{"id":1700,"date":"2013-02-11T10:15:09","date_gmt":"2013-02-11T15:15:09","guid":{"rendered":"http:\/\/carleton.ca\/filmstudies\/?page_id=1700"},"modified":"2025-04-21T10:22:17","modified_gmt":"2025-04-21T14:22:17","slug":"cinephilia","status":"publish","type":"page","link":"https:\/\/carleton.ca\/filmstudies\/cinephilia\/","title":{"rendered":"Cinephilia – Graduate Students Symposium 2013"},"content":{"rendered":"\n
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\n Cinephilia – Graduate Students Symposium 2013\n <\/h1>\n \n \n <\/header>\n\n <\/div>\n\n <\/div>\n\n <\/div>\n<\/section>\n\n

\"Reel<\/a><\/figure><\/h2>\n\n\n\n

The 3rd<\/sup> Annual Carleton University Film Studies Graduate Student Symposium<\/strong><\/p>\n\n\n\n

March 15-16, 2013<\/strong><\/p>\n\n\n\n

This year\u2019s Symposium will focus on the phenomenon of cinephilia and how the critical study, production and exhibition of film has shifted since the invention of cinema in the 1890s. How has the production, distribution and exhibition of film been altered throughout film history? Has the present ubiquity of digital technologies transformed cinema for the better? Or, as Susan Sontag has suggested, have we experienced a \u201cdecay of cinema\u201d in which the traditional cinematic experience is no longer valued?  These questions only begin to explore how the love and appreciation of film as an art form, as well as a mass medium, have impacted filmmakers, scholars and audiences alike.<\/p>\n\n\n\n

The intent of the Symposium is to allow graduate students to share their film-related research interests with their peers. In doing so, the Symposium provides an open and interactive forum for discussion of current conceptual and pedagogical issues in the Film Studies discipline.<\/p>\n\n\n\n

We gratefully acknowledge the financial support of the School for Studies in Art and Culture<\/a>, the Faculty of Graduate and Postdoctoral Affairs<\/a> and the Graduate Students\u2019 Association<\/a>.<\/p>\n\n\n\n

Symposium Organizers: Kevin Chabot, Mary O\u2019Shea, Amy Jane Vosper
\nFor more information, please email mary_oshea@carleton.ca<\/a>.<\/p>\n\n\n\n

Schedule of Events<\/strong><\/p>\n\n\n\n

Friday, March 15, <\/strong>Carleton University Art Gallery<\/a>, St. Patrick\u2019s Building
\n<\/strong>Doors open 4:30 pm<\/p>\n\n\n\n

5:00     Introductory Remarks
\n5:15     Keynote Speaker, Dr. Charles R. Acland, Concordia University
\n6:15     Respondent, Dr. Erika Balsom, Carleton University
\n6:30     Q & A Session
\n7:00     Reception<\/p>\n\n\n\n

Saturday, March 16, <\/strong>2017 Dunton Tower
\n<\/strong>Registration 10:30 am
\n<\/strong><\/p>\n\n\n\n

11:00   Opening Remarks
\n11:15   Panel One
\n12:30   Lunch Break
\n1:00     Panel Two
\n2:15     Break
\n2:30     Panel Three
\n3:45     Closing Remarks
\n5:00     Social (Location TBA)<\/p>\n\n\n\n

Keynote Speaker<\/strong><\/p>\n\n\n\n

Dr. Charles R. Acland<\/strong><\/p>\n\n\n\n

\u201cPlatform Consciousness and the Splintering of Moving Image Distinction\u201d<\/p>\n\n\n\n

Charles Acland is Professor and Concordia University Research Chair in Communication Studies, in Montreal.  His books include Screen Traffic:  Movies, Multiplexes, and Global Culture<\/em> (Duke UP, 2003) and Residual Media<\/em> (U of Minnesota Press, 2007).  Screen Traffic<\/em> won the Robinson Book Prize for best book by a Canadian scholar in 2004. His most recent books are Swift Viewing: The Popular Life of Subliminal Influence<\/em> (Duke UP, 2012) and Useful Cinema<\/em> (Duke UO, 2011), co-edited with Haidee Wasson, which has recently been awarded an honorable mention as the Society for Cinema and Media Studies Best Edited Book for 2013. His essay “Curtains, Carts and the Mobile Screen,” published in Screen<\/em>, won the Kovacs Best Essay Prize from SCMS in 2010. Acland is editor, with Catherine Russell, of the Canadian Journal of Film Studies<\/em>.<\/p>\n\n\n\n

Respondent<\/strong><\/p>\n\n\n\n

Dr. Erika Balsom<\/strong><\/p>\n\n\n\n

Erika Balsom is Assistant Professor of Film Studies at Carleton University. Her book on recent film and video installation, Exhibiting Cinema in Contemporary Art<\/em>, will be out from Amsterdam University Press this spring. Her writing has appeared or is forthcoming in Screen<\/em>, Cinema Journal<\/em>, and the Canadian Journal of Film Studies<\/em> and she is Features Editor at Moving Image Review and Art Journal<\/em>, the first peer-reviewed publication devoted to moving image art.<\/p>\n\n\n\n

Graduate Student Presentations<\/strong><\/p>\n\n\n\n

Panel One<\/span><\/strong><\/p>\n\n\n\n

Dylan Cousineau<\/strong>, Carleton University
\n\u201cFragments of the Past: The Cinematic Representation of Historiography in Peter Watkins\u2019 Edvard Munch<\/em> (1974)\u201d<\/p>\n\n\n\n

Olympia Kiriakou<\/strong>, University of Toronto
\n\u201cOrson Welles as a Contradictory Auteur\u201d<\/p>\n\n\n\n

David Richler<\/strong>, Carleton University
\n\u201cTravelling Behind the Scenes With (and Without) Wong Kar-wai: Reconsidering Authorship, Authority and Authenticity in Three Making-of Documentaries\u201d<\/p>\n\n\n\n

Panel Two<\/span><\/strong><\/p>\n\n\n\n

Whitney Cant<\/strong>, University of British Columbia
\n\u201cIn the Past is the New, in the New is the Past: The TCM Classic Film Festival\u201d<\/p>\n\n\n\n

Frederick Blichert<\/strong>, Carleton University
\n\u201cThe Birth of the Authors: Authorship and the Industrial Appropriation of Fan Fiction\u201d<\/p>\n\n\n\n

Dan Leberg<\/strong>, University of Toronto
\n\u201cFanboys in the Ivory Tower: Online Film Reviewers versus Cinema Studies\u201d<\/p>\n\n\n\n

Panel Three<\/span><\/strong><\/p>\n\n\n\n

Adam Szymanski<\/strong>, Concordia University
\n\u201c\u2018The Cinema of Poetry\u2019 Reconsidered: Depression as an Aesthetic Sensibility in Contemporary Global Art Cinema\u201d<\/p>\n\n\n\n

Quintin Zachary Hewlett<\/strong>, York University
\n\u201cRed Blood on White Carpet: Haneke\u2019s Funny Games<\/em> and the Domestification of Violence\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

The 3rd Annual Carleton University Film Studies Graduate Student Symposium March 15-16, 2013 This year\u2019s Symposium will focus on the phenomenon of cinephilia and how the critical study, production and exhibition of film has shifted since the invention of cinema in the 1890s. How has the production, distribution and exhibition of film been altered throughout […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":30,"comment_status":"open","ping_status":"open","template":"","meta":{"_acf_changed":false,"_cu_dining_location_slug":"","footnotes":"","_links_to":"","_links_to_target":""},"cu_page_type":[37],"class_list":["post-1700","page","type-page","status-publish","hentry","cu_page_type-general"],"acf":{"cu_post_thumbnail":false},"_links":{"self":[{"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/pages\/1700","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/comments?post=1700"}],"version-history":[{"count":2,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/pages\/1700\/revisions"}],"predecessor-version":[{"id":1707,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/pages\/1700\/revisions\/1707"}],"wp:attachment":[{"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/media?parent=1700"}],"wp:term":[{"taxonomy":"cu_page_type","embeddable":true,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/cu_page_type?post=1700"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}