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 notion of intersubjective exchange could be conducive to film spectatorship. Other than the essays, [...]
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Maria Walsh
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Maria Walsh is a Senior Lecturer in Art History and Theory at Chelsea College of Art and Design, London. She has published essays on the moving image in Screen, Angelaki, Senses of Cinema, filmwaves, and COIL. Her research interests include artist’s film and video, performative writing, feminisms and film phenomenology in a post-Deleuzian framework.
Articles by Maria Walsh:
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 cinesexuality as a phenomenon knows no gender, exceeding both hetero-normative and homosexual frames of reference, it might also be [...]
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 city of Nottingham in the UK. The book is the outcome of research undertaken into film consumption in Nottingham by a research [...]
(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 views of the picturesque in 18th century landscape design to the post-cinematic assemblage of images in artist Gerhard Richter’s Atlas (an ongoing installation work [...]
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.
