Faculty (Tenured Track, Tenured, Continuing)

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

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).

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

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. Mél Hogan is the host of The Data Fix podcast (thedatafix.net) and Director of the Environmental Media Lab (EML) (environmentalmedialab.com). As of 2024, she is an Associate Professor in the Department of Film and Media at Queen's University. Her research focuses on data infrastructure, extractive AI, and genomic media, each understood from within the contexts of planetary catastrophe and collective anxieties about the future. For more: http://melhogan.com.

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

Alex Jansen is a creative entrepreneur with more than 20 years’ experience in the film & media industry and a passion for community development.

Jansen has spent more than a decade running his own successful multimedia production company, Pop Sandbox. He has produced award-winning films, video games, graphic novels and interactive experiences, featured at the Cannes Film Festival, Toronto International Film Festival, SXSW, the International Documentary Festival Amsterdam (IDFA), Hot Docs, the Tokyo Game Show, Indiecade and PAX East among others.  Visit: www.popsandbox.com

Gary Kibbins is the Associate Head for Queen's Film and Media. Gary is a media artist and writer, currently teaching at Queen’s University. Until 2000 he taught at the California Institute of the Arts. A book of essays and scripts was published in 2005: Grammar & Not-Grammar: Selected Scripts and Essays by Gary Kibbins, ed. A. J. Paterson, YYZ Books, Toronto; 2005; 254 pp.  

garykibbins.com

Cinema and media arts areas include gendered spaces and the city, women’s and Canadian cinemas,  and Cuban cinema and visual culture; decolonial practice; media archives and their remediation, social ecology of vulnerable media, collectives and collections; curatorial projects; media arts artists’ groups and artist-run centres.

After completing my PhD in Communications at McGill University, I went to Scotland to undertake a post-doctoral fellowship on minor national cinemas at the University of Glasgow. Before coming to Queen’s, I taught at universities in the UK and Canada. At Queen’s, I have taught courses on Classical Hollywood cinemas; Arctic transnational cinemas; transnational European cinemas; film manifestos; film and media theory; Culture and Technology; and popular music and cultural studies, among others.

My work explores the activity of both new and old media systems, and particularly the instances in which its messiness becomes more evident: the fringe genres, precarious objects, and pirate practices. I often resort to forms of Research-Creation through independent curatorial endeavors that engage with experimental and vernacular moving images. My previous projects mobilize subjects such as media façades, hyper-ephemeral video, 3D printing and scanning, videogame emulation, VR, and generative coding. As an author, I have published on the subjects of image, space, and technology. My most recent books are the monograph "Movie Circuits: Curatorial Approaches to Cinema Technology" (Amsterdam University, 2019) and the edited collection “Practices of Projection: Histories and Technologies” (Oxford University, 2020). I am also the co-coordinator of the Besides the Screen research network and festival. Currently, I am working on an exhibition project about virtual museums and on a monograph about digital replicas and cultural heritage.

As a media scholar working at the intersections of race, queer, and feminist studies, my research focuses on how media performances define and defy conceptions of Asian/Asian diasporic bodies. Drawing on transnational cultural histories, I theorize resistance, complicity, and ambivalence in new border crossings facilitated by digital media. I am interested in the performance of media technologies. As such, my scholarship traverses the areas of digital media, popular culture, and media installation. My research seeks to establish a multidirectional relationship between medium and content. That is, I am interested how tangible technological objects and their processes, embodied practices around media technologies, and the content communicated through media work together. In the digital age, the ideas of media as immaterial, virtual, and transcendent dominate. My work pushes against this impulse by grounding the body, the material, and the haptic.