School of Arts

 

About

I am currently the Head of Film and a member of the executive committee for the Centre for Film and Media Research. I have a PhD in Cinema Studies from New York University and before coming to Kent in 2008 I taught at NYU, Vassar College, and the University of Chicago.

I have three main areas of research: film authorship, criticism, and the horror genre. I currently teach two modules related to some of these research areas: Film Criticism and Film Genre (Horror). See Teaching.

My latest monograph, Performing Authorship: Self-Inscription and Corporeality in the Cinema (I.B. Tauris, 2013), examines how performance theory can illuminate the controversial figure of the film author.

My most recent book is a co-edited collection (with Mattias Frey) titled Film Criticism in the Digital Age (Rutgers University Press, 2015), and it explores the effects of the Internet on the function and the status of the film critic. 

I also have a book on Charlie Kaufman published in Portuguese (O jogo da reinvenção: Charlie Kaufman e o lugar do autor no cinema, Alameda, 2008).

I am currently researching alternative ways of understanding the relationship between horror films and reality, with a focus on mock found-footage horror movies and ghost hunting reality shows (see Publications).

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Publications

Also view these in the Kent Academic Repository

Article
Sayad, C. (2016). Found-Footage Horror and the Frame's Undoing. Cinema Journal [Online]. Available at: https://doi.org/10.1353/cj.2016.0003.
Sayad, C. (2016). Variations on the Author. Film Quarterly [Online] 69:12-18. Available at: http://dx.doi.org/10.1525/FQ.2016.69.3.12.
Sayad, C. (2016). Cameras and Ghosts. Cinema Journal [Online] 55. Available at: http://www.cmstudies.org/?page=CJ_after552_sayad.
Sayad, C. (2014). Eduardo Coutinho's Films Were About Gaps and Creative Frictions. Mediático [Online]. Available at: http://reframe.sussex.ac.uk/mediatico/2014/02/10/coutinho/.
Sayad, C. (2011). The Auteur as Fool: Bakhtin, Barthes, and the Screen Performances of Woody Allen and Jean-Luc Godard. Journal of Film and Video [Online] 63:21-34. Available at: http://dx.doi.org/10.5406/jfilmvideo.63.4.0021.
Sayad, C. (2010). Flesh for the Author: Filmic Presence in the Documentaries of Eduardo Coutinho. Framework: The Journal of Cinema and Media [Online] 51:134-150. Available at: http://dx.doi.org/10.1353/frm.0.0061.
Sayad, C. (2006). Authorship in the Interstices of History, Biography, Reality and Memory: Histoire(s) du cinéma and Cabra Marcado para Morrer. Significação: Revista Brasileira de Semiótica:139-172.
Sayad, C. (2004). Deconstructing God. Reverse Shot [Online] Spring. Available at: http://www.reverseshot.com/legacy/spring04/crimes.html.
Book section
Sayad, C. (2015). Critics Through Authors: Dialogues, Similarities, and the Sense of a Crisis. in: Sayad, C. and Frey, M. eds. Film Criticism in the Digital Age. New Brunswick, NJ: Rutgers University Press, pp. 41-59.
Sayad, C. (2015). Afterword. in: Sayad, C. and Frey, M. eds. Film Criticism in the Digital Age. New Brunswick, NJ: Rutgers University Press, pp. 243-247.
Sayad, C. (2014). Narrative, Visibility and Trauma in Bus 174. in: Navarro, V. and Rodriguez, J. C. eds. New Documentaries in Latin America. Palgrave McMillan.
Sayad, C. (2013). The Stand-up Auteur. in: A Companion to Woody Allen. Wiley-Blackwell.
Sayad, C. (2008). Um cinema desenquadrado: a política da linguagem e a linguagem da política em Duas ou três coisas que eu sei dela. in: Estudos de cinema SOCINE IX. Sao Paulo: Annablume. Available at: http://www.livrariaresposta.com.br/v2/produto.php?id=5075.
Sayad, C. (2006). Mutant Authors and Cross-Pollinating Texts in Charlie Kaufman's Adaptation. in: Housel, R. ed. From Camera Lens to Critical Lens: A Collection of Best Essays on Film Adaptation. Cambridge: Cambridge Scholars Press, pp. 123-123.
Conference or workshop item
Sayad, C. (2016). Millennial Ghosts: Factual Representations of the Supernatural. in: Religious Studies Research Seminar Series.
Sayad, C. (2015). Playing and the Loose Boundaries Between Inner and Outer Selves. in: World Cinema and the Essay Film.
Sayad, C. (2015). Monsters and Everyday Life. in: Screen Studies Conference.
Sayad, C. (2015). Reality TV, Mock Found-Footage, and Horror's Changing Relationship to Reality. in: King's College Research Seminar.
Sayad, C. (2014). Discussion of Performing Authorship. in: The Self-Portrait in the Moving Image.
Sayad, C. (2014). Framing the Found Footage Horror Film. in: Society for Cinema and Media Studies Conference 2014.
Sayad, C. (2014). Do Critics Need Authors? in: Critica 2.0.
Sayad, C. (2013). Shifting Approaches. in: Society for Cinema and Media Studies Conference 2013.
Sayad, C. (2011). The Persistence of Auteurism in Brazilian Cinema. in: Issues of Auteurism in Latin American Cinema - SCMS.
Sayad, C. (2010). Documenting Presence: the author, the body and the nation in the films of Eduardo Coutinho. in: Society for Cinema and Media Studies 2010.
Sayad, C. (2009). A Cinema of Presence: the author and the body in the documentaries of Eduardo Coutinho. in: Performing Presence.
Sayad, C. (2009). Godard and the frame: the author as trespasser. in: Film Research Seminar.
Sayad, C. (2009). The Auteur as Fool. in: Screen Studies Conference: 50th Anniversary.
Sayad, C. (2009). Border crossing, corporality and performance: a study of authorial self-inscription in the cinema. in: Centre for World Cinemas WUN series.
Sayad, C. (2007). Um cinema desenquadrado: a política da linguagem e a linguagem da política em Duas ou três coisas que eu sei dela. in: XI Encontro Internacional Socine: Sociedade Brasileira de Estudos de Cinema e Audiovisual.
Sayad, C. (2007). With a Little Help from Fiction: Performing for Life in Bus 174. in: Society for Cinema and Media Studies Conference 2007 (Chicago).
Sayad, C. (2006). Performance as shortcut: truth's paths in Santo Forte and Bus 174. in: XIII Visible Evidence Conference.
Sayad, C. (2005). The Issue of Authorship in Adaptation. in: Popular Culture Association/American Culture Association.
Sayad, C. (2005). Fresh Flesh for the Author: The Effects of Directorial Self-Inscription in the Films of Jean-Luc Godard and Eduardo Coutinho. in: Society for Cinema and Media Studies Conference 2005 (London).
Book
Sayad, C. (2013). Performing Authorship: Self-inscription and Corporeality in the Cinema. I.B. Tauris.
Sayad, C. (2008). O jogo da reinvenção: Charlie Kaufman e o lugar do autor no cinema . Sao Paulo: Alameda.
Edited book
Frey, M. and Sayad, C. eds. (2015). Film Criticism in the Digital Age. New Brunswick, NJ: Rutgers University Press.
Review
Sayad, C. (2010). Review of After Hitchcock: Influence, Imitation, and Intertextuality, David Boyd and R. Barton Palmer (eds.). Journal of Adaptation in Film and Performance [Online] 3:119-121. Available at: http://dx.doi.org/10.1386/jafp.3.2.213_4.
Sayad, C. (2005). Traumas paralelos. Tropico [Online]:1-1. Available at: http://www.revistatropico.com.br/tropico/html/textos/3082,1.shl.
Sayad, C. (2005). A saga de Garganta Profunda. Tropico [Online]:1-1. Available at: http://www.revistatropico.com.br/tropico/html/textos/2540,1.shl.
Sayad, C. (2005). Um cinema hiperbólico. Tropico [Online]:1-1. Available at: http://www.revistatropico.com.br/tropico/html/textos/2577,1.shl.
Sayad, C. (2005). A história sem fim. Tropico [Online]:1-1. Available at: http://www.revistatropico.com.br/tropico/html/textos/2522,1.shl.
Sayad, C. (2004). Da poesia à cafajestagem. Tropico [Online]:1-1. Available at: http://www.revistatropico.com.br/tropico/html/textos/2476,1.shl.
Total publications in KAR: 42 [See all in KAR]

 

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Teaching

FI585/FI600: Film Criticism
This module introduces students to the history and theory of film criticism, stressing the coexistence of different approaches to the analysis, evaluation and appreciation of film. The module also contains a practical aspect, offering students the opportunity to write critical pieces on the films screened for the class. In addition to traditional lectures and seminars, sessions are devoted to writing and to analysing fellow students' work. Participants are also encouraged to reflect critically on different media of film criticism (newspapers, magazines, academic journals, the internet) and on the current state of film criticism.

FI595/FI615: Film Genre (Horror)
This course covers the production of American horror films from the 1960s to the present, and combines aesthetic and narrative analysis with the history of the genre. We look at horror from a variety of approaches, including psychoanalytical, feminist, and reception theories. The historical portion of the course examines horror?s growing commercial viability, the proliferation of subgenres, the relaxing of censorship, and the growing attention of academics. Topics include gender politics, representations of sexuality, political commentary, allegory and the film's connection with a surrounding reality.

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Research

My latest monograph is titled Performing Authorship: Self-Inscription and Corporeality in the Cinema (I.B. Tauris, 2013). It proposes a different take on film authorship by examining directors who inscribe themselves into their films, either openly performing or somehow evoking an authorial function in various modes: fiction (mainly comedy), essay and documentary films. 

I am also interested in the current state of film criticism. I co-edited a collection on the topic with Mattias Frey titled Film Criticism in the Digital Age (Rutgers University Press, 2015), and in 2012 I co-organised a symposium that discussed the role of the critic in film, theatre, art and literature.

My other area of interest is the connection between horror films and reality. I explore this in an article titled ‘Found-Footage Horror and the Frame’s Undoing,’ forthcoming in Cinema Journal 55.2 (February 2016).

In Brazil I published a book on Charlie Kaufman that accounts for his unusual status as an auteur-screenwriter prior to his directorial debut.

I am also a member of the executive committee for the Centre for Film and Media Research and co-editor of the Film Studies journal.

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Supervision

I'm interested in supervising students working on the following areas: horror movies, film authorship, film criticism, the essay film, theories of national and transnational cinemas, realism, the French New Wave, Latin American cinema (especially Brazilian), and American cinema from the postwar to the present.

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Last Updated: 07/02/2017