AMPD

This paper explores how individuals of Asian diasporic backgrounds perceive and reimagine transitioning between homes through Embosom, a multi-sensory Virtual Reality (VR) installation. The project objective is to awaken emotions, resilient stories, and memories. Insights into participants’ emotional feedback are collected through a case study based on an interview questionnaire and survey. Unlike studies focusing on specific locations, this project blurs the lines between reality and the virtual realm, creating a reverie of imaginary remembered spaces. The project combines a physical sculpture with VR visuals and sound to evoke a sense of “home.” Participants, while seated on a soft sculpture, are immersed in a VR scene featuring cultural symbols and walls that shimmer with sparkling particles. Enhanced by a subtle soundtrack, the experience of Embosom, fosters a connection with their homeland. The project’s methodologies, specifically phenomenology and the psychology of home, have informed its design and content. Insights from interviews and surveys indicate a reduction in anxiety and an increased sense of serenity among participants. The findings indicate that VR visuals were the most impactful element, evoking memories and instilling resilience in immigrants, thus fostering a feeling of home in their host country.

Offers perspectives regarding the subject of antiracist theory as it applies to music education. Distinction between antiracism and multiculturalism; Importance of building a diversity of music courses in music education; Views on the presence of Eurocentricity in world music.

The article focuses on the use of antiracist theory to develop creative original productions. The author emphasized that antiracism is different from multiculturalism in that it challenges stereotypes and examines the power structures associated with culture. He observed how a high school integrated arts department used an original Kabuki production to challenge the creativity of senior arts students.

This article analyses Fields of Loves: 100 Years of Rainbow Cinema (Champs d’amours: 100 ans de cinema arc-en-ciel), a free exhibit organised by and on display at Paris’ City Hall (June-September 2019). Curated by Alain Burosse with the help of Jean-Baptiste Erreca, Michèle Collery, Laurant Bocahut, and Didier Roth-Bettoni, Fields of Loves features over one hundred film excerpts, posters, pictures, and documents – half of which are drawn from the archives of the Cinémathèque française.

While scholars have theorized major film festivals, they have ignored smaller, ephemeral, events. In taking seriously minor European and North-American LGBTQ festivals which often only exist as traces within archival collections, this book revisits festival studies’ method- ological and theoretical apparatuses. As the first ‘critique’ of festival studies from within, LGBTQ Film Festivals argues that both festivals and queer film cultures are by definition ephemeral.The book is organized around two concepts: First, ‘critical festival studies’ examines the political project and disciplinary assumptions that structure festival research. Second, ‘the festival as a method’ pays attention to festivals’ role as producers of knowledge: it argues that festivals are not mere objects of research but also actors already shaping academic, industrial, and popular cinematic knowledge. Drawing on the author’s experience on the festival circuit, this book pays homage to the labour of queer organizers, critics, and scholars and opens up new avenues for festival research.

Antoine Damiens is a FRQSC Postdoctoral Fellow within the Department of English and the Institute for Gender, Sexuality, and Feminist Studies at McGill University (Montreal).

  ‘An engaging and original history of queer film festivals and an insider critique of festival studies at large. Damiens has excavated our archives and offered a colourful tapestry of LGBTQ+ struggles over half a century, probing both the friendship and the activism at their core.’
THOMAS WAUGH, CONCORDIA UNIVERSITY, CANADA

Please note that this is a course that depends on remote teaching and learning. There will be no in-class interactions or activities on campus). This course will be taught synchronously. Students are expected to participate actively. Technical requirements: Zoom, internet connection. Use of webcam and microphone, although not mandatory, is strongly encouraged. Description: Film and Media festivals represent a relatively undeveloped area of scholarship that according to Marijke de Valck (2015) will continue to grow substantially as a new field of research in cinema and media studies in years to come. This course will examine the proliferation of film festivals around the world as integrally tied to changes in geopolitical and digital media cultures. It will use several different festivals as sites of analysis to ascertain the changed architectures of media production, exhibition and circulation. Comparing festival mandates and themes, curatorial strategies and programming including cross platform exhibition, marketing and outreach as well as funding mechanisms will give students insight into film and media festivals as both universal and singular events. Film festivals are connected to cinematic genres and often to the identities of place and nation. The case studies approach that this course takes will provide students with opportunities to engage with festivals in their contexts. We approach festivals as a cultural phenomenon and event deeply connected to place. The analytical framework developed throughout the course will draw upon an interdisciplinary selection of writings from media studies, sociology, urban studies and industry studies. Students will be encouraged to develop a diversity of angles for their research. The course objective is to build upon the emerging research into, and theories of new civic cultures. This course will provide students with a grounded understanding of the cultural industries through experiential learning. Students should attend at least two festivals (either remotely or in-person).

discussion 1. Could you briefly explain what your research projects are about and how it is structured? Specifically, could you summarize your main goals and the reasons that led you to set it up? Archive/Counter-Archive Archive/Counter-Archive: Activating Canada's Audiovisual Heritage (A/CA) is a research-creation partnership involving over twenty-five archival organizations and cultural repositories for audiovisual (AV) and other media in Canada along with four university partners: York (Lead), Concordia, Queen's, and Toronto Metropolitan University. This project focuses on the challenges and generative opportunities afforded by diverse media archives belonging to Indigenous Peoples (First Nations, Métis, Inuit), Black communities, People of Colour, women, LGBTQ2+ and immigrant communities. Through artist residencies, creative counter-archives, and innovative new scholarship, we are calling attention to collections most vulnerable to disappearance and inaccessibility. Through our network, we are dedicated to sharing resources and developing creative methodologies for understanding what AV archives mean to a new generation of researchers, scholars, artists, archivists, and activists. Through experimentation and research, we are committed to developing an archival action plan for community based and artist-run collections in Canada. The project is structured through eight case studies and supported by five working groups devoted to specific themes: Epistemology of the Archive; Education & Counter-Pedagogies; Technology and Innovation; Cultural Policy, Intellectual Property, and Rights Ecosystems; and Indigenous Methodologies. It is funded through a CDN$2.5M Partnership grant from the Social Sciences and Humanities Research Council of Canada (SSHRC). Now in its fourth year, the seven-year project involves over fifty academic researchers across Canada, over seventy-five graduate students and (DIS)AGREEMENTS