Emeritus Professor

Film and Media

Arts and Science

Canadian film and television, and in 2001 I started offering a senior-level seminar in film authorship that concentrates on the work of Nicholas Ray and Orson Welles. I've also been considering issues of film authorship in relation to my current research for a professional biography of Phillip Borsos (1953-1995), director of The Grey Fox, One Magic Christmas, Bethune: The Making of a Hero, and several other short and feature-length films. In addition to this work on Canadian film, I've devoted attention to a couple of other areas. The new edition of Television: Critical Methods and Applications, by Jeremy Butler, includes my revised chapter, "Music Television," which uses Lauryn Hill's Everything is Everything for a sample analysis. 

 

Film and Media

Arts and Science

Clarke Mackey has been teaching in the Department of Film and Media at Queen’s University for 26 years. Before that he taught at York University and Sheridan College of Art and Design.

Clarke is an accomplished media producer. He has worked as a director, cinematographer, editor, producer or writer on over 50 film, television and new media projects. Many have won awards and critical acclaim. His first feature film, The Only Thing You Know (1971), won two Canadian Film Awards (now called Genies) including the Best Actress award. This film is considered by many critics to be an important film in the early development of independent cinema in this country.

Film and Media

Arts and Science

Frances Leeming is a media artist and animator. Her performance and film projects explore the relationship between gender, technology and consumerism. Her work has been presented and exhibited across Canada, the U.S., Britain and Poland.

Film and Media

Arts and Science

I just published (2020) A Companion to Federico Fellini (Wiley Blackwell, https://www.wiley.com/en-ca/A+Companion+to+Federico+Fellini-p-9781119431534) and Fellini’s Films and Commercials: From Postwar to Postmodern (Intellect/University of Chicago Press, https://www.intellectbooks.com/fellinis-films-and-commercials). Am preparing a Criterion Collection audio commentary for Fellini’s Il Bidone; a series of TIFF lectures on Fellini; and a keynote address for an October Fellini conference at the University of Toronto. My interests span not just Fellini and Italian cinema but film and postmodernity, ideological criticism, cultural studies, poststructuralist theory, and gender.

 

Film and Media

Arts and Science

Between joining the Department of Film Studies in 1976, and retiring from what had become the Department of Film and Media in 2013, I taught courses at every undergraduate level from first to fourth year. Whether it was our introductory course, FILM 110, or courses in film criticism or theory, I always brought a historical perspective to the subject at hand.

My research interests originally centred on the films of the American director Josef von Sternberg, whose work with Marlene Dietrich retains the power to engage and perplex its spectators decades after it appeared in the early 1930s. I edited one book of essays about Sternberg, and wrote another, Just Watch! Sternberg, Paramount and America, on their 1932 film Blonde Venus.

As the 21st century began, both my research and my teaching became more oriented toward contemporary film, though always in an historical framework. French cinema, as it evolved through the final decade of the previous century and the first years of the present, became a subject I enjoyed considering, researching and making available to students. Eventually, my attention focused on contemporary French filmmakers' presentation of the love story, and this became the subject of my fourth-year seminar courses.

Since retirement, I have continued to write about recent French cinema. 

Here are some of my recent publications on that topic:

“Love Has a History’: France, Film, and Edith Piaf”, Journal of Popular Film and Television” 43:4 (2015): 212-219.

“The cinema of Jacques Chirac: governing the French film industry, 1995-2007”, Screen 56.3 (Autumn 2015): 357-368.

“First sight: how love stories begin (and how some of them end) in today’s French cinema”, Studies in French Cinema 14.2 (2014):1-12.