I was educated at a large comprehensive school in Sussex and went from there to Cambridge to study French and Russian, followed by an MPhil in Screen Media and Cultures. Between 2015-2018, I completed an AHRC-funded PhD in French, also at the University of Cambridge.
My PhD thesis explored how contemporary European directors have used sound and ‘noise’ to address spectators as listeners in ways that rethink all aspects of the filmic experience.
More broadly, I am interested in cinema as a multi-sensory medium. This approach to film has previously been considered under the broad-brush stroke of the 'haptic’ which limited a sensory apprehension of cinema to the tactile dimension, asking how vision might operate like touch. My research moves beyond some of the orthodoxies that have attached themselves to the haptic by examining cinema’s relationship to other sensory registers and signals, such as sound or heat. My current work considers technology and examines how contemporary film engages with ‘non-visual’ sensors and instruments. This research falls at the intersection between art and technology to ask how cinema represents the body's living reality differently from the way it is registered by sensors in their original medical or military contexts.
For 2020/21, I will be lecturing on Paper XII: Literature and the Visual Arts.
I have supervised undergraduate dissertations on film sound, representations of migrant experience on film and on contemporary directors such as Michael Haneke and Ulrich Seidl. In Cambridge, I taught the first-year paper FR1: Introduction to French Literature, Linguistics, Film and Thought and final-year paper CS6: European Film.
My first monograph entitled Resonant Bodies in Contemporary European Art Cinema is forthcoming with Edinburgh University Press in 2021.
Articles, Book Chapters, Reviews:
'"What Utopia Would Feel Like": Lars Von Trier's Dancer in the Dark', Screen, vol. 58 no. 3., Oxford University Press (2017), DOI: 10.1093/screen/hjx026
'"Les Petits Bruits": Little Noises and Lower Volumes in Catherine Breillat's Romance (1999) and Anatomie de l'enfer (2004)', Studies in French Cinema, vol. 18 no. 4, Taylor & Francis (2018), DOI: 10.1080/14715880.2017.1362824
"Sonic sociabilities and stranger relations in Arnaud des Pallières' Adieu (2004)", Alphaville: Journal of Film and Screen Media, Special Issue on Refugee Filmmaking, no. 18, (2019), DOI: https://doi.org/10.33178/alpha.18.03
“Noisy presences in Contemporary European Art Cinema”, Routledge Companion to European Cinema, eds. Gábor Gergely and Susan Hayward (forthcoming 2020)
Review of Angelos Koutsourakis, Politics as form in Lars von Trier: a post-Brechtian reading, Studies in European Cinema (2020)
Review of Greg Hainge, Philippe Grandrieux: Sonic Cinema, French Studies, vol. 72 no. 1, Oxford University Press (2018)
Awards and distinctions
- 2018 Susan Hayward Prize for Best Article published by Studies in French Cinema in 2018, Winner
- BAFTSS Award 2019 for Best Doctoral Article or Chapter, Runner-up