FRIT-F 561, 28919 or CMCL-C 596, 31286
Professor Brett Bowles
Mondays, 5:45-7:45 pm
Film Showings: Thursdays 7:15
Taught in English.
Student work to be done in English or French
This course will compare key films from the past fifteen years with landmarks of the New Wave as a means of exploring the evolution of French cinema, society, and culture since the early 1960s. To what degree do these films express dissent or conformism? How are these discourses expressed cinematically and how have they shaped public consciousness? What continuities and ruptures--aesthetic, stylistic, and socio-political--can be identified between the New Wave and its « echoes » in contemporary French cinema? In line with our comparative approach, the course will be divided into several thematic sections, each of which will juxtapose a New-Wave classic (by Truffaut, Godard, Malle, Varda, Chabrol, Bresson, or Resnais) with a notable recent film (by Kassovitz, Dardenne, Moll, Cantet, Dumont, or Ozon).
Friday, July 29, 2011
CFP: (An)Aesthetic of Absence
University of Toronto
March 8-10, 2012
Keynote Addresses by J. Hillis Miller (University of California, Irvine) and Rebecca Comay (University of Toronto)
The 23rd annual conference of the Centre for Comparative Literature at the University of Toronto will be held from March 8-10, 2012, and will focus on the concept of “Absence”: the aesthetics, ethics, and politics of that which is not present. Following from last year’s conference, “Iconoclasm,” we now consider not that which has been broken, but that which is simply—and yet profoundly—absent. This year’s conference invites explorations of the representation and sensation of absence, be it the absence of things, of ideas, of text or of language, and the epistemological consequences of theorizing what is not, or no longer, there. Our interrogation of absence is a broad one, one that includes notions of loss, lack, and scarcity, but which also stands in contradistinction to them. Furthermore, we wish to
investigate the function of absence as an aesthetic that stimulates sense and sentiment and also as an anaesthetic, which negates the former, which numbs and desensitizes.
Absence may cause the heart to wander or grow fonder; the absent beloved, a lost book, or alienation from a desired place or person has plagued literary and artistic representation throughout centuries, from Orpheus and Eurydice to Dante, the Romantics, and beyond. Presence is replaced by verses, images, and synaesthetic evocations of a once-present self or thing: all remnants, traces, or representations of an absence that demands recognition. Authors and artists, as well as literary and cultural theorists, have dealt significantly with questions of absence and lack, focusing on that which is lost, missing, in ruins, and irreparably dismantled.
We wish to examine the “determinate negation” of absence in a wide a range of sources, contexts, and meanings, in order to understand what is at stake in absence. The notion of in absentia is a powerful political, ethical, and social convention; what is the connection between agency and absence? In accordance with the structuralist impulse to binary, does absence necessarily imply a kind of presence? Or, to speak in Derridean terms, is the trace always a “simulacrum of presence”? These are some of the many questions that are of interest to us.
We welcome scholarly papers across chronological periods and genres on topics which include but are in no way limited to:
• The ethics, politics, morality of absence
• Absent signifiers, absent texts
• The anti-aesthetics of absence
• Authorship in death, in exile, in absentia
• Absent God(s), authors, voices
• Music/Silence/Mutism
• Absent senses and questions of ability/disability
• Trace and absence (Derrida)
• Absence of consciousness; consciousness of absence
• Numbness, lack of feeling (momentary or permanent)
• Absence of reality: simulation and simulacra
• Performing absence
We call upon scholars, intellectuals, and creative writers to submit proposals of no more than 250 words for a 20-minute talk, as well as a brief biographical statement of no more than 50 words, by September 30, 2011 via our website at conference.complit.utoronto.ca/Absence/Submissions.html.
March 8-10, 2012
Keynote Addresses by J. Hillis Miller (University of California, Irvine) and Rebecca Comay (University of Toronto)
The 23rd annual conference of the Centre for Comparative Literature at the University of Toronto will be held from March 8-10, 2012, and will focus on the concept of “Absence”: the aesthetics, ethics, and politics of that which is not present. Following from last year’s conference, “Iconoclasm,” we now consider not that which has been broken, but that which is simply—and yet profoundly—absent. This year’s conference invites explorations of the representation and sensation of absence, be it the absence of things, of ideas, of text or of language, and the epistemological consequences of theorizing what is not, or no longer, there. Our interrogation of absence is a broad one, one that includes notions of loss, lack, and scarcity, but which also stands in contradistinction to them. Furthermore, we wish to
investigate the function of absence as an aesthetic that stimulates sense and sentiment and also as an anaesthetic, which negates the former, which numbs and desensitizes.
Absence may cause the heart to wander or grow fonder; the absent beloved, a lost book, or alienation from a desired place or person has plagued literary and artistic representation throughout centuries, from Orpheus and Eurydice to Dante, the Romantics, and beyond. Presence is replaced by verses, images, and synaesthetic evocations of a once-present self or thing: all remnants, traces, or representations of an absence that demands recognition. Authors and artists, as well as literary and cultural theorists, have dealt significantly with questions of absence and lack, focusing on that which is lost, missing, in ruins, and irreparably dismantled.
We wish to examine the “determinate negation” of absence in a wide a range of sources, contexts, and meanings, in order to understand what is at stake in absence. The notion of in absentia is a powerful political, ethical, and social convention; what is the connection between agency and absence? In accordance with the structuralist impulse to binary, does absence necessarily imply a kind of presence? Or, to speak in Derridean terms, is the trace always a “simulacrum of presence”? These are some of the many questions that are of interest to us.
We welcome scholarly papers across chronological periods and genres on topics which include but are in no way limited to:
• The ethics, politics, morality of absence
• Absent signifiers, absent texts
• The anti-aesthetics of absence
• Authorship in death, in exile, in absentia
• Absent God(s), authors, voices
• Music/Silence/Mutism
• Absent senses and questions of ability/disability
• Trace and absence (Derrida)
• Absence of consciousness; consciousness of absence
• Numbness, lack of feeling (momentary or permanent)
• Absence of reality: simulation and simulacra
• Performing absence
We call upon scholars, intellectuals, and creative writers to submit proposals of no more than 250 words for a 20-minute talk, as well as a brief biographical statement of no more than 50 words, by September 30, 2011 via our website at conference.complit.utoronto.ca/Absence/Submissions.html.
HELP WANTED: Part-time SCMS Research Assistant
SCMS' Board of Directors seeks to hire a part-time, limited term Research Assistant to gather information that the membership has requested on teaching, on professional opportunities outside academe, on film/media programs, and the like. Compensation will depend on experience and expertise.
The position will offer the chance for someone to explore - and help the SCMS Board to publicize - the various media fields represented by the Society, and also to take part in the Board's strategic planning.
Welcomed are applications from current 2011-2012 SCMS members interested in working in tandem with one or more Board members. The Board hopes that faculty who receive this announcement will alert qualified current and recent graduate students to this opportunity, and that current and recent graduates, as well as interested independent scholars, will take it upon themselves to apply.
To apply for the position or for further information please visit the job advertisement here:
http://www.cmstudies.org/news/69149/Part-Time-Research-Postion.htm
The position will offer the chance for someone to explore - and help the SCMS Board to publicize - the various media fields represented by the Society, and also to take part in the Board's strategic planning.
Welcomed are applications from current 2011-2012 SCMS members interested in working in tandem with one or more Board members. The Board hopes that faculty who receive this announcement will alert qualified current and recent graduate students to this opportunity, and that current and recent graduates, as well as interested independent scholars, will take it upon themselves to apply.
To apply for the position or for further information please visit the job advertisement here:
http://www.cmstudies.org/news/69149/Part-Time-Research-Postion.htm
Thursday, July 28, 2011
Georgetown CCT Faculty Hire
Technology Studies
The Communication, Culture & Technology (CCT) M.A. program at Georgetown University focuses on the ways that new technologies of communication and digital media are reshaping human experience on all levels from the local to the global, and how these technologies are redefining the practice of science, research, education, government, media, business, and culture and the arts more broadly. The CCT Program is now redefining its emphasis on technology and technology studies, including developing a new lab, which will be a hub of technology knowledge, discovery, and research, connecting CCT and Georgetown to the larger world of practice and innovation in all sectors. The new lab will provide a means for CCT to create partnerships with leading private sector information organizations developing innovations in digital media, knowledge management, and Internet applications; to remain at the forefront of research by creating relationships with initiatives in the Digital Humanities and the Information Schools; and push forward the boundaries of knowledge through external support by agencies and foundations such as NSF and Mellon.
As a major step toward accomplishing this larger mission for CCT, the program seeks to appoint a tenure-track Assistant Professor with a solid knowledge of the key technologies in the post-Internet and digital media environment, and with interdisciplinary expertise in the study of technology, including history, theory, and current methodologies. Applicants must be proficient in teaching the technical aspects of how technologies work and how such technologies are employed in communication-related fields. The appointee will be expected to help teach a new Fundamentals of Technology course, a core course in the CCT curriculum, with a focus on the practicum component.
Georgetown University is an Affirmative Action/Equal Opportunity employer and strongly encourages applications from women and minority candidates as part of its commitment to professional excellence and diversity. Please send application letter/statement of interest, c.v., and the names of three referees to cctjobs@georgetown.edu by 15 September 2011.
For this, and other employment opportunities, click here.
The Communication, Culture & Technology (CCT) M.A. program at Georgetown University focuses on the ways that new technologies of communication and digital media are reshaping human experience on all levels from the local to the global, and how these technologies are redefining the practice of science, research, education, government, media, business, and culture and the arts more broadly. The CCT Program is now redefining its emphasis on technology and technology studies, including developing a new lab, which will be a hub of technology knowledge, discovery, and research, connecting CCT and Georgetown to the larger world of practice and innovation in all sectors. The new lab will provide a means for CCT to create partnerships with leading private sector information organizations developing innovations in digital media, knowledge management, and Internet applications; to remain at the forefront of research by creating relationships with initiatives in the Digital Humanities and the Information Schools; and push forward the boundaries of knowledge through external support by agencies and foundations such as NSF and Mellon.
As a major step toward accomplishing this larger mission for CCT, the program seeks to appoint a tenure-track Assistant Professor with a solid knowledge of the key technologies in the post-Internet and digital media environment, and with interdisciplinary expertise in the study of technology, including history, theory, and current methodologies. Applicants must be proficient in teaching the technical aspects of how technologies work and how such technologies are employed in communication-related fields. The appointee will be expected to help teach a new Fundamentals of Technology course, a core course in the CCT curriculum, with a focus on the practicum component.
Georgetown University is an Affirmative Action/Equal Opportunity employer and strongly encourages applications from women and minority candidates as part of its commitment to professional excellence and diversity. Please send application letter/statement of interest, c.v., and the names of three referees to cctjobs@georgetown.edu by 15 September 2011.
For this, and other employment opportunities, click here.
Tuesday, July 19, 2011
Fall 2011 Themester: Making War, Making Peace
The July 2011 Themester Newsletter is now available. Click here to read.
In/Visibility of 20th Century Wars Lecture Series
CMCL is proud to Co-sponsor this series, coordinated by Jon Simons and John Lucaites.
As America enters the twenty first century the scene is being set for a paradoxical and simultaneous normalization and spectacularization of war. Instead of war being an exceptional state for America (which has been at war for roughly one quarter of its existence), war is becoming the normal state of affairs for the USA, which is currently still engaged in its longest ever war, in Afghanistan. The militarization of American society proceeds apace, with continued centrality of the military-industrial complex and the prioritization of “defense” among the country’s political goals. Yet, the nature of America’s 21st century wars fought by volunteer, professional armed forces means that the domestic public experiences war only at a distance, so that war seems abstract or to have disappeared, and that it can be fought without sacrifice by the vast majority.
War in the 21st century is very different to the “total war” of the 20th century. An obvious example of the literal disappearance of the sacrifice of war was the Bush administration’s ban on the photographing of the coffins of dead US service people being returned home. However, a key aspect of the normalization of war in the 21st century is that it is made visible and legitimated through popular, commercial, mediated culture.
War occupies the contemporary public sphere in form of films, video games, military emblems in daily photojournalism (boots), military brands of vehicles (Hummer, Jeep), camouflage clothes worn as fashion, advertisements in which corporations brand themselves with their contribution to America’s military power (such as Boeing). War is also made visible to the public through highly managed access by journalists to the conflict arena.
Presented by the interdisciplinary research forum on images and public culture, this series asks: What is the significance of this simultaneous in/visibility of war? Does it constitute a new form of the militarization of society that operates almost imperceptibly in visual, public culture? How do its spectacles serve to hide the costs of war at the very time that it displays representations of war? What space does it leave for critical dissent of war?
For a schedule, please click here.
As America enters the twenty first century the scene is being set for a paradoxical and simultaneous normalization and spectacularization of war. Instead of war being an exceptional state for America (which has been at war for roughly one quarter of its existence), war is becoming the normal state of affairs for the USA, which is currently still engaged in its longest ever war, in Afghanistan. The militarization of American society proceeds apace, with continued centrality of the military-industrial complex and the prioritization of “defense” among the country’s political goals. Yet, the nature of America’s 21st century wars fought by volunteer, professional armed forces means that the domestic public experiences war only at a distance, so that war seems abstract or to have disappeared, and that it can be fought without sacrifice by the vast majority.
War in the 21st century is very different to the “total war” of the 20th century. An obvious example of the literal disappearance of the sacrifice of war was the Bush administration’s ban on the photographing of the coffins of dead US service people being returned home. However, a key aspect of the normalization of war in the 21st century is that it is made visible and legitimated through popular, commercial, mediated culture.
War occupies the contemporary public sphere in form of films, video games, military emblems in daily photojournalism (boots), military brands of vehicles (Hummer, Jeep), camouflage clothes worn as fashion, advertisements in which corporations brand themselves with their contribution to America’s military power (such as Boeing). War is also made visible to the public through highly managed access by journalists to the conflict arena.
Presented by the interdisciplinary research forum on images and public culture, this series asks: What is the significance of this simultaneous in/visibility of war? Does it constitute a new form of the militarization of society that operates almost imperceptibly in visual, public culture? How do its spectacles serve to hide the costs of war at the very time that it displays representations of war? What space does it leave for critical dissent of war?
For a schedule, please click here.
Monday, July 18, 2011
HELP!-House for Rent-Graduate Student
$875 / 3br - 3 Bedroom/1Large Bath Home (Bloomington North)
Beautiful 3 bedroom home minutes away from Bloomington High School North and IU Stadium. Lush tree lined 1/2 acre lot with 1 car garage, enclosed front porch, large extended bath, and oversize kitchen allows you the serenity of the country minutes away from the bustle of IU and the downtown area. Central air, refrigerator, range, dishwasher, and storage shed. Lease to begin August 2011.
* cats are OK - purrr
* dogs are OK - wooof
Contact Carmen Meyers at cmeyers.67@gmail.com for further information
Beautiful 3 bedroom home minutes away from Bloomington High School North and IU Stadium. Lush tree lined 1/2 acre lot with 1 car garage, enclosed front porch, large extended bath, and oversize kitchen allows you the serenity of the country minutes away from the bustle of IU and the downtown area. Central air, refrigerator, range, dishwasher, and storage shed. Lease to begin August 2011.
* cats are OK - purrr
* dogs are OK - wooof
Contact Carmen Meyers at cmeyers.67@gmail.com for further information
CFP: Cinephilia - Contemporary Realism
Cinephile 7.2, Contemporary Realism
Deadline for Draft Submissions: September 30, 2011
Realism appears to have reached a critical juncture in recent years: digital technology has all but usurped the photographic medium, rendering the indexical nature of photographic images obsolete (Doane 2002; Rodowick 2007); “reality” television and on-line exhibitionism have proliferated audiovisual culture, trivializing the fidelity of documentary realism and its particular mode of truth telling; and social realism has gradually detached itself from the socio-political convictions that once defined it, instead looking inward towards private/familial issues removed from the public sphere (Hill 2000; Lay 2002). Yet, despite the tenors of realism being either obfuscated or abated, the term is still employed relatively free from scrutiny in academic discourse, begging the question: what does realism mean today? Is this latest impasse merely a reconfiguration of issues that have always affected the term, or have we shifted into an era of post-realism, typified by a rejection of its historical usage and associations?
These matters are at the crux of our Winter 2011/2012 issue, proposing a re-evaluation of cinematic realism for the 21st century. Influenced by Ivone Margulies’ pivotal reassessment of the concept in Rites of Realism: Essays on Corporeal Cinema (2002), Cinephile welcomes papers that explore new, neglected, or underdeveloped areas of realism in contemporary film and television. Possible starting points include:
The reappraisal of André Bazin’s and Siegfried Kracauer’s ontology of realism
Realist trends in national/transnational cinemas (New Iranian Cinema, Romanian New Wave, China’s “Sixth Generation” cinema, etc.)
Realism, reportage, and the exclusivity of pro-filmic events (unsimulated sex, death, violence, etc.)
The current state of British Social Realism
So-called “American Neo-Neo Realism” (Wendy and Lucy, Ballast, Goodbye Solo, The Builder, etc.)
The reinvigoration of realism in Canadian cinema (Atanarjuat: The Fast Runner, Les Ring, etc.)
Social realist auteurs (Jean-Pierre and Luc Dardenne, Ken Loach, Wang Xiaoshuai, etc.)
Female filmmakers and feminist realism (Kelly Reichardt, Andrea Arnold, Lynne Ramsay, etc.)
Realism and genre studies (realism in genre films; realism as a genre)
Spectatorship and the reception of realism
Aesthetic naturalism and digital media (Digital 3-D, shooting at 48fps, etc.)
The hybridization of documentary/fiction cinema
Film temporality and the “real time” sequence shot
The ethics of verisimilitude in documentary cinema/television
The soundscape of realism
We encourage submissions from graduate students, postdoctoral researchers, and faculty.
Papers should be between 2000-3500 words, follow MLA guidelines, and include a detailed works cited page, as well as a biography of the author. Submissions and inquiries should be directed to: submissions@cinephile.ca
Cinephile is the University of British Columbia’s film journal, published with the continued support of the Centre for Cinema Studies. We are proud to feature a new article by Paul Wells in our upcoming Fall 2011 issue. Previous issues have featured original essays by such noted scholars as Matt Hills, K.J. Donnelly, Murray Pomerance, Slavoj Žižiek, and Barry Keith Grant. Since 2009, the journal has adopted a blind peer-review process and has moved to biannual publication. It is available both online and in print via subscription. For more information and the latest updates, please visit our website at cinephile.ca
Deadline for Draft Submissions: September 30, 2011
Realism appears to have reached a critical juncture in recent years: digital technology has all but usurped the photographic medium, rendering the indexical nature of photographic images obsolete (Doane 2002; Rodowick 2007); “reality” television and on-line exhibitionism have proliferated audiovisual culture, trivializing the fidelity of documentary realism and its particular mode of truth telling; and social realism has gradually detached itself from the socio-political convictions that once defined it, instead looking inward towards private/familial issues removed from the public sphere (Hill 2000; Lay 2002). Yet, despite the tenors of realism being either obfuscated or abated, the term is still employed relatively free from scrutiny in academic discourse, begging the question: what does realism mean today? Is this latest impasse merely a reconfiguration of issues that have always affected the term, or have we shifted into an era of post-realism, typified by a rejection of its historical usage and associations?
These matters are at the crux of our Winter 2011/2012 issue, proposing a re-evaluation of cinematic realism for the 21st century. Influenced by Ivone Margulies’ pivotal reassessment of the concept in Rites of Realism: Essays on Corporeal Cinema (2002), Cinephile welcomes papers that explore new, neglected, or underdeveloped areas of realism in contemporary film and television. Possible starting points include:
The reappraisal of André Bazin’s and Siegfried Kracauer’s ontology of realism
Realist trends in national/transnational cinemas (New Iranian Cinema, Romanian New Wave, China’s “Sixth Generation” cinema, etc.)
Realism, reportage, and the exclusivity of pro-filmic events (unsimulated sex, death, violence, etc.)
The current state of British Social Realism
So-called “American Neo-Neo Realism” (Wendy and Lucy, Ballast, Goodbye Solo, The Builder, etc.)
The reinvigoration of realism in Canadian cinema (Atanarjuat: The Fast Runner, Les Ring, etc.)
Social realist auteurs (Jean-Pierre and Luc Dardenne, Ken Loach, Wang Xiaoshuai, etc.)
Female filmmakers and feminist realism (Kelly Reichardt, Andrea Arnold, Lynne Ramsay, etc.)
Realism and genre studies (realism in genre films; realism as a genre)
Spectatorship and the reception of realism
Aesthetic naturalism and digital media (Digital 3-D, shooting at 48fps, etc.)
The hybridization of documentary/fiction cinema
Film temporality and the “real time” sequence shot
The ethics of verisimilitude in documentary cinema/television
The soundscape of realism
We encourage submissions from graduate students, postdoctoral researchers, and faculty.
Papers should be between 2000-3500 words, follow MLA guidelines, and include a detailed works cited page, as well as a biography of the author. Submissions and inquiries should be directed to: submissions@cinephile.ca
Cinephile is the University of British Columbia’s film journal, published with the continued support of the Centre for Cinema Studies. We are proud to feature a new article by Paul Wells in our upcoming Fall 2011 issue. Previous issues have featured original essays by such noted scholars as Matt Hills, K.J. Donnelly, Murray Pomerance, Slavoj Žižiek, and Barry Keith Grant. Since 2009, the journal has adopted a blind peer-review process and has moved to biannual publication. It is available both online and in print via subscription. For more information and the latest updates, please visit our website at cinephile.ca
Tuesday, July 12, 2011
CFP: Culture Theory and Critique Special Themed Issue on Marxism and Cultural Studies
Call for essays: Culture Theory and Critique special themed issue on Marxism and Cultural Studies (special thanks to Indiana University’s Cultural Studies Program)
Many accounts of the emergence and development of Cultural Studies accord a central place to Marxism, both as a body of knowledge and as an important ideological component of the New Left. The rediscovery of the writings of Antonio Gramsci, George Luckacs, Walter Benjamin, and Theodor Adorno, among others, along with the formation of the Birmingham Centre for Cultural Studies, led to a general renaissance of Marxist theory and cultural analysis, which in turn resulted in ground-breaking studies of working class culture, the political role of new social movements that were not class based, the power of ideology and mass culture in sustaining existing social relations, and critical analyses of state-authoritarianism. As Cultural Studies crossed the Atlantic and gained an institutional foothold in the United States, some have feared that its engagement with Marxism has been diluted through an over emphasis on the subversive potentialities of mass media and consumer capitalism.
Some possible questions to consider:
How do we understand the relationship between the base and superstructure today? Does ideology critique still have an ongoing usefulness? Do globalization and the world recession require new objects of study? To what extent does Marxism provide a utopian impulse for existing social movements? Do iterations of Cultural Studies in South Asia, Africa, Central and Latin America, the Middle East, and Eastern Europe retain a commitment to Marxism and how is this work revitalizing the field more broadly? Does the Marxist imperative to historicize challenge current paradigms of cultural analysis such as the “New Formalism”? What exactly does a historical materialist methodology enable? How do we articulate media analyses with questions of political economy, geo-politics, and activism? What is the role of the intellectual and Cultural Studies more generally?
We welcome essays that address any of these issues. The questions are not meant to be proscriptive, however, and we welcome queries about possible article content.
Abstracts (250-500 words) due Sept 15, 2011; final essays need to be submitted for peer review by Oct 31, 2011; length of final essays to be 5,000-7,000 words including notes
Send abstracts and essays to Joan Hawkins, editor and Jen Heusel, editorial assistant to ctcjourn@indiana.edu
Culture, Theory and Critique is a refereed, interdisciplinary journal for the transformation and development of critical theories in the humanities and social sciences. It aims to critique and reconstruct theories by interfacing them with one another and by relocating them in new sites and conjunctures. Culture, Theory and Critique' approach to theoretical refinement and innovation is one of interaction and hybridisation via recontextualisation and transculturation.
Many accounts of the emergence and development of Cultural Studies accord a central place to Marxism, both as a body of knowledge and as an important ideological component of the New Left. The rediscovery of the writings of Antonio Gramsci, George Luckacs, Walter Benjamin, and Theodor Adorno, among others, along with the formation of the Birmingham Centre for Cultural Studies, led to a general renaissance of Marxist theory and cultural analysis, which in turn resulted in ground-breaking studies of working class culture, the political role of new social movements that were not class based, the power of ideology and mass culture in sustaining existing social relations, and critical analyses of state-authoritarianism. As Cultural Studies crossed the Atlantic and gained an institutional foothold in the United States, some have feared that its engagement with Marxism has been diluted through an over emphasis on the subversive potentialities of mass media and consumer capitalism.
Some possible questions to consider:
How do we understand the relationship between the base and superstructure today? Does ideology critique still have an ongoing usefulness? Do globalization and the world recession require new objects of study? To what extent does Marxism provide a utopian impulse for existing social movements? Do iterations of Cultural Studies in South Asia, Africa, Central and Latin America, the Middle East, and Eastern Europe retain a commitment to Marxism and how is this work revitalizing the field more broadly? Does the Marxist imperative to historicize challenge current paradigms of cultural analysis such as the “New Formalism”? What exactly does a historical materialist methodology enable? How do we articulate media analyses with questions of political economy, geo-politics, and activism? What is the role of the intellectual and Cultural Studies more generally?
We welcome essays that address any of these issues. The questions are not meant to be proscriptive, however, and we welcome queries about possible article content.
Abstracts (250-500 words) due Sept 15, 2011; final essays need to be submitted for peer review by Oct 31, 2011; length of final essays to be 5,000-7,000 words including notes
Send abstracts and essays to Joan Hawkins, editor and Jen Heusel, editorial assistant to ctcjourn@indiana.edu
Culture, Theory and Critique is a refereed, interdisciplinary journal for the transformation and development of critical theories in the humanities and social sciences. It aims to critique and reconstruct theories by interfacing them with one another and by relocating them in new sites and conjunctures. Culture, Theory and Critique' approach to theoretical refinement and innovation is one of interaction and hybridisation via recontextualisation and transculturation.
Wednesday, July 6, 2011
CMCL Digital Media Search
The Department of Communication and Culture at Indiana University invites applications for a tenure-track Assistant Professor position in Digital and Social Media to begin Fall 2012.
We seek a humanities-based media studies scholar to join an innovative and interdisciplinary department that includes Film and Media Studies, Ethnography and Performance Studies, and Rhetoric and Public Culture. We invite candidates with a broad range of concentrations that consider instantiations and circulations of digital and social media, especially from the sites of television, video games, the Internet, and/or mobile social media. We are particularly interested in those who adopt a theoretical/critical, ethnographic, and/or historical approach to the implications of digital technologies in relation to one or more of the following areas: television, transmediation and convergence; national and global media production; and audience practices. Our new colleague will be responsible for developing an introductory lecture course about digital and social media and advanced undergraduate courses in digital televisual studies, as well as for actively shaping and teaching graduate offerings in this field of study.
Candidates are expected to have a strong research agenda and a commitment to excellence in teaching. Preference will be given to those who have their Ph.D. in hand by the date the appointment begins and who can demonstrate a research program devoted to digital and social media, as well as teaching experience in this area. Applicants should send a letter of application, curriculum vitae, writing sample, and three letters of recommendation to: Robert Terrill, Chair, Digital/Social Media Search, Department of Communication and Culture, 800 E. 3rd Street, Indiana University, Bloomington, IN 47405. Review of applications will begin October 10, 2011 and continue until this position is filled.
Indiana University is an equal opportunity and affirmative action employer. The university actively encourages applications and nominations of women, minorities, applicants with disabilities, and members of other underrepresented groups.
We seek a humanities-based media studies scholar to join an innovative and interdisciplinary department that includes Film and Media Studies, Ethnography and Performance Studies, and Rhetoric and Public Culture. We invite candidates with a broad range of concentrations that consider instantiations and circulations of digital and social media, especially from the sites of television, video games, the Internet, and/or mobile social media. We are particularly interested in those who adopt a theoretical/critical, ethnographic, and/or historical approach to the implications of digital technologies in relation to one or more of the following areas: television, transmediation and convergence; national and global media production; and audience practices. Our new colleague will be responsible for developing an introductory lecture course about digital and social media and advanced undergraduate courses in digital televisual studies, as well as for actively shaping and teaching graduate offerings in this field of study.
Candidates are expected to have a strong research agenda and a commitment to excellence in teaching. Preference will be given to those who have their Ph.D. in hand by the date the appointment begins and who can demonstrate a research program devoted to digital and social media, as well as teaching experience in this area. Applicants should send a letter of application, curriculum vitae, writing sample, and three letters of recommendation to: Robert Terrill, Chair, Digital/Social Media Search, Department of Communication and Culture, 800 E. 3rd Street, Indiana University, Bloomington, IN 47405. Review of applications will begin October 10, 2011 and continue until this position is filled.
Indiana University is an equal opportunity and affirmative action employer. The university actively encourages applications and nominations of women, minorities, applicants with disabilities, and members of other underrepresented groups.
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