The University of Kent, Canterbury, Kent, CT2 7NZ, T +44 (0)1227 764000
Dr Aylish Wood
- 01227 82(7176)
Aylish Wood’s interests focus on digital media in cinema, animation and games.
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.back to top
Software, Animation and the Moving Image: What’s in the Box? (Palgrave-Pivot, forthcoming 2014)
Digital Encounters (Routledge, 2007)
Technoscience in Contemporary American Films: Beyond Science Fiction, (Manchester University Press, 2002)
‘Technoscience in Contemporary American Films: Beyond Science Fiction, (Manchester University Press, 2002)
‘Behind the Scenes: A Study of Auto Maya.’ Animation: An Interdisciplinary Journal, in press.
‘Contests and Simulations: Tron: Legacy and its Connections with Technologies,’ Journal of Film and Video, 66 (3) (Fall 2014): 31-42.
‘Intangible Spaces: 3D in Hugo and IMAX in The Dark Knight,’ Convergence, on-line first (September 2013).
‘Where Codes Collide: the Emergent Ecology of Avatar,’ Animation: An Interdisciplinary Journal, 7(3) (2012) 309-322.
‘Recursive space: play and creating space,’ Games and Culture 7 (1) (2012) 87-105.
‘Digital Afx: Digital Dressing and Affective Shifts,’ New Review of Film and Television Studies 9 (3) (2011): 283-295.
‘Proliferating Connections and Communicating Convergence,’ Fibreculture 13 (2008).
‘Encounters at the Interface: Distributed Attention and Digital Embodiments,’ Quarterly Review of Film and Video, 25 (3) (May 2008) 219-229.
‘Pixel Visions: Digital Intermediates and Micromanipulations of the Image’, Film Criticism, 32 (1) (Fall 2007) 72-94.
‘Re-Animating Space,’ Animation: An Interdisciplinary Journal, 1 (2) (2006) 133-152.
‘The Metaphysical Fabric that Binds Us’: Proprioceptive Coherence and Performative Space in Minority Report’ New Review of Film and Television Studies 2 (1) (May 2004) 1-18.
‘The Timespaces of Spectacular Cinema: crossing the great divide of spectacle versus narrative,’ Screen, 43 (4) (Winter 2002) 370-386.
Chapters in Books
Inception’s Timespaces,’ in Robert Rehak, Dan North, and Michael S. Duffy eds., Special Effects: NewHistories, Theories, Contexts. [BFI Palgrave, 2014], in press.
‘Sonic Times in Inception and Watchmen,’ in Carol Vernalis, Amy Herzog, and John Richardson, eds., The Oxford Handbook of Sound and Image in Digital Media. [Oxford University Press, 2014]: 417-436.
‘Cinema as Technology,’ in Bruce Bennett, Marc Furstenau, and Adrian Mackenzie, eds., Cinema and Technology: Cultures, Theories, Practices. [Palgrave Press, 2008]: 129-141.
‘The Animated Queer,’ in Robin Griffiths ed., Queer Cinema in Europe. [Intellect, 2008]: 93-104.
‘Vectorial Dynamics: Transtextuality and Complexity in the Matrix’ in Stacy Gillis, ed., The Matrix: Cyberpunk Reloaded. [Wallflower Press, 2005]: 11-23.
‘The Expansion of Narrative Space: Titanic and CGI Technology,’ in Sarah Street and Tim Bergfelder, eds., Titanic as Myth and Memory:
Representations in Visual and Literary Culture. [I.B. Tauris; 2004]: 225-234.
‘The collapse of reality and illusion in The Matrix,’ in Yvonne Tasker, ed., The Action Reader. [Routledge, 2004]: 119-129.
‘Fresh Kill: Information Technologies as Sites of Resistance,’ in Sally Munt, ed., Technospaces: inside the new media. [Continuum, 2001]: 161-174.back to top
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.
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.back to top
I am particularly interested in supervising projects on digital media, animations, digital games, cinema and technologies.back to top