La version française ci-dessous
23rd Annual Film Studies Association of Canada Graduate Colloquium
Friday January 29 - Saturday January 30, 2021 (Virtual)
Keynote Speaker: Dr. David Marriott, Penn State University - "On Revolutionary Suicide"
The year 2020 has been shrouded by the spectre of crises, from the novel coronavirus, to ongoing racial injustice and colonial violence. The impact of this year has sent reverberations through the ways in which we gather, research, think, make and consume art, and indeed, how we survive. The spectral seems to be an apt mode for contemplating the conditions that hover over our times, and that continue to haunt the cinema and its study.
Film scholars have long tracked the ghostliness of the cinematic. For example, Katherine Groo asks us to consider the absence and decay of film and its celluloid im/materiality as a part of its ontology. In Zoological Surrealism, James Cahill attests to the power of film to reanimate the dead, while Canadian scholar Andrew Burke’s recent work looks at how contemporary Canadian film is haunted by traces of the 1970s. The onscreen body, too, persists as a phantasmagoric figure. For Maggie Hennefeld, the spectral encapsulates the transfiguring, miniaturising embodiment of early film comediennes, while Eliza Steinbock calls upon the “shimmer” to envision the illusory, astonishing visibility of both cinema and transgender embodiment. Cinema’s legacy of racial imagery also continues to haunt its image-making practices; in Black Skin, White Masks, Frantz Fanon famously wrote: “I can’t go to the movies without encountering myself. I wait for myself. Just before the film starts, I wait for myself,” a passage taken up by Kara Keeling in her article “In the Interval.” The spectre of film’s racial imaginary also cannot be separated from the continued presence of systemic anti-Black violence, a spectre that is all too real.
Finally, since Derrida conceptualized the neologism "hauntology" in his 1993 Spectres of Marx, many scholars, like those aforementioned and beyond the discipline of media studies, have engaged with spectres. Indeed, this conference also asks, in what ways are we haunted by the spectre of spectre? How is the spectral contained and rendered by filmic practices, or by film’s ontology? How does the spectral inhabit onscreen bodies and map across visions of marginalisation, terror, and violence? What is the cinema continuously haunted by, and how does this haunting rear its head?
L’année 2020 a été enveloppée par le spectre de différentes crises, du coronavirus aux injustices raciales et violences coloniales. Cette année a des répercussions sur nos façons de nous rassembler, de faire de la recherche, de penser, de faire et de consommer de l’art, et bien sûr, sur nos façons de survivre. Le spectral semble être un mode adéquat pour contempler les conditions qui planent au-dessus de notre époque, et qui continuent à hanter le cinéma et son étude.
Les chercheurs en Études Cinématographiques ont depuis longtemps adressé l’aspect fantomatique du cinématographique. Par exemple, Katherine Groo nous amène à considérer l’absence et la désintégration des films ainsi que l’im/matérialité du celluloïd comme partie intégrante de leur ontologie. Dans Zoological Surrealism, James Cahill affirme le pouvoir filmique de réanimer les morts, alors que le travail récent du chercheur canadien Andrew Burke s’intéresse à la façon dont les films contemporains canadiens sont hantés par les traces des années 70. Le corps filmé persiste lui aussi en tant que figure fantasmagorique. Pour Maggie Hennefeld, le spectral encapsule la corporalité transfigurée et miniaturisée des comédiennes des films des premiers temps, alors que Eliza Steinbock abord la notion de « shimmer » pour explorer l’illusoire et stupéfiante visibilité de la corporalité à la fois cinématographique et transgenre. L’héritage d’imagerie raciale du cinéma continue également de hanter ses pratiques imageantes; on se souvient de ce passage, dans Peau Noire, Masques Blancs, où Frantz Fanon déclare : « Impossible d’aller au cinéma sans me rencontrer. Je m’attends. À l’entracte, juste avant le film, je m’attends », un passage que reprend Kara Keeling dans son article « In the interval. » Le spectre de l’imaginaire racial du cinéma ne peut également se séparer de la présence continuelle de la violence systémique anti-noire, un spectre beaucoup trop réel.
Finalement, depuis que Derrida a conceptualisé le néologisme « hantologie » dans son livre de 1993 Spectres de Marx, plusieurs chercheurs, autant ceux mentionnés qu’audelà des études médiatiques, ont engagé la notion de spectres. Ainsi, cette conférence demande également de quelle manière nous sommes hantés par le spectre du spectre? Comment le spectral est-il contenu et rendu par l’ontologie et les pratiques filmiques? Comment est-ce que le spectral habite les corps filmés, et comment est-ce qu’il cartographie au travers des imageries de marginalisation, de terreur et de violence? De quoi le cinéma est-il constamment hanté, et quelles sont les nouvelles actualisations de cette hantise?
FSAC/CSGSU Grad Colloquium Schedule
(**all times are in ET**)
Zoom ID: 831 8161 4061
Zoom ID: 857 1310 6724
Friday, January 29 -------
6:00 - 6:15 pm Welcome
6:15 - 8:00 pm Keynote - Dr. David Marriott (Penn State University)- “On Revolutionary Suicide”
Saturday, January 30 -------
9:00 - 9:30 am Welcome
9:30 - 10:45 am Panel I: Dead, Alive (Moderator: Erin Mick, University of Toronto)
Caitlyn Dubé (University of Western Ontario) - “Barnaby’s Rhymes for Young Ghouls: Specters, Conjurers and Indigenous Visibility”
Nadia Hussein (University of Pittsburgh) - “Making Your Own Story: The Hauntology of Historicity and the Radical Potential of Black Guerilla Expressionism”
Andrew Lee (University of Toronto) - “Apocalypse Again and Again, or: How I Learned to Stop Worrying and Love Global Warming”
Stephen Woo (Brown University) - “Reenacting Invasión: Documenting the 1989 US Invasion of Panama through Bodily Memory”
11:00 - 12:00pm Panel II: Sound and Spirits (Moderator: Ganga Rudraiah, University of Toronto)
Matthew Ari Elfenbein (Florida Atlantic University) - “The Musical Body: Digital Ghosts and Violence”
Andi Gilker (University of Toronto) - “Truck You,” an excerpt from “Whisper to a Scream: Altered States and Sonic Affect in Twin Peaks: The Return (2017)”
Sreemoyee Kar (Jadavpur University) - “Sound Summoning the Specter in Cinema: A Critical Reflection on the Political Use of Sound and Music in Ritwik Ghatak’s Partition Trilogy.”
12:15 - 1:15pm Panel III: Presences of the Past (Moderator: Devin Gibbs, University of Toronto)
Katie Kirkland (Yale University) - “Lumumba: Death of a Prophet and the Black Holes of Documentary”
Dhvani Ramanujam (Ryerson University) - “Programming Solidarity: Unpacking the Decolonial Potential of the In Visible Colours Festival (1989)”
Amanda Ann-Min Wong (University of Toronto) - “Material Memories and Dispossession: Exploring Representations of the Migrant Woman's Archive"
1:15 - 2:15pm LUNCH BREAK
2:15 - 3:30pm Panel IV: Technological Shadows (Moderator: Morgan Harper, University of Toronto)
Che Gossett (Rutgers University) - “The Abolition Machine: Philosophy of Technology, the Specter of the Slave and the Techno-Aesthetics of Blackness”
Michael Stringer (University of British Columbia) - “‘For the Bible Tells Me So’: Cultic Behaviour and Philosophical Consequence in BioShock”
Chris Wei (University of Iowa) - “‘We’re Bringing These Guys Back to Life’: The Necromantic Ventriloquism of the Cinematic Apparatus”
3:45 - 5:00pm Panel V: Pieces and Places Possessed (Moderator: Kevin Chabot, University of Toronto)
Annie Berman (Columbia University) - “Excavating the Home: Objects of Queer Domesticity as ‘Radioactive Fossils’ in Anthony Chidiac’s Room For A Man (2017)”
Jenisha Borah (University of Chicago) - “Intimate Cartographies: Memories of a Theatre”
Zeynep Kartal (Concordia University) - “Haunted Text(iles): Spectral Fabrics and Sapphic Sartorial Eroticism”
Eddy Wang (University of Toronto) - “Projections of Eros, The Bittersweet: Reflections on Love, Ghosts and Cinema”
Fellini, Italy, Cinema
International Conference on the Centenary of Federico Fellini’s Birth (1920-2020)
The international conference that convened at the University of Toronto on October 9,10,16 and 17 is now available online in its entirely.
Since his passing in 1993, the international scholarly community has continued to pay tribute to Federico Fellini, tackling virtually every aspect of the legendary Italian director’s work, from his early days as a screenwriter to his mature films, from the notebooks in which he collected his dreams to the fragments of his incomplete pictures. Time, attention, and countless pages have also been devoted to the work of Fellini’s collaborators, from his wife Giulietta Masina, who starred in many of his films, to Nino Rota, the legendary composer whose scores accompanied so many of Fellini’s iconic images. The persistence of his influence on today’s filmmakers, and we would argue on the culture at large, is evidence of the fact that Fellini’s imagery has become a shared patrimony, a common currency that is exchanged with daily frequency in our media-saturated lives. Gelsomina’s tears, Marcello’s sunglasses, and Anita’s fountain bath have become global signifiers not only for Fellini and Italian cinema, but for Italy itself: they are as steadily lodged in the world’s collective unconscious as the Colosseum’s arches and Venice’s gondolas.
This conference aims to (re)assess the legacy of the late Italian film master Federico Fellini in the centenary of his birth (1920-2020). A complex and sometimes controversial auteur whose career spanned the second half of the twentieth century, Fellini’s work has explored different aspects of Italian culture and politics: from ancient Rome to eighteenth-century Venice, from machoism to Catholicism, from Fascism to Berlusconi. Fellini has always engaged with the pivotal aspects of Italian history and cultural heritage with an allegorical and yet realistic gaze, skillfully but not didactically, portraying the economic and social changes taking place over fifty years.
At the same time, Fellini was an omnivorous consumer of the most diverse cultural products: fascinated with popular art forms such as comics and radio-dramas, which he himself wrote, and with the occult (exemplified in his attention to the supernatural and the subconscious), Fellini’s work is also rich in sumptuous pictorial inspirations and in literary references. The multiplicity of these sources of inspiration contributed in Fellini’s shaping of an imagery that continuously merges the trivial and the highbrow, the solemn and the grotesque. At the same time, Fellini, especially in his late work, did not refrain from controversy, as shown by his polemical stances against television and his hesitations toward feminism.
The academic community is still actively engaged with Fellini's work, continuing to produce a plethora of interventions aimed at refining and updating the already vast bibliography on the Italian master. A number of volumes of recent publication (from Aldouby 2013 to Minuz 2015 to Carrera 2019) have returned to Fellini’s cinema and assessed it from a variety of novel vantage points, testing its resilience against the latest contributions in critical theory and making a compelling case for the need of its reevaluation. The variety of the conference papers, which range in topics from his literary and pictorial influences to his take on gender, race, and politics, will reflect the complexity of Fellini’s work and the multiplicity of contributions published about it.
The conference is sponsored by the Emilio Goggio Chair in Italian Studies, the Department of Italian Studies and the Cinema Studies Institute at the University of Toronto, and the Italian Cultural Institute in Toronto