Sarah Artt
Sarah Artt

Dr Sarah Artt

Lecturer T&R

 0131 455 6229

  S.Artt@napier.ac.uk

   

Biography

I have research interests in: screen adaptation (beyond fidelity criticism), silence in the cinema (i.e. the use of silence to convey meaning), women on screen and women's fiction. I also teach on science fiction, contemporary Hollywood cinema.

I am an experienced public speaker and have recently appeared at the University of London's Living Frankenstein event, and The British Academy Summer Showcase. I have also appeared with Bright Club in Edinburgh and Dundee.

I am currently researching my monograph Quiet Pictures: British and French Cinema by Women on the work of Joanna Hogg, Lynne Ramsay, Lucile Hadzihalilovic and Celine Sciamma

School

Research Groups

Research Areas

Events

Esteem

Advisory panels and expert committees or witness

  • Subject Group Representative Academic Quality Committee (SACI)
  • Interview panel, Lectureship in English and Film, December 2014

 

Conference Organising Activity

  • Co-organiser with Anne Schwan of 'Orange is the New Black and New Perspectives on the Women in Prison Genre'. Academic conference June 2015.

 

Invited Speaker

  • International Gothic Association Conference, Manchester Metropolitan University July 2018. Paper title: Ten Thousand Times More Malignant’: Alice Lowe's Prevenge
  • Association of Adaptation Studies Conference, University of Amsterdam, September 2018. Paper title: The Truth About Art: art practice on screen
  • Interdisciplinary Nineteenth Century Studies, Universita Roma Tre, June 2018. Paper title: xcessive Silence and Punctured Quiet: Lady Macbeth (2016)
  • Invited Guest. AI Narratives: How Do We Talk About AI. The Royal Society and Leverhulme Centre for the Future of Intelligence
  • Network for European Cinema Studies Sorbonne Nouvelle, Paris, June 2017. Paper title: An otherness that cannot be sublimated: hybrid bodies in Black Mirror and Penny Dreadful
  • Adaptation and Nation Conference, Queen Margaret University, June 2017 Paper Title: Why We Do Not Adapt Jean Rhys
  • Association of Adaptation Studies, St Anne's College Oxford. September 2016: Paper title: Shades of Frankenstein in Black Mirror and Penny Dreadful
  • Invited talk. University of Split, Croatia. October 2014. Talk title: The Post-feminist Tart in Ripper Street
  • 0th International Screen Studies Conference, University of Glasgow, 2-4 July 2010. Paper Title: Silence and Performance: Appreciating Lynne Ramsay's Morvern Callar
  • Symposium on Melodrama in Contemporary Film and Television. Text, Genre and Visual Studies Group, Queen Margaret University, 29 October 2010. Paper title: Vienna to Beijing: Letter from an Unknown Woman, melodrama and the symbolic simulation of Europe
  • 5th Annual Association of Adaptation Studies Conference 30th September-1st October 2010. Centre for British Studies, Humbolt University, Berlin. Paper title: les liaisons dangeureses a l'Anglais: Valmont, Dangerous Liaisons and Cruel Intentions.
  • Transforming Cities. TU Braunschweig. 2-4 July 2015. Paper Title: Femme Publique: The brothel sex worker as anti-flaneuse in the television series Maison Close (2010-2013)
  • 8th Annual Association of Adaptation Studies Conference, Linneaus University, 26-27 September 2013, Vaxjo Sweden. Paper title: Disturbing Experiences: The cinematic legacy of Georges Franju's Les yeux sans visage/Eyes Without a Face
  • 6th Annual Association of Adaptation Studies Conference, Yeni Yuzil University, Istanbul. 29-30 September 2011. Paper Title: Gangster of Love: Remaking American noir as French neo-noir in Fingers and De battre mon coeur s'est arrêté/The Beat that My Hear
  • Neo-Victorian Networks, University of Amsterdam, 13-15 June 2012. Paper title: The Steampunk Detective: Sherlock Holmes and Sherlock
  • Invited talk. Masculinity, Silence, the Body: Valhalla Rising (2009) and Drive (2011). Amsterdam University College, Amsterdam, Netherlands.
  • 7th Annual Association of Adaptation Studies Conference, University of York, September 2012. Paper title: We Need to Talk About Kevin and Heathcliff: metatextual authorships in Lynne Ramsay's We Need to Talk About Kevin and Andrea Arnold's Wuthering Heigh
  • Network for European Cinema and Media Studies. 23-26 July 2011. Sonic Futures Conference. King's College and Birkbeck University of London. Paper title: The Future Sound of Retro: Daft Punk, Tron Legacy and the Sound of Science Fiction.
  • Invited Workshop 'Shakespeare on Screen' for Msc in European Theatre Studies, University of Edinburgh.

 

Media Activity

  • Invited post for University of London Leading Women blog on the Frankenstein bicentenary. Post Title: 'Our (cyborg) bodies, our (cyborg) selves
  • interviewed in Sunday Herald about Season 6 premiere of Game of Thrones
  • 'Not Enough of Him': Technology and Melancholia in 'Be Right Back'. Curated post for 'Black Mirror' theme week May 4th-8th 2015

 

Membership of Professional Body

  • Invited to become founding member of BAFTSS Group on SF and Fantasy

 

Public Engagement Activity

  • Stand-up comedy performance with Bright Club Edinburgh, National Museum of Scotland, Museum Lates: Retrofuture
  • Stand-up comedy performance with Edinburgh Bright Club, National Museum of Scotland, Museum Lates: Fascinating Mummies Event.
  • Panel Speaker “Women in Science: On the Screen and Off” with a screening of Madame Curie. Special Event to Commemorate the International Year of Chemistry. Event in conjunction with Edinburgh University Department of Chemistry at Filmhouse Cinema Edinbur

 

Public/Community Engagement

  • Let's Talk Frankly, Panel Event, Edinburgh Science Festival, April 2018.
  • British Academy Summer Showcase Lates. Stand up comedy about researching Frankenstein. June 2018
  • The Over-Analyser's Book Club Presents Frankenstein. Stand up comedy about researching Frankenstein on screen. January 2018
  • Illustrated Talk at Living Frankenstein, Living Literature Event, University of London. Dr Sarah Artt introduce you to some of Frankenstein’s more unusual on-screen mutations. May 2018.
  • The Age of Frankenstein: screenings at Cameo Cinema and talks at The National Library of Scotland. A series of events looking at Frankenstein's on screen afterlives, with screenings of Young Frankenstein, les yeux sans visage/Eyes Without a Face, and La piel qui habito/The Skin I Live In
  • Frankenstein at 200: partnership with the National Library of Scotland and Surgeon's Hall Museum hosted a series of lectures, workshops and events throughout 2016, 2017 and 2018 to celebrate the inception and publication of Mary Shelley's Frankenstein.
  • Invited performance at Bright Club Dundee 20/01/2015, doing stand up comedy about being a Humanities researcher
  • Screening of Rouben Mamoulian's Jekyll and Hyde at Edinburgh's Filmhouse., followed by post-screening discussion l
  • Sarah Artt performs with Edinburgh Bright Club at the Edinburgh Festival Fringe. Stand up comedy about being a humanities researcher
  • Stand-up comedy performance with Edinburgh Bright Club, National Museum of Scotland Museum Lates: Vikings!
  • Bright Club 3.14 A holiday themed stand up comedy show with academics
  • Edinburgh Bright Club performance at Museum Lates: Fascinating Mummies, National Museum of Scotland
  • Museum Lates: A Night in Wonderland. Stand up comedy about being a Humanities researcher
  • Bright Club Edinburgh Tuesday September 20th, 2011. Academics doing stand up comedy about their research
  • Vampires and Vegetarians, an ESRC Geonomics Forum Public Engagement Event , Rich Mix, London
  • 7 February 2011. Panel Speaker “Women in Science: On the Screen and Off” with a screening of Madame Curie. Filmhouse Cinema Edinburgh.

 

Research Degree External Examining

  • External Examiner for a successful PhD viva, University of Southampton, August 2018.

 

Reviewing

  • Reviewer for Frames Cinema Journal
  • Invited to review for Feminist Media Studies
  • Regular reviewer for Gothic Studies
  • reviewer for Adaptation journal

 

Seminar/talk

  • Co-organiser with Dr Sara-Patricia Wasson of a series of talks on Science Fiction for Edinburgh Napier's Centre for Literature and Writing: September 2010-May 2011.

 

Filter by

Date


38 results

Sex Sounds: On Aural Explicitness in Call Me by Your Name

Book Chapter
Artt, S. (in press)
Sex Sounds: On Aural Explicitness in Call Me by Your Name. In E. Lamberti, & M. Williams (Eds.), Call Me By Your Name: Perspectives on the Film. Bristol: Intellect

Quiet Pictures: Women and Silence in Contemporary British and French Cinema

Book
Artt, S. (in press)
Quiet Pictures: Women and Silence in Contemporary British and French Cinema. London: Bloomsbury Publishing
Quiet Pictures approaches the films of Joanna Hogg, Lynne Ramsay, Céline Sciamma, and Lucile Hadžhalilovicthrough the lens of silence as a motif and texture. This book takes ...

Step on Me Charlotte Rampling or on Arrakis No One Can Hear You Orgasm

Presentation / Conference
Artt, S. (2022, June)
Step on Me Charlotte Rampling or on Arrakis No One Can Hear You Orgasm. Paper presented at Association of Adaptation Studies annual conference, University of Lisbon, Portugal
In Dune (Denis Villeneuve, 2021), the much-anticipated adaptation of the Frank Herbert series, Charlotte Rampling briefly appears as Mother Helen Mohiam, high priestess of the...

Why we do not adapt Jean Rhys

Book Chapter
Artt, S. (2020)
Why we do not adapt Jean Rhys. In M. Stewart, & R. Munro (Eds.), Intercultural Screen Adaptation: British and Global Case Studies. Edinburgh: Edinburgh University Press
Abstract not available.

Jennifer L. Feeley and Sarah Ann Wells (eds), Simultaneous Worlds: Global Science Fiction Cinema

Journal Article
Artt, S. (2018)
Jennifer L. Feeley and Sarah Ann Wells (eds), Simultaneous Worlds: Global Science Fiction Cinema. Screen, 59(4), 556-558. https://doi.org/10.1093/screen/hjy050

‘An otherness that cannot be sublimated’: Shades of Frankenstein in Penny Dreadful and Black Mirror

Journal Article
Artt, S. (2018)
‘An otherness that cannot be sublimated’: Shades of Frankenstein in Penny Dreadful and Black Mirror. Science Fiction Film and Television, 11(2), 257-275. https://doi.org/10.3828/sfftv.2018.18
This article traces some of the legacies of the Frankenstein narrative as it appears in the television series Penny Dreadful and Black Mirror. Both series deploy Frankenstein ...

'Femme Publique':The brothel sex worker as anti-Flaneuse in the television series Maison Close.

Book Chapter
Artt, S. (2018)
'Femme Publique':The brothel sex worker as anti-Flaneuse in the television series Maison Close. In M. Pietrzak-Franger, N. Pleßke, & E. Voigts (Eds.), Transforming Cities (91-106). Heidelberg, Germany: Universitätsverlag Winter
The figure of the prostitute has long been associated with the city and although prostitution may take place anywhere, the connection between female prostitution and the city ...

The Postfeminist Tart: Neo-Victorian Villainy and Sex Work in Ripper Street

Book
Artt, S. (2017)
The Postfeminist Tart: Neo-Victorian Villainy and Sex Work in Ripper Street. In B. Poore (Ed.), Neo-Victorian Villains: adaptations and transformations in popular cultureLeiden; Boston;: Brill Academic Publishers
This chapter examines the trajectory of Rose, the recurring victim-heroine of Ripper Street and the villains that define her. Ripper Street appears initially as an example of ...

Introduction - Screening Women’s Imprisonment: Agency and Exploitation in Orange is the New Black.

Journal Article
Artt, S., & Schwan, A. (2016)
Introduction - Screening Women’s Imprisonment: Agency and Exploitation in Orange is the New Black. Television and New Media, 16(5), 1-6
Introduction to the special edition of Television & New Media.

'Femme Publique':The brothel sex worker as anti-Flaneuse in the television series Maison Close.

Presentation / Conference
Artt, S. (2015, July)
'Femme Publique':The brothel sex worker as anti-Flaneuse in the television series Maison Close. Paper presented at Tranforming Cities, University of Braunschweig, Germany
Maison Close offers us the sex worker as anti-flâneuse, a woman whose movement is thoroughly circumscribed by the walls of the brothel and yet is defined by her license as a '...

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