Faculty

Helen’s narrative and experimental films explore intersectionalities of place, identity and sexuality. They address diasporic gendered subjectivities in cinema, encompassing feminist and transnational perspectives

I have an ongoing interest in Canadian film, both in terms of industry and culture. Some of my recent research considers the place of auteurs, co-productions, and festivals in Canadian film culture. Recent work includes “Toronto on Screen,” a chapter in the Oxford Handbook of Canadian Cinema (Marchessault and Straw eds., 2018), and a forthcoming chapter on Xavier Dolan. Another strand of my research pertains to the emergence of event cinema and the intersections of film and performance in ‘live cinema.’ My research on event cinema is forthcoming in Sounds of Fury: Mapping the Rockumentary (Iverson and MacKenzie eds., 2020). I am also currently co-editing a volume on film, performance and intermediality, forthcoming in 2021. Finally, I have a longstanding interest in geographical approaches to film and media, especially concerning cinema and urbanism. My current book project brings together geography and film theory in order to investigate how contemporary filmmakers and artists have responded to the forces of globalization and localization. I am especially interested in supervising projects on aspects of Canadian film and television; theories and histories of intermediality, liveness, and performance; national cinemas; and projects about film and media geographies.

https://www.queensu.ca/filmandmedia/faculty-and-staff/faculty-and-staff-bios/ian-robinson

I am working on cultures of urban mobility and community, particularly those that resist petrocultures and further equity. My collaborative documentary Rodando en La Habana: bicycle stories is part of this research. Currently preparing a monograph about several global cities, I am particularly interested in how motion shapes how we continuously become in the world. My larger published works are Sun, Sex, and Socialism: Cuba in the German Imaginary and the co-edited anthologies Cultural Topographies of the New Berlin and Christa Wolf A Companion. I also developed and run an etandem platform for language learning www.LinguaeLive.ca. I did my PhD in Comparative Literature at Berkeley and was a Postdoctoral Fellow at Stanford. At Berkeley, the Weimar film specialist Anton Kaes and Frankfurt School and Habermas expert Robert Holub were my advisors. I typically approach narrative fiction and documentary by triangulating historicization/contextualization, theory, and attention to the language of the artistic text; I would be particularly amenable to working with students who find this approach productive.

http://www.queensu.ca/llcu/german/people/jennifer-hosek

Jenn E Norton is an Assistant Professor in the Department of Film and Media, specializing in 3D animation, augmented reality, and video installation. 

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).

Keren Zaiontz is Assistant Professor and Queen’s National Scholar in Creative Industries in the Global City in the Department of Film and Media and Cultural Studies Graduate Program. She teaches interdisciplinary courses on cultural and performance studies, critical creative industries, cinematic urbanism, and media and performance. Her research examines the cultural politics of contemporary art and performance and includes work on participatory modes of spectatorship, art activism, experimental disability arts, and the production of urban festivals and mega-events.

Music, violence and trauma; music and nationhood; music and gender. Recent publications examine music and cultural trauma (Singing Death: Reflections on Music and Mortality, 2017), American popular music in the aftermath of 9/11 (Music and War in the United States, 2019), and Canadian combatants, music, and the remembrance of war (MUSICultures, (2019).

https://www.universityresearch.ca/researchers/dr-kip-pegley/

Current research interests include continuing work on electronic music composer David Tudor, which began in the early 1990s, and a project more recently begun in collaboration with Dr Laura J Cameron investigating the life and practice of early Canadian field recordist William WH Gunn. In both cases the research is expressed through both published papers and works of research-creation. I am also continually developing other streams of research: an alphabet of 26 electroacoustic compositions revisiting 26 other composers' sonorities is in progress, and I regularly create sound design/scores for theatre and film. Another of my pursuits is audio recording and production in diverse genres, and some albums made with Kingston musicians have received wide recognition including Polaris Prize and JUNO nominations.

https://sdm.queensu.ca/matt-rogalsky/

Michael Wheeler is Director of Artistic Research at SpiderWebShow Performance, Canada’s first live digital performance company. He was previously Executive Director and Transformation Designer of Generator, a mentoring, teaching, and innovation incubator in Toronto that empowers independent artists, producers and leaders. He has also been a curator of The Freefall Festival with The Theatre Centre, curator of HATCH emerging artist projects with Harbourfront Centre, and an Intern Director at The Shaw Festival.

Michael is a Co-Curator of FOLDA (The Festival of Live Digital Art) occurring annually in June at The Isabel Bader Centre for the Performing Arts. Directing credits include Behaviour at GCTC, Objections to Sex and Violence at Artscape Sandbox, Rifles at NSTF, and You Should Have Stayed Home National Tour. He holds a BA (distinction) from McGill University and a MFA from The American Repertory Theatre/ Moscow Art Theatre Institute for Advanced Theatre Training at Harvard University.

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. 

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.

Dr Qanita Lilla is a South African curator, researcher and writer with a PhD in Visual Arts from Stellenbosch University. She is currently Associate Curator, Arts of Africa at Agnes Etherington Art Center, Queens University situated on Anishinaabe and Haudenosaunee Territory. At Agnes, Qanita cares for the Lang Collection of African Art, one of the largest collections of its kind in Canada. She is interested the life and after-life of objects in collections, representations of racialised minorities and depictions of traumatic histories. Qanita is the curator of With Opened Mouths and the associated podcast. She has published in various peer-reviewed publications and has also contributed book chapters to anthologies.