Concordia University’s Mel Hoppenheim School of Cinema in the Faculty of Fine Arts invites applications for a full-time, tenure-track faculty position in Critical Sexuality Studies in Film and Media to begin 1 August 2019. Film Studies at Concordia University is an internationally renowned leader in scholarship and curriculum devoted to the study of sexuality, gender, […]
by Catherine Grant and Jaap Kooijman How to introduce Richard Dyer? One could start by recognising that he is an academic star, as Su Holmes and Sean Redmond have done in their introduction to Framing Celebrity. Referring to Dyer’s 2006 SCMS keynote lecture, they write: [h]is entrance was greeted with ecstatic applause and he delivered […]
by Dietmar Meinel At the beginning of the Pixar animated film Up (Pete Docter, 2009) a young Carl Frederickson is shown eagerly watching the afternoon program at a local movie theater. Set in the early 1930s, the program starts with a black-and-white newsreel montage of the ‘Movietown News “Spotlight on Adventure”’ which provides ‘footage never […]
by Skadi Loist and Marijke de Valck On a sunny August afternoon in Amsterdam, Marijke de Valck and Skadi Loist of the Film Festival Research Network met cultural analyst, festival programmer, and filmmaker Eliza Steinbock (currently working as a lecturer and researcher at Maastricht University). The discussion ranged from Amsterdam-based transgender film festivals to issues […]
The provisional programme for the Centre for Film Studies symposium ‘Texture in Film’, 9 March 2013, University of St Andrews, has been announced. Registration is currently open for the event here. This symposium will seek to explore ways in which thinking about texture can reinvigorate discussion of film form across a variety of cinematic contexts, […]
by Katharina Lindner A phenomenological description of the cinematic situation considers the film as a lived body. Just as the human lived body forms the basis for intentionality, perception, expression and action in the world, the film’s body – its technological and instrumental dimension – forms the basis for the films perceptual and expressive engagement […]