About
A brief description of who you are and what you do.
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Write about yourself in the third person. Aim for 100 to 150 words covering the main points about who you are and what you currently do. Clear, simple language is best. You can include specialist or technical terms.
You’ll be able to add details about your research, publications, career and academic history to other sections of your staff profile.
Research
Research interests
- Global and Transnational cinema, especially of the Global South
- Politics of memory, ethics, agency and political cinema
- Documentary film and theory
- Audiovisual aesthetics in postcinematic configurations
- Decolonising Film Studies and Film Education.
Current research
My research interests centre around ethical and political questions that arise through audiovisual screens as sites of encounter with /the cinematic representation of violent conflict, trauma, and cultural memory and transitional justice within a transnational paradigm. I am interested in the impact of the decolonising movements on film theory and film education, building on questions arising from my research on Chilean Cinema and the cinemas of the Global South more broadly.
My research revolves around the body in the cinematic representation of violence, trauma, and cultural memory, as well as the body in contemporary digital media formats and their affective aesthetics.
At present, I am exploring the potential of video essays as methodology to investigate the kinaesthetic appeal and intersubjective potential of the various bodies involved in the production of TikTok videos. I am also developing an interdisciplinary framework combining critical approaches of Cultural Studies, Visual, Media or Film Studies and applied quantitative and qualitative data, including biodata research, to explore the impact of TikTok.
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Research groups
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Research interests
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Current research
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Research projects
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Publications
Pagination
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Supervision
Current PhD Students
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Teaching
I am the module lead for "Global Cinemas"; I am co-teaching the MA module "Digital Screen Cultures," the BA class "What is Cinema? Film, Art, Technology" and the "Film Dissertation" module.
I am the Study Abroad coordinator for film, and co-organiser of the Research Seminar series.
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Courses and modules
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External roles and responsibilities
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Biography
I obtained my PhD in Film and Television Studies from the University of Warwick in 2016, and I developed the dissertation into a monograph which was published by Edinburgh University Press in 2020 as The Invisibilities of Political Torture: The Presence of Absence in US and Chilean Cinema and Television. In this book, I analyse how torture committed during the War in Iraq and under the Pinochet dictatorship in Chile was documented and dramatised across a range of material, including photographs, nonfiction films and television series. I demonstrate how some audiovisual texts succeed in making emotional and collective consequences of torture experientially available to the audience, thereby expanding epistemological approaches towards torture to include such long-term and seemingly ‘invisible’ repercussions.
Before joining the faculty at the University of Southampton, I worked as a Lecturer in Film Studies at King’s College London, the University of Tübingen, and at the University of Groningen.
In my teaching and research, I am committed to the study of film as ethical practice, and to advance Film Studies education. To this end, I organised a Roundtable on Decolonising the Curriculum in Film and Media Studies at King’s College. Together with a colleague at the University of Witwatersrand in Johannesburg, I wrote an essay on "Decolonising Film Studies" for the Film Education Journal in which we reflected on our experiences teaching Global Film modules across different institutional and scholarly contexts, and with diverse student bodies; on this topic, we gave a keynote at the Fifth Scottish International Film Education Conference in June 2022.
My research centres around a) ethical and political questions that arise in, and through, audiovisual screens as sites of encounter with violent conflict, trauma, and memory within a transnational paradigm; b) decolonising film education and c) configurations of moving images today in such formats such as short-video apps and smartphone games.
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Prizes
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