Film Sound; Film Theory - particularly issues of spectatorship; Contemporary Art Cinema; European Cinema; Phenomenology; Film and Philosophy

I am an interdisciplinary researcher specialising in the critical study of sound, embodiment, and sensory experience in contemporary cinema and media. My work investigates how auditory and visual practices shape human perception, attention, and narrative, with a particular focus on political questions surrounding identity, migration, disability, historical and personal memory, and the ethics of representation. Via sound, I argue for the role of sensory experience in opening new modes of political and ethical engagement with others. Bridging film theory, philosophy, and cultural studies, my research uncovers how technology and sensory practices contribute to rethinking the relationship between bodies, communities, and global sociopolitical realities.

My book Resonant Bodies in Contemporary European Art Cinema (Edinburgh University Press, 2022) offers a bold exploration of sound that positions listening and spectatoship as a radical form of attention—redefining how we think, perceive, and engage ethically with bodies, borders, and the screen.

I have published widely in journals such as Screen, Alphaville, Film Philosophy, French Sreen Studies and the peer-reviewed video essay journal [in]Transition. Recent publications have examined:

- how The Zone of Interest strategically manipulates ambient sound to expose the ethical and political stakes of listening in representing the Holocaust in an age defined by the economy of attention. 

- how cultural narratives of dementia in cinema reflect global anxieties around ageing, using interdisciplinary insights from film, neuroscience, and ethics to challenge reductive models of memory loss and reframe care, identity, and attention in an era of demographic transformation.

- how feminist filmmakers use of noise might redefine auditory engagement with the pornographic, challenging conventional representations of the female body and pleasure to reveal new dimensions of intimacy, realism, and spectatorship.

I am the editor of the special issue 'Foley Sound: New Theories and Approaches', published in The Soundtrack 2024. The special issue brought together, for the first time, interdisciplinary experts to position Foley sound as an underexamined but essential cinematic practice. It defines an emerging interdisciplinary field exploring new theories, methods, and shared questions that reshape how we understand sound, labour, and sensory design.

My research has been nominated for and won numerous awards and prizes including BAFTSS Award for Best First Monograph (2023), Film Philosophy's Annual Article Award (2021) and the Susan Hayward prize for Best Article published in Studies in French Cinema (2018). My video essay Mediated Auscultation (2021) received 4 nominations for Best Video Essay of 2021 in Sight and Sound.