FACULTY & STAFF

FILM ANIMATION : Luigi Allemano

Assistant Professor (E.T.A)
e-mail: | phone: (514) 848.2424 x.4333
FB 421-5




FILM ANIMATION : Stefan Anastasiu

Professor
Graduate of the Academy of Fine Arts in Bucharest, Romania
e-mail: | phone: (514) 848-2424 ex.4668
FB 233-5

Stefan Anastasiu is a graduate of the Academy of Fine Arts in Bucharest, Rumania. He directed, wrote and animated Kaspar and Chameleon for the National Film Board. He has an extensive background in animated films and animated commercials, as well as illustration.



FILM ANIMATION : Shira Avni

M.F.A., School of the Art Institute of Chicago, 2003
e-mail: FB 233-3

Born in Petakh Tikvah, Israel in 1974, Shira Avni was raised in Montreal. She completed her BFA in Animation at Concordia University in 1998, and received her MFA in Film/Video/New Media from the School of the Art Institute of Chicago in 2003. She is currently a part-time Animation faculty member at Concordia University’s Mel Hoppenheim School of Cinema, and has taught animation workshops in Montreal, Chicago, and Seoul.

Shira has worked as a director, animator, and co-producer with the National Film Board of Canada from 1997 to the present. Her first film, From Far Away, part of the Talespinners collection, screened in over forty festivals worldwide and has won multiple prizes, including the prestigious Golden Sheaf Award for Best Children’s Production at the Yorkton Short Film and Video Festival. Her award-winning new film, John and Michael, a love story between two men with Down’s Syndrome, continues her passion for creating innovative and challenging children's media.



FILM ANIMATION : Cilia Sawadogo

.:: Film Animation Undergraduate Programme Head ::.
Associate Professor
B.A., Concordia University, 1987
e-mail: | phone: (514) 848-2424 ex.4670
FB 233-1

Cilia Sawadogo completed a B.A., Major in Communication Studies, Minor in Film Animation, from Concordia University in 1989. A director, writer and animator, she has received numerous awards for films she directed at the NFB or independently: L’Arbre aux esprits (2005), La ruse du lievre (2001) Christopher changes his name (1999), Le Joueur de Cora (1996), L'arrèt d'Autobus (1994), Naissance (1993), La femme mariée à trois hommes (1993).






FILM PRODUCTION : Jean-Claude Bustros

Associate Professor
B.F.A., Concordia University
e-mail: | phone: (514) 848-2424 ex.4346
FB 421-21

Throughout the nineties Jean-Claude Bustros has created several internationally acclaimed experimental films (Catalogue, La Queue Tigrée d'un Chat, Zéro Gravité), a major photo exhibition (Pierre et Lumière) and a documentary feature (Reliefs). He presided over the Independent Film and Video Alliance in 1994 and Main Film in 1992 and 1993. In 1994 he programmed and coordinated the 5 Days of Canadian Independent Cinema, and in 1998 he curated a showcase of Canadian experimental films of the nineties at The Goethe Institute in Montréal. His current research interest is the merging of medias.



FILM PRODUCTION : Daniel Cross

Assistant Professor
M.F.A., Concordia University
e-mail: | phone: (514) 848-2424 ex.5235
FB 421-5

Daniel Cross is the founding owner of EyeSteelFilm, a documentary production house. Previously Cross was an Assistant Professor at the University of Regina from 1999-2001. His award-winning documentary films include SPIT: Squeegee Punks in Traffic and The Street: A film with the homeless. His film Too Colourful for the League, produced for the CBC, was nominated for a Gemini Award. In 2005 he completed the films Inuuvunga: I am Inuk I am alive for the National Film Board and George: from Athens to Beijing for the BBC and CTV.

Cross is a National Executive Board Member of the Canadian Film and Television Producers Association (CFTPA), the Documentary Organisation of Canada (DOC) and the Observatoire du Documentaire, and is a member of The Concordia Documentary Centre. He was also a Congress Co-Director and Convenor of the "Documentary Democracy" workshops for the Visible Evidence XII Conference (http://www.visibleevidence.org), held at Concordia University in August 2005.

Cross's current research includes the new media project Homeless Street Archive (http://www.homelessarchive.org), "Documentary in Canada: Emerging Technologies, Aesthetics, Discourses, Cultures" (SSHRC Standard Research Grant, co-applicant with Thomas Waugh, Martin Allor and Liz Miller), and "Le projet de documentaire Nation Sans-Abris: vers l’appropriation d’un pouvoir de representation," (FQRSC, principal applicant).


FILM PRODUCTION : Roy Cross

.:: Film Production Undergraduate Programme Head ::.
Associate Professor
M.F.A., Concordia University, 1998
e-mail: | phone: (514) 848-2424 ex.4659
FB 421-23

Roy Cross grew up in Yorkton, Saskatchewan, home of North America’s longest running short film festival. He found himself making Super 8 films in high school where an interest in punk rock, fast cars and the pursuit of the plastic arts started him on his current path. Cross has been writing, producing and directing short films for the past sixteen years which have played Oberhausen, Ann Arbor, New York, Paris and other festivals around the world. He recently launched the DVD of his critically successful 35mm feature film, So Faraway and Blue (http://www.sofarawayandblue.com).

Cross’s interests lie predominately in fiction filmmaking but he explores alternative production practices that allow him to remain loyal to a story and the formal considerations of emulsion without being restricted by rules of convention or budget. He is currently finishing a short colour film and has recently begun a larger, more ambitious project involving 35mm black and white. This project is a series of short films connected by a similar location and theme. Cross is the 2005 recipient of the Kodak Faculty Scholars Award which will be used for the research and production of a short 35mm black and white, hand processed film. He has also recently received research and development funding for his second feature film entitled Falling to Earth.

Cross incorporates his research and filmmaking practices into classroom pedagogy emphasizing imagination and creativity over large, production management intensive projects. He is a hands-on filmmaker interested in, and knowledgeable of, new technologies but very much committed to artisanal practices.


FILM PRODUCTION : Guylaine Dionne

.:: Film Production Graduate Programme Head ::.
Associate Professor
M.F.A.
e-mail: | phone: (514) 848-2424 ex.4271
FB 421-19

A native of the Province of Quebec, Guylaine Dionne has been working steadily in the film and television industry for more than a decade, ever since she graduated with honours from Montreal’s Concordia University where she studied film production. In 2004, Dionne directed the feature-length television documentary, Mary Shelley, which was invited in competition at the L’Encre à l’écran film festival in Tours (France) where it won the “Lanterna Magica” Prize for Best Documentary. Her first independent feature film, Les Fantômes des trois Madeleine (The Three Madeleines), was selected by the Directors’ Fortnight and had its World Premiere at the 2000 Cannes International Film Festival. This was followed by an international tour of prestigious festivals in Portugal, Korea, Belgium, Italy and Canada. Les Fantômes des trois Madeleine received the following awards: Grand Prize at the Figueira da Foz International Film Festival (Portugal), the “Don Quijote” Award from the European Federation of Cine-Clubs and Special Mention from the international Critics’ Jury of the FIPRESCI.

While working on the screenplay and the production aspects of what would eventually become Les Fantômes des trois Madeleine, Dionne also directed four documentaries: two episodes for the series Îles d’inspiration, one dedicated to legendary poet and singer-songwriter Félix Leclerc, the other to historian and author Louis Caron; an episode of the series Through her Eyes entitled Jess Goes West, a road movie about a young Québécois woman on a trip throughout Western Canada, and an episode of the series Les Histoires oubliées entitled La Mémoire des lieux.

Dionne is currently producing and directing a feature-length film, Les mercredis de Rose, for which she wrote the script. She also has in development a feature-length drama, Serveuses demandées, for which she has written the script and that she will direct.



FILM PRODUCTION : Richard Kerr

Professor
Media Arts Diploma, Sheridan College, 1979
e-mail: | phone: (514) 848-2424 ex.4349
FB 319-4

image



Image: Cinémathèque québécoise/Industry 2006
Photo credit: Michael Rollo




RICHARD KERR is a visual artist-media maker known for his expansive body of work, which has explored a multiplicity of genres and media since the early 1970s. He has created over 30 films and videos that have been screened and collected around the world. In the mid nineties Richard Kerr expanded his practice to encompass meta; cinema installation work and most notably conceptualization of the Motion Picture Weaving Light Box. Recent studio work includes INDUSTRY at Cinémathèque Québécoise 2006. Richard Kerrs current studio work involves the design of new meta; cinema installation for 2009, curated by the Double Negative Film Collective Montreal. Richard is also continuing his work with Electronic Small Press Publishing with an coming Edition concerning the notion of the Digital Sketch and Visual Processes, publication in 2009. Forevever the teacher / practioneer Richard continues with his annual Expanded Documentary Workshop at Escuela International de Cine y TV in Cuba a collaboration with the Mel Hoppenheim School of Cinema. Please refer to www.richard-kerr.ca for more information.

Honours & Designations :

Professor of Distinction
Ryerson University Toronto
Faculty of Communication & Design
School of Image Arts 2008-2009

Chair
The Mel Hoppenheim School of Cinema 2004-2007

International Fellow
De Santis Center for Motion Picture Studies
Florida Atlantic University 2007

Inspiring Teacher Award
Faculty of Fine Arts
University of Regina Teaching Development Centre
University of Regina 1998



FILM PRODUCTION : Louise Lamarre

Associate Professor
B.F.A., Concordia Unversity
e-mail: | phone: (514) 848-2424 ex.4791
FB 421-17

Independent filmmaker Louise Lamarre graduated from Laval University (Certificate in Film Studies) and Concordia University (B.F.A. Film Production). Her field of experience includes a two-year specialization in intra-camera special effects as well as dramatic writing and directing (DramaLab) with the National Film Board of Canada.
She directed her first short film, Le Vernissage, in 1980. Since then she has acted as director, scriptwriter and producer on more than forty professional productions, ranging from fiction to documentary, including music video, advertisements, and corporate films. She has worked on some highly rated television series, such as (US/Canada co-production) Are You Afraid of the Dark?, and (France/Canada co-production) Les Nouvelles aventures des intrépides. Further, as a consultant for the government of Quebec, specifically the "Société de développement des entreprises culturelles" (SODEC), she has authored several important reports, including two major studies on independent production practices in Quebec, titled LE PRIX DE LA LIBERTÉ Vol. 1 (film) and Vol. 2 (video), published by the Institut québécois du cinéma (IQC). Since the beginning of her career, Louise has been conducting research in the field of special effects in cinema. Her latest research project, titled FX PROJECT, focuses on high definition technology, and is presently leading her to test novel techniques for in-camera real time special effects.
A major discovery of hers has been to control on the set and in real time, the depth of field of layered, true-to-scale imagery, to which an American patent has been granted in January 2007. She has named her invention: Holo Editorial Layering Process -H.E.L.P.-
Currently, she is the Head of the Film Production Program at the Mel Hoppenheim School of Cinema in the Faculty of Fine Arts at Concordia University.
As her interests lie in independent filmmaking, her major research fields and specialties are:
(a) Content: scriptwriting;
(b) Technological: in-camera real time special effects;
(c) Production: development of creative production methods.

Finally, these three specialties drive her three main present projects, which are titled:
(1) BREAKFAST IN NEW YORK, a fiction feature length film, which is presently at financing stage;
(2) BEYOND SIGHT, a feature length docu-drama, in development;
(3) DUST, a 7 minute experimental animated film, in post-production.


FILM PRODUCTION : Marielle Nitoslawska

.:: Chair ::.
Professor
M.F.A., Polish National Film School, 1984
e-mail: | phone: (514) 848-2424 ex.4665
FB 421-15


Image: Sky Bones
Marielle Nitoslawska graduated from the renowned Polish National Film School in Lodz in 1984, and began teaching in the Film Production Program at the Mel Hoppenheim School of Cinema in 1989. As a director and a cinematographer, she has shot over fifty films that have been exhibited at numerous international film festivals. Her research and studio practice focus on new approaches to documentary, on the relationship of production structures and technologies to cinematic discourse, and on cinematography as a determinant mode of authorship.

Nitoslawska's recently acclaimed documentaries Sky Bones and Bad Girl explore the undercurrents of our relationship to nature, sexuality and mortality. Her extensive filmography, produced in Poland, Mexico and Canada, includes numerous films about art and reflects her preoccupation with the cross-breeding of cultures.



FILM PRODUCTION - PART TIME : Mary Ellen Davis

B.F.A., Concordia University, 1984

image

from "Haunted Land",
by Mary Ellen Davis -
© Daniel Hernandez-Salazar

image



Mary Ellen Davis has lived in France and in Québec. A Concordia University Film Production graduate, she first made a short film, Nelson Symonds Jazz Guitarist. She travelled many times to Guatemala, where she filmed two 16mm documentaries: The Devil's Dream (1992) and Tierra Madre (1996). Both films reveal the profound injustices that plague the country, while honouring Guatemalans and their cultures. In 2001, Davis released a third documentary shot in Guatemala, Haunted Land, a quest into the past, a story of death and survival in the Mayan highlands. These three works have each won several awards, as well as widespread recognition inside and outside of Québec. With the same inspiration, Davis directed Mexico: Dead or Alive (1996), produced by the N.F.B., about political violence and the fight for democracy in that country. She helped produce Alejandro (1994), a feature-length 16mm documentary by Salvadoran director Guillermo Escalon. In 2007, Davis released three new documentaries: Territories, about Canadian photographer Larry Towell, member of Magnum Photos; A Day in Palestine, a short film shot in super 8 and co-directed with José Garcia-Lozano and Will Eizlini; Los Músicos, about musicians in Mexico and the local passion for music. Since 1997, she has worked part-time as film and video program advisor for Montreal's First Peoples' Festival Présence autochtone, and since 2007, as coordinator for Regards palestiniens.


FILM PRODUCTION - PART TIME : François Miron

M.F.A., School Of The Art Institute Of Chicago, 1990
e-mail:
François Miron began makings films in 1982, working exclusively with emulsion (as in film NOT video). His early body of work consists of several short experimental films, all created using a powerful film image manipulation technique that he has mastered: optical printing. In 1990 he received an MFA in filmmaking from The School of The Art Institute Of Chicago where he went under a full merit scholarship. All of Miron’s films have been screened in festivals and all sorts of venues throughout the world, receiving countless awards and true underground acclaim. Aside from this, the cult director produces music videos, feature title sequence design, photography and short and feature length independent surrealistic narrative films. Since 1993 he has been teaching optical printing, filmmaking, and technical aspects of film at the Mel Hoppenheim School of Cinema.

Besides several short film projects, Miron has recently completed principal photography on The 4th Life, a 35mm feature film project written by James Galwey and produced with Les Films de L'Autre. This film is funded in part by Telefilm Canada, SODEC and the Conseil des arts et des lettres du Québec.



FILM PRODUCTION - PART TIME : Michael Yaroshevsky

M.F.A., Concordia University, 2002, M.A., University of Toronto 1994
e-mail:
image
Petropolis
After receiving degrees in the history of art, Japanese, and cinema, Michael Yaroshevsky began working in film as a writer, director, and cameraman. His selected filmography includes: Petropolis, 2002 (Best Experimental Documentary, Barcelona Docupolis); Interstellar, 2005 (Festival Nouveau Cinéma), Death Valley Superstar, 2008 (International Jury Award, 32nd Sao Paulo International Film Festival), Hard Sign (feature in development with the financial support of SODEC).




FILM STUDIES : Luca Caminati

Associate Professor (September 2010)
PhD, University of Wisconsin, 2001
e-mail:
Dr. Caminati's academic work encompasses Italian cinema, contemporary Italian popular culture, literature and media, film studies, and critical theory.

His innovative and influential book on Pier Paolo Pasolini, Orientalismo eretico, was published by Bruno Mondadori in Milan in 2007.


FILM STUDIES : Mario Falsetto

Professor
Ph.D., New York University, 1990
e-mail: | phone: (514) 848-2424 ex.4634
FB 315-1 : THURS. 11:30-13:30


image
Click for an interview
with Neil Jordan taken from Falsetto's book.
Mario Falsetto's areas of research interest include contemporary American Cinema; experimental film; independent narrative film; the films of Stanley Kubrick, Nicolas Roeg, Stan Brakhage, Federico Fellini, Terence Davies, Martin Scorsese, David Lynch, and John Cassavetes; as well as contemporary film theory and aesthetics. He has taught Experimental Film, Film Aesthetics, Montage Aesthetics, American Cinema of the 1960s and 1970s, Studies in Film Directors, the Films of Stanley Kubrick and numerous other courses.

At Concordia, Falsetto has served as Chair of the Cinema Department, Associate Dean of the Faculty of Fine Arts, and Graduate Program Director of the M.A. in Film Studies. He is also a past-president of the Film Studies Association of Canada.

Publications include Perspectives on Stanley Kubrick (G. K. Hall, 1996); Personal Visions: Conversations With Contemporary Film Directors (Silman-James Press, 2000), the first volume in his on-going project of interviews with contemporary filmmakers; Stanley Kubrick: A Narrative and Stylistic Analysis (New and Expanded Second Edition, Praeger Publishers, 2001), and the forthcoming book, Talking Movies: Conversations With Film Directors About Movies That Matter (Preger Publishers, 2006).

Click here to read a chapter from Perspectives on Stanley Kubrick



FILM STUDIES : Martin Lefebvre

Associate Professor
Ph.D., UQAM, 1996
e-mail: | phone: (514) 848-2424 ex.4676
FB 335

image
Martin Lefebvre is University Research Chair in Film Studies and Director of the Advanced Research Team on the History and Epistemology of Moving Image Studies (ARTHEMIS, http://www.arthemis-cinema.ca/). He is also Director of the Doctoral Program in Film and Moving Image Studies. His research interests include general and applied semiotics, philosophy (Peirce and pragmatism, Wittgenstein and the philosophy of language, epistemology, hermeneutics, aesthetics), classical and contemporary film theory, modern and postmodern film, narrative theory, cultural studies, cinéma québécois, Hollywood cinema, Hitchcock, Eisenstein, Greenaway, and Godard. Lefebvre is the Editor of Recherches sémiotiques/Semiotic Inquiry (RS/SI), the journal of the Canadian Semiotic Association, and he has written for film, philosophy, cultural studies and literature journals and anthologies in Canada, Europe, Japan and the United States.

He has published a book entitled, Psycho: De la figure au musée imaginaire: Théorie et pratique de l'acte de spectature (L'Harmattan, 1997), has co-edited a book on Eisenstein (Eisenstein: l'Ancien et le nouveau. Publications de la Sorbonne, 2002 -- with François Jost and Dominique Chateau) and a collection entitled Landscape and Film (Routledge, 2006). He is currently preparing a book on Peirce, Pragmatism and Images.

Prior to joining Concordia, Lefebvre taught at the University of Alberta (Edmonton) and at Université Laval (Québec City). He has been an Invited Professor at the Université de Paris 1 Sorbonne-Panthéon, the Université de Poitiers and the Instituto Tecnologico y de Estudios Superiores de Monterrey in Mexico City, and is Adjunct Professor in the Doctoral Program in Semiotics (Sémiologie) at Université du Québec à Montréal.



FILM STUDIES : John Locke

Professor
M.A., New York University, 1971
e-mail: | phone: 514 848-2424 ex.4653
FB 315-9

Concordia's first appointment in Fine Arts/Cinema, John Locke has taught seminars on film technology and style, film theory and criticism, and Hitchcock and Welles. Locke's previous graduate work was in analytical philosophy with a concentration in aesthetics and the philosophy of language. His research interests include the concept of "style" in film and art, the films of 1931-33 and their cultural contexts, and the "unknown documentary", Jean Dréville's (1928) Autour de l'argent.

Locke has written for film and art magazines in Canada and the United States on experimental film and film criticism, including a seminal two-part article written in the 1970s for Art Forum on Michael Snow's La région centrale. His recent work on "how-to" filmmaking books include topics such as script-writing and film technology in the silent era.

Locke occupies a position outside mainstream film theory, influenced by anti-theory theory as exemplifed in the work of David Bordwell and Noel Carroll and by analytical philosophy growing out of late Wittgenstein works.



FILM STUDIES : Erin Manning

Assistant Professor
Cross-Appointed with Studio Arts
Ph.D., Political Theory, University of Hawaii, 2000
e-mail: | phone: (514) 848-2424 ex. 5852
VA-242

Erin Manning holds a University Research Chair in the Faculty of Fine Arts at Concordia University (Montreal, Canada). She is also the director of the Sense Lab (http://www.senselab.ca), a laboratory that explores the intersections between art practice and philosophy through the matrix of the sensing body in movement. In her art practice she works between painting, fabric and sculpture (http://www.erinmovement.com).

Her current project entitled Folds to Infinity is an experimental fabric collection composed of cuts that connect in an infinity of ways, folding in to create clothing and out to create environmental architectures. The next phase of this project will explore the resonance between electromagnetic fields and movement through the activation of the existent magnets in Folds to Infinity.

Her writing addresses the senses, philosophy and politics, articulating the relation between experience, thought and politics in a transdisciplinary framework moving between dance and new technology, the political and micropolitics of sensation, performance art, and the current convergence of cinema, animation and new media. Publications include Relationscapes: Movement, Art, Philosophy (Cambridge, Mass.: MIT Press, 2009), Politics of Touch: Sense, Movement, Sovereignty (Minneapolis: Minnesota University Press, 2007) and Ephemeral Territories: Representing Nation, Home and Identity in Canada (Minneapolis: Minnesota University Press, 2003).

Click here for the introduction (PDF format) to Erin's Politics of Touch: Sense, Movement, Sovereignty (Minnesota UP, 2006).


FILM STUDIES : Rosanna Maule

.:: Film Studies Undergraduate Programme Head ::.
Full-time Associate Professor
Ph.D., University of Iowa, 2000
e-mail: | phone: (514) 848-2424 ex.4615
FB 337

Rosanna Maule received her PhD from the University of Iowa in 2000. She has been teaching Film Studies at the Mel Hoppenheim School of Cinema since 2001 and has recently been promoted to the rank of Associate Professor.

She is completing a book on new developments of authorial film practices in French, Italian, and Spanish cinema since the 1980s with Intellect Press (UK) and co-editing an anthology on Marguerite Duras and cinema. Her next book project (for which she received a SSHRC Standard Research grant in April 2006) is on the use of the figural as a specific strategy of cinematic representation and meaning formation in contemporary European cinema. She has published several articles in film journals and books on her area of expertise and edited three special issues of film journals on new historiographic approaches to early cinema.

Maule is a member of the research group on early cinema GRAFICS, based at Université de Montréal, and a collaborator of the Concordia-based research team on the emergence of Film Studies as a discipline. Along with Catherine Russell, she co-organized the Women and the Silent Screen international congress, held in Montreal in June of 2004, and was on the Board of Directors of the 2006 edition of the same congress, held in Guadalajara (Mexico). She is on the editorial board of Cinémas and a member of Domitor and of the Women and the Silent Screen International Association.

Area of expertise include:
Contemporary European cinema
Early cinema
Feminist film theory and historiography
Contemporary film theory





FILM STUDIES : Peter Rist

Professor
Ph.D., New York University, 1988
e-mail: | phone: (514) 848-2424 ex.4664
FB 339

Peter Rist's areas of research interest include silent American film, Brazilian, Cuban, Korean, and Chinese (including Hong Kong) cinemas, the films of Ford and Jansco, and the history of film style. He has presented his critical work on Asian cinema at numerous conferences in North America and Asia. He has published on Canadian, third (world) cinemas, East Asian, contemporary American and experimental film, as well as performance art.

Rist’s book, South American Cinema: A Critical Filmography, 1915-1994, was published in 1996 and appeared in paper in 1998 (University of Texas Press). He has also edited an encyclopedia on Canadian cinema entitled A Guide to the Cinema(s) of Canada (Greenwood Press, 2001).



FILM STUDIES : Catherine Russell

.:: PhD Film & Moving Image Studies Programme Head ::.
Professor
Ph.D., New York University, 1990
e-mail: | phone: (514) 848-2424 ex.4657
FB 315-4 : Thursdays 2pm - 4pm


image
Click to read the preface.
Russell has published widely on narrative theory, historiography, ethnography, postcolonial and postmodern theory, feminist theory, melodrama, and Japanese cinema. She has taught courses in experimental ethnographic film, film history, film theory, women and film, Japanese cinema, the western, and melodrama, as well as Methods in Film Studies and a PhD seminar on Walter Benjamin. Her current research projects include Japanese filmmaker Mikio Naruse, and early cinema. In collaboration with Rosanna Maule, she was coorganizer of the Women and Silent Screen Congress, held at Concordia in June of 2004.

Russell serves on the editorial boards of Cinema Journal, Cinemas and The Canadian Journal of Film Studies. She has published articles on experimental film and video, Japanese cinema, and Canadian cinema. She has published Narrative Mortality: Death and Closure in New Wave Cinemas (University of Minnesota Press, 1995) on the films of Lang, Wenders, Oshima, Godard, and Altman; and Experimental Ethnography: The Work of Film in the Age of Video (Duke University Press, 1999).



FILM STUDIES : Maria "Masha" Salazkina

Associate Professor (September 2010)
PhD, Yale University, 2005
e-mail:
Dr. Salazkina's specialties include Soviet cinema and culture and early Soviet film theory, Latin american cinema and culture, and theories of modernity and modernism.

Her most recent publication, In Excess: Sergei Eisenstein's Mexico (University of Chicago Press, 2009), chronicles the years that the renowned Soviet director spent in that country working on his unfinished, controversial film, ¡Que Viva Mexico!


FILM STUDIES : Marc Steinberg

Assistant Professor
PhD, Brown University, 2009
e-mail: | phone: (514) 848.2424 x.8728
FB 421-9

Marc Steinberg’s research interests revolve around Japanese animation and visual culture. He has just completed a manuscript on the beginnings of Japanese television animation (anime) in the 1960s, tracking the proliferation of media and material forms that accompanied anime’s emergence. His current research focuses on contemporary forms of animation and artistic practice that interrogate media convergence, character merchandising, and the media mix in North American and Japanese film and media cultures.

He has published essays in Japan Forum, Animation: An Interdisciplinary Journal, Parachute and Theory, Culture & Society.


FILM STUDIES : Haidee Wasson

.:: Film Studies Graduate Progamme Director ::.
Associate Professor
Ph.D., McGill University, 1999
e-mail: | phone: (514) 848-2424 ex.5236
FB 321-2

image
Haidee Wasson’s research interests include modernity/modernism, film exhibition and reception, cultural institutions, emergent media, film and media theory, feminism, and film and media historiography. Her published work concentrates on cinema, but explores the broader relations among media forms and practices (cinema and newspapers, books, radio, film, television, internet). Published research includes work on film and museums; film criticism and newspapers; 16mm projectors and film exhibition; the genealogy of cinema as home entertainment; the impact of various screen technologies on debates about historical knowledge, experience, and aesthetics; and the history of the museum gift shop. She lectures internationally on these and other subjects. She has also won numerous awards and research grants including Doctoral, Post-Doctoral and Faculty grants from the Social Sciences and Humanities Research Council of Canada, the Fulbright Foundation, and the McKnight Landgrant Foundation. She previously taught in the Cultural Studies and Comparative Literature Department, University of Minnesota and in the Visual and Environmental Studies Program, Harvard University.

Her award-winning book Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (Berkeley: University of California Press, 2005) examines the importance of the modern art museum for ideas and practices of cinema. She has also co-edited (with Dr. Lee Grieveson) a collection of essays on the history of the field of moving image studies,Inventing Film Studies: Towards a History of a Discipline (Durham: Duke University Press, 2008). Her current major research project investigates the history of portable film technologies (projectors and screens).

Click here for Haidee's abridged CV.


FILM STUDIES : Tom Waugh

Professor
Ph.D., Columbia University, 1981
e-mail: | phone: (514) 848-2424 ex.4654
FB 315-5

image
Waugh has done major research on documentary cinema, including cinéma direct in Quebec, the documentary filmmaker Joris Ivens, and Indian independent documentary. He has published widely in Canada and the United States on political discourses and sexual representation in film and video, on queer film and video, and on Canadian cinema, and has undertaken inter-disciplinary research and teaching on AIDS and queer studies.

Waugh's books are an anthology, Show Us Life: Towards a History and Aesthetics of the Committed Documentary (1984), Hard to Imagine: Gay Male Eroticism in Photography and Film from their Beginnings to Stonewall (1996), The Fruit Machine: Twenty Years of Writings on Queer Cinema (2000), Outlines: Underground Gay Graphics From Before Stonewall (2002) and the forthcoming The Romance of Transgression in Canada: Sexualities, Nations, Moving Images (2006),Gay Art, A Historic Collection, Arsenal Pulp Press (2004).
.

Click the link for an article (PDF format) Tom wrote for the Canadian Journal of Film Studies entitled "Cinemas, Nations, Masculinities".



FILM STUDIES : Carole Zucker

Professor
Ph.D., New York University, 1982
e-mail: | phone: (514) 848-2424 ex. 4662
FB 315-3


image

Carole Zucker is internationally known for her work on performance studies, and has lectured and published in Europe, the U.S. and Canada on this subject. Her areas of research interest also include the horror and fantasy genre; contemporary film theory; narrative theory; New German cinema; Japanese Cinema; aesthetics; Irish Studies; concepts of excess,; adaptation, and film script analysis. She also teaches private acting workshops in Canada and the UK. Her research has been supported on numerous occasions by grants from the Social Sciences and Humanities Research Council.

She has published extensively on women and the Gothic; narrative theory; postmodern fairy tales; performance theory and the history of Irish Cinema for various U.S., Canadian, and UK journals, as well as having her work extracted in / The London Times./ Zucker¹s publications include / The Idea of the Image: Josef von Sternberg's Dietrich Films / (1988), / Making Visible the Invisible: An Anthology of Original Essays on Film Acting / (1993), / Figures of Light: Actors and Directors Illuminate the Art of Film Acting / (1995), / In the Company of Actors /(1999) with a foreword by Sir Richard Eyre, Conversations with Actors on Film, Television, and Stage Performance (2002), and the recently published /The Cinema of Neil Jordan/: /Dark Carnival /(2008), with a foreword written by Stephen Rea. Zucker is currently working on a major project entitled, Transformative Voices: Practitioner Interviews of British and Irish Actors ‹ Training, Culture and Praxis., the Next Generation, continuing her work in performance studies.

Click here for the Chapter 4: Postmodern Fairy Tales and Hybrid Genres (PDF)



FILM STUDIES - PART TIME : Dave Douglas

Ph.D., Northwestern University
e-mail:
David Douglas presently teaches Film History to 1959, Introduction to Cinema, and World Cinema(s). Recent courses of instruction have included Canadian Cinema, Introduction to the Art & Style of Cinema and The Musical. His areas of specialization and interest include film history, Canadian cinema and World cinemas (including Cuban Cinema, Sub-saharan cinemas, and Chinese cinemas), film and politics, independent cinemas and the cinema of Larry Kent. He is a contributor to Timothy Barnard and Peter Rist (eds.), South American Cinema: A Critical Filmography 1915-94 (published 1996, paperback ed. 1998, U. of Texas Press) and Peter Rist (ed.), Guide to the Cinemas of Canada (2001). He has also published in the Canadian Journal of Film Studies and Cinema Canada.

Dr. Douglas is a past Chair of the Canadian Filmmakers Distribution Centre and a current Member-at-Large for the Board of the Film Studies Association of Canada



FILM STUDIES - PART TIME : Matthew Hays

M.A., Concordia University, 1999
e-mail:
Matthew Hays is a Montreal-based critic and journalist. He has been a film critic for the weekly Montreal Mirror since 1993. His articles have also appeared in The Globe and Mail, The Daily Beast, The New York Times, The Guardian, The Advocate, The Walrus, CBC Arts Online, Cineaction!, Cineaste, Take One, POV, Cinema Scope, Montage, The Toronto Star, The Canadian Theatre Review, This Magazine, The Hollywood Reporter and Xtra. His book, The View From Here: Conversations with Gay and Lesbian Filmmakers (Arsenal Pulp Press), was cited by Quill & Quire as one of the best books of 2007 and won a 2008 Lambda Literary Award. Hays won the 2007 Concordia Alumni Association’s Award for Teaching Excellence. He is the co-editor (with Concordia professor Thomas Waugh) of the Queer Film Classics book series, which will be published from 2009-2015. Hays served as a programmer for the Toronto International Film Festival in 2008 and 2009. He teaches courses in the cinema, communication studies and journalism departments at Concordia.




FILM STUDIES - PART TIME : Donato Totaro

Ph.D., University of Warwick, 2002
e-mail:
Donato Totaro received his Doctoral Degree in Film & Television from the University of Warwick (UK) in 2002 and has been a lecturer in Film Studies at Concordia University since 1990. Courses taught include “Film Comedy,” “Film Aesthetics,” “Time, Temporality and Cinema,” “Montage Aesthetics,” “History of Film to 1959,” “Horror and Fantasy,” and “Moving Camera Aesthetics.” Since 1997 he has been the editor of the online film journal Offscreen (http://www.offscreen.com), a wide-ranging journal which specializes in international and alternative cinemas. Totaro is a member of the Association québécoise des critiques de cinema (AQCC) and has published extensively on recent Asian cinema, the cinema of Andrei Tarkovsky, the horror genre, and is a regular contributor to the US horror magazine Fangoria. His research interests include the horror genre, film style, and cinema and temporality. He is currently preparing a manuscript entitled “Time and the Long Take in Narrative Cinema.”



FILM STUDIES - PART TIME : Pierre Véronneau

Ph.D., Université du Québec à Montréal, 1987
e-mail:
Pierre Véronneau est détenteur d'un doctorat en histoire et d'une maîtrise en études littéraires de l'Université du Québec à Montréal. Entré au service de la Cinémathèque québécoise en 1973, il est depuis novembre 2002 Conservateur du cinéma québécois et canadien. À titre de conservateur, il a collaboré à plusieurs expositions réelles et virtuelles. Il est professeur associé à l’Université de Montréal et à l’Université du Québec à Montréal. Il enseigne régulièrement à titre de chargé de cours à l’Université Concordia. Il est membre du Groupe de recherche sur l’avènement et la formation des institutions cinématographique et scénique (GRAFICS), et siège au conseil de la revue Cinémas et d’associations professionnelles (Domitor, Association canadienne d’études cinématographiques, Institut d’histoire de l’Amérique française). On lui doit un certain nombre d'ouvrages sur le cinéma et la télévision au Canada, tels que David Cronenberg : la beauté du chaos (2003), Répertoire des séries, feuilletons et téléromans québécois de 1952 à 1992 (1993), Résistance et affirmation : la production francophone à l’ONF – 1939-1964 (1987), ainsi que de nombreux articles de recherche sur les sujets suivants : Cinéma au Québec au temps du muet (subvention CRSH 2003-2006), Cinéma ambulant et implantation urbaine, Montréal dans le cinéma québécois, Représentation et réception critique du cinéma québécois hors Québec, Scénario et adaptation, etc.



STAFF : Colette Briere

Animation Coordinator
e-mail: | phone: 514 848-2424 ex.4275
FB 432




STAFF : René Daigle

Camera Repairman
e-mail: | phone: 514 848-2424 ex.4332
FB 307




STAFF : Emmet Henchey

Technical Officer
e-mail: | phone: 848-2424 ex.4792
FB 307-13




STAFF : Tim Horlor

Sound Coordinator
e-mail: | phone: 514 848-2424 ex.4344
FB 431




STAFF : Amely Jurgenliemk

Administrator
e-mail: | phone: 514-848-2424 ex.4667
FB 319-1




STAFF : Alexandre Larose

Production Coordinator
e-mail: | phone: 514 848-2424 ex.4339 | fax: 514 848-4980
FB 413-7




STAFF : Jaynus O'Donnell

PhD Program Assistant
e-mail: | phone: 514-848-2424 ext.4337
FB 333




STAFF : Nathan Oliver

Depot Clerk
e-mail: | phone: 514 848-2424 ex.4652
FB 307 (Equipment Depot)




STAFF : Marcus von Holtzendorff

Post-Production Coordinator
e-mail: | phone: 514 848-2424 ex.4769
FB 413-5




STAFF : Olivia Ward

Department Assistant
e-mail: | phone: (514) 848-2424, ext. 4666
FB 319




STAFF : Cheryl Williams

Department Assistant
e-mail: | phone: 514 848-2424 ex.4335
FB 319