Martine Beugnet

Martine Beugnet Professor in Visual Studies, UFR d’études anglophones UMR LARCA [http://www.larca.beugnet](http://www.larca.univ-paris-diderot.fr/en/membre/beugnet-martine-2/) Université de Paris Olympes de Gouges 4th floor Place Paul Ricoeur 75013 Paris Tel: 0143351208 0637004953 Email: beugnetmartine@gmail.com; martine.beugnet@u-paris.fr QUALIFICATIONS and CAREER SUMMARY Professor in Visual Studies, University of Paris 7 Diderot, department of English Studies since September 2012. Professor in Film Studies, University of Edinburgh, School of Literatures, Languages and Cultures, September 2008 - September 2012. Reader in French and Film Studies, University of Edinburgh, October 2005 - September 2008. Lecturer in French and Film Studies, University of Edinburgh, September 1999 - September 2005. Lecturer in Film Studies, University of Northumbria, September 1997 - September 1999. Associate Lecturer, Edinburgh College of Art, September 1996 - June 1999. Associate Lecturer, University of Glasgow, September 1996 - June 1997, Department of Theater, Film and Television. PhD in Film Studies, 1996 -1999, School of Languages, Literatures and Cultures, University of Edinburgh. Thesis entitled “Framing the Other. Marginality in Contemporary French Cinema”. Arts Officer and Curator, Institut français d'Ecosse, March 1989 - August 1997. Master’s in Cultural Management, 1992 – 1993 (while working), European Council. Thesis on Contemporary visual arts – Curating and Promoting Multi-Media Exhibitions. MPhil (D.E.A), in History, History of Arts and Archeology, 1986, with distinction, University of Edinburgh (Stevenson Scholarship), and University of Lille. MA (Maîtrise) in History, History of Arts and Archeology, 1985, with distinction, NC State University, USA, and University of Lille. Degree in History, History of Arts and Archaeology, 1984, University of Lille. ADMINISTRATIVE RESPONSIBILITIES Head of the film Studies program, University of Edinburgh, 2002 - 2012. Head of the Department of English Studies, University of Paris 7, 2015 - 2018 Director, Master in Arts and Visual Culture, 2013 – 2015 Director, Double Master in Fil Studies (Master cinéma-anglais) TEACHING and RESEARCH SUPERVISION I have lectured and designed programs and syllabi at all levels of the graduate and post-graduate cursus. At the university of Edinburgh, my teaching was in film studies (cinema theory, criticism, history, aesthetics). At the Université de Paris my teaching encompasses other media as well as the theoretical and aesthetic domains of visual studies and visual culture. I have designed and co-direct with Emmanuelle André a new bilingual master’s program. Started in September 2019, the double Master in Film Studies operates as a collaboration between English Studies and the department of Literature, Art and Cinema. On average, I supervise 10 master’s dissertations a year. Thesis completed under my supervision at the University of Edinburgh: Kim Knowles (2005, Man Ray, a cinematographic artist), Jennifer Valcke (2007, Montage and Photomontage), Michael Russell (2007, Soviet Montage), Christina Bruns (2009, New German Documentary), Ana Salzberg (2010, On Narcissism and the Star system), Pasquale Iannone (2010, Childhood in War Cinema). Anna Rogers (2010, A Deleuzian approach to Independent American Cinema), Keith Brown (2012, Leone and Argento: Cinema between the Image movement and the Time Image). Thesis supervised at the Université de Paris : Chiara Salari, Le Paysage Explosé, co-direction with the University of Rome (viva passed cum laude in 2019), Danielle Wecker, What Do You Mean You Lost the Past? Amateur Cinema 1950-1970, co-direction with the University of Luxemburg (viva passed cum laude in 2017). Jeanne Ferrier, Cinéma américain contemporain et suburbia, since September 2016. Marie-Pierre Burquier, Hollywood recyclé : cinéma de Hollywood et pratiques expérimentales, since September 2017. Elise Harris, Space in Digital Cinema, Since Septmber 2018. RESEARCH INTERESTS Art and experimental cinema; video and multimedia art; visual culture, modernity and counter-modernity; cinema and corporeality; technology and estrangement; intermediality and the moving image; Size and Scale in Moving Image Media. PUBLICATIONS Books: Le cinema et ses doubles. L’image de film à l’ère du numérique et des écrans de poche, Bodeaux: Bord de l’eau, forthcoming March 2021. L’Attrait du flou, Yellow Now, 2017. Cinema and Sensation: French Film and the Art of Transgression, Edinburgh: Edinburgh University Press, 2007 and 2012.. Proust at the Movies, co-written with Marion Schmid, Burlington (USA) and Aldershot (UK): Ashgate, 2005. The Cinema of Claire Denis, Manchester : Manchester University Press, 2004. Marginalité, sexualité, contrôle – Questions de représentation dans le cinéma français contemporain, Paris: L’Harmattan, 2000. Edited Book : Indefinite Visions: Cinema and the attraction of uncertainty, edited by M.Beugnet, A.Cameron et A.Fetveit, Edinburgh: Edinburgh University Press, 2017 Journals Special Issues: With Jane Sillars, Screen 58, « Hollywood (re)turns» dossier, 2017 With Lily Hibberd, Screen 62, Dossier on Immersion and VR, forthcoming 2021. Articles: “Affecting Images: Cinema, Blur and Absorption”, in TIES, Journal of Literature, Text, Image and Sound, Forthcoming 2020. “Virtual Reality and the Gaze: On Framelessness, Panoptic Vision, and Parragirls’ Memory Work”, in SAC journal, forthcoming 2021. “Touch and See? Regarding Images in the Era of the Interface.”, in InMedia, Forthcoming 2021. “Subverting the disciplinary gaze. Revisiting the panoptic model in I thought I Was Seeing Convicts, Lockup 360 and Correction.” in Transatlantica, Forthcoming 2021. “The Gulliver effect: Screen size, Scale and Frame, from Cinema to Mobile Phones”, in The New Review of Film and Television Studies, forthcoming 2021. Introduction to Cinephile’s 12.1 issue on philosophy and new media, forthcoming Spring 2018. « La Mort en partage », Écrans, special issue ‘Anthropologie et cinéma’, edited by E.André et L.Vanchéri, Vol 1, n° 7, Novembre 2018. « An aesthetics of exhaustion? Digital found footage and Hollywood», Screen 58, Autumn 2017, pp. 218-228. With Jane Sillars, « The Reflexive turn: mediating and remediating Hollywood», Screen 58, introduction to the « Hollywood (re)turns» dossier, 2017, pp. 197-201. With Kriss Ravetto, « Parasite Cinema », Image &amp; Narrative, Vol 17, n 5, Winter 2017, pp 66-79. “Firing at the Clocks: Cinema, Sampling and the Cultural Logic of the Late Capitalist Artwork”, special issue on Christian Marclay, Frameworks 54:2, Autumn 2013. With Kim Knowles, "The Aesthetics and Politics of Obsolescence: Hand-made Film in the Era of the Digital”, MIRAJ - Moving Image Review &amp; Art Journal , Volume 2 Issue 1, April 2013, pp. 54-68 With Elizabeth Ezra, ‘Zidane: A Portrait of the Twenty-first Century’, Screen, fiftieth anniversary issue, 2010, pp. 77-86. With Elizabeth Ezra, ‘Traces of the Modern – An Alternative History of the French Cinema’ Studies in French Cinema, tenth anniversary issue, 10:1, April 2010, pp. 11-38. ‘Ruiz on Proust or The Pathology of Vision’ in 'Le Temps retrouvé' Eighty Years After: Critical Essays/ Essais critiques, ed. Adam Watt, Modern French Identities, n°84, 2009, pp. 293-311. With Elizabeth Ezra, ‘Zidane: A Portrait of the Twenty-first Century’, Screen, fiftieth anniversary issue, 2009, pp. 77-86. ‘EXPORT’s Becomings : Man&amp;Frau&amp;Animal’, in \*Export Lexikon\*, Chronologie der bewegten Bilder bei Valie Export, ed. Sylvia Szely, 2008, Wien: Sonderzahl Verlag, pp. 276-88. ‘Re-enchanting the World’: Claire Denis’ Vendredi Soir and Pascale Ferran’s Lady Chatterley, Australian Journal of French Studies, 2009, pp. 197-212. ‘L’Intrus: Claire Denis and Jean-Luc Nancy’, Film-Philosophy, special issue on Claire Denis and Jean-Luc Nancy, ed. Douglas Morrey, Volume 12, 2008, http://www.film-philosophy.com/archive/vol12-2008. ‘Blind Spot’ (dossier on Caché de M. Haneke), Screen 48, issue 2, 2008, pp. 227-231. ‘Cinema and Sensation’, Paragraph. A Journal of Modern Critical Theory, special issue on Cinema and the Senses, ed. Emma Wilson, 31:2, July 2008, pp. 173-189. ‘Du Film d’art à l’art du film’ in ‘Arts plastiques et cinéma’, ed. Sébastien Denis, CinémAction 122, pp.38-48. ‘Figures of Vampirism: French Cinema in the Era of Global Transylvania’, Modern and Contemporary France, 15 (special issue on transnational cinema, ed. Carrie Tarr), February 2007, pp. 77-88. ‘Les Statues meurent aussi’, CinémAction 122, (special issue on arts and cinema), ed. Sébastien Denis, January 2007, pp. 39-48. ‘Die Sinnliche Leinwand: L’Intrus, in ‘Claire Denis’, eds. M.Omasta and I.Reicher, Vienna : FilmmuseumSynemaPublikation, 2006, pp. 65-79. ‘Cinema of Evil: Philippe Grandrieux’ Sombre and La Vie Nouvelle, Studies in French Cinema, 5/3, 2006, pp. 175-184. ‘Close-up Vision: Re-mapping the body in the work of contemporary French filmmakers’. Nottingham French Studies 45/3, ed. Carrie Tarr, 2006, pp. 24-38. ‘Screening the Old. Gender and ageing in Contemporary French Cinema’, Studies in Literary Imagination, 39:2, 2006, pp. 1-21. ‘Resnais and Marker’s Les Statues pleurent aussi’, Rohstoff Filmmagazin, vol. 1, 2004, pp. 23-26. ‘Nouveau réalisme et politique de l’anti-spectacle’, French Studies, 53/7, Summer 2003, pp. 349-366. ‘Forever Mozart (Jean-Luc Godard, 1997)’ avec Marion Schmid, CinémAction 109, 2003, pp. 38-49. ‘Beau Travail (Claire Denis, 1999): time, space and myths of identity’, avec Jane Sillars, Studies in French Cinema, Hiver 2002, pp. 165-174. ‘Filming Jealousy, La Captive (Chantal Ackerman, 2000)’, Studies in French Cinema, deuxième trimestre 2003, pp. 156-164. ‘Film Noir, Mort Blanche: J’ai pas sommeil, (Claire Denis, 1995)’, Durham Modern Studies series, Spring 2001, pp. 39-53. ‘Le Souci de l’Autre – Nouveau réalisme et critique sociale dans le cinéma français contemporain’, IRIS n? 29, Spring 2000, pp. 52-68. Chapters in books: ‘Dream Screen: On Cinema and Painting, Blur and Absorption’, in Cinematic Intermedialities, ed; by K.Knowles and M.Schmid, Edinburgh: Edinburgh University Press, forthcoming 2021. ‘Exploring the Cinematic Imaginary. Carlos Adriano, Andre Parente, and the Precision of the Vague’ in Towards an Intermedial History of Brazilian Cinema, ed. Tiago de Luca, Edinburgh: Edinburgh University Press, forthcoming 2021. ‘Visions tactiles: l’étreinte à l’écran, entre le voir et le toucher’, dans : L’intimité en partage, edited by Frédérique Berthet et Marion Froger, Presses Universitaires de Vincennes, forthcoming, Winter 2018. ‘(S)wipe: phénoménologie d’un geste filmé’, dans Le geste Filmé, edited by Christa Blumlinger et Mathias Lanvin, Paris : Labex H2H, forthcoming, Winter 2018. ‘In Praise of the Vague’, introduction to Indefinite Visions, 2017, Edinburgh: E.U.P, pp.1-17. ‘Uncanny Encounter: The iPhone and the Debrie Camera’, dans : Exposing the Film Apparatus. The Film Archive as a Research Laboratory, sous la direction d’Annie van den Oever et Giovanna Fossati, Amsterdam: Amsterdam University Press, 2016. With Annie van den Oever, ‘Gulliver Goes to the Movies: Screen Size, Scale, and Experiential Impact’ dans: Screens. From Materiality to Spectatorship – A Historical and Theoretical Reassessment, sous la direction de: Dominique Chateau et José Moure, Amsterdam: Amsterdam University Press, 2016, pp. 247-258. ‘The Practice of Strangeness: L'Intrus, from Jean-Luc Nancy (2000) to Claire Denis (2004)’, The Essay Film : Dialogue, Politics, Utopia, edited by Elizabeth Papazian et Caroline Eades, Columbia University Press, 2016, pp. 68-86. With Laura Mulvey, ‘ Film, Corporeality, Transgressive Cinema: A Feminist Perspective’ dans : Feminisms : Diversity, Difference and Multiplicity in Contemporary Film Cultures, edited by Laura Mulvey et Anna Backman Rogers, Amsterdam: Amsterdam University Press, 2016, pp 187-203. ‘Miniature Pleasures: On Watching Films on an iPhone’, Cinematicity, eds. Jeffrey Geiger et Karin Littau, Edinburgh: E.U.P, 2014, pp. 196-210. “Commerce and the War of the Sexes”, Companion to Jean-Luc Godard, London and Oxford: Wiley-Blackwell, Winter 2014 “An Invention with a Future: French Cinema after the End of Cinema”, eds Hilary Radner et Raphaelle Moine, The Blackwell Companion to Contemporary French Cinema, London and New York: Blackwell, Forthcoming, Winter 2014. “Tactile Visions : From embodied to Encoded Love”, Carnal Aesthetics: Transgressive Imagery and Feminist Politics, Ed. Marta Zarzycka and Bettina Papenburg, London and New York: IB Tauris, pp.175-198, 2013. ‘The Wounded Screen’, dans New Extreme Cinema, edited by Tania Horeck, EUP, 2011, pp 18-38. ‘La forme et L’informe : de la dissolution du corps à l’écran’ in Images des Corps / Corps des images au cinéma, ed. Jérôme Game, Paris : ENS Editions, 2010, pp. 49-71 ‘Experimental French Cinema: the Figural and the Formless’, in Avant-garde Cinema, eds. A.Graf &amp; D. Scheuneman, 2007, Amsterdam: Rodopi ‘Y’aura-t’il de la neige à Noël, Sandrine Veysset (1997)’ in 24 frameseditied by Phil Powrie, Walflower Press, 2004 ‘Poétique de la marge’,Les Glaneurs et la glaneuse (Agnès Varda, 2000)’, in Cinéma Contemporain: état des lieux, publié dans la collection 'Champs Visuels', edited by Jean-Pierre Eskenazi, Paris : L’Harmattan, troisième trimestre 2004 'French Cinema of the Margins', dans European Cinema, editied by Elizabeth Ezra, Oxford: Oxford University Press, 2003, pp. 282-299. ‘Space, Representation and Social Exclusion’, dans Lectures de la ville/The City as Text, Nice: Presses de la Faculté des Lettres, 2000, pp. 24-36. Tales of Ordinary Evil, in France in Focus, Londres: Berg, 2000, pp. 194- 207. ‘Die Kunst des ‘Zapping’, Zu Bertrand Blier’s Merci La Vie’, dans Europäische Kinokunst im Zeitalter des Fernsehens, editied by Volker Roloff, Helmut Schanze et Dietrich Scheunemann, Munich: Wilhelm Fink Verlag, 1998, pp. 326-338. ‘En avoir (ou Pas), Sauve qui Peut (La Vie): Bracketing Gender differences?’ dans Working Papers on Contemporary France, ed. Maria Esposito, Londres : University of North London Press, 1998. Book Series: Co-editor, with Dr Kriss Ravetto (u. c. Davis), of Edinburgh University Press Studies in Film series, <http://www.euppublishing.com/series/ESIF> Co-editor, with Baptiste Bohet (Paris 3 Sorbonne nouvelle) de la collection udpn, <http://udpn.fr/spip.php?article312> Editorial Boards Member of the editorial board of the journals NECSUS. Member of the Advisory Board of Discourse, and Open Screens. Research Projects Co-director of the udpn (Usages des Patrimoines Numérisés) network, 14 projects on digitized archives, supported by a 400 000 euros SPC grant over 4 years. https://udpn.fr/ Co-director, with Emmanuelle André, of the Technological Uncanny project, a series of round tables and collaborations between artists, media theoreticians and computer scientists, <http://udpn.fr/spip.php?article91> M.Beugnet 3

Martine Beugnet Professor in Visual Studies, UFR d’études anglophones UMR LARCA http://www.larca beugnet Université de Paris Olympes de Gouges 4th floor Place Paul Ricoeur 75013 Paris Tel: 0143351208 0637004953 Email: beugnetmartine@gmail.com QUALIFICATIONS and CAREER SUMMARY Professor in Visual Studies, University of Paris 7 Diderot, department of English Studies since September 2012. Professor in Film Studies, University of Edinburgh, School of Literatures, Languages and Cultures, September 2008 - September 2012. Reader in French and Film Studies, University of Edinburgh, October 2005 - September 2008. Lecturer in French and Film Studies, University of Edinburgh, September 1999 - September 2005. Lecturer in Film Studies, University of Northumbria, September 1997 - September 1999. Associate Lecturer, Edinburgh College of Art, September 1996 - June 1999. Associate Lecturer, University of Glasgow, September 1996 - June 1997, Department of Theater, Film and Television. PhD in Film Studies, 1996 -1999, School of Languages, Literatures and Cultures, University of Edinburgh. Thesis entitled “Framing the Other. Marginality in Contemporary French Cinema”. Arts Officer and Curator, Institut français d'Ecosse, March 1989 - August 1997. Master’s in Cultural Management, 1992 – 1993 (while working), European Council. Thesis on Contemporary visual arts – Curating and Promoting Multi-Media Exhibitions. MPhil (D.E.A), in History, History of Arts and Archeology, 1986, with distinction, University of Edinburgh (Stevenson Scholarship), and University of Lille. MA (Maîtrise) in History, History of Arts and Archeology, 1985, with distinction, NC State University, USA, and University of Lille. Degree in History, History of Arts and Archaeology, 1984, University of Lille. ADMINISTRATIVE RESPONSIBILITIES Head of the film Studies program, University of Edinburgh, 2002 - 2012. Head of the Department of English Studies, University of Paris 7, 2015 - 2018 Director, Master in Arts and Visual Culture, 2013 – 2015 Director, Double Master in Fil Studies (Master cinéma-anglais) TEACHING and RESEARCH SUPERVISION I have lectured and designed programs and syllabi at all levels of the graduate and post-graduate cursus. At the university of Edinburgh, my teaching was in film studies (cinema theory, criticism, history, aesthetics). At the Université de Paris my teaching encompasses other media as well as the theoretical and aesthetic domains of visual studies and visual culture. I have designed and co-direct with Emmanuelle André a new bilingual master’s program. Started in September 2019, the double Master in Film Studies operates as a collaboration between English Studies and the department of Literature, Art and Cinema. On average, I supervise 10 master’s dissertations a year. Thesis completed under my supervision at the University of Edinburgh: Kim Knowles (2005, Man Ray, a cinematographic artist), Jennifer Valcke (2007, Montage and Photomontage), Michael Russell (2007, Soviet Montage), Christina Bruns (2009, New German Documentary), Ana Salzberg (2010, On Narcissism and the Star system), Pasquale Iannone (2010, Childhood in War Cinema). Anna Rogers (2010, A Deleuzian approach to Independent American Cinema), Keith Brown (2012, Leone and Argento: Cinema between the Image movement and the Time Image). Thesis supervised at the Université de Paris : Chiara Salari, Le Paysage Explosé, co-direction with the University of Rome (viva passed cum laude in 2019), Danielle Wecker, What Do You Mean You Lost the Past? Amateur Cinema 1950-1970, co-direction with the University of Luxemburg (viva passed cum laude in 2017). Jeanne Ferrier, Cinéma américain contemporain et suburbia, since September 2016. Marie-Pierre Burquier, Hollywood recyclé : cinéma de Hollywood et pratiques expérimentales, since September 2017. Elise Harris, Space in Digital Cinema, Since Septmber 2018. RESEARCH INTERESTS Art and experimental cinema; video and multimedia art; visual culture, modernity and counter-modernity; cinema and corporeality; technology and estrangement; intermediality and the moving image; Size and Scale in Moving Image Media. PUBLICATIONS Books: Le cinema et ses doubles. L’image de film à l’ère du numérique et des écrans de poche, Bodeaux: Bord de l’eau, forthcoming March 2021. L’Attrait du flou, Yellow Now, 2017. Cinema and Sensation: French Film and the Art of Transgression, Edinburgh: Edinburgh University Press, 2007 and 2012.. Proust at the Movies, co-written with Marion Schmid, Burlington (USA) and Aldershot (UK): Ashgate, 2005. The Cinema of Claire Denis, Manchester : Manchester University Press, 2004. Marginalité, sexualité, contrôle – Questions de représentation dans le cinéma français contemporain, Paris: L’Harmattan, 2000. Edited Book : Indefinite Visions: Cinema and the attraction of uncertainty, edited by M.Beugnet, A.Cameron et A.Fetveit, Edinburgh: Edinburgh University Press, 2017 Journals Special Issues: With Jane Sillars, Screen 58, « Hollywood (re)turns» dossier, 2017 With Lily Hibberd, Screen 62, Dossier on Immersion and VR, forthcoming 2021. Articles: “Affecting Images: Cinema, Blur and Absorption”, in TIES, Journal of Literature, Text, Image and Sound, Forthcoming 2020. “Virtual Reality and the Gaze: On Framelessness, Panoptic Vision, and Parragirls’ Memory Work”, in SAC journal, forthcoming 2021. “Touch and See? Regarding Images in the Era of the Interface.”, in InMedia, Forthcoming 2021. “Subverting the disciplinary gaze. Revisiting the panoptic model in I thought I Was Seeing Convicts, Lockup 360 and Correction.” in Transatlantica, Forthcoming 2021. “The Gulliver effect: Screen size, Scale and Frame, from Cinema to Mobile Phones”, in The New Review of Film and Television Studies, forthcoming 2021. Introduction to Cinephile’s 12.1 issue on philosophy and new media, forthcoming Spring 2018. « La Mort en partage », Écrans, special issue ‘Anthropologie et cinéma’, edited by E.André et L.Vanchéri, Vol 1, n° 7, Novembre 2018. « An aesthetics of exhaustion? Digital found footage and Hollywood», Screen 58, Autumn 2017, pp. 218-228. With Jane Sillars, « The Reflexive turn: mediating and remediating Hollywood», Screen 58, introduction to the « Hollywood (re)turns» dossier, 2017, pp. 197-201. With Kriss Ravetto, « Parasite Cinema », Image &amp; Narrative, Vol 17, n 5, Winter 2017, pp 66-79. “Firing at the Clocks: Cinema, Sampling and the Cultural Logic of the Late Capitalist Artwork”, special issue on Christian Marclay, Frameworks 54:2, Autumn 2013. With Kim Knowles, "The Aesthetics and Politics of Obsolescence: Hand-made Film in the Era of the Digital”, MIRAJ - Moving Image Review &amp; Art Journal , Volume 2 Issue 1, April 2013, pp. 54-68 With Elizabeth Ezra, ‘Zidane: A Portrait of the Twenty-first Century’, Screen, fiftieth anniversary issue, 2010, pp. 77-86. With Elizabeth Ezra, ‘Traces of the Modern – An Alternative History of the French Cinema’ Studies in French Cinema, tenth anniversary issue, 10:1, April 2010, pp. 11-38. ‘Ruiz on Proust or The Pathology of Vision’ in 'Le Temps retrouvé' Eighty Years After: Critical Essays/ Essais critiques, ed. Adam Watt, Modern French Identities, n°84, 2009, pp. 293-311. With Elizabeth Ezra, ‘Zidane: A Portrait of the Twenty-first Century’, Screen, fiftieth anniversary issue, 2009, pp. 77-86. ‘EXPORT’s Becomings : Man&amp;Frau&amp;Animal’, in \*Export Lexikon\*, Chronologie der bewegten Bilder bei Valie Export, ed. Sylvia Szely, 2008, Wien: Sonderzahl Verlag, pp. 276-88. ‘Re-enchanting the World’: Claire Denis’ Vendredi Soir and Pascale Ferran’s Lady Chatterley, Australian Journal of French Studies, 2009, pp. 197-212. ‘L’Intrus: Claire Denis and Jean-Luc Nancy’, Film-Philosophy, special issue on Claire Denis and Jean-Luc Nancy, ed. Douglas Morrey, Volume 12, 2008, http://www.film-philosophy.com/archive/vol12-2008. ‘Blind Spot’ (dossier on Caché de M. Haneke), Screen 48, issue 2, 2008, pp. 227-231. ‘Cinema and Sensation’, Paragraph. A Journal of Modern Critical Theory, special issue on Cinema and the Senses, ed. Emma Wilson, 31:2, July 2008, pp. 173-189. ‘Du Film d’art à l’art du film’ in ‘Arts plastiques et cinéma’, ed. Sébastien Denis, CinémAction 122, pp.38-48. ‘Figures of Vampirism: French Cinema in the Era of Global Transylvania’, Modern and Contemporary France, 15 (special issue on transnational cinema, ed. Carrie Tarr), February 2007, pp. 77-88. ‘Les Statues meurent aussi’, CinémAction 122, (special issue on arts and cinema), ed. Sébastien Denis, January 2007, pp. 39-48. ‘Die Sinnliche Leinwand: L’Intrus, in ‘Claire Denis’, eds. M.Omasta and I.Reicher, Vienna : FilmmuseumSynemaPublikation, 2006, pp. 65-79. ‘Cinema of Evil: Philippe Grandrieux’ Sombre and La Vie Nouvelle, Studies in French Cinema, 5/3, 2006, pp. 175-184. ‘Close-up Vision: Re-mapping the body in the work of contemporary French filmmakers’. Nottingham French Studies 45/3, ed. Carrie Tarr, 2006, pp. 24-38. ‘Screening the Old. Gender and ageing in Contemporary French Cinema’, Studies in Literary Imagination, 39:2, 2006, pp. 1-21. ‘Resnais and Marker’s Les Statues pleurent aussi’, Rohstoff Filmmagazin, vol. 1, 2004, pp. 23-26. ‘Nouveau réalisme et politique de l’anti-spectacle’, French Studies, 53/7, Summer 2003, pp. 349-366. ‘Forever Mozart (Jean-Luc Godard, 1997)’ avec Marion Schmid, CinémAction 109, 2003, pp. 38-49. ‘Beau Travail (Claire Denis, 1999): time, space and myths of identity’, avec Jane Sillars, Studies in French Cinema, Hiver 2002, pp. 165-174. ‘Filming Jealousy, La Captive (Chantal Ackerman, 2000)’, Studies in French Cinema, deuxième trimestre 2003, pp. 156-164. ‘Film Noir, Mort Blanche: J’ai pas sommeil, (Claire Denis, 1995)’, Durham Modern Studies series, Spring 2001, pp. 39-53. ‘Le Souci de l’Autre – Nouveau réalisme et critique sociale dans le cinéma français contemporain’, IRIS n 29, Spring 2000, pp. 52-68. Chapters in books: ‘Dream Screen: On Cinema and Painting, Blur and Absorption’, in Cinematic Intermedialities, ed; by K.Knowles and M.Schmid, Edinburgh: Edinburgh University Press, forthcoming 2021. ‘Exploring the Cinematic Imaginary. Carlos Adriano, Andre Parente, and the Precision of the Vague’ in Towards an Intermedial History of Brazilian Cinema, ed. Tiago de Luca, Edinburgh: Edinburgh University Press, forthcoming 2021. ‘Visions tactiles: l’étreinte à l’écran, entre le voir et le toucher’, dans : L’intimité en partage, edited by Frédérique Berthet et Marion Froger, Presses Universitaires de Vincennes, forthcoming, Winter 2018. ‘(S)wipe: phénoménologie d’un geste filmé’, dans Le geste Filmé, edited by Christa Blumlinger et Mathias Lanvin, Paris : Labex H2H, forthcoming, Winter 2018. ‘In Praise of the Vague’, introduction to Indefinite Visions, 2017, Edinburgh: E.U.P, pp.1-17. ‘Uncanny Encounter: The iPhone and the Debrie Camera’, dans : Exposing the Film Apparatus. The Film Archive as a Research Laboratory, sous la direction d’Annie van den Oever et Giovanna Fossati, Amsterdam: Amsterdam University Press, 2016. With Annie van den Oever, ‘Gulliver Goes to the Movies: Screen Size, Scale, and Experiential Impact’ dans: Screens. From Materiality to Spectatorship – A Historical and Theoretical Reassessment, sous la direction de: Dominique Chateau et José Moure, Amsterdam: Amsterdam University Press, 2016, pp. 247-258. ‘The Practice of Strangeness: L'Intrus, from Jean-Luc Nancy (2000) to Claire Denis (2004)’, The Essay Film : Dialogue, Politics, Utopia, edited by Elizabeth Papazian et Caroline Eades, Columbia University Press, 2016, pp. 68-86. With Laura Mulvey, ‘ Film, Corporeality, Transgressive Cinema: A Feminist Perspective’ dans : Feminisms : Diversity, Difference and Multiplicity in Contemporary Film Cultures, edited by Laura Mulvey et Anna Backman Rogers, Amsterdam: Amsterdam University Press, 2016, pp 187-203. ‘Miniature Pleasures: On Watching Films on an iPhone’, Cinematicity, eds. Jeffrey Geiger et Karin Littau, Edinburgh: E.U.P, 2014, pp. 196-210. “Commerce and the War of the Sexes”, Companion to Jean-Luc Godard, London and Oxford: Wiley-Blackwell, Winter 2014 “An Invention with a Future: French Cinema after the End of Cinema”, eds Hilary Radner et Raphaelle Moine, The Blackwell Companion to Contemporary French Cinema, London and New York: Blackwell, Forthcoming, Winter 2014. “Tactile Visions : From embodied to Encoded Love”, Carnal Aesthetics: Transgressive Imagery and Feminist Politics, Ed. Marta Zarzycka and Bettina Papenburg, London and New York: IB Tauris, pp.175-198, 2013. ‘The Wounded Screen’, dans New Extreme Cinema, edited by Tania Horeck, EUP, 2011, pp 18-38. ‘La forme et L’informe : de la dissolution du corps à l’écran’ in Images des Corps / Corps des images au cinéma, ed. Jérôme Game, Paris : ENS Editions, 2010, pp. 49-71 ‘Experimental French Cinema: the Figural and the Formless’, in Avant-garde Cinema, eds. A.Graf &amp; D. Scheuneman, 2007, Amsterdam: Rodopi ‘Y’aura-t’il de la neige à Noël, Sandrine Veysset (1997)’ in 24 frameseditied by Phil Powrie, Walflower Press, 2004 ‘Poétique de la marge’,Les Glaneurs et la glaneuse (Agnès Varda, 2000)’, in Cinéma Contemporain: état des lieux, publié dans la collection 'Champs Visuels', edited by Jean-Pierre Eskenazi, Paris : L’Harmattan, troisième trimestre 2004 'French Cinema of the Margins', dans European Cinema, editied by Elizabeth Ezra, Oxford: Oxford University Press, 2003, pp. 282-299. ‘Space, Representation and Social Exclusion’, dans Lectures de la ville/The City as Text, Nice: Presses de la Faculté des Lettres, 2000, pp. 24-36. Tales of Ordinary Evil, in France in Focus, Londres: Berg, 2000, pp. 194- 207. ‘Die Kunst des ‘Zapping’, Zu Bertrand Blier’s Merci La Vie’, dans Europäische Kinokunst im Zeitalter des Fernsehens, editied by Volker Roloff, Helmut Schanze et Dietrich Scheunemann, Munich: Wilhelm Fink Verlag, 1998, pp. 326-338. ‘En avoir (ou Pas), Sauve qui Peut (La Vie): Bracketing Gender differences?’ dans Working Papers on Contemporary France, ed. Maria Esposito, Londres : University of North London Press, 1998. Book Series: Co-editor, with Dr Kriss Ravetto (u. c. Davis), of Edinburgh University Press Studies in Film series, http://www.euppublishing.com/series/ESIF Co-editor, with Baptiste Bohet (Paris 3 Sorbonne nouvelle) de la collection udpn, http://udpn.fr/spip.php?article312 Editorial Boards Member of the editorial board of the journals NECSUS. Member of the Advisory Board of Discourse, and Open Screens. Research Projects Co-director of the udpn (Usages des Patrimoines Numérisés) network, 14 projects on digitized archives, supported by a 400 000 euros SPC grant over 4 years. https://udpn.fr/ Co-director, with Emmanuelle André, of the Technological Uncanny project, a series of round tables and collaborations between artists, media theoreticians and computer scientists, http://udpn.fr/spip.php?article91