B.A. (UBC), M.A. (UBC), Ph.D. (University of Toronto)
Lisa Coulthard has been with the Department of Theatre and Film at the University of British Columbia since 2003. Her research focuses on the areas of cinematic violence, film philosophy, film sound, genre cinemas, action film, feminism, and violence in cinema and she has over forty articles and chapters published on topics related to these concerns. She recently completed a Social Sciences and Humanities Research Council of Canada Insight Grant on the study of sound and violence and currently holds a SSHRC Insight Grant studying the Fight Scene in cinema.
GRANTS AND AWARDS
Social Sciences and Research Council of Canada Insight Grant 2018-2022 “Between Blood and Data: Anatomy of the Post-Millennial Hollywood Fight Sequence”
Social Science and Research Council of Canada Insight Grant 2014-2019 “The Sounds of Violence: Sound and Cinematic Violence in the Digital Age”
University of British Columbia HSS Grants 2010, 2011, 2014, 2017, 2018, 2019 “Nordic Noir”; “European Film Violence”; “Forensic Femininity”; “Crime Tourism”; “Mapping Violence”, “Dark Tourism and Digitality”; “Crime Podcasting”
UBC Dean of Arts Research Award 2016
RECENT REFEREED PUBLICATIONS (since 2007)
Lisa Coulthard, Lindsay Steenberg. “Noir Tourism and the Black Dahlia Murder.” Capitalism, Crime, and Media in the 21st Century. Eds. Ewen, N., Grattan, A., Leaning, M., Manning, P. Palgrave MacMillan, 2021. Pp. 59-76.
Lisa Coulthard. “Fist to Face: Corporeal Listening and the Cinematic Punch.” The Oxford Handbook of Cinematic Listening. Ed. Carlo Cenciarelli. Oxford University Press, 2021. Pp. 357-365.
Lisa Coulthard, Chelsea Birks, “Divine Comedies: Post-Theology and Laughter in the Films of Bruno Dumont.” Film-Philosophy 24.1 (November 2019).
Lisa Coulthard, “The Listening Detective: Thinking Music, Gender, and Transnational Crime’s Affective Turn,“ Television and New Media 19.6 (2018): 553-568.
Coulthard, Horeck, Klinger,, McHugh,, “Introduction: Broken Bodies/ Inquiring Minds,” Television and New Media 19.6 (2018): 507-514.
Coulthard,, Horeck, Klinger,, McHugh,, “Broken Bodies/ Inquiring Minds,” Television and New Media 19.6 (2018): 507-587.
Lisa Coulthard, “Sonic Immersion and Screen Violence,” Routledge Companion to Screen Music and Sound. Eds. Miguel Mera, Ron Sadoff, Ben Winters. Routledge, 2017: 50-60.
Lisa Coulthard, “Acoustic Disgust: Sound, Affect and Cinematic Violence”, The Palgrave Handbook for Sound Design and Music in Screen Media, eds. Liz Greene and Danijela Kulezic-Wilson.Palgrave MacMillan, 2016: 183-193.
Lisa Coulthard, “’Great Artists Steal, They Don’t do Homages’: Quentin Tarantino,” MashUp the Birth of Modern Culture, Vancouver Art Gallery: Black Dog Publishing, 2015: 238-241.
Lisa Coulthard and Chelsea Birks, “Horrible Sex: The Sexual Relationship in New Extremism.” Sex and Storytelling in Modern Cinema. Ed. Lindsay Coleman. I.B.Tauris, 2015: 461-476.
“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.