Cinema & Media Arts
EDUCATIONBA (Toronto), MA, PhD (NYU)
Professor Zryd’s research interests include
- Experimental and avant-garde cinema, including video art and installation
- Experimental film & media artists (e.g., Hollis Frampton, Craig Baldwin, Su Freidrich, Philip Hoffman, Ken Jacobs, Luke Fowler, Jonas Mekas, Midi Onodera, Ruth Ozeki, Michael Snow, Stan VanDerBeek, Joyce Wieland, among others)
- History of cinema and media studies as a discipline
- Documentary film theory
- American genre cinema & television, including Buffy the Vampire Slayer, Marvel Comic Universe, DC Universe, musical, science fiction, romantic comedy
- American populism in film and media
Current major research projects include
- a book on Hollis Frampton’s film and theory that uses his final project, Magellan as a launch point
- institutional study of experimental film and media in Canada and the United States
- history of Canadian experimental/independent film & media (Moments of Perception: Artists’ Film in Canada)
- Chair of Executive Committee of Archive/Counter-Archive
Zryd has curated or co-curated Hollis Frampton Magellan retrospectives in Toronto, New York, Karlsruhe and London, and has lectured in Canada, United States, Germany, Spain, UK and Argentina.
Zryd co-founded (with Prof. Robin Blaetz, Mount Holyoke College) the Experimental Film and Media Scholarly Interest Group at SCMS and, with Prof. Sharon Hayashi (York University), the Toronto Film & Media Seminar. He has served as archivist of the Society for Cinema and Media Studies (SCMS) and on its Fieldnotes Committee (2017-20), and the SCMS Board of Directors 2008-11; as president of the Film Studies Association of Canada (FSAC) 2005-06; and as chair of the board of directors of the Images Festival 2004-05.
At York, Professor Zryd has taught courses on film history, theory and aesthetics; methodology; experimental film and media; American cinema; early cinema; and the musical. He was awarded the Faculty of Fine Arts Senior Faculty Teaching Award in 2011 and the Faculty of Graduate Studies Teaching Award in 2019.
“Hollis Frampton’s ‘other work’,” review of “Hollis Frampton,” CEPA, 20 June – 5 September 2015, Buffalo, New York, NECSUS (European Review of Media Studies) (Autumn 2015), http://www.necsus-ejms.org/hollis-framptons-work/
Book Review of Andrew Uroskie, Between the Black Box and the White Cube: Expanded Cinema and Postwar Art (University of Chicago Press, 2014), Millennium Film Journal 62 (Fall 2015): 54-55.
Book Review of Scott Mackenzie, ed., Film Manifestos and Global Cinema Cultures (University of California Press, 2015), Canadian Journal of Film Studies Vol. 24, no. 1 (Spring 2015): 90-93.
“Dirty Movies: Teaching Experimental Film and Media Roundtable.” With Erika Balsam, Jonathan Walley, and Dustin Zemel. ACA-MEDIA: An Academic Perspective On Media, From SCMS & Cinema Journal. Episode 14, May 2014.
“In Defence of Institutions in Experimental Film and Media,” Think:Film: International Experimental Cinema Congress, Berlin, presented 13 October 2012. Published 12 February 2014.
“Toronto as Experimental Film Capital: Screenings, Schools, and Strong Personalities.” Explosion in the Movie Machine: Essays and Documents on Toronto Artists’ Film and Video. Edited by Chris Gehman. Toronto: Images Festival & Liaison of Independent Filmmakers of Toronto, 2013. 90-110.
“Magellan” [DVD essay]. In A Hollis Frampton Odyssey. New York: Criterion Collection, 2012.
“The Rise of A Film Generation’: Film Culture and Cinephilia.” In Blackwell History of American Cinema. Eds. Roy Grundmann, Cindy Lucia, and Art Simon. Blackwell Press, 2012.
“Experimental Film as Useless Cinema.” In Useful Cinema, edited by Charles Acland and Haidee Wasson, 315-336. Durham & London: Duke University Press, 2011.
With Haidee Wasson. “Roundtable: History of Canadian Film Studies.” Ciné-Forum section. Canadian Journal of Film Studies 20, no. 1 (2011): 117-137.
“Stan VanDerBeek: From Classroom to Artist in Residence to the World.” In Stan VanDerBeek: The Culture Intercom, 108-116. Houston: Contemporary Art Museum and Cambridge: MIT List Visual Center, 2011.
“Professor Ken.” In Optic Antics: Ken Jacobs, edited by Michele Pierson, David James and Paul Arthur, 249-261. New York: Oxford University Press, 2011.
“Experimental Film and the Development of Film Study in America.” In Inventing Film Studies, edited by Lee Grieveson and Haidee Wasson, 182-216. Durham, NC: Duke University Press, 2008.
“Hollis Frampton’s Magellan.” In Buffalo Heads: Media Study, Media Practice, Media Pioneers: 1973-1990. Karlsruhe: ZKM and Cambridge, MA: MIT Press, 2008.
“A Movie A Day and other Film Calendars.” [DVD essay]. Midi Onodera Collected Works. 2008.
“Avant-Garde Films: Teaching Wavelength.” Cinema Journal 47, no.1, In Focus section, “Teaching Difficult Films, 2007.
“Poetry and Process: Three Films by Philip Hoffman.” [DVD essay] Spotlight Series: Philip Hoffman. Toronto: Canadian Filmmakers Distribution Centre, 2007.
“The Academy and the Avant-Garde: A Relationship of Dependence and Resistance.” Cinema Journal 45, no. 2, February 2006, 17-42.
With Nicola Galombik. “The Brig: The Paradox Of Resistance and Recuperation.” CineAction 69 (2006): 40-49.
“History and Ambivalence in Hollis Frampton’s Magellan.” October 109 (Summer 2004): 119-142.
“Found Footage Film as Discursive Metahistory: Craig Baldwin’s Tribulation 99.” [revised English version of essay first published in Montage/av 11.1]. The Moving Image 3.2 (Fall 2003): 40-61.
“Hybrid as Allegory.” In The Films of Jack Chambers, edited by Kathryn Elder, 59-65. Cinematheque Ontario Monographs Series. Toronto: Toronto International Film Festival Group, 2002.
“A Report on Canadian Experimental Film Institutions 1980-2000.” In North of Everything: English Canadian Cinema Since 1980, edited by William Beard and Jerry White, 392-401. Edmonton: University of Alberta Press, 2002.
“Ironic Identity Frames and the Autobiographical Documentary: Ruth Ozeki Lounsbury’s Halving the Bones (1995) and My Year of Meats (1998).” Literary Research/Recherche littéraire 18.35 (Spring Summer 2001): 120-132.
With Brian Wall. “Vampire Dialectics: Knowledge, Institutions and Labour.” In Reading the Vampire Slayer: An Unofficial Critical Companion to Buffy and Angel, edited by Roz Kaveney, 53-77. London & New York: Taurus Parke, 2001.
“Deception and Ethics in ?O, Zoo! (The Making of a Fiction Film).” In Landscape with Shipwreck: First Person Cinema and the Films of Philip Hoffman, edited by Karyn Sandlos and Michael Hoolboom, 42-55. Toronto: Images Festival of Independent Film & Video and Insomniac Press, 2001.
“Scale.” Public 19/20 (2000): 57-59 (in vol. 2 of special issue entitled “Lexicon: 20th Century A.D.).
“‘There Are Many Joyces’: The Critical Reception of the Films of Joyce Wieland.” In The Films of Joyce Wieland, edited by Kathryn Elder, 195-212. Cinematheque Ontario Monographs Series, no. 3. Toronto: Toronto International Film Festival Group, 1999.
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