Lisa Coulthard holds a Ph.D. from the University of Toronto. Her main research falls into the areas of film theory and violence. She is particularly interested in film sound and violence, contemporary American and European cinemas, continental philosophy and Lacanian theory. Currently writing a book titled The Super Sounds of Quentin Tarantino, she has presented her work at dozens of conferences, has many articles published or forthcoming in major journals and edited collections and is on the editorial board for The International Journal of Zizek Studies.

RECENT REFEREED PUBLICATIONS (since 2007)

  • “Uncanny Horrors: Male Rape in Bruno Dumont’s Twenty-Nine Palms.The Dread of Difference: Gender and the Horror Film 2nd edition.  Ed. Barry Keith Grant (University of Texas Press). 2015 (reprint).
  • “Desublimating Monstrous Desire: the Horror of Gender in New Extremist Cinema.”  Journal of Gender Studies,  2015. (with Chelsea Birks).
  • “The Violence of Silence: The Provocation of Mutism in the Cinema of Michael Haneke.” Studies in European Cinema 9. 2&3 (2013): 87-97.
  • “Dirty Sound: Noise in New Extremism.” Oxford Handbook of Sound and Image in Digital Media.  Eds. Amy Herzog, John Richardson, Carol Vernallis. New York:  Oxford University Press, 2013. 115-126.
  • “From a whisper to a scream: Music in the Films of Michael Haneke.” Music and the Moving Image 5.3 (Fall, 2012): 1-10.
  • “Haptic Aurality: Resonance, Listening and Michael Haneke.” Film-Philosophy 16.1 (2012): 16-29.
  •  “Inglourious Music: Revenge, Reflexivity and Morricone as Muse in Inglourious Basterds.” Quentin Tarantino’s Inglourious Basterds: A Manipulation of Metacinema. Ed. Robert von Dassanowsky. London: Continuum Press, 2012: 57-70.
  • “The Attractions of Repetition: Tarantino’s Sonic Style.”  Music, Sound and Filmmakers: Sonic Style in Cinema. Ed. James Wierzbicki. New York: Routledge, May 4, 2012: 165-174.
  •  “’Violence Makes Victims of us all’: Pathos, Vengeance and the politics of Clint Eastwood’s Mystic River.” European Journal of American Culture. 30.1 (Spring 2011): 43-55.
  • “Negative Ethics: The Missed Event in the French Films of Michael Haneke.” Studies in French Cinema 11.1 (2011): 71-88.
  •  “Ethical Violence: Suicide as Authentic Act in the Films of Michael Haneke.” The Cinema of Michael Haneke: Europe Utopia. Eds. Ben McCann and David Sorfa. New York: Columbia University Press, May 2012: pp 1-27.
  • “Torture Tunes: Tarantino, popular music and new Hollywood Ultraviolence.”Popular Music and Multimedia. Ed. Julie McQuinn. London: Ashgate,2011: 56-64. (reprint).
  • “Violent Aurality: Listening to New French Extremism.”  The New Extremism in Cinema: From France to Europe. Eds. Tanya Horeck and Tina Kendall. Edinburgh: Edinburgh UP, 2010. 180-191.
  • “The Scream of Rape: Bruno Dumont’s Twenty-Nine Palms.” Rape in Art Cinema. Ed. Dominique Russell. London, UK: Continuum Press, 2010. 171-185.
  • “Listening to Silence: The Films of Michael Haneke.” Cinephile (May 2010): 18-24.
  • “Desublimating Desire: Courtly Love and Catherine Breillat.”  Journal for Cultural Research 14.1 (January 2010): 57-69.
  • “Torture Tunes: Tarantino, Popular Music and New Hollywood Ultraviolence.”Music and the Moving Image 2.2 (Summer 2009): 1-7.
  • “Uncanny Memories: Stan Douglas, Subjectivity and the Cinema.” Scope: an online journal of film and tv studies 12 (October 2008): 1–14 (online journal).
  • “Killing Bill: Rethinking Feminism and Film Violence.” Interrogating Postfeminism: Gender and the Politics of Popular Culture. Eds. Yvonne Tasker and Diane Negra. Durham, NC: Duke UP, 2007. 153-175.

OTHER PUBLICATIONS

  • “Quentin Tarantino.” Oxford Bibliographies Online: Cinema and Media

Studies. Series Editor: Krin Gabbard. October, 2012.

  •  “’Let’s Get Stinko’: Melodrama and the Mundane in Todd Haynes’s Mildred Pierce.” FLOWTV journal. University of Texas, Austin. April 22, 2011.
  • “Drunk History and Displaced Vocality,” FLOWTV journal, University of Texas, Austin, February, 2011.
  • “Subjectivity as stand-in: display and displacement in Robert Arndt’s Placeholder,” Artspeak Postscript, March, 2011.
  • “Imitation and Life: Ming Wong, Pastiche and Melodramatic Affect.” Portrait. Ed. Jenifer Papararo.  Vancouver: Contemporary Art Gallery (June 2010). 57-65.
  •  “The Hotness of Cold Opens: Breaking Bad and the Serial Narrative as Puzzle,”FLOWTV journal, University of Texas, Austin, November, 2010.
  • “We’re Gonna Need a Montage: Musical Cliche and the CSI franchise, ” FLOWTVjournal, University of Texas, Austin, September, 2010.
  • “That’s not blood, that’s music: Dexter’s serial musicality,” FLOWTV journal, University of Texas, Austin, July 2010.
  • “Familiarity Breeds Desire: Seriality and the Televisual Title Sequence,” FLOWTVjournal, University of Texas, Austin, July 2010.
  • “Suicidal Effects: Michael Haneke’s Seventh Continent.” Metro Cinema(special edition on the films of Michael Haneke), ed. William Beard (March 2009): 14-18.

PROFESSIONAL SERVICE (Selected)
Chair of the Editorial Board and Managing Editor of the Canadian Journal of Film Studies
Editorial Board, The International Journal of Zizek Studies
Editorial Board, The Soundtrack
Green College Faculty Council
BA and MA advisor, 2006-2010

Lisa Coulthard holds a Ph.D. from the University of Toronto. Her main research falls into the areas of film theory and violence. She is particularly interested in film sound and violence, contemporary American and European cinemas, continental philosophy and Lacanian theory. Currently writing a book titled The Super Sounds of Quentin Tarantino, she has presented her work at dozens of conferences, has many articles published or forthcoming in major journals and edited collections and is on the editorial board forThe International Journal of Zizek Studies.