Richard Allen | City University of Hong Kong (original) (raw)

Papers by Richard Allen

Research paper thumbnail of Toward a Philosophy of Melodrama

Projections, 2023

Abstract: This article proposes a philosophy of melodrama, following the example of Noël Carroll ... more Abstract: This article proposes a philosophy of melodrama, following the
example of Noël Carroll in The Philosophy of Horror (1990). Melodrama
is defined by a distinctive mode of address in which morality is dramatized
through an appeal to our emotions. More narrowly conceived as the
“tearjerker,” it is designed to solicit tears through the orchestration of pathos.While melodrama is associated above all with a genre of nineteenth century theater, it is considered here as a mode that persists from at least the medieval period into the present, encompassing discrete art forms, such as theater, opera, and fi lm. Furthermore, as it evolves historically, it develops more complex idioms. Classical melodrama, or the melodrama of good versus evil, which dwells on the pathos of suffering innocence, is contrasted with romantic melodrama or the melodrama of moral antinomy (Singer), which explores the pathos of sacrifice. A series of distinctions are drawn between sympathy, pathos, empathy, and identification, and the relationship of each to the other and to our moral responses are briefly delineated. The article contests Murray Smith’s theory of empathy as central or personal imagination and defends a distinctive concept of identification, based upon its roots in the medieval French “identifier,” to “regard as the same.” It concludes with a brief defense of melodrama against the charge that it is emotionally contrived and exploits our moral sentiments for meretricious ends.

Research paper thumbnail of Under Capricorn: Hitchcock, Melodrama and the Christian Imagination

Hitchcock Annual 23, 2019

In the context of my overall claim that melodrama is the modern secular precipitate of Christian ... more In the context of my overall claim that melodrama is the modern secular precipitate of Christian imaginaries, I will argue here that Under Capricorn is an articulate example of how the Christianity of Pathos informs the very vocabulary of melodrama, even as the religious belief supported by
affective piety recedes in an often secular world. We might say that in Under Capricorn Hitchcock declares his hand as a maker of melodramas and does so in terms that make explicit the indebtedness of melodrama to the rhetorical form of Christian affective piety, of sin, suffering, redeeming love, even as the import of this story is transformed by being
transposed into a secular story of suffering and redemption through love.

Research paper thumbnail of The Art of Jeffrey Shaw

WYSIWYG (What you see is what you get), 2019

Short analysis of Shaw's oeuvre for Shaw retrospective at Osage Gallery, Hong Kong

Research paper thumbnail of Camera Movement in Vertigo

The MacGuffin http://www.labyrinth.net.au/\~muffin

Vertigo seems to me of all Hitchcock's films the one nearest to perfection. Indeed, its profundit... more Vertigo seems to me of all Hitchcock's films the one nearest to perfection. Indeed, its profundity is inseparable from the perfection of form: it is a perfect organism.

Research paper thumbnail of Romantic Irony

Hitchcock's Romantic Irony , 2007

Chapter One of Hitchcock's Romantic Irony (New York: Columbia University Press, 2007)

Research paper thumbnail of Representation, Illusion, and the Cinema

Cinema Journal, 1993

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Research paper thumbnail of Female Sexuality, Creativity, and Desire in 'The Piano'

Piano Lessons eds. Felicity Coombs and Suzanne Gemmell, 1999

Research paper thumbnail of Life and Death of 9313--A Hollywood Extra

Research paper thumbnail of Pakeezah: Dreamscape of Desire

Projections, 2009

This article describes how Kamal Amrohi's Pakeezah distils the idioms of the historical courtesan... more This article describes how Kamal Amrohi's Pakeezah distils the idioms of the historical courtesan film, poised as they are between the glorification of courtesan culture and lamenting the debased status of the courtesan; between a nostalgic yearning for the feudal world of the kotha and a utopian desire to escape from it. The article argues that Pakeezah self-consciously defines the particular " chronotope, " or space-time, of the historical courtesan genre by showing that nothing less than a transformation of the idioms of that genre is required to liberate the courtesan from her claustrophobic milieu—whose underlying state is one of enervation and death—into the open space and lived time of modernity.

Research paper thumbnail of Technology, Environment, and Experience: Five New Media Artists from Hong Kong

On the Road: Young Media Artists in China (City University of Hong Kong), 2018

Research paper thumbnail of Hitchcock and Cavell

Murray Smith and Thomas E. Wartenberg, eds., Thinking Through Cinema: Film as Philosophy (Blackwell) first published as a Special Issue of the Journal of Aesthetics and Art Criticism., 2006

Research paper thumbnail of To Catch A Jewel Thief Hitchcock and Indian Modernity

Research paper thumbnail of Film, Matter and Spirit: Forest of Bliss

Looking with Robert Gardner ed. Rebecca Myers, William Rothman, and Charles Warren (SUNY Press), 2016

Everything in the world is eater or eaten, the seed is food and fire is eater.

Research paper thumbnail of Avian Metaphor in The Birds

Research paper thumbnail of The Aesthetic Experience of Modernity: Benjamin, Adorno, and Contemporary Film

New German Critique, 1987

Research paper thumbnail of Critical Theory and the Paradox of Modernist Discourse

Research paper thumbnail of Looking at Motion Pictures Revised

Film-Philosophy, 2001

Looking at Motion Pictures (Revised). What is it we see when we look at a motion picture? This is... more Looking at Motion Pictures (Revised). What is it we see when we look at a motion picture? This is a fundamental question addressed by all film theory. It derives from a much older question: what is it we see when we look at a picture? But the answer to this question depends in turn upon how we understand the activity of seeing itself. The philosophical understanding of what seeing is has been dominated by the causal theory of perception. The concept of a causal connection is central to understanding the natural world and it serves to characterize the physical connection between our sensory organs and what it is that we perceive. We can only see objects of a certain colour, shape, or size because these objects impinge causally on our senses. However, the causal theory of perception makes two further claims: first, that by acting causally upon our senses, objects cause us to have a visual experience; second, that the asserted causal connection does not simply describe our knowledge of the physical world but it is part of our 'ordinary notion of perceiving'. [2] The first claim assumes a sharp divide between 'the mental' and 'the physical' worlds in order to assert the existence of a causal connection between the two. The second claim, wishing to deny this sharp divide, asserts that the idea of a causal connection is built into the concepts we use to describe our interaction with the world, in this case of the concept of perception. It is the burden of Wittgenstein's later philosophy to contest both these claims. First, he argues there are not two worlds, 'mental' and 'physical', that are causally connected to each other, but one physical world that consists of causal connections. Secondly, he argues that a philosophical understanding of the mind consists in attaining a perspicuous overview of the concepts we use to characterize it and the way these concepts are grounded in human behaviour, not in the investigation of the causal preconditions for the application of those concepts. In other words, there is a sharp distinction between conceptual and empirical inquiry: grammar, in particular the grammar of our mental concepts like 'perception', is autonomous. The causal theory of perception provides a signal instance of the failure to observe this distinction.

Research paper thumbnail of Mother India Folk Art and Film Style

Research paper thumbnail of Hitchcock, Knowledge, and Sexual Difference

Research paper thumbnail of Cognitive Film Theory

Wittgenstein, Theory, and the Arts (Routledge), 2002

Cognitive film theory emerged as a distinctive research paradigm in film studies in the mid-1980s... more Cognitive film theory emerged as a distinctive research paradigm in film studies in the mid-1980s. This emergence can be explained against the background of two intellectual contexts which I shall briefly sketch. The relationship between film and human psychology has always been a source of fascination for film theorists, and many writings in film theory are informed by the belief that film has a special relationship to human psychology. Historically, film theory has been preoccupied with the thought that the film camera is, in some sense, like the human eye, or that ways of juxtaposing images are like forms of thought. Film theorists have differed in the kind of mental processes they emphasize and whether or not the mimicked processes are rational or irrational. Furthermore, film theorists have differed in their understanding of what exactly mimesis consists in. Does film simply replicate human perception or does it augment it and transform it? A particular version of the mind-film analogy, inHuential in the recent past, likens film to the irrational mental processes that psychoanalysis purports to illuminate. The camera is not simply like a perceiver, it is voyeuristic. Films are like dreams or fantasies rather than simply like thoughts. In the context of this long and rich tradition of psychological theorization, cognitive film theory emerged in the 1980s on the basis of rejecting the reasoning by analogy that was central to it.' For the cognitivist, films are not like mental processes, they actually engage mental processes. The cognitive theorist seeks to understand how films engage our minds 'with the best available theory'. As philosopher and film theorist Gregory Currie has written, the cognitive theorist emphasizes the ways in which our experience of cinematic images and cinematic narrative resemble our experiences of seeing and comprehending events and processes in reality... This leading idea suggests a method as well as a doctrine: in seeking to understand our responses to film, apply the best available theories of perception, information processing, hypothesis-building, and interpretation. (Currie 1999: 106) 174 COGNITIVE FILM THEORY The second context for understanding the emergence of cognitive film theory is as a reaction to the dominance of psychoanalytic theory in film theory of the recent past. In the postwar period, the psychology of film received a new inflection from the study of film as mass culture. Reacting to their experience of fascism, Marxist cultural critics of the Frankfurt School saw film as a medium that had the power to influence and shape the beliefs of the population and diagnozed its power using the tools of psychoanalysis. In the 1970s, a new generation of Marxist-oriented film theorists and critics developed a psychoanalytically-informed theory of film spectatorship that was distilled from an intoxicating mix of French thought: the Marxism of Louis Althusser, the psychoanalysis of Jacques Lacan, and the semiotics of Roland Barthes and Julia Kristeva (Heath 1981; Rosen 1985; Silverman 1983). Considered as a psychological theory of film, the theory developed by psycho-semiotic Marxists was characterized by the assumption that the resemblance films bear to everyday perception confounds the spectator: cinema is a system of signification that produces an illusion of reality. Whereas psychoanalytic-semioticians conceived film spectatorship as an essentially irrational activity in which the spectator is duped by what she sees, her responses passively tutored by the unfolding images and sounds on the movie screen, cognitive film theorists insist that film spectatorship is a rationally motivated and informed action. Again, the motivation of the cognitive theorist is to apply the best available theory to understanding film spectatorship, and the cognitive theorist assumes that this theory is not one in which film spectatorship is considered to be essentially irrational. Put this way, the assumptions underlying cognitive film theory-looking at films is like looking at other things, watching movies is not an essentially irrational act-sound like common sense. However, cognitivism becomes a theory only when the theory is produced: what kind of understanding of 'rational action does the cognitivist propose? How does the cognitivist explain the way that 'we see and comprehend events and processes in reality'? What kind of 'fit' does the theorist seek between the general theory and an explanation of motion picture perception and cognition? Cognitive film theorists pose different kinds of answers to these questions, and these answers must be examined at the level at which they are proposed. In this chapter, I undertake a conceptual investigation, following Wittgenstein, of the work of two of the most important and influential cognitive film theorists. The primary focus of my investigation is the cognitive theory of narrative film proposed by the distinguished film scholar, David Bordwell, who founded the cognitive study of cinema I argue that Bordwell's cognitive theory of film exemplifies the conceptual confusion that inheres in the cognitive psychology upon Which he draws. I go on to discuss aspects of the cognitive film theory of philosopher Gregory Currie, and examine key respects in which it contradicts and challenges Bordwell's theory of film from within the framework of cognitivism.

Research paper thumbnail of Toward a Philosophy of Melodrama

Projections, 2023

Abstract: This article proposes a philosophy of melodrama, following the example of Noël Carroll ... more Abstract: This article proposes a philosophy of melodrama, following the
example of Noël Carroll in The Philosophy of Horror (1990). Melodrama
is defined by a distinctive mode of address in which morality is dramatized
through an appeal to our emotions. More narrowly conceived as the
“tearjerker,” it is designed to solicit tears through the orchestration of pathos.While melodrama is associated above all with a genre of nineteenth century theater, it is considered here as a mode that persists from at least the medieval period into the present, encompassing discrete art forms, such as theater, opera, and fi lm. Furthermore, as it evolves historically, it develops more complex idioms. Classical melodrama, or the melodrama of good versus evil, which dwells on the pathos of suffering innocence, is contrasted with romantic melodrama or the melodrama of moral antinomy (Singer), which explores the pathos of sacrifice. A series of distinctions are drawn between sympathy, pathos, empathy, and identification, and the relationship of each to the other and to our moral responses are briefly delineated. The article contests Murray Smith’s theory of empathy as central or personal imagination and defends a distinctive concept of identification, based upon its roots in the medieval French “identifier,” to “regard as the same.” It concludes with a brief defense of melodrama against the charge that it is emotionally contrived and exploits our moral sentiments for meretricious ends.

Research paper thumbnail of Under Capricorn: Hitchcock, Melodrama and the Christian Imagination

Hitchcock Annual 23, 2019

In the context of my overall claim that melodrama is the modern secular precipitate of Christian ... more In the context of my overall claim that melodrama is the modern secular precipitate of Christian imaginaries, I will argue here that Under Capricorn is an articulate example of how the Christianity of Pathos informs the very vocabulary of melodrama, even as the religious belief supported by
affective piety recedes in an often secular world. We might say that in Under Capricorn Hitchcock declares his hand as a maker of melodramas and does so in terms that make explicit the indebtedness of melodrama to the rhetorical form of Christian affective piety, of sin, suffering, redeeming love, even as the import of this story is transformed by being
transposed into a secular story of suffering and redemption through love.

Research paper thumbnail of The Art of Jeffrey Shaw

WYSIWYG (What you see is what you get), 2019

Short analysis of Shaw's oeuvre for Shaw retrospective at Osage Gallery, Hong Kong

Research paper thumbnail of Camera Movement in Vertigo

The MacGuffin http://www.labyrinth.net.au/\~muffin

Vertigo seems to me of all Hitchcock's films the one nearest to perfection. Indeed, its profundit... more Vertigo seems to me of all Hitchcock's films the one nearest to perfection. Indeed, its profundity is inseparable from the perfection of form: it is a perfect organism.

Research paper thumbnail of Romantic Irony

Hitchcock's Romantic Irony , 2007

Chapter One of Hitchcock's Romantic Irony (New York: Columbia University Press, 2007)

Research paper thumbnail of Representation, Illusion, and the Cinema

Cinema Journal, 1993

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Research paper thumbnail of Female Sexuality, Creativity, and Desire in 'The Piano'

Piano Lessons eds. Felicity Coombs and Suzanne Gemmell, 1999

Research paper thumbnail of Life and Death of 9313--A Hollywood Extra

Research paper thumbnail of Pakeezah: Dreamscape of Desire

Projections, 2009

This article describes how Kamal Amrohi's Pakeezah distils the idioms of the historical courtesan... more This article describes how Kamal Amrohi's Pakeezah distils the idioms of the historical courtesan film, poised as they are between the glorification of courtesan culture and lamenting the debased status of the courtesan; between a nostalgic yearning for the feudal world of the kotha and a utopian desire to escape from it. The article argues that Pakeezah self-consciously defines the particular " chronotope, " or space-time, of the historical courtesan genre by showing that nothing less than a transformation of the idioms of that genre is required to liberate the courtesan from her claustrophobic milieu—whose underlying state is one of enervation and death—into the open space and lived time of modernity.

Research paper thumbnail of Technology, Environment, and Experience: Five New Media Artists from Hong Kong

On the Road: Young Media Artists in China (City University of Hong Kong), 2018

Research paper thumbnail of Hitchcock and Cavell

Murray Smith and Thomas E. Wartenberg, eds., Thinking Through Cinema: Film as Philosophy (Blackwell) first published as a Special Issue of the Journal of Aesthetics and Art Criticism., 2006

Research paper thumbnail of To Catch A Jewel Thief Hitchcock and Indian Modernity

Research paper thumbnail of Film, Matter and Spirit: Forest of Bliss

Looking with Robert Gardner ed. Rebecca Myers, William Rothman, and Charles Warren (SUNY Press), 2016

Everything in the world is eater or eaten, the seed is food and fire is eater.

Research paper thumbnail of Avian Metaphor in The Birds

Research paper thumbnail of The Aesthetic Experience of Modernity: Benjamin, Adorno, and Contemporary Film

New German Critique, 1987

Research paper thumbnail of Critical Theory and the Paradox of Modernist Discourse

Research paper thumbnail of Looking at Motion Pictures Revised

Film-Philosophy, 2001

Looking at Motion Pictures (Revised). What is it we see when we look at a motion picture? This is... more Looking at Motion Pictures (Revised). What is it we see when we look at a motion picture? This is a fundamental question addressed by all film theory. It derives from a much older question: what is it we see when we look at a picture? But the answer to this question depends in turn upon how we understand the activity of seeing itself. The philosophical understanding of what seeing is has been dominated by the causal theory of perception. The concept of a causal connection is central to understanding the natural world and it serves to characterize the physical connection between our sensory organs and what it is that we perceive. We can only see objects of a certain colour, shape, or size because these objects impinge causally on our senses. However, the causal theory of perception makes two further claims: first, that by acting causally upon our senses, objects cause us to have a visual experience; second, that the asserted causal connection does not simply describe our knowledge of the physical world but it is part of our 'ordinary notion of perceiving'. [2] The first claim assumes a sharp divide between 'the mental' and 'the physical' worlds in order to assert the existence of a causal connection between the two. The second claim, wishing to deny this sharp divide, asserts that the idea of a causal connection is built into the concepts we use to describe our interaction with the world, in this case of the concept of perception. It is the burden of Wittgenstein's later philosophy to contest both these claims. First, he argues there are not two worlds, 'mental' and 'physical', that are causally connected to each other, but one physical world that consists of causal connections. Secondly, he argues that a philosophical understanding of the mind consists in attaining a perspicuous overview of the concepts we use to characterize it and the way these concepts are grounded in human behaviour, not in the investigation of the causal preconditions for the application of those concepts. In other words, there is a sharp distinction between conceptual and empirical inquiry: grammar, in particular the grammar of our mental concepts like 'perception', is autonomous. The causal theory of perception provides a signal instance of the failure to observe this distinction.

Research paper thumbnail of Mother India Folk Art and Film Style

Research paper thumbnail of Hitchcock, Knowledge, and Sexual Difference

Research paper thumbnail of Cognitive Film Theory

Wittgenstein, Theory, and the Arts (Routledge), 2002

Cognitive film theory emerged as a distinctive research paradigm in film studies in the mid-1980s... more Cognitive film theory emerged as a distinctive research paradigm in film studies in the mid-1980s. This emergence can be explained against the background of two intellectual contexts which I shall briefly sketch. The relationship between film and human psychology has always been a source of fascination for film theorists, and many writings in film theory are informed by the belief that film has a special relationship to human psychology. Historically, film theory has been preoccupied with the thought that the film camera is, in some sense, like the human eye, or that ways of juxtaposing images are like forms of thought. Film theorists have differed in the kind of mental processes they emphasize and whether or not the mimicked processes are rational or irrational. Furthermore, film theorists have differed in their understanding of what exactly mimesis consists in. Does film simply replicate human perception or does it augment it and transform it? A particular version of the mind-film analogy, inHuential in the recent past, likens film to the irrational mental processes that psychoanalysis purports to illuminate. The camera is not simply like a perceiver, it is voyeuristic. Films are like dreams or fantasies rather than simply like thoughts. In the context of this long and rich tradition of psychological theorization, cognitive film theory emerged in the 1980s on the basis of rejecting the reasoning by analogy that was central to it.' For the cognitivist, films are not like mental processes, they actually engage mental processes. The cognitive theorist seeks to understand how films engage our minds 'with the best available theory'. As philosopher and film theorist Gregory Currie has written, the cognitive theorist emphasizes the ways in which our experience of cinematic images and cinematic narrative resemble our experiences of seeing and comprehending events and processes in reality... This leading idea suggests a method as well as a doctrine: in seeking to understand our responses to film, apply the best available theories of perception, information processing, hypothesis-building, and interpretation. (Currie 1999: 106) 174 COGNITIVE FILM THEORY The second context for understanding the emergence of cognitive film theory is as a reaction to the dominance of psychoanalytic theory in film theory of the recent past. In the postwar period, the psychology of film received a new inflection from the study of film as mass culture. Reacting to their experience of fascism, Marxist cultural critics of the Frankfurt School saw film as a medium that had the power to influence and shape the beliefs of the population and diagnozed its power using the tools of psychoanalysis. In the 1970s, a new generation of Marxist-oriented film theorists and critics developed a psychoanalytically-informed theory of film spectatorship that was distilled from an intoxicating mix of French thought: the Marxism of Louis Althusser, the psychoanalysis of Jacques Lacan, and the semiotics of Roland Barthes and Julia Kristeva (Heath 1981; Rosen 1985; Silverman 1983). Considered as a psychological theory of film, the theory developed by psycho-semiotic Marxists was characterized by the assumption that the resemblance films bear to everyday perception confounds the spectator: cinema is a system of signification that produces an illusion of reality. Whereas psychoanalytic-semioticians conceived film spectatorship as an essentially irrational activity in which the spectator is duped by what she sees, her responses passively tutored by the unfolding images and sounds on the movie screen, cognitive film theorists insist that film spectatorship is a rationally motivated and informed action. Again, the motivation of the cognitive theorist is to apply the best available theory to understanding film spectatorship, and the cognitive theorist assumes that this theory is not one in which film spectatorship is considered to be essentially irrational. Put this way, the assumptions underlying cognitive film theory-looking at films is like looking at other things, watching movies is not an essentially irrational act-sound like common sense. However, cognitivism becomes a theory only when the theory is produced: what kind of understanding of 'rational action does the cognitivist propose? How does the cognitivist explain the way that 'we see and comprehend events and processes in reality'? What kind of 'fit' does the theorist seek between the general theory and an explanation of motion picture perception and cognition? Cognitive film theorists pose different kinds of answers to these questions, and these answers must be examined at the level at which they are proposed. In this chapter, I undertake a conceptual investigation, following Wittgenstein, of the work of two of the most important and influential cognitive film theorists. The primary focus of my investigation is the cognitive theory of narrative film proposed by the distinguished film scholar, David Bordwell, who founded the cognitive study of cinema I argue that Bordwell's cognitive theory of film exemplifies the conceptual confusion that inheres in the cognitive psychology upon Which he draws. I go on to discuss aspects of the cognitive film theory of philosopher Gregory Currie, and examine key respects in which it contradicts and challenges Bordwell's theory of film from within the framework of cognitivism.

Research paper thumbnail of Hitchcock, Cavell, and the Epistemology of the Closet

This paper was originally written in 2005 for a conference and book. It was revised in 2009, but ... more This paper was originally written in 2005 for a conference and book. It was revised in 2009, but it was not in the end accepted for publication. I surmise that this was because it was too critical of Cavell rather than for any scholarly deficiencies. A shorter version of this essay was published as “Hitchcock and Cavell” in the Journal of Aesthetics and Art Criticism 64, Number 1 (Winter 2006), Special Issue on Film as Philosophy. However, this version did not include what I considered the key final section of the essay for reasons of space. Rather than the essay be lost forever, I have decided to post it online. My thanks to Malcolm Turvey for his penetrating criticisms of an early draft. Thanks too, to Murray Smith and Thomas Wartenberg for their comments on the submission to JAAC. Finally, I am grateful to David Greven for his comments on the final section that prompted some small, but important revisions prior to this posting. The errors that undoubtedly remain are my own. I invite readers to consult Greven’s book, Psycho-Sexual, on the themes of the final section.

Research paper thumbnail of Art Machines Past and Present (2020) Exhibition Catalogue

Art Machines: Past and Present, 2020

The is the catalogue of the exhibition Art Machines: Past and Present which I curated with Jeffre... more The is the catalogue of the exhibition Art Machines: Past and Present which I curated with Jeffrey Shaw at the Indra and Harry Banga Gallery City University Nov 2020–May 2021

Research paper thumbnail of Art Machines (2019)

Art Machines: Proceedings of the International Symposium on Computational Media Art, 2019

There are the complete proceedings of the Art Machines Conference which took place at the School ... more There are the complete proceedings of the Art Machines Conference which took place at the School of Creative Media City University Jan 2019.

Research paper thumbnail of Art Machines 2 (2021)

Art Machines 2: Proceedings of the International Symposium on Machine Learning and Art, 2021

These are the complete proceedings of Art Machines 2 which took place at the School of Creative M... more These are the complete proceedings of Art Machines 2 which took place at the School of Creative Media, City University in June 2021

Research paper thumbnail of Islamicate Cultures of Bombay Cinema (Tulika Books)