Katarzyna Paszkiewicz
Biographic Data
| ID | 4207725 |
|---|---|
| NAME | Katarzyna Paszkiewicz |
| GIVEN NAMES | Katarzyna |
| FAMILY NAME | Paszkiewicz |
| SIGNATURE | PASZKIEWICZ K |
| AFFILIATIONS | Universitat de les Illes Balears |
| ORCID | 0000-0002-2931-2839 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 10 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Stray Visuality in Andrea Arnold's American Honey
In dialogue with Julia Kristeva and Barbara Creed's work on the concept of 'stray', this video essay explores 'stray visuality': visuality that exceeds the anthropocentric and ocularcentric frames of reference. Focusing on Andrea Arnold's American Honey, this essay argues that her cinema is profoundly stray, not only because it makes room for a variety of human and non-human strays, but also because of its formal engagement with strayness. Even t…
The aesthetics of impasse and the affective rhythms of survival
This article reads Andrea Arnold’s Fish Tank (2009) through Lauren Berlant’s conceptualisation of impasse and the affective rhythms of survival, which Berlant develops in their reflections on the cinema of precarity. This framework, I contend, has the potential to open up new avenues of inquiry within the study of Arnold’s work, usually discussed in relation to either British (social) realist cinema or the phenomenological representations of fema…
Facing the End of the World
in one of the most dramatic scenes in Jeff Nichols's Take Shelter (2011), a film about a construction worker who begins to have nightmares involving an impending storm, the protagonist angrily turns over a table during a community gathering and unleashes a dreadful prophecy: “There is a storm comin’ like nothing you have ever seen. And not a one of you is prepared for it . . . . Sleep well in your beds. ’Cause if this thing comes true, there ain'…
Stray aesthetic in the cinema of Andrea Arnold
This paper seeks to contribute to the scholarly examination of the nonhuman in the cinema of Andrea Arnold by reading her work through the figure of the “stray”, proposed by Julia Kristeva and developed by Barbara Creed in her exploration of “stray ethics” in the Anthropocene. Through a close analysis of Arnold’s three films, Dog (2001), Wasp (2003) and Fish Tank (2009), I argue that Arnold’s sensory-driven cinema transcends the focus on the huma…
De víctimas a asesinas
Este artículo estudia la representación de las asesinas en la narrativa criminal escrita por mujeres en España, situándola en el contexto del reciente resurgimiento del noir doméstico. Después de ofrecer una breve aproximación al fenómeno del noir doméstico en la actualidad, el artículo analiza en detalle dos relatos breves publicados en la antología Noves dames del crim (2015), a cargo de Anna Maria Villalonga: ‘La carnissera’ de Gemma Pasqual i…
Introducción Violencia, vulnerabilidad y género en la narrativa criminal escrita por mujeres en España en el siglo XXI
On Affect and Ecopoetics
In this article, I aim to contribute to the discussion on the convergence between affect studies and ecocriticism, especially in its new materialist strands, by focusing on their applicability to the study of poetry. Drawing on Jane Bennett, I set out to explore the potential of poetry to imagine and attend to the worlds beyond the anthropocentric, as well as to engender attentiveness to the nonhuman as theorized in new materialisms. I contend th…
Framing the Non-human
This article approaches Andrea Arnold's American Honey (2016) as a contemporary manifestation of an eco-road movie. Although the film's expansive interest in the ‘natural’ environment and its non-human inhabitants aligns it with Arnold's earlier work, American Honey is unique for its complex engagement with the cinematic traditions of Hollywood genre films. I argue that Arnold's eco-aesthetics work to conflate the distinctions between human and n…
Touch as Proximate Distance
In the wake of paradigm-shifting works on cinematic affect over the last few decades that have challenged psychoanalytically based gaze theory, embodied perception and sensory-affective experience have become fundamental concepts in much of contemporary screen studies. Even though the proponents of the affective turn in film studies present diverse theoretical approaches to affect – from Deleuzian “haptic visuality” to phenomenologically informed…
Revisiting the Final Girl
Revisiting the Final GirlLooking Backwards, Looking Forwards Katarzyna Paszkiewicz (bio) and Stacy Rusnak (bio) Autumn of 2017 marks thirty years since the publication of Carol J. Clover's "Her Body, Himself: Gender in the Slasher Film." The most enduring premise of this essay—which was originally included in the special issue Misogyny, Misandry, and Misanthropy in the journal Representations and later re-published in an abridged version in Men, …
Stray Visuality in Andrea Arnold's American Honey
In dialogue with Julia Kristeva and Barbara Creed's work on the concept of 'stray', this video essay explores 'stray visuality': visuality that exceeds the anthropocentric and ocularcentric frames of reference. Focusing on Andrea Arnold's American Honey, this essay argues that her cinema is profoundly stray, not only because it makes room for a variety of human and non-human strays, but also because of its formal engagement with strayness. Even t…
Stray aesthetic in the cinema of Andrea Arnold
This paper seeks to contribute to the scholarly examination of the nonhuman in the cinema of Andrea Arnold by reading her work through the figure of the “stray”, proposed by Julia Kristeva and developed by Barbara Creed in her exploration of “stray ethics” in the Anthropocene. Through a close analysis of Arnold’s three films, Dog (2001), Wasp (2003) and Fish Tank (2009), I argue that Arnold’s sensory-driven cinema transcends the focus on the huma…
Revisiting the Final Girl
Revisiting the Final GirlLooking Backwards, Looking Forwards Katarzyna Paszkiewicz (bio) and Stacy Rusnak (bio) Autumn of 2017 marks thirty years since the publication of Carol J. Clover's "Her Body, Himself: Gender in the Slasher Film." The most enduring premise of this essay—which was originally included in the special issue Misogyny, Misandry, and Misanthropy in the journal Representations and later re-published in an abridged version in Men, …
Touch as Proximate Distance
In the wake of paradigm-shifting works on cinematic affect over the last few decades that have challenged psychoanalytically based gaze theory, embodied perception and sensory-affective experience have become fundamental concepts in much of contemporary screen studies. Even though the proponents of the affective turn in film studies present diverse theoretical approaches to affect – from Deleuzian “haptic visuality” to phenomenologically informed…
Framing the Non-human
This article approaches Andrea Arnold's American Honey (2016) as a contemporary manifestation of an eco-road movie. Although the film's expansive interest in the ‘natural’ environment and its non-human inhabitants aligns it with Arnold's earlier work, American Honey is unique for its complex engagement with the cinematic traditions of Hollywood genre films. I argue that Arnold's eco-aesthetics work to conflate the distinctions between human and n…
De víctimas a asesinas
Este artículo estudia la representación de las asesinas en la narrativa criminal escrita por mujeres en España, situándola en el contexto del reciente resurgimiento del noir doméstico. Después de ofrecer una breve aproximación al fenómeno del noir doméstico en la actualidad, el artículo analiza en detalle dos relatos breves publicados en la antología Noves dames del crim (2015), a cargo de Anna Maria Villalonga: ‘La carnissera’ de Gemma Pasqual i…
Introducción Violencia, vulnerabilidad y género en la narrativa criminal escrita por mujeres en España en el siglo XXI
On Affect and Ecopoetics
In this article, I aim to contribute to the discussion on the convergence between affect studies and ecocriticism, especially in its new materialist strands, by focusing on their applicability to the study of poetry. Drawing on Jane Bennett, I set out to explore the potential of poetry to imagine and attend to the worlds beyond the anthropocentric, as well as to engender attentiveness to the nonhuman as theorized in new materialisms. I contend th…
The aesthetics of impasse and the affective rhythms of survival
This article reads Andrea Arnold’s Fish Tank (2009) through Lauren Berlant’s conceptualisation of impasse and the affective rhythms of survival, which Berlant develops in their reflections on the cinema of precarity. This framework, I contend, has the potential to open up new avenues of inquiry within the study of Arnold’s work, usually discussed in relation to either British (social) realist cinema or the phenomenological representations of fema…
Facing the End of the World
in one of the most dramatic scenes in Jeff Nichols's Take Shelter (2011), a film about a construction worker who begins to have nightmares involving an impending storm, the protagonist angrily turns over a table during a community gathering and unleashes a dreadful prophecy: “There is a storm comin’ like nothing you have ever seen. And not a one of you is prepared for it . . . . Sleep well in your beds. ’Cause if this thing comes true, there ain'…
Stray aesthetic in the cinema of Andrea Arnold
This paper seeks to contribute to the scholarly examination of the nonhuman in the cinema of Andrea Arnold by reading her work through the figure of the “stray”, proposed by Julia Kristeva and developed by Barbara Creed in her exploration of “stray ethics” in the Anthropocene. Through a close analysis of Arnold’s three films, Dog (2001), Wasp (2003) and Fish Tank (2009), I argue that Arnold’s sensory-driven cinema transcends the focus on the huma…
Stray Visuality in Andrea Arnold's American Honey
In dialogue with Julia Kristeva and Barbara Creed's work on the concept of 'stray', this video essay explores 'stray visuality': visuality that exceeds the anthropocentric and ocularcentric frames of reference. Focusing on Andrea Arnold's American Honey, this essay argues that her cinema is profoundly stray, not only because it makes room for a variety of human and non-human strays, but also because of its formal engagement with strayness. Even t…
Art (10 works) · Aesthetics (7 works) · Philosophy (7 works) · Sociology (6 works) · Cinema and Media Studies (5 works) · Environmental ethics (4 works) · Epistemology (4 works) · History (4 works) · Literature (4 works) · Movie theater (4 works)