After lots of hard work since the ending of the course, our movie, The Assignment, will be having it's FIRST THEATRICAL RUN at the Cinematheque at the end of this month!
Mark these dates and times on your calendars, and be sure to invite your friends and families for these upcoming FREE SCREENINGS!
Friday: Nov 30th: 9:30pm
Saturday: Dec 1: 2:00pm **
Sunday: Dec 2: 9:00pm
**Note: on Saturday Dec 1st, some Q & A with cast and crew will follow the screening.
Many of you got to see the film on September 7th in the Multipurpose Room at the U of M. But I know that many more of you missed it-- So now's your chance to see it in a real theatre, with a room designed to enhance your viewing and listening experience! The perfect location!
At the cinematheque, where many Winnipeg Greats have debuted their work, come, attend YOUR SCREENING!
Let your experience be added to Winnipeg's cinematic history!
(Check out the trailer here: http://vimeo.com/47960940)
Moments of Discovery: A Symposium in Honour of Robert Kroetsch
Date: Wednesday, May 9, 2012
Time: 1:00 PM - 2:30 PM
Location: Room 111, Quiet Room, St. John's College
· Brenda Austin-Smith
“The Other Murder in Settlers of the Marsh”
· Chris Johnson
“Prairie Chekov: Bruce McManus’ Adaptation of The Three Sisters”
· Alison Calder
“Not Man Enough, Not White Enough: Gender and Race in In Due Season”
· Mark Libin
“Always Sending: Kroetsch’s Poetry as Dead Letter”
· Dennis Cooley
“reading Kroetsch: three poems”
· Luann Hiebert
The Affect Project is a collaboration of researchers interested in the role of affect in culture and in lived experience.
Keynote address, "Journalists, War and Critical Incident: The Emotional Cost of Bearing Witness" by Dr. Marie Adams, Founding Member, Cordia Counselling Group (London, UK), Consultant Psychotherapist for the BBC.
Department of English, Film and Theatre
Department of Psychology
Department of Philosophy
Faculty of Architecture
Centre on Aging
New Director Institute for the Humanities - Dr David Watt
New Director Institute for the Humanities - Dr David Watt
Posted Friday, April 27, 2012 2:05 PM
Professor Young is the author of Culture, Class and Gender in the Victorian Novel: Gentlemen, Gents and Working Women (Macmillan/St. Martin’s 1999) and the editor of Broadview Press editions of George Gissing’s The Odd Women (1998; reprinted 2002) and Tom Gallon’s The Girl Behind the Keys (2006). She has published articles on nineteenth-century literature and culture in Victorian Studies, Rivista di Studi Vittoriani, Studies in the Novel, American Literature, Studies in American Fiction, Gissing Journal, English Literature in Transition, CLUES, Victorian Periodicals Review, and Journal of Victorian Culture.
For more information, contact:
Professor of English and Head
Department of English, Film and Theatre
Phone: (204) 474-7145
Two Talks by Professor Steven Shaviro
Posted Wednesday, February 22, 2012 10:10 AM
I would like to invite students and members of the Arts faculty to two talks by Professor Steven Shaviro. They will be held on Monday, February 27 and Tuesday, February 28, immediately following reading week.
Professor Shaviro is the DeRoy Professor of English at Wayne State University. He identifies himself as an American cultural critic. His many books of criticism and “theoretical fiction” have a broad interdisciplinary range. Among them are Post Cinematic Affect (2010) which explores “the structure of feeling that is emerging today in tandem with new digital technologies, together with economic globalization and the financialization of more and more human activities”; Without Criteria: Kant, Whitehead, Deleuze and Aesthetics (2009); Connected,Or, What It Means to Live in the Network Society (2003); Doom Patrols: A Theoretical Fiction About Postmodernism (1997); The Cinematic Body (1993); and Passion and Excess: Blanchot, Bataille, and Literary Theory (1990). Professor Shaviro’s talk will be in held in Dafoe Library Theatre on Monday, February 27 at 9:30 am. His topic will be how science fiction conceives, fictionalizes, and reflects upon current developments in biology. Professor Simone Mahrenholz will be moderating this event, as part of her Film and Contemporary Thought course. On Tuesday at 4:00pm, again in 160 Dafoe Library, Steven will be giving a talk on Lars Von Trier’s film, Melancholia, entitled “ Melancholia, or the Romantic Anti-Sublime.” An abstract for this presentation is presented below. Please make an effort to attend one or both talks. He is a critic and teacher of the first rank.
- George Toles
Lars von Trier’s film Melancholia (2011) moves from domestic melodrama to cosmic catastrophe. It works as what used to be called a “women’s picture,” giving the portrait of a female character’s clinical depression when confronted with the prospect of a bourgeois family lifestyle. But the film also envisions the extermination of all life on Earth; this serves as a kind of objective correlative to the protagonist’s depression. In contrast to other recent apocalyptic films, however, Melancholia refuses to present the audience with a grandiose and sublime spectacle of mass destruction. Its apocalypse is disconcertingly intimate. Melancholia offers a deflationary view both of ongoing life and of its extinction.The film rejects conventional art-house standards of construction and form, with its disjunctive structure and its use of Dogme-style unsteady handheld camerawork. But Melancholia is also filled with Romantic allusions, from the music of Wagner’s Tristan and Isolde on the soundtrack, to visual tableaux that recall Pre-Raphaelite paintings. It treats these allusions in a strangely distanced way, however, framing them as beautiful objects of contemplation in a manner that, for some viewers, might even seem to border on kitsch. In deploying this Romantic imagery, and reverting to a Romantic pessimism reminiscent of Leopardi and Schopenhauer, von Trier breaks away from the Modernist obsession with estrangement-effects, self-reflexivity, irony, and the “unpresentable” (cf. Lyotard). Against the Romantic and Modernist sublime, Melancholia offers an aesthetico-ontological vision of desolate beauty. In its reference to a certain side of German Idealism, its radical anti-anthropocentrism, and its entertainment of the thought of extinction, the film parallels recent developments in so-called “speculative realism.” But in its own right, Melancholia offers at least one possibility for a new aesthetics of the 21st century.
Filmmaking Workshop Series
Posted Tuesday, February 7, 2012 1:00 PM
The Film Studies Program presents a Filmmaking Workshop Series: Film industry professionals teach the technical methods of their craft.
All workshops will be held in Room 233 University College. Free of charge. Open to all English, Film and Theatre students.
Thursday, February 9
4:30 - 7PM
Intro to After Effects
Friday, February 10
9:00 - 12PM
Post-Production Audio Design and Audio Dialogue Replacement
Thursday, February 16
7:00 - 10:00pm
Conversation with a Director
Friday, February 17
9:00 - 12PM
Moderated by Jim Agapito (Film Technician) and Supported by the English Media Lab
Please join us in the Haney Reading Room (627 Fletcher Argue Building) for coffee and snacks. Instructors and current honours students will be available to give you information about the honours programme and to answer your questions.
To enter the honours programme, students need to have a B or better in ENGL 1200 or ENGL 1300, or in both ENGL 1310 and ENGL 1340. Students can also enter honours in third year.
Free! Cash bar!
"My name is Joe, and I AM Canadian!" How did a beer ad become a national anthem? When did Olympic opening ceremonies become an advertisement for national superiority? What do toques and canoes have to do with nationalism?
Canadian couch potatoes need wonder no longer. This book by award-winning Toronto-based author, media theorist, filmmaker and professor Marusya Bociurkiw examines how affect (passionate sites of feeling) and consumerism work together to produce shows like Canada A Peoples' History, North of 60, and television coverage of the 2010 Olympics. As Canadian TV expert Michelle Byers writes, “Providing anecdotes that most readers will be very familiar with, Bociurkiw’s analysis situates us firmly within the context of our own uneasy, ambivalent, and sometimes embarrassing viewing pleasures.”
The author tracks the rise of nationalist content on Canadian television after the 1995 Quebec referendum, looking at how Canadian television works overtime to resolve the messy contradictions of nationhood. She closely examines the coverage of and aftermath to 9/11, when racial profiling became embedded in Canadian news. Drawing anecdotally upon televisually-mediated childhood memories, her Ukrainian background and more recent cross-media experiences, this book also makes use of humour and poetic writing.
With Canadian culture currently at the mercy of various election platforms and funding cuts, this timely book asks us to take a closer look at some of our most dearly-held nationalist assumptions. The proliferation of screens, the rise of social media and the ways in which audiences now move across platforms, open up, the author argues, opportunities for connection, empathy, and activism, and the creation of new post-national narratives on and off the TV screen.
Marusya Bociurkiw is the author of five books including Comfort Food for Breakups: The Memoir of a Hungry Girl, an award winning literary memoir, and Halfway to the East, a collection of poetry. Her articles, essays and reviews have appeared in many academic, arts and activist journals and books. She has been producing films and videos in Canada for the past fifteen years and those works have screened at film festivals and in cinemas on several continents. She is professor of media theory at Ryerson University in Toronto where she teaches courses on Canadian television, news theory, social media, and screen theory.
In her research on Canadian television, Prof. Bociurkiw examined the rise of affective nationalist content on Canadian television after the 1995 Quebec referendum, looking at how Canadian television worked overtime to resolve the messy contradictions of nationhood. She will talk about her application of affect theory to questions of national identity and nationalism, while also examining the death and state funeral of Jack Layton.
From television commentary to the chalk memorial at Toronto City Hall, she will track moments of embodied feeling – lumps in throats, watering eyes – on and off the small screen, and the ways in which the affects of sadness, grief, embarrassment, and pride became contagious as they mingled and transformed one another in the contact zones of kitchens, city squares, and even taxi cabs. Is this particular kind of collective, contagious affect that circulates around public figures antithetical to social change? Or can contagious national feeling move beyond the limits of electoral politics and nationalism? This talk will be accompanied by video clips and photographs.
Wednesday, February 8
Robin Hood: International Outlaw
12:30pm, Cross Common Room, St. John's College
Reception to follow
Merlin, Wisdom and the Environment
7:30pm, Carol Shields Auditorium, Millenium Library
Black Hole Theatre Co. Lunch B.H.A.G.G. #4
Posted Monday, January 30, 2012 10:49 AM
The Black Hole Theatre Company University College LunchBhagg Series is pleased to present Sunday Costs Five Pesos as the fourth and final Lunch B.H.A.G.G. of the 2011/2012 season.
Sunday Costs Five Pesos is a romantic comedy set in Old Mexico. The story is about a woman’s attempt to win back her fiancé’s affection with the help of her two friends. But will Celestina, the “other”woman, get in her way? Find out in this steamy, Mexican, romantic comedy that is sure to get you laughing.
Featuring Logan M. Stefanson, Meaghan Labossiere, Ninia Ogbuji, Romana Suchy and Felicia Pulo. Directed by Justin Danyluk and Stage Managed by Daniel Chen.
Don’t miss this chance to see live theatre right here in your university. The show runs:
Tuesday Jan 31 – 12:00PM
Wednesday Feb 1 – 12:30PM & 7:30PM*
Thursday Feb 2 – 12:00PM
Admission to the daytime performances is free. Don’t forget to bring your lunch!
* Please note that evening performance on February 1st costs $1.00