Liz Watkins
Biographic Data
| ID | 620720 |
|---|---|
| NAME | Liz Watkins |
| GIVEN NAMES | Liz |
| FAMILY NAME | Watkins |
| SIGNATURE | WATKINS L |
| AFFILIATIONS | University of Leeds |
| ORCID | 0000-0003-2093-6327 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 1 |
Colourised histories, reading digital/analogue photography and film archives now
The faces of Auschwitz
The Spectacle of “Nothing”
Photographic records of early 1900s polar expeditions encapsulated a paradox: the spectacle of “monotonous” “numbing whiteness” in images of “nothing” that were intended for public exhibition. This article examines expedition photography as an ecosystem of materials and meanings to reconsider the status of the “failed” photographic experiments that have remained sublimate to the iconic images of polar exploration. Light sensitive materials — phot…
The disquiet of the everyday
An analysis of Bad Timing discerns gesture as a vital, but often overlooked aspect of the representation of gendered bodies and the female voice. While gesture can be read of performance or a specifically cinematic inflection of narrative form, a study of gesture and parapraxis in the stasis of the body and silence in language discerns a subject position that disquiets, inscribing as it does the everyday violence in the image of woman and is evoc…
Introduction
In his classic study, Gesture, Adam Kendon describes the visible actions that comprise utterances (Kendon, 2004, pp. 1–2). These visible utterances can occur in conjunction with, or independently t
Introduction
The idea for this special issue of Paragraph on the theme ‘Screening Embodiment’ emerged from our long-standing research interests regarding the interrelationships between film, gender and the body. The title of the issue aims to capture some of the varied ways in which these relationships can be conceived. Etymologically, the word ‘screen’ has roots in the Old High German term skrank which refers to a bar, barrier or fence. Film itself, as a pho…
Unsettling Perception
The association of colour, sensation and the body, which is noted by Jacqueline Lichtenstein and Merleau-Ponty through their insights on colour as the disturbing of structure and form, offers a way in which to foreground a series of questions about embodiment and the discourse of vision. An analysis of the chromatics of Red Road (Dir. Andrea Arnold, UK/Denmark, 2006), which features a female protagonist who works as a surveillance officer in a CC…
A View from Elsewhere
Light, Colour and Sound in Cinema
Introduction
In his classic study, Gesture, Adam Kendon describes the visible actions that comprise utterances (Kendon, 2004, pp. 1–2). These visible utterances can occur in conjunction with, or independently t
Light, Colour and Sound in Cinema
Light, Colour and Sound in Cinema
A View from Elsewhere
The disquiet of the everyday
An analysis of Bad Timing discerns gesture as a vital, but often overlooked aspect of the representation of gendered bodies and the female voice. While gesture can be read of performance or a specifically cinematic inflection of narrative form, a study of gesture and parapraxis in the stasis of the body and silence in language discerns a subject position that disquiets, inscribing as it does the everyday violence in the image of woman and is evoc…
Introduction
In his classic study, Gesture, Adam Kendon describes the visible actions that comprise utterances (Kendon, 2004, pp. 1–2). These visible utterances can occur in conjunction with, or independently t
Introduction
The idea for this special issue of Paragraph on the theme ‘Screening Embodiment’ emerged from our long-standing research interests regarding the interrelationships between film, gender and the body. The title of the issue aims to capture some of the varied ways in which these relationships can be conceived. Etymologically, the word ‘screen’ has roots in the Old High German term skrank which refers to a bar, barrier or fence. Film itself, as a pho…
Unsettling Perception
The association of colour, sensation and the body, which is noted by Jacqueline Lichtenstein and Merleau-Ponty through their insights on colour as the disturbing of structure and form, offers a way in which to foreground a series of questions about embodiment and the discourse of vision. An analysis of the chromatics of Red Road (Dir. Andrea Arnold, UK/Denmark, 2006), which features a female protagonist who works as a surveillance officer in a CC…
The Spectacle of “Nothing”
Photographic records of early 1900s polar expeditions encapsulated a paradox: the spectacle of “monotonous” “numbing whiteness” in images of “nothing” that were intended for public exhibition. This article examines expedition photography as an ecosystem of materials and meanings to reconsider the status of the “failed” photographic experiments that have remained sublimate to the iconic images of polar exploration. Light sensitive materials — phot…
Colourised histories, reading digital/analogue photography and film archives now
The faces of Auschwitz
Art (8 works) · Aesthetics (6 works) · Computer Science (5 works) · History (5 works) · Philosophy (5 works) · Visual arts (5 works) · Cinema and Media Studies (4 works) · Photography and Visual Culture (4 works) · Sociology (4 works) · Gesture (3 works)