School of Languages, Linguistics and Film

Dr Jenny Chamarette, MA MPhil PhD


Senior Lecturer in Film Studies

Telephone: +44 (0)20 7882 5632
Room Number: Arts One 1.30


I am currently Director of Graduate Studies for the department, and am Co-Investigator on a large AHRC grant, ‘The Legacies of Stephen Dwoskin’s Personal Cinema’ (£969,985,  2018-2021). This is a collaborative project with academics at the Universities of Reading, Glasgow and Sheffield, the British Film Institute and the LUX, incorporating film history, embodiment and disability studies, fine art practice and the digital humanities. Dwoskin was a multidisciplinary artist who was both one of the founders of the London Filmmaker’s Co-Operative (now the LUX), and an early adopter of digital film.

I work on two distinct areas in my research: one is on orientations of phenomenology and embodiment, including film-phenomenology, feminist phenomenologies, disability studies and critical race studies. My first monograph, Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema (Palgrave Macmillan: 2012), and my subsequent work on feminist film phenomenologies and complex embodiment relate to this. In 2018 I joined the editorial board of MAI: Journal of Feminism and Visual Culture. I have written extensively on female filmmakers and artists such as Agnès Varda, Chantal Akerman, Shirin Neshat and Gillian Wearing, and transcultural and intermedial filmmakers such Abbas Kiarostami, Philippe Grandrieux and Elia Suleiman, discussing documentary, fiction and hybrid film, as well as artist’s moving image and installation.

My other area of research is on the intermedial relationships between the moving image and archives, museums and other cultural sites. Between 2015 and 2017 I was a member of the AHRC-funded International Research Network on Film and the Other Arts: Intermediality, Medium-Specificity, Creativity on this topic. My next monograph, Cinemuseology: Museum Vitrines, Digital Screens, and Cultural Politics examines this subject, and I have been invited to speak internationally on ethnographic film, performance and live art, and moving image installation in museum contexts.

Art writing and creative non-fiction are ongoing interests, and they go hand in hand with my work as a curator and programmer, where I have collaborated at the Southbank Centre, King’s College London, and the Whitechapel Gallery. I have collaborated with artists, writers, poets and curators including So Mayer, Aura Satz, Daria Martin, Anna Cady, Ricarda Vidal, Helen Sear, Gareth Evans, Chris McCabe, and many others in the exhibitions and programmes I have worked on.

From 2017-18 I was the second ever Senior Academic Lead for Equality and Diversity at Queen Mary, and was extensively involved in reviewing EDI governance, targets and strategy at Queen Mary, which have subsequently been wholly restructured. I still advise from time to time on EDI matters at institutional and local level.

I welcome applications for PhD proposals with interests in film-phenomenology, gender, disability and embodiment, experimental cinema, non-fiction and artist's moving image, curation and programming, non-Anglophone transcultural and intermedial cinema, practice-based research, and archives/museums/galleries.


FLM511 The Visual Essay

FLM509 Research Methods (Film)

FLM5205 Film Curation

FLM610 Cinemuseology: Theorising Cinema and the Museum

FLM6202 Film Research Project

MA Film Studies

Current PhD supervision:

Vicki Thornton: ‘Pre-mediated, Mediated, Remediated: Site, Cinematic Memory and Reenactment in Artist’s Moving Image’, co-supervised with Steven Eastwood

Maia Conran: ‘Offline-Site: site in expanded cinema after the Internet’, co-supervised with Steven Eastwood


Research Interests:

  • transcultural art cinema and artist's moving image
  • film-phenomenology
  • affect and embodiment
  • curatorial practice
  • intermediality
  • installation art
  • cultural institutions



  • ‘Stephen Dwoskin: An Intermedial Life’ co-authored w/ Rachel Garfield, Henry Miller, Lucy Reynolds and Darragh O’Donohue in Lucìa Nagib and Stefan Solomon (eds) The Moving Form of Film: Exploring Intermediality as a Historiographic Method (8,000 word book chapter, 2020/1)
  • ‘Honour’ in Theano Petrou and Mathelinda Nabugodi (eds.) Critical Creativity, Oxford: Peter Lang, (6000 word book chapter, 2020)
  • ‘Godard the curator? Exhibition, agency and institutional critique in film and contemporary art’ (10,000 word article, 2020)


  • Cinemuseology: Museum Vitrines, Digital Screens, and Cultural Politics (2020) Phenomenology and the Future of Film: Rethinking Subjectivity beyond Contemporary French Cinema (Basingstoke: Palgrave Macmillan, 2012)
  • Guilt and Shame: Essays in French Literature, Thought and Visual Culture Co-edited with Jennifer Higgins (eds.) (Oxford: Peter Lang, 2010)

Articles, book chapters and reviews

  • ‘Ageless: Akerman’s Avatars’, in Marion Schmid & Emma Wilson (eds.) Chantal Akerman: Afterlives (Oxford: Legenda, 2019) 54-65 (12pp.)
  • ‘Overturning Feminist Phenomenologies: Disability, Complex Embodiment, Intersectionality, and Film’, in Christy Landry & Sara Cohen Shabot (eds.)
  • Rethinking Feminist Phenomenology: Theoretical and Applied Perspectives (Lanham, Maryland: Rowman & Littlefield, 2018) 187-208 (21pp.)
  • ‘Embodying Spectatorship: From Phenomenology to Sensation’, in The Routledge Companion to Cinema and Gender, E. Ann Kaplan, Patrice Petro, Dijana Jelača, & Kristin Hole (eds.) (London: Routledge, 2017) 311-321 (11pp.)
  • ‘Letting go and finding voice: AIR’, Cine-Files: A Scholarly Journal of Film Studies, 10 (Spring 2016) (2770 words)
  • ‘The Breath Between: Art, Life, Mortality and AIR’, Article published by Life of Breath (2016),
  • ‘Visible and Invisible Institutions: Cinema in the French Art Museum’ in Michelle Henning (ed.) International Handbook of Museum Studies Vol. 4: Museum Media (Oxford: Wiley-Blackwell, 2015) 95-119 (25pp.)
  • ‘The “New” Experimentalism? Women and/in/on film’ in Laura Mulvey & Anna Backman Rogers (eds.) Feminisms (Amsterdam: Amsterdam University Press, 2015) 125-140 (16pp.)
  • ‘Embodied worlds and situated bodies: Feminism, Phenomenology, Film Theory’ in Signs: Journal of Women and Society 40:2 (2015), 289-295 (9 pp.)
  • Review of Jean-Pierre Boulé and Ursula Tidd (eds.) Existentialism and Contemporary Cinema: A Beauvoirian Perspective (Oxford: Berghahn Books, 2012), French Studies 69:2 (2015), 283-284
  • ‘Absurd Avatars, Transcultural Relations: Elia Suleiman, Franco-Palestinian Filmmaking and Beyond’, Modern and Contemporary France, 22:1 (2014), 85-102 (18 pp.)
  • ‘Transitional borders and intermedial spectacle: Kiarostami and Opera, between France and Iran’, Studies in French Cinema, 13:3 (2014), 257-271 (15 pp.)
  • ‘Between women: gesture, intermediality and intersubjectivity in the installations of Agnès Varda and Chantal Akerman’, Studies in European Cinema, 10:1 (2013), 45-57 (13 pp.)
  • 'Cinémathèque Annotations on Film: Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles', Senses of Cinema 67 (2013) (
  • ‘The Disappearing Work: Chantal Akerman’s Installations and Phenomenologies of the Ephemeral’, Contemporary French and Francophone Studies: SITES, 17:3 (2013), 45-57 (13 pp.)
  • ‘Translation Games’ (co-authored with Ricarda Vidal), In Other Words: The Journal for Literary Translators, 42 (2013) , pp72-3 (2 pp.)
  • Review of Martine Beugnet, Cinema and Sensation (Edinburgh: EUP, 2012), French Studies, 67:4 (2013), 588-589
  • Review of Isabelle McNeill, Memory and the Moving Image (Edinburgh: EUP, 2010), Journal of European Studies 43:4 (2013), 9-10
  • Review of David Martin-Jones, Deleuze and World Cinemas (London: Continuum, 2010), Journal of European Studies, 42:3 (2012), 6-7
  • ‘“Art Which Speaks for Us”: Anna Cady and Louisa Makolski’s It Works Both Ways project’, Kunstfilmtag catalogue, Düsseldorf, 2012
  •  ‘Shadows of Being in Sombre: Archétypes, Wolf-men and Bare life’ in Tanya Horeck & Tina Kendall (eds.) The New Extremism in Cinema: From France to Europe (Edinburgh: EUP, 2011) 69-81 (12pp.)
  • ‘Spectral Bodies, Temporalised Spaces: Agnès Varda’s Motile Gestures of Mourning and Memorial’, Image (&) Narrative (2011), 12:2, 31-49 (19 pp.)
  • ‘Threatened corpo-reality: decentring and dissolving subjectivities in Philippe Grandrieux's La Vie nouvelle’ in G. Evans & A. Kay (eds.) Threat: Essays in French Literature, Thought and Visual Culture (Oxford: Peter Lang, 2010) 105-121 (17pp.)
  • Memory, Representation of Time and the Cinema’ in A. Elsner, O. Smith & P. Collier (eds.) Anamnesia: Private and Public Memory in Modern French Culture (Oxford: Peter Lang) 243-256 (14pp.)
  • ‘Cinémathèque Annotations on Film: Les Statues meurent aussi’, Senses of Cinema, 52 (2009)(
  • ‘A Short Film About Time: Dynamism and Stillness in Chris Marker’s La Jetée’ in L. McMahon and E. Lindley (eds.) Rhythms (Bern: Peter Lang, 2008) 217-231 (15.pp)
  • ‘Flesh, Folds and Texturality: Thinking Visual Ellipsis via Merleau-Ponty, Hélène Cixous and Robert Frank’, Paragraph, 30:2 (2007) 34-49 (16 pp.)