Dr Kay Dickinson

  • Reader (School of Culture & Creative Arts Administration Office)

Biography

Prior to my appointment at Glasgow, I held positions at Concordia University, Montreal (2013-2021), Goldsmiths, University of London (2005-2012), King’s College, University of London (2003-2005) and Middlesex University (1997-2003). In the academic year of 2010-11, I was a Fellow at the Society for the Humanities at Cornell University and, in 2019, the Distinguished Visiting Professor at MICA (Mudra Institute of Communications) in Ahmedabad, India.

Research interests

My research examines how revolutionary, anti-colonial and popular media from the Arab world functions amidst and in resistance to transnational global capital. I have co-edited anthologies on these topics and published two monographs: Arab Cinema Travels: Transnational Syria, Palestine, Dubai and Beyond (British Film Institute Press, 2016) and Arab Film and Video Manifestos (Palgrave, 2018). Shorter, more recent projects focus on Arab migrants’ contributions to the creative economy in Europe and the Arabian Gulf.

A constant concern for labour practices, histories and rights inflects my work. My first monograph, Off Key: When Film and Music Won’t Work Together (Oxford University Press, 2008), sought to understand the film and music industries’ traditions of production, representation, dissemination and consumption in line with the broader employment landscapes of so-called post-Fordism and the rise of creative economy culture. My most recent, Supply Chain Cinema: Producing Global Film Workers (British Film Institute Press, 2024), continues in this vein through investigations of offshored film production in the UK and the UAE and the educational structures that support it.
 
I am currently completing a short book entitled Fernando – A Song by Abba for the Duke University Press Singles series. In it, I examine how this particular pop mega-hit expresses sympathies with anti-capitalist, Third World and other liberation struggles whilst remaining an unrepentant commodity, riding new and usually antithetical waves of global trade set in motion during the 1970s.

Publications

List by: Type | Date

Jump to: 2024 | 2022 | 2021 | 2020 | 2019 | 2018 | 2017 | 2016 | 2015 | 2013 | 2012 | 2010 | 2009 | 2008 | 2007 | 2005 | 2004 | 2002 | 2001
Number of items: 36.

2024

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2024) Supply Chain Cinema: Producing Global Film Workers. Series: International screen industries. Bloomsbury Publishing/BFI Imprint. ISBN 9781839024627

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2024) Import-re-export: Reconsidering the film festival as a port economy. In: Hudson, Dale and Yunis, Alia (eds.) Reorienting the Middle East: Film and Digital Media Where the Persian Gulf, Arabian Sea, and Indian Ocean Meet. Indiana University Press: Bloomington, Indiana, USA, pp. 207-228. ISBN 9780253067562

2022

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 and Saglier, Viviane (2022) Funding the ‘Creative Documentary’: An art cinema of refugees. In: Shafik, Viola (ed.) Documentary Filmmaking in the Middle East and North Africa. American University in Cairo Press: Cairo, Egypt, pp. 133-152. ISBN 9789774169588

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2022) Gil Z. Hochberg, Becoming Palestine: Toward an Archival Imagination of the Future. Durham, NC and London: Duke University Press, 2021, 208 pp. Screen, 63(3), pp. 393-396. (doi: 10.1093/screen/hjac032)[Book Review]

2021

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2021) Be wary of anniversaries: inside the archive, out on the street. Film Quarterly, 75(2), pp. 40-48. (doi: 10.1525/fq.2021.75.2.40)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2021) The manifesto of new cinema in Egypt. Black Camera, 13(1), pp. 13-18.

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2021) Manifesto of the Palestinian Cinema Group: Beirut, Lebanon, 1972. Black Camera, 13(1), pp. 402-403.

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2021) Supply chain cinema, supply chain education: training creative wizardry for offshored exploitation. In: Hockenberry, Matthew, Starosielski, Nicole and Zieger, Susan (eds.) Assembly Codes: the Logistics of Media. Duke University Press: Durham, pp. 171-187. ISBN 9781478009733 (doi: 10.1215/9781478013037-013)

2020

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2020) “Make it what you want it to be”: logistics, labor, and land financialization via the globalized free zone studio. In: Jacobson, Brian R. (ed.) In the Studio: Visual Creation and Its Material Environments. University of California Press: Oakland, California, pp. 261-280. ISBN 9780520297593 (doi: 10.2307/j.ctv125jsnh.16)

Della Ratta, Donatella, Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 and Haugbolle, Sune (Eds.) (2020) The Arab Archive: Mediated Memories and Digital Flows. Series: Theory on demand. Institute of Network Cultures: Amsterdam. ISBN 9789492302564

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2020) Manifesto writing as populist praxis (within the university and beyond). Culture Machine, 19,

2019

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2019) Re-citation and resuscitation from the archives of Arab revolution. Screen, 60(1), pp. 46-69. (doi: 10.1093/screen/hjy063)

2018

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2018) Arab Film and Video Manifestos: Forty-Five Years of the Moving Image Amid Revolution. Series: Palgrave studies in Arab cinema. Palgrave Macmillan: Cham. ISBN 9783319998008 (doi: 10.1007/978-3-319-99801-5)

Jaikumar, Priya and Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (Eds.) (2018) Teaching Film and Media Against the Global Right. Cinema Journal Teaching Dossier. 5(1) [Edited Journal]

2017

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2017) “Everyone’s property”: video copying, poetry, and revolution in Arab West Asia. In: Neves, Joshua and Sarkar, Bhaskar (eds.) Asian Video Cultures: In the Penumbra of the Global. Duke University Press: Durham, pp. 307-326. ISBN 9780822368915 (doi: 10.1215/9780822372547-015)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2017) More than just extras: FAMU within Czechoslovak-Syrian relations. In: Stejskalová, Tereza (ed.) Filmmakers of the World, Unite! Forgotten Internationalism, Czechoslovak Film and the Third World. Tranzit.cz: Praha, pp. 85-96. ISBN 9788087259412

2016

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2016) Arab Cinema Travels: Transnational Syria, Palestine, Dubai and Beyond. Palgrave; BFI: London. ISBN 9781844577859 (doi: 10.5040/9781838711542)

2015

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2015) At what cost “theory”? An economics and poetics of uptake. Framework, 56(2), pp. 433-450. (doi: 10.13110/framework.56.2.0433)

Davis, Glyn, Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214, Patti, Lisa and Villarejo, Amy (2015) Film Studies: a Global Introduction. Routledge: New York ; London. ISBN 9780415734349 (doi: 10.4324/9781315754192)

2013

Burkhalter, Thomas, Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 and Harbert, Benjamin J. (Eds.) (2013) The Arab Avant-Garde: Music, Politics, Modernity. Wesleyan University Press: Middletown, Connecticut. ISBN 9780819573865

2012

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2012) Introduction. Cinema Journal, 52(1), pp. 132-136. (doi: 10.1353/cj.2012.0110)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2012) Syrian cinema: out of time? Screening the Past(34),

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2012) The state of labor and labor for the state: Syrian and Egyptian cinema beyond the 2011 uprisings. Framework, 53(1), pp. 99-116. (doi: 10.1353/frm.2012.0012)

2010

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2010) The Palestinian road (block) movie: everyday geographies of Second Intifada filmmaking. In: Iordanova, Dina, Martin-Jones, David and Vidal, Belén (eds.) Cinema at the Periphery. Wayne State University Press: Detroit, pp. 137-155. ISBN 9780814336946

2009

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2009) Palestinian Cinema: Landscape, Trauma, and Memory, Lebanese Cinema: Imagining the Civil War and Beyond, Insights into Syrian Cinema: Essays and Conversations with Contemporary Filmmakers. Screen, 50(3), pp. 351-354. (doi: 10.1093/screen/hjp022)[Book Review]

2008

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2008) Off Key: When Film and Music Won't Work Together. Oxford University Press: Oxford. ISBN 9780195326635 (doi: 10.1093/acprof:oso/9780195326635.001.0001)

2007

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2007) Troubling synthesis: the horrific sights and incompatible sounds of video nasties. In: Sconce, Jeffrey (ed.) Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics. Duke University Press: Durham, NC, pp. 167-188. ISBN 9780822339649 (doi: 10.1215/9780822390190-008)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2007) Music video and synaesthetic possibility. In: Beebe, Roger and Middleton, Jason (eds.) Medium Cool: Music Videos from Soundies to Cellphones. Duke University Press: Durham, NC, pp. 13-29. ISBN 9780822341390 (doi: 10.1215/9780822390206-002)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2007) Changes in direction: Ken Russell and the limits of experimental Television. In: Mulvey, Laura and Sexton, Jamie (eds.) Experimental British Television. Manchester University Press: Manchester ; New York, pp. 70-88. ISBN 9780719075551

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2007) Candyfloss. In: Dönmez-Colin, Gönül and Kiarostami, Abbas (eds.) The Cinema of North Africa and the Middle East. Wallflower Press: London ; New York, pp. 13-22. ISBN 9781905674114

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2007) “I have one daughter and that is Egyptian cinema”: `Azīza Amīr amid the histories and geographies of national allegory. Camera Obscura: Feminism, Culture, and Media Studies, 22(1), pp. 137-177. (doi: 10.1215/02705346-2006-023)

2005

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2005) Report on the first Ramallah international film festival. Screen, 46(2), pp. 265-274. (doi: 10.1093/screen/46.2.265)

2004

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (Ed.) (2004) Teen TV: Genre, Consumption, Identity. BFI Publishing: London. ISBN 9780851709994

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2004) Pop stars who can't act: the limits of celebrity 'multi-tasking'. MediaActive, 2,

2002

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (Ed.) (2002) Movie Music, The Film Reader. Series: In Focus: Routledge Film Readers. Routledge: London. ISBN 9780415281607

2001

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2001) ‘Believe’? Vocoders, digitalised female identity and camp. Popular Music, 20(3), pp. 333-347. (doi: 10.1017/S0261143001001532)

This list was generated on Sun Jun 15 22:11:23 2025 BST.
Jump to: Articles | Books | Book Sections | Book Reviews | Edited Books | Edited Journals
Number of items: 36.

Articles

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2021) Be wary of anniversaries: inside the archive, out on the street. Film Quarterly, 75(2), pp. 40-48. (doi: 10.1525/fq.2021.75.2.40)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2021) The manifesto of new cinema in Egypt. Black Camera, 13(1), pp. 13-18.

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2021) Manifesto of the Palestinian Cinema Group: Beirut, Lebanon, 1972. Black Camera, 13(1), pp. 402-403.

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2020) Manifesto writing as populist praxis (within the university and beyond). Culture Machine, 19,

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2019) Re-citation and resuscitation from the archives of Arab revolution. Screen, 60(1), pp. 46-69. (doi: 10.1093/screen/hjy063)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2015) At what cost “theory”? An economics and poetics of uptake. Framework, 56(2), pp. 433-450. (doi: 10.13110/framework.56.2.0433)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2012) Introduction. Cinema Journal, 52(1), pp. 132-136. (doi: 10.1353/cj.2012.0110)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2012) Syrian cinema: out of time? Screening the Past(34),

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2012) The state of labor and labor for the state: Syrian and Egyptian cinema beyond the 2011 uprisings. Framework, 53(1), pp. 99-116. (doi: 10.1353/frm.2012.0012)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2007) “I have one daughter and that is Egyptian cinema”: `Azīza Amīr amid the histories and geographies of national allegory. Camera Obscura: Feminism, Culture, and Media Studies, 22(1), pp. 137-177. (doi: 10.1215/02705346-2006-023)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2005) Report on the first Ramallah international film festival. Screen, 46(2), pp. 265-274. (doi: 10.1093/screen/46.2.265)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2004) Pop stars who can't act: the limits of celebrity 'multi-tasking'. MediaActive, 2,

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2001) ‘Believe’? Vocoders, digitalised female identity and camp. Popular Music, 20(3), pp. 333-347. (doi: 10.1017/S0261143001001532)

Books

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2024) Supply Chain Cinema: Producing Global Film Workers. Series: International screen industries. Bloomsbury Publishing/BFI Imprint. ISBN 9781839024627

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2018) Arab Film and Video Manifestos: Forty-Five Years of the Moving Image Amid Revolution. Series: Palgrave studies in Arab cinema. Palgrave Macmillan: Cham. ISBN 9783319998008 (doi: 10.1007/978-3-319-99801-5)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2016) Arab Cinema Travels: Transnational Syria, Palestine, Dubai and Beyond. Palgrave; BFI: London. ISBN 9781844577859 (doi: 10.5040/9781838711542)

Davis, Glyn, Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214, Patti, Lisa and Villarejo, Amy (2015) Film Studies: a Global Introduction. Routledge: New York ; London. ISBN 9780415734349 (doi: 10.4324/9781315754192)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2008) Off Key: When Film and Music Won't Work Together. Oxford University Press: Oxford. ISBN 9780195326635 (doi: 10.1093/acprof:oso/9780195326635.001.0001)

Book Sections

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2024) Import-re-export: Reconsidering the film festival as a port economy. In: Hudson, Dale and Yunis, Alia (eds.) Reorienting the Middle East: Film and Digital Media Where the Persian Gulf, Arabian Sea, and Indian Ocean Meet. Indiana University Press: Bloomington, Indiana, USA, pp. 207-228. ISBN 9780253067562

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 and Saglier, Viviane (2022) Funding the ‘Creative Documentary’: An art cinema of refugees. In: Shafik, Viola (ed.) Documentary Filmmaking in the Middle East and North Africa. American University in Cairo Press: Cairo, Egypt, pp. 133-152. ISBN 9789774169588

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2021) Supply chain cinema, supply chain education: training creative wizardry for offshored exploitation. In: Hockenberry, Matthew, Starosielski, Nicole and Zieger, Susan (eds.) Assembly Codes: the Logistics of Media. Duke University Press: Durham, pp. 171-187. ISBN 9781478009733 (doi: 10.1215/9781478013037-013)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2020) “Make it what you want it to be”: logistics, labor, and land financialization via the globalized free zone studio. In: Jacobson, Brian R. (ed.) In the Studio: Visual Creation and Its Material Environments. University of California Press: Oakland, California, pp. 261-280. ISBN 9780520297593 (doi: 10.2307/j.ctv125jsnh.16)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2017) “Everyone’s property”: video copying, poetry, and revolution in Arab West Asia. In: Neves, Joshua and Sarkar, Bhaskar (eds.) Asian Video Cultures: In the Penumbra of the Global. Duke University Press: Durham, pp. 307-326. ISBN 9780822368915 (doi: 10.1215/9780822372547-015)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2017) More than just extras: FAMU within Czechoslovak-Syrian relations. In: Stejskalová, Tereza (ed.) Filmmakers of the World, Unite! Forgotten Internationalism, Czechoslovak Film and the Third World. Tranzit.cz: Praha, pp. 85-96. ISBN 9788087259412

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2010) The Palestinian road (block) movie: everyday geographies of Second Intifada filmmaking. In: Iordanova, Dina, Martin-Jones, David and Vidal, Belén (eds.) Cinema at the Periphery. Wayne State University Press: Detroit, pp. 137-155. ISBN 9780814336946

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2007) Troubling synthesis: the horrific sights and incompatible sounds of video nasties. In: Sconce, Jeffrey (ed.) Sleaze Artists: Cinema at the Margins of Taste, Style, and Politics. Duke University Press: Durham, NC, pp. 167-188. ISBN 9780822339649 (doi: 10.1215/9780822390190-008)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2007) Music video and synaesthetic possibility. In: Beebe, Roger and Middleton, Jason (eds.) Medium Cool: Music Videos from Soundies to Cellphones. Duke University Press: Durham, NC, pp. 13-29. ISBN 9780822341390 (doi: 10.1215/9780822390206-002)

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2007) Changes in direction: Ken Russell and the limits of experimental Television. In: Mulvey, Laura and Sexton, Jamie (eds.) Experimental British Television. Manchester University Press: Manchester ; New York, pp. 70-88. ISBN 9780719075551

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2007) Candyfloss. In: Dönmez-Colin, Gönül and Kiarostami, Abbas (eds.) The Cinema of North Africa and the Middle East. Wallflower Press: London ; New York, pp. 13-22. ISBN 9781905674114

Book Reviews

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2022) Gil Z. Hochberg, Becoming Palestine: Toward an Archival Imagination of the Future. Durham, NC and London: Duke University Press, 2021, 208 pp. Screen, 63(3), pp. 393-396. (doi: 10.1093/screen/hjac032)[Book Review]

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (2009) Palestinian Cinema: Landscape, Trauma, and Memory, Lebanese Cinema: Imagining the Civil War and Beyond, Insights into Syrian Cinema: Essays and Conversations with Contemporary Filmmakers. Screen, 50(3), pp. 351-354. (doi: 10.1093/screen/hjp022)[Book Review]

Edited Books

Della Ratta, Donatella, Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 and Haugbolle, Sune (Eds.) (2020) The Arab Archive: Mediated Memories and Digital Flows. Series: Theory on demand. Institute of Network Cultures: Amsterdam. ISBN 9789492302564

Burkhalter, Thomas, Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 and Harbert, Benjamin J. (Eds.) (2013) The Arab Avant-Garde: Music, Politics, Modernity. Wesleyan University Press: Middletown, Connecticut. ISBN 9780819573865

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (Ed.) (2004) Teen TV: Genre, Consumption, Identity. BFI Publishing: London. ISBN 9780851709994

Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (Ed.) (2002) Movie Music, The Film Reader. Series: In Focus: Routledge Film Readers. Routledge: London. ISBN 9780415281607

Edited Journals

Jaikumar, Priya and Dickinson, Kay ORCID logoORCID: https://orcid.org/0000-0002-4257-6214 (Eds.) (2018) Teaching Film and Media Against the Global Right. Cinema Journal Teaching Dossier. 5(1) [Edited Journal]

This list was generated on Sun Jun 15 22:11:23 2025 BST.

Grants

  • 2024-2026: “Stand-Ins and Extras: Precarious Migrant Film Labour”. BA/Leverhulme Small Grants Scheme (Principal Investigator)
  • 2016-2021: “Video Cultures of the Arab Uprisings: Archives of Revolution, Revolutionizing the Archive”. Social Sciences and Humanities Research Council of Canada (Principal Investigator)
  • 2012: “An Active Archive for the Videos of the Arab Revolutions”. Middle East Institute/Brismes Network Award (Network Lead)
  • 2012: “Revolutionary Change and Revolutionary Continuity Amidst the Current Arab Uprisings”. Council for British Research in the Levant (Principal Investigator/Senior Residential Research Fellow, Amman, Jordan)

Supervision

I would welcome students whose interests align with my established specialisms, be that media of the Arab world, revolutionary culture, or creative industries and labour. I am particularly interested in supporting projects that seek to prioritize Global Southern and anti-colonial approaches and topics.

  • Alashqar, Akram H A
    The Soundtrack in Palestinian Films: The Aesthetics and Relevance of Using It
  • Chiran, Cristina-Gratiela
    Cinematic Nation-Building and Recognition: Kosovo and Palestine
  • Khan, Nomaan
    Bollywood's Others: Hindi Cinema, Hindutva & The Othering of the Muslim Subject.

I have nearly twenty years of supervisorial experience across a broad range of subjects that have included: the economies of Palestinian cinema; precarity and racialized artistic labour; famine history and rhetoric; media representations of veiling; resource extraction cinema; and media infrastructure in post-financial crisis Ireland.

Teaching

  • Convenor of MA Creative Arts and Industries
  • MLitt Advanced Topics in Film Studies
  • MA Introduction to Creative Industries

Additional information

  • Editorial board member for the following academic journals: Journal of Cinema and Media Studies (formerly Cinema Journal), New Formations, The Soundtrack, World Picture, Intensities: The Journal of Cult Media, Velvet Light Trap (until May 2017) and Sound, Music and the Moving Image (until January 2019)
  • Editorial board member for the following book series: The Cultural Histories of Cinema (British Film Institute Press), Cinema Cultures in Contact (University of California Press), Cinema and Media Cultures in the Middle East (Peter Lang Publishing), Moving Image (Legenda)
  • Contributor to the following film festivals and series in various capacities: Ramallah International Film Festival; Shashat Women’s Film Festival, Palestine; Regards palestiniens and syriens, Montreal, Présence Autochtone Festival, Montreal
  • Advisory board member of ArteEast, Middle East Arts Platform, New York
  • Adjudication committee member for: Social Sciences and Humanities Research Council of Canada Insight Grant (Communications, Media Studies, Gender Studies, Library and Information Sciences), Society for Cinema and Media Studies Student Writing Award, Society for Cinema and Media Studies Middle East Caucus Student Writing Award