Author Maria Walsh

I was intrigued when I spotted the flyer for A Feminine Cinematics: Luce Irigaray, Women and Film, as I had just been to a talk by Irigaray at the ICA, London, and had been struck, on this occasion, by how her ...

Cinesexuality’s thesis is premised on a desire to want cinema as a lover. What this might mean alerts us firstly to the fact that the book is a title in the Ashgate series Queer Interventions. While cinesexuali...

A text written to accompany the 1999 film by Sarah Miles, which uses disjunctive techniques to capture the fantasy and frustration of romantic love.

The notion of “place” in The Place of the Audience: Cultural Geographies of Film Consumption revolves around two sites, the architectural site of film consumption, the cinema, and the geographical site of the c...

Examining Salla Tykkä's trilogy, exhibited earlier this year, Walsh argues it's far removed from the deconstructionist mode of film installation, and that it instead explores ideas of spectatorship and emotion, narrative and genre in ways conducive to feminist aesthetics.

(New York: Verso, 2002) In Atlas of Emotion: Journeys in Art, Architecture, and Film, Giuliana Bruno wanders through the "field screens" of cinematic culture. She travels from the pre-cinematic montage of vi...