{"id":4001,"date":"2019-02-05T10:11:03","date_gmt":"2019-02-05T15:11:03","guid":{"rendered":"https:\/\/carleton.ca\/filmstudies\/?page_id=4001"},"modified":"2025-04-21T10:22:15","modified_gmt":"2025-04-21T14:22:15","slug":"graduate-student-colloquium-2019","status":"publish","type":"page","link":"https:\/\/carleton.ca\/filmstudies\/graduate-student-colloquium-2019\/","title":{"rendered":"Graduate Student Colloquium 2019"},"content":{"rendered":"\n
\n
\n\n
\n
\n
\n

\n Graduate Student Colloquium 2019\n <\/h1>\n \n \n <\/header>\n\n <\/div>\n\n <\/div>\n\n <\/div>\n<\/section>\n\n

Film Studies Association of Canada \/ Association canadienne d\u2019\u00e9tudes cin\u00e9matographiques<\/strong>
\n21st Annual Graduate Colloquium \/ 21\u00e8me colloque des cycles sup\u00e9rieurs<\/strong><\/p>\n\n\n\n

Carleton University, Ottawa, March 1-3, 2019<\/strong><\/p>\n\n\n\n

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.<\/p>\n\n\n\n

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).<\/p>\n\n\n\n

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.<\/p>\n\n\n\n

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.<\/p>\n\n\n\n

============================================================<\/p>\n\n\n\n

Friday, March 1<\/strong><\/p>\n\n\n\n

Registration begins at 5:00pm, fourth-floor foyer, St. Patrick’s Building.<\/strong><\/p>\n\n\n\n

Keynote Presentation, 5:30-6:30pm, 100 St. Patrick’s Building. <\/strong><\/p>\n\n\n\n

Reception to follow, 6:30-7:30pm, Audio-Visual Resource Centre (AVRC), 460 St. Patrick’s Building.
\n<\/strong><\/p>\n\n\n\n

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

Jaimie Baron (Ph.D.), Associate Professor of English and Film Studies, University of Alberta<\/strong><\/p>\n\n\n\n

“Ventriloquizing Obama: The Ethics of Vocal Appropriation”<\/strong><\/p>\n\n\n\n

Contemporary practices of audiovisual appropriation in which a maker repurposes preexisting recordings of a subject in a way that allows the appropriationist to \u201cspeak through\u201d that subject\u2019s voice and body constitute an act of \u201carchival ventriloquism.\u201d
\nWhen recorded subjects become \u2013 to a degree \u2013 ventriloquist dummies, they lose control over their own voices as they are \u201cspoken through.\u201d In some works of audiovisual appropriation, this is primarily a loss of control over signification through one\u2019s voice. In these cases, the subject is made to \u201csay\u201d something he or she never said, or \u2013 more precisely \u2013 to signify something he or she never signified. In other cases, the subject\u2019s voice is actually replaced or distorted; he or she loses control not simply of signification but of vocalization itself. In both cases, new \u201ctechnovocalic\u201d bodies are constituted \u2013 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 \u2013 in relation to his imaged body \u2013 in order to articulate both the powerful critical and comedic potentials of this form of media ventriloquism, as well as its possible abuses.<\/p>\n\n\n\n

============================================================<\/p>\n\n\n\n

Panel Presenters Schedule <\/strong>(PDF – FSAC GSC Panel Schedule – updated Feb 25)<\/a><\/p>\n\n\n\n

Saturday, March 2<\/strong><\/p>\n\n\n\n

Panel 1 – Where is Canada?: Inquiries into National Cinema<\/strong>
\n10:00am-11:30am<\/strong>
\nMaria Laura Flores Barba (Western University)
\n\u201cFilm Festivals as Activism: The Case of London Lesbian Film Festival in Ontario\u201d
\nPat Bonner (Concordia University)
\n\u201cRe-Animating Youth and Commercialism: Goosebumps<\/em>, YTV, and Canadian Children\u2019s Television\u201d
\nMichelle MacQueen (Queen\u2019s University)
\n\u201cLegislated Pluralism?: Canadian National Identity in the NFB\u2019s The National Scream<\/em> and Who Are We?<\/em>\u201d<\/p>\n\n\n\n

Panel 2 – Who Is Seen?: Queer Performance and Visibility<\/strong>
\n1:00pm-2:30pm<\/strong>
\nLea Le Cudennec (Concordia University)
\n\u201cLabour of Another Love: The Fan and the Activist for Better Queer Visibility on TV\u201d
\nMax Mehran (Concordia University)
\n\u201cIt\u2019s a drag: The Televisual Exploitation of Labor in RuPaul\u2019s Drag Race<\/em>\u201d
\nPrerna Subramanian (Queen\u2019s University)
\n\u201cQuestioning the Ghatiyapan of Gulabi Aaina: Camp, Tastelessness and Queer Struggles in India\u201d<\/p>\n\n\n\n

Panel 3 – Journeys Into the Archive<\/strong>
\n2:45pm-4:15pm<\/strong>
\nAisling Yeoman (University of Toronto)
\n\u201cInternal Histories: A Comparison of Four Archival Prints of Death Weekend\u201d
\nTheo Xenophontos (York University)
\n\u201cVtape<\/em>: A Case Study of the Archival Capabilities of a Small Arts Organization\u201d
\nGabriel Malinowski (State University of Rio de Janeiro)
\n\u201cLa frontiere des archives dans le cinema de Carlos Nader: entre le public et le prive.\u201d<\/p>\n\n\n\n

Panel 4 – How Do We Watch Now?: Digital Technologies and Spectatorship<\/strong>
\n4:30pm-6:00pm<\/strong>
\nColin Crawford (Concordia University)
\n\u201cSilicon Hills or Hollywood Valleys? Excavating Netflix and the Financialization of Television in Platform Capitalism\u201d
\nJake Pitre (Carleton University)
\n\u201cSKAM Austin and the Integrative Strategies of Facebook Watch\u201d
\nAaron Tucker (York University)
\n\u201cHollywood Cinema under the Coded Gaze\u201d<\/p>\n\n\n\n

Sunday, March 3<\/strong><\/p>\n\n\n\n

Panel 5 – On Screen(s): New Aesthetic Investigations<\/strong>
\n9:00am-10:30am<\/strong>
\nAngela Morrison (University of Toronto)
\n\u201cMelodrama, Affect, Emotion: Xavier Dolan\u2019s Expressive Aesthetics\u201d
\nJustine Pignato (University of Montreal)
\n\u201cUne analyse de 3 niveaux de mobilit\u00e9s \u00e0 travers des films documentaires traitant de la “crise syrienne”
\nVincent Zeis (University of Montreal)
\n\u201cEntre deux mouches: le transmission entre The Fly<\/em> et son remake\u201d<\/p>\n\n\n\n

Panel 6 – Investigating The Gaze from the Post War to the Near Future<\/strong>
\n10:45am-12:15pm<\/strong>
\nDavid Gower (University of Kansas)
\n\u201cPost-War Cinematic Masculinities: On-Screen Japanese Males Under the Western Gaze\u201d
\nRob Gardiner (Concordia)
\n\u201cAural Sex: The Posthuman Sonics of Her<\/em>\u201d<\/p>\n\n\n\n

============================================================================<\/p>\n\n\n\n

General Event Schedule <\/strong>(updated Feb 25)  (PDF – General Event Schedule)<\/a><\/p>\n\n\n\n

\"event<\/a><\/figure>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Film Studies Association of Canada \/ Association canadienne d\u2019\u00e9tudes cin\u00e9matographiques 21st Annual Graduate Colloquium \/ 21\u00e8me colloque des cycles sup\u00e9rieurs 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 […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_cu_dining_location_slug":"","footnotes":"","_links_to":"","_links_to_target":""},"cu_page_type":[37],"class_list":["post-4001","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\/4001","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=4001"}],"version-history":[{"count":3,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/pages\/4001\/revisions"}],"predecessor-version":[{"id":4064,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/pages\/4001\/revisions\/4064"}],"wp:attachment":[{"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/media?parent=4001"}],"wp:term":[{"taxonomy":"cu_page_type","embeddable":true,"href":"https:\/\/carleton.ca\/filmstudies\/wp-json\/wp\/v2\/cu_page_type?post=4001"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}