Dr Allan Cameron
My core research focus is on time, technology and media aesthetics, with a strong orientation towards questions of memory and history. My other principal research areas are New Zealand cinema, Asian cinemas, media business practices and policies, and the horror genre. I published my first book Modular Narratives in Contemporary Cinema with Palgrave Macmillan in 2008, and my research has also appeared in a range of international publications, including Cinema Journal, Quarterly Review of Film and Video, Jump Cut and The Velvet Light Trap.
I joined the University of Auckland in 2010, after working at the Australian Film, Television and Radio School (AFTRS) as a researcher and lecturer in Screen Business and Screen Studies. My qualifications include a PhD in Cinema Studies from the University of Melbourne and an MA in Film and Media Studies from the University of Otago. I have also worked in the Canadian film industry in a script development role, following two years of studies in the film production programme at Simon Fraser University (Vancouver). A number of my short films and videos have screened at festivals in Australasia, Canada and Europe.
Research | Current
- Film history and theory
- Time, memory and the moving image
- Experimental film and video
- Narrative and genre
I am currently working on a research project entitled Face, Screen, Interface, which explores how the human face is represented and conceived via cinematic technologies, from the advent of the cinematic close-up, to the mid-century emergence of sound and colour, to 3D facial imaging in contemporary film. This project has been supported by a Marsden Fund Fast Start Award from the Royal Society of New Zealand.
I am also co-editing an anthology for Edinburgh University Press, together with Martine Beugnet (Université Paris VII). Entitled Indefinite Visions, this anthology deals with the aesthetics, concepts and politics of chaotic and obscured moving images, from film grain, blur and flicker to videographic 'ghosting' and the digital 'glitch'.
Teaching | Current
MEDIA 101 Film Studies
MEDIA 219 Memory and Media
MEDIA 326 Memory and Media
MEDIA 781 Research Project
Current PhD students/topics:
Jennifer Kirby - Post Plug-In Cinema: Intermediality and Generic Mutation in Contemporary Film
Yong Liu - The Positive Parallax: Narrative, Spectacle and the Aesthetics of Recession in Digital 3D Cinema
Larry May - The Production and Negotiation of Emergent Narrative in Multiplayer Video Games
Rebecca Weeks - American History by HBO (co-supervision with AP Jennifer Frost, History)
MFT Representative, School of Social Sciences Research Committee
Areas of expertise
Film history and theory
Time, memory and the moving image
Experimental film and video
Narrative and genre
Selected publications and creative works (Research Outputs)
- Beugnet, M., Cameron, A., & Fetveit, A. (Eds.) (2017). Indefinite visions: Cinema and the attractions of uncertainty. Edinburgh: Edinburgh University Press. Pages: 384.
- Cameron, A. (2017). Facing the glitch: Abstraction, abjection and the digital image. In M. Beugnet, A. Cameron, A. Fetveit (Eds.) Indefinite visions: Cinema and the attractions of uncertainty. Edinburgh: Edinburgh University Press.
- Cameron, A., & Misek, R. (2014). Time-lapse and the projected body. Moving Image Review & Art Journal (MIRAJ), 3 (1), 38-51. Related URL.
- Cameron, A., & Misek, R. (2014). Modular spacetime in the 'intelligent' blockbuster: Inception and Source Code. In W. Buckland (Ed.) Hollywood Puzzle Films (pp. 109-124). New York: Routledge.
- Cameron, A. (2013). Instrumental visions: electronica, music video, and the environmental interface. In C. Vernallis, A. Herzog, J. Richardson (Eds.) Oxford Handbook of Sound and Image in Digital Media (pp. 752-772). New York: Oxford University Press.
- Cameron, A. (2012). Colour, embodiment and dread in High Tension and A Tale of Two Sisters. Horror Studies, 3 (1), 87-103. 10.1386/host.3.1.87_1
- Cameron, A. (2012). History in real time: national trauma and narrative synchrony in United 93 and Out of the Blue. Quarterly Review of Film and Video, 29 (4), 365-376. 10.1080/10509201003667242
- Cameron, A. (2012). Zombie media: transmission, reproduction, and the digital dead. Cinema Journal, 52 (1), 66-89. 10.1353/cj.2012.0118