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  • E-mailMaud.Ceuterick@uib.no
  • Phone+47 55 58 34 69
  • Visitor Address
    Øysteins gate 3
    5007 Bergen
  • Postal Address
    Postboks 7805
    5020 Bergen

Maud Ceuterick's research deals with the relations between gender, space and power on screen, in film and digital media. Her monograph titled Affirmative Aesthetics and Wilful Women: Gender, Space and Mobility in Contemporary Cinema has been published open access with Palgrave Macmillan in 2020. Find it here: https://link.springer.com/book/10.1007/978-3-030-37039-8.

Maud is currently developing an interactive map for the Queer Archive of Norway (Skeivt Arkiv) and contributing to the project QUEERDOM: Researching queer domesticities and intimacies in Norway 1842–1972.

She has recently been awarded a three-year international collaborative CHANSE project which will examine "Identities and Democratic Values on European Digital Screens: Distribution, Reception, and Representation" (DIGISCREENS, 2022-2025), starting on the 1st of November 2022.

Her Marie Skłodowska-Curie Action project "Affirmative Post-Cinema: Narrative and Aesthetic Responses to Gender and Power" (2018-2020) dealt with the narrative and aesthetic mechanisms of digital media, in particular of immersive technologies such as Virtual Reality (VR), Augmented Reality (AR), as well as locative narratives and social media.

She has also published on queering cultural memory, the road movie genre, masculinity and domesticity in transnational cinema, women and everyday spaces on screen, and space tourism in film, among other topics.

Academic article
  • Show author(s) (2021). Queering Cultural Memory Through Technology: Transitional Spaces in AR and VR. Alphaville: Journal of Film and Screen Media. 89-110.
  • Show author(s) (2021). Post-cinematic spectatorship in virtual reality: Negotiating 3DoF and 6DoF in ‘Queerskins: Ark’. NECSUS. European Journal of Media Studies (EJMS). 325-337.
  • Show author(s) (2021). Immersive Storytelling and Affective Ethnography in Virtual Reality. Review of Communication. 9-22.
  • Show author(s) (2020). Walking, Haunting, and Affirmative Aesthetics: The Case of Women without Men . Aniki: Revista Portuguesa da Imagem em Movimento. 96-114.
  • Show author(s) (2020). An affirmative look at a domesticity in crisis: Women, Humour and Domestic Labour during the COVID-19 Pandemic. Feminist Media Studies. 896-901.
  • Show author(s) (2016). Porous rural spaces in Possum. Short Film Studies. 53-56.
  • Show author(s) (2014). ‘Review essay of Welcome, Le Havre and Un cuento chino: Visceral cosmopolitanism and the domestic sphere’. Transnational cinemas. 78-85.
Academic lecture
  • Show author(s) (2019). Sound and queer affirmative space in augmented reality.
  • Show author(s) (2019). Estética Afirmativa: Género, espacio y formas cinematográficas.
  • Show author(s) (2019). Creation of a queer affirmative space through sound in augmented reality.
  • Show author(s) (2019). Creation of a feminist affirmative space through sound in augmented reality.
  • Show author(s) (2019). A Machine vision anthology.
  • Show author(s) (2018). A Bibliography of Machine Vision.
  • Show author(s) (2016). Inhabiting space through gender, film and affect.
Editorial
  • Show author(s) (2016). Guest Editors' Introduction: Geocorpographies of Commemoration, Repression and Resistance. Somatechnics. 1-8.
Book review
  • Show author(s) (2015). ‘Review: Neil Archer’s The French road movie: Space, mobility, identity (2012) and Michael Gott and Thibaut Schist’s Open road, closed borders: The contemporary French-language road movie (2013)’. Film-Philosophy. 86-90.
Academic monograph
  • Show author(s) (2020). Affirmative Aesthetics and Wilful Women Gender, Space and Mobility in Contemporary Cinema.
Popular scientific article
  • Show author(s) (2021). Revisiting Masculinity and the American Dream in First Cow. Wuxia film og kritikk.
Feature article
  • Show author(s) (2011). Siete meses de desgobierno en Bélgica. Diagonal Periódico. 7.
Academic chapter/article/Conference paper
  • Show author(s) (2020). A home on the road in Claire Denis’ Vendredi soir. 17 pages.
  • Show author(s) (2019). Space Tourism in Contemporary Cinema and Video Games. 23 pages.

More information in national current research information system (CRIStin)

2022-2025, Funding awarded for EU funded CHANSE project DIGISCREENS: Identities and Democratic Values on European Digital Screens: Distribution, Reception, and Representation. About the CHANSE program, see: https://chanse.org/call-results/

DIGISCREENS is a three-year international collaborative project led by Dr. Maud Ceuterick, and in collaboration with PIs Dr. Lina Kaminskaitė Jančorienė (Lithuanian Academy of Music and Theatre), Prof. Maria Jansson (Orebro University), and Prof. Adelina Sanchez (University of Granada). The project focuses on five European countries: France, Spain, Sweden, Norway and Lithuania, and has the objective is to analyse how current practices of digital distribution of films and TV series on global and national platforms intertwine with the representation and the reception of identities and democratic values. See more on: https://www.uib.no/en/digiscreens

 

2018-2020, Marie Skłodowska-Curie Actions (Individual Fellowships Call: H2020-MSCA-IF-2017): "AFFIRMATIVE: Affirmative Post-Cinema: Narrative and Aesthetic Responses to Gender and Power"

The goal of AFFIRMATIVE is to determine how post-cinematic arts counteract and aim to change current gender norms through affirmative narratives and aesthetics. By analysing post-cinematic critical engagements with issues of gender and power, I will examine how post-cinema reframes gender norms in an affirmative manner. Rather than being 'natural' or neutral, gender is a social construct inflected with layers of meaning, affect and power. Gender manifests as norms that are 'performed' and reiterated (mostly unconsciously and on a daily basis) through the ways we dress, interact and behave in different spaces and social environments. As attempts to shift the power imbalance between genders, feminist films, television series and social campaigns have often opposed the binary associations between gender and space (men/women, public/domestic). While feminist narratives are often created through negation and opposition, this project takes affirmative narratives and aesthetics as starting point.