  {"id":453,"date":"2021-08-16T20:20:10","date_gmt":"2021-08-17T00:20:10","guid":{"rendered":"https:\/\/www.yorku.ca\/gradstudies-socanth\/?page_id=453"},"modified":"2025-12-19T07:08:47","modified_gmt":"2025-12-19T12:08:47","slug":"our-alumni","status":"publish","type":"page","link":"https:\/\/www.yorku.ca\/gradstudies\/cmct\/about-us\/our-alumni\/","title":{"rendered":"Our Alumni"},"content":{"rendered":"\n<p class=\"lead\"><i class=\"fas fa-chevron-right text-primary\"><\/i> Learn about what others have chosen to study and do through this innovative program.<\/p>\n\n\n\n<div class=\"wp-block-columns card-deck aspect-ratio is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column card rounded-0 is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large mb-0\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"501\" src=\"https:\/\/www.yorku.ca\/gradstudies\/cmct\/wp-content\/uploads\/sites\/327\/2021\/09\/Nicole-Cohen-edited.jpeg\" alt=\"\" class=\"wp-image-9949\" srcset=\"https:\/\/www.yorku.ca\/gradstudies\/cmct\/wp-content\/uploads\/sites\/327\/2021\/09\/Nicole-Cohen-edited.jpeg 800w, https:\/\/www.yorku.ca\/gradstudies\/cmct\/wp-content\/uploads\/sites\/327\/2021\/09\/Nicole-Cohen-edited-400x251.jpeg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><\/figure>\n\n\n\n<div class=\"wp-block-group card-body\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p class=\"card-title font-weight-bold\"><a href=\"https:\/\/nicolescohen.com\/\">Nicole S. Cohen<\/a><\/p>\n\n\n\n<p class=\"card-text\">Nicole S. Cohen is an associate professor at the University of Toronto.&nbsp;She is the author of <em>Writers\u2019 Rights: Freelance Journalism in a Digital Age<\/em>, which received the 2017 Gertrude J. Robinson Book Prize from the Canadian Communication Association.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column card rounded-0 is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-large mb-0\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"685\" src=\"https:\/\/www.yorku.ca\/gradstudies\/cmct\/wp-content\/uploads\/sites\/327\/2021\/09\/Murat-Akser-1024x685.jpg\" alt=\"\" class=\"wp-image-9946\" srcset=\"https:\/\/www.yorku.ca\/gradstudies\/cmct\/wp-content\/uploads\/sites\/327\/2021\/09\/Murat-Akser-1024x685.jpg 1024w, https:\/\/www.yorku.ca\/gradstudies\/cmct\/wp-content\/uploads\/sites\/327\/2021\/09\/Murat-Akser-400x268.jpg 400w, https:\/\/www.yorku.ca\/gradstudies\/cmct\/wp-content\/uploads\/sites\/327\/2021\/09\/Murat-Akser.jpg 1500w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<div class=\"wp-block-group card-body\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p class=\"card-title font-weight-bold\"><a href=\"http:\/\/www.muratakser.com\/\">Murat Akser<\/a><\/p>\n\n\n\n<p class=\"card-text\">Murat Akser worked as programmer at Toronto International Film Festival and as coordinator at Canadian Film Centre. As a cameraman he worked in major Hollywood productions and he is a member of IATSE International Cinematographers Guild and Canadian Academy of Film and Television.<\/p>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-column card rounded-0 is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full mb-0\"><img loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"600\" src=\"https:\/\/www.yorku.ca\/gradstudies\/cmct\/wp-content\/uploads\/sites\/327\/2021\/09\/Constance-Crompton.jpg\" alt=\"\" class=\"wp-image-9948\" srcset=\"https:\/\/www.yorku.ca\/gradstudies\/cmct\/wp-content\/uploads\/sites\/327\/2021\/09\/Constance-Crompton.jpg 800w, https:\/\/www.yorku.ca\/gradstudies\/cmct\/wp-content\/uploads\/sites\/327\/2021\/09\/Constance-Crompton-400x300.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" \/><\/figure>\n\n\n\n<div class=\"wp-block-group card-body\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<p class=\"card-title font-weight-bold\"><a href=\"https:\/\/constancecrompton.com\/\">Constance Crompton<\/a><\/p>\n\n\n\n<p class=\"card-text\">Constance Crompton is an assistant professor and Canada Research Chair in Digital Humanities in the Department of Communication at the University of Ottawa.<\/p>\n<\/div><\/div>\n<\/div>\n<\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group grey-bg-block has-very-light-gray-background-color has-background\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<h2 class=\"wp-block-heading\">Alumni List<\/h2>\n\n\n<style>.kt-tabs-id453_dcfd2a-8a > .kt-tabs-content-wrap > .wp-block-kadence-tab{border-top:1px solid #eeeeee;border-right:0px solid #eeeeee;border-bottom:0px solid #eeeeee;border-left:0px solid #eeeeee;border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;padding-top:20px;padding-right:20px;padding-bottom:20px;padding-left:20px;background:#ffffff;}.wp-block-kadence-tabs .kt-tabs-id453_dcfd2a-8a > .kt-tabs-title-list li{margin-top:0px;margin-right:8px;margin-bottom:0px;margin-left:0px;}.wp-block-kadence-tabs .kt-tabs-id453_dcfd2a-8a > .kt-tabs-title-list li:last-child{margin-right:0px;}.wp-block-kadence-tabs .kt-tabs-id453_dcfd2a-8a > .kt-tabs-title-list li .kt-tab-title, .wp-block-kadence-tabs .kt-tabs-id453_dcfd2a-8a > .kt-tabs-content-wrap > .kt-tabs-accordion-title .kt-tab-title{line-height:1.4em;font-weight:regular;font-style:normal;border-top-width:0px;border-right-width:0px;border-bottom-width:4px;border-left-width:0px;border-top-left-radius:4px;border-top-right-radius:4px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;padding-top:8px;padding-right:20px;padding-bottom:8px;padding-left:20px;border-color:#ffffff;color:#555555;background:#ffffff;}.wp-block-kadence-tabs .kt-tabs-id453_dcfd2a-8a > .kt-tabs-content-wrap > .kt-tabs-accordion-title .kt-tab-title{margin-top:0px;margin-right:8px;margin-bottom:0px;margin-left:0px;}.wp-block-kadence-tabs .kt-tabs-id453_dcfd2a-8a > .kt-tabs-title-list li .kt-tab-title:hover, .wp-block-kadence-tabs .kt-tabs-id453_dcfd2a-8a > .kt-tabs-content-wrap > .kt-tabs-accordion-title .kt-tab-title:hover{border-color:#eeeeee;color:#555555;background:#ffffff;}.wp-block-kadence-tabs .kt-tabs-id453_dcfd2a-8a > .kt-tabs-title-list li.kt-tab-title-active .kt-tab-title, .wp-block-kadence-tabs .kt-tabs-id453_dcfd2a-8a > .kt-tabs-content-wrap > .kt-tabs-accordion-title.kt-tab-title-active .kt-tab-title{border-color:#0a6689;color:#0a6689;background:#ffffff;}@media all and (max-width: 1024px){.kt-tabs-id453_dcfd2a-8a > .kt-tabs-content-wrap > .wp-block-kadence-tab{border-top:1px solid #eeeeee;border-right:0px solid #eeeeee;border-bottom:0px solid #eeeeee;border-left:0px solid #eeeeee;}}@media all and (max-width: 767px){.kt-tabs-id453_dcfd2a-8a > .kt-tabs-content-wrap > .wp-block-kadence-tab{border-top:1px solid #eeeeee;border-right:0px solid #eeeeee;border-bottom:0px solid #eeeeee;border-left:0px solid #eeeeee;}}<\/style>\n<div class=\"wp-block-kadence-tabs alignnone\"><div class=\"kt-tabs-wrap kt-tabs-id453_dcfd2a-8a kt-tabs-has-2-tabs kt-active-tab-1 kt-tabs-layout-tabs kt-tabs-tablet-layout-inherit kt-tabs-mobile-layout-inherit kt-tab-alignment-center \"><ul class=\"kt-tabs-title-list\"><li id=\"tab-ma\" class=\"kt-title-item kt-title-item-1 kt-tabs-svg-show-always kt-tabs-icon-side-right kt-tab-title-active\"><a href=\"#tab-ma\" data-tab=\"1\" class=\"kt-tab-title kt-tab-title-1 \"><span class=\"kt-title-text\">MA<\/span><\/a><\/li><li id=\"tab-phd\" class=\"kt-title-item kt-title-item-2 kt-tabs-svg-show-always kt-tabs-icon-side-right kt-tab-title-inactive\"><a href=\"#tab-phd\" data-tab=\"2\" class=\"kt-tab-title kt-tab-title-2 \"><span class=\"kt-title-text\">PhD<\/span><\/a><\/li><\/ul><div class=\"kt-tabs-content-wrap\">\n<div class=\"wp-block-kadence-tab kt-tab-inner-content kt-inner-tab-1 kt-inner-tab355b95-16\"><div class=\"kt-tab-inner-content-inner\">\n<table id=\"fgs-datatable\" style=\"width:100%;\">\n\t<thead>\n\t\t<tr>\n\t\t\t<th>Name<\/th>\n\t\t\t<th>Thesis\/MRP\/Project Title<\/th>\n\t\t\t<th>Supervisor<\/th>\n\t\t\t<th>Committee<\/th>\n\n\t\t<\/tr>\n\t<\/thead>\n\t<tbody>\n\t\t<tr>\n\t\t\t<td>Kaede Ashizawa<\/td>\n\t\t\t<td>Hyphen as Prosthetic: Stories of Diasporic Cyborgs Told Through Virtual Reality<\/td>\n\t\t\t<td>Desiree de Jesus<\/td>\n\t\t\t<td>Casey Mecija, Joel Ong<\/td>\n\t\t<\/tr>\n\t\n<tr>\n\t\t\t<td> Fahtemeh Sima Shakeri<\/td>\n\t\t\t<td>How Dream's Online Behaviour Influences Fans<\/td>\n\t\t\t<td>Natalie Coulter<\/td>\n\t\t\t<td><\/td>\n\t\t<\/tr>\n<tr>\n\t\t\t<td> Jakob Glogauer<\/td>\n\t\t\t<td>Urban Sports Culture \u2013 A Comparison Between Toronto and New York<\/td>\n\t\t\t<td>Steve Bailey<\/td>\n\t\t\t<td><\/td>\n\t\t<\/tr>\n\n<tr>\n\t\t\t<td> Karina Darminto<\/td>\n\t\t\t<td>You Cannot Walk a Mile in My Shoes: Exploring Virtual Reality Story\u201cliving\u201d on the International Student Experience in Canada<\/td>\n\t\t\t<td>Rebecca Caines<\/td>\n\t\t\t<td>Kelly Bergstrom, Taien Ng-Chan<\/td>\n\t\t<\/tr>\n<tr>\n\t\t\t<td> Hongyun Liu<\/td>\n\t\t\t<td>Digital Frameworks: Examining Cultural Norms and State Policies on Social Media Content in Canada and China<\/td>\n\t\t\t<td>Rianka Singh<\/td>\n\t\t\t<td><\/td>\n\t\t<\/tr>\n<tr>\n\t\t\t<td> Winona Angelie Arador<\/td>\n\t\t\t<td>Diasporic Spaces of Un\/belonging: Migration, Precarity, and Renting <\/td>\n\t\t\t<td>Casey Mecija\n<\/td>\n\t\t\t<td><\/td>\n\t\t<\/tr>\n<tr>\n\t\t\t<td> Sandra Doyle<\/td>\n\t\t\t<td>Unmasking the Allure: The Role of Social Media in Nurturing Parasocial Connections <\/td>\n\t\t\t<td>Steve Bailey<\/td>\n\t\t\t<td><\/td>\n\t\t<\/tr>\n\n\t<\/tbody>\n<\/table>\n\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-kadence-tab kt-tab-inner-content kt-inner-tab-2 kt-inner-tabededbb-69\"><div class=\"kt-tab-inner-content-inner\">\n<table id=\"fgs-datatable\" style=\"width:100%;\">\n\t<thead>\n\t\t<tr>\n\t\t\t<th>Name<\/th>\n\t\t\t<th>Dissertation<\/th>\n\t\t\t<th>Supervisor<\/th>\n\t\t\t<th>Committee<\/th>\n\t\t<\/tr>\n\t<\/thead>\n\t<tbody>\n\t\t<tr>\n\t\t\t<td>Samantha Abel<\/td>\n\t\t\t<td>Let's talk about your weight\": How fatphobia manifests in therapy<\/td>\n\t\t\t<td>Friedman, May<\/td>\n\t\t\t<td>MacLennan, Anne; Gingras, Jacqui<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Ahmed Abul<\/td>\n\t\t\t<td>Press Freedom and Democracy in Bangladesh: A 快播视频 of Press Regulations<\/td>\n\t\t\t<td>Fletcher, Fred<\/td>\n\t\t\t<td>Cukier, Wendy; Drache, Daniel<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Samuel McCready<\/td>\n\t\t\t<td>Playing and Making History: How Game Design And Gameplay Afford Opportunities For A Critical Engagement With The Past<\/td>\n\t\t\t<td>Jenson, Jennifer<\/td>\n\t\t\t<td>Boyd, Jason; Smith, Bryan<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Murat Akser<\/td>\n\t\t\t<td>N\/A<\/td>\n\t\t\t<td>Feldman, Seth<\/td>\n\t\t\t<td>Drache, Daniel; Fletcher, Fred<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Christopher Alton<\/td>\n\t\t\t<td>Zombies, Phallic Monsters, and Rocket Launchers:An Examination of Gender Representations and Simulations in the Resident EvilSeries<\/td>\n\t\t\t<td>N\/A<\/td>\n\t\t\t<td>Langlois, Ganaele; McCullough, John<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Pamela Andrews<\/td>\n\t\t\t<td>Somatic Anacrusis: An Experiential Poetics of Deborah Hay's Choreography and Practice in the Solo At Once<\/td>\n\t\t\t<td>Bailey, Steven<\/td>\n\t\t\t<td>Robinson, Danielle; Levin, Laura<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Susan Ashley<\/td>\n\t\t\t<td>Museum Renaissance? Revisioning 'publicness' at the Royal Ontario Museum, Toronto.<\/td>\n\t\t\t<td>Cohnstaedt, Joy<\/td>\n\t\t\t<td>Mooers, Colin; Prokopow, Michael<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Nicholas Balaisis<\/td>\n\t\t\t<td>Seeing for the First Time: Cinema Spectatorship, the Public Sphere, and the Making of Cuban Revolutionary Subjects<\/td>\n\t\t\t<td>Zryd, Michael<\/td>\n\t\t\t<td>Dowler, Kevin; Marchessault, Janine<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Ann Barrow<\/td>\n\t\t\t<td>Homeless on the Range: Masculinity and The Orphan Myth in the American Western, 1950\u20131990<\/td>\n\t\t\t<td>Feldman, Seth<\/td>\n\t\t\t<td>Cameron, Evan; Leonard, Gary (UT)<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Andrew Bieler<\/td>\n\t\t\t<td>Exhibiting Climate Change: An Examination of Thresholds of Arts-Sciences Collaborations in the Context of Learning for a Sustainable Future<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Barndt, Deborah; Crichlow, Warren<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Mary-Ann Boateng<\/td>\n\t\t\t<td>Community, Housing, and Crime: Framing the News Coverage of Lawrence Heights and Rexdale<\/td>\n\t\t\t<td>MacLennan, Anne<\/td>\n\t\t\t<td>Hayward, Mark; Thompson, Cheryl<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Kelly Bronson<\/td>\n\t\t\t<td>Framing the Debate: How Scientism in the language of the law binds public-biotechnology engagement<\/td>\n\t\t\t<td>Berland, Jody<\/td>\n\t\t\t<td>Ruggles, Myles; Imhotep, Edward<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Jeremy Buesink<\/td>\n\t\t\t<td>Storytelling, Myth, and the Dreams Therein: A Critical Analysis of the Intertextuality of Christianity, Capitalism, and Americanism<\/td>\n\t\t\t<td>Anne MacLennan<\/td>\n\t\t\t<td>Steve Bailey, Elizabeth Trott<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Roberta Buiani<\/td>\n\t\t\t<td>Viral Culture(s): An Investigation into the cultural lives of Computer Viruses<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Tenhaaf, Nell; Elmer, Greg<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Darcey Callison<\/td>\n\t\t\t<td>Dancing Masculinity for Hollywood: The American Dream, Whiteness and the Movement Vocabulary within Hollywood's Choreography for Men<\/td>\n\t\t\t<td>Crow, Barbara<\/td>\n\t\t\t<td>Forsyth, Scott; Elder, Bruce<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Alex Chalk<\/td>\n\t\t\t<td>Producing Play: The Political Economy of \"Actual Play\" Media<\/td>\n\t\t\t<td>Jenson, Jennifer; Dubois, Louis-Etienne<\/td>\n\t\t\t<td>Langlois, Ganaele; Bailey, Steven<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>David Clifton<\/td>\n\t\t\t<td>A Lexicon of Force: Framing Language and Television News Coverage of the 2003 War in Iraq<\/td>\n\t\t\t<td>Drache, Daniel<\/td>\n\t\t\t<td>Fletcher, Fred; Allen, Gene<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Nicole Cohen<\/td>\n\t\t\t<td>N\/A<\/td>\n\t\t\t<td>Mazepa, Patricia<\/td>\n\t\t\t<td>Vosko, Leah; Ross, Stephanie<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Thomas Cooke<\/td>\n\t\t\t<td>What's That Noise? Or, a Case Against Digital Privacy as a Matter of Regulation and Control<\/td>\n\t\t\t<td>Latham, Robert E<\/td>\n\t\t\t<td> Hadlaw, Jan; Jones-Imhotep, Edward<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Michelle Coyne<\/td>\n\t\t\t<td>This Project Can Be Upcycled Where Facilities Are Available: An Adventure Through Toronto's Food\/Waste Scape<\/td>\n\t\t\t<td>Moore, Paul<\/td>\n\t\t\t<td>Skinner, David; Bailey, Steven<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Constance Crompton<\/td>\n\t\t\t<td>Making the Modern Man: Eugen Sandow and Muscled Masculinity<\/td>\n\t\t\t<td>Janzen, Lorraine<\/td>\n\t\t\t<td>Lightman, Bernie; Braun, Martac<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Trevor Cunnington<\/td>\n\t\t\t<td>Schadenfreude, Villainy, and Empathy: the Ideological Life of Media Representations of \"White Trash\"<\/td>\n\t\t\t<td>McCullough, John<\/td>\n\t\t\t<td>Forsyth, Scott; Prokopow, Michael<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Michael Curran<\/td>\n\t\t\t<td>One Nation Under the Market: Mediated Narratives of the 2008 Crisis in America<\/td>\n\t\t\t<td>Bailey, Steven<\/td>\n\t\t\t<td>Moore, Paul; Dowler, Kevin<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Brady Curlew<\/td>\n\t\t\t<td>Play\/Counterplay: The Cultural Politics of Digital Game Modification<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Crow, Barbara; Elmer, Greg<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Patricio Davila<\/td>\n\t\t\t<td>Visualization as Assemblage: How Modesty, Ethics, and Attachment Inform a Critical Design Practice<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Fisher, Caitlin &amp; Hadlaw, Jan<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Joshua Dittrich<\/td>\n\t\t\t<td>Geosonics: Bodies, Instruments, Interfaces<\/td>\n\t\t\t<td>Cecchetto, David<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Patrick Dolan<\/td>\n\t\t\t<td>Retro Resonance: The Affective and Rhetorical Power of Post-Retro Aesthetics in Video Games<\/td>\n\t\t\t<td>Markus Reisenleitner<\/td>\n\t\t\t<td>Alison Harvey<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Tamar Michelle Faber<\/td>\n\t\t\t<td>\"Now I See The Importance of History\": Tracing The Geneaology of Hip Hop, Young People and The Academy<\/td>\n\t\t\t<td>Diamini, Nombuso<\/td>\n\t\t\t<td>Thompson, Cheryl; Mecija, Casey; Campbell, Miranda; Coulter, Natalie<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Lai-Tze Fan<\/td>\n\t\t\t<td>Pre | Digital Liminalities: A Hermeneutics of the Intermedial and Materiality in the Print Intermedial Novel<\/td>\n\t\t\t<td>Tschofen, Monique<\/td>\n\t\t\t<td>Reisenleitner, Markus; Fisher, Caitli<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Naomi Fraser<\/td>\n\t\t\t<td>'We are all connected': internationalism, communication and Canadian identity<\/td>\n\t\t\t<td>Berland, Jody<\/td>\n\t\t\t<td>Shields, John; Isin, Ergin<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Anna Friz<\/td>\n\t\t\t<td>The Radio of the Future Redux: Rethinking Transmission through Experiments in Radio Art<\/td>\n\t\t\t<td>Bailey, Steven<\/td>\n\t\t\t<td>Fisher, Jennifer; Marchessault, Janine<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Amir Ganjavie<\/td>\n\t\t\t<td>Contemporary Hollywood and the Spirit of Hope: America, Celluloid, and the Desire (mis)called (dis)Utopia<\/td>\n\t\t\t<td>Bell, Shannon<\/td>\n\t\t\t<td>Marchessault, Janine; McCullough, John<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Tyrone Hall<\/td>\n\t\t\t<td>Global Narratives &amp; the Vulnerable Frontiers: A Critical Assessment of Global Climate Change Communication Processes &amp; Traditional Retentions<\/td>\n\t\t\t<td>MacLennan, Anne<\/td>\n\t\t\t<td>Bailey, Steven; Ojo, Tokunbo; MacLennan, Anne; Tegelberg, Matthew; Skinner, David<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Rebecca Halliday<\/td>\n\t\t\t<td>The Live Fashion Show in Mediatized Consumer Culture<\/td>\n\t\t\t<td>Ingram, Susan<\/td>\n\t\t\t<td>Pedersen Isabel; Schweitzer, Marlis Erica<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Milan Hanan<\/td>\n\t\t\t<td>The Media-Foreign Policy Relationship: Pakistan's Media Image and U.S. Foreign Policy<\/td>\n\t\t\t<td>Fletcher, Fred<\/td>\n\t\t\t<td>Cukier, Wendy; Drache, Daniel<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Abu Faiz Md Haque<\/td>\n\t\t\t<td>The Cultural Mediation of the Margin<\/td>\n\t\t\t<td>Markus Reisenleitner<\/td>\n\t\t\t<td>Sylvia Bawa, Ranu Basu<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Daniel Harley<\/td>\n\t\t\t<td>The Politics of Consumer VR: Framing Contemporary Virtual Reality<\/td>\n\t\t\t<td>Jensen, Jennifer<\/td>\n\t\t\t<td>Nolan, Jason; Mazalek, Ali<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Alison Harvey<\/td>\n\t\t\t<td>N\/A<\/td>\n\t\t\t<td>Crow, Barbara<\/td>\n\t\t\t<td>Coombe, Rosemary; Jenson, Jennifer<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Jaigris Hodson<\/td>\n\t\t\t<td>Followers, Users and Friends: Technology, Participation and Organizational Stories on the Google, Facebook, and Twitter Blogs 2006\u20132011<\/td>\n\t\t\t<td>Drache, Daniel<\/td>\n\t\t\t<td>Cukier, Wendy; Fletcher, Fred<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Emilie Hurst<\/td>\n\t\t\t<td>Worshipping at the Shrine of Wagner: Fandom, Media and Richard Wagner<\/td>\n\t\t\t<td>Bailey, Steven C<\/td>\n\t\t\t<td>Bowman, Rob; Dowler, Kevin Leslie<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Steve Jankowski<\/td>\n\t\t\t<td>The Trouble with Knowing: Wikipedian consensus and the political design of encyclopedic media<\/td>\n\t\t\t<td>MacLennan, Anne<\/td>\n\t\t\t<td>Obar, Jonathan; Hadlaw, Jan<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Lianrui Jia<\/td>\n\t\t\t<td>Cooptation, Collusion Contestations; Development, Regulation and Globalization of Internet in China<\/td>\n\t\t\t<td>Middleton, Catherine<\/td>\n\t\t\t<td>Elmer, Greg; Ojo, Tokunbo<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Constance John<\/td>\n\t\t\t<td>The evolution of the Canadian Film industry in Quebec (1968\u20131983)<\/td>\n\t\t\t<td>Cohnstaedt, Joy<\/td>\n\t\t\t<td>Shields, John; Sauvageau, Florian<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Jon Johnson<\/td>\n\t\t\t<td>Pathways to the Eighth Fire: Mapping Indigenous Knowledge in Toronto<\/td>\n\t\t\t<td>McNab, David<\/td>\n\t\t\t<td>Fletcher, Fred; Angus, Lynne; Newhouse, David<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Naveen Joshi<\/td>\n\t\t\t<td>Arranged Identities: Second Generation South Asian Canadians in Shaadi.com<\/td>\n\t\t\t<td>Crow, Barbara<\/td>\n\t\t\t<td>Dua, Enakshi; Coombe, Rosemary<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Aleksandra Kaminska<\/td>\n\t\t\t<td>Mediating Poles: Media Art and Critical Experiments of the Polish Site, 2004\u20132009<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Trifonova, Temenuga; Eichhorn, Kate<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Lewis Kaye<\/td>\n\t\t\t<td>Hearing Space: The Social Architecture of Aural Experience<\/td>\n\t\t\t<td>Myles Ruggles<\/td>\n\t\t\t<td>Herman, Andrew; Marchessault, Janine<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Shahbaz Khayambashi<\/td>\n\t\t\t<td>Visualizing Struggle: The Use of Imagery in the Continuing Story of the Black Lives Matter Movement<\/td>\n\t\t\t<td>Bell, Shannin M<\/td>\n\t\t\t<td>MacLennan, Anne; Bailey, Steven C<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Shila Khayambashi<\/td>\n\t\t\t<td>Peer Aggression, Canadian Style: Multiculturalism and Xenobullying<\/td>\n\t\t\t<td>Visano, Livy A<\/td>\n\t\t\t<td>Goulding, Jay; Foster, Lorne<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Mirah Jennifer Kirshner<\/td>\n\t\t\t<td>American Girl: A Critical Inquiry Into Dolls, Childhood, and Consumer Culture<\/td>\n\t\t\t<td>Podnieks, Liz<\/td>\n\t\t\t<td>Bailey, Steven; Cowdy, Cheryl<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Gregory Klages<\/td>\n\t\t\t<td>Representative (of) Democracy: The Rise and Decline of the Keynesian Era in Canadian Visual Arts Policy (1941\u20131984)<\/td>\n\t\t\t<td>Salter, Liora<\/td>\n\t\t\t<td>Mooers, Colin; Nelles, Viv<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Helmut Klassen<\/td>\n\t\t\t<td>\"Life As It Is\" A Renovation of the Project and the City<\/td>\n\t\t\t<td>Elder, Bruce<\/td>\n\t\t\t<td>Marchessault, Janine; Tschofen, Monique<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Christine Korte<\/td>\n\t\t\t<td>Refusing the End of History: The Politics and Aesthetics of FrankCastorf\u2019s Volksb\u00fchne<\/td>\n\t\t\t<td>Bailey, Steven<\/td>\n\t\t\t<td>Bailey, Steven; Dowler, Leslie; Slopek, E; Hadlaw, Jan; Mueller, G; Siegal, M<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Irena Knezevic<\/td>\n\t\t\t<td>Discourses of Privatization and Industrialization: Agricultural Changes in the Former Yugoslavia<\/td>\n\t\t\t<td>Fletcher, Fred<\/td>\n\t\t\t<td>Coombe, Rosemary; Shields, John; Ko\u00e7, Mustafa<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Duncan Koerber<\/td>\n\t\t\t<td>Communication as Mobilization: The Development of Newspaper-based Political Parties in Upper Canada, 1820\u20131841<\/td>\n\t\t\t<td>Allen, Gene<\/td>\n\t\t\t<td>Fletcher, Fred; Skinner, David; Allen, Gene<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Kaitlyn Kribs<\/td>\n\t\t\t<td>From Piracy Panic to Platform Praise (and Back Again): Digitization\u2019s Impact on Making, Moving, and Monetizing Music in Canada<\/td>\n\t\t\t<td>Campbell; Miranda<\/td>\n\t\t\t<td>Bailey, Steven; Skinner, David<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Alysse Kushinski<\/td>\n\t\t\t<td>The Potential of Leaks: Mediation, Materiality, &amp; Incontinent Domains<\/td>\n\t\t\t<td>N\/A<\/td>\n\t\t\t<td>Hadaw, Jan;&nbsp;Marchessault, Janine; Straw, Will; Bell, Shannon; Bailey, Steven; Bunch, Mary<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Martha Ladly<\/td>\n\t\t\t<td>Eros, Women, and Technology<\/td>\n\t\t\t<td>Elder, Bruce<\/td>\n\t\t\t<td>Fisher, Jennifer; Jenson, Jennifer<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Andrew Laing<\/td>\n\t\t\t<td>A Critical Evaluation of the Methodological Underpinnings of Agenda\u2014Setting Research, and a New Media Approach<\/td>\n\t\t\t<td>Fletcher, Fred<\/td>\n\t\t\t<td>Davis, Charles; MacDermid, Robert<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Ganaele Langlois<\/td>\n\t\t\t<td>N\/A<\/td>\n\t\t\t<td>Crow, Barbara<\/td>\n\t\t\t<td>Bailey, Steve; Elmer, Greg<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Sabine Lebel<\/td>\n\t\t\t<td>The Life Cycle of the Computer: A 快播视频 in the Materialities of Risk<\/td>\n\t\t\t<td>Berland, Jody<\/td>\n\t\t\t<td>Fitzpatrick, Blake; Prokopow, Michael<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Cynthia Leibel<\/td>\n\t\t\t<td>Anatomy Of Higher Education Fundraising In Canada<\/td>\n\t\t\t<td>MacLennan, Anne<\/td>\n\t\t\t<td>Coulter, Natalie; Obar, Jonathan<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Steven Logan<\/td>\n\t\t\t<td>Modernist Urbanism in the Age of Automobility: Producing Space in the Suburbs of Toronto and Prague<\/td>\n\t\t\t<td>Berland, Jody<\/td>\n\t\t\t<td>Marchessault, Janine; Keil, Roger<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Bryn Ludlow<\/td>\n\t\t\t<td>\"What makes a great story?\u201d: Multidisciplinary and International Perspectives On Digital Stories By Youth Formerly In Foster Care In Canada.<\/td>\n\t\t\t<td>Flicker, Sarah<\/td>\n\t\t\t<td>Crawford, Allison; Bailey, Steven<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Monica Macdonald<\/td>\n\t\t\t<td>Producing the Public Past: Canadian History on CBC Television, 1952\u20132002<\/td>\n\t\t\t<td>Fletcher, Fred<\/td>\n\t\t\t<td>Cohnstaedt, Joy; Heron, Craig<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Shana MacDonald<\/td>\n\t\t\t<td>Between Frames: Feminist Experimental Media 1960\u20132010<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Longfellow, Brenda; Levin, Laura; Zryd, Michael<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Timothy MacNeill<\/td>\n\t\t\t<td>Culturally Sustainable Development: Maya Cosmovision, El Centro Pluricultural Para la Democracia, and The Idea of Development<\/td>\n\t\t\t<td>Ruggles, Myles<\/td>\n\t\t\t<td>Alhassan, Amin; Spotton-Visano, Brenda<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Heather Maguire<\/td>\n\t\t\t<td>Airwaves &amp; Waterways: Mobile Networks, Information &amp; Communication Technologies<\/td>\n\t\t\t<td>Crow, Barbara<\/td>\n\t\t\t<td>Middleton, Catherine; Adelson, Naomi<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Michael Marlatt<\/td>\n\t\t\t<td>\"No one said anything abut driving in Film Preservation 101!\": The Lived Experience of Disability, Chronis Illness, and Neurodiversity in Moving Image Archival Education<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Latsis, Dimitrios; Chandler, Eliza<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Sara Martel<\/td>\n\t\t\t<td>Seeing Invisible Subjects: The Biopolitics of Perinatal Loss Photograph<\/td>\n\t\t\t<td>Murray, Stuart<\/td>\n\t\t\t<td>Bailey, Steven; Davidson, Deborah<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>George Martin<\/td>\n\t\t\t<td>From Lifeworld to City Life: Rethinking how the Culture of Everyday Life in Cities Engages Urban Administration<\/td>\n\t\t\t<td>Bailey, Steven C<\/td>\n\t\t\t<td>Blum Alan; Reisenleitner, Markus<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Alejandro Mayoral Banos<\/td>\n\t\t\t<td>Tech Anishinaabe Medicine Wheel: Decolonial Design Principles within Digital Technologies through the Development of the Indigenous Friends Platform<\/td>\n\t\t\t<td>Crow, Barbara<\/td>\n\t\t\t<td>Green, Ruth; Chen, Stephen; Couture, Stephane<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Victoria McArthur<\/td>\n\t\t\t<td>Me, Myself, and I(nterface): An Analysis of Character Creation Interfaces and Affordances in Massively Multiplayer Online Games<\/td>\n\t\t\t<td>Jenson, Jennifer<\/td>\n\t\t\t<td>Bailey, Steven; Nolan, Jason<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>David McIntosh<\/td>\n\t\t\t<td>Globalization, Networks and Audiovisual Spaces: Shifting Representational Relations in Canada, Mexico and Argentina<\/td>\n\t\t\t<td>Longfellow, Brenda<\/td>\n\t\t\t<td>Shields, John; Drache, Daniel<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Brianna Wiens<\/td>\n\t\t\t<td>Moving with Stories of \"Me too.\": Towards a Theory and Praxis of Intersectional Entanglements<\/td>\n\t\t\t<td>MacLennan, Anne<\/td>\n\t\t\t<td>Danisch, Robert; Marchessault, Janine<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Caitlin McKinney<\/td>\n\t\t\t<td>The Cultural Politics of Digital Media in Queer Archival Contexts<\/td>\n\t\t\t<td>Driver, Susan<\/td>\n\t\t\t<td>Noble, Bobby; Eichhorn, Kate<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>David Meurer<\/td>\n\t\t\t<td>Network Narrative: Prose Narrative Fiction and Participatory Cultural Production in Digital Information and Communication Networks<\/td>\n\t\t\t<td>Fisher, Caitlin<\/td>\n\t\t\t<td>Tschofen, Monique; Coombe, Rosemary<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Andrey Miroshnichenko<\/td>\n\t\t\t<td>Examining the impact of new media on the news media from the integrated viewpoint of media ecology and the political economy of communication<\/td>\n\t\t\t<td>Markus Reisenleitner<\/td>\n\t\t\t<td>David Skinner, Steve Bailey<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Aidan Moir<\/td>\n\t\t\t<td>Punk, Obamacare, and a Jesuit: Branding the Iconic Ideals of Vivienne Westwood, Barack Obama, and Pope Francis<\/td>\n\t\t\t<td>MacLennan, Anne<\/td>\n\t\t\t<td>Hadlaw, Jan; Bailey, Steve<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Alla Miroshnichenko<\/td>\n\t\t\t<td>Multi-Modal Game Design as a Medium of Digital Communication<\/td>\n\t\t\t<td>Jenson, Jen<\/td>\n\t\t\t<td>Gelb, David; Wakefield, Graham<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Tanner Mirrlees<\/td>\n\t\t\t<td>Cultural Mediations of American Empire<\/td>\n\t\t\t<td>Mooers, Colin<\/td>\n\t\t\t<td>Forsyth, Scott; McNally, Dave<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Aimee Mitchell<\/td>\n\t\t\t<td>Amateur Itinerant Filmmaking in 1940s Ontario: A Case 快播视频 in the Role of Activists in Preserving Marginal Cinema in Canadians Local Archives<\/td>\n\t\t\t<td>Zryd, Michael<\/td>\n\t\t\t<td>Marchessault, Janine; Moore, Paul<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Ravindra Mohabeer<\/td>\n\t\t\t<td>Looking at \"made up\" girls: Linking girls, life skills and media education<\/td>\n\t\t\t<td>A., Goodrum,<\/td>\n\t\t\t<td>Crow, Barbara; Jensen, Jennifer<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Janice Nathanson<\/td>\n\t\t\t<td>From Praxis to Theory: Expanding and Enriching Social Marketing<\/td>\n\t\t\t<td>Seaton, Beth<\/td>\n\t\t\t<td>Ruggles, Myles; Tschofen, Monique; Fletcher, Fred<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Bahar Nasirzadeh<\/td>\n\t\t\t<td>A Genealogy of Consumer Surveillance: From the First Public Market to Eaton\u2019s Department Store to Amazon<\/td>\n\t\t\t<td>Elmer, Greg<\/td>\n\t\t\t<td>Langlois, Ganaele; Latham, Robert<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Evren Ozselcuk<\/td>\n\t\t\t<td>Turkey's Internal Other: Embodiments of Ta\u015fra in the Works of Orhan Pamuk, Nuri Bilge Ceylan, and Fatih Akin<\/td>\n\t\t\t<td>Tschofen, Monique<\/td>\n\t\t\t<td>Antze, Paul; Arat-Ko\u00e7, Sedef<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Amanda Oye<\/td>\n\t\t\t<td>\u201cReimagining Public Service Broadcasting News for the Digital Age.\u201d<\/td>\n\t\t\t<td>Skinner, David<\/td>\n\t\t\t<td>Ojo, Tokunbo; MacLennan, Anne<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Helen Papagiannis<\/td>\n\t\t\t<td>Augmented Reality as a New Medium: Remediation and Novel Form<\/td>\n\t\t\t<td>Fisher, Caitlin<\/td>\n\t\t\t<td>Murphy, Michael; Marchessault, Janine<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Felan Parker<\/td>\n\t\t\t<td>Playing Games With Art: The Cultural and Aesthetic Legitimation of Digital Games<\/td>\n\t\t\t<td>Jenson, Jennifer<\/td>\n\t\t\t<td>Dowler, Kevin; Zryd, Michael<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Nancy Paterson<\/td>\n\t\t\t<td>Bandwidth is Political: Reachability in the Public Internet<\/td>\n\t\t\t<td>Murphy, Michael<\/td>\n\t\t\t<td>Durlak, Jerry; Fletcher, Fred<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Jonathan Petrychyn<\/td>\n\t\t\t<td>Networks of Feeling<\/td>\n\t\t\t<td>N\/A<\/td>\n\t\t\t<td>Straw, Will; Bociurkiw, Marusya; MacLennan, Anne; Bailey, Steven<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Richard Pope<\/td>\n\t\t\t<td>Stupid is: Traversing the Sinthome as the Goal of Cultural Psychoanalysis<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Hyashi, Sharon; O'Neill, John<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Scott Preston<\/td>\n\t\t\t<td>Horror and Reenchantment: A Supernatural Genre in a Secular Age<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Bailey, Steven; Tschofen, Monique<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Izabella Pruska-Oldenhof<\/td>\n\t\t\t<td>Why Film, Why Freud, Why Now: The Revolt and Politics of Cinema in Digital Age<\/td>\n\t\t\t<td>Elder, Bruce<\/td>\n\t\t\t<td>O'Neill, John; Picchione, John<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Sophia Ricciardone<\/td>\n\t\t\t<td>Manufacturing Dissent: A Mixed Methodological Analysis of Human Thought Algorithmic Mediation, And Political Electioneeing on Twitter<\/td>\n\t\t\t<td>Walsh-Matthews, Stephanie; Pelkey, Jamin<\/td>\n\t\t\t<td>Bailey, Steven C<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Ian Robinson<\/td>\n\t\t\t<td>Cartographic Projections of the City: Avantgarde Cinema and the Production of Locality<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Bailey, Steve; Hayashi, Sharon<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Laurence Robitaille<\/td>\n\t\t\t<td>Capoeira as a resource: Multiple uses of culture under conditions of transnational neoliberalism<\/td>\n\t\t\t<td>Coombe, Rosemary<\/td>\n\t\t\t<td>Robinson, Danielle; Little, Kenneth<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Philip Rose<\/td>\n\t\t\t<td>Pragmatism not Idealism: Radiohead, Technology, and the Global Movement for Change.<\/td>\n\t\t\t<td>Bowman, Rob<\/td>\n\t\t\t<td>Marchessault, Janine; MacLennan, Anne<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Richard Rosenbaum<\/td>\n\t\t\t<td>Consciousnesses is Story-Shaped: Mapping Isomorphic Structures of Narrative and Human Cognition<\/td>\n\t\t\t<td>Pekler, Jamin<\/td>\n\t\t\t<td>Walsh Matthews, Stephanie; Ciabatta, David<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Wade Rowland<\/td>\n\t\t\t<td>Ethics and Artificial Persons: Structural Impediments to Ethical Behaviour in Modern Information Media<\/td>\n\t\t\t<td>Seaton, Beth<\/td>\n\t\t\t<td>Noble, David; Mooers, Colin<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Jennifer Louise Meness<\/td>\n\t\t\t<td>Message in the Smoke: Spirit Acts of Transfer, Liminality, and Embodied Relationships in Contemporary Powwow.<\/td>\n\t\t\t<td>Koleszar-Green, Ruth<\/td>\n\t\t\t<td>Crow, Barbara; Haig-Brown, Celia<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Jennifer Ryan<\/td>\n\t\t\t<td>Royal Beatings? An Exploration into the Shift from Development 'Gifts' to Development 'Goods'<\/td>\n\t\t\t<td>Alhassan, Amin<\/td>\n\t\t\t<td>Drache, Daniel; MacLennan, Anne<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Giovanni Salas<\/td>\n\t\t\t<td>Reclaiming Craftsmanship<\/td>\n\t\t\t<td>N\/A<\/td>\n\t\t\t<td>Slopek, E.; Murphy, M.; Bailey, Steven; MacLennan, Anne; Thompson, K.; &amp; Logan, B.<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Philip Savage<\/td>\n\t\t\t<td>Arts Intervention: Activating Cultural Memory for Social Change<\/td>\n\t\t\t<td>Fletcher, Fred<\/td>\n\t\t\t<td>Shields, John; Raboy, Marc<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Lisa Schincairol<\/td>\n\t\t\t<td>Lelawala at the Brink: Visual Culture and Colonial History in Niagara Falls, Ontario<\/td>\n\t\t\t<td>Dowler, Kevin<\/td>\n\t\t\t<td>Barndt, Deborah; Tschofen, Monique<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Giovanni Salas<\/td>\n\t\t\t<td>Reclaiming Craftsmanship<\/td>\n\t\t\t<td>N\/A<\/td>\n\t\t\t<td>Slopek, E.; Murphy, M.; Bailey, Steven; MacLennan, Anne; Thompson, K.; &amp;&nbsp; Logan, B.<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Philip Savage<\/td>\n\t\t\t<td>Arts Intervention: Activating Cultural Memory for Social Change<\/td>\n\t\t\t<td>Fletcher, Fred<\/td>\n\t\t\t<td>Shields, John; Raboy, Marc<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Lisa Schincairol<\/td>\n\t\t\t<td>Lelawala at the Brink: Visual Culture and Colonial History in Niagara Falls, Ontario<\/td>\n\t\t\t<td>Dowler, Kevin<\/td>\n\t\t\t<td>Barndt, Deborah; Tschofen, Monique<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Robinder Kaur Sehdev<\/td>\n\t\t\t<td>Unsettling the settler at Niagara Falls: reading colonial culture through the Maid of the Mist<\/td>\n\t\t\t<td>Berland, Jody<\/td>\n\t\t\t<td>O'Neill, John; Sekyi-Otu, Ato<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Yukari Seko<\/td>\n\t\t\t<td>Interrogating a Politics of Time: Temporality &amp; Difference from the Agora to the Airport<\/td>\n\t\t\t<td>Elmer, Greg<\/td>\n\t\t\t<td>Bailey, Steve; Nolan, Jason<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Sarah Ravi Sharma<\/td>\n\t\t\t<td>Temporality and difference from the Agora to the airport: towards a theory of power-chronography<\/td>\n\t\t\t<td>Berland, Jody<\/td>\n\t\t\t<td>Slopek, Ed; Dowler, Kevin<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Tina Sikka<\/td>\n\t\t\t<td>Recuperating Politics from Deconstruction: A Pragmatist Critique<\/td>\n\t\t\t<td>Ruggles, Myles<\/td>\n\t\t\t<td>Coombe, Rosemary; Alhassan, Amin<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Karen Skardzius<\/td>\n\t\t\t<td>I Stream, You Stream, We all Stream: Gender, Labour, and the Politics of Online Streaming<\/td>\n\t\t\t<td>Jensen, Jen<\/td>\n\t\t\t<td>Boyd, Jason; Jensen, Jen<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Christopher Smith<\/td>\n\t\t\t<td>Remapping Urban Addiction: A user's guide to the city.<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Little, Kenneth; Gaetz, Stephen<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>David Smith<\/td>\n\t\t\t<td>Theorizing Avatar Sexualities: A Grounded Theory 快播视频 on the Erotics of Second Life<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Fels, Deborah; Goodrum, Abby<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Kelsey Speakman<\/td>\n\t\t\t<td>Mediated Meat: Buying and Selling Beef in Canadian Supermarkets<\/td>\n\t\t\t<td>Berland, Jody<\/td>\n\t\t\t<td>Koc, Mustafa; Sandilands Catronia<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Sarah Stang<\/td>\n\t\t\t<td>Maiden, Mother, and Crone: Abject Female Monstrosity in Roleplaying Games<\/td>\n\t\t\t<td>Jenson, Jennifer<\/td>\n\t\t\t<td>Boyd, Jason; Fridman, May<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Carolyn Steele<\/td>\n\t\t\t<td>NFB\/Interactive: Understand the Role of the Interface in the Production of Meaning in Interactive Online Documentaries<\/td>\n\t\t\t<td>Fisher, Caitlin<\/td>\n\t\t\t<td>Bailey, Steven<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Chad Story<\/td>\n\t\t\t<td>Obscuring Austerity: The Politics and Practices of \u2018Citizen-Centred\u2019 Design<\/td>\n\t\t\t<td>Hadlaw, Jan<\/td>\n\t\t\t<td>Obar, Jonathan; Coulter, Natalie<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Sara Swain<\/td>\n\t\t\t<td>Feral Ecologies: A Foray Into the Worlds of Animals and Media<\/td>\n\t\t\t<td>Zryd, Michael<\/td>\n\t\t\t<td>Marchessault, Janine; Moore, Paul<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Michael Thorn<\/td>\n\t\t\t<td>Know Thyself: Truth and Confession Mediating Religion and Psychology in the Christian Ex-Gay Movement<\/td>\n\t\t\t<td>Moore, Paul<\/td>\n\t\t\t<td>Lessard, Bruno; Skinner, David<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Joseph Turcotte<\/td>\n\t\t\t<td>Creative Transformation and the Knowledge-Based Economy: Intellectual Property and Access to Knowledge Under Informational Capitalism<\/td>\n\t\t\t<td>Coombe, Rosemary<\/td>\n\t\t\t<td>Baskoy, Tuna; Ojo, Tokunbo<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Scott Uzelman<\/td>\n\t\t\t<td>Direct Action Against Enclosure: \"Anti-Proletarian\" struggles for the \"New Commons\"<\/td>\n\t\t\t<td>Moores, Colin<\/td>\n\t\t\t<td>Skinner, David; McNally, David<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Jennifer VanderBurgh<\/td>\n\t\t\t<td>City Nation and Television: The Signification of Toronto Television Drama and the Consolidation of Centre-Margin Relations<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Feldman, Seth; Morris, Peter<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Carmen Victor<\/td>\n\t\t\t<td>Arctic Contours: Northern Media, Canada and the Anthropocene.<\/td>\n\t\t\t<td>Marchessault, Janine<\/td>\n\t\t\t<td>Hayward, Mark; Bailey, Steven<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Laura Visan<\/td>\n\t\t\t<td>Divided We Remain' Civic Participation practices and Network Development Strategies in the Case of Romanian Immigrants from Toronto<\/td>\n\t\t\t<td>Shields, John<\/td>\n\t\t\t<td>Cohen, Rina; Alhassan, Amin<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Tianchi (Jason) Wang<\/td>\n\t\t\t<td>\"Urban Walking: Configuring the Modern City as Cultural and Spatial Practice\"<\/td>\n\t\t\t<td>Gammel, Irene<\/td>\n\t\t\t<td>Marchessault, Janine; Reisenleitner, Markus<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Martin Watson<\/td>\n\t\t\t<td>The Sublime as Model: Formal Complexity in Joyce, Eisenstein and Stockhausen<\/td>\n\t\t\t<td>Elder, Bruce<\/td>\n\t\t\t<td>Cody, Susan; Balfour, Ian<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Nataniel Weiner<\/td>\n\t\t\t<td>The Not-So-Secret Vice: Menswear, Masculinity &amp; Consumption in Six Online Communities<\/td>\n\t\t\t<td>N\/A<\/td>\n\t\t\t<td>Bailey, Steven; Cole, Shaun;&nbsp; Vanstone, G.; Reisenleitner, Markus; MacLennan, Anne; Muzzatti, Stephen<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Melissa West<\/td>\n\t\t\t<td>Marketing Madonna: Celebrity agency across the cultural industry<\/td>\n\t\t\t<td>Berland, Jody<\/td>\n\t\t\t<td>Moores, Colin; Skinner, David<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Jessica Whitehead<\/td>\n\t\t\t<td>Movie-Going On the Margins: The Mascioli Film Circuit of Northeastern Ontario<\/td>\n\t\t\t<td>Moore, Paul<\/td>\n\t\t\t<td>MacLennan, Anne; Machessault, Janine<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Kyler Zeleny<\/td>\n\t\t\t<td>Visualizing the Canadian Prairies: Photographic Representations of Rurality<\/td>\n\t\t\t<td>Moore, Paul<\/td>\n\t\t\t<td>Pruska-Oldenhof, Izabella; Hadlaw, Jan; Fitzpatrick, Blake; van Herk, Aritha; Moore, Paul; Brushwood Rose, Chlo\u00eb<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Han Zhang<\/td>\n\t\t\t<td>The Root of Excellence: An Interpretive Approach to Understanding Elder Care within Transnational Chinese Families in Canada<\/td>\n\t\t\t<td>Bailey, Steven<\/td>\n\t\t\t<td>Blum, Alan; Ingram, Susan<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Jeff Donison<\/td>\n\t\t\t<td>More than a Monolith: Podcasting Authentic Self-Concepts and Cultural Affiliations in Canada<\/td>\n\t\t\t<td>MacLennan, Anne <\/td>\n\t\t\t<td>Steve Bailey and Paul S. Moore<\/td>\n\t\t<\/tr>\n\t\t<tr>\n\t\t\t<td>Axelle Demus<\/td>\n\t\t\t<td>Queering the Cable Airwaves: The Evolution of LGBTQ2+ Community Television in Ontario, Canada (1977-2001)<\/td>\n\t\t\t<td>MacLennan, Anne<\/td>\n\t\t\t<td>Janine Marchessault and Paul S. Moore<\/td>\n\t\t<\/tr>\n<tr>\n\t\t\t<td>Keah Hansen <\/td>\n\t\t\t<td>\nAn Overheated Dollar: How the Framing of the 1970s Inflation Led to the Swapping of Social Spending with Finance, and the Consequences for Our Wellbeing<\/td>\n\t\t\t<td>Mark Hayward<\/td>\n\t\t\t<td>Ganaele M. Langlois, Matthew Tiessen<\/td>\n\t\t<\/tr>\n\n\t<\/tbody>\n<\/table>\n<\/div><\/div>\n<\/div><\/div><\/div>\n<\/div><\/div>\n<\/div><\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-group\"><div class=\"wp-block-group__inner-container is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns learnmore-block is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-top is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\"><div class=\"wp-block-image is-resized\">\n<figure class=\"alignleft size-large\"><img decoding=\"async\" src=\"https:\/\/www.yorku.ca\/wp-content\/plugins\/yu-blockpatterns\/img\/learnmore.png\" alt=\"\" class=\"wp-image-11892\" style=\"width:55px\"\/><\/figure>\n<\/div>\n\n\n<h2 class=\"wp-block-heading\">Learn More<\/h2>\n\n\n\n<p>The York &amp; Toronto 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screen-reader-text\">YouTube<\/span><\/a><\/li><\/ul>\n<\/div>\n<\/div>\n<\/div><\/div>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Learn about what others have chosen to study and do through this innovative program. Nicole S. Cohen Nicole S. Cohen is an associate professor at the University of Toronto.&nbsp;She is the author of Writers\u2019 Rights: Freelance Journalism in a Digital Age, which received the 2017 Gertrude J. Robinson Book Prize from the Canadian Communication Association. [&hellip;]<\/p>\n","protected":false},"author":1269,"featured_media":0,"parent":447,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"tags":[16,18,10,15,17,7,12,11,8,9,6,5,14,13,19],"class_list":["post-453","page","type-page","status-publish","hentry","tag-academic-excellence","tag-communication","tag-communication-and-culture","tag-critical-theory","tag-culture","tag-doctoral-degree","tag-graduate-admissions","tag-graduate-funding","tag-graduate-research","tag-graduate-studies","tag-interdisciplinary-research","tag-masters-degree","tag-research-excellence","tag-social-justice","tag-social-movements"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Our Alumni | About Us | Communication &amp; Culture | Faculty of Graduate Studies (FGS) | 快播视频<\/title>\n<meta name=\"description\" content=\"Learn about what others have chosen to study and do through this innovative program\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.yorku.ca\/gradstudies\/cmct\/about-us\/our-alumni\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Our Alumni | About Us | Communication &amp; 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