Louise Lamarre
.:: Film Production Undergraduate Programme Head ::.
Associate Professor
B.F.A., Concordia Unversity
e-mail: louise.lamarre4@sympatico.ca | phone: (514) 848-2424 ex.4791
Office: FB 421-17
Currently, she is the Head of the Film Production Program at the Mel Hoppenheim School of Cinema in the Faculty of Fine Arts at Concordia University.
As her interests lie in independent filmmaking, her major research fields and specialties are:
(a) Content: scriptwriting;
(b) Technological: in-camera real time special effects;
(c) Production: development of creative production methods.
Michael Yaroshevsky
M.F.A., Concordia University, 2002
e-mail: yaroshevsky@gmail.com website: http://www.mklyy.com
After receiving degrees in the history of art, Japanese, and cinema, Michael Yaroshevsky began working in film as a writer, director, and cameraman. His selected filmography includes: Totem, 1998; Petropolis, 2002 (best experimental documentary Barcelona 2002); Interstellar, 2005 (Festival Nouveau Cinéma, 2005), Malibu, 2006; Death Valley Superstar (documentary in development with the financial support of SODEC), Hard Sign (feature in development with the financial support of SODEC).
Film Studies
Martin Lefebvre
Associate Professor
Ph.D., UQAM, 1996
e-mail: lefebvre@alcor.concordia.ca | phone: (514) 848-2424 ex.4676
Office: FB 335
Martin Lefebvre’s research interests include general and applied semiotics, classical and contemporary film theory, aesthetics; film and philosophy, modern and postmodern film, narrative theory, cultural studies, cinéma québécois, Hollywood cinema, Hitchcock, Eisenstein, Greenaway, and Godard. Lefebvre is the editor of Recherches sémiotiques/Semiotic Inquiry (RS/SI), the journal of the Canadian Semiotic Association, and he has written for film journals and anthologies in Canada, Europe, and the United States.
He has published a book entitled, Psycho: De la figure au musée imaginaire: Théorie et pratique de l’acte de spectature (L’Harmattan, 1997) and has recently edited a book on Eisenstein entitled, Eisenstein: l’Ancien et le nouveau (Publications de la Sorbonne, 2002). He is in the process of editing a book on Film and Landscape. His current work focuses on film and pragmatism.
Lefebvre, who has taught at the University of Alberta (Edmonton) and at Université Laval (Quebec City), is also an adjunct professor in the Ph.D. programme in Semiotics at Université du Québec à Montréal where he is a member of the Peirce Edition Project at UQAM and of the Groupe de recherche sur l’imaginaire de la fin.
John Locke
Professor
M.A., New York University, 1971
e-mail: jwlocke@alcor.concordia.ca | phone: 514 848-2424 ex.4653
Office: FB 315-9
Concordia’s first appointment in Fine Arts/Cinema, John Locke has taught seminars on film technology and style, film theory and criticism, and Hitchcock and Welles. Locke’s previous graduate work was in analytical philosophy with a concentration in aesthetics and the philosophy of language. His research interests include the concept of “style” in film and art, the films of 1931-33 and their cultural contexts, and the “unknown documentary”, Jean Dréville’s (1928) Autour de l’argent.
Locke has written for film and art magazines in Canada and the United States on experimental film and film criticism, including a seminal two-part article written in the 1970s for Art Forum on Michael Snow’s La région centrale. His recent work on “how-to” filmmaking books include topics such as script-writing and film technology in the silent era.
Locke occupies a position outside mainstream film theory, influenced by anti-theory theory as exemplifed in the work of David Bordwell and Noel Carroll and by analytical philosophy growing out of late Wittgenstein works.
Carole Zucker
Professor
Ph.D., New York University, 1982
e-mail: carolez@alcor.concordia.ca | phone: (514) 848-2424 ex. 4662
Office: FB 315-3
Zucker is internationally known for her work on performance studies, and has lectured and published in Europe, the U.S. and Canada on this subject. Her areas of research interest include the horror and fantasy genre, contemporary film theory, narrative theory, New German cinema, aesthetics, performance studies, Irish studies, the concept of excess, and film script analysis. She also teaches private acting workshops.
Zucker’s publications include The Idea of the Image: Josef von Sternberg’s Dietrich Films (1988), Making Visible the Invisible: An Anthology of Original Essays on Film Acting (1993), Figures of Light: Actors and Directors Illuminate the Art of Film Acting (1995), In the Company of Actors (1999), Conversations with Actors on Film, Television, and Stage Performance (2002), and the forthcoming Beauty and Terror: The Films of Neil Jordan (Wallflower Press, London). She is currently working on a new project titled “’Don’t Let the Bastards Grind You Down’: Performance and Scriptwriting in the British New Wave.”
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