School of Arts

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Dr Richard Misek

Senior Lecturer




Richard Misek is a film-maker, montagist, and theorist. He studied English Language and Literature at the University of Oxford, and was a Frank Knox Fellow at Harvard University. He subsequently received an MA in Film and Television Studies from the University of Warwick, and a PhD in Screen Studies from the University of Melbourne. 

His research and teaching interests encompass video technologies and aesthetics, editing and montage, remixing and copy culture, the essay film, artists’ film and video, and the interstices between film and digital media. As a practice-based researcher, he works across documentary, experimental film, and digital film studies to explore the poetics and politics of the moving image. His essay film Rohmer in Paris (2013) has screened at over twenty five film festivals on five continents, and at venues including the National Gallery of Art (Washington D.C.), the BFI and Barbican (London), and the Museum of Moving Image and Anthology Film Archives (New York). In June 2016, he curated ‘Indefinite Visions’, a series of events at the Whitechapel Gallery and Close Up Film Centre (London), bringing together international academics, film-makers and artists for presentations, conversations, and screenings on the indefinite and the illegible in experimental film and commercial cinema.

He is Principal Investigator on the ARHC Digital Transformations project, ‘The Audiovisual Essay: a digital methodology for film and media studies’. He is also a leading proponent of video essays and ‘videographic’ film studies. He believes in the combined power of word and image to create new knowledge.

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Also view these in the Kent Academic Repository

Misek, R. (2010). Chromatic Cinema: A History of Screen Colour. [Online]. Chichester, West Sussex: Wiley-Blackwell. Available at:
Misek, R. (2015). Trespassing Hollywood: Property, Space, and the "Appropriation Film." October (153):132-148.
Misek, R. and Cameron, A. (2014). Time-lapse and the projected body'. Moving Image Review and Art Journal [Online] 3. Available at:
Misek, R. (2014). Colour Films in Britain: the negotiation of innovation 1900-1955 by Sarah Street. Historical Journal of Film, Radio and Television 34:31-33.
Misek, R. (2010). Dead time: Cinema, Heidegger, and boredom. Continuum [Online] 24:777-785. Available at:
Misek, R. (2010). The 'look' and how to keep it: cinematography, postproduction and digital colour. Screen [Online] 51:404-409. Available at:
Misek, R. (2010). The invisible ideology of white light. New Review of Film and Television Studies [Online] 8:125-143. Available at:
Misek, R. (2008). Exploding Binaries: Point-of-View and Combat inThe Thin Red Line. Quarterly Review of Film and Video [Online] 25:116-123. Available at:
Misek, R. (2008). A Parallax View of 'Psycho'. International Journal of Zizek Studies [Online] 2. Available at:
Misek, R. (2007). Wrong Geometries in The Third Man. Rouge [Online]. Available at:
Book section
Misek, R. (2017). The Black Screen. In: Beugnet, M., Cameron, A. and Fetveit, A. eds. Indefinite Visions: CInema and the Attractions of Uncertainty. Edinburgh: Edinburgh University Press, pp. 38-52. Available at:
Misek, R. and Cameron, A. (2014). 'Modular Spacetime in the "Intelligent" Blockbuster: Inception and Source Code'. In: Buckland, W. ed. Hollywood Puzzle Films. Routledge.
Misek, R. (2012). Dead Time: Cinema, Heidegger, and Boredom. In: Vassilieva, J. and Verevis, C. eds. After Taste: Cultural Value and the Moving Image. Abingdon, New York: Routledge, pp. 133-142.
Misek, R. (2012). Mapping Rohmer: cinematic cartography in post-war Paris. In: Roberts, L. ed. Mapping Cultures: Place, Practice, Performance. Palgrave-Macmillan, pp. 68-84.
Misek, R. (2007). Last of the Kodak": Andrei Tarkovsky's Struggle With Colour'. In: Everett, W. ed. Questions of Colour in Cinema: From Paintbrush to Pixel. Peter Lang Publishing Group, pp. 161-168.
Misek, R. (2006). European Cinema: Face to Face with Hollywood by Thomas Elsaesser. Senses of Cinema:0-0.
Misek, R. (2005). Analogue Film, Digital Discourse. Film-Philosophy 9:0-0.
Conference or workshop item
Misek, R. (2018). Notes on Rohmer. In: Zomer Film College, Royal Belgian Film Archive.
Misek, R. (2018). Six of Seven Things I Know About The Video Essay.
Misek, R. (2017). Black White Colour. In: Experience Colours!. Available at:
Misek, R. (2017). All talk: Matias Piñeiro's verbal narratives. In: Games People Play: The Cinema of Matias Pineiro. Available at:
Misek, R. (2017). Why I 'pirate' films. In: TEDx.
Misek, R. (2016). Détournement. In: Forms of Criticism.
Misek, R. (2015). The Stolen Film. In: Cinematic Bricoleurs: Remixing, Restyling and Repurposing in Contemporary Filmmaking Practice. Available at:
Misek, R. (2015). 'Learning from Fair Use'. Besides the Screen: Piracy in Theory and Practice. In: Coventry University Disruptive Media Centre,.
Misek, R. (2015). The Black Screen. In: Indefinite Visions.
Misek, R. (2014). What is Montage?. In: European Network for Cinema and Media Studies Annual Conference.
Misek, R. (2013). The Death of Remix Cinema. In: RENEW.
Misek, R. (2013). The True Colours of the Universe. In: CHROMA Symposium, University of Florence.
Misek, R. (2013). Urban amnesia: development, destruction and documentation'. In: European Network for Cinema and Media Studies Annual Conference.
Misek, R. (2013). Remixing the City: public and private media space in Los Angeles Plays Itself. In: The Spectacular / Contested / Ordinary Media City Symposium.
Misek, R. (2012). The Algorithmic Image: screen savers, visualisers, and structuralist film'. In: European Network for Cinema and Media Studies Annual Conference.
Misek, R. (2011). Rohmer Remixed. In: Remix Cinema Symposium.
Misek, R. (2011). The Mortal Sensibility of Time-Lapse: Speed, Stillness, and Decay. In: Society for Cinema and Media Studies Annual Conference.
Misek, R. (2010). Mapping Rohmer: cinematic cartography and geo-tagging in post-war Paris. In: Mapping the City in Film.
Misek, R. (2009). Theorising Boredom. In: Screen Annual Conference.
Misek, R. (2009). Cinema's Imaginary Art History'. In: Colour and the Moving Image Conference.
Misek, R. (2009). Cinema's Imaginary Art History. In: European Network for Cinema and Media Studies.
Misek, R. (2009). Boredom, Boringness, and Badness'. In: B for BAD Cinema: Aesthetics, Politics and Cultural Value Conference.
Misek, R. (2009). Film Practice as Film Studies. In: Teaching Film Symposium. School of Modern Languages, University of Bristol.
Lewis-Smith, C. (2018). The Dancer and the Looking Glass.
Alharthi, W. (2015). Investigation into the Impact of Using Virtual Heritage to Depict the Historical City of Al Madinah.
Visual media
Misek, R. and Beugnet, M. (2017). In Praise of Blur. [DCP]. Ghent Film Festival. Available at:
Misek, R. (2017). The Black Screen. [DCP]. Alchemy Film and Moving Image Festival. Available at:
Misek, R. (2015). The Definition of Film. [Online video]. InTransition: Journal of Videographic Film & Moving Image Studies (2.2, 2015). Available at:
Misek, R. (2013). Rohmer in Paris. [Film]. Available at:
Misek, R. (2012). Mapping Rohmer: A Video Essay. [Video]. Available at:
Misek, R. (2018). "All I have to offer is myself": the film-maker as narrator. In: Vassilieva, J. and Williams, D. eds. Beyond the Essay Film: Subjectivity, Textuality and Technology. London, UK: Bloomsbury.
Total publications in KAR: 48 [See all in KAR]
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My current research focuses on exploring moving images through the use of moving images. For example, my feature-length essay film Rohmer in Paris (2013, 67’) uses the films of Eric Rohmer to explore how cinema maps screen space onto urban space. My video essay, The Definition of Film (2015, 8'), transforms Hollis Frampton’s experimental film Zorns Lemma into an online video, so exploring how video challenges our understanding of what constitutes a ‘film’. My current projects aim to extend the ‘found footage’ methodologies of my recent work into new forms including online video, gallery installation, and virtual reality. 

The above creative works form part of a broader research agenda focused on bridging the gap between film production and film studies. As well as making essayistic films and videos (including Mapping Rohmer, the first double blind peer-reviewed video essay to appear in a film journal), I am on the editorial board of InTransition: journal of audiovisual film studies, and am a leading advocate of practice-based film and media studies. My current AHRC project (‘The Audiovisual Essay: a digital methodology for film and media studies’) provides a forum for academics and artists to discuss the future of digital film studies, and is allowing a group of scholars to generate their first audiovisual research outputs. 

My practice-based research in turn feeds into my more traditional scholarly focus on the role of appropriation and creative transformation across film, media, and visual art. My recent writing focuses in particular on how ‘found footage’ film-makers and appropriation artists engage with visual property. My articles have been published in journals including OctoberScreen, The Quarterly Review of Film and Video, and Continuum, and in edited collections published by Routledge, Palgrave-Macmillan, and the AFI. I am also author of the first ever book-length history of colour in cinema, Chromatic Cinema (Wiley-Blackwell, 2010), which explores the uses and meanings of colour in film, from hand painting in early films to recent trends in digital colour grading.


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I supervise MA and doctoral dissertations, and welcome research proposals in arease including (but not limited to) transmedia, documentary film, video technologies and aesthetics, montage and collage, urban cinema.

I am particularly committed to practice-based research, and would welcome any media-focused projects that aim to utilise audiovisual and/or digital research methodologies.


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Last Updated: 22/11/2018