CONTINUITY volume 30, number 3 (winter 2007)

Transcription

CONTINUITY
volume 30, number 3 (winter 2007)
In this issue …
9th Annual Graduate Colloquium Schedule
Graduate Student Page
News from across the country
... and more
FILM STUDIES ASSOCIATION OF CANADA
ASSOCIATION CANADIENNE D’ÉTUDES CINÉMATOGR A P H I Q U E S
CONTINUITY
The FSAC/ACÉC newsletter
ISSN 1492-7446
©2007 FSAC/ACÉC
Co-editors
Shana McGuire
Brenda McDermott
Design
Michael Baker
Peter Lester
Web Design
Michael Baker
Cover Image
Geoffrey Alan Rhodes,
“Computational photography: Eadweard Muybridge’s
Motion Studies”
Continuity, the FSAC/ACÉC Newsletter, is
published quarterly by the Film Studies Association
of Canada/Association canadienne des études
cinématographiques. Continuity is available free to
current members of FSAC/ACÉC.
This newsletter was formerly known simply as the
FSAC/ACÉC Newsletter, ISSN 1196-6726.
Opinions expressed in these pages are those of the
authors and do not necessarily reflect those of the
Publisher or its members.
All material is copyright FSAC/ACÉC and its respective authors, 2007. All rights reserved.
CONTINUITY VOLUME 30, NO. 3 (WINT E R 20 0 7 )
volume 30, number 3 (winter 2007)
CONTINUITY
F I L M STUDIES ASSOCIATION OF CANADA
A S S OCIATION CANADIENNE D’ÉTUDES CINÉMATOGRAPHIQUES
President’s Message...
Note from the Editors...
9th Annual Graduate Colloquium
Schedule...
Graduate Student Pages...
Emily Carr Institute of Art & Design...
News from Montreal / Nouvelles de
Montréal...
Other Announcements...
CJFS Editorial Board...
FSAC/ACÉC 2005-2006 Executive...
Articles are accepted in English and French and
should conform to the MLA style guide. Des articles
sont acceptés en anglais et français et doivent être
conformes aux règles de l’Association des Langues
Modernes. Manuscripts written on Microsoft Word
or WordPerfect or any compatible word processor
are welcome.
4
5
6
9
12
15
18
20
21
Wanted:
- Review of events
- Topics for debate
- Member news & announcements
- Regional & departmental reports
- Photographs
- Internet sites of interest
- Letters to the Editors
(Other suggestions welcome)
Submit material to:
Shana McGuire ([email protected])
Brenda McDermott ([email protected])
C O N T I N U I T Y V OLUME 30, NO. 3 (WINTER 2007) FILM STUDIES ASSOCIATION OF CANADA
A S SOCIATION CANADIENNE D’ÉTUDES CINÉMATOGRAPHIQUES
President’s Message
Kay Armatage
Dear FSAC Members,
Despite the roller-coaster effects
of this winter weather and the
dire predictions for the planet that
they indicate, the sun is shining in
Toronto today and good news is all
about FSAC.
The Gerald Pratley Award
Scholarship for Film Students
Entering or Continuing Graduate
Studies
The Gerald Pratley Award was
established in 1991 in tribute to
Mr. Pratley’s contribution to the
advancement of Canadian film
studies. The award, valued at
$1000, is intended to assist with
the cost of the student’s continuing
studies in the area of Canadian/
Québec cinema and is based on
the student’s previous academic
performance and his or her
intentions for a specific paper or
body of research on Canadian/
Québec cinema.
We are delighted to announce that
the 2007 Gerald Pratley Award
has been presented to Brenda
McDermott (York University),
who will deliver her paper on
Frank Yeigh, Canadian Illustrated
lecturer, at the 2007 Congress
in Saskatoon. Congratulations
Brenda!
Memberships
We now have our membership form
on the website [www.filmstudies.
ca] with online payment capacity
– a significant breakthrough. At
least for me it means that I can pay
up in a timely fashion, rather than
waiting until I remember to bring
my chequebook to the office and so
on.
Saskatoon Conference
Shaping Up Well
The 2007 conference in Saskatoon
is shaping up as a stellar year.
Local coordinators Philippe Mather
(U Regina) and William Bartley
(U Saskatchewan) have heroically
met all Congress deadlines so
far. Thanks to you both for your
continued good work.
We have received nearly seventy
proposals for individual papers
and preconstituted panels,
including submissions from the
leading senior scholars in Canada
as well as younger faculty and
graduate students. Joint panels
with the Canadian Communication
Association are being organized
by Rebecca Sullivan (U Calgary).
Thanks Rebecca.
one of your own to emerge this
spring, or know of others due out
soon, please let me know. I’m
starting to compile a list now. Send
title, authors & publishers to kay.
[email protected].
The FSAC Executive members have
not only shown heroic patience
with me but have responded within
minutes to my question-filled emails.
Marc Fursteneau (Vice-President,
Carleton) has taken on a great deal
of the organizing responsibility,
especially wrangling the often
complicated electronic elements.
Thanks to all of you.
Nearly Half-Way There
And that’s the best news of
all. Spring will be upon us
– with mountains of marking
to accompany the arrival of
snowdrops – before we know it.
Cheers, everyone, for the rest of the
term.
Kay Armatage
President, FSAC
There are several new books to be
launched, and we hope to enlist
our senior scholars and anthology
editors in a workshop session on
academic publishing in Canada.
I know of a few new books to
be celebrated, but if you expect
Note from the Editors
Shana McGuire & Brenda McDermott
Dear Fellow FSAC Members,
It’s hard to believe that it’s already
February and that study break
is (thank goodness) just around
the corner. Despite the typical
“news” lull at this time of year,
we have managed to round up
plenty of interesting material for
your reading pleasure. We would
especially like to mention here the
re-introduction of the Graduate
Student Page which we hope will
become a regular feature. Seeing
as FSAC has a significant graduate
student membership we would like
Continuity to serve as a means to
connect this population from all
corners of the country and to also
showcase graduate student work.
The editors would especially like
to wish all the organizers and
participants involved in the upcoming 9th Annual FSAC Graduate
Colloquium at Carleton University
an intellectually stimulating and
socially invigorating few days.
Image: Amelia Potter (from her current project on Bejing)
We would also like to extend a
sincere thank you to Michael Baker,
webmaster extraordinaire, for his
indispensable assistance with this
issue.
Until next time,
Shana McGuire
Brenda McDermott
9th Annual Graduate Colloquium:
February 16-18, 2007
School for Studies in Art and Culture - Carleton University, Ottawa
Day One: Friday, February 16
Registration: 5.00 – 6.00
4th Floor Foyer, St. Patrick’s
(All sessions held in SP 435)
History Of Violence and the Mythic Frontier”
Keynote Address: 6.00 – 7.30 (SP 435)
Prof. Chris Faulkner
Director, Institute for Comparative Studies
in Literature, Art and Culture, Carleton
University
“Musical Automata, La Règle du jeu, and the Cinema”
Andrew Nelson, Carleton University, “Sam Peckinpah
Killed Randolph Scott (But Somehow the Duke
Survived): Revisiting the ‘Revisionist’ Western”
Lunch: 1.30 – 2.30
Session 3: 2.30 – 4.00 – Crossing Borders: The
Transnational
Chair: Mitsuyo Wada-Marciano, Carleton University
Reception: 7.30 – 9.00
Wine, beer and hors-d’oeuvres
4th Floor Foyer, St. Patrick’s
Jennifer Thomas, York University, “Trans(cending)
Nationals: Performativity in Neil Jordan’s Breakfast on
Pluto”
Day Two: Saturday, February 17
Breakfast: 9.00 – 9.45
Wendy Schlachta, Carleton University, “Speaking to
the Dead: How International Audiences Understand
New Japanese Horror Remakes”
Session 1: 10.00 – 11.30 – Cinema and Technology
Chair: Marc Furstenau, Carleton University
Murray Leeder, Carleton University, “Collective
Screams: William Castle and the Gimmick Film”
Jessica Aldred, Carleton University, “I, Avatar: Reframing the Work of the Actor in the Age of Digital
Reproduction”
Matthew Croombs, Carleton University,
“eBaumsworld: A Case Study in Viral Video”
Session 2: 11.45 – 1.15 – Historography:
Understanding – and Revising – the Stories We Tell
Chair: Michael Baker, McGill University
Brenda Cromb, University of British Columbia,
“Maggie Cheung & Transnational Stardom”
Session 4: 4.15 – 5.45 – Contesting and Containing
the Nation
Chair: Zuzanna Pick, Carleton University
Fabiana Pereira, Concordia University, “Brazilian
Cinema Marginal: Milestones and Deadends”
Jonathan R. H. Owens, York University, “The Role of
Prisons in Popular Hindi Cinema”
Mounir Koury, Carleton University, “Nation and
Palestinian Cinema”
Stephen J. Rifkin, Carleton University, “History
in the Making: Disciplinary Historiography as
Epistemological Ground for Film Theory”
Lee Knuttilla, York University, “Journey Home: A
Stephen Broomer, York University, “Fabulous
Voyaging: A Canadian Susceptibility to Limelight in
Tyler’s Barrel and Air Guitar in Oulu”
Jean-Charles Bellemare, York University, “Politique
fédérale et néo-libéralisme: le paradoxe de l’Office
national du film du Canada”
Session 6: 11.45 – 1.15 – Forms and Conventions
Chair: James Missen, Carleton University
Screening: 6.00 – 6.45 (SP 435)
“The Bioscopewallah”
Prashant Kadam, York University (video, 12
mins.)
The Bioscopewallah is a brief encounter with an
entertainer, Rau Waghmare. A dalit folk artist, hit
by an unfortunate drought Rau narrates in colloquial
Marathi the story of his struggle for survival in the face
of a natural calamity and migration. Rau’s cheerful
singing and gestures, his unconditional pride in the
bioscope, stand in contrast to the lurking shadows of
poverty and failing health. Prashant Kadam
Evening Event: 7.30 – 9.30
42 Glen Ave.
Food and Drink
Claire Meldrum, Brock University, “A Melodramatic
Trojan Horse?: The Articulation of Developing
Cinematic Codes in the Films of D.W. Griffith”
Tara Kolton, University of British Columbia,
“Traversing the Internal: Metaphysical Landscapes in
Contemporary Cinema”
Sara Swain, Concordia University, “Murderous,
Mobile, Mutable: Articulating the American Stalker
Film in the Cellular Age”
Lunch: 1.30 – 2.30
Session 7: 2.30 – 4.00 – Postcolonial Cinematic
Identities
Chair: Mark Langer, Carleton University
Day Three: Sunday, February 18
Breakfast: 9.00 – 9.45
Jeremy Maron, Carleton University, “The Utility
and Construction of Identity in Chariots of Fire and
Caravaggio”
Session 5: 10.00 – 11.30 – Limits of the Documentary
in Canada
Chair: André Loiselle, Carleton University
Everett Wilson, University of Calgary, “Containing the
Hybrid in A Day in the Life of Canada”
Scott Birdwise, Carleton University, “Of Exhaustion
and Failure – Bare Life and the Gesture in Donigan
Cumming’s My Dinner with Weegee”
Siobhán Quinn, Simon Fraser University, “Urban Soul
Versus Urban Ease: Searching for a Cinematic Dublin
in Contemporary Irish Cinema”
Session 8: 4.15 – 5.45 – Postmodern and Postcolonial
Representation
Chair: José Sanchez, Carleton University
Nicolas Muzzin, York University, “The Ghetto
Revolutionary: Black Power and Postcolonial Identity
Formation in Blaxploitation Cinema”
Michael Freethy, Carleton University, “‘Welcome to the
Suck’… of the Real!’: History/Memory and Jarhead”
David Murphy, York University, “Of Grizzlies and
Men: The Problem of Humanizing Animals in Project
Grizzly and Grizzly Man”
Colloquium Organizer
Marc Furstenau, Film Studies
School for Studies in Art and Culture, Carleton
University
Acknowledgements
Film Studies Association of Canada
Carleton University
Bryan Gillingham, Director, School for Studies in Art
and Culture
Zuzanna Pick, Assistant Director, Film Studies
John Osborne, Dean, Faculty of Arts and Social
Sciences
John Shepherd, Dean, Faculty of Graduate Studies
and Research
Michael Baker, McGill University
Brian Crane, Université de Montréal
James Missen, Carleton University
Taha Taha
Emily Reid
Emily Charles-Donelson
Justin Nalepa
Graduate Student Pages
Brian Crane
The FSAC 9th Annual Graduate
Colloquium is coming up soon
at Carleton’s School for Studies
in Art and Culture and hopefully
everyone within driving distance
will consider stopping by to see
some of the panels. Many excellent
proposals were submitted by grad
students from across Canada and
the papers to be presented are sure
to be top-notch. A word of thanks
should be offered here to Marc
Furstenau and his gang for all the
effort they’ve made to schedule
panels, book conference rooms,
coordinate screenings, and put
coffee on the reception table. I think
I speak for all of the grad students
when I say thank you to these
folks for making the colloquium
into yet another showcase for the
film research of FSAC’s scholarsin-training. Also, in an effort to
have more of a graduate student
focus in this issue, the editors have
decided to dedicate this space to
showcasing the work of various
grads, the majority of whom will
be presenting at the Carleton
conference.
~
Stephen Broomer is a first-year
M.A. candidate in York University’s
Film Department. His focus is on
Canadian Cinema. He is an active
member of the Visible City Research
Project and Archive, and has
recently completed a documentary
film about Toronto’s 2006 homeless
count.
~
Brian Crane is a Ph.D. candidate
in the Université de Montréal’s
comparative literature department.
His dissertation examines the
emergence of features characteristic
of Hollywood domestic melodramas
in William Faulkner’s muchmaligned post-WWII fiction.
Letters, manuscript drafts and
internal evidence suggest that this
“emergence” was a vexed but
conscious appropriation linked to
an on-going experimentation with
the form of the novel. Attention to
film’s traces and its negations in
this fiction thus offers one means
of assessing the interpenetration
of popular film forms and the
transformation of literary narrative
technique after the end of High
Modernism. Brian’s article on
copyright and archival publication,
“From Family Papers to Archive:
The James Letters,” was recently
accepted for publication by The
Henry James Review.
~
Mounir Khoury is an M.A.
student in Film Studies at Carleton
University. His primary focus is on
Palestinian Cinema and notions
of national identity, specifically
the political use of key symbols in
creating and reinforcing identities.
He has also been interested in
C O N T I N U I T Y V OLUME 30, NO. 3 (WINTER 2007) notions of authorship as well as
new media technologies.
~
Lee Knuttila is one of the handful
of students in York University’s
graduate program in Cinema and
Media studies. Before deciding to
travel (an ongoing daily task) to go
to York, he finished a BA hons in
Film Studies and a B.A. in English
at the University of Regina. The
attraction of the self-proclaimed
‘interdisciplinary university’ was his
interest in adaptation. His proposed
thesis is on the relationship
between memory and adaptation
utilizing Virginia Woolf and Sally
Potter’s respective treatments of
Orlando. For his undergraduate
honours paper, he constructed a
gender regime in four of Gus Van
Sant’s films to discuss masculinity,
authorship, and representation
in contemporary cinema. For
the upcoming FSAC graduate
conference, he will be presenting
on the frontier and masculinity in
David Cronenberg’s A History of
Violence.
~
Writing here within the walls of
Continuity is a familiar feeling for
Peter Lester, as he is a former coeditor of this fine publication. Some
of you may also remember him as
last year he served as the FSAC/
ACÉC Graduate Representative
(cont.)
as well. In his time since those two
stints came to a close, he’s had a
brief (and certainly only temporary)
respite from the FSAC world. Aside
from some teaching, this time has
been spent mostly on finishing his
dissertation, in the Communications
Department at Concordia. His
work focuses on the various forms
of itinerant and non-theatrical film
exhibition that were transpiring in
Canada during the inter-war years.
With any luck, and an appropriate
amount of coffee, he should
hopefully be done within the next
6 months or so. (Let’s wish him luck
with that!)
~
Jeremy Maron is a first-year
doctoral student in Carleton’s
Cultural Mediations program.
His primary area of research is
Holocaust cinema, specifically
that of Italy since 1968, and the
relationship between changes in
Holocaust representation in film and
shifting conceptions of
the Holocaust at the level of
collective consciousness.
~
Brenda McDermott is an M.A.
Candidate at York University in the
Communication and Culture
Department. She is currently
working on a thesis which
attempts to address the impact
that newsreels from the First World
1 0
Image: Amelia Potter (from her current project on Bejing)
War had on the development of
Canadian cinema culture. For
the purpose of her work she has
centered the study on the city
of Toronto. Looking at the issue
from a reception perspective, and
sifting through many archives has
demonstrated an interesting trend
away from British newsreels to
an audience desire for something
more reflective of Canadian
needs, sparking the beginning of
Canadian and Canadian editions
of international newsreels.
~
Shana McGuire is a Ph.D.
candidate in French at Dalhousie
University. Her doctoral research
examines representations of the
body in contemporary French
cinema, namely in the films of
Catherine Breillat, Claire Denis,
and Bruno Dumont. Presently
teaching film classes at Mount
Saint Vincent University, she has
also lectured on French cinema
at NSCAD University. Shana’s
publications include work on
contemporary French cinema
and art and have appeared in
Woman’s Art Journal, Dalhousie
French Studies, and Contemporary
French and Francophone Art; her
translation of Pierre Véronneau’s
essay “Parcours du cinéma
acadien” is forthcoming this fall
in Rain, Drizzle, and Fog: Essays
on Atlantic Canadian Film and
(cont.)
Television, edited by Darrell Varga.
~
Andrew Nelson is a second-year
Master’s student in Film Studies at
Carleton University. His master’s
thesis is an examination of the
final Westerns made by actor John
Wayne in the 1970s.
~
Jonathan Owens is a first
year Film Studies M.A. at York
University. His main area of interest
is popular Hindi cinema made
pre-1985 with particular interest in
1950s melodrama. He is also the
Co-Chair of York’s Film Graduate
Student Association (FGSA).
~
Fabiana Pereira is a Ph.D.
student in Communication Studies
at Concordia University. Her
research interests comprise film
genre, taste, and geopolitics.
administrative and independent
sides of the film industry. Her
present research focus is on the
recent rise in celebrity activism.
~
R. Colin Tait earned his Honours
B.A. in Cinema Studies at The
University of Toronto and is
currently an M.A. Candidate in
Film Studies at the University of
British Columbia. Additionally,
Colin is the current editor of
UBCinephile, UBC’s Film Journal
(Vol. 3 - “Hollywood and Liberalism
Today”) which will be published this
coming spring and will feature his
essay “(Zombie) Revolution at the
Gates.” His recent works include
analyses of I Heart Huckabees
(UBCinephile, 2006), The Royal
Tennenbaums (FSAC Graduate
Colloquium, 2006), in addition to
essays on Inside Man and Ocean’s
11. Currently, Colin is completing
his Thesis on Conspiracy Films.
~
Wendy Schlachta is in
her second year of Carleton
University’s Master of Arts,
Communication program. She has
a combined B.A. in Film Studies
and Mass Communication from
the same institution. Wendy has
a background in documentary
film and has worked on the
C O N T I N U I T Y V OLUME 30, NO. 3 (WINTER 2007) 11
Emily Carr Institute of Art & Design
Intersections Digital Studios
(IDS)
Emily Carr Institute of Art + Design
is pleased to announce the official
opening of the Intersections Digital
Studios (IDS) January 23rd, 2007.
An open house and reception
will follow the ribbon cutting
ceremony at noon, and will feature
artwork by faculty and students,
as well as demonstrations of the
IDS capabilities including motion
capture, 3D scanning and printing,
rapid prototyping, digital drawing,
and video conferencing.
IDS is a flexible, well-equipped
research space whose primary
mandate is the support of research
within, across and between fields.
The results of the studio’s activities
are objects, ideas, and tools that
reflect and enhance where we
live and inspire others to do the
same. IDS will provide a substantial
expansion of ECI’s research
and experimental capabilities.
A modular building design with
input, output and transformation
equipment offers a flexible
environment where students and
professionals with specialized
knowledge in art, design and
technology can collaborate in
an interdisciplinary manner. The
studios are of significant value to
students in the Masters of Applied
Arts degree at ECI, which launched
in September 2006.
1 2
IDS was made possible with the
generous help of the Canada
Foundation for Innovation, Western
Economic Diversification, and the
British Columbia government.
~
ECI Animation
Accomplishments
The past academic year was
a successful period for several
Animation students who graduated
from Emily Carr Institute of Art and
Design in May 2006.
Joel Furtado won the first
prize at Electronic Arts Reveal
06: Canadian 3D Showdown.
Joel received $20,000 for his
graduation project, Tree for Two. In
addition, Electronic Arts awarded
Emily Carr Institute a matching
prize of $20,000, funds that the
Animation department will use to
purchase equipment and software.
Hao Chen won third place at
Reveal 06: Canadian 3D Animation
Showdown for his project Never
Now, and Kantcho Doskov was
short-listed for It’s Still Good. All
three students were recognised by
Electronic Arts as part of a group of
top-25 computer animation students
in Canada.
Joel Furtado won the Grand Prize
at the Digital Art Awards (Japan),
Best Visual Effects at the Vancouver
Student Film Festival, 3rd Place
Animation at the International
Manga & Anime Festival (Britain),
and he was semi-finalist at the
Angelus Student Film Festival (USA).
Tree for Two was also accepted to
the Chicago International Children’s
Film Festival, Portland Indy
Animation Festival; Puchon Student
Animation Film Festival (Korea),
and the AnimArte Animation
Festival (Brazil).
Joel was recently interviewed by
3D World. He will be featured
in an upcoming issue of the
magazine and Tree for Two will
also be published on their site
<www.3dworldmag.com>.
Heui Won Jeong and
Justin Murphy co-directed
JumpTrumpRumpBump. Their film
was exhibited at the Vancouver
International Film Festival, ResFest
(CanCon Programme), the Chicago
International Children’s Film
Festival, Norwich International
Animation Festival (UK), Edinburgh
International Film Festival,
Pictoplasma (Berlin), and SICAF
(Seoul).
At the inaugural Canadian
Animated and Electronic Arts
Awards, Joel Furtado won Best
Animation Production, Best
Character Design, and Best 3D
Animation in the student categories.
In addition, Tasha Brotherton
received the award for Best
(cont.)
Original Sound Design for a Video
Game or Animated Production for
her ECI graduation project Woof,
Woof, Woof.
Again, at the Canadian Awards for
the Electronic and Animated Arts,
Kantcho Doskov was nominated for
Best 3D Animation. King Chan
was nominated in the category
of Best Writing for an Animated
or New Media Production for his
animated piece Lurky Places: Kings
of the Court, and Jody Kramer
was nominated for Best Original
Musical Score (with Mark Vaughn),
for her short film Pinch.
At the Ottawa International
Animation Festival, Jody Kramer
received third prize in the
Teletoon Scholarship Competition,
“Continuing Education” category.
King Chan was nominated in the
same category.
Jody Kramer’s short film, Pinch,
earned a jury citation in the Student
Film Showcase at the Toronto
International Film Festival and
the award for Best Animation in
the student film category of the
Montreal World Film Festival. Jody
was also awarded “Best Animation
under 10 minutes” at the Picture
This Disability Film Festival in
Calgary.
Jody’s graduation project has
also screened at several other
festivals and showcases, such as
the Vancouver International Film
Festival, Austin International Film
Festival (Austin, Texas), Rendezvous
with Madness Film Festival
(Toronto), Anchorage International
Film Festival (Anchorage, Alaska),
Short Film Festival of India
(Chennai, India), Culture2Culture
(Vienna, Austria) in addition to
others.
Leslie Bishko, MA, Associate
Professor in Media Arts - Animation,
is researching the content and
style of animated movement,
through Laban Movement Analysis
methodologies. She presented
“Laban for Animators” at the
Montreal International Games
Summit in November, 2006. Leslie
will present “The Uses and Abuses
of Cartoon Style in Animation” at
Animation Universe, the upcoming
annual conference of the Society for
Animation Studies in June, 2007.
She will also conduct a “Laban for
Animators” workshop at a postconference intensive offered at
Portland State University.
Marilyn Cherenko, Associate
Professor in Media Arts - Animation,
is currently a consultant on an
animated project produced at the
National Film Board of Canada’s
Pacific/Yukon Centre. The film is
tentatively entitled How People Got
Fire, directed by Daniel Janke. The
animation director is Chris Auchter,
an ECI Animation alumnus (2002)
from Haida Gwaii. Marilyn’s duties
C O N T I N U I T Y V OLUME 30, NO. 3 (WINTER 2007) include analysis and evaluation
of story, direction, and animation
design.
Martin Rose, Associate Professor
in Media Arts - Animation,
continues to work on a short film
called SLIP!, funded in part with
a film production grant from the
Canada Council for the Arts.
Experimenting with digital twodimensional animation techniques,
Martin is currently researching
design and production for highand low-definition production and
projection; animation for screens
that range from HDTV to the mobile
phone.
~
Up-date from ECI Film, Video
+ Integrated Media Program
Kaka’win (Documentary, 15
min., 2006) is the story of Luna
the Orca who was orphaned from
his pod in Nootka Sound. Directed
by Leah Hayes Nelson, who
graduated in 2006, Kaka’win was
one of only 12 films selected from
across Canada for the Toronto
International Film Festival Student
Film Showcase, and premiered at
the Vancouver International Film
Festival.
Francis (Drama, 2006) is a scifi drama set in the future when
climactic changes have wiped out
the bird population, and features
13
(cont.)
a disabled humanoid robot, the
heir to a private aviary. Francis
was written and directed by Eron
Carruth (ECI grad 2007) who
has worked in the art department
for Vancouver-based feature films
like X-Men 3, and designed and
built the robot puppet for his own
film. Francis won the best student
film award at the 2006 Vancouver
Student Film Festival.
Amanda Dawn Christie is the
new film technician in Film, Video
+ Integrated Media at Emily Carr.
She is a practicing interdisciplinary
artist working in film, contemporary
dance, photography, textiles, and
electroacoustic sound design. She
is currently pursuing a Master
of Fine Arts in Interdisciplinary
Studio Practice at Simon Fraser
University. Her current film practice
revolves around hand-processing,
experimental-contact printing, and
optical printing. A recent series
of films, each two seconds in
duration and originated on 35 mm,
screened recently at Rotterdam.
Media Program continues to
support traditional analogue film
technologies (these include 16
mm cameras such as Bolexes, Arri
SR’s, the Arri-S, as well as Super-8,
and post-production tools such as
Magnasync and Steenbeck) as well
as supporting cross-platform film to
digital post-production work flows.
In the current fourth year, 30 % of
the students are originating their
time-based grad media projects
on 16 mm film. In addition to
shooting 16 mm film in second
year film production courses, and
third year cinematography and
production courses specializing
in industrial methods, students
also use Super 8 and 16 mm in
a variety of experimental media
works, installations, and works of
video art.
Filmmaker Allison Beda, who
teaches third year cinematography
and set etiquette for sync sound
16 mm production, was recently
chosen for National Film Institute’s
Features First Program 2006-2007
with The Take Out Girl a dramatic
feature-length script that she hopes
to direct.
The Film, Video + Integrated
1 4
Nouvelles de Montréal
Enfin, un premier programme de doctorat en études cinématographiques au Canada!
At last, the first doctoral program
cinématographiques offrira aux
étudiants une formation encore plus
spécialisée.
The Department of Art History and
Film Studies at the Université de
Montréal is happy to announce the
up-coming launch of its new Ph.D.
in Film Studies – the first of its kind
in Quebec and Canada, and the
only program in French in North
America.
Le nouveau programme de Doctorat en études cinématographiques de l’Université de
Montréal a en effet pour principal
objectif de former des chercheurs
de haut niveau dans le domaine de
l’histoire et de la théorie du cinéma
et dans ces champs d’investigation
connexes que sont les arts médiatiques, les nouveaux médias et
l’intermédialité. Le programme, qui
devrait accueillir entre 5 et 7 nouveaux étudiants par année, comporte 90 crédits, dont 15 crédits
de cours, 3 crédits pour un forum
doctoral et 72 crédits de thèse,
ainsi qu’un examen de synthèse. Il
offre aux étudiants une douzaine de
séminaires annuels – dont Cinéma,
jeux vidéo et fiction interactive, La
médiation audiovisuelle, Cinéma et
philosophie, Recherches sur le ciné-
in Film Studies in Canada!
Le Département d’histoire de l’art
et d’études cinématographiques de
l’Université de Montréal est heureux
d’annoncer l’ouverture prochaine
de son nouveau Doctorat en
études cinématographiques,
qui sera ainsi le premier du genre
au Québec et au Canada et le
seul en français en Amérique. Le
programme a reçu un avis favorable la Commission d’évaluation
des projets de programme de la
CRÉPUQ (Conférence des recteurs
et des principaux des Universités du
Québec) et attend l’approbation imminente du Ministère de l’Éducation
du Québec pour accueillir ses premiers étudiants à l’automne 2007.
ma québécois, La critique cinématographique, Questions de narration,
Histoire du cinéma : problèmes,
méthodes, Scénarisation, technologies et création, Littérature, cinéma
et médias, Problématiques de
l’intermédialité. Il comprend aussi
un séminaire méthodologique, un
atelier de recherche et un séminaire
doctoral conjoint avec l’Université
Paris 3 (Sorbonne Nouvelle), qui
sera donné annuellement par quatre professeurs des deux institutions.
Le Département constitue pour
les étudiants un encadrement
académique de choix et peut leur
assurer un bon soutien financier.
Le secteur des études cinématographiques du Département est
en effet fort actif et productif sur
le plan des recherches subventionnées, des publications et des
communications. Il a aussi donné
naissance à un important centre
de recherche (le Centre de recher-
Le Secteur des études cinématographiques de l’UdeM était déjà
fort actif au 3e cycle dans l’option
« Littérature et cinéma » du Doctorat en littérature (les professeurs
de cinéma y ont formé une dizaine
de docteurs et dirigent actuellement
une vingtaine de doctorants). Mais
le nouveau Doctorat en études
che sur l’intermédialité -- CRI), qui
compte des membres québécois,
canadiens et internationaux. Il
accueille aussi l’un des plus importants groupes de recherche
sur le cinéma des premiers temps
(le GRAFICS) et plusieurs équipes
de recherche subventionnées qui
travaillent sur des sujets divers :
Filmographie des vues au Québec
avant 1915, Histoire et théorie
de l’alternance dans les pratiques
de montage, Anachronisme des
images dans le cinéma québécois,
Cinéma et oralité, Fictions alternatives de l’histoire des sciences et
des technologies, Histoire et théorie du cinéma interactif, La réalité
augmentée en art contemporain,
L’esthétique du cinéma de Gilles
Deleuze, Filmer les immigrés, etc.
Enfin, il est associé à deux revues savantes, CiNéMAS (Revue
d’études cinématographiques /
Journal of Films Studies) et Intermédialités (Histoire et théorie des
arts, des lettres et des techniques).
Comme l’affirme l’un des experts
externes consultés par la CRÉPUQ :
“We were impressed by a faculty
cohort which has a record of research
grants superior to that of any film
studies departments in Canada, and
probably superior to any other unit of
comparable size within the Humanities
in any Canadian University. “
(cont.)
du Département d’histoire de l’art
et d’études cinématographiques
est composée de neuf professeurs
réguliers (Olivier Asselin, Serge
Cardinal, Michèle Garneau, André Gaudreault, Germain Lacasse,
Silvestra Mariniello, Edouard
Mills-Affif, Bernard Perron, Isabelle
Raynauld) et de deux professeurs
associés (Jean-Marc Larrue et Pierre
Véronneau). Un nouveau poste de
professeur régulier sera affiché au
printemps et deux autres postes
seront ouverts l’année suivante.
Comme l’affirme un autre des experts consultés par la CRÉPUQ :
“Aside, perhaps, from the Department
of Cinema Studies at New York University, the [Secteur d’études cinématographiques du Département] will be the
best-staffed graduate program on the
continent of North America. […] I can
think of no other department with as
many professors treating such a variety
of approaches to the moving image.
This doctorate in Film Studies is likely
to become a model for other programs
and undoubtedly will become the main
crossroad of Anglophone and Francophone moving image study on the
North American continent.”
- David N. Rodowick, Director of
Graduate Studies in Film and Visual
Studies, Harvard University
- Will Straw, Department of Communications Studies and Art History McGill
University
À l’heure actuelle, l’équipe du secteur des études cinématographiques
1 6
(cont.)
L’actualité du GRAFICS
Le GRAFICS (Groupe de recher-
che sur l’avènement et la formation
des institutions cinématographique
et scénique) poursuit ses travaux
à l’Université de Montréal dans
le cadre de sa subvention FQRSC
(2005-2009), sous la direction
d’André Gaudreault. En 20052006, le groupe a organisé deux
ateliers de recherche (subventionnés
CRSH). L’atelier « Histoire et théorie
des configurations de l’alternance
» a réuni, en novembre 2005, une
douzaine de chercheurs canadiens,
américains et européens (dont Tom
Gunning, Bernard Perron, Philippe
Marion, Janelle Blankenship,
Jean-Pierre Sirois-Trahan et Ben
Brewster). Il portait sur les pratiques
d’alternance au cinéma, mais aussi
au théâtre, dans les jouets optiques
et dans la bande dessinée. Les
résultats de l’atelier paraitront en
2007 dans la revue CINEMA & Cie
(Paris et Milan), sous la direction de
Nicolas Dulac et Bernard Perron.
Le deuxième atelier, « Avènement
du cinéma en Amérique du Nord
(1893-1909) », qui s’est tenu en
novembre 2006, a quant à lui
réuni 19 chercheurs américains
et canadiens, dont Paul Spehr,
Jean-Marc Larrue, Patrick Loughney, Tom Gunning, Marta Braun,
Charles Keil, Eileen Bowser, Lauren
Rabinovitz, Jo-Anne Stober, Paul
Moore, Jean-Pierre Sirois-Trahan et
Germain Lacasse. L’atelier portait,
dans une optique comparative, sur
l’avènement du cinéma au Canada
et aux États-Unis. Les textes des
chercheurs américains paraitront
dans le premier volume de la série
Screen Decades (Rutgers University
Press), consacré au cinéma des
premiers temps ; les travaux des
chercheurs canadiens devraient
donner lieu à une publication en
2008, sous l’égide du Canadian
Journal of Film Studies.
En novembre dernier une nouvelle
version de la Filmographie des
« vues » tournées au Québec au
temps du muet a été mise en ligne
sur le site du GRAFICS (http://cri.
histart.umontreal.ca/grafics/fr/
filmo/default.asp). Sans cesse
nourrie par les plus récentes recherches de l’équipe dirigée par Pierre
Véronneau, André Gaudreault et
Germain Lacasse, la filmographie
compte maintenant 410 titres et
propose un moteur de recherche
plus performant.
programmation de trois soirées
de projection par année du cycle
« Cinéma muet en musique
». Six projections thématiques et
deux ateliers de vulgarisation ont
déjà eu lieu à la Cinémathèque ;
les prochaines projections auront
lieu les 9 février et 27 avril 2007.
Pour plus d’information : http://cri.
histart.umontreal.ca/grafics/fr/
proj-presentation.asp. En 2006, le
GRAFICS a aussi déposé à la Médiathèque Guy L. Côté les résultats
de son dépouillement du quotidien
montréalais Montreal Daily Star.
Les photocopies de tous les articles
consacrées au cinéma et au monde
du spectacle parus dans le Star
entre 1895 et 1913 peuvent être
consultées sur place.
Les travaux de plusieurs chercheurs
et auxiliaires du GRAFICS ont
aussi été publiés dans le numéro «
Femmes et cinéma muet : nouvelles
problématiques, nouvelles méthodologies » de la revue CiNéMAS
(vol. 16, no 1), sous la direction de
Rosanna Maule (Concordia University, membre du GRAFICS).
Enfin, dans le cadre de son partenariat de recherche officiel avec
la Cinémathèque québécoise, le
GRAFICS assure depuis 2005 la
Other Announcements
New MA in Cinema Studies at the University of Toronto
Pending approval by the Ontario A Ph.D. fellowship for a 3 year
Council of Graduate Studies and
the University of Toronto Governing
Council, Cinema Studies at the
University of Toronto will be
introducing a Master of Arts degree
in cinema studies, commencing in
September 2007.
The MA will be a course-based
graduate program in Cinema
Studies, lasting 12 months and
consisting of four full-course
equivalents (FCEs).
Deadline for applications
is February 28, 2007. No
acceptances will be issued until
OCGS approval has been granted.
For additional program information
and application instructions, please
visit the Cinema Studies website at:
www.utoronto.ca/cinema and click
on “MA: Application Information”
and “MA: Description of Program”
under “Admission, Course &
Program Information”.
~
University of Copenhagen,
Denmark (Section of Film and
Media Studies) & University
of St. Andrews, Scotland
(Centre for Film Studies)
Joint Ph.D. Fellowship in PostCommunist Film Culture in Eastern
Europe
1 8
Ph.D. course of study (financed by
the Danish Research Councils) is
available from September 2007August 2010.
The Ph.D. is part of a special
international collaboration between
the Department for Media,
Cognition and Communication,
Section for Film and Media
Studies, University of Copenhagen,
Denmark (contact: Professor Ib
Bondebjerg, [email protected],
http://english.media.ku.dk/ ) and
the Department of Film Studies,
University of St. Andrews, Scotland,
UK (contact: Professor Dina
Iordanova, [email protected],
http://www.st-andrews.ac.uk/
filmstudies) .
Appointment as a PhD fellow
is subject to the agreement
between the Ministry of Finance
and the Danish Confederation of
Professional Associations (AC).
The selected person can choose to
be enrolled as a Ph.D. fellow either
at the University of St. Andrews or
at the University of Copenhagen.
It is part of the agreement that
the Ph.D. will spend time both in
Copenhagen and in Scotland (at
least a year in each place), funding
for covering the costs of relocation
and commute is allocated.
The project is open for applicants
from EU or EEA countries. The
chosen candidate will be affiliated
with the Danish Research School
for Media, Journalism and
Communication, the Network for
Studies in Media, Democracy and
European Culture and the Centre
for Film Studies at the University
of St. Andrews. Participation in
relevant seminars and research
school activities is mandatory. The
project output must be in English.
We are looking for applicants
who either hold an MA degree
in a relevant discipline or can
demonstrate equivalent professional
experience. We encourage
applications for projects dealing
with the post-communist period
in Eastern European film cultures.
Please note that we are using the
term Eastern Europe in a wide
sense which includes Central East
Europe, the Balkans and the former
Soviet Union.
The specific type and subject of
the project can be within the areas
such as for instance:
•
The national cinema
culture in one or several eastern
European countries after 1989 with
focus on one or several aspects
of institutions, policy, genres, or
audiences.
•
Studies of specific cinematic
types: feature, documentary, TVfilm, programmes for children and
Other Announcements
Joint Ph.D. Fellowship in Post-Communist Film Culture in Eastern Europe (cont.)
young people and their role in a
broader social and cultural context
•
Study of industry
transformations, of the changes of
ownership and control in culture,
and of new transnational realities
and industrial contexts.
•
Study of the effect of
globalisation, migration and
diaspora and the emergence of
new cultural dependencies in
the region as revealed through
investigation of the cinematic
output.
•
The transformation and
development of Russian and postSoviet film and media culture
•
Popular cinema’s role in
forging nationalism across the
region. Issues of post-communism
and post-colonialism.
The application (in English) must
be sent in 6 copies to the Rector,
University of Copenhagen, Faculty
of Humanities, Njalsgade 80,
2300 Copenhagen S, Denmark,
no later than May 1, 2007 at
12:00 (noon) with reference to
J.nr. 211-0075/07-4550. No
enclosures will be accepted after
that deadline. The application must
contain the following documents:
•
Cover letter stating interest
in pursuing PhD level studies and
outlining the project.and also
indicating preference for enrolment
at either University of Copenhagen
or University of St. Andrews
widely considered a key film in
the development of contemporary
English Canadian cinema.
•
Project description – up to
1,500 words (6 pages)
The DVD has been produced by
Darrell Varga, Canada Research
Chair at NSCAD, and it is
packaged with commentary track,
French subtitles, an extensive photo
gallery, written commentary, as
well as MacGillivray’s feature
documentary I Will Not Make Any
More Boring Art about the heyday
of the conceptual art movement
circulating around the Nova Scotia
College of Art and Design in the
1970s.
•
Writing sample (in English)
of no more than 2,000 words.
•
page
A CV of no more than one
•
A publication list
•
Documentation transcripts
of education and finished MA (or
equivalent)
•
Two letters of
recommendation
Please consider this addition to
your film studies collection.
To make purchases, contact:
[email protected]
Or, send payment to:
Picture Plant
983 Kingsburg Beach Rd.
Rose Bay, NS B0J2X0
Life Classes re-release
With the assistance of funds
from the Audio-Visual Heritage
Trust of Canada <www.avtrust.ca>,
NSCAD University has sponsored
the re-release on DVD of Life
Classes - the 1987 Nova Scotia
film directed by Bill MacGillivray,
CJFS Editorial Board
2006-2007
Blaine Allen
Film Studies
Queen’s University
160 Stuart Street
Kingston, ON K7L 3N6
613-533-600 #77023
613-533-2063 (fax)
[email protected]
[email protected]
Brenda Austin-Smith
University of Manitoba
449 Universtiy College
Winnipeg, MB R3T 2N2
204-474-9121
[email protected]
Janina Falkowska
Department of English, Film Studies
University of Western Ontario
London, Ontario N6A 3K7
519-661-3403
[email protected]
2 0
Brian McIlroy
Film Studies
University of British Columbia
Room 2354A, 1874 East Mall
Vancouver, BC V6T 1Z1
[email protected]
Catherine Russell
Mel Hoppenheim School of Cinema
Concordia University
1455 de Maisonneuve Blvd. W.
Montreal, Quebec
H3G 1M8
514-848-2424 ex. 4657
514-848-4255 (fax)
[email protected]
Peter Urquhart
Institute of Film Studies
School of American and Canadian
Studies
Universtiy of Nottingham
University Park
Nottingham NG7 2RD UK
+44 (0) 115 8467465
+44 (0) 115 9514270 (fax)
[email protected]
Haidee Wasson
Mel Hoppenhiem School of Cinema
FB319
Concrodia University
1455 de Maisonneuve Blvd. West
Montreal, QC H3G 1M8
514-848-24-24 x5236
514-848-4255 (fax)
haidee_wasson@concordia ca
William C. Wees
Dept.
of
Art
History
and
Communication Studies
McGill University
853 Sherbrooke St. West -- Arts
W225
Montreal, QC H3A 2T6
514-398-4935
514-398-7247 (fax)
[email protected]
FSAC/ACÉC
Executive/Conseil d’administration 2006-2007
President
Kay Armatage
Cinema Studies
University of Toronto
2 Sussex Ave
Toronto, On
M5S 1J5
416-978-8572
[email protected]
Vice-President
Marc Furstenau
Film Studies
School for Studies in Art and
Culture
Carleton University
423 St. Patrick’s Building
1125 Colonel By Drive
Ottawa, On
K1S 5B6
613-520-2342
[email protected]
Secretary
John McCullough
Department of Film
223 Center for Film & Theatre
Toronto, ON
M3J 1P3
416-736-2100x22183
[email protected]
Treasurer
Jerry White
Film Studies, Dept. of English
3-5 Humanitites Building
Universtiy of Alberta
Edmonton, T6G 2E%
710-492-0121
[email protected]
Graduate Student
Representative
Brian Crane
Dept. of Communication Studies
[email protected]
Members-at-large
Zoe Druick (2004-2007)
School of Communication
RCB 6228
Simon Fraser University
Burnaby, BC
V5A 1S6
604-291-5398
[email protected]
Michael Baker (2005-2008)
Department of Art History and
Communication
McGill University
[email protected]
Philippe Mather (2005-08)
Department of Media
Production and Studies
Campion College
3737 Wascana Parkway
Regina Sk
S4S 0A2
306-359-1229
[email protected]
JoAnne Stober (2006-09)
Dept. of Communication Studies
[email protected]
Bruce Barber (2006-07)
Visual Culture Studies
NSCAD
5163 Duke Street
Halifax NS
B3J 3J6
902-425-4085
[email protected]
Batia Stolar (2006-07)
English Department
Lakehead University
955 Oliver Road
P7B 5E1
807-343-8489
[email protected]
The Gerald Pratley Award
Donation Form
The Gerald Pratley Award is an FSAC tradition, offered in tribute to Mr. Pratley’s contribution to the advancement
of Canadian film studies. Its objective is to encourage and support the study of Canadian cinema amongst the
next generation of film scholars. However, due to funding cutbacks, in order to keep this award alive, we need
the generous support of FSAC members.
Please fill out this form and mail with your tax deductible donation to the Gerald Pratley Award fund today.
Name:
Affiliation:
Address:
Tel:
Fax:
Email:
I enclose $ _______ toward the Gerald Pratley Award Fund
_____ Please issue me a charitable donation receipt for tax purposes.
Send this form and your cheque
(payable to Film Studies Association of Canada) to:
John McCullough, Secretary FSAC
York University
Department of Film, CFT 223
4700 Keele St.
Toronto, ON
M3J 1P3 CANADA
Application for Membership
Please print this page, fill out the form, enclose a cheque payable to Film Studies Association of Canada, and mail to:
York University
4700 Keele St.
Toronto, ON M3J 1P3
Email: [email protected]
Tel: 416-736-2100 x22183
Fax: 416-736-5710
Note: Membership in FSAC runs from September 1 to
August 31. Applications received mid-year will be processed
for the current FSAC membership year and membership will
be retroactive to September 1. Applications received after
July 1 are considered eligible for membership effective the
following year.
-------------------------------------------------------------------------------- ____ $60 Regular
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Name _______________________________________________
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Veuillez remplir le formulaire ci-dessus et envoyez le montant requis en faisant votre chèque à l’ordre de l’Association
canadienne d’études cinématographiques à::
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Email: [email protected]
Tel: 416-736-2100 x22183
Fax: 416-736-5710
(Note: Membership in FSAC runs from September 1 to
August 31. Applications received mid-year will be processed
for the current FSAC membership year and membership will
be retroactive to September 1. Applications received after
July 1 are considered eligible for membership effective the
following year.)
-------------------------------------------------------------------------------- ____ $60 Membre Régulier
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Souhaitez-vous vous inscrire à la liste de distribution (listserv) de FSAC ? Oui____ Non___

CONTINUITY volume 30, number 3 (winter 2007)

Transcription

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