Davina Quinlivan – författare

‘I was so thirsty for the prize of academia, so thrilled to defy the fates, that I suffocated my own history and culture, my Burmese heritage and my mother’s language. By doing this, I also possessed my ancestors and made them dance to the tune of Imperialism. How could I be so wrong?’After two decades of academic research and undergraduate teaching Davina Quinlivan, and the world of university education, were approaching crisis; teaching online, ticking boxes for other people's diversity criteria, stuck, like so many others, in a cycle of fixed term contracts. Yet as a child of Anglo-Burmese parents, growing up in West London, academia had promised a way out. Something better.This is her powerful, compelling story of fragmenting and rebuilding from the inside out, one that is filled with the voices of both Burma and Southall. Haunted by the ghosts of colonialism, Davina Quinlivan beautifully lays bare our blind spots as we grapple with decolonisation and the hypocrisies within our institutions of education.

How can the cinema articulate the interstices between visibility and invisibility, and how are such notions of absence and the unseen implicated in the film experience? This study considers the locus of the breathing body in the film experience and its implications for the study of embodiment in film and sensuous spectatorship. Quinlivan puts forward a mode of critical engagement with film shaped by the foregrounding of the human body in the filmic diegesis and the viewing experience. The book's foregrounding of the human body as an, importantly, breathing body in film, coupled with its fresh engagement with continental philosophy, Post-Structuralist Film Theory and Contemporary Western Cinema, makes a unique and valuable contribution to the field.Key features: Case studies are taken from the work of major directors, including David Cronenberg, Atom Egoyan and Lars von TrierKey concepts explored are filmic space (air and the elemental in film), corporeality (bodies on screen and the film itself as a breathing body) and inter-subjectivity (community and sociality)Makes a notable contribution to the study of film sound and haptic perception

How does film affect the way we understand crises of the body and mind and how does it manifest other kinds of crises levelled at the spectator? This book offers vital scholarly analysis of the embodied nature of film viewing and the ways in which film deals with the question of loss, the healing body and its material registering of trauma.

How does film affect the way we understand crises of the body and mind and how does it manifest other kinds of crises levelled at the spectator? This book offers vital scholarly analysis of the embodied nature of film viewing and the ways in which film deals with the question of loss, the healing body and its material registering of trauma.

How does film affect the way we understand crises of the body and mind and how does it manifest other kinds of crises levelled at the spectator? This book offers vital scholarly analysis of the embodied nature of film viewing and the ways in which film deals with the question of loss, the healing body and its material registering of trauma.

Examines the work of British director Joanna Hogg from a film-philosophy perspective