��ɫ��Ƶ

Sojung Bahng (방소정) is an award-winning multidisciplinary artist, filmmaker, and researcher. She is an Assistant Professor in the Department of Film and Media, with a cross-appointment to the DAN School of Drama and Music at Queen’s University in Canada. Her work explores cinematic media through digital technologies, reflecting on aesthetic and narrative experiences within cultural and philosophical contexts. Sojung holds a PhD from SensiLab in the Faculty of Information Technology at Monash University in Australia. Her doctoral thesis, Cinematic VR as a Reflexive Tool Beyond Empathy, received the 2020 Mollie Holman Medal for the best thesis of the year. She also served as a postdoctoral fellow and contract instructor in the Media Production and Design program at Carleton University in Canada. She earned her master’s degree in Culture Technology from the Korea Advanced Institute of Science and Technology (KAIST), and a BFA in TV & Film Production and Art Theory from Korea National University of Arts (K-Arts, 한국예술종합학교).

Sojung’s works have been showcased and recognized at numerous prestigious festivals and symposiums worldwide. Her animated VR films have received international recognition, with Wired winning Second Prize in the VR Section at Digital Arts Zurich and Anonymous being exhibited at BIAF (Bucheon), TSFM (Torino), TIAF (Tbilisi), and ANIMAZE (Montreal). Her interactive VR project Sleeping Eyes received the Award of Excellence in Experience Design at the Festival of International Virtual & Augmented Reality Stories. The 360° autobiographical documentary Floating Walk was nominated for the Social Impact Media Awards (SIMA) in Los Angeles, and her dance film Poetry of Separation was selected for NDC in New York. Her experiments in expanded cinema, performance, and digital storytelling have been presented at international venues and conferences including the McCord Stewart Museum (Montreal), Heide Museum (Melbourne), Arts and Technology (Istanbul), ICLC (Barcelona), ICMC (New York), and ISEA (Dubai and Brisbane). She also curated and directed Somplexity, a multidisciplinary art project funded by the Seoul Foundation for Arts and Culture.

She has published numerous peer-reviewed articles as first author in internationally recognized conferences and journals such as SIGCHI, ISEA, ArtsIT, HCII, TEI, ICIDS, Frontiers, and ACM Interactions. She is currently running research practice, a collaborative framework exploring intersections between research and practice, and leading an SSHRC-funded research project titled Meta-Metaverse: Digital Art-Based Research on Reflective Approaches to the Metaverse.

Artist website:
Research practice website:

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.

Tamara de Szegheo Lang (she/her) is a Continuing Adjunct, Assistant Professor, in the Department of Film and Media. Her research takes up queer history, community-based archives, visual culture, and the affective relationships between LGBT2Q+ people and the past.

The research projects Tamara is currently involved with include: Bodies on Fire: Rekindling the Lesbian Decade in Canadian Film,1990-1999; The Witch Institute: Harnessing the Cultural Power of the Witch for Decolonial, Feminist Futures; and Under the Shadow of Empire: Minor Archives and Radical Media Distribution in the Americas.

Tamara is interested in supervising in the following areas: historical and contemporary film and media; marginalized and activist (feminist, racialized, Indigenous, queer and trans) screen cultures; archive studies, preservation, and archival films; affect theory; and curatorial studies.

Her research interests center on the politics of visuality (including cinema, television, video, and other new media/art forms), critical media infrastructure, and environmental media. She examines media’s textual, material, and socio-political dynamics mainly through China's situated experience but gradually expands to explore the trans-regional linkages across Asia. Her current book project, Frontier Vision: The Geopolitics of Seeing China’s Borderlands, examines how China’s geopolitical aspirations have been hyper-mediated and entangled with the logic of frontier-making between the mid-twentieth century and the present. This book offers a transhistorical view of the visual regimes that recalibrate natural environments and their political promises through geological extraction, televisual mediation of hydropower, and maritime signal sovereignty. Her book project was also supported by the (2024-2025) from the American Council of Learned Societies.