MA and PhD in Cinema and Media Studies
Applications are invited to the MA and PhD programs in Cinema and Media Studies (CMS) at York University. Applications are due 1 February 2008.
Cinema and Media research is rapidly transforming the humanities and fine arts, reflecting the massive global expansion of the cultural industries, and the extensive impact of cinema and related media.
The largest and most comprehensive Cinema and Media Studies Graduate Program in Canada, CMS builds on York’s longstanding commitment to deliver innovative and interdisciplinary post-graduate training. Our MA and PhD programs offer state of the art research and teaching facilities (including two research labs featuring Augmented Reality, 3D, locative media and diverse mobile screen interfaces) distinguished by leading edge scholarship by internationally acclaimed faculty.
The Cinema and Media Studies MA and PhD are offered alongside MFA Graduate Programs in film and digital Production and Screenwriting. Our program encourages rich and dynamic synergies between creative and scholarly research. We are also the proud home of two important film and culture publications: CineAction! and Public: Art/Culture/Ideas, where our students often hold internships as well as being given opportunities to publish their works.
Our faculty make outstanding contributions in the areas of film theory, film history, affect studies, post-colonial theory, urban media studies, labor studies and political economy, feminism and sexuality, national and transnational cinema (including African, Canadian, Chinese, European, First Nations, and Japanese cinemas), emerging screen technologies and digital media theory (sound and image), documentary, experimental and avant-garde film and media.
Our students and faculty regularly contribute to Toronto’s lively and diverse film culture through festival programming, curation, symposia, lectures and more. The city of Toronto provides students with exceptional opportunities for internships, access to film screenings, museums and galleries, festivals (over 100 film festivals occur each year, including the Toronto International Film Festival, Hot Docs, and Images Festival), and resources like the Ontario Archives (now housed on York University campus), and other unique research collections. This along with the fact that Toronto supports Canada’s most important media industry infrastructure makes us the program of choice.
Recent guests at York University include William Boddy, Michel Brault, Thomas Elsaesser, David Gatten, Guy Maddin, Atom Egoyan, Kaja Silverman, Rey Chow, Toby Miller, Hito Steyerl, and Clement Virgo, among many others.
We welcome applicants with educational backgrounds in Film Studies, Media Studies, Communications, Cultural Studies, Art History, English, Women’s Studies, Queer and Sexuality Studies, Comparative Literature, Philosophy, Area Studies, and other disciplines that nurture research in sound and moving image media.
The MA is a rigorous two-year program involving course work, employment as a teaching assistant, and the completion of either an MA thesis or Major Research Paper (MRP).
Teaching, publication, and professional academic development are key components of the PhD, a minimum four-year degree. After completing course work and comprehensive exams, students write a research dissertation that makes a decisive intervention in the discipline.
Each year the program selects a small group of exceptional students to join its vigorous and stimulating intellectual community, where students attend small and engaging seminars and receive close attention from faculty supervisors. Our MA and PhD programs provide specialized training for careers in academic, research and government organizations, arts and entertainment industries (television, film, new media), festivals, programming and curation, teaching, critical writing and publishing, publicity, and much more.
PhD Fields of specialization:
1) Cinema and Cultural Theory
Conceptualized as a broad interdisciplinary cluster, this field encompasses classical and contemporary cinema and media theory, including but not limited to: film and philosophy, authorship and genre, theories of the apparatus, psychoanalysis, phenomenology, spectatorship, ideological critique, feminist and post-colonial film theory, cognitive film theory, and film historiography. Theoretical traditions that have informed the historical formation of the
discipline (e.g., literary theory, narratology, semiotics, Marxist theories of culture, feminist theory, and aesthetics) complement other disciplinary approaches (e.g., cultural studies, communications, philosophy, psychology, visual studies, theories of modernity and technology, post-colonial theory, theories of race and ethnicity, new historicism, queer theory, globalization).
2) National and Transnational Cinemas
We approach cinema and media as integrally bound up in local, national, and transnational modalities of production, reception and circulation. This field’s methodological emphasis on contexts of production and aesthetic traditions seeks to locate culturally specific constructions of gender, sexuality, race, language, and class along with the other structures of power that mediate a multiplicity of cinematic cultural expressions. The political economy of global media industries, grounded in critical theory and history, functions as a conceptual and material
scaffolding around much of the coursework and supervision envisioned for students in this stream.
3) Cinema and Technologies of the Image
The history of cinema begins in photography, illusion of movement devices, and projection technologies, and extends to emerging digital media forms ranging from the Internet to cell phones and augmented reality. We encourage students to consider sound and moving image technologies in the context of history, science, aesthetics, political economy, theories of space and time, philosophies of science and technology, and the cultural contexts through which these have emerged. This field emphasizes the archaeology of media forms and genres including but not limited to narrative, documentary, and experimental media. Students pursue comparative and inter-media approaches that are appropriate to the present context of convergent media technologies like computer games, immersive media, and interactivity.
Prospective students may pursue dissertations in areas outside the above areas of specialization. In addition to the above areas of expertise, faculty members pursue wide-ranging research in documentary and experimental film and media, emerging media, and film history.
APPLICATION DEADLINE: 1 FEBRUARY 2008
Graduate Program in Film
Centre for Film and Theatre 224
4700 Keele St.
Toronto, ON M3J 1P3 CANADA
Tel: 416-736-2100 x 22174
Tuesday, December 23, 2008
MA and PhD in Cinema and Media Studies
CALL FOR PAPERS
special issue of Learning, Media and Technology
issue theme: Learning in Virtual Worlds
Edited by Jeremy Hunsinger and Aleks Krotoski
Virtual worlds are learning worlds.
There is substantial evidence that people learn in virtual worlds. While most learning in these spaces is informal, existing outside the school curriculum, formalised learning environments have also been developed in textual worlds, MOOs, MUSHes, MUDs and multi-media spaces like ActiveWorlds(R), Second Life(R), World of Warcraft (R) to support educational goals in primary, secondary, higher and lifelong learning contexts.
The extensive writings on virtual reality and virtual worlds over the past four decades have covered the breadth of the phenomena and experiences of learning via CMC in these situated spaces; this call for papers seeks scholarship that builds upon and extends those accounts. We seek research that deals with learning and research in social networks or among friends, learning through play, learning through artistic creation and learning in unconventional virtual realities. We seek papers that examine learning or modes of learning that occurs in unexpected ways.
For example, workshops have been transformed with the inclusion of new materials, like clay or other art equipment, encouraging participants to express themselves through different modes of communication. Such physical practices mirror the opportunities afforded in virtual environments, increasing potential outcomes by breaking down borders of expression, creating a place for play, and expanding discourse. We seek research that aims to capture similar alternative practices in learning within virtual worlds.
While all forms of scholarship and research are welcome, we prefer theoretically and empirically grounded study in the social or behavioral sciences. We seek a special issue that exemplifies methodological pluralism. The use of visual evidence and representations is also encouraged.
This special issue is edited by Jeremy Hunsinger and Aleks Krotoski.
Please contact them at firstname.lastname@example.org and email@example.com to discuss your submissions. The editors welcome contributions from new researchers and those who are more well-established. Submitted manuscripts will be subject to peer review.
Length of papers will vary as per disciplinary expectations, but we encourage papers of around 6000 words. Short discussion papers of 2000 words on relevant subjects are also welcomed for the 'Viewpoints' section. Learning, Media and Technology submission guidelines and referencing styles will be followed [see: http://www.tandf.co.uk/journals/titles/17439884.asp]
The guest editors will consider papers received by March 15, 2009.
Fewer than 10 papers will be accepted. The special issue will be published in early 2010. Please send papers to firstname.lastname@example.org, clearly indicating that your submission is for the Special Issue on learning in virtual worlds.
Call for Papers: Game Education Summit 2009
Pittsburgh, Pennsylvania, June 16-17, 2009
Entertainment Technology Center at Carnegie Mellon University
The second annual Game Education Summit (GES) at the Entertainment Technology Center at Carnegie Mellon University is seeking paper proposals from the academic, creative and industrial communities. Through this annual event we aim to disseminate the most recent, groundbreaking work on games as education as well as game research.
The conference will also have a strong focus on curriculum development and design. The GES committed to uniquely provide networking opportunities for those within the industry and academia to foster relationships that will benefit both groups.
This year's summit focuses on creativity and innovation in game design.
Possible panels include:
Tweaking the Interface - new uses for existing consoles and ideas for new interfaces
Not So Easy - creating educational interfaces with variable challenge/difficulty levels
Bringing Curricula Out of the Silos - How to get departments to foster interdisciplinary learning
Types of submission:
Panels or Presentations
Submissions are solicited of panels or presentations that address the following:
- Course Development
- Curriculum Design
- Teaching Methods
- Writing for Games
- Mentoring Programs
- All Aspects of Serious Games
- Effective Development of Links with the Games Industry
- Industry Requirements and Needs
- Program Design & Methodologies
- Games as Art and Artifact
- Game Development for Governmental Use
Electronically submit a cover sheet, which includes the title, name, address, phone and fax numbers, and email address of each participant and a 30 word summary that will be suitable for inclusion in the program and on the website to introduce the panel or presentation.
Submit a panel or presentation description, up to 200 words that gives a concise account of the topic and the focus of the panel or presentation.
Short Papers or Poster Presentations:
Submissions are solicited for short papers or poster presentations that address research on the game industry or technical game-related fields. Authors are encouraged to demonstrate work in progress and late-breaking research results that show the latest innovative ideas.
Electronically submit a cover sheet, which includes the short paper or poster title, the name, address, phone and fax numbers, and email address of each author and a 30 word summary that will be suitable for inclusion in the program and on the website to introduce the poster. Submit a two-page summary, which will be used as the basis for review.
February 1, 2009 Deadline for submission in all categories
March 1, 2009 Notification of acceptance
May 31, 2009 Deadline for providing names and affiliations for panel members and chair
Send submissions to: suzanne [at] gameeducationnetwork [dot] com
All submissions will be reviewed by members of the Games Education
Summit Steering Committee. All accepted speakers and panel participants will be granted gratis admission to the conference and accepted papers will be posted on the Game Education Network after the conference.
If you have any questions please contact Suzanne Freyjadis at suzanne
[at] gameducationnetwork [dot] com
Dancecult: Journal of Electronic Dance Music Culture (DJEDMC)
Announcing a new journal: Dancecult - Journal of Electronic Dance Music Culture (DJEDMC)
The journal is an extension of the international EDMC research network Dancecult (which has a home at www.dancecult.net). It uses the Open Journal Systems software developed by the Public Knowledge Project, and has an advisory board of international experts.
Idea and Scope
Dancecult is a peer-reviewed, open-access e-journal for the study of electronic dance music culture (EDMC). A platform for interdisciplinary scholarship on the shifting terrain of EDMCs worldwide, the journal houses research exploring the sites, technologies, and cultures of electronic music in historical and contemporary perspectives. Playing host to studies of emergent forms of electronic music production, performance, distribution, and reception, as a portal for cutting-edge research on the relation between bodies, technologies, and cyberspace, as a medium through which the cutural politics of dance is critically investigated, and as a venue for innovative multimedia projects, Dancecult is the forum for research on EDMCs.
From dancehall to raving, club cultures to sound systems, disco to techno, breakbeat to psytrance, hip hop to dub-step, IDM to noisecore, nortec to bloghouse, global EDMCs are a shifting spectrum of scenes, genres, and aesthetics. What is the role of ethnicity, gender, sexuality, class, religion and spirituality in these formations? How have technologies, mind alterants, and popular culture conditioned this proliferation, and how has electronic music filtered into cinema, literature and everyday life? How does existing critical theory enable understanding of EDMCs, and how might the latter challenge the assumptions of our inherited heuristics? What is the role of the DJ in diverse genres, scenes, subcultures, and/or neotribes? As the journal of the international EDMC research network, Dancecult welcomes submissions from scholars addressing these and related inquiries in the fields of anthropology, cultural studies, sociology, ethnomusicology, popular music studies, history, media and communications studies, politics, legal studies, criminology, studies in religion and other fields.
Besides editorials, featured articles (5000-8000 words), and book/ film reviews (1500 words), the journal will publish articles "from the floor", i.e. shorter peer-reviewed pieces, which include field reports, mini-ethnographies, and interviews (1000-3000 words). Solicited by the editors, Dancecult will also feature conversations designed to provoke dialogue concerning contemporary issues in the field. DJEDMC will be published biannually.
This is an open call for content to the first edition of Dancecult.
The journal features a fully electronic submission and reviewing procedure. Once you have logged in and registered as an author you will be able to submit content to the journal by clicking on "Author" in your "User Home" column. Once submitted, you are able to track the status of your submission.
Dancecult uses the Open Journal Systems software developed by the Public Knowledge Project. http://pkp.sfu.ca/?q=ojs
Huge thanks to Managing Editor, Eliot Bates, who has been instrumental in the journal's technical development and web-hosting.
Graham St John (Chief Editor)