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Kay Dickinson

Professor, Cinema


Kay Dickinson
Office: S-FB 315-1 
Faubourg Building,
1250 Guy
Phone: (514) 848-2424 ext. 4634
Email: kay.dickinson@concordia.ca


Publications

Monographs

  • Arab Film and Video Manifestos: Forty-Five Years of the Moving Image Amid Revolution. New York: Palgrave, 2018.

  • Arab Cinema Travels: Syria, Palestine, Dubai and Beyond. London: BFI/Bloomsbury, 2016.

  • Film Studies: A Global Introduction. Co-authored with Amy Villarejo, Glyn Davis and Lisa Patti. London: Routledge, 2015.

  • Off Key: When Film and Music Won’t Work Together. New York: Oxford University Press, 2008.


Edited Collections

  • The Arab Archive: Mediated Memories and Digital Flows (with Donatella Della Ratta and Sune Haugbolle). Amsterdam: Institute of Network Cultures, 2020.

  • The Arab Avant-Garde: Music, Politics, Modernity (with Thomas Burkhalter and Benjamin J. Harbert). Middletown, CT: Wesleyan University Press, 2013.

  • Teen TV: Genre, Consumption and Identity (with Glyn Davis). London: bfi publishing, 2004. 

  • Movie Music, The Film Reader. London: Routledge, 2002.


Special Issue Journal Editorships

  • “Teaching Film and Media Against the Global Right” (with Priya Jaikumar). Journal of Cinema and Media Studies Teaching Dossier Vol. 5 No. 1 (Summer 2018)

  • “In Focus –Arab Uprisings” in The Cinema Journal Vol. 51. No. 1 (Fall 2012).

 

Selected Publications in Journals

  • “Manifesto Writing as Populist Praxis.” CultureMachine Vol. TBD, forthcoming.

  • “Re-Citation and Resuscitation from the Archives of Arab Revolution.” Screen 60:1 (Spring 2019): 1-25.

  • “A Conversation on Media and Logistics with Deborah Cowen and Kay Dickinson – Interviewed by Patrick Brodie.” Synoptique 8:1 (March 2019) 104-110.

  • “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 2011Uprisings.” 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.

  • “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

  • “'Believe'?: Vocoders, Digital Women and Camp.” Popular Music 20:2 (2001): 333-347.

  • “Wendy Carlos: The Synthesizer, the Soundtrack and Transgender Identity.” Radical Deviance (1998): 20-23.


Selected Chapters in Books

  • “Supply Chain Cinema, Supply Chain Education: Training Creative Wizardry for Offshored Exploitation.” In Assembly Codes: The Logistics of Media, edited by Matthew Hockenberry, Nicole Starosielski and Susan Zeiger. Durham: Duke University Press, forthcoming.

  • “Import-Re-Export: Reconsidering the Film Festival as a Port Economy.” In Reorienting with the Gulf: Film and Digital Media between the Middle East and South Asia, edited by Alia Yunis and Dale Hudson. Bloomington, IN: Indiana University Press, forthcoming.

  • “‘Make It What You Want It to Be’: Logistics, Labour and the Financialization of Land Via the Globalized Free Zone Studio.” In The Studio: Space, Form, Materiality, edited by Brian Jacobson. Berkeley: University of California Press, 2020.

  • “Funding the “Creative Documentary”: An Art Cinema of Refugees.” With Viviane Saglier. In Histories of Arab Documentary, edited by Viola Shafik. Cairo: American University in Cairo Press, forthcoming.

  • “More Than Just Extras: FAMU Within Czechoslovak-Syrian Relations.” (Also translated into Czech) In Filmmakers of the World, Unite! The Forgotten Internationalism of FAMU, edited by Tereza Stejskalová. Prague:Tranzit, 2018.

  • ““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, 2018.

  • “Pop and Speed: Compilation Soundtracks and the MTV Aesthetic.”Reprinted 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.

  • “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.

  • "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

  • "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

  • “'Believe'?: Vocoders, Digital Women and Camp.” Re-printed in Music, Space and Place: Popular Music and Cultural Identity, edited by Sheila Whiteley, Andy Bennett and Stan Hawkins, 163-180. Oxford: Ashgate, 2004. Reprinted again in Pop Music and Easy Listening, edited by Stan Hawkins Oxford: Ashgate 2011.Reprinted again in Sound Studies, edited by Michael Bull. London and New York: Routledge, 2013. 



Teaching activities

Courses taught to date:
BA: Methods in Film Studies; Women's Work; Arab Cinemas; Transnational Approaches to Cinema; Film Studies Specialization Seminar
MA: Arab Revolutions; Sounds of Struggle; Cinema Behind Bars: Film and the Prison Industrial Complex
PhD: Pro-Seminar (Academic Labour); Textual Troubleshooting

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