Maud Ceuterick
- E-mailMaud.Ceuterick@uib.no
- Phone+47 55 58 34 69
- Visitor AddressØysteins gate 35007 Bergen
- Postal AddressPostboks 78055020 Bergen
Maud Ceuterick is the leader of the international DIGISCREENS project, which has received funding from the CHANSE ERA-NET Co-fund programme and examines "Identities and Democratic Values on European Digital Screens: Distribution, Reception, and Representation" (DIGISCREENS, 2022-2025). Her research deals with gender, space and power relations on screen, in film and digital media. She has published the open access monograph Affirmative Aesthetics and Wilful Women: Gender, Space and Mobility in Contemporary Cinema (Palgrave Macmillan, 2020).
In 2018-2020, she was the recipient of a Horizon 2020 Marie Skłodowska-Curie Individual Fellowship for the project "Affirmative Post-Cinema: Narrative and Aesthetic Responses to Gender and Power", which 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. This research led to the publication of articles 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.
She is currently (2022-2024) 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.
- (2021). Queering Cultural Memory Through Technology: Transitional Spaces in AR and VR. Alphaville: Journal of Film and Screen Media. 89-110.
- (2021). Post-cinematic spectatorship in virtual reality: Negotiating 3DoF and 6DoF in ‘Queerskins: Ark’. NECSUS. European Journal of Media Studies (EJMS). 325-337.
- (2021). Immersive Storytelling and Affective Ethnography in Virtual Reality. Review of Communication. 9-22.
- (2020). Walking, Haunting, and Affirmative Aesthetics: The Case of Women without Men . Aniki: Revista Portuguesa da Imagem em Movimento. 96-114.
- (2020). An affirmative look at a domesticity in crisis: Women, Humour and Domestic Labour during the COVID-19 Pandemic. Feminist Media Studies. 896-901.
- (2016). Porous rural spaces in Possum. Short Film Studies. 53-56.
- (2014). ‘Review essay of Welcome, Le Havre and Un cuento chino: Visceral cosmopolitanism and the domestic sphere’. Transnational cinemas. 78-85.
- (2019). Sound and queer affirmative space in augmented reality.
- (2019). Estética Afirmativa: Género, espacio y formas cinematográficas.
- (2019). Creation of a queer affirmative space through sound in augmented reality.
- (2019). Creation of a feminist affirmative space through sound in augmented reality.
- (2019). A Machine vision anthology.
- (2018). A Bibliography of Machine Vision.
- (2016). Inhabiting space through gender, film and affect.
- (2016). Guest Editors' Introduction: Geocorpographies of Commemoration, Repression and Resistance. Somatechnics. 1-8.
- (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.
- (2020). Affirmative Aesthetics and Wilful Women Gender, Space and Mobility in Contemporary Cinema.
- (2021). Revisiting Masculinity and the American Dream in First Cow. Wuxia film og kritikk.
- (2011). Siete meses de desgobierno en Bélgica. Diagonal Periódico. 7.
- (2020). A home on the road in Claire Denis’ Vendredi soir. 17 pages.
- (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.
