Alice Maurice
Biographic Data
| ID | 6364286 |
|---|---|
| NAME | Alice Maurice |
| GIVEN NAMES | Alice |
| FAMILY NAME | Maurice |
| SIGNATURE | MAURICE A |
| AFFILIATIONS | University of Toronto |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 4 |
| AUTHOR COUNT | 2 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
‘Use your white voice’: Race, sound, and genre in Sorry to Bother You
Looking primarily at Boots Riley’s Sorry to Bother You (2018), this essay explores the way race informs the relationship between the ‘body genres’ of comedy and horror. Riley’s film works through genre hybridity and ‘genre switching’, and this essay examines the links between the film’s genre reflexivity and the other kind of reflex – the ‘involuntary bodily response’. By locating its critique – by assaulting genre – at the level of sound, the fi…
Cinema at Its Source”: Synchronizing Race and Sound in the Early Talkies
Alice Maurice received her Ph.D. in English from Cornell University. The essay in this issue of Camera Obscura forms part of her dissertation on race and realism in early-twentieth-century cinema and literature. She is also associate producer of A Healthy Baby Girl (1996) and the Academy Award-winning documentary Defending Our Lives (1993)
Cinema at Its Source”: Synchronizing Race and Sound in the Early Talkies
Alice Maurice received her Ph.D. in English from Cornell University. The essay in this issue of Camera Obscura forms part of her dissertation on race and realism in early-twentieth-century cinema and literature. She is also associate producer of A Healthy Baby Girl (1996) and the Academy Award-winning documentary Defending Our Lives (1993)
Cinema at Its Source”: Synchronizing Race and Sound in the Early Talkies
Alice Maurice received her Ph.D. in English from Cornell University. The essay in this issue of Camera Obscura forms part of her dissertation on race and realism in early-twentieth-century cinema and literature. She is also associate producer of A Healthy Baby Girl (1996) and the Academy Award-winning documentary Defending Our Lives (1993)
‘Use your white voice’: Race, sound, and genre in Sorry to Bother You
Looking primarily at Boots Riley’s Sorry to Bother You (2018), this essay explores the way race informs the relationship between the ‘body genres’ of comedy and horror. Riley’s film works through genre hybridity and ‘genre switching’, and this essay examines the links between the film’s genre reflexivity and the other kind of reflex – the ‘involuntary bodily response’. By locating its critique – by assaulting genre – at the level of sound, the fi…
Art (2 works) · Cinema and Media Studies (2 works) · Literature (2 works) · Movie theater (2 works) · Psychology (2 works) · Sociology (2 works) · Acoustics (1 works) · Aesthetics (1 works) · Art history (1 works) · Comedy (1 works)