Graduate Student Colloquium 2019
Film Studies Association of Canada / Association canadienne d’études cinématographiques
21st Annual Graduate Colloquium / 21ème colloque des cycles supérieurs
Carleton University, Ottawa, March 1-3, 2019
The 2019 FSAC Graduate Student Colloquium will be hosted by Carleton University from Friday March 1 to Sunday March 3, on the Carleton University campus in Ottawa.
The organising committee is excited to include papers from students across Canada and and abroad, studying at the graduate level in film and/or media studies. The Colloquium is not strictly organized around an essential theme and as such will include papers that encompass a broad number of topics within the discipline(s).
This Colloquium is sponsored by the Film Studies Association of Canada. Support is also provided by the Film Studies program, in the School for Studies in Art and Culture, at Carleton University.
This year the Canadian Journal of Film Studies will co-sponsor the Colloquium, and will host a special panel discussion on the topic of academic publishing.
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Friday, March 1
Registration begins at 5:00pm, fourth-floor foyer, St. Patrick’s Building.
Keynote Presentation, 5:30-6:30pm, 100 St. Patrick’s Building.
Reception to follow, 6:30-7:30pm, Audio-Visual Resource Centre (AVRC), 460 St. Patrick’s Building.
Keynote Speaker:
Jaimie Baron (Ph.D.), Associate Professor of English and Film Studies, University of Alberta
“Ventriloquizing Obama: The Ethics of Vocal Appropriation”
Contemporary practices of audiovisual appropriation in which a maker repurposes preexisting recordings of a subject in a way that allows the appropriationist to “speak through” that subject’s voice and body constitute an act of “archival ventriloquism.”
When recorded subjects become – to a degree – ventriloquist dummies, they lose control over their own voices as they are “spoken through.” In some works of audiovisual appropriation, this is primarily a loss of control over signification through one’s voice. In these cases, the subject is made to “say” something he or she never said, or – more precisely – to signify something he or she never signified. In other cases, the subject’s voice is actually replaced or distorted; he or she loses control not simply of signification but of vocalization itself. In both cases, new “technovocalic” bodies are constituted – imaginary bodies that are nonetheless related to the real bodies of the recorded subjects. I want to suggest, however, that there is an ethical distinction to be made between technovocalic bodies that reveal their own technovocality and those that do not. When media technologies are used to obscure the fact that the relation between voice and body has been altered, both the recorded subject and the audience are opened up to an abusive form of media ventriloquism. Through the concepts of archival ventriloquism and technovocality, this paper explores several video works based around the image and voice of former US President Barack Obama that emphasize the manipulation of his recorded voice – in relation to his imaged body – in order to articulate both the powerful critical and comedic potentials of this form of media ventriloquism, as well as its possible abuses.
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Panel Presenters Schedule (PDF – FSAC GSC Panel Schedule – updated Feb 25)
Saturday, March 2
Panel 1 – Where is Canada?: Inquiries into National Cinema
10:00am-11:30am
Maria Laura Flores Barba (Western University)
“Film Festivals as Activism: The Case of London Lesbian Film Festival in Ontario”
Pat Bonner (Concordia University)
“Re-Animating Youth and Commercialism: Goosebumps, YTV, and Canadian Children’s Television”
Michelle MacQueen (Queen’s University)
“Legislated Pluralism?: Canadian National Identity in the NFB’s The National Scream and Who Are We?”
Panel 2 – Who Is Seen?: Queer Performance and Visibility
1:00pm-2:30pm
Lea Le Cudennec (Concordia University)
“Labour of Another Love: The Fan and the Activist for Better Queer Visibility on TV”
Max Mehran (Concordia University)
“It’s a drag: The Televisual Exploitation of Labor in RuPaul’s Drag Race”
Prerna Subramanian (Queen’s University)
“Questioning the Ghatiyapan of Gulabi Aaina: Camp, Tastelessness and Queer Struggles in India”
Panel 3 – Journeys Into the Archive
2:45pm-4:15pm
Aisling Yeoman (University of Toronto)
“Internal Histories: A Comparison of Four Archival Prints of Death Weekend”
Theo Xenophontos (York University)
“Vtape: A Case Study of the Archival Capabilities of a Small Arts Organization”
Gabriel Malinowski (State University of Rio de Janeiro)
“La frontiere des archives dans le cinema de Carlos Nader: entre le public et le prive.”
Panel 4 – How Do We Watch Now?: Digital Technologies and Spectatorship
4:30pm-6:00pm
Colin Crawford (Concordia University)
“Silicon Hills or Hollywood Valleys? Excavating Netflix and the Financialization of Television in Platform Capitalism”
Jake Pitre (Carleton University)
“SKAM Austin and the Integrative Strategies of Facebook Watch”
Aaron Tucker (York University)
“Hollywood Cinema under the Coded Gaze”
Sunday, March 3
Panel 5 – On Screen(s): New Aesthetic Investigations
9:00am-10:30am
Angela Morrison (University of Toronto)
“Melodrama, Affect, Emotion: Xavier Dolan’s Expressive Aesthetics”
Justine Pignato (University of Montreal)
“Une analyse de 3 niveaux de mobilités à travers des films documentaires traitant de la “crise syrienne”
Vincent Zeis (University of Montreal)
“Entre deux mouches: le transmission entre The Fly et son remake”
Panel 6 – Investigating The Gaze from the Post War to the Near Future
10:45am-12:15pm
David Gower (University of Kansas)
“Post-War Cinematic Masculinities: On-Screen Japanese Males Under the Western Gaze”
Rob Gardiner (Concordia)
“Aural Sex: The Posthuman Sonics of Her”
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General Event Schedule (updated Feb 25) (PDF – General Event Schedule)
