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Mailing Address
1455, boul de Maisonneuve ouest
FB 319
Montréal, Québec
H3G 1M8

In person or by courier
1250, rue Guy
FB 319
Montréal, Québec
H3H 2T4
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phone: (514) 848 - 2424 ext. 4666 for graduate enquiries or (514) 848 - 2424 ext. 4335 for undergraduate enquiries
fax: (514) 848 - 4255
email:

The Film Production Programme in the Faculty of Fine Arts at Concordia University has an established reputation as one of the best Canadian university concentrations in filmmaking.

Courses give students a perspective in the aesthetics of creation and provide them with a comprehensive knowledge of the mechanics involved in producing motion pictures. Using the medium as a means of cultural expression, they learn how to find the cinematic equivalent for their ideas, for stories they like, or for topics with which they are concerned.

In order to realize their projects, students familiarize themselves with the full range of 16mm film techniques including conceptual approach, cameras, lighting, sound and editing equipment. The programme does not favour any specific genre of filmmaking, leaving students at liberty to develop their individual interests. The complete programme includes composite courses, lectures by visiting specialists, independent studies, professional internship and workshops, assuring continuous contact with working professionals in the film industry.

In the first year, each student is expected to shoot one film per semester. In second and third year programmes, a jury (script committee) will determine which of the film projects proposed by students will be approved for production.

The following guidelines will help those considering whether to apply:

• Candidates should be mature in their outlook and responsible in their attitudes.


• Candidates must be concerned about making a contribution to their community and to the art of filmmaking. As they will be entrusted with expensive, precision equipment, a high degree of commitment and responsibility is essential.


• Applicants should have a serious interest in films and be capable of interpreting them and communicating their interpretation to others. Original thinking about the development of the medium would be considered an advantage.


• Candidates should have an interest in some of the other arts, such as literature, theatre, music, painting, sculpture, and be prepared to discuss their views on them.


• Social and political interests are important but they should be accompanied by creative potential and visual and auditory imagination.


• A capacity for hard work is mandatory, together with initiative, organizational skills and the ability to work as part of a team.

Filmmaking And Ancillary Courses
The central production courses in which films are made are FMPR 231, 332 and 432. Both the Major in Film production and the Specialization in Film Production are organized around these central filmmaking courses. In both programmes, students also take appropriate film production ancillary courses (usually 6 credits per year). Permission to enrol in these ancillary courses is based on several factors including: the potential the student has shown in the area taught in the ancillary course, the number of places available, recommendation of the instructor, and the preference of the student. In addition to the central filmmaking courses and the film production ancillary courses, students in these programmes also take film studies courses, courses chosen from outside the Faculty of Fine Arts, and other electives.


Expenses
Students must bear the cost of film stock, magnetic stock, processing, and materials. Depending upon the particular film project, a student enrolled in a first-year filmmaking course, for example, can expect to spend $1000 - $2000; second and third year students can expect to spend between $1500 - $5000.


Production Grants
Students enrolled in second and third year filmmaking courses are eligible to apply for a production grant through the School. These small grants are intended to assist students to start or complete their film project. It should be noted however, that grants are never greater than one-third the cost of the entire project and that not all those who apply receive a grant.

The Bachelor of Fine Arts degree programme, Major in Film Production, consists of 54 credits for the concentration, and an additional 36 elective credits to make up the 90 credits required for the degree. Full-time students normally complete 30 credits annually for three years.

Concentration Requirements
6 credits History of Film To 1959
6 credits Film Aesthetics
21 credits Filmmaking I, II, Image I, Montage I, Sound I
15 credits Cinema electives
6 credits Film Studies electives (excluding FMST 200)

Electives
6 credits The Visual and Performing Arts in Canada
6 credits selected from courses offered outside the Faculty of Fine Arts and outside the Department of Communication Studies
24 credits "free" electives (may include course offerings in other departments in the Faculty of Fine Arts, course offerings in other Faculties, and/or additional credits in Cinema).

The Bachelor of Fine Arts degree programme, Specialization in Film Production, consists of 66 credits for the concentration, and an additional 24 elective credits to make up the 90 credits required for the degree. Full-time students normally complete 30 credits annually for three years. Students in the Major in Film Production may apply to transfer to the Specialization in Film Production as they near completion of Film Production 332 and upon attainment of third-year standing (33 or fewer credits remaining to be completed In the degree programme). Acceptance to the Specialization is based on the student's performance in the University, particularly on filmmaking ability and the creative potential shown in Filmmaking II. (It is strongly recommended that students applying to this Specialization have, or acquire, a good knowledge of French.)

Concentration Requirements
12 credits History of Film to 1959 Film Aesthetics.
18 credits Filmmaking I, II, III
9 credits Image I, Sound I, Montage I.
3 credits Film Production Specialization Seminar
9 credits chosen from: Acting and Directing Acting for the Screen I & II, Writing for Film I & II, Production Design, Ways of Seeing in Film Production, Image II, Montage II, Sound II, Special Topics in Film Production, Optical Printer Practice, Problems and Methods of Film Production and Distribution
9 credits Film Studies electives (excluding FMST 200)
6 credits Cinema electives

Electives
6 credits The Visual and Performing Arts in Canada
6 credits selected from courses offered outside the Faculty of Fine Arts and outside the Department of Communication Studies
12 credits "Free" electives (may include course offerings in other departments in the Faculty of Fine Arts, course offerings in other Faculties, and/or additional credits in Cinema).

Recommended First-Year Study Plan
6 credits Film Aesthetics
6 credits History of Film to 1959
6 credits Filmmaking I
6 credits Visual and Performing Arts in Canada
6 credits selected from courses offered outside the Faculty of Fine Arts and outside the Department of Communication Studies

The Graduate Film Production program promotes an expanded notion of cinema, encouraging all formats of image support, including film and digital-based media, and forms of exhibition, from traditional single-channel projection to installation. Aesthetic innovation and experimentation across subject and genre – including abstract cinema, documentary, fiction and hybrid forms – are strongly emphasized. Eschewing television production and mainstream dramatic approaches, the program is intensive and participatory, providing a rigorous academic setting where new approaches to the art of cinema are explored and defined.

This course of study is ideal for media makers committed to the notion of an independent studio art practice. Our graduate students are multidisciplinary artist-researchers working at the vanguard of cinema and new media.

METHODOLOGY
The studio component of the Graduate Film Production programme is conceived as a Laboratoire de cinéma dedicated to an ongoing dialogue and critique of the processes, methodologies and practices of contemporary cinema. Technical courses are not provided. Rather, graduate students meet formally for group critiques and discussions about their ongoing work, supplemented with guest presentations by nationally and internationally recognized film artists and specialists.

In the tutorial environment, students work closely with faculty, who are active artists, in developing their individual research programs. Research programs are comprised of a single thesis film or a coherent body of work, with a substantial written component that provides context for the research. Thesis development begins in first term, at which time individual advisors are assigned, and extends over a three-year period.

CURRICULUM
An area of concentration within Concordia’s MFA-Studio Arts programme, the Graduate Film Production curriculum consists of two years of full time residency, which includes studio courses and art theory/critical seminars taken in conjunction with MFA students from the other disciplines (Open Media, Painting, Photography, Print Media, Sculpture, Fibres and Ceramics). Please consult the MFA Studio Arts website, general information section, for degree requirements and credit breakdown: .

ADMISSIONS
Admissions are based primarily on strength of portfolio, with past academic record and research proposal important considerations. The admissions process is highly competitive; the programme accepts up to ten students yearly from well over 50 applicants. Candidates are expected to be technically proficient, self-motivated and capable of producing challenging work in a demanding tutorial environment. Students are encouraged to contribute to the overall esprit de corps of the MFA-Studio Arts programme through active exhibition and discussion of their work with fellow residents.

HEXAGRAM
http://www.hexagram.org
HEXAGRAM Institute for Research and Creation in Media Arts and Technologies represents Montreal’s first Institution dedicated towards the Research and Creation in Media Arts and Technologies in Quebec. Inaugurated in December 2001 as an inter-university enterprise between Concordia University and UQAM, this new Institute brings together the greatest number of university artist researchers and graduate students in the field of media arts and technologies in Quebec. Hexagram provides research and studio assistantships to graduate students working with Hexagram researchers.

CIAM
http://www.ciam-arts.org
The Centre interuniversitaire des arts médiatiques (CIAM) is an association of researchers at Concordia University, UQAM and the Université de Montréal. These researchers study the applications, content and development of technologies that have an impact on the new media arts. The CIAM Student Funding Program is for master's and doctoral students at Concordia University, UQAM and the Université de Montréal. The program's first priority is to support final projects in the field of the new media arts. However, some projects that do not qualify as final projects will be considered if they are accompanied by a distribution contract with an established gallery, museum or theatre. The maximum amount of the funding is adjusted based on the level of study. Each student must be recommended by a Hexagram professor-researcher if the project director is not a member of Hexagram. Students may not submit more than one project per competition. They may, however, submit a new application to complete a project or for a new project, up to the maximum amount for their category. When submitting a second application, students must also provide a temporary stage report, and an end of project report if it is for a new project.

LEONARD AND BINA ELLEN GALLERY
http://www.ellengallery.com
The Leonard & Bina Ellen Art Gallery of Concordia University is a non-profit public museum committed to the research, collection and interpretation of Canadian art. Founded in 1966, the Sir George Williams Art Galleries was renamed Concordia Art Gallery in 1984. In 1992 the Gallery was relocated to state-of-the-art facilities in the newly constructed library complex and inaugurated as the Leonard & Bina Ellen Art Gallery. With larger viewing spaces, stimulating art exhibitions and informative public programming, the Gallery affords an excellent venue for the presentation and investigation of Canadian art.

CDA - CENTRE FOR DIGITAL ARTS
http://cda.concordia.ca
The CDA's Mac Labs are equipped with Macintosh workstations with flatbed and slide scanners, video projectors, DVD burners, high-speed internet connections, black and white and colour printers. The Mac Lab has software for desktop publishing, industrial design, web site creation, video editing, and multimedia projects. More specialized applications for font creation, computer textile design and object oriented programming for music and multimedia are also available. The MacLab is used for creating digital and print-based work, including drawing, painting, photo manipulation, editorial design, type design, 3-D rendering, motion graphics, sound design and Web, CD and DVD authoring. The lab is equipped with the latest Macintosh workstations with high-speed Internet connections, black-and-white and colour high-resolution printers, video projectors, flatbed and slide scanners, digital still and digital video cameras and CD and DVD burners. Software: Illustrator, Image Ready, Photoshop , Cleaner 5, Director, Final Cut Pro, Firework, Flash, Imovie, Media cleaner, Internet exporer, Netscape communicator, Omnipage pro, Realplayer, Toast 5. Office, Protools IDVD, Fetch, Quicktime Pro, Quark Express Passport, Dreamweaver, Bbedit lite

Other CDA Labs include the NT Lab, equipped with Dreamweaver, Flash, Generator, Maya (3D animation program), Office , Quicktime Pro, Adobe After Effects, Photoshop, Premiere, Internet Explorer, Realplay, Director; Video Production Labs, located in the Visual Arts Building, 1395 Réné Lévesque West, VA-043, phone 514 848-2424 ex.4232; and the McConnell Research Lab, a video-editing facility designated for Faculty of Fine Arts faculty and graduate students.

IITS - INSTRUCTIONAL & INFORMATION TECHNOLOGY SERVICES
http://iits.concordia.ca
The University has three equipment depots available to support the academic needs of students and faculty Audio-visual equipment for student loan includes slide and video projectors, portable digital audio recorders, and digital video camcorders. Equipment inventories vary from depot to depot, but the following is an indication of the general pool:
- Computer and data projection equipment for classroom use
- Hi8, VHS cameras
- DV and Digital 8mm cameras
- Digital still cameras
- Televisions
- Video projectors
- 3/4", VHS, Video 8, Hi-8 and multi-system video playback units
- 35mm cameras and lenses
- 16mm projectors
- Slide projectors
- Portable DAT kits
- PA & sound systems
- Radio-cassette players
- Tape recorders (including half-speed)
- Portable overhead projectors

VMR - VISUAL MEDIA RESOURCES
VMR groups together Concordia's teaching media collections. Videos may be found using the database, previewed at the learning Labs and booked for class presentations in H 341. Services include:
- Media bookings for academic and non-academic screenings
- Video and 16mm film transfers including multi-system VHS
- On-line catalogue of Concordia's media teaching collection, a library of video tapes, films, DVDs, CD-ROMs, laserdiscs
- Satellite services: The university has two satellite downlinks, one on each of the two campuses, which provide feeds from most of North America's satellite networks. There are several educational and information channels offering programs which can be viewed and recorded free of charge.
- Language and media center/laboratory H 525: The Learning Labs make available individual video viewing workstations (DVD, VHS, laserdisc, betamax, Videos, 3/4" Umatic) computer workstations and language laboratory stations.

FACULTY OF FINE ARTS SLIDE LIBRARY
The Faculty of Fine Arts Slide Library contains more than 250,000 slides. The slide collection features a large selection of contemporary and historical works. Access to the Library is open to all members of the Concordia community for the purpose of borrowing slides to illustrate lectures and presentations in classrooms on campus. The collection covers painting, drawing, photography, sculpture, fibres, architecture, post-studio art, book arts, print graphics, ceramics, performance art and material culture. It also includes slides of work by faculty.

The Faculty of Fine Arts offers a 60-credit programme leading to the degree of Master of Fine Arts (Studio Arts) with concentration in one of the following: Ceramics, Fibres, Film Production, Open Media, Painting, Photography, Print Media and Sculpture. These areas of concentration are offered by specific programmes within the Faculty of Fine Arts. Students are accepted into the M.F.A. Programme with the approval of the appropriate area of concentration.

DEGREE REQUIREMENTS
The MFA is the terminal degree in the visual arts. The first 2 years allow for concentrated study and focus on the seminars and individual studio experimentation. The final year is devoted exclusively to studio work to realize the final thesis project and defense. Residency is not required for the final semester. Students can present their thesis 6 months after completing their course work.

RESIDENCY
The programme consists of two years of full-time residency which includes studio work and art theory/critical seminars. This includes a summer course, taken between the first and second years, which involves students from all disciplines in a studio format. Following the residency, graduate candidates must complete their thesis project within two years.

SEMINARS
The MFA Studio Arts Programme recognizes the importance of theoretical, conceptual and historical concerns and their impact on contemporary art. To address these realities, students are require to take 21 credits of seminar courses during their residency. These seminars provide a rigorous framework for the development of ideas in relation to creative practice. The seminars are interdisciplinary and taught by a dynamic and changing faculty. Seminar topics vary regularly to reflect the shifting nature of contemporary art and culture.

Seminar topics have included, “Living Art: Actions, Interventions, Performance,” “The Home Movie/Video in Art, Film and Everyday Life,” “Performing Failure: Techniques of Mutism,” “Quebec Independent Cinema,” “The Roots of Contemporary Art,” and “Situationism and Beyond.” In addition, all incoming students must take an introductory course titled “Art: Ideas and Practices.”

Seminar faculty have included Stéphane Aquin, Renée Baert, George Bogardi, Lon Dubinsky, Jim Drobnick, Jennifer Fisher, Nicole Gingras, Stephen Horne, Stephann Kurr, Lani Maestro, Christof Migone, Marcus Miller, Nancy Ring, and Cheryl Simon.

INTERNSHIP AND INDEPENDENT STUDY
Students may elect to substitute 6 credits of Internship or Independent Study for Seminar Courses. Proposals must be supported by a faculty member and approved by the Graduate Programme Director. Internships offer the opportunity to work in a professional arts organization, industry, or other relevant affiliation as an employee or a voluntary participant. Independent Study courses are for students who wish to pursue a specialized area of academic research that is not covered by existing courses.

FINANCIAL ASSISTANCE
Financial support is available to qualified candidates in the form of University Fellowships and Scholarships. These awards are competitive and based on recommendations by the faculty. Students who have not received significant funding from fellowships or awards are eligible for paid Teaching or Lab Assistantships. Production and Research Grants are also available. Graduate students who receive teaching assignments are paid in accordance with the University Part Time Faculty Association Collective Agreement.

Bolstered by one of the largest undergraduate film programs in Canada, the Mel Hoppenheim School of Cinema offers opportunities for teaching experience. Teaching Assistantships provide training in teaching a wide variety of courses and studio practices. In addition, the School reserves a limited number of courses to be taught, or co-taught, by graduate students. These are generally given to students in their third year of study on a competitive basis.

LANGUAGE
The language of instruction at Concordia is English, but students may write any papers or exams in French. Applicants whose mother tongue is other than English or French are required to pass the TOEFL test as a condition of acceptance.

The MFA visiting artist and lecture series annually invites a variety of national and international speakers that reflect the diversity of issues and approaches encouraged in our programme. The MFA/Film Production programme also invites guests as a supplement to its studio classes. Over the past years, visiting speakers in MFA/Studio Arts and MFA/Film Production have included prominent filmmakers, artists, curators and scholars such as Louise Bourque, Stan Brakhage, George Bures Miller and Janet Cardiff, Stan Douglas, R. Bruce Elder, Rodney Graham, Andrea Grover, Mona Hatoum, Greg Hill, Natalie Jerimijencko, lsaac Julien, Ryszard W. Kluszczynski, Jacques Leduc, Alex MacKenzie, Bruce McClure, Peter Mettler, Antonio Muntadas, J. Leighton Pierce, Genesis P-Orridge, Willem de Rooij, Patricia Rozema, Jayce Salloum, Carolee Schneemann, Tom Sherman, Jana Sterbak, Astria Suparak, André Turpin, Jeff Wall.

Nicholas Belleau
MFA Film Production 2004
Thesis Project: Le Nord de la côte
Written Component: “Le Nord de la côte: Principe de la constellation narrative”

Kara Blake
MFA Film Production 2005
Thesis Project: Timbre
Written Component: “Objects of Affection: A Synthesis of Cinema and the Senses”
Kara Blake has recently completed a Master's of Fine Arts degree in Film Production at Concordia University in Montreal. Having worked professionally as a both a broadcast designer and editor, Kara has contributed to projects ranging from high profile commercials and music videos to short independent and experimental films. Concerned with investigating the potentials of sound and image relationships, Kara's own films and videos have been shown at venues including the Museum of Modern Art New York, the Art Gallery of Ontario, Images Festival, the Women's Television Network, MTV Europe and the Independent Film Channel.

Cliff Caines
MFA Film Production 2005
Thesis Project: Locus
Written Component: “Thought and the Cinematic Image: Locus, Origin and Desire, A Preface”
Born in Winnipeg, Cliff Caines is a Toronto-based filmmaker and media artist. Caines completed his undergraduate studies in the Faculty of Art, Integrated Media Program at the Ontario College of Art & Design and received a Master of Fine Arts Degree in the MFA Studio Arts, Film Production Program at Concordia University. His films have exhibited internationally throughout the Americas, including Buenos Aires, San Francisco and Toronto; with invitation to the Toronto International Film Festival, the Sueños Cortos International Short Film Festival, the Hollywood Underground Film Festival, and the inaugural Winnipeg International Film Festival. His work has received awards, grants and support from institutions and foundations including The Canada Council for the Arts, The National Film Board of Canada, Kodak Canada, Fuji film Canada, Concordia University, William F. White International Inc., Michel Trudel, Carmen Lamanna, Ross Fletcher, and Nora E. Vaughan. His films are distributed by the Canadian Filmmakers Distribution Centre.

David Karavechus
MFA Film Production 2005
Thesis Project: Home Automation
Written Component: “Home Automation: The Fear and Longing for Disaster”

Monica Maric
MFA Film Production 2004
Thesis Project/Written Component: Zemano

Nicholas Pye
MFA Fim Production 2005
Thesis Project/Written Component: The Paper Wall
website: http://www.nickandsheila.com

Sheila Pye
MFA Film Production 2005
Thesis Project/Written Component: The Arsonist
website: http://www.nickandsheila.com
Sheila Pye was born near Hamilton, Ontario in 1978. She studied painting, photography, and video at the Ontario College of Art and Design, where she graduated winning the top scholarship for graduate studies. Currently, she lives and works in Toronto, where she is a resident at the Canadian Film Centre in the Alliance Atlantis Director’s Lab. She has written, directed, produced, edited and starred in 5 short films and is currently developing her first feature film. Her work has been exhibited internationally in art galleries, museums and film festivals. She has been the reciepient of numerous awards for her academic work, filmmaking, and visual art. Pye also maintains an active art practice, often collaborating with her husband Nicholas, which integrates their collective interests in performance, cinema, and large format still photography. They have upcoming solo exhibitions in New York and Italy, and were recently invited to present their work in Rencontres Internationale Paris/Berlin.

Robert Robertson
MFA Film Production 2002
Thesis Project: Oseraké and The River That Walks
Written Component: “Diary of a New Form: The Music Film”
Robert Robertson is presently at King’s College London, UK, researching Eisenstein on audiovisual film, supported by a grant from the David Lean Foundation. His music/film Oserake and The River That Walks has screened at the Institute of Contemporary Art London (2003) and Canada House, London (2004). Robertson is currently at work on a new music/film in three movements titled Invisible City. His recent publications include an interview about Oserake and The River That Walks (Talking Pictures, 2002), “The Kingdom, an Opera about the Haitian Revolution” (Society of Caribbean Studies, 2004), and “Eisenstein’s Film-Symphony Project: Que viva Mexico!” (Offscreen, March 2005). He is also Film Curator for Ocatillo Arts Group (2002 – present).

Michael Rollo
MFA Film Production 2003
Thesis Project/Written Component: still / move
website: http://www.construktor.net
Mike Rollo was born and raised in the flatlands of Saskatchewan. He currently resides in Montreal pursuing his discipline as filmmaker and photographer. As a member of the Double Negative Collective, Mike promotes and practices experimental approaches and concepts to cinema. Mike recently completed his MFA in Studio Arts (Film Production) from Concordia University where he currently works as Production Coordinator.

Marie-Josee Saint-Pierre
MFA Film Production 2005
Thesis Project: Post-Partum
website: http://www.mjstpfilms.com
Born in Gaspesie, Quebec, Marie-Josee Saint-Pierre obtained her BFA. in Film Animation from The Mel Hoppenheim School of Cinema. Her first film, Natural Selection, is an experimental essay on Darwin's Theory of Evolution and has played in festivals worldwide. Ombilicus, her first animated short, received the 2002 Norman McLaren Award from Concordia University. Post-Partum, her latest film, is an autobiographical essay which has played in over 20 international film festivals, shown in museums and received awards such as the 2004 Imperial Tobacco Canada Artistic Development Award, the Gold Special Jury Award at the Houston Worldfest (2005), The Shoestring Award at the Rochester International Film Festival (2005) as well as a the Gaia Award at the Moondance Film Festival (2005). Having recently obtained her MFA in Film Production from Concordia University, her upcoming media arts projects include McLaren's Negatives, an animated documentary on the legendary Canadian filmmaker Norman McLaren as well as Catching the Frog, a medium length documentary on french speaking communities across Canada.

Dimitri Soukonnov
MFA Film Production 2001
Thesis Project: The River
Written Component: “Tonality and Image: A Compilation of Thoughts on Acoustic and Color Properties of the Image”

Michael Yaroshevsky
MFA Film Production 2002
Thesis Project: Petropolis
Written Component: “Writing for Pictures: Word and Image in the Personal Documentary”

For further information about the M.F.A. in Film Production program, contact:
Roy Cross, Graduate Program Director of Film Production
E-mail:
Telephone: (514) 848-2424 ex.4659
Fax: (514) 848-4255


To apply online, visit this website:
https://welcome.concordia.ca/concordia

Application forms may also be obtained at the following address. Once completed, please return to the same address:

Graduate Programme Director
MFA Studio Arts, Faculty of Fine Arts
Concordia University
1230 de la Montagne
Montréal, Québec, Canada, H3G 1Z2

For further Information about MFA-Studio Arts:
Telephone: (514) 848-4607
Fax: (514) 848-4532
E-mail:

TABLE OF CONTENTS:
Applications / Admissions
Requirements
Financial
Curriculum
Thesis Work
Equipment / Facilities
Contact

Applications / Admissions

When is the application deadline? Do you accept applications after this deadline?
The application deadline is January 20th, 2009 for September entry. This is the only application deadline. Late applications will not be accepted.

How many students apply to the Graduate Film Production program and how many get in?
Our acceptance process is very competitive. We therefore give preference to the most advanced students. In recent years, we have accepted approximately 1 out of every 8 applicants from well over 50 applications per year.

Who reviews my application?
An admissions committee made up of full time Film Production faculty and one graduate student representative.

What is the application committee especially looking for in prospective students?
This course of study is ideal for filmmakers committed to the notion of an independent art practice. In Film Production, our Admissions Committee bases acceptance primarily on strength of portfolio, with past academic record and research proposal important considerations. Applicants for the M.F.A degree must have a B.F.A. or B.A. degree, preferably with a concentration in Film/Video Production, from a recognized institution, or an equivalent body of studio work.

If I send you a copy of my resume, can you tell me what the chances are of acceptance?
No, we are unable to pre-screen prospective applicants.

Are there tours for the MFA/Film Production program? Can I visit the school and talk to current students and professors?
Tours can be arranged on a case-by-case basis. Please contact the Graduate Program Director to schedule an appointment.

Where do I send my application?
Application forms may be obtained online. Once completed, please return to the following address:

Graduate Admissions Application Centre
Concordia University
P.O. Box 2002, Station H
Montréal (Québec) H3G 2V4

When will I know my results?
By mid-May, most applicants should have received a letter from the Office of the Registrar. Under no circumstances are any decisions given over the telephone.

I wasn’t accepted last year, but I’d like to reapply? What do I do?
To reapply you must re-submit your entire portfolio.

If I am accepted, when do classes begin?
Classes generally begin on the first Tuesday after Labour Day. For more information, please consult the important dates listed in the Graduate Student Calendar: http://graduatestudies.concordia.ca/prospective/importantdates.shtml

Can I defer my admission?
Deferrals are granted only in exceptional cases.

Why wasn’t I accepted?
Because of the large number of applications we receive, we are unable to provide individual assessments. Reasons for denial may include:

• Portfolio does not demonstrate the requisite quality and coherence
  
• Portfolio does not place candidate in the highest-ranking group
  
• Skill level is inadequate for admission to the Graduate Film Production program
  
• The ideas expressed in the research proposal do not demonstrate cinematic imagination
  
• Academic qualifications are not strong enough to place candidate in the highest-ranking group
  
• Combined, portfolio, research proposal, and academic qualifications, do not place candidate in the highest-ranking group

Requirements

What are the requirements? Must I submit a film or videotape as part of my application?
We must see time-based audiovisual work (film, video, and where relevant, documentation of installation work), up to a maximum of 30 minutes. Work should be cued and submitted on either VHS or DVD (NTSC preferred). An undergraduate degree or equivalent production experience is also required.

Must I have studied film production as an undergraduate?
A film production background is preferable for admission to the graduate film program. While academic background is important, our Admissions Committee focuses on the quality of the visual portfolio and Thesis Project abstract.

Is there a minimum GPA requirement for the program?
Quality of portfolio is given significantly more weight in admissions committees than GPA, which is expected to be adequate.

I’m not sure if I need to take the Test of English as a Foreign Language (TOEFL). What should I do?
Applicants whose mother tongue is other than English or French are required to pass the TOEFL test as a condition of acceptance. Exceptions are students who have completed both Secondary V and the Diploma of Collegial Studies (DEC) in Québec, or who have studied for at least three years in an educational institution where the sole language of instruction is English.

If I’m having trouble getting a recommendation or transcript to you on time, can I fax it?
Yes, recommendations and/or transcripts can be faxed to the MFA/Studio Arts office by the application deadline. The fax number is (514) 848-4532. However, official mailed versions are still required. All application materials must be received by the February 1st deadline, because application committees meet in the middle of February.

Do the three letters of recommendation have to be from academics, or can they also be from professionals in the field?
It is recommended that at least two letters come from academic assessors.

What should my visual portfolio include? What formats do you accept?
A maximum of 30 minutes of work on film or digital video, and where relevant, documentation of installation work. We encourage prospective applicants to send us their strongest work; entire pieces, rather than clip reels, are preferred. On a separate sheet include a list of portfolio items with description, creative role, medium, length, and date of each production. Work should be cued and submitted on either VHS or DVD (Region 1); NTSC DVD is the preferred format.

I have some published work. Can I send you the originals?
We prefer that you send copies rather than originals. We can’t be held responsible for lost or damaged materials.

Do I need to be proficient or certificated in French?
We consider French proficiency a desirable asset, but it is not a requirement.

What is the language of instruction?
The language of instruction is English. Students have the right to write their assignments and examinations in French

What are your requirements for the Thesis Proposal? What topics are acceptable and how many words should it be?
Our focus is on experimental approaches to existing genres of cinema as well as to new “expanded” forms of cinema. Thesis proposals should delineate an area of research while providing a good idea of what the student is planning to do. Proposals may include a creative treatment, as well as an outline of its scheduling and budgetary feasibility. There is no set word length, but proposals should clear and succinct.

Do I have to propose a single project, or can I develop multiple projects over the course of my study?
Graduate candidates are required to develop a coherent body of work over the course of their study. Research programs can be either a single film/major piece, or a series of shorter pieces.

Can I write the documents needed for the portfolio in French?
Yes.

Financial

What are the tuition costs? What are the additional costs?
Master’s/Magesteriate program students are charged tuition and other fees on the basis of the total number of academic credits required (60 credits) to obtain the degree. The total tuition is pro-rated and charged over eight (8) Tuition Billing Cycle Terms. Students who have been awarded a Fee Remission, will be charged at a different per-term rate and over a different number of terms; but the same total amount of tuition for the degree program.

ESTIMATED TUITION AND FEES FOR 2002-2003:

Canadian, Quebec, Residents:

Tuition Fees (3 terms – Fall, Winter & Summer)	$ 1,251.22 / year
Other Fees	$ 453.38 / term
Registration Fee	$ 60.00 / year
Student Association Fee	$ 57.58 / year
Student Health Plan Fee	$ 184.80 / year
New Student Program Fee	$ 35.00 / year
Total Fees Payable (3 Terms / year)	$ 2,041.98 / year

Canadian, Quebec Residents:

Tuition Fees (3 terms – Fall, Winter & Summer)	$ 1,251.22 / year
Other Fees	$ 453.38 / term
Registration Fee	$ 60.00 / year
Student Association Fee	$ 57.58 / year
Student Health Plan Fee	$ 184.80 / year
New Student Program Fee	$ 35.00 / year
Total Fees Payable (3 Terms / year)	$ 2,041.98 / year

Other Canadian Provinces (Non-Quebec Residents):

Tuition Fees (3 terms – Fall, Winter & Summer)	$ 3009.38 / year
Other Fees	$ 453.38 / term
Registration Fee	$ 60.00 / year
Student Association Fee	$ 57.58 / year
Student Health Plan Fee	$ 184.80 / year
New Student Program Fee	$ 35.00 / year
Total Fees Payable (3 Terms / year)	$ 3,800.13 / year

International Students:

Tuition Fees (3 terms – Fall, Winter & Summer)	$ 6,876.23 / year
Other Fees	$ 453.38 / term
Registration Fee	$ 60.00 / year
Student Association Fee	$ 57.58 / year
Student Health Plan Fee	$ 480.00 / year
New Student Program Fee	$ 35.00 / year
Total Fees Payable (3 Terms / year)	$ 7,962.18 / year

Fees will be charged each term including summer for the first 8 terms of study regardless of the number of credits enrolled in.

Estimated Cost of a 60-credit MFA Degree

Normally, it takes 8 academic terms of full-time studies to complete a 60-credit Master’s in Fine Arts degree at a total cost of:

Canadian, Quebec Residents:	$5,467.74
Canadian, Non-Quebec Residents:	$10,156.14
International Students:	$21,353.34

If the degree requirements are not met after all tuition and other fees have been billed, then each additional term will cost between $420 (Continuation & Registration Fees) and $1025 (Continuation, Registration, International Health Insurance & CGSA Fees) per term.

The fees quoted above are based on the 2002/2003 fees at time of printing. The university reserves the right to change or increase fees at any time without prior notice. Tuition and other fees are likely to increase for 2004/2005.

Is there financial aid available?
Financial support is available to qualified candidates in the form of University Fellowships and Scholarships. These awards are competitive and based on recommendations by the faculty. Students who have not received significant funding from fellowships or awards are eligible for a paid Teaching or Lab Assistantship. Production and Research Grants are also available.

How do I apply for teaching assistantships?
Students who have not received significant funding from fellowships or awards are eligible for a paid assistantship. These amounts are modest and depend on the number of students eligible for this funding during a given year. Assistantships provide training and experience in teaching and a variety of art-related practices. Students who are not eligible for assistantship funding may elect to volunteer for an unpaid position.

How do I pay my application fee? Is it possible to pay online?
The non-refundable Admission Application Fee for the MFA Film Production Program is CDN $50.00, payable to Concordia University by certified cheque, Money Order or credit card. The application fee may also be paid online with a credit card. Applicants from outside Canada may send an International Money Order.

Can you give me information about housing?
Montreal offers safe, convenient and affordable housing, so most Concordia students live off-campus. The Concordia Student Union (CSU) also maintains an off-campus housing bank: http://hojo.csu.qc.ca

You can also contact them via email at or check in with our International Student Office at

However, you may prefer to check out Concordia’s Residence, Hingston Hall: http://residence.concordia.ca

Curriculum

How long is the program?
The program consists of two years of full-time residency, which includes studio work and art theory/critical seminars. This includes a summer course, taken between the first and second years, which involves students from all disciplines in a studio format. After completion of the residency, graduate candidates prepare for a final studio project that culminates in an exhibition or film, and an oral defence. The studio project must be completed in a minimum of six months and maximum of two years following the residency.

Studio Courses:
FMPR (Film Production) 610, 611, 612, 613 (6 cr. each): 24 credits

All students are also required to enrol in the following interdisciplinary studio course, which is to be taken in the summer following the first academic year:

DISP 615 Directed Studio Practice: 3 credits

TOTAL STUDIO CREDITS: 27

Seminars:
The seminars are a core component of the MFA Studio Arts Program. They provide a rigourous and conceptual framework for the development of ideas in relation to creative practice. The seminars are interdiscipinary and taught by a dynamic and changing faculty. Seminar topics vary regularly to reflect the shifting nature of contemporary art and culture.
TOTAL SEMINAR CREDITS: 21

Internship and Independent Study:
Candidates in their second year of residency may substitute up to 6 credits of seminar courses from the following:

INTP 660 Professional Internship	6 credits
INTP 661 Professional Internship I	3 credits
INTP 662 Professional Internship II (Prerequisite: INTP 661)	3 credits
INDS 670 Independent Study	6 credits
INDS 671 Independent Study I	3 credits
INDS 672 Independent Study II	3 credits

Studio Project and Exhibition or Film Project:
Following the second year of residency, students will enroll in the Studio Project and Exhibition/Film Project. Candidates must wait 6 months from the completion of studio and seminar course work before making a presentation to the jury.

PROJ 691 Studio Project	9 credits
PROJ 692 Exhibition or Film Project	3 credits

TOTAL PROJECT CREDITS:

12

Will projects be shot on film or video?
Either/or, or both.

Do I pay my own production expenses?
The financing of major projects is the responsibility of the student. We have been happy to provide seed money in the past, but we encourage low-budget work. Research and production grants are also available. Regardless of the sponsorship, artistic control of the project must be retained by the student and by the School of Cinema.

Can I do an internship or independent study as part of the curriculum?
Candidates in their second year of residency may substitute up to 6 credits of seminar courses. Students may also substitute six seminar credits from outside of the graduate seminar offerings with approval by the Graduate Program Director.

Do you offer summer programs?
No. However, between the first and second years MFA candidates are required to complete a Directed Studio Project.

Are there production classes (i.e. digital editing, directing) I can take to supplement my filmmaking experience before I enroll in your program?
No. The School of Cinema does not offer them, but we encourage prospective students seeking to gain technical experience to consult local filmmaking cooperatives and training facilities.

Is there a course option for this Master?
No. The MFA is the terminal degree in the visual arts. Students in Cinema begin their program of research during their first term, which constitutes their thesis project.

Is it possible to specialize in a technical area?
Our MFA in Film Production is general, with no specialization in the courses. It is possible, however, to have a program of research that focuses on a specialized domain (i.e. sound, cinematography), so long as there is a studio outcome.

Thesis Work

Is the thesis a production or a written document, or both?
Studio research may take the form of a single, major thesis film/video or a body of shorter works that, taken together, represent a coherent research program (a principle component). Normally, a candidate’s body of work should fall in the 20-30 minute range. As opposed to the other MFA/Studio Arts disciplines, a substantial written component, providing context for the research, is also required. Thesis development begins in first term, at which time advisors are chosen to counsel on directions, strategies, methodologies and techniques.

Is each student required to complete a thesis project?
Yes.

When you talk about studio research, what does it mean?
The Graduate Film Production program promotes an expanded notion of cinema, encouraging all formats of moving image support and exhibition. Aesthetic innovation, reflection on cinema in its contemporary forms, and experimentation across subject and genre – including abstract cinema, documentary, fiction, installation and hybrid interfaces – are strongly emphasized.

Can I do my thesis project in French?
Yes.

Is it possible to see examples of student work?
Images of recent MFA work can be viewed on this website. Additional images are available at: http://mfa.concordia.ca/site/stu.htm. We also have examples of recent work on hand for prospective applicants who come to visit.

Equipment / Facilities

What equipment does the School of Cinema have (cameras, editing facilities, etc) and sort of access will I have?
The Mel Hoppenheim School of Cinema features one of the largest equipment bases in North America. Specific equipment and facilities are reserved for MFA students; other resources are shared with undergraduate students. Filmmakers will find a complete line of Super 16 and 16mm cameras, flatbeds, optical printers, sound transfer equipment, and a Pro-Tools sound mixing suite; as well as a range of 35mm postproduction equipment, including flatbeds, splicers, synchronizers and contact printers. Video equipment includes various DV-Cam and Mini-DV cameras, Macintosh-based off-line and on-line Avid editing systems, multiple format playback decks and film-to-tape transfer, plus access to other University facilities to further complement post-production. Seminar rooms contain editing and student office facilities as well as computer workstations.

The technical facility is augmented by the School of Cinema’s impressive collection of classic and contemporary films. MFA students also have access to Sound Studios, computer labs and other audio-visual services offered by the Centre for Digital Arts and IITS (Instruction and Information Technology Services). It is possible to rent specific equipment (e.g. special lenses, mounts, filters) when necessary.

Camera equipment is available to Graduate Students only during the first two years (6 terms) of their program. Editing facilities are available throughout the summer following the second year, and later with special arrangement.

Contact Information

For further information about the M.F.A. in Film Production program, contact:
Marielle Nitoslawska, Graduate Program Director of Film Production
E-mail:
Telephone: (514) 848-2424 ex.4665
Fax: (514) 848-4255

To apply online, visit this website:
https://welcome.concordia.ca/concordia

Once completed, please return to the following address:

Graduate Admissions Application Centre
Concordia University
P.O. Box 2002, Station H
Montréal (Québec) H3G 2V4

For further Information about MFA-Studio Arts:
Telephone: (514) 848-4607
Fax: (514) 848-4532
E-mail:

The courses in the Film Studies programmes focus on the examination of some of the thousands of films made during the century of the medium's history. Although the history of cinema is brief compared to the other arts, the accomplishments are significant. Students in the programme come to understand the history of the medium as well as reach a greater critical awareness of both old and new cinema. Films are looked at in a very sophisticated, analytical way, in an effort to better understand the films and their relation to society. In some courses the emphasis is on examining film as one of the most important twentieth century arts, while in others, the emphasis is on exploring the social and political roles of film in the world. Still other courses combine both approaches. Our three screening rooms are equipped with 16mm and 35mm projection, and weekly screenings in our courses and seminars use these formats whenever possible.

The Bachelor of Fine Arts degree programme, Major in Film Studies, consists of 48 credits for the concentration, and an additional 42 elective credits to make up the 90 credits required for the degree. Full-time students normally complete 30 credits annually for three years.

Concentration Requirements
6 credits History of Film to 1959
6 credits Film Aesthetics
6 credits Studies in Film Directors
6 credits History of Film Since 1959
18 credits Film Studies electives
6 credits Cinema electives

Electives
6 credits The Visual and Performing Arts in Canada
6 credits selected from courses offered outside the Faculty of Fine Arts and outside the Department of Communication Studies
30 credits "free" electives (may include course offerings in other departments in the Faculty of Fine Arts, course offerings in other faculties, additional credits in cinema


Recommended First-Year Study Plan
6 credits Perspectives of Art History
6 credits Film Aesthetics
6 credits Choice of appropriate programme requirements in Art History and Film Studies, selected with the assistance of an advisor
6 credits The Visual and Performing Arts in Canada
6 credits Electives chosen from outside the Faculty of Fine Arts and outside the Department of Communication Studies

This programme (see University Calendar for details) is structured to provide students with the opportunity to discern relationships and differences between the work of visual artists and filmmakers, along with the common and divergent concerns of the disciplines of Art History and Film Studies.


Recommended First-Year Study Plan
6 credits Perspectives of Art History
6 credits Film Aesthetics
6 credits choice of appropriate programme requirements in Art History and Film Studies, selected with the assistance of an advisor
6 credits The Visual and Performing Arts in Canada
6 credits electives chosen from outside the Faculty of Fine Arts and outside the Department of Communication Studies

Although this Minor is primarily intended for students following degree programmes in faculties other than the Faculty of Fine Arts, it is also available to Fine Arts students, with the following exceptions: It cannot be combined with another Faculty of Fine Arts Minor to form a Double Minor programme, nor can it be combined with another Cinema programme. It may however, be combined with a Faculty of Fine Arts Major or Specialization programme, outside the School of Cinema. Students following this type of combined programme may be required to complete more than 90 credits in order to satisfy their degree requirements.

Requirements (24 credits)
12 credits chosen from: Introduction to Film Studies, History of Film to 1959, Film Aesthetics
12 credits Film studies electives

Admission Procedures
All applicants must leave a letter of intent and a copy of their latest transcript(s) to the School of Cinema Office, FB 319, between February 28, March 1 or 2, 2005 between 8:30 - 12:00 and 13:30 - 17:00 or on March 3, 2005 8:30 - 19:00.

The Specialization in Film Studies provides an opportunity for a limited number of the most qualified students to follow an intensive programme of concentration in Film Studies. (It is strongly recommended that applicants have, or acquire, a knowledge of French).

Normally, applicants to the Specialization in Film Studies must first be admitted to the Major in Film Studies. At the point in their programme when they are completing both the "History of Film to 1959" and "Film Aesthetics" courses, students may apply to transfer to the Specialization. Acceptance to the Specialization in Film Studies is based on the student's performance in the University, especially on the critical and scholarly potential shown in the film studies courses.

The Bachelor of Fine Arts degree programme, Specialization in Film Studies, consists of 66 credits for the concentration, and an additional 24 elective credits to make up the 90 credits required for the degree. Full-time students normally complete 30 credits annually for three years.

Concentration Requirements
6 credits History of Film to 1959
6 credits Film Aesthetics
6 credits Studies in Film Directors
6 credits History of Film Since 1959
6 credits Filmmaking I or cinema elective
6 credits English Canadian or Quebec film electives
21 credits Film Studies electives (excluding FMST 200)
6 credits Advanced level seminars in Film Studies
3 credits Film Studies Specialization Seminar

Electives
6 credits The Visual and Performing Arts in Canada
6 credits selected from courses offered outside the Faculty of Fine Arts and outside the Department of Communication Studies
12 credits "free" electives (may include course offerings in other departments in the Faculty of Fine Arts, course offerings in other faculties, additional credits in cinema).


Recommended First-Year Study Plan
6 credits History of Film to 1959
6 credits Film Aesthetics
3 credits English Canadian Film or Le cinema québécois
3 credits Cinema or “free” elective
6 credits The Visual and Performing Arts in Canada
6 credits electives chosen from outside the Faculty of Fine Arts and outside the Department of Communication Studies

The Mel Hoppenheim School of Cinema, Faculty of Fine Arts, offers a programme leading to the degree of Master of/Magisteriate in Film Studies. This M.A. presents students with a highly stimulating context for study and immersion in film culture. Some of the programme’s unique features include credit for work at film institutions, the opportunity to study Québécois and Canadian cinema, and coursework/thesis options.

Programme Objectives
The focus of Concordia's M.A. in Film Studies is the study of cinema from aesthetic, cultural and historical perspectives. One of the primary goals of the programme is the promotion and critical appreciation of experimental, independent, and innovative filmmaking. The programme is committed to the advancement of a film culture that extends well beyond the film industry.

Analysis and discussion of independent filmmaking takes place alongside the study of the diversity of international film forms and histories, institutions of production and exhibition, and conditions of reception and spectatorship. Through coursework and independent research, students become intimate with the directors, actors, theorists and critics who populate film culture. The programme emphasizes critical methods specific to film studies, but also incorporates a broad range of interdisciplinary scholarship. Moreover, the opportunity to focus on Québécois and Canadian cinema offers students a unique cultural and scholarly opportunity to pursue these goals in the domestic context.

Graduates are well qualified to pursue Film Studies at the doctoral level. However, the M.A. in film studies is also designed as a terminal degree, preparing students for a wide range of film-related vocations, including teaching at high school or CEGEP levels. Montreal is an ideal location for film practicum courses, which facilitate careers in the areas of cultural industries, programming and exhibition, curatorial work, and arts journalism.

Concordia Context
Part of the Fine Arts Faculty at Concordia, The Mel Hoppenheim School of Cinema offers undergraduate B.F.A. degrees in film studies, animation, and film production. The School of Cinema also offers an M.F.A. in Film Production.

Graduate programmes in Fine Arts, Art History, Communications, and Humanities are part of the interdisciplinary scholarly context for the M.A. in Film Studies programme at Concordia. Students are permitted to take courses outside the programme, where appropriate.

The program also takes advantage of the cosmopolitanism of Montréal. Like Concordia itself, the M.A. in Film studies boasts an international student body and enjoys an unparalleled diversity of backgrounds and perspectives among its students.


Faculty
The strength of the Master of / Magisteriate in Film Studies is its faculty, who include: Mario Falsetto, Martin Lefebvre, John Locke, Erin Manning, Rosanna Maule, Peter Rist, Catherine Russell, Marc Steinberg, Haidee Wasson, Thomas Waugh and Carole Zucker. Faculty research interests include a diverse array of national cinemas, theoretical methods, and critical approaches, enabling students to pursue a wide variety of film research objectives.


Study Resources
The Mel Hoppenheim School of Cinema has extensive screening facilities, film and video archives, and study resources. A seminar room equipped for film and digital projection has been designed for the M.A. programme in La Tour Faubourg (room FB 250). A fully-equipped
Graduate Lounge, a viewing room and a Graduate student office provides computer facilities available for word-processing, internet access, printing, scanning and DVD viewing. The Lounge is also home to the M.A. programme's eclectic collection of film books, journals, and screenplays.

Concordia University has two libraries: the Webster Library downtown, and the Vanier Library at the Loyola campus. Both libraries have Media Centres with large collections of video and DVD titles. The University also has a separate Visual Media Resources area with extensive holdings of films, laser disks, DVDs and video tapes. The Concordia libraries have good selections of film and related journals and monographs; and graduate students are also entitled to borrowing privileges in all of the city's University libraries.

Montréal is at the centre of a considerable amount of film and television production activity, and hosts a number of local and international film festivals. The Cinémathèque québécoise, National Film Board/ONF, la Fondation Daniel Langlois, and other archival/ research sites are conveniently located near campus.

L'École de cinéma Mel Hoppenheim (Faculté des beaux arts) offre un programme menant à l'obtention d'une maîtrise en etudes cinématographiques. Ce programme propose aux étudiant[e]s un environnement intellectuel stimulant leur permettant d'approfondir leurs connaissances des différents aspects de la culture cinématographique. Deux cheminements sont offerts : maîtrise avec cours et maîtrise avec cours et rédaction d'un mémoire. Le programme permet aussi aux étudiants d'effectuer des stages dans des institutions reliées au cinema (cinémathèques, festivals, compagnies de production, etc.) et d'étudier les cinémas canadien et québécois.


Objectifs du programme
La maîtrise en études cinématographiques promeut l'étude du cinéma sous ses différentes facettes esthétiques, culturelles et institutionnelles. L'un des principaux objectifs du programme est de soutenir la cause du cinéma expérimental, indépendant et novateur, tout en encourageant les étudiant[e]s à développer une perspective critique et théorique sur le 7e art. Le programme vise ainsi à favoriser une culture filmique qui ne se réduit pas à celle du cinéma institutionnel et commercial.

L'étude des cinémas en marge du modèle dominant, tant aux plans historique que culturel, y côtoie celle de la diversité des formes filmiques, de l'histoire du cinéma, de ses multiples institutions et de la réception des films. La formation méthodologique encourage fortement
l'interdisciplinarité en mettant l'accent sur la diversité des approaches élaborées dans le champ des études cinématographiques. Enfin, l'attention particulière que porte le programme à l'endroit des cinemas québécois et canadien offre aux étudiant[e]s une occasion unique d'atteindre leurs objectifs académiques tout en profitant des nombreuses ressources locales et en s'intégrant à l'une ou l'autre des deux cultures cinématographiques nationales.

Un des principaux objectifs du programme de maîtrise est de permettre aux étudiant[e]s d'acquérir la formation et les competences nécessaires pour poursuivre, une fois le diplôme obtenu, des recherches doctorales. Mais le programme est également conçu pour préparer les étudiant[e]s à exercer une multitude de professions dans divers domaines du cinéma. Les stages, notamment, de même que certains travaux pratiques, ouvrent la voie à des carrières dans les industries culturelles (institutions subventionnaires, festivals, programmation, etc.), le journalisme d'art et l'animation culturelle, l'archivistique et la conservation. La maîtrise en etudes cinématographiques prépare également à l'enseignement du cinéma à l'école secondaire et au cégep.

La contexte universitaire
L'École de cinéma Mel Hoppenheim relève de la Faculté des beauxarts de l'Université Concordia et offre aux étudiant[e]s des programmes de premier cycle en études cinématographiques, en cinema d'animation et en production cinématographique. L'École offre également un diplôme de maîtrise en production cinématographique. Les étudiant[e]s inscrit[e]s au programme de maîtrise en etudes cinématographiques peuvent profiter de l'existence, au sein de l'Université, de plusieurs programmes d'études avancées, notamment en histoire de l'art, en communication et en sciences humaines. Ces programmes contribuent à créer un contexte d'enseignement interdisciplinaire et les étudiant[e]s en cinéma ont le loisir d'y suivrecertains cours.

Le programme de maîtrise, tout comme l'Université Concordia dans son ensemble, bénéficient du cosmopolitisme propre à Montréal. L'École de cinéma Mel Hoppenheim, la plus grande au Canada, attire des étudiant[e]s issus de divers milieux culturels et ethniques tant du Canada que de l'étranger, ce qui enrichit grandement la formation universitaire.


Les Professeurs
Le programme de maîtrise en études cinématographiques tient son dynamisme de son corps professoral: Mario Falsetto, Martin Lefebvre, John Locke, Erin Manning, Rosanna Maule, Peter Rist, Catherine Russell, Marc Steinberg, Haidee Wasson, Thomas Waugh et Carole Zucker.


Ressources
L'École de cinéma Mel Hoppenheim dispose de salles de projection cinéma et vidéo (16mm et 35mm, vidéo, disques laser et DVD) ainsi que d'une importante collection de films et de vidéos/DVD. Une sale de séminaire a été aménagée pour le programme de maîtrise dans la
Tour du Faubourg (FB 250). Les étudiant[e]s de deuxième cycle ont un accès direct à des ordinateurs dans les locaux de l'École (FB 341) de même qu'à des salles de visionnement vidéo/DVD. Un centre de documentation a récemment été aménagé dans le local étudiant.

Des espaces de visionnement vidéo/DVD et 16mm ainsi qu'une vaste collection de films sur support vidéo/disque laser/DVD sont accessibles par le biais du service de l'audiovisuel (IITS). Le Centre d'études en radio-télévision de l'Université Concordia détient également
d'importantes archives radiophoniques. L'Université possède deux bibliothèques, la bibliothèque Webster, située au centre-ville, et la bibliothèque Vanier sur le Campus Loyola (dans le quartier Notre-Dame-de-Grâce). On y trouve une excellente collection de monographies et de périodiques sur le cinéma. Par ailleurs, la bibliothèque Webster possède une médiathèque où l'on trouve un grand nombre de films sur support vidéo/DVD. De plus, les étudiant[e]s aux deuxième et troisième cycles ont un privilege d'emprunt dans toutes les bibliothèques du réseau universitaire
québécois, dont celles des trois autres universités situées à Montréal.

Montréal est un important centre canadien de production cinématographique et télévisuelle. Elle est également l'hôte de nombreux festivals de films internationaux et nationaux. La Cinémathèque québécoise, l'ONF, la Fondation Daniel Langlois, ainsi que d'autres centres d'archives et de recherche en cinéma sont situés à proximité de l'École.

Degree Requirements
The primary focus of the programme is the development of film studies scholarship. Coursework, independent studies, practicum work, and thesis work will all be designed to foster a rigorous understanding and competence in film studies as an academic discipline. Students must maintain a minimum B (3.0) average to remain in the program.

Residency
The minimum residence requirement for the M.A. programme is three terms of full-time study. From the year of initial registration in the programme, all work for the degree must be completed within five years. Part-time students are equally required to complete all degree requirements within five years of original enrolment. (See the Graduate Calendar for further details.) The time required to complete the M.A. programme is normally 24 months of full-time enrolment.

Language
All students are expected to have a comfortable reading knowledge of English and French when they begin the M.A. in Film Studies. Those who do not are expected to begin remedial language courses before they enter the programme. This is especially important given the English Canadian and Cinéma québécoise focus of the M.A. Classes are conducted in English, although there may be French texts assigned for reading, and occasionally films screened in French. Students have the option of submitting assignments in either English or French. A test will be administered by the department to ensure a functioning competency in French for those students whose first language is English or another language. All students must pass this test before receiving their degree, except those who demonstrate to the Graduate Program Director that they are fluently bilingual.

Credits
Students must complete a minimum of 45 credits. There are two degree options in this programme: courses, and thesis. Both options include a shared methodological base. The thesis option includes 24 credits of research and thesis which allows for a more intensive concentration in one area. The course option requires that students take all 45 credits in course work, and offers the fullest appreciation of the scope of the discipline. Students should select their preferred option based on their career goals and research interests.

Transfer Credits
A maximum of 15 transfer credits is allowed. The Department and the University will determine credit for previous graduate work upon entry to the programme.

Master of / Magisteriate of Arts with Thesis (Option A):
Candidates are required to take 6 credits in Methods FMST 600, and 3 credits in either English Canadian Cinema or Cinéma Québécois, plus 12 additional course credits. They will also take 24 credits of Research and Thesis. The maximum value of practicum (internship) credits allowable is 6.

This option permits students to balance coursework and intensive research in a specific research area. Students who choose this option must secure a member of the Film Studies faculty who can guide their work and supervise their thesis.

The thesis provides students with an opportunity to focus their research on a specific topic or body of work. The length of the thesis is normally between 80-120 pages.

All candidates admitted to the program are automatically enrolled in Option B. At the end of the first year of studies, students wishing to pursue thesis work, Option A, are asked to submit a thesis proposal for consideration by the faculty.

Master of / Magisteriate of Arts without Thesis (Option B):
Candidates are required to take 6 credits in Methods (see Course Descriptions), and 3 credits in either English Canadian Cinema or Cinéma québécois, plus 36 additional course credits. In each course they would typically be required to submit a research paper as well as to do an oral presentation. In this option, students would become familiar with a broad range of methodologies and film practices. In these courses students will be trained in research methods appropriate to film study; they will gain knowledge sufficient to assess and interpret research in the field; and will demonstrate their ability to conduct research by the completion of multiple graduate research papers.

Within this framework they may also be able to pursue specific areas of interest by enrolling in independent studies, internships, or taking course in other departments in the university. The maximum value of practicum (internship) credits allowable is 12. All students may take 9 course credits in graduate courses offered by other departments, with permission of the other department concerned.

Mike Baker
MA Film Studies 2004
After graduating from Concordia, Michael Baker began his doctoral work at McGill University in Art History and Communication Studies. His research interests include documentary film, sound theory and popular music; his recent publications include a chapter in 24 Frames: The Cinema of Canada (ed. Jerry White, Wallflower Press) and he remains a senior editor for Synoptique. Michael sits on the executive of the Film Studies Association of Canada and teaches non-fiction film history in Concordia's undergraduate film programme.

Andre Habib
MA Film Studies 2001
Thesis: "Origine et fin : méthode(s). À partir et autour des Histoire(s) du cinéma de Jean-Luc Godard".
André Habib is a Ph.D. Student in Comparative Literature (Cinema Option) at the University of Montreal. He has given classes in the Department of Film Studies at Concordia, in the Department of Art History and Cinema Studies and the Department of Modern Language and Literature at the University of Montreal. His thesis is intitled : "Le temps décomposé : l'imaginaire des ruines au cinéma". Since 2001, he is the editorial coordinator of the Journal Intermédialités. He is also critic, co-editor and programme curator for the Cinema Web Journal Hors champ. He has published in different journals, such as Cinémas, Intermedialités, Senses of Cinema, Offscreen, Discours social, Postscript, Séquences, and has given conferences in Montreal, London, Utrecht, Milwaukee, Toronto, Ottawa, Halifax, etc. His current research projects are concerned with the aesthetics of ruins, avant-garde and post-war european cinema, history and theory of filmic archives, cinema and temporality. He is co-editing with Viva Paci a collective publication intitled "L'imprimerie du regard: Chris Marker et la technique", which will be published in 2006 in the collection Esthétiques of L'Harmattan. André Habib has obtained FQRSC and SSHRC grants, as well as a doctoral grant from the CRI (Centre de recherche sur l'intermédialité).

Randolph Jordan
MA Film Studies 2003
Thesis: Starting from Scratch: Turntables, Auditory Representation, and the Structure of the Known Universe in the Films of David Lynch"
website: http://www.randolphjordan.com
Randolph graduated from the MA Film Studies program at Concordia University in 2003 and is now pursuing his doctorate with Concordia’s Interdisciplinary PhD Humanities program. His dissertation concerns sound/image relationships in the cinema using a framework based on the theory and practice of acoustic ecology and electroacoustic music. He teaches on sound and film at Concordia and is a regular contributor to the online film journals Offscreen and Synoptique. He also has a variety of print publications to date, including “Life on the Edge of Perception: Immobility in Recent Video Installations" (Ciel Variable, 2005), “The Dual Substance of Cinema: What Kazantzakis’s Christ can teach us about Sound/Image Relationships in Film,” in Scandalizing Jesus: Re-Appreciating Kazantzakis’s Last Temptation of Christ, (ed Darren J. Middleton, Trinity Press International), “Emerging from Loss: Hearing Regained” (Soundscape: The Journal of Acoustic Ecology, 2005), and “Melodrama for a Dying Medium: Richard Kerr’s Adventures on the Periphery” (Industry: Recent works by Richard Kerr, 2005).

Rob Read
M.A. Film Studies 2003
Thesis: “Film Noir and the Legacy of the Nineteenth Century”
Rob Read is a currently a Ph.D. Candidate in the Department of Art History and Communications Studies at McGill University. His research focuses on the aesthetic position of “popular” or working class cultural production within Modernity theory and role of the Independent American Film Industry during the interwar period. He has contributed articles to Synoptique and Senses of Cinema.


Other recent graduates include:

Colin Burnett - PhD candidate at University of Wisconsin-Milwaukee
Brian Crane - PhD candidate at Université de Montréal
Doug Hildebrand - Sales and marketing manager in the marketing department of the University of Toronto's scholarly publishing division
Brett Kashmere - MFA candidate and part-time instructor at Concordia University
Hanna Laakso - PhD candidate at Concordia University
Owen Livermore - PhD candidate at University of Western Ontario
Chris Meir - PhD candidate at University of Warwick, UK
Kristian Moen - PhD candidate at University of East Anglia, Norwich, UK
Hong Nguyen - Recently graduated from law school at the University of Ottawa
Scott Preston - Received PhD from York Univeristy, where he currently teaches
Jodi Ramer - PhD candidate and part-time instructor at Concordia University

Applications (Please visist the admissions page for more information):

Concordia University - Graduate Applications Centre
P.O. Box 2002, Station H
Montréal, Québec
Canada
H3G 2V4

Applications can be submitted in-person at:
Graduate Admissions Services
Birks Student Center
1400 de Maisonneuve Blvd. West, Room LB-185

To apply online, visit this website:
https://welcome.concordia.ca/concordia

The M.A. in Film Studies is located in the Mel Hoppenheim School of Cinema, La Tour Faubourg, 1250 Guy Street (just off Ste-Catherine). However, all correspondence (not including applications) should be sent to the downtown (Sir George Williams) campus address as follows:

THE MEL HOPPENHEIM SCHOOL OF CINEMA

Mailing Address
1455, boul de Maisonneuve ouest
FB 319
Montréal, Québec
H3G 1M8

In person or by courier
1250, rue Guy
3rd floor, FB 319
Montréal, Québec
H3H 2T4

phone: (514) 848-2424 x4335
fax: (514) 848-4255
email:

The Mel Hoppenheim School of Cinema takes a great deal of pride in the creativity and resourcefulness of our students. Concordia students participate in, and often dominate competitions such as the Canadian Student Film Festival and the student section of the Cannes Film Festival. Alumni of the programme are active as producers, directors and technicians and include Academy Award, Prix Jutra, Genie Award and Daytime Emmy Award winners and nominees. Many of our students in Film Studies win major research scholarships and go on to do graduate and doctoral studies around the world.

2nd Year MFA Students

Anne-Michèle Fortin
Thesis working title: “Les déracinés”
Currently a second year MFA student in Film production, Anne-Michèle Fortin completed a BA in Film Studies and Comparative Literature at Université de Montréal. Her work explores the possibilities of the various moving image mediums, and shows an acute interest for the creation process itself, that often becomes the subject of her work. With “Les déracinés,” she pursues her exploration through a more observational and poetic form of filmmaking.

Andreas Hahn
Thesis working title: “Needlework”
Andreas Hahn completed his undergraduate studies in integrated media at the Emily Carr Institute of Art and Design in Vancouver. His current interests include expanded cinema and the interface of film and digital media, both in the installation and motion picture contexts.

Katherine Jerkovic
Thesis working title: “A Time to Dwell / Un Tiempo para morar”
Katherine Jerkovic was born in Moncton, New Brunswick; she spent her childhood in Belgium and her adolescence in Uruguay. Jerkovic has lived in Montreal since 1995, completing a BFA in Film Production at Concordia University. “A Time to Dwell” is a series of short poetic and non-scripted reflections about migration. This project borrows from the documentary genre as it furthers the tradition of going into the world and seizing pieces of it, and from the art film genre because the quest for beauty and the wish to expand the concept of ‘beauty’ are among its primordial concerns. It posits a spontaneous and yet profoundly formally engaged gaze upon the landscapes and elements of the coast - sea, coastline, horizon, ships and ports.

Dave Johnson
Thesis working title: “Eye-Witness-War”
Dave Johnson obtained his BFA from the University of Regina, Saskatchewan in 2004. His current research is based on experimenting with documentary forms and styles. Other research interests include experimental film and the travelogue. His thesis, “Eye-Witness-War,” is a documentary about a freelance photojournalist's passion for covering war and the scars it creates.

Alexis Landriault
Thesis working title: "3 histoires génitrices, inventées…"
Un architecte qui projette la lumière, un peintre qui pêche le macro et un écrivain qui cuve sa retraite. Portrait d'hommes qui changent et qui font changer. Documentaire fictionnel, intrigue réalité, les genres valsent ensemble, mais les orteils sont enflées.

Lindsay McIntyre
Thesis working title: “Extended Portraiture”
Lindsay McIntyre is currently working on a series of short 16mm films for her thesis project, “Expanded Portraiture.” She comes from a fine art background, having done a BFA at the University of Alberta in painting and drawing. She started making hand-crafted films in Brooklyn in 1999 using film found on the street and continued in a cooperative tradition until coming to Concordia in 2004 for the MFA program. Her award-winning short films have screened internationally and will soon be available from CFMDC. Among her current research interests are the boundaries between fiction and documentary, the narrative in memory, and the cinematic portrait.

Sol Nagler
Thesis working title: “Children From the Chamber of Longing; 3 Conciliatory Elegies for Simone Weil, Arthur Lipsett & Paul Celan”
Solomon Nagler is a Winnipeg based filmmaker who has worked extensively with film co-ops in Winnipeg, Toronto, Vancouver, Paris and Warsaw. Nagler's work explores the way in which film represents our individual personas, and the landscapes that are appropriated into our self-identity. His Thesis work consists of a collection of three films which incorporate hand-crafted filmmaking techniques with innovative narrative structure.

Charles Stankievech
Thesis working title: “RSI”
Charles Stankievech works in the constellation of cinema, architecture and sound. His practice involves projects in areas ranging from sound sculpture to computer programming, from theoretical writing to film installations. Before moving to Montreal he worked in the camera department for Warner Bros and Disney productions. He has studied theology, literature and philosophy.

2nd Year MA Students

(more bios forthcoming)

Andrea Ariano
Andrea Ariano completed her BA in Communication Studies, with a specialization in Film Production, at Concordia University. She is a contributing writer and editor for Concordia's graduate online film journal Synoptique. She is involved in student government as Chair of the CGFSSA, and enjoys working as a Teacher's Assistant and Research Assistant to some members of the Film Studies faculty. Her research interests include, but are not limited to: screen violence, American cinema, Japanese cinema, studies in film directors, genre, reception and the impact of film technologies.

Patrick Bossé
Patrick Bossé a complété un baccalauréat en communication, avec spécialisation en cinéma, à l’Université du Québec à Montréal. Dans le cadre de la maîtrise en études cinématographiques à l’Université Concordia, il poursuit un mémoire théorique et pratique sur l’activisme politique de l’abbé Albert Tessier à travers sa pratique filmique. Il s’implique également à titre de rédacteur adjoint à la revue électronique Nouvelles «vues» sur le cinéma québécois (http://www.cinema-quebecois.net).

Zoë Constantinides
Zoë Constantinides completed a BA at the University of Toronto in Linguistic Anthropology and Semiotics. Her current research in the MA Film Studies programme focuses on the experience of cinematic spectatorship in alternative exhibition contexts. In particular, she is interested in film installation work in relation to notions of medium and site specificity, film history, space, sound, and the body. She has been involved in the online film journal Synoptique, the the organization of the 2005 Visible Evidence conference, and a student-run screening series.

Gareth Robert Andrew Hedges
MA in Film Studies (pending), Concordia University, Montreal, Quebec, Canada, 2004 to present. BA in Media Arts and Creative Writing (double major), University of Arizona, Tucson, Arizona (suburban desert), 1998-2002. Gareth Hedges was interested irony, myth & ideology, rhetoric, the place of history, text use & over-reading, Canada, those United States, ukuleles, and Charles Bronson-ish revenge movies. Then, he decided to pursue course work instead. He also enjoys editing for and contributing to Synoptique: The Journal of Film and Film Studies.

Shawna Plischke
Shawna Plischke completed her undergraduate degree in English Literature at the University of Manitoba. Her research interests include feminist film theory; especially in the areas of gender, sexuality and female representation.

CSA - Cinema Students Association. The CSA is a highly active student group, most notably responsible for the year end screenings. Visit their homepage here.

CGFSSA - Concordia Graduate Film Studies Student Association. The CGFSSA is an organization began by MA Film Students to help organize extra screenings, year end parties, and help fund Synoptique. It is most notable for its mockery of bureaucratic acronyms.

Synoptique :: The Journal of Film and Film Studies - Founded in 2003 by MA Film Students, Synoptique is an entirely student run online journal now known around the world as a sophisticated and eclectic exploration of film and film communities. http://www.synoptique.ca

Nouvelles VUES sur le cinéma québécois - Founded by MA student Bruno Cornellier, Nouvelles VUES is an online exploration of Québéc cinema. http://www.cinema-quebecois.net/

Offscreen - While not technically a student project, Offscreen, founded by MHSoC part time faculty member Donato Totaro, routinely publishes work by MHSoC students. Offscreen is one of the longest running and best known online film journals in the English language. http://www.offscreen.com/

Double Negative Collective - A thriving Montreal film production and screening group which evolved out of a MHSoC experimental film production course.

Film Animation Student Group - The very active film animation student group routinely holds late night screenings, and big screen video game parties.

Other part time Animation faculty members include:

Luc Chamberland
J. Duan
Sandra Eber -
Erik Goulet -
Marcus von Holtzendorff -
Benoit Ladoucer
Alison Loader -
Stephen Menzies
Valery Mihalkov -
Janet Perlman
Jean Théberge -

Other part-time Film Studies faculty members include:

Robert Del Tredici -
Sylvain Duguay -
Louis Goyette -
Johanne Larue -
Heather McDougal
Randolph Jordan -
Daniel Stefik -

-->

Other part time film production faculty members include:

Michel Choquette -
Chris Crilly -
Martin Duckworth -
Ivan Gekoff -
Phil Herbison -
Federico Hidalgo
Micheline Lanctôt -
Roland Pollak -
Frank Sanna
Roger Tyrell -
Marcus Von Holtzendorff -
Steven Woloshen

from REVIEWING KINSHIP :: by Kim Simard from OFFERINGS :: by Adam Shamash from TRAJECTOIRES :: by Anne-Michele Fortin from A TIME TO DWELL :: by Katherine Jerkovic from THE PAPER WALL :: by Nicholas Pye from +BIRD HAS FLOWN :: by Ryan Diduck from THE SEX OF SELF HATRED :: by Sol Nagler from STILL/MOVE :: by Michael Rollo from EXTENDED PORTRAITURE :: by Lindsay McIntyre

" 4X HORIZONTAL, 4X VERTICAL " by François Miron
Best experimental film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1986

" 48 SECONDS BLUES " by Shira Avni
Best Animation video, Canadian Student Film & Video Festival (Montreal World Film Festival), 1997

" À VOTRE SERVICE " by France Longtin
Honourable Mention, Canadian Student Film & Video Festival (Montreal World Film Festival), 1986

" ACCIDENT " by Julien Lévy
Norman McLaren Award (Best Overall), Canadian Student Film & Video Festival (Montreal World Film Festival), 1996

" ALTER EGO " by Marc Hébert
Norman McLaren Award (Best Overall), Canadian Student Film & Video Festival (Montreal World Film Festival), 1980

" ACROSS THE STREET " by Arto Paragamian
Norman McLaren Award (Best Overall), Canadian Student Film & Video Festival (Montreal World Film Festival), 1988

" LE BAIN " by Erick Roy
Best animation film, ex aequo, Canadian Student Film & Video Festival (Montreal World Film Festival), 1990

" BARKER " by Donna Barker
Best documentary, Canadian Student Film & Video Festival (Montreal World Film Festival), 1989

" BEDTIME STORY " by Asia Marrion
Best Animation film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1997

" BEYOND LANGUAGE " by Stephanie Finkelstein
Best Documentary video, Canadian Student Film & Video Festival (Montreal World Film Festival), 2000

" THE BET " by Antonio Rizi
Honourable Mention, Canadian Student Film & Video Festival (Montreal World Film Festival), 1975

" BLANC DE MÉMOIRE - SOUVENIR ROUGE " by Yvan Girouard
First Prize, Scenario Category, Canadian Student Film & Video Festival (Montreal World Film Festival), 1976

" BUSTON KEATER " by Pierre M. Trudeau
Best animation film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1986

" CAMERA " by David Boucher
Best Animation Production, Canadian Student Film & Video Festival (Montreal World Film Festival), 2005

" CEUX VENUS D'AILLEURS " by Franco Battista
First Prize, Special Jury Prizes "Entertainment," Canadian Student Film & Video Festival (Montreal World Film Festival), 1976

" CLAIR-OBSCURE " by Kathy Slamen
Honourable Mention for Animation, Canadian Student Film & Video Festival (Montreal World Film Festival), 1994

" CLOCHARD DANS L'ÂME " by Jean-François Pothier
Honourable Mention for fiction, Canadian Student Film & Video Festival (Montreal World Film Festival), 1987

" COMME HIER MATIN " by André Turpin
Best fiction film, ex aequo, Canadian Student Film & Video Festival (Montreal World Film Festival), 1988

" CONTRE-TEMPS " by Jean-Pierre Guyot
Honourable Mention, Canadian Student Film & Video Festival (Montreal World Film Festival), 1980

" CONVERSATION " by Maxwell Berdowski
Best Screenplay, Canadian Student Film & Video Festival (Montreal World Film Festival), 1978

Jean-François Asselin for " CRISE D'IDENTITÉ À LA DEUXIÈME PERSONNE DU SINGULIER "
VIACOM CANADA AWARD FOR THE BEST NEW CANADIAN STUDENT DIRECTOR, Canadian Student Film & Video Festival (Montreal World Film Festival), 1997

" CRISE D'IDENTITÉ À LA DEUXIÈME PERSONNE DU SINGULIER " by Jean-François Asselin
Best Fiction film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1997

" THE DEATH SHOP " by Jeff Abugov
Honourable Mention, Canadian Student Film & Video Festival (Montreal World Film Festival), 1982

" LE DESSIN ANIMÉ " by Yves Béland
Honourable Mention for Animation, Canadian Student Film & Video Festival (Montreal World Film Festival), 1979

" DOCTOR INC. " by Christian L'Écuyer
Best animation film. Canadian Student Film & Video Festival (Montreal World Film Festival), 1988

" DUST AND ROSES " by Peter Piotrowski
Honourable Mention for Experimental, Canadian Student Film & Video Festival (Montreal World Film Festival), 1979

" EFFUSION " by Martin Girard
Best narrative fiction film, ex aequo, Canadian Student Film & Video Festival (Montreal World Film Festival), 1985

" EL TIGRE (EL DESEO) " by Sergio Batiz
Best experimental film, Canadian Student Film & Video Festival (Montreal World Film Festival), 2000

" ÉLECTRINITÉ " by Félix Lajeunesse
Norman McLaren Award for the Best Overall Production ($1000, offered by the National Film Board of Canada), Canadian Student Film & Video Festival (Montreal World Film Festival), 2003. The film was also selected for the Munich International Festival of Film Schools (November 26-28, 2003). The director was invited to Munich to present his film.

" L'ENVIE " by Christian Duguay
Best Cinematography, Canadian Student Film & Video Festival (Montreal World Film Festival), 1980

" UN ESPACE À SOI " by Claude Chabot
Best Documentary, Canadian Student Film & Video Festival (Montreal World Film Festival), 1982

" LA FILLE QUI, LE GARS QUI " by Michel Simonsen
Norman McLaren Award (Best Overall), Canadian Student Film & Video Festival (Montreal World Film Festival), 1998

" FISH STORY " by Arto Paragamian
NORMAN MCLAREN AWARD (Best Overall), Canadian Student Film & Video Festival (Montreal World Film Festival), 1987

" FLIGHT " by Nurjahan Akhlaq
Best Documentary Production, Canadian Student Film & Video Festival (Montreal World Film Festival), 2003

" FRACTURES IN LIGHT " by Lena Yeretzian
Best Experimental Production, Canadian Student Film & Video Festival (Montreal World Film Festival), 1995

" FRICTIONS " by Normand Quinn, music by Robert Gaudreau
Best music, Canadian Student Film & Video Festival (Montreal World Film Festival), 1985

" FROM A WHISPER…TO A SCREAM " by Stephen Campanelli
Best Experimental, ex aequo, Canadian Student Film & Video Festival (Montreal World Film Festival), 1984

" GLANCE " by Heide Aufgewekt
Best experimental video, ex aequo, Canadian Student Film & Video Festival (Montreal World Film Festival), 1994

" HARRY'S STORY " by Jeff Abugov
Best Fiction, Canadian Student Film & Video Festival (Montreal World Film Festival), 1981

" L'INSTANT " by Andjela Milosavljevic
Best Experimental, Canadian Student Film & Video Festival (Montreal World Film Festival), 1978

" LICENSE TO KILL PART MCMXC " by Teresa Lang
Best animation film, ex aequo, Canadian Student Film & Video Festival (Montreal World Film Festival), 1990

" LOW BLOW " by Denise Tremblay
Honourable Mention for animation. Canadian Student Film & Video Festival (Montreal World Film Festival), 1988

" MOI AUSSI " by Caroline Guy
Best musical film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1987

" THE MONK, THE APPLE, THE COW AND ITS INFLUENCE " by Karolina Jonsson
Best Film, Best Director, and Best Narrative, the National Student Film and Video Festival, 1999
Honorable mention for Fiction, Canadian Student Film & Video Festival (Montreal World Film Festival), 1998

"MONSIEUR GEORGE ET MONSIEUR GEORGE" by Brigitte Archambault
Best Animation Production, Canadian Student Film & Video Festival (Montreal World Film Festival), 2002

" MUSIC VIDEOS " by Jonathan Inksetter
Viacom Canada Award for Best New Canadian Student Director, Best Experimental Video, Canadian Student Film & Video Festival (Montreal World Film Festival), 1999

" THE MYTH OF SISYPHUS " by Gerard Betts
NORMAN MCLAREN AWARD (Best Overall), Canadian Student Film & Video Festival (Montreal World Film Festival), 1990

" NAÏMA " by Alexandru Dragutescu
Best Animation Production, Canadian Student Film & Video Festival (Montreal World Film Festival), 2003

" NIVIS " by Simon Goulet
Best documentary film, ex aequo, Canadian Student Film & Video Festival (Montreal World Film Festival), 1988

" THE NOISE " by Nadine K. Rowe
Best experimental film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1992

" NOVEMBER 3 " by George Mihalka and Rodney Gibbons
Honourable Mention, Canadian Student Film & Video Festival (Montreal World Film Festival), 1976

" OINK " by Alain Dion
NORMAN MCLAREN AWARD (Best Overall), Canadian Student Film & Video Festival (Montreal World Film Festival), 1993

" ODA A LAS CHILOTAS " by Claudia Morgado
Best documentary, Canadian Student Film & Video Festival (Montreal World Film Festival), 1990

" ONE HOT, ROTTING ZOMBIE LOVE SONG " by Christophe Davidson
Best Fiction Production, Canadian Student Film & Video Festival (Montreal World Film Festival), 2003

"OPEN SEA " by Simone A. Rapisarda
Best Fiction Production, Canadian Student Film & Video Festival (Montreal World Film Festival), 2005

" OR'D'UR " and " BETSY " by Bashar Shbib
JURY AWARD (INSTITUT QUÉBÉCOIS DU CINÉMA), Canadian Student Film & Video Festival (Montreal World Film Festival), 1984

" OTHER PEOPLE HAVE OXYGEN " by Kaveh Nabatian
Best Documentary film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1997

" L'OUVRIER ", editing by Christian Duguay
Best Editing, Canadian Student Film & Video Festival (Montreal World Film Festival), 1980

" THE QUEST FOR ELECTRIC LIEDERHOSEN " by Francis Hanneman
Best Animation video, Canadian Student Film & Video Festival (Montreal World Film Festival), 2000

" PAIN RELIEF " by Jean-François Daigle
Norman McLaren Award for Best Overall Production, and Best Fiction Video, Canadian Student Film & Video Festival (Montreal World Film Festival), 2001

" PANIC: A TAX " by Tara McVicar
Best experimental film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1993

" THE PAPER WALL " by Nick and Sheila Pye
Best Experimental Film, Worldwide Short Film Festival, 2004

" PART TWO OF THE CRITICAL YEARS: THE DEXTER REPORTS ", cinematography by Gérald L'Écuyer, Steve Reizes, and Andrew Nevard
Best Cinematography, Canadian Student Film & Video Festival (Montreal World Film Festival), 1984

" PIÈCE INTERROMPUE POUR PIANO SAUVAGE " by Christian Duguay and Harold Trépanier
Best Editing, Best Cinematography, Canadian Student Film & Video Festival (Montreal World Film Festival), 1979

" PIPE DREAMS " by Mika Goodfriend and Olivier Girard
Honourable Mention, Canadian Student Film & Video Festival (Montreal World Film Festival), 2000

" POINT-ZÉRO-HUIT " by Gilles Dauphin
Jury Award (Institut Quebecois du cinema), Canadian Student Film & Video Festival (Montreal World Film Festival), 1981

" PORTER & SABU " by Jacqueline McClintock
Honourable Mention, Canadian Student Film & Video Festival (Montreal World Film Festival), 1986

" POST-PARTUM " by Marie-Josee Saint-Pierre
Gold Special Jury Award, Worldfest Houston, Texas, 2005
GAIA Award, Moondance International Film Festival, Colorado, 2005
Shoestring Award, Rochester International Film Festival, New York, 2005

" POURQUOI MOI? " by Étienne Simard
Best Animation Production, Canadian Student Film & Video Festival (Montreal World Film Festival), 2004

" PREMIER REGARD " by Pierre Sylvestre
Best documentary, Canadian Student Film & Video Festival (Montreal World Film Festival), 1989

" REAL MEN WEAR MUSTACHES " by Joanna Meuris
Honourable Mention, Canadian Student Film & Video Festival (Montreal World Film Festival), 1997

" LA RIVIÈRE RIT " by Benoit Pilon
Best fiction film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1987

Linda Smith in " ROOMMATE " by Carla Nemiroff
Best Actress, Canadian Student Film & Video Festival (Montreal World Film Festival), 1985

" R.U.R. (ROSSUM'S UNIVERSAL ROBOTS) " by Carmen Z. MacKinley
Best Experimental video, Canadian Student Film & Video Festival (Montreal World Film Festival), 2001

" SECOND IMPRESSIONS " by Lorne Marin
Second Prize, Experimental Category, Canadian Student Film & Video Festival (Montreal World Film Festival), 1975

" SECOND STORY MAN " by Stephen Surjik
Best Director, Best Cinematography (by Stephen Reizes), ex aequo, Canadian Student Film & Video Festival (Montreal World Film Festival), 1981

" THE SEDUCTIONS OF ELEPHANTS " by Lee Schnaiberg
Best experimental video, Canadian Student Film & Video Festival (Montreal World Film Festival), 1992

" SHALETOWN " by Alexandra Myotte
Best animation video, Canadian Student Film & Video Festival (Montreal World Film Festival), 2001

" SHAT MAT " by Mike Pelland
Best Animation film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1999

" THE SICKROOM " by Serge Marcotte
NORMAN MCLAREN AWARD (Best Overall), Canadian Student Film & Video Festival (Montreal World Film Festival), 1997

" SUPER FROG " by Francine Langlois
Norman McLaren Award (Best Overall) ex aequo, Best Actor (Jean Duchêne), (Canadian Student Film & Video Festival (Montreal World Film Festival), 1979

" SURVIVRE À L'ÉCHELLE RICHTER " by Araz Artinian
Best documentary video, Canadian Student Film & Video Festival (Montreal World Film Festival), 1998

" TEMPUS FUGIT " by Duraid Munajim
Best Experimental film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1997

" TERREUR D'UN DIMANCHE APRÈS-MIDI " by André Lavigne
Best narrative fiction film, ex aequo, Canadian Student Film & Video Festival (Montreal World Film Festival), 1985

" TIDINGS OF JOY " by Oliver Slupecki
Honourable Mention for Fiction, Canadian Student Film & Video Festival (Montreal World Film Festival), 1991

" TINY " by Franco Battista
Honourable Mention, Canadian Student Film & Video Festival (Montreal World Film Festival), 1975

" TRENDSETTERS ", editing by Howard Goldberg
Best Experimental, Best Editing, Canadian Student Film & Video Festival (Montreal World Film Festival), 1981

" TRILOGIE D'ÉTAGES " by Claude Blanchard
Best Fiction, Best Director, Best Actress (Hélène Labrie-Beha), Best Score, Canadian Student Film & Video Festival (Montreal World Film Festival), 1980

" UNTITLED " by Lorraine Chiarelli
Best Animation, Canadian Student Film & Video Festival (Montreal World Film Festival), 1980

" URBANISM " by Philip Jandaly
Best fiction film, Canadian Student Film & Video Festival (Montreal World Film Festival), 1993

" VA T'RINCER L'OEIL " by Geoff Bowie
Honourable Mention, Canadian Student Film & Video Festival (Montreal World Film Festival), 1981

" VIE-D-EAU ", soundtrack by Peter Sandmark and Roger Tyrrell
Best Soundtrack, Canadian Student Film & Video Festival (Montreal World Film Festival), 1981

" VISION HOUSE " by Rafal Zielinsky
Best Director, Best Fiction, Canadian Student Film & Video Festival (Montreal World Film Festival), 1977

Select Publications and Scholarship

Books
Inventing Film Studies: A Genealogy of Studying Cinema (co-edited with Dr. Lee Grieveson, University College London, University of London) (to be published by Duke University Press)

Museum Movies: MoMA and the Birth of Art Cinema (Berkeley: University of
California Press, 2005)

Chapters in Books
Hollywood By-Pass: MoMA, The Rockefeller Foundation, and New Circuits of Cinema,” in Patronizing the Mind: American philanthropic support for Communication, Culture and the Humanities, 1930-1970., ed. William Buxton (submitted)

“The World on Your Doorstep: 16mm, Film Libraries, and the Cosmopolitan Home” in Going to the Movies: Hollywood and the Social Experience of Movie-Going, ed. Richard Maltby, Melvyn Stokes, and Robert C. Allen (Exeter, UK: University of Exeter Press, Fall 2006).

“Every Home an Art Museum: Towards a Genealogy of the Museum Gift Shop”
in Residual Media Charles Acland, ed. (Minneapolis: University of Minnesota Press, 2006).

“The Networked Screen: Moving Images, Materiality and the Aesthetics of Size”
in Fluid Screens: Time, Aesthetics and Digital Life. Janine Marchessault and Susan Lord, eds. (Toronto: University of Toronto Press, 2006)

“Writing the Cinema into Daily Life: Iris Barry and the Emergence of British Film Criticism” Young and Innocent: British Silent Cinema, ed. Andrew Higson (Exeter: Exeter University Press, 2001) pp. 321-337.


Articles in Journals
“The Woman Film Critic: Newspapers, Cinema, and Iris Barry” in Film History special issue Women and the Silent Screen: Cultural and Historical Practices, Shelley Stamp and Amelie Hastie, eds. (Spring 2006)

“Mobilizing the Museum: Film at the Metropolitan Museum of Art in the 1920s” Frameworks 46.1; Spring 2005 (Special Dossier on Cinephilia and Women’s Silent Cinema) 83-92.

“New and Now: A Plea for Historiography and Technology” Reconstruction (Special Issue: Technology & Historiography, or, The Science Fiction of Everyday Life 4.1 (Spring 2004) (2447 words) [http://www.reconstruction.ws/]

“The Cinematic Subtext of the Modern Museum: Alfred H. Barr, Film and the Museum of Modern Art,” The Moving Image: Journal of the Association of Moving Image Archivists 1.1 (Spring 2001) 1-28.

“Some Kind of Racket: The Museum of Modern Art, Hollywood and the Problem of Film Art, 1935,” Canadian Journal of Film Studies 9.1 (2000) 5-29.

“What’s Old is New Again: Film History’s New York Debut,” Continuum: Journal of Media and Cultural Studies 12.3 (November 1998): 245-266.

“Eyewitness History: New Technologies and the Production of Visual Evidence” Co-written with Janine Marchessault, Convergences: Journal of Research into New Media Technologies, 4.3 (Fall 1998): 17-23.

“Assassinating an Image: The Strange Life of Kennedy’s Death” Cineaction, no. 38 (1995): 3-12.

Select Honors, Awards, Grants

2005-2008
Social Sciences and Humanities Research Council (Canada)
Standard Research Grant

2004-2006
Le Fond pour La Formation de Chercheurs et l’Aide a la Recherche
“La Practique des etudes cinematographiques” [team grant; member]

2003
Visiting Scholar, President’s Development Fund, Queen’s University, Kingston, Ontario

2002-2004
McKnight Land-Grant Professorship, University of Minnesota

2002-03
Grant-in-Aid of Research and Artistry, Faculty of Graduate Studies, University of Minnesota

1998-2000
Post Doctoral Fellow, Social Science and Humanities Research Council,
Bill Douglas Centre for the History of Cinema and Popular Culture,
University of Exeter, England

1998-2000
Fulbright Scholar
Visiting Scholar, Cinema Studies, New York University Resident Scholar, Department of Film, Museum of Modern Art, New York

I am presently the Director of the PhD program in Film and Moving Image Studies at Concordia. Click here for more information.


In Fall 2011 I am teaching an undergraduate seminar on melodrama.
In Winter 2012 I will be teaching a PhD seminar on Walter Benjamin

FMST 600 - Methods in Film Studies
Click here for the syllabus.
Mondays, 1:15pm - 5pm, Full Year
FB 250

FMST 800 - Archiveology: Theorizing the Moving Image Archive
Click here for the syllabus.
Thursdays, 13:00 - 17:00
EV 6-421

In the past I have taught undergrad courses on:

• Women and Film
  
• The Western
  
• Japanese Cinema
  
• Experimental Documentary

and grad courses on:

• Experimental Ethnography
  
• Walter Benjamin
  
• American Cinema of the 1950s

I am co-editor of the Canadian Journal of Film Studies, with Charles Acland

New Book

Classical Japanese Cinema Revisited

Recent Conferences

Artists' Moving Image Research Network Documentary and Ethnographic Avant-Garde January 2012

New Publications

Review of Senso DVD Cineaste Summer 2011 Cineaste

The Cinema of Naruse Mikio: Women and Japanese Modernity. Durham NC: Duke University Press, 2008.

Reviews of The Cinema of Naruse Mikio:
Cineaste Summer 2009
Monumenta Nipponica 64:1 (2009)
Screening the Past

Silent Ozu DVD Review Cineaste Fall 2008

“Mini-Cinema: A Digital Diary for iPod,” CineAction! 73/74 (2008): 2-7.

“Double Obsession: Sex, Death, and Oshima,” Video Essay for Criterion Collection DVD release of Empire of Passion, April 2009


Videoblog FNC
Will Straw and Catherine Russell discuss “My Winnipeg”

Catherine Russell
Professor
Mel Hoppenheim School of Cinema
Concordia University
1455 de Maisonneuve Blvd O.
Montreal, Quebec
Canada H3G 1M8
Tel: 514 848-2424 extension 4657
e-mail:

Ph.D., New York University, 1990

Office Hours:
FB 315-4, Wed. (2pm to 4pm)

Walter Benjamin and Film Studies

SSHRC funded project 2009-2012

This project will build on the readings and interpretations of Benjamin’s theory that have provided the methodological frameworks for my three published monographs. In my first book, Narrative Mortality, I developed his theory of allegory for the analysis of death in film; for my second book, Experimental Ethnography, I used his concepts of historiography, modernity and media; and for my recent book The Cinema of Naruse Mikio, I developed his notion of rescuing critique for an analysis of the Japanese woman’s film. While these projects are focused on very different modes of film practice, their shared base is in my reading of Benjamin. This project will enable me to bring together the various approaches and insights that I have developed and synthesize Benjamin’s rich vocabulary and conceptual apparatus.

My emphasis on Benjamin’s concepts of “phantasmagoria” and “archive” is geared toward the development of a method of film criticism that may well be of interest to the general public. Journalistic film criticism of the expanding archive of film history released on DVD tends to be informally guided by tendencies in academia. Benjamin’s thought lends itself to historically-informed criticism of films as cultural documents as well as works of art, potentially adding a new “anthropological” perspective to the dominant critical models of auteurism and masterpieces. His criticism helps us recognize how films mediate social relations and how they have produced new forms of knowledge, memory and fantasy at specific historical conjunctions. As visual culture takes on an increasingly high profile in everyday life, we cannot have enough critical methods and perspectives with which to engage with the audio-visual image-bank and contemporary landscape. My emphasis, furthermore, on the oeuvres of Barbara Stanwyck and James Benning as objects of analysis, makes this project also an important treatment of two seminal but neglected figures in American culture.

Classical Japanese Cinema

Forthcoming from Continuum Press

The book will approach Japanese cinema as an industry closely modeled on Hollywood. The classical period refers to the years in which the studio system dominated all film production in Japan, from roughly 1930 to 1960. My approach to the most well known films of this period situates them within Japanese society and culture, the star system, the genre system and the film industry. While I am respectful and well-informed about the aesthetics and critical values of the canon, I am also critical of some of the ideological tendencies of this cinema, and my analyses tend to comment on class and gender dynamics. In this sense, this book is arguably a departure from the usual line of criticism on Japanese cinema. In my view Japanese Classical Cinema has had enormous influence on other Asian cinemas, especially in TV broadcast form, and it is important that the industrial production context be accounted for in discussions of the films.
This book collects eight DVD reviews that I have published in Cineaste since 2002, including one feature article on Kurosawa. I will add an introduction and five or six additional chapters, in consultation with an editor. In my Cineaste reviews of titles such as Tokyo Story, Ugetsu and Kurosawa’s films, my critical approach is to highlight the “everydayness” of Japanese studio-era cinema. The canon of great Japanese cinema has tended to be approached by Western and Japanese critics as an art cinema with auteurist, and at times, Orientalist, assumptions. This volume will demystify the films, while providing concise analyses of them.

Dr. Catherine Russell
Professor
Mel Hoppenheim School of Cinema

Concordia University FB-319
1455 de Maisonneuve Blvd. W.
Montreal, Quebec
Canada H3G 1M8
Tel:   (514) 848-2424 ex. 4657
Fax:  (514) 848-4255
e-mail:

Nationality: Canadian
Website: http://cinema.concordia.ca/russell/

Education

• PhD. Cinema Studies, New York University, 1990. Dissertation: “Narrative Mortality: Death and Closure in International Postwar Cinema.” Passed with distinction.
• M.A. Cinema Studies, New York University, 1985
• B.A. Philosophy, University of Toronto, 1983

 

Employment

• Professor, Mel Hoppenheim School of Cinema, Concordia University, 2004 to present
• Associate Professor, Mel Hoppenheim School of Cinema, Concordia University, 1995-2004
• Assistant Professor, Dept. of Cinema, Concordia University, 1990-1994
• Lecturer, Dept. of Film Studies, Queen’s University, Kingston, Ontario, 1988-1990
• Instructor, Cinema Studies, New York University, 1987

Undergraduate courses:
Film History; Film History to 1959; Japanese Cinema; Anti-Documentary; Experimental Documentary; Women and Film; Women and Film seminar; Film Theory; Italian Cinema; Melodrama; Experimental Documentary; The Western.

Graduate Courses:
Experimental Ethnography (Concordia MFA programme)
Methods in Film Studies (MA programme)
Walter Benjamin (PhD in Humanities)

Publications

Books

• The Cinema of Naruse Mikio: Women and Japanese Modernity. Durham NC: Duke University Press, 2008.
  
• Experimental Ethnography: The Work of Film in the Age of Video. Durham NC:  Duke University Press, 1999.
  
• Narrative Mortality: Death, Closure and New Wave Cinemas. Minneapolis: University of Minnesota Press, 1995.

Edited Books and Journals

• New Women of the Silent Screen: China, Japan, Hollywood. Special Issue Editor. Camera Obscura 60 Vol 30 no.3 (2005).
  
• “Dossier on Cinephilia and Women’s Cinema in the 1920’s,” edited by Catherine Russell and Rosanna Maule, Framework 46 no. 1 (Spring 2005).
  
• Le cinématographe, nouvelle technologie du 20e siècle / The Cinema, A New Technology for the 20th Century. Eds. André Gaudreault, Pierre Véronneau and Catherine Russell. Lausanne: Editions Payot, 2004.
  
• Le cinéma muet au Québec et au Canada: nouveaux regards sur une pratique culturelle. Co-edited with Pierre Veronneau. Special Issue of Cinémas (Vol 6, no. 1): Fall 1995.
  

Journal Articles

• “Films about Ordinary People: The Japanese Home Drama and Ethnographic Film Criticism,” in Art as Ethnography: Critical Practices and Sensory Anthropology, Special Issue of Journal of the Royal Anthropological Institute, Edited by: Rupert Cox, Andrew Irving and Christopher Wright, forthcoming.
• “Mini-Cinema: A Digital Diary for iPod,” CineAction! 73/74 (2008): 2-7.
• “Dialectical Film Criticism: Walter Benjamin’s Historiography,Cultural Critique and the Archive,” Transformations No.15 (2007).
  http://www.transformationsjournal.org/journal/issue_15/article_08.shtml
• “Cinephilia and the Travel Film: Gambling, Gods and LSD,” e- JumpCut 48 (Winter 2006).
  http://www.ejumpcut.org/currentissue/GodsLSD/index.html (refereed journal)
• “New Women of the Silent Screen: China, Japan, Hollywood,” Introduction to Special Issue of Camera Obscura 60 Vol 30 no. 3 (2005): 1-13. (refereed journal)
  
• “Naruse Mikio’s Silent Films: Gender and The Discourse of Everyday Life in Interwar Japan,”Camera Obscura 60 Vol 30 no.3 (2005): 57-89. (refereed journal)
  
• “Another Cinephilia: Women’s Cinema in the 1920s,” Co-authored with Rosanna Maule, Introduction to dossier of articles in Framework 46 no.1 (Spring 2005). 51-55.
  
•  “New Media and Film History: Walter Benjamin and the Awakening of Cinema.” Cinema Journal. 43.3 (Spring 2004). 81-85 (refereed journal).
  
• “Three Japanese Actresses of the 1950s: Modernity, Femininity, and the Performance of Everyday Life.” CineAction! 60 (2003): 34-44.
  
• “’Ladies Please Remove Your Hats:’ Fashion, Moving Pictures and Gender Politics of the Public Sphere 1907-1911.” Co-authored with Louis Pelletier. Living Pictures 2:1 (2003): 61-84. (refereed journal).
  
• “Men with Swords and Men with Suits: The Cinema of Akira Kurosawa.” Cineaste XXVII No. 1 (Winter 2002): 4-13.
  
• “Tokyo, the Movie.” Japan Forum 14(2) (2002) (refereed journal): 211-224.
  
• “From Women’s Writing to Women’s Films in 1950s Japan: Hayashi Fumiko and Naruse Mikio.”Asian Journal of Communications 11(2) 2001: 101-120 (refereed journal).
  
• “Parallax Historiography: The Flâneuse as Cyberfeminist.” Scope, an on-line journal, posted 1/07/00 (refereed journal)
  http://www.nottingham.ac.uk/film/journal/articles/parallax‑historiography.htm
  
• “Archiveology,” Public 19 Lexicon 20th Century A.D. Vol. 1, p.22 (2000).
  
• “Mikio Naruse and the Japanese Women’s Film.” Asian Cinema Vol. 10 no.1 (Fall 1998): 120-125
  
• “Dystopian Ethnography: Peter Kubelka’s Unsere Afrikareise Revisited.” Canadian Journal of Film Studies, Vol. 7 no.1 (Spring 1998): 3 -15 (refereed journal).
  
• “Playing Primitive: In the Land of the Headhunters and/or War Canoes.” Visual Anthropology, Vol.8 (1996): 55-77 (refereed journal).
  
• “’Overcoming Modernity’: Gender and the Pathos of History in Japanese Film Melodrama.” Camera Obscura 35 (May 1995): 131-158 (refereed journal).
  
• “Mourning the Woman’s Film: The Dislocated Spectator of The Company of Strangers,” The Canadian Journal of Film Studies Vol 3 No. 2 (Fall 1994): 25-40 (refereed journal).
  
• “Beyond Authenticity: The Discourse of Tourism in Ethnographic and Experimental Film.” Visual Anthropology 5:2 (1992): 131-141 (refereed journal).
  
• “Passionate Dialectics Revisited: Women and Film in the University.” The Independent Eye (Toronto), Spring/Summer 1991: 9-14.
  
• “The Life and Death of Authorship in Wim Wenders’ The State of Things.” Canadian Journal of Film Studies 1:1 (1990): 15-28 (refereed journal).
  
• “The Figure in the Monitor: Beckett, Lacan, Video.” Cinema Journal 28:4 (Summer 1989): 20-37 (refereed journal).
  
• “David Rimmer’s Found Footage: Reproduction and Repetition of History.” CineAction! (Spring 1989): 52-58.
  
• “The Work of Film in the Age of TV/Video Production.” Canadian Journal of Political and Social Theory XI:1-2 (Winter/Spring, 1987): 152-160.
  
• “The Politics of Putting Art on Film: Derek May and the National Film Board of Canada.” Journal of Canadian Studies 2:1 (Spring 1986): 104-115 (refereed journal).

 

Articles in Books

• “In the Mood for Cinema: Wong Kar-wai and the Diasporic Phantasmagoria,” In The Presence of Pleasure: The Work of Cinephilia in the Age of Digital Reproduction, Jason Sperb and Scott Balcerzak eds. Wallflower Press. Submitted.
  
• “Women’s Stories in Postwar Japan: Mikio Naruse’s Bangiku.” In Japanese Cinema: Texts and Contexts. Eds. Julian Springer and Alastair Phillips. London: Routledge, 2007. 124-43.
  
• “The Inhabited View: Landscape in the Films of David Rimmer,” Landscape and Film, Ed. Martin Lefebvre, New York: Routledge, 2006, 149-166.
  
• “Video.” Essay-length entry for Schirmer Encyclopedia of Film, Ed. Barry Keith Grant, Schirmer Reference, New York, 2006.
  
• “Cinephilia.” Essay-length entry for Schirmer Encyclopedia of Film, Ed. Barry Keith Grant, Schirmer Reference, New York, 2006.
  
• “Surrealist Ethnography: Las Hurdes and the Documentary Unconscious.” In F is for Phony: Readings on the Fake Documentary. Eds. Alex Juhasz and Jesse Lerner. Minneapolis: University of Minnesota Press, 2006.
  
• “Meiji Cinema: Motion Pictures and Japanese Modernity.” In Le cinématographe, nouvelle technologie du 20e siècle / The Cinema, A New Technology for the 20th Century. Eds. André Gaudreault, Pierre Véronneau and Catherine Russell. Lausanne: Editions Payot, 2004.
  
• “Introduction,” With André Gaudreault, Pierre Véronneau, Le cinématographe, nouvelle technologie du 20e siècle / The Cinema, A New Technology for the 20th Century. Eds. André Gaudreault, Pierre Véronneau and Catherine Russell. Lausanne: Editions Payot, 2004.
  
• “Women’s Stories in Postwar Japan: Mikio Naruse’s Bangiku.” In Japanese Cinema: Texts and Contexts. Eds. Julian Springer and Alastair Phillips. London: Routledge, 2007. 124-43.
  
• “Too Close to Home: Naruse Mikio and Japanese Cinema of the 1950s.” In Global Cities: Cinema, Architecture, and Urbanism in a Digital Age. Eds. Linda Krause and Patrice Petro. New Brunswick, NJ: Rutgers University Press, 2003. 87-114.
  
• “The Lisa Steele Tapes: Investigation and Vision.” In North of Everything: English Canadian Cinema Since 1980. Eds. Bill Beard and Jerry White. Edmonton: University of Alberta Press, 2002. 430-445.
  
• “Role Playing and the White Male Imaginary in Atom Egoyan’s Exotica.” In Canada’s Best Features: Critical Essays on 16 Canadian Films. Ed. Gene Walz. New York: Edition Rodopi B.V. 2002. 321-342.
  
• “Being Two Isn’t Easy: The Uneasiness of the Family in 1960s Tokyo.” In Kon Ichikawa. Ed. James Quandt. Toronto: Cinémathèque Ontario, 2001. 255-266.
  
• “Tokyo Olympiad: A Symposium.” Co-authored with James Quandt, Mitsuhiro Yoshimoto, Markus Abe Nornes and Eric Cazdyn. In Kon Ichikawa. Ed. James Quandt. Toronto: Cinémathèque Ontario, 2001. 315-338.
  
• “Culture as Fiction: The Ethnographic Impulse in the Films of Peggy Ahwesh, Su Friedrich and Leslie Thornton.” In New American Cinema. Ed. Jon Lewis. Durham: Duke University Press, 1998. 353-378.
  
• “Subjectivity Lost and Found: Bill Viola’s I Do Not Know What It Is I am Like.” In Documenting the Documentary. Eds. Barry Grant and Jeannette Sloniowski. Detroit: Wayne State University Press, 1998. 344-359.
  
• “Insides and Outsides: Cross-Cultural Criticism and Japanese Film Melodrama.” In Melodrama and Asian Cinema. Ed. Wimal Dissanayaki. New York: Cambridge University Press, 1993. 143-154.
  
• “Decadence, Violence and the Decay of History: Notes on the Spectacular Representation of Death in Narrative Cinema.” In Crisis Cinema: The Apocalyptic Vision in Postmodern Narrative Film. Ed.Christopher Sharrett. Washington: Maisonneuve Press, 1993. 173-202.
  
• “Twilight in the Image Bank.” David Rimmer: Films & Tapes 1967-1993 Toronto: Art Gallery of Ontario, 1993. 17-58.

 

Reviews and Other publications

• Review of An Autumn Afternoon, Criterion Collection DVD Cineaste Vol. XXXIV no. 2 (Spring 2009).
  
• Review of Silent Ozu, Criterion Collection DVDs, Cineaste Fall 2008 web exclusive
  http://www.cineaste.com/articles/silent-ozu.htm
  
• Review of The Burmese Harp and Fires on the Plain Criterion Collection DVDs by Kon Ichikawa, Cineaste. Vol. XXXII No. 4 (Fall 2007).
  
• Review of Virtual Voyages: Cinema and Travel, Jeffrey Ruoff Ed. International History Review June 2007.
  
• Review of Late Spring DVD Cineaste Vol. XXXII, No2, Spring 2007.
  
• Review of Ugetsu DVD Cineaste Vol. XXXI, no. 3 (Summer 2006), 64-66..
  
• “A Ménage à trois Gone Wrong: Review of Sontag Kael: Opposites Attract Me By Craig Seligman,” Synoptique 7 Feb. 14, 2005.
  http://www.synoptique.ca/core/en/articles/sontagkael/
  
• Liner notes for three disks by Naruse Mikio forthcoming from Masters of Cinema (U.K.) Meshi, Sound of the Mountain, Flowing.
  
• Review of Story of Floating Weeds and Floating Weeds DVD Cineaste Vol. XXX No. 1 (Winter 2004).
  
• Review of Tokyo Story DVD Cineaste Vol. XXIX no. 3 (Summer 2004).
  
• Review of Metropolis DVD Cineaste Vol. XXIX no. 1 (Winter 2003): 70-71.
  
• Review of Picturing Culture: Explorations of Film and Anthropology by Jay Ruby.  American Ethnologist 28:3 (2001): 735-737.
  
• Review of Kurosawa: Film Studies and Japanese Cinema by Mitsuhiro Yoshimoto. Cineaste Vol. XXVI No.2 (Spring 2001): 53-54.
  
• Review of The Birds by Camille Paglia and The Wizard of Oz by Salmon Rushdie, as part of review of BFI Classics and Modern Classics Film Series, co-written with Bart Testa and Carole Zucker. Canadian Journal of Film Studies Vol. 7 no. 2 (Fall 1998): 78-87 (refereed journal).
  
• Review of Terminal Identity: The Virtual Subject in Postmodern Science Fiction by Scott Bukatman, Canadian Journal of Film Studies 5:1 (Spring 1996) 79-82 (refereed journal).
  
• Review of Cinema, Censorship and the State: the Writings of Nagisa Oshima, 1956-1978 (MIT Press 1992), Cineaste XX:1: 57-58.
  
• Review of The Difficulty of Difference: Psychoanalysis, SexualDifference and Film Theory, by D.N. Rodowick, Recherches Sémiotique / Semiotic Inquiry Vol 11 no.2-3 (1991) 253-257 (refereed journal).
  
• Review of Psychoanalysis and Cinema. E. Ann Kaplan Ed. Queen’s Quarterly 97:4 (Winter 1990): 660-662 (refereed journal).
  
• “Past Pleasures: New Histories of German and American Cinemas,” Review of: The American Film Musical by Rick Altman, American Film Melodrama by Robert Lang, Joyless Streets: Women and Melodramatic Representation in Weimar Germany by Patrice Petro, and New German Film: A History by Thomas Elsaesser, Queen’s Quarterly (Spring 1990) 88-101 (refereed journal).
  
• “Will the Reel Avant-Garde Please Stand Up?” Review of the International Experimental Film Congress, Toronto, May-June 1989, Fuse XIII:1-2 (Fall 1989) 37-43.
  
• “On Experimental Film,” Cinema Canada April 1989.
  
• Review of Chris Gallagher’s Undivided Attention in Recent Work from the Canadian Avant-Garde, Catherine Jonasson and Jim Shedden eds., (Toronto: Art Gallery of Ontario, 1988) 23-24.
  
• Review of Eros Plus Massacre: An Introduction to the Japanese New Wave Cinema, by David Desser, in Cineaste 16:4 (1988).
  
• “Yvonne Rainer Eats Her Cake,” Cinema Studies, Department Newsletter, New York University 2:3 (Fall 1986).

 

Articles in Translation

• “Sans Soleil: les infirmités du temps” , in André Habib, Viva Paci (eds.), Chris Marker et l'imprimerie du regard, Paris, Éditions L'Harmattan, coll. “Esthétiques“, 2008, forthcoming.
  
• “Otra Mirada” Spanish Translation of “Another Look,” chapter of Experimental Ethnography in Archivos de la Filmoteca 57-58 Después de lo real, eds. Josep Maria Català and Josetxo Cerdán (October 2007/February 2008)
  
• “Un regard autre,” in International Geographic, edited by Tam-Ca Vo-Van and Stefan St-Laurent (SAW Gallery, Ottawa, and YYZ Books, 2006).
  
• “Tokyo, le film,” trans. May Telmissany, Harmattan, forthcoming in Un nouvel art de voir la ville et de faire du cinéma. Du cinéma et des restes urbains. Sous la direction de Charles Perraton et François Jost. L’Harmattan, Paris 2003.
  
• “L’historiographie parallaxiale et la flâneuse: le cinéma pré- et postclassique.” Translated by François Primeau et Denis Simard. Cinémas printemps 2000: 151-168. (Refereed journal)
  
• “Jouer aux Indiens: ‘In the Land of the Headhunters’ et/ou ‘War Canoes.’” Cinémas, Vol. 6 no.1 (1995) translated by Josée Blanchet  (refereed journal).
  
• “Gestalten pa TV-skarmen: Beckett, Lacan och video,” Modern Filmteori 2, Lars Gustaf Andersson & Erik Hedling (red.), Studentlitteratur 1995, translation into Swedish by Michael Tapper.
  
• “David Rimmer’s Found Footage: Reproduction and Repetition of History,” CineAction!, Spring 1989, pp. 52-58.  trans par Elizabeth Hamilton pour la Musée national d’art moderne, Centre George Pompidou, Paris: David Rimmer retrospective, du 9 au 11 Mai, 1990.

 

 

Reprints

• “Another Look,” in International Geographic, edited by Tam-Ca Vo-Van and Stefan St-Laurent (SAW Gallery, Ottawa, and YYZ Books, 2006).
  
• “Tokyo Olympiad: A Symposium,” co-authored with James Quandt, Mitsuhiro Yoshimoto, Markus Abe Nornes and Eric Cazdyn, DVD notes, Criterion Pictures, 2003.
  
• “Ecstatic Ethnography: Maya Deren and the Filming of Possession Rituals,” in Rites of Realism: Essays on Corporeal Cinema, Ivone Margulies, ed. (Duke University Press, 2002):270-293. Chapter of Experimental Ethnography.
  
• “Parallax Historiography: The Flâneuse as Cyberfeminist,” in A Feminist Reader in Early Cinema, Jennifer Bean and Diane Negra eds., (Durham NC: Duke University Press, 2002): 552-570.
  
• “Autoethnography: Journeys of the Self,” in Lux: A Decade of Artists’ Film and Video. Steve Reinke and Tom Taylor eds. Toronto: YYZ and Pleasure Dome, 2000: 88-113. Chapter of Experimental Ethnography.
  
• “Mourning the Woman’s Film: The Dislocated Spectator of The Company of Strangers,” in Gendering the Nation: Canadian Women’s Cinema, eds. Kass Banning, Kay Armatage, Brenda Longfellow and Janine Marchessault, (University of Toronto Press, 1999).
  
 

Selected Reviews of My Work

• Review of Naruse Mikio: Women and Japanese Modernity, by Chris Fujiwara, Cineaste Summer 2009.
  
• Review of Naruse Mikio: Women and Japanese Modernity, by Rachel Hutchinson, in Monumenta Nipponica 64:1 (2009).
  
• Review of Experimental Ethnography: The Work of Film in the Age of Video. By Alison Griffiths. Film Quarterly Vol. 54 No. 2 (Winter 2000/2001): 52-54.
  
• Review of Experimental Ethnography: The Work of Film in the Age of Video. By Ralph A. Litzinger. American Anthropologist. Vol. 102 No. 3 (September 2000).
  
• Review of Narrative Mortality: Death, Closure and New Wave Cinemas.  By Jim Leach. Canadian Journal of Film Studies 5:1 (Spring 1996): 83-87.

 

Conference Papers

• “Classic Modernity: Melodramatic Features of Japanese Cinema,” SCMS conference Los Angeles, March 2010.
  
• “Women in Cities: Comparative Modernities and Cinematic Space in the 1930s,” Transcultural Montage International Conference at Moesgaard Estate, University of Arhaus, DK, August 24 to 26, 2009.
  
• “Women in Cities: Comparative Modernities and Cinematic Space in the 1930s,”Space Matters: Reframing Early Cinema and Modernity, University of Michigan April 2009.
  
• “The Uses and Abuses of Cinephilia,” Society for Cinema and Media Studies Conference, Philadelphia, PA, March 2008.
  
• “Films about ordinary people': The Japanese shoshimin-eiga and ethnographic film criticism.” Beyond Text ? Image:Voice::Sound:Object: Synaesthetic and Sensory Practices in Anthropology, Manchester England June 30th to July 2nd 2007
  
• “Japanese Cinema as Classical Cinema,” Transnationalism, Globalization and North Asian Cinema Workshop, Montreal, May 4-6, 2007
  
• “Japanese Cinema as Classical Cinema,” Kinema Club VIII, Frankfurt, Germany, April 29-22, 2007
  
• “Walter Benjamin, Film Criticism and Historiography,” Society for Cinema and Media Studies, Chicago Ill, March 11, 2007.
  
• “Voyage to the Ends of Cinema,” Vues sur l’exotisme: Voyages aux premiers temps du cinéma. Projections et atelier, Cinématheque Quèbecoise, Novembre 2006.
  
• “Cinephilia and the Travel Film: Gambling, Gods and LSD,” Visible Evidence, Montreal, August 2005
  
• “From Home Front to “Revolutionary Democracy”: Naruse During the 1940s,” Kinema Club 5, Tokyo, June 2005.
  
• “Cinephilia, Collecting and Vernacular Modernism as Critical Method,” Cinema and Anthropology, Sussex University, Brighton England, May 2005
  
• “Not a Monumental Cinema: Naruse Mikio’s War-Time Cinema,” Film Studies Association of Canada Conference, London Ontario, May 2005
  
• “The Epistemology of the Travel Film: Gambling, Gods and LSD,” Avant 2004, Karsltad, Sweden August 2004.
  
•  “Naruse Mikio’s Silent Films: Gender and The Discourse of Everyday Life in Interwar Japan,” Women and the Silent Screen Conference, Montreal June 2004.
  
• “Naruse at P.C.L. (1935-1937): Japanese Cinema as Vernacular Modernism,” Kinema Club III, New York University, February 2004.
  
• “Naruse Mikio in the 30s and the Discourse of Everyday Life,” Kinema Club Conference, Hawaii, June 2003;
  
• “Meiji Cinema: Motion Pictures and Japanese Modernity,” Domitor Conference on Early Cinema, Montreal, June 2002
  
• “Ozu, Naruse, and the Gendered Space of Japanese Cinema,” Society for Cinema Studies Conference, May 2001.
  
• “Architecture, Genre, Gender: Negotiating Modernity in the Postwar Japanese Home-Drama,” Global Cities conference, University of Wisconsin-Milwaukee, April 2001.
• “Naruse Mikio and Hayashi Fumiko: Cinema, Literature and the Female Subject,” Conference on Japanese Women Filmmakers, Boulder Colorado, October 2000.        
  
• “Tokyo: The Movie” Presented at:
  • “Cinema and Urban Remains: An inaugural gathering on cinema and the city,” Musée d’art contemporain de Montréal, May  2000.
  • Japanese Studies Association of Canada conference, October 1999, McGill University, Montreal.
  • Film Studies Association of Canada conference, University of Sherbrooke, Sherbrooke, Quebec, June 1999.
  
  
• “Acting In and Acting Out: Japanese Actresses in the 50s,” Society for Cinema Studies, Chicago, March 2000.
  
• “Parallax Historiography: The Flâneuse as Cyberfeminist,” Centre de recherche sur l’intermédialité, Musée d’art contemporain de Montréal, May 1999.
  
• “Mikio Naruse and the Japanese ‘Women’s Film’,” Asian Cinema Studies Society Conference, Trent University, Peterborough, Ontario, August 1997.
  
• “Archival Apocalypse: Found Footage as Ethnography,” Society for Cinema Studies Conference, Ottawa, Ontario, May 1997.
  
• “The Body as the Main Attraction: Winter Sports in Quebec, 1903,” Society for Cinema Studies Conference, Dallas TX, March 1996.
  
• “The Ethno-Avant-garde and the Pornographic Gaze: Unsere Afrikareise Revisited,” Society for Cinema Studies Conference, New York City, March 1995.
  
• “Playing Primitive: In the Land of the Headhunters and/or War Canoes,” Film Studies Association of Canada/Learned Societies, University of Calgary, June 1994.
  
• “Subjectivity Lost and Found: Bill Viola’s I do not Know what it is I am Like,” Visible Evidence Conference: Strategies and Practices in Documentary Film and Video, Duke University, Durham, North Carolina, September 1993.
  
• “Mourning the Woman’s Film: The Dislocated Spectator of The Company of Strangers,” Film Studies Association of Canada Conference, Carleton University, June 1993.
  
• “The Representation of History in Japanese Film Melodrama,” British Film Institute Conference on Melodrama, London England, July 1992.
  
• “The Eternal Virgin and The Pathos of Historiography in Japanese Film Melodrama”, Asian Cinema Studies Conference, New York, June 1992.
  
• “Postmodern Ethnography and the Discourse of Tourism in Visual Anthropology,” Society for Cinema Studies, Los Angeles CA, May 1991.
  
• “Violence, Decadence and the Decay of History: Greenaway, Lynch and Godard,” Florida State University Annual Conference on Literature and Film, Tallahassee, Florida, January 1991.
  
• “Insides and Outsides: Cross-Cultural Criticism and Japanese Film Melodrama,” Film Studies Association of Canada Conference, Ottawa, May 1990; Asian Cinema Studies Society (Australia) Conference, Melbourne, July 1990.
  
• “Historiography as Mortification: Walter Benjamin and the Cinema,” Society for Cinema Studies Conference, Washington DC, May 1990.
  
• “Filmmaking, Tourism and Ethnography,” International Experimental Film Congress, Innis College, Toronto, June 1989; Queen’s Critical Theory Seminar Series, January 1990.
  
• “David Rimmer’s Found Footage: Reproduction and Repetition of History,” Learned Societies of Canada, June 5, 1988, Windsor, Ontario. Panel sponsored by the Canadian Journal of Political and Social Theory and the Canadian Sociology and Anthropology Association.
  
• “Accident and Allegory in Le Mépris: Benjamin and Godard,” Film Studies Association of Canada, Queen’s University, June 1988.
  
• “Testimonial and Tragedy: Wim Wenders’ Anxiety of Authorship,” Florida State University 13th Annual Conference on Literature and Film, Tallahassee, January 1988.
  
• “The Body and the Flag: Nagisa Oshima’s Narrative Project,” SCS/FSAC/AQEC conference, Concordia University, Montreal, May 1987.
  
• “You Ain’t Seen Nothin’ Yet: the Reception of the Jazz Singer,” Film Studies Association of Canada, Innis College, University of Toronto, June 1985.

Conference Organization and Panels

• Panel Chair, “Classical Japanese Cinema,” SCMS Conference Tokyo May 2009.
  
• Member of the organizing committee, Workshop on “Northeast Asian Cinema in the Era of Transnationalism and Globalization,&rdquo May 2007 SHHRC Workshop Funding: $19,000. Principle Investigator, Lu Tonglin, Université de Montréal.
  
• Panel Chair, “Prewar Japanese Cinema,” Film Studies Association of Canada, London Ontario, May 2005.
  
• Co-director, Women and the Silent Screen Congress, Montreal June 2-6, 2004.
  
• Panel Chair, “Teaching Film Theory,” Film Studies Association of Canada Conference, Ottawa, 1998.
  
• Panel Chair, “Documentary Before Documentary” Society for Cinema Studies Conference, 1996, Dallas Texas.
  
• Panel Chair, “Reworking Modernity and Tradition in Asian Cinemas,” Asian Cinema Studies Society Conference, New York, 1992.
  
• Panel Chair, “Ethnography and Avant-garde Film,” Society for Cinema Studies Conference, Los Angeles, CA 1991.
  
  

 

Public Lectures

• “Cinephilia as Cultural Anthropology,” Martin Walsh lecture, Keynote address, Film Studies Association of Canada conference, Vancouver, June 2008.
  
• “Naruse Mikio,” National Film Theatre, London England, July 4, 2007.
  
• “Experimental Ethnography: Art Film,”The Ethnographic Film Festival of Montreal (FFEM) Jan 28, 2007, Concordia University.
  
• “Voyage to the Ends of Cinema,” Vues sur l’exotisme. Voyages aux premiers temps du cinéma, Projections et atelier, Cinémathèque québécoise, 24 novembre 2006.
  
• “On experimental film,”T.O.U.C.H.I.N.G P.O.L.I.T.I.C.S, Goethe Institute, October 2006.
  
• “Mikio Naruse and Strategies of Film Analysis,” 30 Years of Cinematic Excellence: Anniversary Conference,” Innis College, University of Toronto, March 25, 2006.
  
• “Naruse Mikio: The Auteur as Salaryman,” lecture at Cinematheque Ontario, Nov. 5, 2005.
  
• “Men with Swords and Men with Suits: The Cinema of Akira Kurosawa,” Japan Foundation Toronto, Sept. 19, 2003.
  
• “Lisa Steele and the Autobiographical Trace,” Depot, Vienna, Dec. 10, 2001
  
Brown University, Providence Rhode Island, held a conference on March 15-16, 2000 on electronically mediated documentary. Conference: From Today. Check Conference website: http://www.stg.brown.edu/conferences/fromtoday/

• “Ecstatic Ethnography: Maya Deren and the Filming of Possession Rituals,” Concordia University PhD in Humanities Speakers Series, March 1998
  
• “Ecstatic Ethnography: Maya Deren and the Filming of Possession Rituals,” Queen’s University, November 1997
  
• Panellist at public symposium “Voice and Documentary: Who Speaks, and for Whom?” National Film Board Theatre, Montreal, March 26, 1995. Sponsored by the Canadian Independent Film caucus.
  
• “The Video/Film Dialogue: Theory and Practice,” Whitney Symposium on Contemporary Art, New York, April 28, 1986.

 

Fellowships and Awards

• 2009-2012 SSHRC Standard Research Grant for “Walter Benjamin and Film Studies.”
  
• 2008 Japan Foundation Grant awarded to Duke University Press for publication of The Cinema of Naruse Mikio: Women and Japanese Modernity $5,100.
  
• 2007-2011 FQRSC Programme: Soutient aux équipes de recherché, P.I. Dr. Martin Lefebvre La pratique des études cinématographiques : sur l'institution et le développement d'un champ disciplinaire $331,997
  
• 2007-08 SSHRC Subventions pour ateliers d'été, ateliers et conferences P.I. Dr. Martin Lefebvre Le discours des études cinématographiques. Analyse de la revue Cinema Journal assistée par ordinateuret développement d'une base de connaissance. $50,000
  
• 2007-08 CASA (Concordia) completion grant for “The Cinema of Naruse Mikio” $3,000.
  
• 2006-07 Concordia Senior Research Fellow ($5,000)
  
• 2004-06. Fonds de recherche sur la société et la culture (FQRSC). Responsible de l’Équipe: Martin Lefebvre. “La pratique des études cinématographiques: sur l’institution et le développement d’un champ disciplinaire.” $59,000.
  
• 2004-07. Social Sciences and Humanities Research Council of Canada (SSHRC). “The Cinema of Naruse Mikio: Women and Japanese Modernity 1930-1967. $74,400
  
• 2003-05. Social Sciences and Humanities Research Council of Canada, Aid to Occasional Research Conferences, for Women and Silent Screen Conference, Montreal June 2004, $10,000
  
• 2003. Faculty of Fine Arts, Concordia University, Travel Grant for Kinema Club Conference, Hawaii, May 29- June 1, 2003, $835.00
  
• 2000-04. Fonds pour la Formation de Chercheurs et l’Aide à la Recherche (FCAR) Total amount: $278,000. Research team coordinated by André Gaudreault. Project title: “Émergence et développement de l’institution cinématographique au Québec (1895-1915)”
  
• 1999. Prix AQEC-Olivieri (Association Québécoise des Études Cinématographiques) pour le meilleur livre en études cinématographique: Experimental Ethnography: The Work of Film in the Age of Video.
  
• 1999-2002. Social Sciences and Humanities Research Council of Canada (SSHRC) $27,800. “Mikio Naruse and the Japanese Woman’s Film.”
  
• 1997-2000 Fonds pour la Formation de Chercheurs et l’Aide à la Recherche (FCAR) ($141,000). Research team coordinated by André Gaudreault. Project title: “Émergence et développement de l’institution cinématographique au Québec (1895-1915)”
  
• 1996-97. Concordia Aid to Scholarly Activities (CASA) $1614 for production of still images for book, “Experimental Ethnography”
  
• 1996-97. Japan Foundation Fellowship. Project title: Women in Japanese Film. Covers two-month research trip to Japan February/March 1997. (approx. $16,200)
  
• 1995. Prix AQEC-Olivieri $300 (Association Québécoise des Études Cinématographiques) pour le meilleur essai en études cinématographique, 1994, conferer à “Mourning the Woman’s Film: The Dislocated Spectator of The Company of Strangers”
  
• 1994-97. Fonds pour la Formation de Chercheurs et l’Aide à la Recherche (FCAR) ($137,000). Research team coordinated by André Gaudreault. Project title: “Émergence et développement de l’institution cinématographique au Québec (1895-1915)”
  
• 1993-96. Social Sciences and Humanities Research Council of Canada, Research Grant ($24,402): “Ethnographic Aesthetics in film and video”
  
• 1991-94. Faculty Development Research Grant, Concordia University ($15,000), for “Framing People: Ethnographic Aesthetics in Avant-garde Film and Video”
  
• 990. Travel grant ($2500), Queen’s University Advisory Research Committee, June 1990 for travel to Australia for Asian Cinema Studies Society Conference
  
• 1989. Dissertation passed “with distinction” at NYU, December 1989.
  
• 1987-88. Doctoral Fellowship, Social Sciences and Humanities Research Council of Canada.
  
• 1983. University Tuition Scholarship, New York University, 1983-84, 1984-85.
  

Juries

Experimental Film Jury, Ontario Arts Council, June 1991.
Seagram’s Fund for Interdisciplinary Research, Concordia. University, 1994, 95, 96.

 

Editorial

“Dossier on Cinephilia and Womens’ Cinema in the 1920s,” edited by Catherine Russell and Rosanna Maule,  Framework 46 no. 1 (Spring 2005).
Member, Editorial Board, Cinema Journal, 2002-present
Book Review Editor, Canadian Journal of Film Studies, 1998 - present.
Member, Editorial Board, Cinémas  2000-present
Member, Editorial Board, Canadian Journal of Film Studies, 1990-92.
Manuscript Reviewer, Duke University Press, University of Toronto Press, University of California Press, Signs, Canadian Journal of Film Studies, Visual Anthropology, Positions

 

Membership in Professional Organizations
Women Film Pioneers
Film Studies Association of Canada, 1985-2001
Society for Cinema and Media Studies, 1987-2001
Asian Cinema Studies Society, 1990-2001
Domitor 1995-2001
PEN Canada 1996-2001

 

Graduate Supervision

Postdoctoral Students

• Walid El-Khachab, “The Audio-Visual Experience of Body-Eyes,” SSHRC postdoctoral student 2004-06

PhD in Humanities:     

• Papagena Robbins, “Subjectivity and Experimental Documentary,” PhD Film and Moving Image Studies, in progress.
  
• Gareth Hedges, “Irony and Populism”, in progress. FQRSC awarded April 2007
  
• Randolph Jordan, “Sound and Cinema,” in progress.
  
• Jodi Ramer, “Women, Modernity, Boredom,” in progress, SSHRC CGS awarded, May 2005.
  
• Grayson Cook, “Bio/Techno/Logo: Writing and the Face in the Human/Machine Relation,” 2005.
  
• Jean Bruce, “A Melodramatic Imagined Nation: The Unruly Subject of Canadian Cinemas,” SSHRC doctoral fellowship winner, graduated 2003
  
• Cheryl Simon, “Gender, Genre and Globalization: Discourses of ‘Femininity’ in the
  
Popular culture of the 1990s,” SSHRC doctoral fellowship winner, graduated 1998.

Co-Supervision, PhD in Humanities:

• Jennifer Willet, “(RE)embodying Biotechnology: towards the democratization of biotech through embodied practices,” in progress.
  
• Tagny Duff, “Viral Archiveology,” in progress.
  
• Ted Hiebert, “In Praise of Nonsense: The Future of Postmodern Identity,” 2007.
  
• Michael Pinsonneault, “Music and Film” 1999
  

Special Individual Programmes (PhD):

• Elsa Shneider, “Men in Feminism,”1995.
  

MA in Film Studies:

• Lindsay Peters, “Agnes Varda,” in progress.
  
• Sylvain Verstricht, “The Aesthetics of Wandering in Taiwanese Cinema,” in progress.
  
• Sara Swain, “The Cell phone in Film,” 2007.
  
• Adam Rosadiuk, “Political Philosophy and Terrence Malick’s The Thin Red Line,” 2006.
  
• Santiago Hidalgo, “The emergence of film criticism in North American film trade journals, 1907-1912,” 2006.
  
• Louis Pelletier, “Montreal Film Exhibition History,” 2004.
  
• Dan Babineau, “Stairs in Cinema,” 2003.
  
• Robert Read, “The Perspective of the Collector: Film Noir and the Legacy of Nineteenth Century Modernity,” 2003
  

MFA in Film Production:

• Mark Wihak, “Walking Home”1997.
  

Graduate Examination Committees:

• Effie Rassos, PhD, Media, Film and Theatre, University of New South Wales, Australia, 2005.
  
• Victoria Gagnon, MA Interdisciplinary Studies, York University, 2005.
  
• Tod van Dyk, MFA Film Production, 2005
  
• Kathryn Fraser, PhD Communications, McGill University, 2003
  
• Joe McElhaney, PhD Cinema Studies New York University, 2000
  
• Susan Lord, PhD Social and Political Thought, York University 1999
  
• Julianne Pidduck, PhD Communication Studies, Concordia University 1998
  
• Dominique Russell, PhD Dept. of Spanish, University of Toronto, 1998
  
• Aaron Pollard, MFA Studio Arts, Concordia University 1997
  

           

Administrative Positions
Director and Committee Chair
2002-2008 Graduate Programme Director, PhD in Humanities.
2001 -2002 Graduate Programme Director, MA in Film Studies
1997, 98, 99 Chair, Hiring Committees, Department of Cinema
1993-1995 Programme Head, Film Studies, Concordia University
1991-1997 MA in Film Studies Proposal co-ordinator

Committee member
2007-2008 Associate Director, Concordia Centre for Studies in Society and Culture
2006-2008 Faculty Tenure and Personnel Committee
1993- 2002 PhD in Humanities Advisory Committee
2001-2002 Search Committee, Dean of Graduate Studies
2001-2002 School of Cinema Steering Committee
2001-2002 Faculty of Fine Arts Council
2000-2001 School of Cinema self appraisal committee
1998-2002 Academic Hearing Board
1992-2006 Departmental Personnel Committee

Archive Course

Mark Lewis, Cinema Museum, 2008 Cinema Museum

Internet Archive

Cultural Farming

Histoire(s) du Cinema

Prelinger archive

Rick Prelinger's manifesto

Student Journals

Synoptique: http://www.synoptique.ca/

Nouvelles " vues " sur le cinéma québécois : http://www.cinema-quebecois.net/

Conferences

Women and Silent Screen Montreal June 2004 : http://cinema.concordia.ca/wscreen/

Research Sites

The Canadian Journal of Film Studies: http://www.filmstudies.ca/journal/

ARTHEMIS: http://www.arthemis-cinema.ca/

Screensite : http://www.screensite.org/

Guide to Literary and Critical Theory http://www.cla.purdue.edu/academic/engl/theory/

Cinemetrics

Yale Film Analysis Guide

Internet Movie Database : http://www.imdb.com/

Allmovie : http://allmovie.com/

GRAFICS : A research group based at Universite de Montreal on early cinema :
http://cri.histart.umontreal.ca/grafics/

Le Giornate del Cinema Muto Pordenone Silent Film Festival : http://www.cinetecadelfriuli.org/gcm/

The Walter Benjamin Research Syndicate : http://www.wbenjamin.org/walterbenjamin.html

Kinema Club Kinema Club

Film Studies Associations

Society for Cinema and Media Studies An American-based association which holds an annual conference and publishes a quarterly journal, Cinema Journal :
http://www.cmstudies.org/

The Film Studies Association of Canada : http://www.filmstudies.ca/

CRI : Centre de recherche sur l'intermédialité : http://cri.histart.umontreal.ca/cri/fr/

University Programs

PhD in Humanities programme at Concordia University : http://graduatestudies.concordia.ca/programs/Interdisciplinarity/humanities/

MA Program in Film Studies at Concordia University : http://cinema.concordia.ca/index.php/ma/

The Mel Hoppenheim School of Cinema : http://cinema.concordia.ca/

Other sites

Citizen Shift, activist documentary site hosted by the NFB
http://citizen.nfb.ca/onf/info

This page provides a few details about my major publications.
Please visit my CV for a complete list of my published articles.

The Cinema of Naruse Mikio: Women and Japanese Modernity. Durham NC: Duke University Press (2008).

Listing at Duke University Press

One of the most prolific and respected directors of Japanese cinema, Naruse Mikio (1905–69) made eighty-nine films between 1930 and 1967. Little, however, has been written about Naruse in English, and much of the writing about him in Japanese has not been translated into English. With The Cinema of Naruse Mikio, Catherine Russell brings deserved critical attention to this under-appreciated director. Besides illuminating Naruse’s contributions to Japanese and world cinema, Russell’s in-depth study of the director sheds new light on the Japanese film industry between the 1930s and the 1960s.

Naruse was a studio-based director, a company man renowned for bringing films in on budget and on time. During his long career, he directed movies in different styles of melodrama while displaying a remarkable continuity of tone. His films were based on a variety of Japanese literary sources and original scripts; almost all of them were set in contemporary Japan. Many were “women’s films.” They had female protagonists, and they depicted women’s passions, disappointments, routines, and living conditions. While neither Naruse or his audiences identified themselves as “feminist,” his films repeatedly foreground, if not challenge, the rigid gender norms of Japanese society. Given the complex historical and critical issues surrounding Naruse’s cinema, a comprehensive study of the director demands an innovative and interdisciplinary approach. Russell draws on the critical reception of Naruse in Japan in addition to the cultural theories of Harry Harootunian, Miriam Hansen, and Walter Benjamin. She shows that Naruse’s movies were key texts of Japanese modernity, both in the ways that they portrayed the changing roles of Japanese women in the public sphere and in their depiction of an urban, industrialized, mass-media-saturated society.

New Women of the Silent Screen: China, Japan, Hollywood

Special Issue Editor. Camera Obscura 60. Fall 2005.

• Mitsuyo Wada-Marciano, Carleton University, Imaging Modern Girls in Japanese Silent Cinema
  
• Chika Kinoshita, University of Chicago, Actresses in the Transition to Sound in Japanese Cinema
  
• Catherine Russell, Concordia University, “Naruse Mikio’s Silent Films: Gender and The Discourse of Everyday Life in Interwar Japan”
  
• Sara Ross, University of Hartford, The Americanization of Tsuru Aoki
  
• Yiman Wang, Haverford College, Who Is Afraid of Anna May Wong? And What Can Be Said About a Dragon Lady?
  
• Weihong Bao, University of Chicago, From Pearl White to the White Hibiscus: The Vernacular Translation of the Serial Queen Thriller in Chinese Silent Cinema, 1920s

Experimental Ethnography: The Work of Film in the Age of Video. Durham NC: Duke University Press, 1999.

To order a copy visit Duke University Press

Experimental film and ethnographic film have long been considered separate, autonomous practices on the margins of mainstream cinema. By exploring the interplay between the two forms, Catherine Russell throws new light on both the avant-garde and visual anthropology. Russell provides detailed analyses of more than thirty-five films and videos from the 1890s to the 1990s and discusses a wide range of film and videomakers, including Georges Méliès, Maya Deren, Peter Kubelka, Ray Birdwhistell, Jean Rouch, Su Friedrich, Bill Viola, Kidlat Tahimik, Margaret Mead, Tracey Moffatt, and Chantal Akerman. Arguing that video enables us to see film differently—not as a vanishing culture but as bodies inscripted in technology, Russell maps the slow fade from modernism to postmodern practices. Combining cultural critique with aesthetic analysis, she explores the dynamics of historical interruption, recovery, and reevaluation. As disciplinary boundaries dissolve, Russell contends, ethnography is a means of renewing the avant-gardism of “experimental” film, of mobilizing its play with language and form for historical ends. “Ethnography” likewise becomes an expansive term in which culture is represented from many different and fragmented perspectives.Original in both its choice of subject and its theoretical and methodological approaches, Experimental Ethnography will appeal to visual anthropologists, as well as film scholars interested in experimental and documentary practices.

Table of Contents

Preface (1)

• Section 1: Introduction (9)
  
• Another Look (9)
  
• Surrealist Ethnography (31)

Section 2: Documentary Before Documentary (51)

• Ch. 3: The Body as the Main Attraction (51)
  
• Ch. 4: Ethnotopias of Early Cinema (73)
  
• Ch. 5: Playing Primitive (92)

Section 3: The Un-Disciplined Gaze (108)

• Ch. 6: Zoology, Pornography, Ethnography (108)
  
• Ch. 7: Framing People: Structural Film Revisited (140)

Section 4: Other Realities (170)

• Ch. 8: Ecstatic Ethnography: Filming Possession Rituals (170)
  
• Ch. 9: Archival Apocalypse: Found Footage as Ethnography (212)
  
• Ch. 10: Autoethnography: Journeys of the Self (242)

Conclusion (242)


* * *

Narrative Mortality: Death, Closure and New Wave Cinemas, Minneapolis: University of Minnesota Press, 1995.

To order, please visit Minnesota University Press

What seems like closure might be something more, as Catherine Russell illustrates in this book about death in narrative cinema since the 1950s. Analyzing the structural importance of death in narrative endings, as well as the thematics of loss and redemption, Russell identifies mortality as a valuable critical tool for understanding the cinema of the second half of the twentieth century. Her work includes close textual readings of films by Fritz-Lang, Wim Wenders, Oshima Nagisa, Jean-Luc Godard, and Robert Altman, among others.

Table of Contents

Introduction: Narrative Mortality (1)
Beyond Pleasure: Lang and Mortificatiion (31)
Wim Wenders: Film as Death at Work (67)
Oshima Nagisa: The Limits of Nationhood (105)
Jean-Luc Godard: Allegory of the Body (137)
American Apocalpticism: The Sight of the Crisis (173)
Conclusion: The Senselessness of Ending (209)


* * *

David Rimmer: Films & Tapes 1967-1993 (Toronto: Art Gallery of Ontario, 1993).

This is a catalogue that was produced by the Art Gallery of Ontario in 1993 to accompany an exhibition of David Rimmer's work in the same year. My essay was commisioned as a critical overview of Rimmer's career up until 1993.

Table of Contents

Preface (Jim Shedden) (9)
Chronology (13)
Selected Exhibitions and Screenings (14)
Twilight in the Image Bank (Catherine Russell) (17)
Filmography (61)
Videography (63)
A Guide to the Film Literature (Kathryn Elder) (65)
Index to the Guide (91)

Click the titles below to download a PDF version of the syllabus

FMST 800/3 - Archiveology: Theorizing the Moving Image Archive
This is the first half of a six-credit course. In this semester we will investigate theories of the archive, the culture of image recycling, and practices of image collection, storage and retrieval. Selected readings on the archive will be explored alongside the study of filmmaking practices that draw on the moving image archive.


FMST 600/3 - Methods in Film Studies or, Ways of Writing/Thinking about Film
This is the only mandatory course in the MA in Film Studies. It is designed to help students develop research, writing and presentation skills appropriate to the discipline of film studies. In addition to technical and practical matters, the course is about developing the questions that guide film studies research, and to facilitate an esprit de corps within the M.A. class. The screenings and readings will provide the ground for an analysis of the tools and methods of film studies. We will analyse the ways that film history, criticism and textual analysis has been and can be written. We will also explore some of the theories underpinning these methods, and get a sense of the variety of ways of seeing, interpreting and understanding cinema.

The screenings for this course have been chosen to complement the assigned articles, and to provide a chronological survey of film history. One theme that runs throughout the films is that of cities and cinematic representations of urban space. We will discuss how this theme informs different film practices and critical methods, and it will provide some links between an otherwise diverse corpus of films.


HUMA 889 - Winter 2003: Walter Benjamin
Although Walter Benjamin’s writing was not fully appreciated in his own time, in recent years scholars and critics from many disciplines have been drawn to his work. An extremely unconventional theorist, Benjamin’s writing is poetic and fragmentary, and has spawned many competing interpretations and applications. The focus of this course will be on Benjamin’s own writing, a great deal of which has only recently been translated and published in English. Secondary sources will be recommended and discussed, but we will concentrate on the primary sources.

Benjamin wrote about a plethora of cultural artefacts, including literature, poetry, theatre, architecture, fashion, children’s toys, film and photography, in addition to subjects of philosophy and history. He also wrote several substantial autobiographical and diaristic essays reflecting on his travels throughout Europe and his childhood in Berlin. Given the diversity of themes and topics within Benjamin’s oeuvre, it seems particularly appropriate to an interdisciplinary graduate programme. Students from every branch of the humanities should be able to find a foothold within his writing. Moreover, one could argue that he practised a certain kind of interdisciplinarity himself, moving constantly between political theory, philosophy, historiography, literary criticism and cultural analysis. Insofar as Benjamin’s own methods of theory and criticism are highly unorthodox (and partially responsible for the delay in his scholarly recognition), the course will also provide a context for discussion of the conventions and possibilities of humanities methodologies.

The period in which Benjamin produced his major works, between 1925 and 1940 is highly significant to his notions of modernity, history and culture. Benjamin was essentially a freelance writer in Europe between the two world wars, constantly on the move from Germany through Switzerland, Italy, France and Scandinavia and his theory was intimately related to the political and cultural shifts of the period.


FMST 409/4 - Seminar in Women and Film (Winter 2000)
This course is an advanced seminar that follows the lecture course FMST 329, Women and Film. It concerns issues in feminist film theory and criticism, as well as independent filmmaking by women. The focus of the course is on both the screenings and the readings, which cover a wide range of positions and strategies of feminist film theory and practice. We will explore the ways that feminist film theory, criticism and practice has evolved since the 1970s; how issues such as psychoanalysis, spectatorship, race, genre and sexual orientation have informed discussions of women and film. We will also explore some of the ways that feminist film criticism has provoked a re-examination of American film history, and investigate some of the more recent methodologies employed by feminist film scholars, including costume, pornography, star system and consumerism.

FMST 411D/4 - Topics in Film Genres: The Western (Winter 1999)
This seminar examines the "decline" of the Western, a time when its persistent and yet paradoxical power to both create and subvert myth is most readily apparent. The seminar begins in 1955 with Anthony Mann's The Far Country and ends in 1996 with Jim Jarmusch's Dead Man.

Production Students

Price list for Film Production Materials at the Art Supply Store

A Guide to Responsible Equipment Handling

Graduate Student Resources and Equipment

MA Film Students

Our humble, student organized collection
of reference material housed in the MA Grad Lounge:
MA Grad Lounge Library Catalogue - Books
MA Grad Lounge Library Catalogue - Films
MA Grad Lounge Library Catalogue - Screenplays

Our organization is designed to forefront the achievements of Canadian filmmakers over the last 30 years. This project is made possible thanks to the AV TRUST and the Canadian Heritage granting organization. Special attention must be paid to these astonishing men and women who made this film industry what it is today. These DVDs have been sent to universities around the world. We have worked tirelessly to promote the hard work of Canadian filmmakers.

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Vestibulum malesuada consequat nibh. Vestibulum justo orci, adipiscing sit amet, pulvinar a, venenatis vitae, erat. Donec nec purus. Duis faucibus auctor magna. Vestibulum vitae risus. Cras sit amet velit. Nullam ultricies pulvinar sapien. Aenean eget sapien. Quisque id nibh. Sed sapien justo, pellentesque at, dictum at, ultricies quis, mi. Ut consequat tellus et sem. Aenean eu mauris nec urna sagittis malesuada. Vivamus feugiat. Ut mauris orci, fringilla in, eleifend eget, fermentum quis, lorem. Morbi elementum viverra nunc. Etiam diam arcu, sagittis vitae, interdum quis, suscipit eget, magna.

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aliquam augue. Proin lobortis suscipit lorem. Quisque sed ligula et est bibendum placerat. Praesent pede nisl, feugiat non, feugiat et, pulvinar a, arcu. Etiam ornare faucibus quam. Aenean ultricies massa sit amet nunc. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Sed ultrices ante eu purus. Donec blandit, lorem a scelerisque nonummy, nulla sem blandit turpis, quis sodales ante felis at elit. Vestibulum non enim eu augue adipiscing fermentum. Suspendisse potenti. In ac sem in dolor placerat ullamcorper. Fusce lacinia. Aenean mi enim, volutpat ut, elementum ut, tincidunt eu, libero.

Vestibulum malesuada consequat nibh. Vestibulum justo orci, adipiscing sit amet, pulvinar a, venenatis vitae, erat. Donec nec purus. Duis faucibus auctor magna. Vestibulum vitae risus. Cras sit amet velit. Nullam ultricies pulvinar sapien. Aenean eget sapien. Quisque id nibh. Sed sapien justo, pellentesque at, dictum at, ultricies quis, mi. Ut consequat tellus et sem. Aenean eu mauris nec urna sagittis malesuada. Vivamus feugiat. Ut mauris orci, fringilla in, eleifend eget, fermentum quis, lorem. Morbi elementum viverra nunc. Etiam diam arcu, sagittis vitae, interdum quis, suscipit eget, magna.

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aliquam augue. Proin lobortis suscipit lorem. Quisque sed ligula et est bibendum placerat. Praesent pede nisl, feugiat non, feugiat et, pulvinar a, arcu. Etiam ornare faucibus quam. Aenean ultricies massa sit amet nunc. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Sed ultrices ante eu purus. Donec blandit, lorem a scelerisque nonummy, nulla sem blandit turpis, quis sodales ante felis at elit. Vestibulum non enim eu augue adipiscing fermentum. Suspendisse potenti. In ac sem in dolor placerat ullamcorper. Fusce lacinia. Aenean mi enim, volutpat ut, elementum ut, tincidunt eu, libero.

Vestibulum malesuada consequat nibh. Vestibulum justo orci, adipiscing sit amet, pulvinar a, venenatis vitae, erat. Donec nec purus. Duis faucibus auctor magna. Vestibulum vitae risus. Cras sit amet velit. Nullam ultricies pulvinar sapien. Aenean eget sapien. Quisque id nibh. Sed sapien justo, pellentesque at, dictum at, ultricies quis, mi. Ut consequat tellus et sem. Aenean eu mauris nec urna sagittis malesuada. Vivamus feugiat. Ut mauris orci, fringilla in, eleifend eget, fermentum quis, lorem. Morbi elementum viverra nunc. Etiam diam arcu, sagittis vitae, interdum quis, suscipit eget, magna.

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aliquam augue. Proin lobortis suscipit lorem. Quisque sed ligula et est bibendum placerat. Praesent pede nisl, feugiat non, feugiat et, pulvinar a, arcu. Etiam ornare faucibus quam. Aenean ultricies massa sit amet nunc. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Sed ultrices ante eu purus. Donec blandit, lorem a scelerisque nonummy, nulla sem blandit turpis, quis sodales ante felis at elit. Vestibulum non enim eu augue adipiscing fermentum. Suspendisse potenti. In ac sem in dolor placerat ullamcorper. Fusce lacinia. Aenean mi enim, volutpat ut, elementum ut, tincidunt eu, libero.

Vestibulum malesuada consequat nibh. Vestibulum justo orci, adipiscing sit amet, pulvinar a, venenatis vitae, erat. Donec nec purus. Duis faucibus auctor magna. Vestibulum vitae risus. Cras sit amet velit. Nullam ultricies pulvinar sapien. Aenean eget sapien. Quisque id nibh. Sed sapien justo, pellentesque at, dictum at, ultricies quis, mi. Ut consequat tellus et sem. Aenean eu mauris nec urna sagittis malesuada. Vivamus feugiat. Ut mauris orci, fringilla in, eleifend eget, fermentum quis, lorem. Morbi elementum viverra nunc. Etiam diam arcu, sagittis vitae, interdum quis, suscipit eget, magna.

CSA Newsletter for February 16, 2007
CSA Office: FB 414
Phone: 848-2424 ext. 4678



Welcome to the Cinema Students Association (CSA) Newsletter- a bimonthly communiqué for all students at The Mel Hoppenheim School of Cinema.
…………………………………………………………………………………………….

Wishing you all happy sledding, meaningful meanderings, and fruitful labors in the week to come… and safe and happy travels to everyone in the Ouagadougou Travel Group!

Calendar Events:
1) CSA Announcements
2) Les Rendez-Vous du Cinéma Québécois
3) Cinema Politica: Upcoming Screening
4) Lickety Split Zine Launch
5) Les Lucioles Video Activist Collective Screening
6) Animation Workshop at Canada College
7) Spanish to English Translator Needed for Student Film
8) The Concordian: Call to Artists and Writers
9) Concordia Council on Student Life: Outstanding Contribution Awards

Calls for Submissions:
10) Annual Undergraduate Student Exhibition
11) Feminism(s): Film, Video, Politics

………………………….
1) CSA Announcements:

Next Meeting: The next CSA meeting will be held after Reading Week on Monday, February 26th at 5:15pm in the FB Student Lounge (4th floor).

CSA Nominations: Nomination forms for the 2007/2008 CSA are available in the student lounge and will be made available in the Cinema Office shortly. The future of this student association depends on YOU! Please consider contributing to student life and ensuring the continuance of the film festival by becoming involved in the CSA.

MHSoCFF 2006 DVDs: DVDs from each of the (4) curated programs from last year's Film Festival are available for purchase at the CSA office (FB 414). $10.00/each, 2 for $15.00, 3 for $20.00, or all 4 for $25.00. All proceeds go to the MHSoCFF 2007.

Chocolate Bars: Mayhem hemp seed chocolate bars are really delicious and are available for purchase at the CSA office (FB 414). $2.50/bar. All proceeds go to the MHSoCFF 2007.

………………………….
2) Les Rendez-Vous du Cinéma Québécois:

The Rendez-Vous du Cinéma Québécois has kicked off and includes films by Cinema professors Farzin Farzaneh and Mary-Ellen Davis, along with several fellow film students… congratulations to all. Continues to the 25th.

For a complete schedule, please visit:
http://www.rvcq.com/

………………………….
3) Cinema Politica: Upcoming Screening:

Cinema Politica presents…

The Forest for the Trees (Bernadine Mellis)
Monday, February 19 at 7:30pm
Room H-110, Concordia University
Free or by donation

What's this you say? A film during reading break? It's true, we have scheduled a reading break treat with the hopes that those of you who are in town will check out this excellent doc exploring eco-activism. This screening is also part of the Blueprints for Change Festival, a three day sustainability festival at Concordia University. Celebrating the three tiers of sustainability - environmental, social and economic - the BFC includes workshops, film screenings, panel discussions and many more events in an effort to celebrate sustainability as a comprehensive lifestyle. Keynote speakers include author Derrick Jensen (Endgame, The Culture of Make Believe) and activist Michael Albert - co-founder of Znet and South End Press. For more info visit the Blueprints for Change Festival site.

THE FOREST FOR THE TREES is an intimate look at an unlikely team of young activists and old civil rights workers who come together to battle the U.S. government.

Filmmaker Bernadine Mellis is the daughter of 68-year-old civil rights lawyer Dennis Cunningham. Dennis started out his career representing the Black Panthers and the Weathermen.

Judi Bari was an Earth First! leader who was one of the first to place as much importance on timber workers' lives and families as she did on the legacy and future of the trees. But that strategic relationship was too much of a threat. Her car was bombed in 1990, and three hours later, she was arrested as a terrorist--charges that were later dropped. Convinced it was a ploy by the FBI to discredit her and Earth First!, Judi decided to sue.

Cunningham took on Judi's case and after 12 years, Judi Bari v. the FBI finally gets a court date. Knowing this is one of her father's most important cases, Mellis is there at strategy meetings, at breakfast, driving to and from the court, documenting her morally driven, very tired dad. Not your typical "Take your daughter to work day," THE FOREST FOR THE TREES offers access into a unique father-daughter relationship, the painfully short yet extraordinary life of Judi Bari, and a piece of U.S. history that everyday grows increasingly resonant as once again the lines between dissent and terrorism are being intentionally blurred.

USA / 2006 / 57 min

+++++++

Cinema Politica is an überculture project, and is co-sponsored by CitizenShift (http://citizen.nfb.ca) and Concordia University Television (CUTV) (http://cutv.concordia.ca). Additional support comes from our friends at the Concordia Co-op Bookstore (http://www.co-opbookstore.ca) and the Documentary Organization of Canada, Quebec Chapter.

For more information on all the films and various locals, please visit: http://www.cinemapolitica.org. For the FALL 2006 SCHEDULE, visit the Co-op Bookstore at 2150 Bishop. If you would like to volunteer with the Concordia Local of Cinema Politica, please contact our Volunteers Coordinator ().

Upping the geek factor one more level, we have now made the Cinema Politica Winter Program available for download in electronic calendar format. The file was created in iCal (for Macs) but should work with most other calendar programs such as Outlook (for PCs). Simply click on the file listed on the schedules page, under "Concordia" and import to your computer calendar program, and voila! you'll never forget a Cinema Politica screening again!

………………………….
4) Lickety Split Zine Launch:

Nurses, nakedness and naughtiness, oh my! This fourth issue of Lickety Split smut zine is bursting the sides of its corset. 84 pages of hot, smart smut make this the biggest issue yet. Lickety Split is launching the fabulous fourth issue with a pimped-out party featuring music by Lil' Pip , backed up by the Dead Doll Dancers, Flames! and Trancelvania with pornographic projections by the Double Negative Collective. Come on by a get a copy of the zine with the door price!

When: Friday, February 23rd, 9pm
Where: Club Lambi, 4465 St- Laurent, just below Mont-Royal
How much: $7 gets you a copy of the zine and an eyeful of the show

Tell me more about Issue #4! This issue of Lickety Split is bursting the sides of its corset! 84 pages of hot, smart smut make this the biggest issue of Lickety Split yet and features interviews with living legend Annie Sprinkle, photos of the lovely Seska, our first man-on-man action, unearthed coming-of-age diary entries and much, much more! Also, follow the simple directions in the zine and download the accompanying podcast to enhance your Lickety experience.

Lickety Split is a smut zine that comes out once a year. Each long-awaited issue is a handcrafted/collaborative /pansexual/sex-positive affair with sexy silk-screened covers: a total labour of love and lust.

For more information, please contact Amber Goodwyn:
, http://www.licketysplitzine.com

………………………….
5) Les Lucioles Video Activist Collective Screening:

For its 5th anniversary, Les Lucioles Video Activist Collective invites you to help us torch the screen with a selection from its latest concoction: a retrospective DVD (2002-2007) that assembles more than 25 of their short films of various themes before moving on to the second half of the evening to our previous thematic DVD, La Putain de Compile, which provides alternative views to sex work than what dominates public debate.

Within the Nuit Blanche festival, Saturday, March 3, 2007.

In collaboration with Les Panthères Roses and Stella at the NFB's CinéRobothèque. Zine tables: 7pm.
Screening & performances: 8pm.

NFB Cinema, 1564 St-Denis (@ de Maisonneuve), Métro: Berri-UQAM.
http://www.leslucioles.org/

………………………….
6) Animation Workshop at Canada College:

Canada College presents…

A two-day animation workshop led by award winning filmmaker, Masoud Raouf.
This practical workshop includes an introduction to animation techniques and storyboarding that will take students through the process of making a short animated film.

Saturday & Sunday, March 3 & 4, 2007
Fees: $180.00

For more information, please contact:
Ms. Daïnn Van Doorne Legris
Tel: (514) 868-6262
Toll Free: 1-877-868-6262


………………………….
7) Spanish to English Translator Needed for Student Film:

Do you speak Spanish?

A Film Production student requires English-Spanish translation for documentary film project.

Is willing to pay $$$.

Please contact:
Tara Arnst


………………………….
8) The Concordian: Call for Artists and Writers:

The Concordian 's new and revamped arts section is seeking writers to cover Montreal's arts scene, as well as art shows and events on campus . We publish reviews of anything arts related, as well as artist profiles and interviews, art news, stories and rants and raves. We are also seeking illustrators, cartoonists and photographers.

Have an upcoming show you want to promote? Add it to our listings event and you may be featured in one of our upcoming articles.

To gain important experience and join our team, please contact Annie Briard, arts editor at , or visit us on-line at http://www.theconcordian.com

………………………….
9) Concordia Council on Student Life: Outstanding Contribution Awards:

Awarded annually when merited, these awards are given to Concordia students, staff or faculty who have made an exceptional contribution to student life or services at the University through their involvement with:

… Students
… Student/University governance
… Student organizations

… Concordia media

… University services/departments
… The field of teaching

Nomination forms are available at both Dean of Students offices (H 637 and AD 121), at the Info Desk in the Hall Building, and through your umbrella associations.

NOMINATION DEADLINE: MONDAY, MARCH 19, 2007 5:00pm
Dean of Students Office
H 637 (SGW) or AD 121 (Loyola)

Information 848-2424, ext 3517 or 4239

………………………….
10) Annual Undergraduate Student Exhibition:

APRIL 3rd-20th 2007

CALL FOR SUBMISSIONS
The VAV Gallery is currently accepting submissions for Concordia's annual Undergraduate Student Exhibition. A tradition at Concordia for more than twenty years, the exhibition will showcase some of the strongest work being produced at the undergraduate level. The exhibition's inclusion in the FOFA Gallery will introduce the work of Concordia's emerging contemporary artists to the student body and general public.

All artistic disciplines are encouraged to apply. Please note that students may only apply with one completed work.

YOUR APPLICATION MUST INCLUDE THE FOLLOWING:
ARTIST CV
ARTIST STATEMENT & PROJECT DESCRIPTION: maximum 150 words each
DOCUMENTATION: maximum 4 images. Slides or JPEG images only, CD must be MAC formatted. PSD files are NOT acceptable.
IMAGE LIST: includes title, year and dimensions.
SASE (self addressed stamped envelope) for the return of your application
THIS SHEET as a your cover.

NAME: EMAIL:
PHONE: STUDENT NUMBER:
DEPARTMENT: YEAR OF STUDY:


Deadline: Friday March 9th by 5pm in VAV mailbox, VA-231

For more information, please contact the VAV Gallery:

514-848-2424 ext. 7388
http://www.vavgallery.com

………………………….
11) Feminism(s): Film, Video, Politics:

Call for Papers, Films, Videos, Performances and Workshops…
Feminism(s): Film, Video, Politics
(Symposium at the University of Hartford)

Deadline: February 25 2007
Exhibition date: April 20 2007 - April 22 2007

Confirmed Presenters Include: Abigail Child, Dara Greenwald, Jeanine Oleson, Maureen Turim and Sasha Waters.

This symposium will be a catalyst for dialogue and collaboration among feminist scholars, filmmakers, artists, activists and curators. Contemporary feminist film and video work will be screened and discussed in roundtable format. Papers will be presented on critical questions surrounding the intersections of feminist politics, scholarship and media production. The symposium will also include workshops in the spirit of activist media projects such as Pink Bloque and Pilot TV.

Anticipated topics for presentations include:
Community Based Cinema and Alternative Distribution
Women in the Avant-Garde
Psychoanalysis and Film
Phenomenology and Embodiment Theories
War and Spectatorship
New Media and Feminism
Appropriated Media and Feminist Reconstructions
Performance and Film
Queer Media
Capitalism and Spectacle
Post-Colonialism and Third Cinema
Futures for Feminist Media Theory and Practice

Films and videos may be submitted on VHS or DVD for review. Exhibition will occur on 35mm, 16mm, MiniDV, or DVD. Please include a brief synopsis, run time, contact info and a SASE if you would like the submission returned.

Feminism(s) Symposium
Cinema Department
University of Hartford
200 Bloomfield Ave.
West Hartford, CT 06117

Abstracts of papers, workshops and performances should be no more than 400 words and include a brief biographical sketch. Please email abstracts to:

Sponsored by the University of Hartford Cinema Department. Support for this symposium was provided by The Women's Education and Leadership Fund, a Legacy of Hartford College for Women at the University of Hartford

For more information, contact:
Lauren Cook,

………………………………………………………………………………………………
If you would like to include information on events, etc. in our next newsletter, please send us an e-mail with "newsletter" in the subject line, followed by a concise description of the event.

If you would like to be removed from the CSA list serve, please send us an e-mail with "unsubscribe" in the subject line.
………………………………………………………………………………………

Until next newsletter,

Marianna Milhorat
Cinema Students Association

CSA Newsletter for March 24, 2007
CSA Office: FB 414
Phone: 848-2424 ext. 4678



Welcome to the Cinema Students Association (CSA) Newsletter- a bimonthly communiqué for all students at The Mel Hoppenheim School of Cinema.
…………………………………………………………………………………………….

A lot happening in the weeks to come! My fellow editing room trolls!

Calendar Events:
1) CSA Announcements (General Meeting re: MHSoCFF- THIS MONDAY!!)
2) CSU Elections & UNITY Fine Arts Slate (VOTE on MARCH 27, 28, 7 29th!!)
3) Cinema Politica - Screening: Reel Bad Arabs (Canadian Premiere!)
4) Goethe Institut- Screening: Titantic
5) PROJE(C)T Y Festival (Support Concordia Students at Ex-Centris!)
6) Works to Work Summer Certification Program
7) Performing Arts Lunchtime Social
8) Capsules Memoire- Installation at Cinematheque Quebecoise
9) Post Production Help Needed on Concordia Student Film
10) Hot Docs Film Festival- Free Daytime Screenings to Students

Submission Deadlines:
11) "Neighbors" Filmaka.com Contest #4- Deadline March 27th
12) National Student Film Festival- Deadline April 15th
13) TIFFG Student Showcase - Deadline April 30th
14) Air Canada Student Film Festival- Deadline July 31st

………………………….
1) CSA Announcements:

IMPORTANT NOTICE TO ALL CINEMA STUDENTS!!!

CSA General Meeting
Open to all students!
Re. The Mel Hoppenhiem School of Cinema Film Festival 2007
Monday, March 26th @ 5:00pm
Room FB 413 (next to the Cinema Lounge)
Free Food!

The CSA is finalizing plans for the MHSoC Film Festival ( to be held at Cinema du Parc from May 4th - 10th, 2007). If you are interested in being involved in any way or have questions or concerns … or simply want to have a say in how your Film Festival is run this year…

Speak up! Get involved! Come join us this Monday!!

Volunteers of every sort are needed! This includes: postering, merchandize sales, closing party set-up and clean-up, etc.

Animation Club reps please attend!!!
The CSA sends out a special request to all Animation Club representatives to join us for this meeting so that we may collaborate on the final details of the Film Festival.

If you cannot attend this meeting, but would like to become involved, please contact the CSA via email ASAP.

………………………….
2) CSU Elections & UNITY Fine Arts Slate (VOTE on MARCH 27, 28, 7 29th!!):

Dear Fine Arts Students,

In this year's CSU election you will be asked to choose new student leaders from a variety of prospective slates. As clubs and associations in Fine Arts, which together encompass every department in our faculty, we believe that the UNITY election slate represents a solid, responsible choice for fine arts students.

The lack of Fine Arts representation on the CSU has been a source of frustration for the past several years. This year, however, we are confident that UNITY's platform and executive — and notably longstanding FASA executive member Mathieu Murphy-Perron — will help create new and exciting possibilities for students and clubs in Fine Arts.

Last year, only one team ran a full slate of three Fine Arts councillors and one Fine Arts senator. While all these candidates were elected, only one out of the four consistently attended meetings and represented Fine Arts students — a shocking statistic, and one of the big reasons why Fine Arts has not received the attention we deserve. This year, UNITY is running a full CSU Council and University Senate team, with four very involved Fine Arts students: Jason Kuhrt, president of CODES; Arielle Jessop, president of the Painting and Drawing Association; Keyana Kashfi, student advocate at the CSU Advocacy Centre; and Cam McKinnon, a highly involved first-year theatre student.

The petty politics that have engulfed our University have gone on too long, and we applaud the emergence of a slate that brings together students from across the political spectrum in a spirit of cooperation. It is time for Fine Arts to enjoy proper, competent CSU representation — and, indeed, for Fine Arts to get some attention from the CSU.

We, the undersigned Fine Arts clubs and associations, believe that UNITY is the slate that will finally do these things. On March 27, 28 and 29, make your vote count and make sure Fine Art students' voices are heard!

Les Fleurs du Mal Publications Society

………………………….
3) Cinema Politica - Screening: Reel Bad Arabs (Canadian Premiere!):

Even though you'll be out voting in the Quebec Provincial election this Monday, we know you won't want to miss this special opportunity to see a Canadian premiere documentary screening and hear acclaimed author and lecturer Dr. Jack Shaheen discuss 9/11, the war in Iraq, and Arab and Muslim representation in mainstream media. Read on below for info on this event, follow the links for more information including articles and trailers, and grab a copy of the Mirror this week, where the FEATURE STORY will be on Dr. Jack and this Cinema Politica event!!

// REEL BAD ARABS DOCUMENTARY PREMIERE WITH DR. JACK SHAHEEN AT CONCORDIA

WHAT: Canadian Premiere Screening of REEL BAD ARABS with special guest speaker Dr. Jack Shaheen
WHEN: Monday, March 26 at 7:30 pm
WHERE: Room H-110, Concordia University, 1455 de Maisonneuve
COST: Free or by donation
INFO: http://www.cinemapolitica.org

Cinema Politica and the co-sponsoring groups for this event (see below) are very excited to invite you to the Canadian premiere screening of the Media Education Foundation's one hour documentary REEL BAD ARABS: HOW HOLLYWOOD VILIFIES A PEOPLE. This is an excellent documentary based on the best-selling book by Dr. Jack Shaheen that dramatically and convincingly illustrates the disparaging and racist ways that Arabs and Muslims have been portrayed in mainstream cinema, especially Hollywood. The film tracks one hundred years of cinema with movie clips and interviews with Shaheen that provide for a fast-paced essay on race, representation and the politics of mainstream film.

Immediately following the screening Dr. Jack Shaheen himself will lead a discussion on the controversial issues raised in the film, in what will prove to be another engaging, inspirational and entertaining Cinema Politica event. He plans to discuss pre and post 9/11 images of Arabs, the linkage between politics and entertainment, how the conflict in Iraq has impacted Arab and Muslim Americans, and finally he will discuss solutions to the stereotype problem.

Because we have received requests for information on this event from students across Canada, because Dr. Shaheen is a well-known author and popular speaker, and as this screening and discussion is going to receive decent coverage in the Mirror, we are expecting a big turnout so don't say we didn't warn you! Doors at 7:10 PM.

Aside from our usual co-sponsors, the following groups and organizations have contributed generously to make this event possible, and we couldn't have brought Dr. Shaheen to Montreal without them, so thanks very much!

Solidarity for Palestinian Human Rights (SPHR)
The Arab Student's Association
The Muslim Student's Association
Amnesty International Concordia
überculture Concordia, and
Concordia Univeristy Television (CUTV)

For links to these groups, the film's complete synopsis and trailer, please visit the screening page at CP.
To read a recent article and interview with Dr. Shaheen, please visit the Art Threat website. (http://www.artthreat.net )

Please note that the Concordia Coop Bookstore will be present at this event with copies of the film and Dr. Shaheen's book for sale.

+++++++

Cinema Politica is an überculture project, and is co-sponsored by CitizenShift (http://citizen.nfb.ca) and Concordia University Television (CUTV) (http://cutv.concordia.ca). Additional support comes from our friends at the Concordia Co-op Bookstore (http://www.co-opbookstore.ca) and the Documentary Organization of Canada, Quebec Chapter.

For more information on all the films and various locals, please visit: http://www.cinemapolitica.org. For the FALL 2006 SCHEDULE, visit the Co-op Bookstore at 2150 Bishop. If you would like to volunteer with the Concordia Local of Cinema Politica, please contact our Volunteers Coordinator ().

Upping the geek factor one more level, we have now made the Cinema Politica Winter Program available for download in electronic calendar format. The file was created in iCal (for Macs) but should work with most other calendar programs such as Outlook (for PCs). Simply click on the file listed on the schedules page, under "Concordia" and import to your computer calendar program, and voila! you'll never forget a Cinema Politica screening again!

………………………….
4) Goethe Institut- Screening: Titantic:

The Goethe Institut presents a screening of…

Titanic (Herbert Selpin and Werner Klingler)
Thursday, March 29th at 8:00pm and Friday, March 30th at 6:30 pm
Goethe-Institut Montréal
$ 6.00 for Students


The disaster film was conceived as a vehicule for anti-capitalist and anti-English propaganda. Speculators eager to bolster the stock of the White Star Line force the captain of the famous luxury liner to pursue a catastrophic course through icy waters. Selpin's anti-government utterances during the film's shooting were reported to Nazi officials by scripwriter Zerlett-Olfenius. The director was imprisoned and killed in his cell, although official accounts ruled his death a suicide. In the end, Goebbels deemed Titanic unfit for screening in German cinemas and banned it.

1943, 85 min, b & w. German with English subtitles.

………………………….
5) PROJE(C)T Y Festival (Support Concordia Students at Ex-Centris!):

PROJE(C)T Y - the University Student Film Festival - will present 7 films from Concordia students at Ex-Centris. April 6, 7, and 8th at 3:10 pm and 9:00 pm. Films from other universities will also be presented.

See the detailed program at http://www.projet-y.org

Ex-Centris (cinéma Parallèle)
3536, boul. St-Laurent
info: (514) 847-3536
http://www.ex-centris.com

-----
PROJE(C)T Y - le festival du cinéma étudiant universitaire - présente 7 films de l'université Concordia au cinéma Ex-Centris les 6, 7, et 8h avril à 15h20 et 21h00. Des films des autres universités seront également présentés.

Programme complet: http://www.projet-y.org

Ex-Centris (cinéma Parallèle)
3536, boul. St-Laurent
info: (514) 847-3536
http://www.ex-centris.com

………………………….
6) Works to Work Summer Certification Program:

Festival dates: June 22—July 4, 2007
The Works Art and Design Festival kicks off Edmonton's festival season with 13 days of innovation and creativity in our downtown core. For over twenty years, The Works has showcased the best in art, design, new media, performance art, and interdisciplinary work alongside traditional visual art. For more information and history about The Works and its ongoing projects, please visit : http://www.theworks.ab.ca .

Currently, The Works team is seeking students to participate in our Works to Work Certification Program which grants successful candidates a paid summer internship for the months of May to August. Theoretical training and hands-on learning are implemented in three progressive levels for the following two streams.

The Exhibit and Technology stream provides the student with experience in art handling, planning, install/dismantle, lighting, sound, construction techniques, inventory and resource management.

The Curatorial stream provides the student with experience in curatorial research, registration, condition reporting, archiving, curatorial intent, audience development and information dissemination.

Students in both streams will work full time from May to August and are integral in producing The Works Art and Design Festival every year, working directly with the artists and artworks displayed in the festival. Interested individuals should apply with a resume and cover letter by:

Mail:
#200, 10225 – 100 Avenue
Edmonton, AB, T5J 0A1
Attn: Michele Gall

Email:
Re: Works to Work

Or fax: 780 426 4673
Attn: Michele Gall/Works to Work

Call: 426-2122 Ext. 223 for more details.

Deadline for application is Friday, March 30 at 5pm.

The Works thanks all applicants, but will only be contacting those selected for an interview.

………………………….
7) Performing Arts Lunchtime Social:

COME ON DOWN TO YOUR FRIENDLY
Performing Arts Lunchtime Social !

FRIDAY, March 30th, 2007
2:00pm to 4:00pm
AD-308, Loyola Campus

Here is your chance to meet like minded folks in the Montreal performing arts community in a relaxed setting with relevant infos to gather and collect.

Meet organizers from: Mai Centre , Mainline Theatre / Montreal Fringe, Oboro, Quebec Drama Federation, Studio 303, Suoni per il Popolo Festival, Tangente . Still others to be confirmed .

Also featuring: Free lunch!!!

For more information, email : or
or call extension: 4701

All welcome + we hope to see you there!!!

This event has been generously sponsored by FASA.

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8) Capsules Memoire- Installation at Cinematheque Quebecoise:

DU 7 MARS AU 29 AVRIL 2007 - GRATUIT

@ CINEMATHEQUE QUEBECOISE, SALLE NORMAND McLAREN, 335 BOULEVARD DE MAISONNEUVE

INSTALLATION - CAPSULES-MEMOIRE, presenté par Main Film


Motel Room # 207, Karl Lemieux, 2007, lente destruction d'une boucle film super 8mm

L'empreinte d'un passé et d'un futur impossibles dans une trajectoire où le présent se désintègre ; ...

Avec 29 autres cineastes : Rene Bail, Rodrigue Jean, Nelson Hendricks, Dominic Gagnon, Nicolas Renaud/Nancy Baric, Wassili Dudan, Steven Woloshen, Elise Simard, Kara Blake, Henri Louis Chalem, Caroline Hayeur, Nikki Forest, Anne Golden, Serge Cardinal, Sylvain Lesperance, Catherine Martin, Carlos Ferrand, Lucie Lambert, Denys Desjardins, Claude Demers, Francois Delisle, Celine Baril, Patrick Boivin, Robin Aubert.

………………………….
9) Post Production Help Needed on Concordia Student Film:

Hello,

My name is Martin Baena and I am film production student at Concordia currently in post-production on my latest project and I am looking for people to help out. I am essentially looking for people to help with foley, sound editing, sound design etc.

Many thanks.
Martín


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10) Hot Docs Film Festival- Free Daytime Screenings to Students:

14th Hot Docs Canadian International Documentary Film Festival is pleased to offer FREE DAYTIME SCREENINGS TO STUDENTS and seniors courtesy of the Toronto Star, from April 19-29, 2007. Hot Docs is the biggest documentary festival in North America. The festival runs from April 19 to 29, 2007 at various venues in the Annex and Bloor/Yorkville neighbourhoods of Toronto. This year, Hot Docs is presenting 129 films from 30 countries covering a wide variety of areas and interests.

Below are some films of interest, including "My Second Life", a documentary shot entirely in Second Life, an online popular world. For additional film information and screening schedule, go to: http://hotdocs.bside.com/?tabArg=_profile&_view=_films.

ALL SCREENINGS BEFORE 6:00 PM ARE FREE TO STUDENTS and seniors.

*** HOW TO ORDER TICKETS ***

FREE DAYTIME SCREENINGS TO STUDENTS (screenings before 6 pm) and PWYC for screenings AFTER 11 pm. Regular screenings are $10 and Special Presentations are $12. Order in person at CBC Newsworld Advance Box Office, 581 Bloor St. W., online at http://www.hotdocs.ca or by phone at 416-588-8DOC (8632). For more information, visit http://www.hotdocs.ca

SARAH MILANES
Community Outreach Coordinator
T: 416-203-2155 x 241 F: 416-203-0446
Email:

HOT DOCS Canadian International Documentary Festival

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11) "Neighbours" Filmaka.com Contest #4- Deadline March 27th:

Filmaka.com Announces the Start of Contest #4!

After the success of its first Three contests, Filmaka has launched its 4th contest 'Neighbours'. Submissions are accepted until 27th March 2007.

Filmaka.com is a new online competition, juried by award winning filmmakers including: Werner Herzog, Neil LaBute, Paul Schrader and Wim Wenders, and founded by leading \independent producers and financiers. Filmmakers have a new chance to enter each month, and submissions are accepted in 10 different languages.

Please visit http://www.filmaka.com to see past contest submissions, and for complete rules, terms and conditions. Membership is free for full time students:

Email: from your school issued email account for more information.

Wishes to Involve with us and through us.
Regards!
Julie

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12) National Student Film Festival- Deadline April 15th:

The Regina Film and Video Students' Society's announces the 21st Annual National Student Film Festival.

Attention All Students:
We are seeking your short films for the 21st Annual R.F.V.S.S National Student Film Festival! The Festival takes place in Regina, Saskatchewanon May 3, 4 and 5, 2007, and we want to feature your short work!

Please send your film (maximum 30 minutes in length), either on miniDV or DVD, by April 15, 2007 to:

National Student Film Festival
c/o Department of Media Production & Studies
Room ED243
Education Building
University of Regina
Regina Saskatchewan S4S 0A2

This is a juried event, and many wonderful prizes are available! Please provide with your film a letter that includes the following information:

- your name, telephone number, email address, mailing address
- into which of the following categories your film would fall: Drama, Animation, Documentary, Experimental.
- the name of the university/college in which you are enrolled.

Thank you! We look forward to seeing your film!


(See Attached for Complete Call for Submissions)

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13) TIFFG Student Showcase - Deadline April 30th:

The Student Film Showcase fosters opportunities for film students to showcase their work, make important contacts and develop career enhancing relationships with peers and industry professionals.

Deadline for Submission: April 30, 2007
Final Screening Films at TIFFG: May 15, 2007
Student Film Showcase: Wednesday, May 23, 2007

Shirley Lewchuk
Communications Co-ordinator
Faculty of Communication and Design
Ryerson University
(416) 979-5000 ext 2726

(See Attached for More Information and Submission Form)

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14) Air Canada Student Film Festival- Deadline July 31st:

Welcome to Air Canada's enRoute Student Film Festival! This will be the world's largest inflight film festival, showing the very best of student films from across the country to over 2.6 million monthly passengers.

Selected entries will be screened inflight and profiled in enRoute magazine giving student filmmakers unprecedented exposure.

An independent film industry panel will adjudicate the films - all acceptable styles and genres will be considered. Top prizes will be given out in various categories.

This festival is free to enter, deadline: July 31, 2007.

The Festival is open to all Canadian students currently enrolled in film studies courses or recently graduated. You must have attended training at any formal institution (anywhere in the world) as of September 2005 or later. You must be of legal age in your jurisdiction.

Submissions which have been broadcast or screened commercially (i.e. an advertised public screening for which admission is charged excluding film school or private screenings) are not eligible.

http://www.enroutemag.com/film/

………………………………………………………………………………………………
If you would like to include information on events, etc. in our next newsletter, please send us an e-mail with "newsletter" in the subject line, followed by a concise description of the event.

If you would like to be removed from the CSA list serve, please send us an e-mail with "unsubscribe" in the subject line.
………………………………………………………………………………………

Until next newsletter,

Marianna Milhorat
Cinema Students Association


--
Cinema Student Association
Mel Hoppenheim School of Cinema
Concordia University
Phone: (514) 848-2424 ext. 4678
Office: FB 414, 1250 Guy St.

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UNDERGRADUATE COURSES

FMST 322 - History of Film Since 1959
This course offers a comprehensive examination of contemporary world cinema from a range of cultural and critical perspectives. The purpose is to analyze film styles and practices of different countries from the late 1950s until today, considered in their specific contexts, as well as in relation to the aesthetic and theoretical issues that they raise. The focus is on films and themes that help students understand how the notion of “new cinema” has become established as a critical category and what artistic forms and cultural movements it has been associated with during the past fifty years.


FMST 329 - Women and Film
Women and Film explores women’s roles within different periods and film forms, including classical, avant-garde, art house, non-Western, mainstream, independent and auteur-oriented cinemas. The course also provides an overview of feminist approaches to the presence and the representation of women in film and other audiovisual forms. Women and Film is divided into three parts. In the first, we will consider women’s contribution to the history of filmmaking as directors, producers, writers, and actresses. In the second, we will examine gender-related issues in films made by women filmmakers or which foreground female characters and issues. In the third, we will concentrate on feminist readings and women’s appropriations of film genres typical of mainstream or male-dominant contexts of filmic production and reception, including the Hollywood melodrama, the slasher film, and the pornographic film.


FMST 409 - Seminar in Women and Film: Women’s cinema since the 1990’s
This seminar examines women’s film practices and feminist approaches to cinema since the 1990’s, from within an international context. An important goal of this course is to analyze films by women filmmakers and/or relevant to women’s issues which have broadened the definition of women’s cinema. Finally, the course proposes an overview of women’s contributions to filmmaking and film theory from diasporic, non-Western, and post-colonial perspectives.

The first part of the seminar concentrates on women’s position in the cinema within the cultural framework of post feminism. The second part explores the notion of women’s cinema as “minor” cinema and the film practices and cultural positions to which this definition is relevant. Students’ presentations and a roundtable on post feminism and its impact on women film directors working in mainstream cinema, as well as independent or international art house film circuits, complement and conclude the first two sections of the seminar. The third examines films by women film directors whose work addresses issues of cultural identity from anti-state, sub-national, non-Western, and post-colonial perspectives.


FMST 335 - Aspects of National Cinema: New Directions in Contemporary European Cinema
This course proposes an overview of European cinema since the 1980s, with specific focus on:
- Changes in national and trans-national film systems and industries.
- Cultural identity in 1980s and 1990s European films.
- New film aesthetics in European cinema.

GRADUATE SEMINARS

FMST 615 - Topics in European Cinema Special Topic: Western European Cinemas since 1980
This course is an introduction to Western European film practices of the past twenty years, a period characterized by the crisis of Europe’s national film industries and the emergence of alternative modes of production and distribution, as well as aesthetic trends. The seminar is also designed to examine recent scholarly approaches to Western European cinemas.


FMST 625 - Methods in Film Studies: Women and Silent Cinema
Women and Silent Cinema examines women’s film practices in the early and silent phases of cinema, from within an international context. The seminar proposes an overview of women’s contributions to the first four decades of cinema, including their involvement in film practices and enterprises, their representation in various film forms and genres, their roles in various phases and areas of cinema’s establishment as a social and cultural activity, as well as their participation in the socio-cultural contexts that marked the emergence of cinema as a new medium and industry.
The course also offers a vast selection of the literature on early and silent cinemas concentrating on gender-specific and feminist issues, which samples some of the most innovative and interesting research lately produced in the discipline of film studies.

In 2004, students had the unique opportunity to become acquainted with the most recent developments in this scholarship at the international congress “Women and the Silent Screen,” which was hosted by Concordia University from June 2nd to June 6th and is co-directed by the seminar’s instructor and Concordia Film Studies professor Catherine Russell. An essential component of the course’s organization, the congress was to integrate and complement the subject matters addressed in class or encountered in assigned texts and films.


FMST 635 - TOPICS IN AESTHETIC AND CULTURAL THEORY: NATIONS AND THEORY
“Nations and Theory” focuses on film texts and cinematic practices that problematize traditional definitions of national cinemas as coherent systems or discourses. The purpose is to verify if --and how—contemporary films can be identified with the notion of national cinema, address national themes or issues, and be representative of national discourses, ideologies, social formations. The seminar also considers the dominant implications of national categories and consider the concept of national cinema from anti-state, sub-national, non-Western, and post-colonial positions which challenge the ideological premises of the modern nation.

The first part of the course assumes the concept of nation itself as our object of inquiry and analyzes films that exemplify or problematize the notion of national cinema. The second part of the course concentrates on recent film practices set at the interface of Hollywood and nation-based cinemas or local and global circuits of film production and distribution.


FMST 615 - Topics in European Cinema-Western European Cinemas since 1980
This seminar is an introduction to Western European film practices of the past twenty years, a period characterized by the crisis of Europe’s national film industries and the emergence of alternative modes of production and distribution, as well as aesthetic trends. The seminar is also designed to examine recent scholarly approaches to Western European cinemas.


FMST 635 – Topics in Aesthetic and Cultural Theory: Women and film Authorship: Issues and Contexts
The theorization of women's authorship reflects a more general problem in Western society: the definition of female identity in terms of “otherness” with respect to male-based notions of subjectivity. In auteur-oriented film criticism and theory the lack of focus on gender is a consequence of this conceptual overlook, as well as of the exclusion that women have traditionally experienced in various domains of cultural production and reception, including cinema. This double exclusion has reinforced the idea that female authorship is a marker of alterity, mainly found in marginal or oppositional types of film production and discourse.

Since the mid-seventies, feminist film theoreticians have become interested in authorship as a category that allows an effective critique of dominant film discourse and provides gender-specific models of textual enunciation and cultural distinction. This seminar concentrates primarily—although not exclusively--on this scholarship. Its main purpose is to discuss female authorship as a form of agency in different periods of cinema’s history and in various film systems. Another objective of this seminar is to consider how feminist approaches have contributed to the theoretical and historical reassessment of the concept of authorship, in academic as well as professional contexts related to film.

The case studies will cover mainstream, independent, avant-garde, and documentary cinemas. The final section of the course is devoted to the work of independent filmmakers based in Montréal. In the past, I invited Mary Ellen Davis, Guylaine Dionne, and Marielle Nitoslawska.

The film author has traditionally been identified with the filmmaker. Although we will for the most part assume this equivalence, we will also acknowledge the conceptual problems that this association gives rise to. Consequently, we will stress the variety of professional skills subsumed within the category of the film-author and examine the ideological and cultural factors that maintain them in subordinated positions with respect to the figure of the film director.

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Publications and Scholarly Contributions

Forthcoming Book Authored:

Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy, and Spain since the 1980s . (Forthcoming, Bristol: Intellect Books, 2008).



Books and journals' special issues edited :

In the Dark Room: Marguerite Duras and Cinema ., co-edited with Julie Beaulieu ( Forthcoming, Bern: Peter Lang, 2008 ).

Femmes et cinéma muet: méthodes, approches, problématiques/Women and the Silent Cinema : Methods, Approaches , Issues . Spec. Issue Editor, CiNéMAS ( vol. XVI n . o 1, Fall 2005 ) .

Another Cinephilia: Women's Cinema in the 1920s , Dossier, guest co-editor with Catherine Russell, Framework 46.1 (Spring 2005), pp. 51-129.



Chapters in books:

“Women's Film Authorship and the Anglo/French Divide: A Comparative Overview of the Feminist Film, Discourse in Europe and North America,” in Women and the Silent Screen: an Anthology, Joanne Hershfield and Patricia Torre San Martín , Eds. (Forthcoming, Guadalajara: Guadalajara University Press, 2007).

“Cultural Specificity and Trans-national Address in the New Generation of Spanish Film Authors: The Case of Alejandro Aménabar ,” in ‘ Spanishness' in the Spanish Novel and Cinema of the 20th-21st Century , Cristina Sánchez-Conejero , Ed. (Forthcoming, Cambridge: Cambridge University Press, 2007).

“The Dialectics of Trans-national Identity and Female Desire in the Films of Claire Denis.”   In Remapping World Cinema: Identity, Culture and Politics in Film .   Edited by Stephanie Dennison and Lim Song Hwee. London and New York: Wallflower Press, 2006, pp.   73-85.

“Du côté d'Europa, Via Asia: the Post-Hollywood Besson .”   In The Films of Luc Besson: Master of Spectacle . Edited by Susan Hayward and Phil Powrie. Manchester: Manchester University Press, 2006, pp. 23-41.

“De-authorizing the Auteur: Postmodern   Politics of Interpellation in Contemporary European Cinema.” i n Cristina Degli-Esposti, Ed. Postmodernism in the Cinema . Oxford: Berghahn Books , 1998 , pp. 140-62.

“Appunti su nascita e sviluppo del fenomeno cinematografico a Padova. 1895-1909 ,” co-authored Marina Baldo and Patrizia Rampazzo, in Aldo Bernardini, Ed. Cinema e storiografia in Europa . Reggio Emilia: Comune di Reggio Emilia, 1987, pp. 237-244.



Papers in refereed conference proceedings:

“Feminist Discourse and the Periodisation of Film History in Europe and North America .” In The Ages of the Cinema: Criteria and Models for the Construction of Historical Periods (Forthcoming, Udine: Forum, 2008).“The Multiple Commitment of the Film Author.”   In Il film e i suoi multipli/Film and its Multiples .   Edited by Anna Antonini. Udine: Forum, 2003.   241-50.



Articles in refereed journals:

“Death and Cinematic Reflexivity in Alejandro Amenábar's Tesis.” In Lugares Sin Limites: Cinema of the 80s and 90s in Latin America, Spain, and Portugal . Edited by Eduardo Guízar Álvarez and Anna Brígido Corachán . Torre de Papel Spec. Issue 10.1 (Spring 2000) : 65-76.

“Juanma Bajo Ulloa's Airbag and the Politics of Regionalism in Contemporary Spanish Cinema.” In Spanish Cinema .   Edited by Marvin D'Lugo. Post Script , Spec. Issue:. 21.2 (Winter/Spring 2002): 64-77.

“Une histoire sans noms: les femmes et le concept d'auteur au cinéma des premiers temps. ” In Femmes et cinéma muet: méthodes, approches, problématiques/Women and the Silent Cinema : Methods, Approaches , Issues .   Edited by Rosanna Maule . CiNéMAS Spec. Issue ( vol. XVI n . o 1, Fall 2005 ) : 35-58.

Maule, Rosanna. “The Importance of Being a Film Author: Germaine Dulac and Female Authorship.” Rose Capp, Ed. Special Women's Issue Senses of Cinema no. 23 (November/December 2002, www.sensesofcinema.com ).

Maule, Rosanna. “Juanma Bajo Ulloa's Airbag and the Politics of Regionalism in Contemporary Spanish Cinema.” in Marvin D'Lugo, Ed. Spanish Cinema . Post Script , Spec. Issue:. 21.2 (Winter/Spring 2002): pp. 64-77

“Death and Cinematic Reflexivity in Alejandro Amenábar's Tesis.” Eduardo Guízar Álvarez and Anna Brígido Corachán, Eds.   Lugares Sin Limites: Cinema of the 80s and 90s in Latin America, Spain, and Portugal . Torre de Papel Spec. Issue 10.1 (Spring 2000) :   pp. 65-76.

“Women's Authorial Practices in European National Cinemas.” in Le cinéma d'auteur et le statut de l'auteur au cinéma . Réné Prédal. Ed.   Iris . Spec. Issue n. o 27 (Spring 1999): pp. 123-138.



Paper Presentations as Invited Scholar

2007 “ Cultural Specificity and Trans-national Address in the New Generation of Spanish Film Authors: The Case of Alejandro Aménabar .”   Paper Presentation as Invited scholar, ‘Spanishness' in the Spanish Novel and Cinema of the 20th-21st Century, University Of Norther Texas, Denton, TX, Forthcoming, 4-5 May 2007.

2006 Workshop on Trans-national Feminist Historiography, Coordinator and Moderator, Fourth International Film Congress Women and the Silent Screen/Las mujeres y el cine mudo, Universidad de Guadalajara, Guadalajara, Mexico (proposal submitted, forthcoming, June 7-10, 2006, workshop chair).

2003 “Female Film Authorship Reconsidered” “ Roundtable: Gendering the Nation, ” Obermann Humanities Symposium, University of Iowa, Iowa City, U.S.A., November 2003, paper presentation.

2001 “Juanma Bajo Ulloa's Airbag and the Politics of Regionalism in Contemporary Spanish Cinema.” Third FSAC Graduate Colloquium, Concordia University, Montréal, March 2001, paper presentation.



Refereed Paper Presentations (since 2000)

2007 “From Difference to Differences: Gender Politics in the Age of Postfeminism.” Paper presentation, accepted, Annual Conference of the Canadian Society for Italian Studies , University of Trieste, Italy , forthcoming, June 29 - July 3, 2007 .

2007 “Feminist Discourse and the Periodization of Film History in Europe and North America.” Paper presentation, accepted, The ages of the Cinema: Criteria and Models for the Construction of Historical Periods , XIV International Film Studies Conference , Udine, forthcoming, March 20-22, 2007 .

2006 “Women's Film Authorship and Feminist Film Scholarship: A Comparative Overview.” Fourth International Film Congress Women and the Silent Screen/Las mujeres y el cine mudo, Universidad de Guadalajara, Guadalajara, Mexico (paper submitted, forthcoming, June 7-10, 2006).

2005 “ Demonlover (Olivier Assayas, 2002) as Allegory of Global Corporate Media.” Studies in French Cinema Conference: Genre and Technology.   London, UK, March 2005.

2004 “Authorial and Cultural Reinscription in French contemporary Cinema: The Case of Olivier Assayas.”   “ECRF 4: European Cinema: Directions and Developments,” Northumbria University, Newcastle, UK, July 2004.

2004 “Une histoire sans noms : les femmes et le concept d'auteur au cinéma des premiers temps,” Women and the Silent Screen/Femmes et cinéma muet,  Concordia University, Montr é al, June 2004.

2003 “Serial killers and cinematic reflexivity in Angustia (Anguish, José Juan Bigas Luna, 1987) and Tesis (Thesis, Alejandro Amenábar, 1995),” Anomalia: The Figure of the Serial Killer and the Modern Imaginary, Concordia University, Montréal, October 2003.

2002 “The Dialectics of Trans-national Identity and Female Desire in the Films of Claire Denis.” International Film Conference World Cinemas, University of Leeds, Leeds, UK, July 2002.

2002 “The Multiple Commitment of the Film Author.”   2002 Udine International Film Conference, “Cinema and its Multiples”, University of Udine, Udine, Italy, March 2002.

2001 “Problems of Authorship.” Women and the Silent Screen, International Film Conference, University of Santa Cruz, Santa Cruz, California, November 2001.

2001 “Olivier Assayas' Figurative Style and the Contemporary French Auteur Cinema.” 2001 SCS Annual Conference, Washington D.C., U.S.A., April 2001.

2001 “Self-referentiality as Authorial Allegory in Nanni Moretti's Palombella rossa (1989).” UCR's 8th Annual Humanities Conference, Riverside University, Riverside, CA, U.S.A., April 2001.

2000   “Virtual Reality and Social Issues in Gabriele Salvatores' Nirvana .” American Association of Italian Studies Conference, New York, NY, U.S.A., April 2000.



Panel Chairing (since 2000)

2005 “European Developments / Développements européens.” Visible Evidence, Concordia University, Montréal, August 2005.

2005 “Cinéma des premiers temps: nouvelles approches.” Seventh FSAC Graduate Colloquium, Université de Montréal, Montréal, March 2005.

2000 “Italian Film Authors in the Era of the New Media.” American Association of Italian Studies Conference, New York, NY, U.S.A., April 2000.

Other Research Contributions

Service on Editorial Boards

2003-present: Member of Editorial Board of CiNéMAS, Refereed Film Journal, Canada



Direction and Organization of Conferences and Film Series

2006: Consultant with Julie Beaulieu for a series of films by Marguerite Duras at the Cinémathèque Québécoise , Montréal (forthcoming, September 15-27 2006).

2006: Co-organizer of the Fourth International Film Congress Women and the Silent Screen/Las mujeres y el cine mudo, Universidad de Guadalajara, Guadalajara, Mexico (June 7-10, 2006).

2004: Co-director of the International Film Congress Women and the Silent Screen/Femmes et cinéma muet, Concordia University, Montréal, June 2-6, 2004.

2002 Screening Programmer and Congress co-director of the 7 th DOMITOR Congress, Cinémathèque Québécoise , Montréal, June 18-22 2002.

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Profile

Dr. Rosanna Maule is associate professor of Film Studies at the Mel Hoppenheim School of cinema, Concordia University, Montréal. She joined Concordia University in 2000 as an Assistant Professor. She holds a PhD (2000) in Communications, with concentration in Film Studies, from the University of Iowa, USA.

Her research interests include film history and historiography, with an emphasis on French, Italian, and Spanish cinemas, classical Hollywood cinema, and early cinema; contemporary film theory, including feminist theory and criticism, issues in authorial film practices, national cinemas, and postmodernism.

Dr. Maule’s is the author of Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy, and Spain since the 1980s (Forthcoming, Intellect Press, 2007) and the co-editor of In the Dark Room: Marguerite Duras and Cinema (Forthcoming, Peter Lang, 2007), an anthology of essays on Duras’s filmic work, to which she contributes with single-authored Introduction. She has also published two book chapters and several articles in peer-reviewed journals, and edited three special issues (for two of which she also contributed with single-authored articles) of prestigious film journals, on topics relative to her areas of expertise. She has participated in several conferences, also as invited speaker.

Dr. Maule is a member of two research teams: the Groupe de Recherche sur l’avènement and La formation des institutions cinématographique et scénique (GRAFICS), based at the Université de Montréal and directed by André Gaudreault; and l’Équipe de recherche sur l’histoire et l’épistémologie des études cinématographiques, based at Concordia University and directed by the Cinema Research Chair Martin Lefebvre (as a collaborator).

She is on the Board of Directors of Women and the Silent Screen International Association.

She co-organized with Catherine Russell the third edition of the "Women and the Silent Screen (WSSC)" conference, held in Montreal in 2004, and was on the board of directors of the fourth edition, which took place in Guadalajara, Mexico in June 2006.

She is the recipient of several research grants. In 2006, she received a SSHRC grant for a research project on the use of the figure in contemporary authorial cinema. The results of this new project will be published in a single-authored book titled The figural, new threshold of meaning? Alternative modes of cinematic expression in contemporary European cinema.

Education

• PhD. Film Studies, University of Iowa (USA), 2000

• M.A Film Studies, University of Iowa (USA), 1993

• B.A Philosophy & Italian Literature, University of Padua (Italy), 1987

Employment

• June 2006 – Present, Associate Professor, Film Studies, Mel Hoppenheim School of Cinema, Concordia University, Canada.

• December 2000 – May 2006, Assistant Professor, Film Studies, Mel Hoppenheim School of Cinema, Concordia University, Canada.

• 1998 -1999, Teaching Assistant, Film Studies, Cinema and Comparative Literature, University of Iowa, USA.

• August 1999 - December 2000, Invited Assistant Professor, Film Studies, Cinema and Comparative Literature, University of Iowa, USA.

• August 1998 - June 1999, Teaching Assistant, Film Studies, Cinema and Comparative Literature, University of Iowa, USA.

• September 1995 – July 1998, Teacher, Italian Literature and World History, High School Pasini, Schio (Vicenza), Italy.

• August 1991 – July 1995, Teaching Assistant, Film Studies and Italian Language, University of Iowa, USA.

Academic Honours

• 1993, Winner of a national competition to obtain a Teaching Certificate for teaching in Italian Secondary Schools.

• 1990 - 1991, Nine-months Fulbright Scholarship to study in the USA, exceptionally extended for 3 months for excellence in academic performance

• 1985 – 1986, One-year exchange bursary, University of Padua and University of California

Scholarly and Professional Activities

Professional memberships

Society of Cinema and Media Studies, DOMITOR, Federal Association of Canadian Cinema, Women Film Pioneers Project (now Women and the Silent Screen International Association)


Editorial work

Editorial Board of CiNéMAS, Refereed Film Journal (2003 - )


Colloquia Organized

• Screening Programmer and Congress co-director of the 7th DOMITOR Congress, Cinémathèque Québécoise, Montréal, June 18 - 22, 2002

• Co-director of the International Film Congress Women and the Silent Screen/Femmes et cinéma muet, Concordia University, Montréal, June 2 - 6, 2004

• Co-organizer of the Fourth International Film Congress Women and the Silent Screen/Las mujeres y el cine mudo, Universidad de Guadalajara, Guadalajara, Mexico, June 7 - 10, 2006

Other Contributions to Scholarship & Graduate studies

• PhD thesis examinations: Université Paris I (1)

• MA thesis examinations: Concordia University (6)

Significant University Administrative Duties

University

• Graduate Curriculum (2002-2004)

• School of Graduate Studies Council (June 2003 - June 2004)

Faculty

• Canadian Research Chair Search (2003 and 2004)

• Fine Arts Council (June 2003 - June 2004)

Department

• Undergraduate and Graduate Admissions (Film Studies, 2001 - 2003)

• Undergraduate and Graduate students advising (2001 - 2005)

• Undergraduate Admissions (Film Production) (2002)

• ARTH/FMST Major: Development Committee (2002)

• Graduate Area Head (2003)

• Graduate Admissions (Film Studies, 2003 - 2005)

• Graduate Programme Director (April 1, 2003 - June 1, 2004)

Publications and Scholarly Contributions

Other Research Contributions

Dr. Rosanna Maule
Associate Professor
PhD. Film Studies
University of Iowa, 2000

Concordia University
Mel Hoppenheim School of Cinema
FB 337-1455 de Maisonneuve Blvd. W.
Montreal, Quebec H3G 1M8
Canada

Office: +1 (514) 848-2424 Ext: 4615
E-mail:

OFFICE HOURS
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Website last updated: Sep 16, 2007

DR. ROSANNA MAULE IS ON A SABBATICAL LEAVE FOR THE 2007-2008 ACADEMIC YEAR

Recent Publications ➡

Beyond Auteurism: New Directions in Authorial Film Practices in France, Italy, and Spain since the 1980s. (Forthcoming, Bristol: Intellect Books, 2008).

In the Dark Room: Marguerite Duras and Cinema., co-edited with Julie Beaulieu (Forthcoming, Bern: Peter Lang, 2008).

Feminist Discourse and the Periodisation of Film History in Europe and North America. In The Ages of the Cinema: Criteria and Models for the Construction of Historical Periods (Forthcoming, Udine: Forum, 2008).

“Women's Film Authorship and the Anglo/French Divide: A Comparative Overview of the Feminist Film, Discourse in Europe and North America,” in Women and the Silent Screen: an Anthology, Joanne Hershfield and Patricia Torre San Martín , Eds. (Forthcoming, Guadalajara: Guadalajara University Press, 2007).

UNDERGRADUATE COURSES

• History of Film Since 1959
• Women and Film
• Seminar in Women and Film: Women’s cinema since the 1990’s
• Aspects of National Cinema: New Directions in Contemporary European Cinema


GRADUATE SEMINARS

• Topics in European Cinema Special Topic: Western European Cinemas since 1980
• Methods in Film Studies: Women and Silent Cinema
• Topics in Aesthetic and Cultural Theory: Nations and Theory
• Topics in European Cinema-Western European Cinemas since 1980
• Topics in Aesthetic and Cultural Theory: Women and film Authorship: Issues and Contexts

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GRAFICS

Membres Régulier: Rosanna Maule



Centre de Documentation: Rosanna Maule, Personal Profile

WSSC Fourth Edition, Guadalajara, Mexico

Women and Silent Screen Congress 2004 (WSSC)




Silvia Cademartori's "Glamour and struggle: Women of silent film era" (May 20, 2004)

SYNOPTIQUE

Lisa Fotheringham's "Women and the Silent Screen: Panel 16 :: New Histories / New Methods | Histoire nouvelle, méthodes nouvelles" (Sept 27, 2004)




Centre de recherche sur l'Intermedialite | Center for Research on Intermediality




Le Giornate del Cinema Muto (Pordenone)
Perdenone Silent Film Festival




Udine Film Conference

DOMITOR

An International Association Dedicated to the Study of Early Cinema



CiNéMAS: Journal of Film Studies