intention with this new series is to bring much-deserved attention to screen and television writers who have developed noteworthy films and television series of significant aesthetic or cultural achievement, critical acclaim, or commercial success, and to offer close readings of the films and series from the perspective of story, screenwriting craft, audience reception, and cultural impact. Each volume will explore the works of a single screen storyteller. The series will place a strong focus on examining works by screenwriters often left out of classroom syllabi, including women, writers of color, LGBTQ writers, and international writers. (Note: The Works of Jane Anderson is slated as the second volume in the series.)
The Works of Shonda Rhimes
Shonda Rhimes’ television series have left an important imprint on television history to date. With Grey’s Anatomy now in its eighteenth season and new series launching nearly annually, Rhimes is a major force in the entertainment industry. Many of Rhimes’ series center on complicated female protagonists who are committed to their careers, arguably to a fault, while also navigating the complexities of their romantic relationships. Famously, Rhimes is known for her diverse casting choices and, as such, has helped to challenge and change the images of women presented on the small screen, reaching millions of viewers around the globe. Grey’s Anatomy currently airs in more than 200 territories around the world and is a multibillion-dollar franchise.
I welcome contributions from scholars of film, television, media studies, and popular culture, as well as working practitioners, including screen and television writers, filmmakers, and playwrights. Essays may explore individual works or may interrogate a single theme, question, or construct across multiple works. I expect many essays will offer a critical analysis of Shonda Rhimes’ work so readers can expand their knowledge and understanding of the television writing craft, and many essays in this volume will include historically sophisticated commentaries, exploring Rhimes’ career through the lens of production, reception, and creative collaborations and dynamics.
Possible essay topics could include but are not limited to:
- Women characters and representation
- Women’s desire, dating, and sex
- Representation of women’s work / careers
- Representation of motherhood
- Women of color, representation on screen or behind the scenes
- Television writing craft
- Pilot creation craft
- Showrunning and gender and/or race
- shondaland as an empire
- Recurring themes in Rhimes’ series
- Male characters as sex symbols
- Viewer response / critics’ response
- Business aspects of Rhimes’ series
- Rhimes’ public persona and influence
- The Year of Yes
- Recurring partnerships with actresses
- Deep dives into individual series (pilot and episode craft)
Please submit a 250-word abstract along with a 150-word biographical statement to Anna Weinstein (aweinst6@kennesaw.edu) by Sept 30, 2021. Please title the subject line of your email: Abstract – The Works of Shonda Rhimes.
Please direct any questions or inquiries to this email address as well. I welcome submissions from scholars at all stages of their careers, as well as practicing and aspiring screen and television writing professionals. Feel free to contact me with any questions about the book or series, and please share this announcement with colleagues whose work aligns with the focus of this volume.
Abstracts due Sept 30, 2021
Cinephile 16.1 – Constant/ChangeDeadline for draft submissions: October 9th, 2021The past year has been a time of unprecedented change, but it has also led to important engagements with some long-standing ideological lived material practices. The film industry is no exception to these considerations, as media production, consumption, and criticism are constantly redefined by the evolving political, economic, social, industrial, and technological contexts in which they inhere. Some key historical shifts include, but are evidently not limited to, the advent of sound, colourized film, censorship, the Red Scare, feminist and civil rights movements, television, the multiplex, and the rise of the Internet. Some very recent radical changes include the COVID-19 pandemic and its temporary worldwide disruption of film production, distribution, and exhibition (as well as some of the unique opportunities that the pandemic presented to many independent producers and artists); global movements for social justice, which have uniquely highlighted the relationship between film production and the communities with which filmmakers engage; the meteoric rise of streaming services and social media platforms; global pop culture powers like South Korea, Japan, and Mexico increasingly influencing mainstream Western culture; and the unique existential threat of climate change, which will impact the creation of media in ways yet to be seen. With a focus on change, this issue of Cinephile hopes to interrogate the link between social and industrial development.However, while it is tempting to focus exclusively on these crucial changes and shifts, film and media practices are also shaped by myriad long-standing ‘constants’ that inform their artistic, technological, and industrial components. These include studio systems, the ‘standardization’ of film form and language, the stylistic supremacy of Hollywood classical style, ongoing formal challenges posed by global New Wave cinemas, the technological obsession with creating ever-more faithful and perfect replications of reality, mainstream cinema’s elision of marginalized communities and experiences, and even the persistence of the the medium itself, despite innumerable predictions forecasting the ‘death of cinema’. While the COVID-19 pandemic prompted a major disruption to media production and distribution, the ensuing lockdown and social distancing measures also created a unique sort of stasis wherein many groups found themselves unsure of how to proceed on both the practical and philosophical levels of filmmaking. The Wall Street Journal reported that worldwide online video streaming subscriptions reached 1.1 billion while movie theatre revenues dropped by $30 billion, revealing how the pandemic exacerbated a pre-existing tension between the two exhibition models. The tension between theatrical and online exhibition practices functions not only on the level of varying economic concerns between studios and artists, but also fundamentally impacts the nature of cinema as a shared experience.This issue of Cinephile welcomes submissions that consider how new technologies, practices, and social, political, and economic contexts inform media production, scholarship, and consumption – as well as works that can account for the aforementioned and other constants in media practices. Our aim is to account for longstanding constants in a medium so heavily defined by key changes and innovations, while simultaneously exploring how these seemingly fixed constants shift and evolve as they absorb new changes.Possible topics may include (but are not limited to) the following:
- The influence of technological development on film form
- Changing approaches to race, gender, sexuality, and disability in film production and scholarship
- Encounters between classical and experimental cinematic forms
- The stability of classical and experimental forms across various eras of film history
- The impact of COVID-19 on film production, including production stoppages, new safety protocols, and “pandemic productions”
- Non-theatrical distribution models including streaming services and pay-per-view releases.
- The evolution of home entertainment
- Globalization and media
- The proliferation of short, online video content via TikTok, Quibi, Snapchat, etc
- Film production and climate change
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 and general inquiries toward INFO@CINEPHILE.CA.
Submissions are due by October 9th, 2021.
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
Please email submissions to submissions@mediafieldsjournal.org by September 17, 2021.
You can review our submission guidelines at mediafieldsjournal.org.
Call for papers:
States of Immersion: Bodies, Medias Technologies
Edited collection — Estimated publication 2023
Updated deadline: July 31, 2021
(Version française ci-bas)
Over five days in October 2020, the conference “Immersivity and Technological Innovations” brought together more than fifty researchers and artists to address questions raised by virtual reality and, more broadly, by immersive media. To tackle the question of media immersivity and its related technological innovations, event participants addressed subjects ranging from the different “ramas” (panoramas, cyclorama, circorama, sensorama, etc.) to artificial intelligence through to a range of extended realities (augmented, virtual, mixed, etc.). The presentations questioned the ‘innovative’ nature of contemporary immersive media, by foregrounding a historical perspective often missing from industry discourses. While the latter continues to feed the fantasy of an ever-more-total immersion, we seek instead to propose a reflection on the role of the body, the media and the technologies of the development of immersion.
The organizing committee of the conference “Immersivity and Technological Innovations” is seeking contributions to bring together our reflections on all types of immersive experiments in a collective work. This proposed edited collection was presented to Santiago Hidalgo, co-director of the collection “Cinema and Technology” (Amsterdam University Press), who confirmed his interest.
Understanding contemporary immersive forms requires a range of approaches aimed at decoding the notion of immersivity through its different sociohistorical, disciplinary, technological and artistic contexts. It is also essential to develop a better understanding of the formation of media fantasies based on the appeal of immersion. How has the notion of immersivity been informed by art history, literature, cinema and video game studies? Do contributions from the field of design and applied sciences map easily onto these conceptions of immersion? What can past experiments in immersive media teach us about this (as yet unfulfilled) fantasy of totally immersive virtual experiences? What roles do bodies, spaces and narrative play in fostering and maintaining immersivity? What are the aesthetic aims of works that take advantage of the latest immersive technologies? What purposes do immersive technologies serve? Have virtual reality and other contemporary avatars of immersion managed, as these practices have become more professionalized, and despite their relatively slow adoption by the general public, to define their frames? Finally, can we recognize, within the emergent and specific conventions of these new forms, techniques of spatialization and storytelling that originate in ancient forms of immersive visual spaces, to use Oliver Grau’s expression?
In the context of the edited collection States of Immersion, we seek contributions that will foster a dialogue between the corporeal, affective and technological aspects of immersion. We encourage proposals that question the novelty of immersivity and those that propose new ways of looking at “immersive” forms of media. We invite contributions that address these issues from one or more of the following perspectives (including but not necessarily limited to):
- (Pre-)history of immersive media (panoramas, cinéorama, sensorama, cinerama, etc.).
- The limits of immersivity (challenges and flaws).
- Psychological and cognitive approaches to the concept of immersivity.
- The place of the body (agency, incorporation, presence, senses, affect).
- Large formats (from Monet’s Nymphéas to IMAX).
- Situating immersivity (sites, spaces and immersive locations).
- Suspension of disbelief (automatons, conversational agents, Artificial Intelligence)
- Creating immersivity (screenwriting, programming and the creation of immersive experiences).
- Economic and logistical challenges of immersivity.
- Institutionalization of immersive media forms.
- (Photo)realism and other conventions.
- Immersive systems in education or training scenarios (medical, military, etc.).
- Accessibility and safety (universal and inclusive approaches to mediated immersivity).
| Beyond the traditional format of academic essays, we welcome suggestions for other types of reflections, such as interviews with artists working in immersive media or other forms of intellectual engagement that we have not listed here. If you have an idea for content, we’re all ears! |
Other information
In addition to the edited collection, we are considering other possibilities for the submissions, depending on the number of proposals we receive and in which language. These include the possibility of a special issue of a journal, depending on the thematic connections across the proposals.
Submissions
The submission process will have two stages:
- First, please submit your proposals to immersivite@gmail.com by
July 15July 31, 2021 with the following details: 1) Title; 2) a 500-word proposal + 50 word bio; 3) three key references; 4) up to five keywords; 5) the language in which you would like to submit the text (English and/or French).Responses will be sent in September.
- Full papers (25,000-35,000 characters including spaces, excluding bibliography) must be submitted for review by December 1, 2021. Submissions may be sent to immersivite@gmail.com.
Editorial Committee
Philippe Bédard (Carleton University), Alanna Thain (McGill University) and Carl Therrien (Université de Montréal).
Appel à contributions :
L’immersion sous toutes ses formes : corps, médias, technologies
Ouvrage collectif — Publication prévue 2023
Nouvelle date limite: 31 juillet 2021
Pendant cinq jours en octobre 2020, le colloque « Immersivité et Innovations Technologiques » a réuni plus de cinquante chercheu.r.se.s et artistes autour des questions soulevées par la réalité virtuelle et les médias immersifs en général. Mobilisé.e.s par la question de l’immersivité médiatique et par les innovations technologiques afférentes, les intervenant.e.s de l’événement ont abordé des sujets allant des différents “-ramas” (panoramas, cyclorama, circorama, sensorama, etc.) à l’intelligence artificielle en passant par l’éventail des réalités étendues (augmentée, virtuelle, mixte, etc.). Ces conférences ont su remettre en question le caractère innovant des médias immersifs contemporains en ramenant à l’ordre du jour une perspective historique souvent évacuée dans les discours de l’industrie. Alors que ces derniers continuent d’alimenter le fantasme d’une immersion toujours plus totale, il est de notre ressort de proposer une réflexion sur le rôle du corps, des médias et des technologies dans le développement de l’immersion.
Le comité d’organisation du colloque « Immersivité et Innovations technologiques » vous propose de réunir nos réflexions sur tout type d’expérimentations immersives au sein d’un ouvrage collectif. Ce projet d’anthologie a été présenté à Santiago Hidalgo, codirecteur de la collection « Cinéma et technologie » (Amsterdam University Press), qui nous confirme son intérêt.
Comprendre les formes immersives contemporaines implique un éventail d’approches visant à déchiffrer la notion d’immersivité à travers différents contextes sociohistoriques, disciplinaires, technologiques et artistiques. Il nous apparaît également essentiel de développer une compréhension critique de la formation des fantasmes médiatiques associés à l’immersion. Comment l’histoire de l’art, la littérature, les études cinématographiques ou vidéoludiques ont-elles réfléchi l’immersivité? Est-ce que les apports des sciences du design peuvent s’arrimer facilement avec ces conceptions de l’immersion? Qu’est-ce que les pratiques immersives antérieures nous apprennent de l’idéal (encore irréalisé) d’une expérience virtuelle totalement englobante? Quels rôles le corps, l’espace et le récit jouent-ils dans la production et le maintien d’une expérience immersive? Quelles sont les visées esthétiques des œuvres qui tirent profit des dernières technologies immersives? À quelles fins les fonctions immersives des technologies sont-elles utilisées? La réalité virtuelle et les autres avatars contemporains de l’immersion sont-ils parvenus, au fil de la professionnalisation de ces pratiques, et malgré leur adoption relativement lente par le grand public, à trouver leur cadre? Finalement, peut-on reconnaître, au sein des conventions spécifiques à ces nouvelles formes qui émergent actuellement, des techniques de mise en espace et de mise en récit qui trouvent leur origine dans des formes antiques d’espaces imagés immersifs, pour reprendre l’expression d’Oliver Grau?
Dans le cadre de l’anthologie L’immersion sous toutes ses formes, nous sommes à la recherche de contributions qui sauront faire dialoguer les enjeux corporels, affectifs et technologiques de l’immersion. Nous encourageons les propositions qui remettent en question la nouveauté de l’immersivité et celles qui proposent de nouveaux regards sur les formations médiatiques dites « immersives ». Nous invitons les contributions touchant à ces questions dans l’une ou plusieurs des perspectives suivantes (sans nécessairement s’y limiter) :
- (Pré-)histoire des médias immersifs (panoramas, cinéorama, sensorama, cinerama, etc.).
- Les limites de l’immersivité (menaces et défauts).
- Approches psychologiques et cognitives du concept d’immersivité.
- La place du corps (agentivité, incorporation, impression de présence, les sens, l’affect, l’empathie).
- Formats surdimensionnés (des Nymphéas à IMAX).
- Situer l’immersivité (sites, lieux et espaces immersifs).
- Suspension du jugement critique (automates, agents conversationnels et intelligence artificielle).
- Créer l’immersivité (scénarisation, programmation et production d’expériences immersives).
- Enjeux économiques et logistiques liés à l’immersivité.
- Institutionnalisation des formes médiatiques immersives.
- (Photo)réalisme et autres conventions.
- Systèmes immersifs d’éducation ou d’entraînement (médecine, aéronautique, armée, etc.).
- Accessibilité et sécurité (approches universelles et inclusives à l’immersivité médiatique).
| Outre les contributions universitaires typiquement attendues dans ce genre d’ouvrage, nous aimerions aussi proposer d’autres types de réflexions, qu’il s’agisse d’entretiens avec des artistes qui œuvrent dans le milieu des médias immersifs ou de toute autre forme de production intellectuelle que nous n’aurions pas considérée.
Si vous avez une idée de contenu, nous sommes tout ouïe! |
Informations supplémentaires
En plus du projet d’anthologie, nous étudions plusieurs possibilités pour la publication des textes qui seront remis, et ce, en fonction du nombre de propositions et de leur langue. Les options que nous prévoyons incluent la publication d’un ouvrage collectif accompagné d’un numéro de revue thématique, selon les maillages thématiques des propositions reçues.
Soumissions
Le processus de soumission se déroulera en deux temps:
- Veuillez d’abord soumettre vos propositions à immersivite@gmail.com au plus tard le
15 juillet31 juillet 2021 avec les détails suivants : 1) Titre; 2) une proposition de 500 mots + bio de 50 mots; 3) jusqu’à trois références clés; 4) jusqu’à cinq mots-clés; 5) la langue dans laquelle vous pourriez soumettre le texte (français et/ou anglais).
Les réponses seront envoyées au mois de septembre. - Les textes complets (25,000-35,000 signes espaces compris, excluant la bibliographie) devront être soumis pour évaluation au plus tard le 1er décembre 2021. Les textes pourront être envoyés à immersivite@gmail.com.
Comité éditorial
Philippe Bédard (Carleton University), Alanna Thain (McGill University) et Carl Therrien (Université de Montréal).
CALL FOR ARTICLES
As a follow up to the one-day CLIC (Centre for Literary and Intermediality Crossings) conference on Seriality in December 2020 (keynotes by Jason Mittell and Adil El Arbi), the Spring 2022 issue of Journal for Literary and Intermedial Crossings (JLIC) will focus on Seriality research.
Guest editors are Ronald Geerts, Anneleen Masschelein, Ernest Mathijs and Bart Nuyens.
The Journal for Literary and Intermedial Crossings (JLIC, https://clic.research.vub.be/en/journal) is an international, peer-reviewed open access journal. It publishes high-quality, innovative research engaging with literary and intermedial phenomena from various methodological angles and a wide range of disciplines including studies on literature, theatre, screenwriting, media and culture. The e-journal is supported by an international editorial board and aimed at an academic readership. JLIC offers an online publication platform to researchers from various fields engaging either directly or indirectly with the study of hybrid literary and/or intermedial phenomena.
Seriality has become “an endemic feature of our twenty-first-century, hypermediated world” (Lindner 2014, ix) permeating contemporary literature, theatre, tv-series, feature films, narrative games, podcasts, YouTube channels, Instagram and other forms of storytelling social media.
Seriality is traditionally associated with repetition and variation. However, our interest seems to have shifted to the dynamic qualities of seriality. What strikes us and interests us today is not so much repetition but evolution, the development of (story) lines. As a result, the narrative aspects of seriality appear to grow in importance, which seems to go hand in hand with the rise of what is covered by the broad umbrella term ‘storytelling’ (sometimes ‘complex storytelling’, e.g. Mittell 2015). Although seriality is often explicitly linked to popular culture (e.g. Kelleter 2017), an increased interest in ‘seriality as a strategy’ can be observed in all kinds of art forms. Seriality also seems to be an important element in multi, cross and transmedial storytelling as serial narrative strategies spill from one media to another. To the idea of a Serial Shakespeare as “an infinite variety of appropriations in American TV drama” (Bronfen 2020) Ivo Van Hove and Internationaal Theater Amsterdam recently added not just their theatrical serial Romeinse Tragedies (2007, Roman Tragedies) in a carefully reworked online streaming version (2021) but also a ‘classic’ weekly -thus not bingeable- ten-episode tv-serial on Dutch television (2021).
No wonder some see emerging a new field of research, seriality studies (Denson 2011).
We welcome academic and artistic research contributions.
Topics for articles might include, but are not limited to:
- Seriality as an inter-, trans-, cross-media research field, …
- Seriality and story worlds, …
- Seriality in anthology series (Black Mirror, True Detective, other, literature), …
- Seriality in literature: from crime literature to novel cycles (e.g. Proust, Knausgard, Elena Ferrante), …
- Seriality as research process (theater, dance, performance, writing, eg Luk Perceval, Milo Rau, Michiel Vandevelde, Radouan Mriziga, Kenneth Goldsmith), …
- Seriality and time (eg Richard Linklater (Boyhood, Before trilogy), François Truffaut (the “Antoine Doinel” films), Michael Apted (Up series), …
- Seriality and how it influenced the conception of the term “character” (see previous point, but also multiple protagonists, influences on the narrative construction of the character, …
- Seriality as never-ending story: 1001 nights (also in its many Covid-19 apparitions?), …
- Seriality as episodicity and seriality-as-franchise: expanding series by developing relatively independent elements. Historical examples (literature, comics, theater, film). How far can one go (cf. the lack of success from recent Star Wars “episodes”)? (Franchising also to ‘occupy the market’, as the producers of the successful series CSI themselves created franchises very quickly, for fear that the story formula would be copied by others.), …
- Seriality as a tension-building strategy (e.g. in podcasts, in documentaries or docu-fiction) when narrative strategies from fiction are used in documentary series of the type Wild Wild Country, Making a Murderer, De verdwijning van Britta Cloetens). How is its factual character influenced by the fictional narrative strategies?
- Seriality as a commercial strategy: how an audience’s familiarity with characters, theme, arena and genre generates a customer-binding effect. To what extent is there a tension between the provision of fixed story elements vs variation, surprise, innovation? …
- Seriality as fragmentation, e.g. p.o.v. storytelling of the same events from different successive narrators, creating repetitions and creating cognitive dissonance, Rashomon, The Leftovers, Westworld, De dag, in film and TV, in literature much older (Faulkner obviously, but also later), …
- Seriality as in ‘adaptation’, ‘translation’, ‘recycling’, ‘remix’, … (The Bridge; The Office; Flikken (resp. Ghent, Maastricht, Rotterdam) but also e.g. “Serial Shakespeare” as a ‘dramaturg’ of contemporary series, Bronfen 2020), …
- Seriality in / as social media (podcasts, YouTube vloggers, Instagram storytellers, Twitter poetry), …
- Seriality and repetition and the tension between offering trusted elements vs necessary variation and progression (see seriality as a commercial strategy), …
- Seriality in comics (“see album x”), …
- Seriality in games, …
- Seriality and poetry, …
- Seriality and genre, …
- To be continued …
Academic articles should be between 5,000 and 6,000 words (references and footnotes included) in Dutch, English, French, German, Italian or Spanish. All manuscripts are peer- reviewed. JLIC supports textual as well as multi-media formatting. All work submitted to JLIC should reference and be formatted according to our Author Guidelines. Articles may be submitted in Word format. Figures, video and audio files etc. should be saved separately from the text.
The deadline for articles is 15 October 2021. Please send an abstract of maximum 500 words (in English and, if applicable, also in the language of your article, i.e. Dutch, French, German, Italian or Spanish) and a list of 5 keywords (in the same (two) language(s)) and a 100-word author bio (in English only) to ronald.geerts@vub.be by 1 September 2021.
Potential contributors should bear in mind that a two-stage review process is envisaged for full essays. In the first stage, articles will be reviewed by one of the journal editors. In the second stage, articles will be double-blind peer-reviewed by at least one external anonymous expert referee.
JLIC considers all manuscripts on the strict condition that:
- The manuscript is your own original work, and does not duplicate any other previously published work, including your own previously published work.
- the manuscript has been submitted only to the Journal of Literary and Intermedial Crossings; it is not under consideration or peer review or accepted for publication or in press or published elsewhere.
- The manuscript contains nothing that is abusive, defamatory, libellous, obscene, fraudulent, or illegal.
- Tthe author has obtained the necessary permission to reuse third-party material in their article. The use of short extracts of text and some other types of material is usually permitted, on a limited basis, for the purposes of criticism and review without securing formal permission. If you wish to include any material in your article for which you do not hold copyright, and which is not covered by this informal agreement, you will need to obtain written permission from the copyright owner prior to submission.
References:
Lindner, C. 2014. “Foreword.”, Serialization in Popular Culture, edited by R. Allen and T. vanden Berg, ix–xi. Routledge.
Bronfen, E. 2020. Serial Shakespeare. An infinite variety of appropriations in American TV drama. Univ. of Manchester Press
Denson, S. 2011. ““To be continued…”: Seriality and Serialization in Interdisciplinary Perspective”, JLTonline (17.06.2011)
Kelleter, F. (ed). 2017 Media of Serial Narrative. Ohio State Univ. Press
Mittell, J. 2015. Complex TV. The Poetics of Contemporary Television Storytelling. NYU Press
Roman Tragedies, 2007-2021, International Theatre Amsterdam, re: Ivo Van Hove, https://ita.nl/en/shows/romeinse-tragedies/1569929/
CALL FOR PAPERS
POSTHUMANISM AT THE MARGINS: ON FILM, MEDIA, AND NEW WAYS OF BEING
The term posthumanism has, throughout its relatively short lifespan, swelled to encompass any number of definitions and permutations, ranging from a descriptor for a technological afterlife of the “human” to a critical look at ways of being within a wider ecology. The immediate quandary that any scholar of the posthuman faces is the wrangling of a proper definition for such an expansive yet timely topic. It is precisely this ambiguity that we hope to engage with in this issue of Synoptique, as the amorphous idea of the posthuman offers us the chance to re-examine the “human.”
Traditionally, posthumanism has remained “committed to a specific order of rationality, one rooted in the epistemological locus of the West” (Jackson 2013, 671). By building upon such legacies of radical perspectives that decentre traditional Western humanist paradigms, such as deanthropocentrism, decoloniality, feminist, and Queer lenses, we aim to place posthumanism in conversation with film and media studies, with the goal of highlighting the historically marginalized perspectives central to this intersection. We believe that film and other new media are uniquely situated to address these sets of questions due to the breadth of disciplines they intersect with, as well as their positions between the technological and the cultural. We invite submissions to consider how different forms of media may challenge, transform, and transcend traditional paradigms of the posthuman; we especially invite submissions of alternative media such as video essays, zines, or other art pieces.
In the midst of a pandemic that has both exacerbated our differences and underscored our interconnectedness – particularly through widespread digital platforms – we might ask how the posthuman may act as a remapping of humanity away from Eurocentric individualism and onto one woven through with networks of relationality first expressed by marginalized communities. This issue of Synoptique looks to re-evaluate the notion of “moving beyond” the “human,” identifying the limitations of the posthuman movement in critical academic discourse – what we are moving away from, who is permitted to be seen as posthuman, what a posthuman world may entail – as well as reframing and renegotiating the normative, hierarchical configurations of the “human” that we wish to transcend (Muñoz 2015).
Drawing on recent work by scholars such as Kathryn Yusoff, Amy Cutter-Mackenzie-Knowles, and Zakiyyah Iman Jackson, this issue centres marginalized perspectives and stewardship, and departs from Western notions of linear time, uninhibited technological advancement, and individualism. In countering these traditions, we can instead expand upon the posthuman as it pertains to: postcolonial visions and our different places within those futures, technological futures and bodily enhancements, communal networks and infrastructures, ontological reconfigurations of the “human,” and temporal disruptions as decolonial knowledge production, among a vast array of other research areas. In mapping these points of tension, we hope to examine the renewed posthumanist perspectives and pathways forged by their interaction and intersection, which can be seen in works such as Asinnajaq’s “Three Thousand” and her reading of Inuit futurism, as well as Janelle Monáe’s ‘emotion picture’ “Dirty Computer,” which interrogates and queers the idea of cyborg. Through a multiplicity of such approaches including historical surveys, textual analyses, and more, we want to reassess film and media’s place in this conversation in conjunction with new ideas of what posthumanism can do, and it is our hope that you will explore these possibilities alongside us.
We are inviting submissions from scholars of all disciplines to submit works that interrogate the intersection between posthumanism and film and media, and that centre critical lenses including, but not limited to, the following:
- Critical race and/or postcolonial theory
- Afro and/or Indigenous futurisms
- Queer studies
- Trans studies
- Feminist and gender studies
- Disability studies
We ask how classic sites of interrogation for posthumanist discourse, such as the cyborg and the (post-)apocalyptic, might be re-examined in a new light through these richly vibrant and still under-explored critical formulations. Essays submitted for peer review should be approximately 5,500 – 7,500 words and must conform to the Chicago author-date style (17th ed.). Video essays submitted for peer review are also accepted. All images must be accompanied by photo credits and captions.
We also warmly invite submissions to the review section, including conference or exhibition reports, book reviews, film festival reports, thought pieces and interviews related to the aforementioned topics. All non-peer reviewed articles should be a maximum of 2,500 words and include a bibliography following Chicago author-date style (17th ed.).
Creative works and interventions in the forms of digital video, still imagery, creative writing, and other multimedia forms are also welcome. These works will be embedded on the Synoptique website, and/or otherwise linked to in the PDF version of the journal. Please do not hesitate to contact us should you have any questions regarding your submission ideas for the non-peer reviewed section.
All submissions may be written in either French or English.
Please submit completed essays or works to the journal editors (editor@synoptique.ca) and the issue guest editors Brianna Setaro (brisetaro@gmail.com), Jess Stewart-Lee (Jess.stewart-lee@mail.concordia.ca), and Marielle Coleman (marielle.coleman@mail.mcgill.ca) by August 31, 2021.
APPEL À CONTRIBUTIONS:
Aux frontières du post-humanisme : De nouvelles représentations
de l’être humain dans les nouveaux médias et au cinéma
À travers sa vie courte mais riche en recherche, le terme post-humanisme a su se développer pour englober un grand nombre de définitions et de permutations, allant d’une conception de « l’être humain » dans un futur défini par la technologie à un regard critique sur les manières d’être au sein d’une écologie plus large. Le dilemme immédiat auquel chaque chercheur.e.s fait face en étudiant le post-humanisme est qu’il est difficile d’établir une définition exacte de ce sujet aussi vaste que d’actualité. C’est précisément cette ambiguïté que nous espérons aborder dans notre numéro de Synoptique ; puisque l’identité du post-humain reste floue, nous pouvons nous interroger sur les multiples définitions de « l’être humain ».
Traditionnellement, le post-humanisme est resté « committed to a specific order of rationality, one rooted in the epistemological locus of the West » (Jackson 2013, 671). En s’appuyant sur l’héritage offert par ce type de perspective radicale, qui a pour objectif de décentrer l’humanisme occidental traditionnel, il devient possible de mettre en avant les théories avancées dans le domaine des études décoloniales, féministes et queer. Cela nous permet de faire entrer le post-humanisme en conversation avec les études cinématographiques et médiatiques, dans le but d’éclairer les multiples perspectives historiquement marginalisées dans cette discussion. Nous pensons que le cinéma et les nouveaux médias sont particulièrement bien placés pour répondre à ces problématiques, en raison de l’étendue des disciplines avec lesquelles ils interagissent, ainsi que leur position entre le technologique et le culturel. Nous invitons les autreur.ice.s souhaiteraient répondre à cet énoncé à examiner comment différentes formes de médias peuvent remettre en question, transformer et surpasser les formulations traditionnelles du post-humanisme. Nous invitons également les contributions à prendre des formes alternatives, telle que des essais vidéo, des magazines ou d’autres œuvres d’art.
En sachant que cette pandémie a à la fois exacerbé nos différences et souligné notre interconnectivité – notamment par le biais de plateformes numériques généralisées – nous pouvons nous demander comment le post-humanisme peut être redessiné pour promouvoir une idée de l’humanité loin de l’individualisme eurocentrique. De plus, comment pouvons-nous baser cette nouvelle conception sur des réseaux de relations tissés par les communautés marginalisées ? Ce numéro de Synoptique cherche à réévaluer la notion de « dépassement » de « l’être humain », identifier les limites du mouvement dans le discours académique critique – ce dont nous nous éloignons, qui ou quoi peut être considéré comme post-humain, ce qu’un monde posthumain pourrait impliquer – ainsi que le recadrage et la renégociation des normes hiérarchiques de la définition de « l’être humain » que nous souhaitons transcender (Muñoz 2015).
En s’inspirant du travail des chercheur.e.s tels que Kathryn Yusoff, Amy Cutter-Mackenzie-Knowles, et Zakiyyah Iman Jackson, cette publication se centre sur les perspectives offertes par une directive marginalisée, et s’écarte des conceptions occidentales du temps linéaire, du progrès technologique démesuré et des phénomènes d’individualisme et d’anthropocentrisme. En allant à l’encontre de ces traditions académiques, nous pouvons nuancer le terme de post-humanisme pour qu’il comprenne des sujets variés tels que les visions postcoloniales, les modifications corporelles liées à la technologie, les réseaux et infrastructures communes, les multiples reconfigurations de « l’être humain » ; ainsi que de créer du savoir décolonialisé en renouvelant certaines conceptions partiales du temps. Nous espérons examiner les points de tension qui émergent à l’intersection de toutes ces idées, permettant ainsi une exploration d’une vision du post-humanisme renouvelée. Ces points d’intersection sont particulièrement visibles dans des œuvres telles que « Trois mille » d’Asinnajaq et son interprétation d’un futurisme inuit, ainsi que le film « Dirty Computer » de Janelle Monáe, qui interroge et bouleverse l’idée du cyborg. En se basant sur une variété de méthodologies, y compris enquêtes historiques et analyses textuelles, nous souhaitons réévaluer la place du cinéma et des médias dans cette conversation tout en considérant le rôle du post-humanisme. Nous espérons que vous explorerez ces possibilités à nos côtés.
Nous invitons les contributions de chercheur.e.s de toutes disciplines à nous faire parvenir leurs travaux interrogeant l’intersection du post-humanisme avec le cinéma et les médias, et centré sur des aspects critiques tels que :
- Les études postcoloniales
- Les futurismes afro et autochtones
- Les théories queer
- Les études sur la trans-identité
- Les études féministes et de genre
- Les études sur le handicap
Nous souhaitons explorer comment les sites traditionnels d’interrogation du discours post-humaniste, tels que le cyborg et le (post-)apocalyptique, pourraient être réexaminés à travers des formulations critiques et décolonialisées. Les contributions pour la section avec comité de lecture devraient faire environ 5 500-7 500 mots et doivent suivre les directives du style auteur-date de Chicago (17e éd.). Les essais vidéo pour la section avec comité de lecture seront également acceptés. Toutes les images doivent être accompagnées de leur source et d’une légende.
Nous invitons également les contributions comprenant des critiques de conférences, d’expositions, de festivals de films, de livres ainsi que des entretiens et réflexions liés aux sujets mentionnés. Les articles sans comité de lecture doivent comporter un maximum de 2 500 mots et inclure une bibliographie suivant le style auteur-date de Chicago (17e éd.).
Enfin, les œuvres et interventions créatives sous forme de vidéo numérique, d’images, d’écriture créative et d’autres formes multimédias sont également les bienvenues. Ces œuvres seront intégrées sur le site web de Synoptique, et/ou liées à la version PDF de la revue. N’hésitez pas à nous contacter si vous avez des questions concernant vos idées de soumission pour la section sans comité de lecture.
Toutes les contributions peuvent être rédigées en français ou en anglais.
Veuillez soumettre vos essais ou vos travaux terminés aux éditeurs de la revue (editor@synoptique.ca) et aux rédacteurs invités du numéro Brianna Setaro (brisetaro@gmail.com), Jess Stewart-Lee (Jess.stewart-lee@mail.concordia.ca), et Marielle Coleman (marielle.coleman@mail.mcgill.ca) avant le 31 août 2021.
If you weren’t able to join us for this year’s Annual General Meeting, here are a few updates regarding the composition of the executive committee and the bylaws that were modified during the meeting.
2021-22 Executive committee
- Shana Macdonald, President (Waterloo) (year 2 of a two-year term)
- Louis-Paul Willis, VP (UQAT) (year 2 of a two-year term)
- Shannon Brownlee, Treasurer (Dalhousie) (year 1 of a two-year term)
- Daniel Keyes, Secretary (UBCO) (year 2 of a two-year term)
- May Chew, Member-at-Large (Concordia) (year 2 of a three-year term)
- Michelle Mohabeer Member-at-Large (York) (year 1 of a three-year term)
- Kanika Lawton, Student Representative (U of Toronto) (1 year term)
These motions were approved at the June 3, 2021 annual general meeting:
- By-laws for ensuring the executive represents diversity expanded from expression of gender and region to include racialized scholars
- The previously designated complimentary memberships to Indigenous scholars (passed at the 2019 AGM) will now include all self-identifying Black scholars and racialized scholars.
- The annual conference will institute a speaker’s panel that highlights the work of emerging Indigenous and Black scholars, thinkers, and makers to be named the Sylvia D. Hamilton Dialogues in recognition of Ms. Hamilton’s lifetime of leadership, support, and mentorship of emerging scholars.
- Approved a process to consider via online voting in fall 2021 a name change for the organization to reflect that the study of film moving forward includes the study of various media.
- Honoraria be paid to the FSAC webmaster, chairs of committees, and members of the Executive when these positions are filled by people who are not tenured/tenure-track faculty.
Calls for this year’s working groups will circulate shortly. There will be a Fall meeting to ensure fulsome input from the membership regarding the future of our relationship with the Federation and our plans for next year’s conference. More details will be forthcoming by end of summer.
Si vous n’avez pas pu vous joindre à nous lors de l’Assemblée Générale Annuelle de cette année, voici quelques mises à jour quant à la constitution du comité exécutif et à la constitution:
Comité exécutif 2021-22
- Shana Macdonald, Présidente (Waterloo) (2e année d’un mandat de deux ans)
- Louis-Paul Willis, Vice-Président (UQAT) (2e année d’un mandat de deux ans)
- Shannon Brownlee, Treasurer (Dalhousie) (1ère année d’un mandat de deux ans)
- Daniel Keyes, Secrétaire (UBCO) (2e année d’un mandat de deux ans)
- May Chew, Membre active (Concordia) (2e année d’un mandat de trois ans)
- Michelle Mohabeer, Membre active (York) (1ère année d’un mandat de trois ans)
- Kanika Lawton, Représentante des étudiant.e.s de cycles supérieurs (U of Toronto) (mandat d’un an)
Les motions suivantes ont été approuvées lors de l’assemblée générale annuelle du 3 juin 2020:
- Règlements visant à assurer que la composition du comité exécutif représente la diversité de ses membres, ajoutant l’enjeu d’individus racisés aux questions de genre et de région.
- L’offre d’adhésion gratuite précédemment offerte aux membres des communautés autochtones (motion passée à l’AGA 2019) sera dorénavant offerte aux individus s’identifiant comme Noir.e.s ou Racisé.e.s.
- La conférence annuelle mettra en place un panel de conférencier.ère.s qui mettra en valeur le travail de chercheur.euse.s, penseur.euse.s et artistes autochtones et noir.e.s. Cet événement sera nommé Dialogues Sylvia D. Hamilton en reconnaissance du leadership, du soutien et du mentorat de cette dernière auprès de chercheur.euse.s émergent.e.s.
- Un processus de vote en ligne prendra place à l’automne 2021 pour déterminer si l’association devrait changer son nom pour refléter le fait que les études cinématographiques incluent l’étude d’autres formes de médias.
- Des honoraires seront versés au/à la webmestre, aux têtes de comités, ainsi qu’aux membres du comité exécutif quand ces positions seront occupées par des individus qui sont en situation d’emploi précaire.
Des appels pour les groupes de travail de cette année circuleront prochainement. Il y aura également une rencontre organisée cet automne pour discuter de la relation de l’association avec la Fédération et de nos plans pour la conférence de l’an prochain. Des détails suivront avant la fin de l’été.
Dean, Faculty of Fine & Applied Arts – Capilano University (North Vancouver, BC)
ORGANIZATIONAL PROFILE
Capilano University has an international reputation for high quality teaching and academic opportunities across innovative programs and services. The University’s approximately 11,600 students, supported by a diversity of faculty and staff, build an extraordinary academic foundation grounded in a sense of community and collegiality. Academic programs are offered by the five University’s Faculties: Fine & Applied Arts; Arts & Science; Business & Professional Studies; Education, Health & Human Development; and Global & Community Studies. Campus events, including plays, concerts, ceremonies, exhibitions, conferences, continuing studies programs, public lectures, and a range of community engagement attracting local and international guests annually.
Capilano University’s Faculty of Fine & Applied Arts is widely recognized for programs in motion picture arts, animation, music, theatre, costuming, design and more. Thriving on a culture of outstanding teaching, scholarly activity, research, innovation, the Faculty is committed to dynamic, collaborative, and creative opportunities including working with industry, community professionals, and acclaimed artists.
ABOUT THE ROLE
Reporting to the Vice President, Academic & Provost, the Dean of the Faculty of Fine & Applied Arts is the chief academic and administrative office, responsible for all operational and strategic decisions/communications of the Faculty including budget, planning and curriculum design, general operations, personnel management, strategic planning, mission fulfillment, and future development. As an integral member of the senior leadership group, the Dean upholds the values of the University plan and contributes to its goals, focused activity to contribute to fulfillment of the Academic Plan.
The Dean, Faculty of Fine and Applied Arts will be an inspiring and strategic leader with a strong record of success as a faculty and academic administrator with a deep understanding of the creative and digital arts education in Canada. The successful candidate will have demonstrated teaching, creative activity, research, and an academic track record, with knowledge of program development and administration. The successful candidate will have exceptional interpersonal skills with the ability to inspire innovation and collaboration and meet the evolving and diverse needs of students, faculty, and staff.
CONTACT DETAILS
Diversity and inclusivity are an integral part of Capilano University’s campus community. Our multicultural student body, faculty and employees enrich our learning environment and experience. CapU is committed to attracting and retaining a respectful and diverse workforce. Human rights, diversity, inclusion and equity underpin our employment practices and policies. We are proud to be an equity employer and encourage applications from women, persons with disabilities, visible minorities, Indigenous peoples, people of all sexual orientations, gender identities and expressions, and all other grounds included under the BC Human Rights Code.
Should you be interested in learning more about this exciting opportunity with the Capilano University, please contact Harbour West Consulting at 604-998-4032 or forward your CV and letter of introduction, in confidence, to info@hwest.ca. We will respond to all who express interest.
EXPERIENCE
- Academic administration
- Creative activity and research
- Program development
- Strategic planning
- Team development
SKILLS & COMPETENCIES
- Social and cultural awareness Service and student focus
- Results orientated
- Problem solving
- Decision making
TO APPLY
- Letter of Introduction & CV via email to Harbour West
Journal
Sustaining Members
