School of Arts

 

About

I've been at Kent since September 2003, having previously taught at the University of Aberdeen. I completed my PhD in Film Studies at the University of Nottingham in 1999. Prior to this, I had a career in Biochemistry, a discipline in which I also hold a PhD.

My research primarily focusses on digital media in cinema, animation and games. My interest lies in the capacity of these popular media to reveal contemporary concerns about technology, from how technology looks, what it does, and the ways in which we interact with it.

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Publications

 

Also view these in the Kent Academic Repository

Book
Wood, A. (2015). Software, Animation, and the Moving Image: What's in the Box?. [Online]. Basingstoke: Palgrave MacMillan. Available at: http://dx.doi.org/10.1057/9781137448859.0004.
Wood, A. (2007). Digital Encounters. Routledge, Taylor and Francis Group.
Wood, A. (2002). Technoscience in contemporary American films: beyond science fiction. Manchester University Press.
Book section
Wood, A. (2016). Digital Contours, Chases and Spaces: thinking about space through software. in: The Magic of Special Effects. University of Chicago Press (unconfirmed).
Wood, A. (2015). Inception’s Timespaces. in: North, D., Rehak, R. and Duffy, M. S. eds. Special Effects: New Histories, Theories, Contexts. BFI: Palgrave Macmillan, pp. 254-266.
Wood, A. (2013). Sonic Times in Inception and Watchmen. in: Vernalis, C., Richardson, J. and Herzog, A. eds. The Oxford Handbook of Sound and Image in Digital Media. Oxford: Oxford University Press, pp. 417-437.
Wood, A. (2008). Cinema as Technology: Encounters with an Interface. in: Furstenau, M., Mackenzie, A. and Bennett, B. eds. Cinema and Technology. Palgrave Press.
Wood, A. (2005). The Animated Queer. in: Griffiths, R. ed. Queer Cinema in Europe. Intellect.
Wood, A. (2005). Vectorial dynamics: transtextuality and complexity in the Matrix. in: Gillis, S. ed. The Matrix. Wallflower Press.
Wood, A. (2004). The collapse of reality and illusion in The Matrix. in: Tasker, Y. ed. The Action Reader. Routledge, pp. 119-129.
Wood, A. (2004). The Expansion of Narrative Space: Titanic and CGI Technology. in: Street, S. and Bergfelder, T. eds. Titanic as Myth and Memory: Representations in Visual and Literary Culture. I.B.Tauris, pp. 225-234.
Wood, A. (2001). Fresh Kill: Information Technologies as Sites of Resistance. in: Munt, S. ed. Technospaces: inside the new media. Continuum, pp. 161-174.
Wood, A. (1998). "You ever fuck a mutant?" Technology, Gender and Identity in Total Recall. in: Ainley, R. ed. New Frontiers of Space, Bodies and Gender. Routledge, pp. 191-202.
Article
Wood, A. (2014). Behind the Scenes: A Study of Autodesk Maya. Animation: An Interdisciplinary Journal [Online] 9:317-332. Available at: http://dx.doi.org/10.1177/1746847714546247.
Wood, A. (2014). Contests and Simulations: Tron: Legacy and its Connections with Technologies. Journal of Film and Video.
Wood, A. (2013). Intangible space: three-dimensional technology in Hugo and IMAX in The Dark Knight. Convergence: The International Journal of Research Into New Media Technologies [Online] 19:1-13. Available at: http://con.sagepub.com/content/early/recent.
Wood, A. (2012). Recursive space: play and creating space. Games and Culture [Online] 7:87-105. Available at: http://dx.doi.org/10.1177/1555412012440310.
Wood, A. (2012). Where Codes Collide: the Emergent Ecology of Avatar. Animation: An Interdisciplinary Journal [Online] 7:309-322. Available at: http://dx.doi.org/10.1177/1746847712456261.
Wood, A. (2011). Digital afx: digital dressing and affective shifts in Sin City and 300. New Review of Film and Television Studies [Online] 9:283-295. Available at: http://dx.doi.org/10.1080/17400309.2011.585860.
Wood, A. (2008). Proliferating Connections and Communicating Convergence. Fibreculture [Online]. Available at: http://www.journal.fibreculture.org/issue13/issue13_wood.html.
Wood, A. (2008). Encounter at the Interface: Distributed Attention and Digital Embodiments. Quarterly Review of Film and Video [Online] 25:219-229. Available at: http://dx.doi.org/10.1080/10509200601091490.
Wood, A. (2007). 'Pixel Visions: Digital Intermediates and Micromanipulations of the Image'. Quarterly Review of Film and Video Film C:72-94.
Wood, A. (2006). Re-Animating Space. Animation: An Interdisciplinary Journal 1:133-152.
Wood, A. (2004). The Metaphysical Fabric that Binds Us’: Proprioceptive Coherence and Performative Space in Minority Report. New Review of Film and Television Studies 2:1-18.
Wood, A. (2002). The timespaces of spectacular cinema: crossing the great divide of spectacle versus narrative. Screen 43:370-386.
Internet publication
Wood, A. (2013). Talking about Maya [pdf]. Available at: http://www.kent.ac.uk/arts/staff-profiles/profiles/film/wood.html.
Review
Wood, A. (2014). Gravity. Science Fiction Film and Television [Online] 7:441-444. Available at: http://dx.doi.org/10.3828/sfftv.2014.25.
Conference or workshop item
Wood, A. (2015). Making Movements: Technological Imaginations of Animators and Algorithms. in: Society for Animation Studies 2015.
Wood, A. (2015). Aardman! In an Adventure with CGI!. in: Aardman Workshop.
Wood, A. (2015). Excavating Software Algorithms. in: Society for the Cognitive Study of the Moving Image.
Wood, A. (2014). Software, Animation and Autodesk Maya. in: Digital in Depth.
Wood, A. (2014). What’s in the Box? in: BAFTSS Annual Conference.
Wood, A. (2014). Software and Visual Effects. in: Society for Animation Studies.
Wood, A. (2014). Software, Animation and the Moving Image: What’s in the Box? in: Creative Animation Knowledge Exchange Conference.
Wood, A. (2013). Intangible Spaces: Tracing Technologies in the 3-D Space of Hugo. in: CRASSH: Joining the Dots.
Wood, A. (2013). Hugo and 3D Space: tracing digital contours. in: Society for Cinema and Media Studies Conference 2013.
Wood, A. (2013). Introducing 'more-than-representational space: software and visual effects. in: The Magic of Special Effects.
Total publications in KAR: 37 [See all in KAR]

 

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Teaching

Animated Worlds: the module introduces the diversity of animation, from cel-animations, to puppets, 3D computer animation and on-line animations. We study shorts and features from around the world, exploring animation as an aesthetic and cultural phenomenon.

Digital Domains: beginning with the history of special effects, we look at the shifting terrains of digital filmmaking. Charting a course from familiar effects films, we move towards more experimental works and the changing opportunities for filmmakers and audiences alike.

Cinema and Technology: Following the rapid developments in digital and computer media, interest in cinema and technology has grown. This MA module draws on an interdisciplinary framework from media and cultural studies, science and technology studies, philosophy and film theory, exploring changes in the cinema within a broadly defined technocultural shift.

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Research

My research is informed by an interest in the relationships between technology and moving image media. Since undertaking a PhD on images of technoscience in American Cinema, I have developed a cross media approach, working with animation, digital games, installation art and cinema. Areas of study have included images of humans and technologies, and the impact of digital media on cinema aesthetics, animation, digital games and installations. A number of these projects have benefitted from awards from the Leverhulme Trust, the AHRC and the BA.

My current research is focused on 3D animation software and its use in visual effects, animations, adverts, and science visualizations. Funded by an AHRC Fellowship, this research has involved interviewing animators, developing a framework that draws on software studies, ecologies of technologies, and digital materialities, as well as cinema studies.

I am also involved in ‘fx works’, a collaboration with other UK-based academics interested in visual effects and imaging technologies more widely.

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Supervision

I am particularly interested in supervising projects on digital media, animations, digital games, cinema and technologies.

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Last Updated: 13/10/2016