Maud Eurydice Ceuterick's picture

Maud Eurydice Ceuterick

Postdoctoral fellow, Marie Skłodowska-Curie Research Fellow
  • E-mailMaud.Ceuterick@uib.no
  • Visitor Address
    HF-bygget, Sydnesplassen 7
  • Postal Address
    Postboks 7805
    5020 Bergen

Maud Ceuterick is a Marie Skłodowska-Curie research fellow in Digital Culture (2018-2020). Her research deals with the relations between gender, space and power on screen. Her project 'Affirmative Post-Cinema: Narrative and Aesthetic Responses to Gender and Power' deals 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.

Her PhD in film and media studies (University of Otago, New Zealand, 2016) considered filmic aesthetics and women's occupation of space in contemporary cinema. She has published on the road movie genre, masculinity and domesticity in transnational cinema, women and everyday spaces on screen, and space tourism in film, among other topics. Her monograph Affirmative Aesthetics and Wilful Women: Gender, Space and Mobility in Contemporary Cinema will soon be published by Palgrave Macmillan (2020).

Academic article
  • 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.
Academic lecture
  • 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.
Book review
  • 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.
Feature article
  • 2011. Siete meses de desgobierno en Bélgica. Diagonal Periódico. 7.
Academic chapter/article/Conference paper
  • 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)

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.