“Walter Benjamin, Archiveology, and Critical Film Practice,” Society for Cinema and Media Studies, Montreal, March 2015.
“Barbara Stanwyck as the Bad Mother,” Society for Cinema and Media Studies, Atlanta Georgia, 2016.
“Awakening from Hollywood: Rose Hobart as Star of the Archive.” SCMS 2014, Seattle, Friday, March 21 2014 [Conference Program]
“The Special Effect of the Archive,” La magie des effets spéciaux. Cinéma-Technologie-Réception / The Magic of Special Effects. Cinema-Technology-Reception, Montreal, November 2013
“Paris 1900 and the Archival Imaginary,” Visible Evidence, Stockholm Sweden, August 2013
“Barbara Stanwyck in the Jungle,” Film Studies Association of Canada conference, Victoria, BC, June 2013.
“Archival Cinephilia in The Clock,” SCMS Conference, Chicago, 2013.
“Paris 1900: Compilation, Collection and the Dialectical Image,” Film Studies Association of Canada conference, Waterloo, Ontario, June 2012.
“The Barbara Stanwyck Show: Melodrama and the Media Archive,” SMCS Conference, Boston, March 2012.
“The Barbara Stanwyck Show: Melodrama, Kitsch and the Media Archive,” Workshop on Melodrama, Concordia University, Sept. 15, 2011.
“Memory as Medium: Essay, Archive and the Found Footage Film,” Society for Cinema Studies New Orleans March 2011.
“Phantasmagoria, Cinephilia, and Archival Film Practices,” The Arthemis International Conference On the History and Epistemology of Film and Moving Image Studies, Concordia University, June 4-7 2010.
“Benjamin, Prelinger and the Moving Image Archive,” L’Avenir de la Mémoire: Patriomoine, Restauration et Rémploi Cinématographiques, Montreal Fevrier 2010.
“Classic Modernity: Melodramatic Features of Japanese Cinema,” SCMS conference Los Angeles, March 2010.
“Classic Modernity: Melodramatic Features of Japanese Cinema,” FSAC Conference, Ottawa, June 2009.
“Women in Cities: Comparative Modernities and Cinematic Space in the 1930s,” Transcultural Montage, International Conference at Moesgaard Estate, University of Aarhus, DK, August 24 to 26, 2009.
“Women in Cities: Comparative Modernities and Cinematic Space in the 1930s,” Space Matters: Reframing Early Cinema and Modernity, University of Michigan April 2009.
“The Uses and Abuses of Cinephilia,” Society for Cinema and Media Studies Conference, Philadelphia, PA, March 2008.
“’Films about ordinary people’: The Japanese shoshimin-eiga and ethnographic film criticism.” Beyond Text Image:Voice::Sound:Object: Synaesthetic and Sensory Practices in Anthropology, Manchester England June 30th to July 2nd 2007
“Japanese Cinema as Classical Cinema,” Transnationalism, Globalization and North Asian Cinema Workshop, Montreal, May 4-6, 2007
“Japanese Cinema as Classical Cinema,” Kinema Club VIII, Frankfurt, Germany, April 29-22, 2007
“Walter Benjamin, Film Criticism and Historiography,” Society for Cinema and Media Studies, Chicago Ill, March 11, 2007.
“Voyage to the Ends of Cinema,” Vues sur l’exotisme: Voyages aux premiers temps du cinéma. Projections et atelier, Cinématheque Quèbecoise, Novembre 2006.
“Cinephilia and the Travel Film: Gambling, Gods and LSD,” Visible Evidence, Montreal, August 2005
“FromHome Front to “Revolutionary Democracy”: Naruse During the 1940s,” Kinema Club 5, Tokyo, June 2005.
“Cinephilia, Collecting and Vernacular Modernism as Critical Method,” Cinema and Anthropology, Sussex University, Brighton England, May 2005
“Not a Monumental Cinema: Naruse Mikio’s War-Time Cinema,” Film Studies Association of Canada Conference, London Ontario, May 2005
“The Epistemology of the Travel Film: Gambling, Gods and LSD,” Avant 2004, Karsltad, Sweden August 2004.
“Naruse Mikio’s Silent Films: Gender and The Discourse of Everyday Life in Interwar Japan,” Women and the Silent Screen Conference, Montreal June 2004.
“Naruse at P.C.L. (1935-1937): Japanese Cinema as Vernacular Modernism,” Kinema Club III, New York University, February 2004.
“Naruse Mikio in the 30s and the Discourse of Everyday Life,” Kinema Club Conference, Hawaii, June 2003;
“Meiji Cinema: Motion Pictures and Japanese Modernity,” Domitor Conference on Early Cinema, Montreal, June 2002
“Ozu, Naruse, and the Gendered Space of Japanese Cinema,” Society for Cinema Studies Conference, May 2001.
“Architecture, Genre, Gender: Negotiating Modernity in the Postwar Japanese Home-Drama,” Global Cities conference, University of Wisconsin-Milwaukee, April 2001.
“Naruse Mikio and Hayashi Fumiko: Cinema, Literature and the Female Subject,” Conference on Japanese Women Filmmakers, Boulder Colorado, October 2000.
“Tokyo: The Movie” Presented at:
“Cinema and Urban Remains: An inaugural gathering on cinema and the city,” Musée d’art contemporain de Montréal, May 2000.
Japanese Studies Association of Canada conference, October 1999, McGill University, Montreal.
Film Studies Association of Canada conference, University of Sherbrooke, Sherbrooke, Quebec, June 1999.
“Acting In and Acting Out: Japanese Actresses in the 50s,” Society for Cinema Studies, Chicago, March 2000.
“Parallax Historiography: The Flâneuse as Cyberfeminist,” Centre de recherche sur l’intermédialité, Musée d’art contemporain de Montréal, May 1999.
“Mikio Naruse and the Japanese ‘Women’s Film’,” Asian Cinema Studies Society Conference, Trent University, Peterborough, Ontario, August 1997.
“Archival Apocalypse: Found Footage as Ethnography,” Society for Cinema Studies Conference, Ottawa, Ontario, May 1997.
“The Body as the Main Attraction: Winter Sports in Quebec, 1903,” Society for Cinema Studies Conference, Dallas TX, March 1996.
“The Ethno-Avant-garde and the Pornographic Gaze: Unsere Afrikareise Revisited,” Society for Cinema Studies Conference, New York City, March 1995.
“Playing Primitive: In the Land of the Headhunters and/or War Canoes,” Film Studies Association of Canada/Learned Societies, University of Calgary, June 1994.
“Subjectivity Lost and Found: Bill Viola’s I do not Know what it is I am Like,” Visible Evidence Conference: Strategies and Practices in Documentary Film and Video, Duke University, Durham, North Carolina, September 1993.
“Mourning the Woman’s Film: The Dislocated Spectator of The Company of Strangers,” Film Studies Association of Canada Conference, Carleton University, June 1993.
“The Representation of History in Japanese Film Melodrama,” British Film Institute Conference on Melodrama, London England, July 1992.
“The Eternal Virgin and The Pathos of Historiography in Japanese Film Melodrama”, Asian Cinema Studies Conference, New York, June 1992.
“Postmodern Ethnography and the Discourse of Tourism in Visual Anthropology,” Society for Cinema Studies, Los Angeles CA, May 1991.
“Violence, Decadence and the Decay of History: Greenaway, Lynch and Godard,” Florida State University Annual Conference on Literature and Film, Tallahassee, Florida, January 1991.
“Insides and Outsides: Cross-Cultural Criticism and Japanese Film Melodrama,” Film Studies Association of Canada Conference, Ottawa, May 1990; Asian Cinema Studies Society (Australia) Conference, Melbourne, July 1990.
“Historiography as Mortification: Walter Benjamin and the Cinema,” Society for Cinema Studies Conference, Washington DC, May 1990.
“Filmmaking, Tourism and Ethnography,” International Experimental Film Congress, Innis College, Toronto, June 1989; Queen’s Critical Theory Seminar Series, January 1990.
“David Rimmer’s Found Footage: Reproduction and Repetition of History,” Learned Societies of Canada, June 5, 1988, Windsor, Ontario. Panel sponsored by the Canadian Journal of Political and Social Theory and the Canadian Sociology and Anthropology Association.
“Accident and Allegory in Le Mépris: Benjamin and Godard,” Film Studies Association of Canada, Queen’s University, June 1988.
“Testimonial and Tragedy: Wim Wenders’ Anxiety of Authorship,” Florida State University 13th Annual Conference on Literature and Film, Tallahassee, January 1988.
“The Body and the Flag: Nagisa Oshima’s Narrative Project,” SCS/FSAC/AQEC conference, Concordia University, Montreal, May 1987.
“You Ain’t Seen Nothin’ Yet: the Reception of the Jazz Singer,” Film Studies Association of Canada, Innis College, University of Toronto, June 1985.
Conference Organization and Panels
Panel Discussion on Global Feminist Histories: 1950s Cinema and its Afterlife. “The Three Disappearances of Soad Hosni: Melodrama, Critical Cinephilia, and Egyptian Modernity” at SCMS Conference, Chicago, 2017. http://www.cmstudies.org/default.asp?page=conference
Panel discussion on Documentary and archives at Rencontres Internationale du Documentaire de Montréal (RIDM). Saturday Nov 16, 2013 @ 14h00 (J.A. DE SÈVE cinema 1400, boul. de Maissonneuve O.)
HAUtaldea Symposium: CHARACTER AND DESTINY: REFLECTIONS ON CONTEMPORARY ETHNOGRAPHIC FILM AND THE DOCUMENTARY. AlhóndigaBilbao, Bilbao, 9-13 October 2013
Panel Chair, “Perspectives on The Clock,” SCMS Conference, Chicago, 2013.
Panel Chair, “Classical Japanese Cinema,” SCMS Conference Los Angeles, 2010.
Member of the organizing committee, Workshop on “Northeast Asian Cinema in the Era of Transnationalism and Globalization,” May 2007 SHHRC Workshop Funding: $19,000. Principle Investigator, Lu Tonglin, Université de Montréal.
Panel Chair, “Prewar Japanese Cinema,” Film Studies Association of Canada, London Ontario, May 2005.
Co-director, Women and the Silent Screen Congress, Montreal June 2-6, 2004.
Panel Chair, “Teaching Film Theory,” Film Studies Association of Canada Conference, Ottawa, 1998.
Panel Chair, “Documentary Before Documentary” Society for Cinema Studies Conference, 1996, Dallas Texas.
Panel Chair, “Reworking Modernity and Tradition in Asian Cinemas,” Asian Cinema Studies Society Conference, New York, 1992.
Panel Chair, “Ethnography and Avant-garde Film,” Society for Cinema Studies Conference, Los Angeles, CA 1991.