Film Studies Association of Canada

_________________________________________________________________________________________________
Final SCHEDULE
FILMSTUDIESASSOCIATIONOFCANADA/
ASSOCIATIONCANADIENNED’ÉTUDES
CINÉMATOGRAPHIQUES
_________________________________________________________________________________________________
2016FSACAnnualConference
Conférenceannuelledel’ACÉC2016
May31-June2/31mai-2juin2016
UniversityofCalgary/l’UniversitédeCalgary
Calgary,Alberta,Canada
Heldinconjunctionwiththe
CongressoftheHumanitiesandSocialSciences
Tenudanslecadredu
Congrèsdesscienceshumaines
« Energizing Communities / L’énergie des communautés »
ProgramChair:DarrellVarga(NSCADUniversity)
LocalArrangementCoordinator:CharlesTepperman
(UniversityofCalgary)
___________________________________________May30mai________________________________________
WelcometoCalgary!
BienvenueàCalgary!
WelcomeGathering /Rassemblementdebienvenue7:00p.m.
8:00p.m.FilmScreeningElementsofLight
Presentedby
CanadianFilmmakersDistributionCentreand
TheCalgarySocietyofIndependentFilmmakers
GoodLuckBar
20712thAveSW
Calgary,AB
__________________________________________May31mai___________________________________________
9:00–10:30a.m.
ConférenceGeraldPratleyLectureRozsaCentre-EckhardtGramatteHall
JulieRavary(UniversitédeMontréal)
Terre-mère:
unefiguremythiqueenracinéedansl’imaginairenationalducinémaquébécois
InFrenchwithsimultaneousEnglishtranslation
Cetteprésentationportesurlesmomentsdel’émergence,deréactualisation,de
déplacementetderésurgencedelafiguredelaTerre-mèredanslecinéma
québécoisde1940àaujourd’hui.J’entendsexaminerlespotentielsthéoriqueset
retombéesconcrètesdel’approchedes«genderandnation»,théorieayant
fournileconceptopératoiredelafiguredelafemme-nation,parlebiaisd’une
étudeducinémaquébécois.Sonpassésociopolitique,lesliensétroitsentreses
objetsculturelsetsonprocessusidentitaireainsiquelestiraillementsentre
mouvementsféministeetnationaliste,fontduQuébecunexempleidéalà
l’introductiondelafiguredelaTerre-mèredansl’étuded’uncinémanational.Le
momentd’émergence(Unhommeetsonpéché(PaulGury,1949)),la
réactualisation(Valérie(DenisHéroux,1968)),ledéplacement(Q-becmylove
(Jean-PierreLefebvre,1969)),etlarésurgence(Mariages(CatherineMartin,
2001)etÀl’origined’uncri(RobinAubert,2010))delafiguredelaTerre-mère
semblentpermettred’interrogerl’évolutiondulienentreidentitéféminineet
imaginairenational.
JulieRavaryestdoctoranteàl’UniversitédeMontréal.Sonprojetdethèsetraitedes
liensentreidentitésgenréesfémininesetidentitésnationalesdanslecinéma
québécois.Sesintérêtsderechercheportentsurlecinémaquébécois,lecinéma
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argentin,lecinémadesfemmes,lesthéoriesdescinémasnationauxainsiqueles
théories«gender»aucinéma.
MotherEarth:
AMythicalFigureRootedintheNationalImaginationofQuebecoisCinema
Thispresentationfocusesonfourkeyperiods–emergence,renewal,displacement,and
revival–oftheMotherEarthfigureinQuebecoiscinemafrom1940tothepresentday.I
intendtoexaminethetheoreticalpossibilitiesandconcreteimplicationsofthe«genderand
nation»approach,atheorythathasinformedtheunderlyingconceptoftheimageof
«woman-nation»,throughastudyofQuebecoiscinema.Itssocio-politicalpast,direct
linkagesbetweenitsculturalobjectsandidentitydevelopmentprocessaswellastensions
betweenthefeministandnationalistmovementsmakeQuebecanidealexamplethrough
whichtointroducetheimageofMotherEarthinthestudyofanationalcinema.Themoment
ofemergence(Unhommeetsonpéché(PaulGury,1949)),therenewal(Valérie(Denis
Héroux,1968)),thedisplacement(Q-becmylove(Jean-PierreLefebvre,1969)),andthe
revival(Mariages(CatherineMartin,2001)etÀl’origined’uncri(RobinAubert,2010))of
theMotherEarthfigureallowustoexaminetheevolutionofthelinkbetweenfeminine
identityandnationalimagination.
JulieRavaryisadoctoralcandidateattheUniversityofMontreal.Herthesisproject
examinesthelinksbetweenfeminineidentitiesandnationalidentitiesinQuebecoiscinema.
HerresearchinterestsfocusonQuebecoiscinema,Argentiniancinema,women’scinema,
theoriesofnationalcinemas,aswellastheoriesofgenderincinema.
Note:Coffee/Tea/Juiceandsnackswillbeservedstartingat8:30a.m.
PanelSessionsheldinMurrayFraser(MF),ProfessionalFaculties
(PF)andSocialSciences(SS)buildings
PanelsA:11:00–12:30
MF160
A1:WhatComesAfterAffect?—Post-AffectiveCinemaandtheNew
MasterNarrative(s)
Chair:RussellKilbourn(WilfridLaurierUniversity)
TerranceMcDonald(Brock),“CreativeForce:Iñárritu,Nolan,andaPosthumanImagination”
ElèneTremblay(UniversityofMontreal),“WorkingtheAffects:DominicGagnonandNatalie
Bookchin’sPostcinematicPractices”
AndersBergstrom(WilfridLaurier),“‘Nobodywillmissit’:AffectandNihilisminMelancholia”
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A2:MakingMeaning
Chair:DarrellVarga(NSCADUniversity)
MF164
KassBanning(UniversityofToronto),“InstallationoftheReal:HagiographyUndone”
ClintBurnham(SimonFraserUniversity),“ResidentialSchoolHorror:RhymesforYoungGhouls”
JuliaHuggins(ConcordiaUniversity),“HowDoYouSay‘ILoveYou’intheInformationAge?The
FunctionoftheSerenadeintheWorkofBennyNemerofskyRamsay”
A3:Appareildesarchives/archivesdesappareils.Expérimentation,
techniqueetméthodes
Président:LouisPelletier(ConcordiaUniversity/UniversitédeMontréal)
PF122
Jean-PierreSirois-Trahan(UniversitéLaval,Québec),«LacollectionFrançoisLemaidel’Université
Laval.Patrimoine,appareilscinématographiquesetquestionsméthodologiques»
NicolasDulac(UniversitédeMontréal/UniversitédeLausanne),«Ledispositif-Bolex:discours
promotionnel,iconographieetinventionducinéaste"professionnel-amateur"»
AndréHabib(UniversitédeMontréal),“LookingatKenJacobs’Tom,TomthePiper’sSonthrough
thelensofa16mmprojector:notesontechnologyandexperimentalpedagogy”
A4:NostalgiaandIdentity
Chair:BrendanBurrows(UniversityofToronto)
PF222
LizCzach(UniversityofAlberta),“Nostalgia,Heritage,andtheContemporaryQuebecBio-Pic”
PaulM.Babiak(UniversityofToronto),“ImperialOil’sTheNewcomers–Transvaluingthe
‘Contestedness’oftheCanadianCommunity”
BrockSilversides(UniversityofToronto)andPaulBabiak(UniversityofToronto),“TheFiesta
CinemasandtheMastrangeloCollection:CinemaandCommunityinLate20th-centuryToronto”
DÉJEUNER/LUNCH12:30–13:30
PanelsB:13:30-15:00
B1:Ecocinema:APhilosophicalApproach
MF160
Chair:MarioTrono(MountRoyalUniversity)
MarioTrono(MountRoyalUniversity),“EcocinemaasOccurrentArt”
ChelseaBirks(UniversityofGlasgow),“NotForUs,InevitablyForUs:ACritiqueofSpeculative
RealismthroughTectonicsandLaLibertad”
DavidChristopher(UniversityofVictoria),“Žižek,Freud,andtheReturnoftheReturnofthe
RepressedEco-CriticalSimianMonster”
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B2:MappingTelevisualFiction/Cartographierlafictiontélévisuelle
MF164
Chair:MartaBoni(UniversitédeMontréal)
Marta Boni (Université de Montréal), "Television series as complex systems: interferences and
emergences"
LarissaChristoforo(UniversitédeMontréal),"Fromaheterogeneousaudiencetoaheterogeneous
production:theremodelingofBraziliantelenovelasintheEraofConvergence”
Camille Martinez (Université de Montréal), «La notion d'espace dans le cas d'un phénomène
complexe,lemondedeFargo»
B3:Style:WorkingPhilosophicallythroughFilm
SS203
Chair:RyanPierson(UniversityofCalgary)
RyanPierson(UniversityofCalgary),“WalkCyclesandtheExperienceofProof”
LeeCarruthers(UniversityofCalgary),“ForgedfromEartoEye”:FromAmbiguitytoa
PhenomenologyofMontage”
BrianPrice(UniversityofToronto),“PoliticalMaturity:Assayas’sLateStyle”
B4: RethinkingPopularDocumentary
PF222
Chair:ChristieMilliken(BrockUniversity)
MarinaGrozdanova(UniversityofMontreal),“DeconstructingtheMusicDocumentary:AHybrid
AudiovisualArtwork”
MichaelMeneghetti(IndependentScholar),“TheAntinomiesofthe‘Popular’:Abnegationand
PoliticsintheObservationalDocumentaryToday”
ChristieMilliken(BrockUniversity),“Make‘emLaugh?:Humour,IronyandthePoliticsof
EntertainmentinPopularEcodocumentaries”
15:00:LightRefreshments(MF160)
PanelsC:15:15-17:00
C1:HollywoodHallucinations
Chair:OliviaHeaney(McGillUniversity)
PhilippaGates(WilfridLaurierUniversity),“NarcoticsandtheCode:DealingwithDrugsin
ClassicalHollywoodFilm”
MF160
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PeterLester(BrockUniversity),“TheCamera!Eye:EditorialPolicyinHollywood,1918-1924”
AndrewPatrickNelson(MontanaStateUniversity),“DelmerDaves,CasualtyofAuteurism”
C2:Roundtable:NewTendenciesinCurrentResearchonFilmFestivals
MF164
Chair:GerZielinski(IndependentScholar)
GerZielinski,Chair(IndependentScholar),“FestivalEphemera:WhattoDo?”
EzraWinton(ConcordiaUniversity),“EthicallySuspect:DocumentaryFestivalsandtheCultural
PoliticsofCurating”
DianeBurgess(UniversityofBritishColumbia),“Node,Platform,orNexus:CompetingPerspectives
ontheFestival’sPositionintheIndustryValueChain”
LizCzach(UniversityofAlberta),“FestivalasProducer:aCaseStudyofTIFF”
C3:Fantasy,AdaptationandtheScientist
SS203
Chair:RussellKilbourn(WilfridLaurierUniversity)
MarkRowellWallin(ThompsonRiversUniversity),“SubversionandDisnification:Miyazaki’s
adaptationofHowl’sMovingCastle”
VanessaNunes(UniversityofManitoba),“BurtonesqueFrankensteins:ThePostmodernMad
ScientistinTimBurton’sFilmography”
MikeMcCleary(WilfridLaurierUniversity),“DigitalDestabilization:TheFantasticalPoliticsof
GuillermoDelToro’sPan’sLabyrinth”
C4:TechnologyandPointofView
PF222
Chair:PhilippeBédard(UniversitédeMontréal)
JohnDrew(BrockUniversity),“ADog’sEyeView:AnimalAgencyinWhiteGodandintheMakingof
WhiteGod”
LoreneShyba(UniversityofCalgary),“DronesandCinematography:EmotionsandKineticsofthe
NewAerialView”
SaraSwain(York&RyersonUniversities),“AnimalsMeetDrones,AestheticsmeetsEthics:On
UbiquitousCameras,Non-HumanImage-MakingandHumanResponsibility”
Reception/Réception
4:00-6:00
p.m. UniversityofCalgary,DepartmentofCommunication,MediaandFilm
Location:SocialSciences217
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Reception/Réception
6:30-8:30p.m.
FSACMembersBookLaunch&Reception
Lancementdenouveauxlivresdesmembresd’ACÉC
SponsoredbytheCanadianJournalofFilmStudies
Location:VendomeCafé
9402ndAve.NW
(Offcampus:oneblockfromSunnysideC-Trainstation)
__________________________________________June1juin______________________________________________
8:30:CoffeeandTeaServed(MF160)
PanelsD:9:00-10:30
D1:TheEthicsandPoliticsofFilmFormandAesthetics
MF160
Chair:KonstantinosKoutras(CarletonUniversity)
KateRennebohm(HarvardUniversity),“TheEthicalPictureoftheFilmStrip:Wittgenstein’s
CinematicRemarks”
OlivierTremblay(UniversitédeMontréal),“Filmasa‘SpaceofAppearance’”
Konstantinos Koutras (Carleton University), “Ontological Equality, or, The Political Project of
Realism”
D2: TheHistoryofFilmEditinginLightofTechnologicalChanges,from1906to
1915
MF164
Président:AndréGaudreault(UniversitédeMontréal)
Charlie Keil (University of Toronto) and Nicholas Shaw (University of Toronto), “Editing and the
InstitutionalizationofCinema”
André Gaudreault (Université de Montréal), “From Griffith to Pathé: Towards a New History of
Crosscutting”
Santiago Hidalgo (Université de Montréal) and Timothée Huerne (Université de Montréal), “The
BeginningsofEditingConsciousnessintheFirstFilmTradePublications”
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D3:Heroines,Villains,andNetflixProduction:AKATheJessicaJones
Panel
SS203
Chair:JessicaBay(York&RyersonUniversities)
PriyaRehal(YorkUniversity),“JessicaJones:AMarvelofGenderPoliticsintheMarvelCinematic
Universe”
MaryGraceLao(YorkUniversity)&ChrisAlton(YorkUniversity),“VillainFandom:The
RomanticizationofKilgraveinJessicaJones”
JessicaBay(York&RyersonUniversities),“ProgrammingThroughAlgorithms:Netflix’sContent
CreationStrategyandJessicaJones”
D4:Place,Territory,Representation
PF222
Chair:PhilippeD.Mather(CampionCollegeattheUniversityofRegina),
PhilippeD.Mather(UniversityofRegina),"DogmasofOrientalism:EdwardSaïdandFilmStudies"
OuaydaNour(UniversitédeMontréal),"Cinemaasacountry:Orthecinematicactasa
reappropriationofacontestedterritoryinKamalAljafari'sRecollection"
KatrinaOrlowski(YorkUniversity),“SearchingforChaudière:CulturalMemory,Place,and
DocumentaryPractice”
PanelsE:10:45–12:15
E1:Modernity,IdentityandMentalHealth
MF160
Chair:DominiqueBregent-Heald(MemorialUniversityofNewfoundland)
YelsyHernándezZamora(UniversitédeLaHavane),«LesidéauxdelaModernitédansle
documentairecubaindespremiersdécadesdelaRévolution.LesfilmsdeSaraGómez»
ZoëDruick(SimonFraser),“FromMentalMechanismstoMentalSystems:TheContinuumof
MentalHealthinPost-WarNFBFilms”
BrianR.Jacobson(UniversityofToronto),“EnergizingFrance:IndustrialCoalFilmsandtheImage
ofModernitycirca1950”
E2: L’Évolution des pratiques en fonction du support audiovisuel:
télévision,vidéoetjeuvidéo
MF164
Président:BernardPerron(UniversitédeMontréal)
Viva Paci (Université du Québec à Montréal) and Martin Bonnard, (Université du Québec à
Montréal)« Quandlecinémamontecommeàlatélé…»
Andréane Morin-Simard (Université de Montréal) and Hugo Montembeault (Université de
Montréal),“TheDiscourseCommunity’sCut:VideoGamesandtheNotionofMontage”
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RémyBesson(UniversitédeMontréal),«Réinterpréterl'esthétiquedel'archived'HarunFarockià
l'aunedesapratiquedumontagepourEnSursis(2007)»
E3:Hauntings,DevilryandLanguage
Chair:PriyaRehal(YorkUniversity)
SS203
KevinChabot(UniversityofToronto),“TelevisualHaunting:ExploringParanormalReality
Television”
MurrayLeeder(UniversityofCalgary),“DetectionandDevilryinAngelHeart”
LindseyCampbell(UniversityofAlberta),“AllintheGame:Makingsenseoflanguageandcodeson
HBO’sTheWire”
E4: Workshop:TheLegacyofChantalAkerman
Chair:JerryWhite(DalhousieUniversity)
PF222
JerryWhite(DalhousieUniversity)
KateRennebohm(HarvardUniversity)
LoreneShyba(UniversityofCalgary)
DÉJEUNER/LUNCH12:15–13:30
LunchtimeMeetings
FSACExecutiveMeeting/CJFSEditorialBoardMeeting
MF160
PanelsF:13:30–15:00
F1:ContestedBodies
MF160
Chair:KassBanning(UniversityofToronto)
GloriaMonti(CaliforniaStateUniversity,Fullerton),“ContestedIdentities:HowLenaLostHer
Groove(toAva)”
MalcolmMatthews(BrockUniversity),“AutisticsandAlphaMalesinMedia:aTechno-Human
BromancefortheModernMan”
AndrewFalcao(WilfridLaurierUniversity),“TheTransformationsofCleopatraJones”
MF164
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F2:Transnationalism:Canada–Quebec–Bollywood
Chair:ShanaMcGuire(SaintMary’sUniversity)
BoulouEbandadeB'béri(Universitéd’Ottawa)etElizaMystille(Universitéd’Ottawa),«De
l’intertexteaucommentairefoucaldien:lacuisinecommelieuderencontresetde
bouleversementsdesidentitésetdesorigines»
SonyJalarajanRaj(MacEwanUniversity)andAlexanderSorochan(MacEwanUniversity),
“Spectacle,EscapismandDiasporicIdentitythroughTransnationalCrossoverCinema:
BollywoodinCanada”
DavidHanley(CarletonUniversity),“Bollywood’sCanada,Canada’sIndia”
F3:ArtCinemaandInteractiveMedia
SS203
Chair:MarcFurstenau(CarletonUniversity)
DanaCooley(UniversityofLethbridge),“ThePoeticScienceofInteractiveArt”
MasakiKondo(YorkUniversity),“ARuptureinClock-TimeinChristianMarclay’sTheClock:The
TemporalityofAffectivityinContemporaryMovingImageArt”
ChristineRamsay(UniversityofRegina),“AnecdotalEvidence:TheWorkofGeraldSaul”
F4:WarandTerror
PF222
Chair:LoreneShyba(UniversityofCalgary)
MatthewCroombs(King’sCollegeLondon),“CinemaAgainstStateTerror:JacquesPanijel’sOctobre
àParisandtheWorkofParallelCinema”
DonMoore(UniversityofGuelphHumber),“TheConstructionofthe‘TerroristOther’in
ContemporaryCinemaandMedia”
MandyElliott(UniversityofManitoba),“‘Creatinginminiatureaworldoftheirown’:Reinventing
EnglishnessinPostwarPrisonerofWarCinema”
15:00:LightRefreshmentsServed(MF160)
PanelsG:15:15–17:15
G1:Time,rhetoricandDeception
MF160
Chair:MarkRowellWallin(ThompsonRiversUniversity)
ChristineEvans(UniversityofBritishColumbia),“LiesandVideotape:EpistemologyandDeception
inTheJinxandTheImposter”
MarcFurstenau(CarletonUniversity),“TheRhetoricoftheSpecialEffect:Expression,
RepresentationandImagination”
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PhilippeBédard(UniversitédeMontréal),“TheProteanCamera:CrystallizingTimeandMovement
intheMotionPicture”
AlainChouinard(ConcordiaUniversity),“Kickstarter,PlatformPolitics,andtheQuestionofPower”
G2:DocumentaryTroubles
MF164
Chair:SethFeldman(YorkUniversity),
SethFeldman(YorkUniversity),“MoreKinokMischief:ManWiththeMovieCameraandthe
ContemporaryUnderstandingofDocumentary”
DarrellVarga(NSCADUniversity),“PiratesandMediaBombs:DocumentaryOnandAroundthe
Oceans”
BrendanBurrows(UniversityofToronto),“FilmasIntervention:Raisingthebarforteacher’s
engagementwithIndigenousIssues”
JeremyMaron(CarletonUniversity&CanadianMuseumforHumanRights),“SidebySide:Digital
StorytellingandReconciliation”
G3:ThePeterMorrisMemorialPanel:CanadianFilmHistory
Chair:CharlesTepperman(UniversityofCalgary)
SS203
CharlesTepperman(UniversityofCalgary),“FromScripttoScreenandBeyond:Thedeclineof
auteurcinemaandriseof‘producer’scinema’inEnglishCanadasince2000”
SarahA.Matheson(BrockUniversity),“NavigatingtheCity:UrbanSpaceandtheStedicaminthe
CanadianCultTVSeriesNightMoves,NightRideandNightWalk”
LouisPelletier(UniversitédeMontréal&ConcordiaUniversity),“WillieEckstein:CanadianPianist
andStaroftheSilentScreen”
G4:MicroCinema,MicroBudgets,MicroDistribution
Chair:PeterLester(BrockUniversity)
PF222
ClaudiaSicondolfo(YorkUniversity),“NetworkedPublics:MobilizingCommunity
ParticipationinFilmFestivalsandtheTwittersphere”
CarolineKlimek(YorkUniversity),"Mergingemergingmediaandthefilmfestivalspace"
MelanieWilmink(YorkUniversity),“CracksintheSidewalk:CinematicInterventionsintoPublic
SpacewiththeSituatedCinemaProject”
President’sReception/Réceptionduprésident
5:00-7:00p.m.EEELBuilding
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6:30p.m.
Conférencecommémorative/MartinWalshMemorialLecture
MurrayFraserHall160
LorettaTodd(CreeWriterandFilmmaker)
“CanIknowCanadabyitsstories?”
AsanIndigenousfilmmaker,IwonderaboutthestoriesCanadianfilmmakersandTVanddigital
producerstell.WhatdoIlearnaboutCanadawhenIwatchtheirscreensandtheparadeoftheir
stories?Whoarethesepeopleandwheredidtheycomefrom?Inthispresentation,Iexplorekey
threadsIseeemanatingfromCanadianscreens,fromanIndigenousperspective.Thisisn'treverse
ethnography,thoughIamlookingatmaterialcultureandengaginginsomemappingofastructural
analysisofCanadiannarrative.Instead,Iwanttoimmersemyselfinthemetaphororlackof
metaphorthatflowsthroughthestoriesofCanadabyCanadians–andunderstandtheorigin
storiesofwhatisCanadaandwhoisCanadian.Andifthereisnooriginstory,whatdoesisthat
sayingaboutCanadiansandCanadianfilmmakers?
SpecificallyIwillexplorekeyfilms/narratives:StoriesWeTell,bySarahPolly.Howcanyounot
admireSarahPolly?Shefamouslydenouncedherprivilegebyquittinghighschooltodedicate
herselftoclassstruggle.InStoriesWeTell,shesearchesherownoriginstorybutIwonder:isshe
theposterchildforpost-structuralistseverywhere?SouvenirofCanada,byRobinNeinstein(based
onthebookbyDouglasCoupland):WhileCouplandwearshisCanadianheartonhissleeve–heis
alsocastinghimselfastheNewNative–themateriaprimaofthetruenorthstrongandfree.And
I’mnotjustsayingthatbecauseI’mNative–thoughweseemedtohavebeenthoughttodeathin
thisneo-ethnographyofCanada.ThepresentationshallalsomakereferencetovariousCanadian
digitalscreens,includingvice.com.
***
LorettaTodd:Female.Cree.Metis.White.
Indemandasawriterandlectureronartsandmedia,Ms.ToddspokeattheInternationalDayof
the World’s Indigenous Peoples at the United Nations, as well as other prestigious institutions,
includingMuseumofModernArt,MuseumoftheAmericanIndian,WorldCulturesDepartmentof
UCLAandnumerousconferences.HeressaysappearinmanypublicationsfromMITPresstoUBC
Press.Twoofherrecentpublicationsinclude:AbouttheFuture(publishedinCloseEncounters:The
Next500Years,byPlugInInstituteofContemporaryArt).AndsheprovidedtheafterwardforBill
ReidandBeyond:ExpandingonModernNativeArt.
Loretta is a scriptwriter (Sundance Writer's Lab) and director, whose work includes awardwinningdocumentaries,suchasForgottenWarriors,primarilywiththeNFBofCanada,aswellas
experimentalworkandtelevision.Shecreated,producedanddirectedTansi!Nehiyawetan,aCree
children’sseriesonAPTN.And,shecreatedMyCree,aCreelanguage-learningapp,freeintheApp
Storewithover9000downloads.CurrentlysheisinproductionwithCoyote’sCrazySmartScience,
a new children’s series about Indigenous science, and has two feature films in development. She
also produced, directed and wrote the pilot for Skye and Chang, a sci-fi, martial arts mash-up
12
broadcastonAPTN.AndsheisabouttogointoproductionwithFierceGirls,atransmediaproject
aboutsuperheroes–aco-productionwithNewZealand.
«Peut-onconnaîtreleCanadaparseshistoires?»
Àtitredecinéasteautochtone,jem'interrogesurleshistoiresquelescinéastescanadiens,etles
producteursdetélévisionetdecontenunumériqueracontent.Qu'est-cequej'apprendsausujetdu
Canadaquandjeregardeleursprojectionsetledéfilédeleursnarrations?Quisontcespersonnes
etd'oùviennent-elles?Danscetteprésentation,j'explorelesélémentsprincipauxquejeperçois
d'unpointdevueautochtonesurlesécransducinémacanadien.Cecin'estpasdel'ethnographie
inversée,bienquej'examinelaculturematérielleetquej'engagedanslaconfigurationd'une
analysestructurelleducinémanarratifcanadien.Parcontre,jeveuxexplorerlesmétaphores,oule
manquedemétaphores,quiparcourentàtraversleshistoiresduCanadaracontéesparles
Canadiens–etjeveuxcomprendrelesoriginesdeshistoiresquidécriventl'identitéduCanadaet
desCanadiens.Ets'iln'yapasd’origines,qu'est-cequececinousditàproposdesCanadiensetdes
cinéastescanadiens?
Plusprécisément,j'examineraidesélémentsclés/cinématographiques:StoriesWeTell,parSarah
Polley.Commentnepouvez-vouspasadmirerSarahPolley?Elleestconnuepouravoirdénoncé
sonprivilègeenquittantl'écolesecondaireetpourseconsacreràlaluttedeclasses.DansStories
WeTell,ellecherchelaproprehistoiredesesorigines,maisjemedemande:est-elle
vraimentl'exempleidéalepourlespoststructuralistes?SouvenirofCanada,parRobinNeinstein
(fondésurlelivredeDouglasCoupland):BienqueCouplandalecœurcanadiensurlamain–ilse
décritaussienétantleNouveauIndigène–lamateriaprimadunordvéritable,libreetpuissant.Et
jenedispasceciseulementparcequejesuisautochtone–bienquenoussemblionsavoirété
discutéàmortdanscettenéo-ethnographieduCanada.Cetteprésentationferaaussiréférenceà
plusieursprojectionsnumériquescanadiennes,ycomprisVice.com.
***
LorettaTodd:Femme.Crie.Métis.Blanche.
Recherchéeentantqu'écrivaineetconférencièredansledomainedesartsetmédia,MmeTodd
aprésentéundiscourslorsdelaJournéeInternationaledesPeuplesAutochtonesauxNations
Unies,ainsiqu'àd'autresinstitutionsprestigieuses,incluantleMuseumofModernArt,National
MuseumoftheAmericanIndian,UCLADepartmentofWorldArtsandCultures/Danceetde
nombreusesconférences.Sesarticlesontparusdansplusieurspublications,telsqueMITPresset
UBCPress.Parmisespublicationsrécentes:AbouttheFuture(publiédansCloseEncounters:The
Next500Years,parPlugInInstituteofContemporaryArt).ElleaaussifournilapostfacepourBill
ReidandBeyond:ExpandingonModernNativeArt.
13
Lorettaestunescénariste(SundanceWriter'sLab)etréalisatrice.Sontravailinclusdes
documentairesquiontreçusdenombreuxprix,telsqueForgottenWarriors,majoritairementavec
l'OfficenationaldufilmduCanada(ONF),ainsiquelatélévisionetdestravauxexpérimentaux.Elle
acréé,produitetréaliséTansi!Nehiyawetan,unesériepourenfantscrispourl'APTN.Elleaaussi
crééMyCree,uneapplicationpourapprendrelalanguecrie,gratuitdansl'AppStoreavecplusde
9000téléchargements.ElleestactuellementenproductionavecCoyote’sCrazySmartScience,une
nouvellesériepourenfantssurlascienceautochtone,etelleadeuxlongsmétragesen
développement.Elleaaussiproduit,réaliséetécritlepilotepourSkyeandChang,unediffusion
inspiréedescience-fictionetd'artsmartiauxsurAPTN.Finalement,elleestsurlepointdepasser
enproductionavecFierceGirls,unprojettransmédiasurlessuperhéros–unecoproductionavecla
Nouvelle-Zélande.
_________________________________________June2juin___________________________________________
8:45–10:45MF160
FSACAnnualGeneralMeeting/Assembléegénéraleannuelled’ACÉC
Note:Coffee/Tea/Juiceandlightbreakfastwillbeserved
PanelsH:11:00–12:30
H1:Sex,Transgression,andtheOddCult
MF160
Chair:DanaCooley(UniversityofLethbridge)
ShanaMcGuire(SaintMary’sUniversity),“CorporalCapitalisminClaireDenis’sBastards”
BrendaAustin-Smith(UniversityofManitoba),“OddCultOut:Cinemabyany‘other’name”
DanielSacco(RyersonUniversity),“CannesandCannots:Transgression,OstracismandVincent
Gallo’sTheBrownBunny”
H2:Lesétatschaotiquesdel’Amérique:attraction,fuite,etspécularité
Président:RyanHarper-Brown(UniversityofLethbridge)
MF164
Louis-PaulWillis(UniversitéduQuébecenAbitibi-Témiscamingue),«Del’alteràl’égo:BlackSwan
etlaspécularitécinématographique»
Marc-AntoineLévesque(UniversitédeMontréal),«Attractiondelacomédiemusicaleà
l’expressionnismeallemanddansl’expériencetélévisuelled’AmericanHorrorStory»
SimonLaperrière(UniversitédeMontréal),«RenaldoandClaradeBobDylan–Uneexpériencede
lafuite»
14
SS203
H3:QuebecCinema
Chair:LizCzach(UniversityofAlberta)
KarineBertrand(Queen’sUniversity),«Survivanceettémoignages:guérisonetredynamisation
descommunautésdanslecinémaautochtonequébécois»
AndreDubois(ConcordiaUniversity),“OurGame,NotreJeux:HockeyinQuébec’sCinematic
Consciousness”
TheodorStojanov(ConcordiaUniversity),“FaitauQuébec,orTheArtofAdaptingtoIntra/TransNationalTelevision”
DÉJEUNER/LUNCH12:30–14:00
Workinglunchroundtable:StrategizingBudgetModels,StreamingCosts,andother
AdministrativeChallengesoftheDiscipline
MF160
Chair:SusanLord(Queen’sUniversity)
-Departmentchairsandinterestedpartiesarewelcometoattend
PanelsI:13:30–15:15
I1:Cinema,Truth,Location
MF160
Chair:JerryWhite(DalhousieUniversity)
ZachMelzer(ConcordiaUniversity),“Public-PrivateMovingImageCulturesinCanada:Business
ImprovementDistrictsandtheRegulationsofDundasSquareandQuartierdesSpectacles”
ThomasWaugh(ConcordiaUniversity),“CinematicParrhesis:TellingTruth,TakingRisk,
TransformingtheSelf”
JonathanPetrychyn(YorkUniversity),“FeelingQueerintheSmallCity:EncounterswithMyPrairie
HomeandClosetMonster”
I2:Bodies,Technologies,Hauntings
MF164
Chair:MurrayLeeder(UniversityofCalgary)
DavidJackson(CarletonUniversity),“BetweenBody,LandscapeandTechnology:TheStruggle
BetweenWomen,NatureandScienceintheGoldenAgeofScienceFictionFilm”
TessJewell(YorkandRyersonUniversities),“Playingwiththeblindboy:Intersectionsbetween
identityandimaginationinmediarepresentationsofdisability”
GuanWang(UniversityofAlberta),“BeCautiousofthatLust:Music,FateandSadomasochismin
AngLee’sLust,Caution”
15
I3:NorthernLandscapes
Chair:ScottMacKenzie(Queen’sUniversity),
SS203
CharlotteDronier(UniversitédeMontréal)"NatureashomelandofthoughtsinIcelandicfilm"
CarmenVictor(YorkandRyersonUniversities),“TheSoniferousÆtheroftheLandBeyondtheLand
Beyond”
ScottMacKenzie(Queen’sUniversity),AnnaWesterstahlStenport(UniversityofIllinoisatUrbanaChampaign)andDeirdreRuscittiHarshman(UniversityofIllinoisatUrbana-Champaign),“Russian
ArcticCinemasandtheNewColdWar”
16
CAMPUSMAP
17
OPENINGRECEPTION:
18
BOOKLAUNCH:
19