Faculty

Sojung Bahng is an award-winning multidisciplinary artist, filmmaker and researcher. She is an Assistant Professor in Media and Performance Production in the Department of Film and Media and the DAN School of Drama and Music at Queen’s University in Canada. Her main research interest lies in practice-based research and research-creation in the context of cinematic and digital media storytelling. Sojung has been exploring the creation of new artistic and narrative experiences by combining various digital technologies in cultural and philosophical contexts. Her research is multidisciplinary and collaborative; it combines various disciplines, including film & media studies, visual art, philosophy and human-computer interaction (HCI). Sojung holds a PhD from SensiLab in the Faculty of Information Technology at Monash University in Australia, and her doctoral thesis Cinematic VR as a reflexive tool beyond empathy was awarded the 2020 Mollie Holman award for the best thesis of the year. She graduated from Korea Advanced Institute of Science and Technology (KAIST) with a master’s degree in Culture Technology and holds a BFA from Korea National University of Arts (K-Arts), majoring in TV & Film Production and Art Theory.

Research Interest:  Digital Storytelling, Cinematic Virtual Reality, New Media Narrative & Aesthetics, Multidisciplinary Art, Practice-based Research, Research-Creation

Website: www.sojungb.com

I am an Associate Professor in the Film and Media department of Queen’s University and co-director (with F. Grandena, U of Ottawa) of the inter-university research group EPIC (Esthétique et politique de l’image cinématographique). My research interests are centered around Indigenous film and poetry, Quebec cinema, road movies, transnational cinemas and oral practices of cinema. I am  presently the lead researcher for one of the Archive Counter Archive research project (financed by SSHRC) on Arnait Video Productions collective of Inuit women. My latest publications include book chapters on the rock group U2 (Mackenzie and Iversen, 2021) and on the exploration of Indigenous lands (Cahill and Caminati, 2020) as well as an article on Indigenous women and testimonies (Canadian Journal of Film Studies, 2020) an article on Québécois cinema and Americanité (American Review of Canadian Studies, 2019) and a book chapter on Canadian and Québécois Indigenous cinemas (Oxford Handbook to Canadian Cinema, 2019). In terms of supervision, I am interested in film history, film criticism, Indigenous, Québécois and transnational cinemas, cinema and landscapes, as well as documentary filmmaking and road movies from around the world (especially women on the road).

I am the Chief Curator/Curator of Canadian Historical Art at the Agnes Etherington Art Centre. My curatorial approach involves resituating visual and material cultures through a feminist lens and innovations in interpretive display. Areas of research include women artists, artistic groups, regional scenes, collecting histories and intersections of art and craft.

https://agnes.queensu.ca/?s=Alicia+Boutilier&f=all

In 2020, I published A Companion to Federico Fellini (co-edited, Wiley Blackwell, 2022) and Fellini’s Films and Commercials: From Postwar to Postmodern (single-authored, Intellect/University of Chicago Press). I also provided a Criterion Collection audio commentary for Fellini’s Il Bidone and a keynote address for an international Fellini conference at the University of Toronto. In 2021, I recorded a 60-minute “Masterclass” on Fellini for the Cineteca di Rimini and Italian Foreign Affairs and delivered a keynote address on Fellini and James Hillman at a virtual  conference originating from Rimini. I just finished co-editing a special issue of the Journal of Italian Cinema and Media devoted principally to noted screenwrither Tonino Guerra and translated an Italian film script for a feature-length Hollywood movie slated to go into production this fall (2022). My interests span not just Fellini and Italian cinema but film and postmodernity, ideological criticism, cultural studies, poststructuralist theory, and gender.

 https://www.queensu.ca/filmandmedia/frank-burke

My research lies at the intersection of media studies and religious studies. Theoretically, my work draws heavily on critical media studies and several shades of material media analysis, including affect studies, sound culture studies, interface studies, and algorithmic and network culture.

Tamara de Szegheo Lang (she/her) is an Adjunct Assistant Professor in the Department of Film and Media. Her research takes up queer history, community-based archives, visual culture, and the affective relationships between LGBT2Q+ people and the past.

The research projects Tamara is currently involved with include: Bodies on Fire: Rekindling the Lesbian Decade in Canadian Film,1990-1999; The Witch Institute: Harnessing the Cultural Power of the Witch for Decolonial, Feminist Futures; and Under the Shadow of Empire: Minor Archives and Radical Media Distribution in the Americas.

Tamara is interested in supervising in the following areas: historical and contemporary film and media; marginalized and activist (feminist, racialized, Indigenous, queer and trans) screen cultures; archive studies, preservation, and archival films; affect theory; and curatorial studies.

Danae Elon is an award winning documentary filmmaker, writer, producer and cinematographer.  A  recipient of the John Simon Guggenheim scholarship for those "who have demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts”.  Danae’s films have won numerous awards at international film festivals such as Tribeca, Doker, Haifa, Doc Aviv, RIDM and others. She is a two time Sundance Institute Fellow and has received grants from the New Foundation for Film and TV, The Makor foundation, The Quebec Art Council, Canada Art Council, Sodec and Canada Media Fund.

Thea Fitz-James is a theatre academic and practitioner. She holds a PhD in Performance Studies from York University and is currently an adjunct assistant professor at Queen’s University, teaching theatre theory, theatre administration, fringe theatre, performance art, and performance studies. Her current creative and academic work looks at Fringe Theatre, concepts of play in creative research, and the materiality of the body in performance. She’s developed two solo shows deconstructing contemporary feminist stereotypes, which have toured the Fringe circuit internationally. She is a white, queer, ‘Mad’, cis-gendered settler.

In his research, Philippe explores complex narratives in popular media franchises; revisits transmedia storytelling and social media through concepts such as interface, playfulness and immersion; and thinks a lot about animation, seriality and popular culture.

Glenn Gear's practice is grounded in a research creation methodology shaped by Inuit and Indigenous ways of knowing – often employing the use of animation, photo archives, painting, beading, and work with traditional materials such as sealskin. He has worked on projects with the National Film Board of Canada, collaborated with other artists, and created installations, online works, and live video/audio projections that explore the complex relationships between land, animals, history, and archives. 

A growing area within his larger artistic practice is the sharing of his animation knowledge of low-budget and experimental techniques through mentoring opportunities and workshops, often in collaboration with Indigenous youth and first-time filmmakers.

I am a Mexican-Canadian filmmaker, screenwriter, and videographer, born in San Luis Potosi, Mexico. I hold a Master’s degree in Film Production from York University where I developed my thesis project Hidden Gods. Besides fiction films I produced documentaries (Making Sones and Memories) and have been editor of some documentary projects. My most recent collaboration work Women Building Peace in Africa was awarded best documentary at the Silverwave Film Festival 2016.  I also edited episodes of the TV series Battle Scars, about Canadian Military in times of peace and war.

Nasrin Himada is a Palestinian writer and curator currently based in Kingston, on Anishnaabe and Haudenosaunee Territory. Their writing on contemporary art has appeared in many national contemporary art publications, including Canadian Art, C Magazine, MICE, and Fuse. They have collaborated with film festivals and art institutions in Canada and the US, among them the CCA Wattis Institute for Contemporary Art, San Francisco; Trinity Square Video, Toronto; Fondation PHI pour l’art contemporain, Montreal; Mercer Union, Toronto, SBC Gallery of Contemporary Art, Montreal; and the Leonard & Bina Ellen Art Gallery, Montreal. Dr. Himada’s recent project For Many Returns typifies their current curatorial interests. The series is designed to explore the possibilities of art writing as a relational act. Since its debut at Dazibao in Montréal, it has toured across Canada, the US and Europe. From 2019–21, Nasrin held the position of curator at Plug In Institute of Contemporary Art, in Winnipeg on Treaty One Territory.