Associate Professor - Undergraduate Programme Director and Area Head for Film Studies, Cinema
Kay Dickinson’s research is dedicated to thinking through how cinema functions amid and in resistance to the machinations of transnational global capital. In particular, her recent published work, Arab Cinema Travels: Transnational Syria, Palestine, Dubai and Beyond (bfi/Palgrave Macmillan, 2016) and the co-edited anthology The Arab Avant-Garde: Music, Politics, Modernity (Wesleyan University Press,2013), involves itself with examples, practices and analytical models from the Arab world. Her articles on popular, experimental and revolutionary Arab media have appeared in Screen, Camera Obscura, Framework, The Cinema Journal and Screening the Past, she has contributed to two film festivals in the West Bank and is a member of the Revolutionary Archive Collective. Competitive fellowships for this research have taken her to Cornell University, as well as to Egypt, Palestine, Syria, Jordan, and the United Arab Emirates.
A constant concern for labour practices, histories and rights inflects Kay’s work. Her 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 the creative economy culture. She is currently initiating a project focusing on offshored film production within free zones that is facilitated through the principles of logistics.
Prior to her move to Concordia, Kay taught at King’s College and Goldsmiths, both within the University of London.
Off Key: When Film and Music Won’t Work Together. New York: Oxford University Press, 2008.
Film Studies: A Global Introduction. London: Routledge, 2015. Co-authored in equal part with Amy Villarejo, Glyn Davis and Lisa Patti.
Arab Cinema Travels: Transnational Syria, Palestine, Dubai and Beyond. bfi/Palgrave Macmillan, 2016.
The Arab Avant-Garde: Music, Politics, Modernity. Middletown, CT: Wesleyan University Press, 2013. Co-editor with Thomas Burkhalter and Benjamin J. Harbert and contributor of chapter:“‘Arab’ ‘Avant-Garde’”
Teen TV: Genre, Consumption and Identity. London: bfi publishing, 2004. ISBN: 0851709990 Joint editor (with Glyn Davis)and contributor of: ““My Generation”?: Age, Influence and Popular Music in Teen Drama of the 1990s” p.99-111
Movie Music, The Film Reader. London: Routledge, 2002.ISBN: 0415281601 Sole editor and contributor of chapter: “Pop and Speed:Compilation Soundtracks and the MTV Aesthetic” p.143-152
Journal Special Section Editorship:
“In Focus – The Arab Uprisings” in The Cinema Journal, 51:1 (Fall 2012). Section editor and contributor.
"At What Cost 'Theory'? An Economics and Poetics of Uptake.” Framework 56:2 (Fall 2015): 433-450.
“Syrian Cinema: Out of Time?” Screening the Past 31 (September 2012).
“The State of Labor and Labor for the State: Syrian and Egyptian Cinema beyond the 2011 Uprisings.” Framework 53:1 (Spring 2012): 99-116.
“'I Have One Daughter and that is Egyptian Cinema': Aziza Amir amid the Histories and Geographies of National Allegory.” Camera Obscura 22:1 64 (2007): 137-77.
“Report on the First Ramallah International Film Festival.” Screen 46:2 (2005): 265-274.
“The Limits of Celebrity‘Multi-Tasking’: Pop Stars Who Can’t Act.” MediaActive (2004): 74-85.
“'Believe'?: Vocoders, Digital Women and Camp.” Popular Music 20:2 (2001): 333-347.
“Pop and Speed: Compilation Soundtracks and the MTV Aesthetic.” Scope (June 2001):http://www.nottingham.ac.uk/film/scopearchive/articles/pop-speed-and-mtv.htm
“Wendy Carlos: The Synthesizer, the Soundtrack and Transgender Identity.” Radical Deviance(1998): 20-23.
Chapters in Anthologies:
“'Everyone’s Property': Video Copying, Poetry and Revolution in Arab West Asia.” In Asian Video Cultures, edited by Bhaskar Sarkar and Joshua Neves.Durham, NC: Duke University Press, 2017.
“‘Believe’?: Vocoders,Digital Women and Camp.” Originally published in the journal Popular Music (details above). Selected for republication three times in:
Music, Space and Place: Popular Music and Cultural Identity,edited by Sheila Whiteley, Andy Bennett and Stan Hawkins, 163-180. Oxford: Ashgate, 2004.
Pop Music and Easy Listening, edited by Stan Hawkins. Oxford: Ashgate, 2011.
Sound Studies, edited by Michael Bull. London and New York: Routledge,2013.
“Pop and Speed: Compilation Soundtracks and the MTV Aesthetic.” Originally published in the journal Scope (details above). Selected for republication in:
Popular Music and Multimedia Popular Music and Multimedia, edited by Julie McQuinn. Oxford: Ashgate, 2011.
“The Palestinian Road (Block)Movie: Everyday Geographies of Second Intifada Filmmaking.” In Cinema at the Periphery, edited by Dina Iordanova et al, 201-227. Detroit: Wayne State University Press, 2010.
“Music, Video and Synaesthetic Possibility.” In Medium Cool: Music Videos from Soundies to Cellphones, edited by Roger Beebe and Jason Middleton, 13-29. Durham: Duke University Press, 2007.
“Troubling Synthesis: The Horrific Sights and Incompatible Sounds of “Video Nasties.”” In Sleaze Artists: Cinema at the Margins of Taste, Style and Politics, edited by Jeffrey Sconce, 167-188. Durham: Duke University Press, 2007.
“Changes in Direction: Ken Russell and the Limits of Experimental Television.” In British Experimental Television, edited by Laura Mulvey and Jamie Sexton, 70-88. Manchester: Manchester University Press, 2007.
“Candyfloss.” In 24 Frames:Middle Eastern Cinema, edited by Gönul Donmez-Colin, 13-22. London: Wallflower Press, 2007.
““Such Time When Young’uns Run the Roads”: the Question of the Traveling Child.” In Lost Highways: An Illustrated History of the Road Movie, edited by Jack Sargeant and Stephanie Watson, 193-206. London: Creation Press, 2000.
Courses taught to date:
BA: Methods in Film Studies; Women's Work; Arab Cinema; Transnational Approaches to Cinema
MA: Arab Revolutions; Sounds of Struggle; Cinema Behind Bars: Film and the Prison Industrial Complex
PhD: Pro-Seminar (Academic Labour); Textual Troubleshooting