Dr Catherine Grant
|Post:||Senior Lecturer in Film Studies (Media and Film, School of Media, Film and Music)|
|Location:||SILVERSTONE SB 328|
|International:||+44 1273 678876|
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Catherine Grant studied Modern Languages and Literatures (French and Spanish) at the University of Leeds (1982-86), and gained a PhD from the same university (1987-1991) with a thesis on issues of authorship and feminism in Mexican fiction. She was appointed Lecturer in Spanish and Latin American Studies at the University of Strathclyde in Glasgow in 1991, and later was made Director of its Postgraduate Programme in Women's Studies, until 1998 when she took up a post in Film Studies at the University of Kent. There, she researched and taught on world cinema (Screening World Cinema, co-ed. with Annette Kuhn, Routledge, 2006), European cinema, film studies methodologies, individual film directors, 'border crossings' in American cinema, and film programming, and served as Director of the Film Studies Department between 2003-7. In 2008, Grant left Kent to move to East Sussex to focus on research and online publishing. She was a Visiting Research Fellow in the School of Media, Film & Music at Sussex between 2008 and February 2011, when she was appointed to her current, part-time, Senior Lectureship in Film Studies in this School.
In August 2008, Grant created Film Studies For Free, a regularly updated web-archive of links to, and comment on, online, Open Access, film and moving image studies resources of note. The website, with its associated micro-blogs, has a large international readership, including around 20,000 regular followers/subscribers. Her research blog Filmanalytical can be found here; and Audiovisualcy, the film studies video essay group forum that she curates is here.
In 2012, Grant commissioned and guest-edited a collection of more than forty contributions by international scholars on the topic Film and Moving Image Studies Re-Born Digital? for the inaugural issue of the open access Frames Cinema Journal. The issue included two contributions by her. She has also published at least two further reflections on digital film studies: -'Déjà-Viewing? Videographic Experiments in Intertextual Film Studies' (in the Winter 2013 issue of the UCLA's MEDIASCAPE: Journal of Cinema and Media); and ‘The Shudder of a Cinephiliac Idea? Videographic Film Studies Practice as Material Thinking’, (in ANIKI: Portuguese Journal of the Moving Image, 1.1, 2014).
Grant is the founding editor of REFRAME, a new, open access, academic digital platform, launched in 2012, for the online practice, publication and curation of internationally produced research and scholarship. Its subject specialisms—media, film and music— are also those of its publisher, the School of Media, Film and Music (MFM) at the University of Sussex, UK. REFRAME is managed by an editorial board composed of MFM faculty, graduate researchers, and other University of Sussex associates, and it is supported by an international advisory board. Grant co-edits one of REFRAME's first projects--SEQUENCE Serial studies in media, film and music--and also contributes to another: Global Queer Cinema, a collaborative research project engaged in investigating queer film cultures from a global perspective and analysing world cinema from a queer point of view.
In March 2014, Grant became founding co-editor (with Christian Keathley and Drew Morton) of [in]TRANSITION, the first ever peer-reviewed journal of videographic film and moving image studies and a collaboration between MediaCommons and the Society for Cinema and Media Studies’ official publication, Cinema Journal. The editors discussed their project in detail at the “Visualizing Media Studies" Workshop at Society for Cinema and Media Studies Conference, Seattle, March 18-23, 2014, one of two conference sessions livestreamed on the internet: http://livestre.am/4O7Au. Another of Grant's recent videographic criticism projects is a REFRAME website The Audiovisual Essay: Practice and Theory in Videographic Film and Moving Image Studies, intended to encourage further discussion and practice of this form.
Grant's online and videographic research work was profiled by Holly Willis in ‘Film Studies for the 21st Century’, Filmmaker Magazine, October 20, 2014: http://filmmakermagazine.com/87920-film-studies-for-the-21st-century/.
In March 2015, Grant and her fellow [in]Transition co-editors and project managers will receive the Award of Distinction for their work on founding and developing their open access videographic journal platform, and for encouraging scholarship in video essay form, in the Anne Friedberg Innovative Scholarship Award competition, part of the annual Society for Cinema and Media Studies Awards, to be presented at the 2015 Montreal conference. The SCMS award selection committee wrote, in its recommendation for the Award that [in]Transition "has the potential to reshape the field."
During her career, Grant has given lectures and researched at universities in Australia, Mexico, Argentina, Chile, Canada, the USA, Germany, Spain and France. She is a member of the editorial advisory boards of the following academic journals: Screen (since 1995); and Studies in Hispanic Cinemas (since 2003); she has advised Manchester University Press on their book series Spanish and Latin American Filmmakers since 2002. Since 2008, she has been a member of the advisory board of the University of St Andrews Dynamics of World Cinema: Transnational Channels of Global Film Distribution project. In 2012, she joined the advisory boards of Frames Cinema Journal, TOMA UNO, and the JISC MediaHub. In January 2013, she was invited to join the Advocacy and Steering and Editorial Committees of the newly launched, international organisation Open Library of the Humanities, which is working towards a sustainable, open-access future for scholarly publishing in the humanities, and, in 2014, the advisory board of the relaunched peer-reviewed journal Film Criticism.
Grant's video essay work has been shown at a number of film festivals:
- Touching the Film Object? was included as part of the programme 'Film Studies in Motion' curated by Volker Pantenburg and Kevin B Lee for the Internationale Kurzfilmtage Oberhausen/International Oberhausen Short Film Festival, 2012.
- True Likeness, comparing Peeping Tom (Michael Powell, 1960) and Code Inconnu/Code Unknown (Michael Haneke, 2000), was shown alongside those films in a special event at the Rio Cinema in London on September 16 -- 'Breaking the Unknown Code?', as part of the UK-wide, 2012 'Scala Beyond' Film Festival.
Forthcoming festival screenings and presentations include the Glasgow Short Film Festival and the inaugural Essay Film Festival in London, which both take place in March 2015.
Some recent publications are given below (pending their full deposit at Sussex Research Online):
Grant, C., ‘The Marriages of Laurel Dallas. Or, The Maternal Melodrama of the Unknown Feminist Film Spectator’, Mediascape: UCLA’s Journal of Cinema and Media Studies, Fall 2014. [Video and text]. ISSN 1558478X Online at: http://www.tft.ucla.edu/mediascape/Fall2014_MarriagesMelodrama.html
Grant, C., ‘The Remix That Knew Too Much? On Rebecca, Retrospectatorship and the Making of Rites of Passage’, The Cine-Files: A Scholarly Journal of Cinema Studies, Fall 2014. [Video and text]. ISSN 2156-9096. Online at: http://www.thecine-files.com/grant/
Grant, C. ‘The Shudder of a Cinephiliac Idea? Videographic Film Studies Practice as Material Thinking’, ANIKI: Portuguese Journal of the Moving Image, 1.1, 2014, Online at: http://aim.org.pt/ojs/index.php/revista/article/view/59/html
Grant, C. with Christian Keathley, ‘The Use of an Illusion: Childhood cinephilia, object relations, and videographic film studies’, Photogénie, 0, June 2014. Co-authored introduction/individually authored text and video. Online at: http://www.photogenie.be/photogenie_blog/article/use-illusion.
Grant, C, with Christian Keathley, ‘El uso de una ilusión: Cinefilia infantil, relaciones de objeto y estudios videográficos sobre cine’, Transit. Cine y otros desvíos, September 9, 2014. (translation into Spanish of ‘The Use of an Illusion: Childhood cinephilia, object relations, and videographic film studies’, Photogénie, 0, June 2014). Online at: http://cinentransit.com/cinefilia-infantil-relaciones-de-objeto-y-estudios-videograficos-sobre-cine/.
Grant, C. ‘Editorial Introduction’, ‘Bergman Senses’ and ‘Resources’ page, [in]Transition: Journal of Videographic Film and Moving Image Studies - a Cinema Journal/MediaCommons Collaboration, 1.1. 2014 (Co-edited Inaugural issue of the first peer-reviewed journal of audiovisual film studies). Online at:http://mediacommons.futureofthebook.org/intransition/theme-week/2014/10/intransition-videographic-film-moving-image-studies
Grant, C. solo editor of [in]Transition: Journal of Videographic Film and Moving Image Studies - a Cinema Journal/MediaCommons Collaboration, 1.3. September 2014 on The Audiovisual Essay: Practice and Theory. Online at: http://mediacommons.futureofthebook.org/intransition/theme-week/2014/35/journal-videographic-film-moving-image-studies-13-2014
Grant, C. “The Audiovisual Essay: My Favorite Things”, [in]Transition: Journal of Videographic Film and Moving Image Studies - a Cinema Journal/MediaCommons Collaboration, 1.3. September 2014 on The Audiovisual Essay: Practice and Theory. Online at: http://mediacommons.futureofthebook.org/intransition/2014/08/26/audiovisual-essay-my-favorite-things
Grant, C. Director/producer/lead editor of The Audiovisual Essay: Practice and Theory in Videographic Film and Moving Image Studies, a companion website with thirty + essays and curated videos. Online at: http://reframe.sussex.ac.uk/audiovisualessay/
Grant, C. ‘How long is a piece of string? On the Practice, Scope and Value of Videographic Film Studies and Criticism’, The Audiovisual Essay: Practice and Theory of Videographic Film and Moving Image Studies, September, 2014. Online at: http://reframe.sussex.ac.uk/audiovisualessay/frankfurt-papers/catherine-grant/