CMCS members have been in the news once again! We are pleased to announce latest media coverage along with updates on featured conferences and publications below. CMCS board member and Save Moment founder Dr Anita Krajnc will be interviewed by Karin Wells for The Sunday Edition of CBC Radio on Sunday, March 20. Furthermore, CMCS board member Tushar Unadkat has been featured in NRI News. Finally, University Affairs columnist and CMCS media panelist Dr Jennifer Polk is hosting the 3rd Annual Beyond the Professoriate online conference for graduate career development.
Kindly note that early bird deadline for Celebrity Studies journal conference is this Friday, March 18. Also, the early bird deadline for second round of short listed / late CMCS Bridging Gaps conference applicants is Tuesday, March 29. Deadline for all regular CMCS registration fees is Friday, June 10. For CMCS conference enquiries, contact Dr Jackie Raphael and Dr Celia Lam at firstname.lastname@example.org. General inquiries must be sent to email@example.com
3rd Annual Beyond the Professoriate
7 and 14 May 2016
Beyond the Professoriate is an annual career conference for PhDs. It is hosted entirely online, and welcomes participants from around the globe on two days, Saturday, 7 May, and Saturday, 14 May.
This conference is for graduate students and recent PhDs from STEM, social sciences, and humanities disciplines. During this two-day event, attendees will hear from doctoral-degree holders who successfully transitioned to work beyond the professoriate and learn job search strategies from career education professionals.
2016 at a glance: 2 days – 4 panels. 6 presentations. 11 hours of exclusive, live content. 20+ PhDs.
The full conference program is available here. The speaker bios package is available here.
For more information about Day 1 of this two-day online event, please see this post. Day 2 is detailed here.
Full conference – $39 US
Career Day Only (May 7) – $25 US
Professional Development Day (May 14) $25 US
Late Registration (after April 15)
Attend 1 Day – $30 US
Attend 2 Days- $49 US
Save 10% by using this link: https://beyondprof2016.eventbrite.com/?discount=JenList16
Or enter the code "JenList16" when you purchase your ticket on our Eventbrite page. This discount applies to full conference registration.
Information about Institutional/Group pricing options available here.
*New this year: 21 day replay of the sessions. (Includes audio and slides).
To keep informed, join Beyond the Professoriate mailing list.
The Cinema of Robert Altman: Hollywood Maverick
Wallflower Press (an imprint of Columbia University Press)
Publication date: March 1, 2016
In a controversial and tumultuous filmmaking career that spanned nearly fifty years, Robert Altman mocked, subverted, or otherwise refashioned Hollywood narrative and genre conventions. Altman’s idiosyncratic vision and propensity for formal experimentation resulted in an uneven body of work: some rank failures and intriguing near-misses, as well as a number of great films that are among the most influential works of New American Cinema. While Altman always professed to have nothing authoritative to say about the state of contemporary society, this volume surveys all of his major films in their sociohistorical context to reposition the director as a trenchant satirist and social critic of postmodern America, depicted as a lonely wasteland of fraudulent spectacle, exploitative social relations, and unfulfilled solitaries in search of elusive community.
About the Author
Robert Niemi teaches film, critical theory, American literature, and cultural studies at St. Michael’s College in Colchester, Vermont.
From Dahne Jobson
Chair, Toronto Community Media Network (Independent Community Television Toronto Steering Committee)
2016 Story Money Impact
The Inspirit Foundation is excited to offer 4 scholarships for young media-makers to attend this year’s Media That Matters: Story Money Impact at the Hollyhock Institute on B.C.’s Cortes Island from June 1-5, 2016.
What is it?
Media That Matters: Story Money Impact is a practical workshop for media-makers, principled funders, and highly motivated activists who want to ensure their work makes a difference. This intimate conference illuminates the spark of engagement at the core of these three pursuits. Structured around case studies from the front lines, Story Money Impact reveals best practices in the areas of documentary, digital content, and independent journalism. It explores how these professions can synergize with funders who want maximum leverage for their resources and reach, while partnering with strategic innovators who can highlight those results with more robust evaluation tools.
When and where is it?
Story Money Impact will take place June 1-5, 2016 at the Hollyhock Institute on Cortes Island, B.C.
How to apply:
Please fill out our online application by March 18th 2016.
All successful applicants will be contacted by email on or before April 8, 2016. The scholarship includes:
- Full Story Money Impact conference registration fee.
- Full accommodation and meals at the Hollyhock Institute based on the shared dorm rate.
- Travel costs from Vancouver to Cortes Island.
- A travel bursary of up to $800 to support participants outside of B.C.
- Between the ages of 18-34
- Canadian or resident of Canada
- Able to attend for the entire conference (June 1-5, 2016)
- Demonstrable practice in filmmaking or in using media to create positive social change
- Likely to apply learning to practice in Canada
- Likely to benefit from learning outcomes of conference
- Must agree to participate in post-conference evaluation and online session hosted by Inspirit
- Willing to share insights in a blog or other form about their experience at the conference for use by Inspirit
Inspirit encourages and welcomes applications from people who identify as Indigenous (Métis, First Nation, Inuit, on/off reserve), a person of colour, LGTBQQ2, living with a disability, or a religious minority.
What will the scholarship cover?
This scholarship will cover the following:
- Full cost of the Story Money Impact conference registration fee of $495.
- Travel from Vancouver to the Hollyhock Institute on Cortes Island for up to $350.
- Accommodation and meals at the Hollyhock Retreat Centre for up to $520. This rate is based on Hollyhock’s rate for shared dorm accommodations and washrooms (meals are included). Inspirit will assist in booking dorm accommodation.
- If you choose, you may use the $520 towards a private room; however, participants must cover any additional rooming costs above $520 and will be responsible for booking their own rooms.
Click here for more information about the Hollyhock Institute’s accommodation options.
- Inspirit is able to support financial requests to offset reasonable travel costs of up to $800 (based on distance of travel). Please note: if you are accepted, you might not be offered the full amount requested.
- Participants will be required to cover associated costs above and beyond the travel bursary amount. Please budget accordingly.
- Participants will be responsible for booking own travel to the Hollyhock Institute.
How is the selection made?
Inspirit and our partners will make the selection based on the above criteria, as well as regional and gender balance. We will actively seek to promote access, inclusion and equity by ensuring that this opportunity is made accessible to those of different backgrounds and beliefs.
Feel free to email our Program Manager if you have further questions: firstname.lastname@example.org
Call for Women Writers
Our theme week for March 2016 will be Women Directors.
The gender gap in the entertainment industry has risen to the level of popular consciousness, such that prominent public figures are frequently commenting on it and demanding change, but while awareness of the under-representation and misrepresentation of women in film and television has grown, is there much being done to combat it?
Women directors face myriad obstacles: despite there being an abundance of talented female directors struggling to produce work, many companies refuse to give them projects (only 3.4% of all film directors are female and only 9% of the top 250 movies in 2015 were directed by women), they are not paid as much as their male counterparts, there’s an expectation that their work be stereotypically female (i.e. chick flicks), and their work is rarely appreciated with the same level of acclaim (only 4 women have ever been nominated for a Best Director Academy Award). Despite all these obstacles and hardships, there are a growing number of women making amazing work with wide range of genres and topics: romantic, thought-provoking, innovative, hilarious, or even terrifying. In 2009, Kathryn Bigelow broke barriers with The Hurt Locker, a film about soldiers and war, when she took home Academy Awards for both Best Picture and Best Director. She was the first woman ever to receive an Oscar for Best Director. In 2014, Ava DuVernay’s depiction of the civil rights movement Selma won an Academy Award for Best Song and garnered nominations for Best Picture. But DuVernay didn’t receive an Oscar nomination, an unfortunate snub as she would have been the first Black woman to ever receive a nomination for Best Director.
However, the Oscars are typically white and male-dominated and are increasingly being disregarded as an antiquated, patriarchal, elitist group who should no longer be regarded as the gatekeepers of important cinema, and women are increasingly working in the independent film scene. Despite the somewhat encouraging rise of women directors, white women tend to dominate the field, receiving accolades and projects with far greater frequency than women directors of color, which is a microcosm reflective of the stratification of the feminist movement itself.
The examples below are the names of women directors alongside an example of one of their most acclaimed works. Feel free to use those examples to inspire your writing on this subject, or choose your own source material.
We’d like to avoid as much overlap as possible for this theme, so get your proposals in early if you know which film you’d like to write about. We accept both original pieces and cross-posts, and we respond to queries within a week. Most of our pieces are between 1,000 and 2,000 words, and include links and images. Please send your piece as a Microsoft Word document to btchflcks[at]gmail[dot]com, including links to all images, and include a 2- to 3-sentence bio. If you have written for us before, please indicate that in your proposal, and if not, send a writing sample if possible.
Please be familiar with our publication and look over recent and popular posts to get an idea of Bitch Flicks’ style and purpose. We encourage writers to use our search function to see if your topic has been written about before, and link when appropriate (hyperlinks to sources are welcome, as well).
The final due date for these submissions is Saturday, March 26, 2016 by midnight Eastern Time.
Ava DuVernay (Selma)
Sofia Coppola (Lost in Translation)
Haifaa al-Mansour (Wadjda)
Jane Campion (The Piano)
Kathryn Bigelow (The Hurt Locker)
Amma Asante (Belle)
Lena Dunham (Girls)
Julie Delpy (2 Days in Paris)
Mary Harron (American Psycho)
Mary Lambert (Pet Sematary)
Meera Menon (Farah Goes Bang)
Julie Dash (Daughters of the Dust)
Nora Ephron (Sleepless in Seattle)
Penny Marshall (Big)
Lisa Cholodenko (The Kids Are All Right)
Emily Ting (It’s Already Tomorrow in Hong Kong)
Debra Granik (Winter’s Bone)
Dee Rees (Bessie)
Randa Haines (Children of a Lesser God)
Barbra Streisand (The Prince of Tides)
Jodie Foster (Orange is the New Black)
Call for Papers
23/4 September 2016, Middlesex University, The Burroughs, Hendon, London.
Keynote speaker: Professor Jean Burgess
Please send an abstract of 350 words plus a short bio of 100 words for single papers or 500 words and individual bios for group panels by email attachment to email@example.com
Deadline for receipt of abstracts is 4 April 2016.
YouTube has just passed its tenth birthday and it is timely to review not only how it has changed in that time, but also its wider influence. By focusing on YouTube as a platform we want to draw together research that is distributed across disciplines to help cross-fertilise knowledge about YouTube and its users, and to identity the research questions and methods that best capture its ever-expanding reach, impact and significance. We plan to include a panel of industry insiders to offer insights into possible futures in the light of current developments alongside the academic papers which we now invite you to propose.
Professor Burgess will consider how YouTube and the broader online video environment have changed in the past decade, and what its competing futures look like. She will also discuss how we might learn to recognise such patterns of change empirically, and the key methodological approaches to studying the co-evolution of proprietary digital media platforms and their cultures of use over time.
Possible questions to address (but not limited to these):
- How has the institutionalisation of YouTube changed its nature?
- Has YouTube accelerated processes of media convergence and transformation?
- What is the changing relationship of television to YouTube?
- How have production techniques and practices developed as the platform matured?
- What communities of practice have been influential in the development of YouTube norms?
- How has the development of new aesthetic forms been enabled by YouTube?
- What innovations in performance and modes of address can be detected on YouTube?
- To what degree do YouTube’s affordances operate as a social medium?
- What new forms of celebrity and fandom have emerged on YouTube and why?
- What wider social, cultural and political changes can be attributed to YouTube’s influence?
- Why do we need to regulate the corporate power of YouTube’s owners Google?
- Is YouTube a positive space for self realisation and expression of marginalised identities?
- How do concerns over data harvesting and privacy apply to YouTube?
- How have conflicts over rights affected the monetization of YouTube activities?
- What potential does YouTube have as a repository of curated archives?
- What are the genres that have thrived on YouTube and what wider significance does this have? (e.g. education, journalism, advertising and marketing, campaigning and propaganda, entertainment, documentary, drama, comedy and parody, how to ...)
- Is the development of specific apps for Music, Kids and Gaming a significant new trend?
- What research methods are used to study YouTube? What are their strengths and weaknesses?
Conference organisation team:
Professor Jane Arthurs
Dr Alessandro Gandini
Dr Paul Kerr
Call for Papers
Shipping and Fandoms
Literature revolves around relationships. These may include not only relationships between authors and their readers, but also ones among readers themselves; and they may also include not only relationships between fictional characters within a work, but also potential relationships between characters that are not explicitly delineated within the text itself.
We invite chapter proposals for a volume on the phenomenon of “shipping"—whereby readers create fan fiction or other fan-generated material that brings fictional characters together into imagined relationships (sexual, amorous, or otherwise).
The volume will consist of two parts, with the chapters in Part I being issue-driven (e.g., shipping and desire, shipping and animus, shipping and canons, shipping and perversity), and the chapters in Part II focusing on individual case studies (featuring examples from a variety of different genres, languages/cultures, and historical periods). Innovative and experimental approaches are encouraged.
Although individual chapters will each have a lead author (or authors), the volume as a whole will be collaboratively authored—both to ensure a uniform tone, but also in acknowledgement of the fundamentally dialogic nature of fan fiction itself. That is to say, the editorial team expects to work closely with each contributor on issues of structure, style, and content.
Please e-mail 300-word chapter proposals, together with your full contact information and a short biographical statement, to Carlos, Clare, and Eileen at firstname.lastname@example.org by April 15, 2016. The editors will review proposals by the end of April. If the proposal is accepted for inclusion in the volume, a draft of the complete chapter should be completed and submitted to the editors by August 1, 2016. Chapters should around 6,000 words in length, must be original work, and not be under review or accepted for publication elsewhere.
Clare Woods, Associate Professor of Classical Studies, Duke University
Carlos Rojas, Associate Professor of Chinese Cultural Studies, Duke University
Eileen Chow, Visiting Associate Professor of Chinese and Japanese Cultural Studies, Duke University
Call for Papers
Indian Popular Culture Area
2016 Midwest Popular Culture Association/Midwest American Culture Association Conference at Hilton Rosemont/Chicago O’Hare from Thursday-Sunday, October 6-9
Submission Deadline: April 30, 2016
Proposals will be accepted from any area relating to Indian Popular culture
Potential topics could include, but are not limited to:
(Please include name, affiliation, and e-mail address with the 250 word abstract.)
- Star Studies: What makes the Star Culture of India different than other countries?
- Indian popular culture among the Diaspora: How has it spread worldwide and why?
- Textual Analysis of a Particular Film: What is it that makes a film like Bajrangi Bhaijaan popular? Why did Dilwale do better overseas than at home? Why is Andaz Apna Apna a cult classic?
- Indian popular culture and Social issues: What does Indian popular culture say about women? Minorities? Religion?
More information about the conference can be found at:
CMCS member and artist Kathrin Guenter has been exploring the Phenomenon of Celebrity and Paparazzi Photography for the past 15 years. Her work The Go-Between Double http://katier.org/?TheGoBetween might be of interest to media and celebrity studies researchers. Currently, she is exhibiting her work "Celebrity Tarot" at a Berlin gallery. Visit http://katier.org/CelebrityTarot/ for details.
CMCS advisory board member and the Save movement founder Dr Anita Krajnc spoke on “CriminalizingCompassion?” (http://www.torontopigsave.org/th_event/criminalizing-compassion-anita-krajnc-case-march16/) along with her lawyers Gary Grill and James Silver at Moot Court Room (1005) at Osgoode Hall Law School, York Universityat on March 16, 2016.
Earlier this month, Dr. Anita Krajnc spoke at a lecture hall packed with 120 students after Earthlings screening (http://www.nationearth.com/earthlings-1/) at York University, Toronto. The screening and lecture was organized by York University Feminists for Animal Liberation on March 10, 2016.
CMCS advisory board member and Save Moment founder Dr Anita Krajnc will be interviewed by Karin Wells for The Sunday Edition of CBC Radio on Sunday, March 20. She has been also featured on Talking Animals http://www.talkinganimals.net/2016/02/anita-krajnc-activist-co-founder-of-toronto-pig-save/.
CMCS advisory board member and seminar panelist Tushar Unadkat has also been featured in the media. Visit NRI News http://nrinews24x7.com/tushar-unadkat/ for details.
We thank you for being a part of our growing research community. Visit our website (www.cmc-centre.com) for upcoming announcements. Looking forward to our conversations with you on our Twitter, Facebook, and LinkedIn. If you do not have Twitter, check highlights of this month's conversations here: https://storify.com/celeb_studies/cmcs-march-2016
Hope you are having a great week!
Dr Louis Massey
Advisory Board Member and Communication Manager
Centre for Media and Celebrity Studies (CMCS)