About Alphaville

Alphaville is a fully peer-reviewed online journal edited and published by staff, PhD and postdoctoral researchers in Film and Screen Media at University College Cork, Ireland.

Alphaville offers a dynamic international forum open to the discussion of all aspects of film and screen media history, theory and criticism through multiple research methodologies and perspectives. It cultivates inspiring, cutting-edge research, and seeks work that displays a clear engagement with current debates and with methodological issues.

The journal is open access to make a full contribution to international debates in film and screen studies and beyond, and considers articles, book reviews and festival, exhibition and conference reports. We are interested in the interfaces between cinema and all new media, and aim to utilise the online platform to its full capacity.

Alphaville is published twice a year, in Summer and Winter, with both themed and open issues. It currently only accepts submissions in response to specific calls for papers that are advertised via the journal website and subject lists.

Alphaville is listed in the Directory of Open Access Journals (DOAJ), WorldCat, and the Cork Open Research Archive (CORA).

The Alphaville Inaugural Conference took place at UCC on 7–9 September 2012, and the Second Alphaville Conference took place at UCC on 4–6 September 2014 (Conference Website).


Editorial Board

Journal Directors: Laura Rascaroli, Gwenda Young

Current Editorial Team: Abigail Keating (Designer and Content Editor), Jill Murphy (Secretary of the Board), Laura Rascaroli (General Editor)


Current Editorial Board

Yuanyuan Chen is Lecturer in History and Theory of Animation at University of Ulster, UK. She is also a final-year PhD candidate in Film Studies at University College Cork, Ireland, with a thesis entitled “Western Modernist and Postmodernist Influences on Chinese Animation, 1980s–2000s”. Her article “The Rebel of the Chinese School: Modernist Expression in A Da’s Late Animations” was published in Modernism/modernity in 2015, and her writing has also appeared in Chinese-language scholarly publications, including Movie Literature, Movie Review, and Beauty & Times.

Pierluigi Ercole is a Lecturer in Cinema and Television History at De Montfort University (Leicester, UK). Much of his research is grounded in audience and reception studies, transnational cinema and the diaspora and his work focuses, in particular, on Italian cinema, cinema-going in Italy and Britain, Anglo-Italian film culture and the distribution and reception Italian films in the UK and Ireland. His publications include, among others, the edited volume Diviso in Due: Cesare Zavattini, Cinema e Culture Popolare (2002), the articles “Screening Fascism in the Free State”, Historical Journal of Film, Radio and Television (Philip M. Taylor Routledge-IAMHIST Prize for best article, 2014); “The Greatest Film of the Fascist Era”, Alphaville: Journal of Film and Screen Media (2013, special issue on “Reframing Cinema Histories” co-edited with Gwenda Young). His work is also included in the edited collections Italian Silent Cinema: A Reader (2013) edited by G. Bertellini; Cinema, Audiences and Modernity: New Perspectives on European Cinema History (2011) edited by D. Biltereyst, R. Maltby and P. Meers.

Marian Hurley completed her PhD at University College Cork, and her thesis investigated the representation of the anti-Fascist Resistance in Italian film from the points of view of national identity and its dialogue with culture, and national film history. She has published on depictions of gender and national identity in Italian film, and her research interests include neorealism, political film, memory and identity in film, and urban and rural spaces in Italian cinema. Current research projects include a study of the representation of the city in 1960s popular Italian film and an appraisal of filmic and literary citation in recent cinematic representations of political violence in Italy.

Abigail Keating (Web Designer and Content Editor) is Lecturer in Contemporary Film and Media at University College Cork. She was awarded her PhD at UCC in 2014 with a thesis on the city and transnationalism in contemporary European cinemas. She has contributed articles to such journals and anthologies as Studies in Documentary Film, New Cinemas: Journal of Contemporary Film, Film-Philosophy, Directory of World Cinema, Glocal Ireland: Current Perspectives on Literature and the Visual Arts, and Amateur Filmmaking: The Home Movie, the Archive, the Web. She has worked as a video editor and videographer for a number of organisations, and as a research assistant and video editor on the nationally funded Capturing the Nation: Irish Home Movies, 1930-1970. Her research interests include: space, place and identity in contemporary cinema; European cinemas; women and screen media; interactivity in new screen media; and pop culture.

Deborah Mellamphy completed her PhD at University College Cork in 2010. Her thesis is entitled Hollyweird: Gender Transgression in the Collaborations of Tim Burton and Johnny Depp. She teaches undergraduate and postgraduate courses in Film Studies at UCC, and has published journal articles in Widescreen and Film and Film Culture, as well as a book chapter in Dexter and Philosophy. She has written chapters in forthcoming publications on Mamma Mia!, on the links between video games and cinema, and on the cultural study of video games around the world. Her research interests include stardom and performance in Hollywood cinema, television studies, and video game studies.

Ian Murphy is a PhD in Film Studies candidate at University College Cork, where he teaches poetry, fiction, drama and film in the School of English and also tutors on the MA in Film Studies. His writing has featured in Jump Cut, Scope and Bright Lights Film Journal, and his research interests include aesthetics, narrative, performance and continental philosophy.

Jill Murphy (Secretary of the Board) currently works as an assistant lecturer and postdoctoral researcher in Film Studies at University College Cork. She completed her PhD in Film Studies at UCC in 2012 with a thesis entitled “Hoc est enim corpus meum: Christian Art and Passion Iconography in the Work of Pier Paolo Pasolini and Jean-Luc Godard”. She has published articles, translations and reviews in various journals and edited collections. Her research interests principally focus on the relationship between film and art history, particularly as regards human figuration, and the work of Jean-Luc Nancy with respect to the representation of the body in visual media.

Stefano Odorico is Associate Senior Lecturer in Media at Leeds Trinity University (UK), where his work focuses primarily on interactive trans-media platforms. Stefano received a PhD in Film Studies at University College Cork (Ireland) in 2011. Before moving to Leeds Trinity University, he also lectured at University of Bremen (Germany), Leipzig University (Germany), University College Cork (Ireland), Queen’s University Belfast (UK) and University of Navarra (Spain). He has published a number of articles in international journals and anthologies about Film and Media Theory, Theory of Film and Media Practice, Documentary Studies, Interactive Documentary, Visual Anthropology, New media, Digital Humanities and Trans-media.

Nicholas O’Riordan is a PhD Film Studies candidate at University College Cork, where he is also an undergraduate tutor in the School of English. Prior to this he completed a BA in English and Geography, and an MA in Film Studies, both in UCC, where his MA thesis was titled “Dublin’s Fair City?: Representations of Dublin City in Contemporary Irish Film”. His research interests include Irish cinema, urban space in cinema, sound and the voice in cinema, and representations of national identity in cinema. He also works as a filmmaker.

Aidan Power is a Research Fellow at the University of Bremen where his work focuses primarily on science fiction cinema and the European Union. He graduated from University College Cork in 2012 with a doctoral thesis entitled: “Continental Drifts: Movement, Margins and Transition in Twenty First Century European Cinema”. His research interests include genre cinema, movement and space in film, travel cinema, production studies, European cinema and transnational trends in film. His publications include articles on British science fiction, French travel cinema and the cinema of Michael Haneke and John Ford. He maintains a strong interest in film production and has directed, produced and edited several projects including documentary and festival films.

Laura Rascaroli (Journal Director and General Editor) is Professor of Film and Screen Media at University College Cork. Her research interests span art film, modernism and postmodernism, film theory, spatiality and geopolitics, nonfiction, the essay film, autobiographical and first-person cinema. Her work has a (not exclusive) focus on European cinema, also in relation to issues of social, political, intellectual and artistic European history. She has authored or coauthored four research monographs and three edited collections, and over 50 peer-reviewed articles and book chapters; her work has been translated into many languages. She is currently writing a monograph entitled How the Essay Film Thinks: Art of Gaps (Oxford University Press).

Jessica Shine is currently a doctoral candidate at University College Cork (under the supervision of Dr Christopher Morris and Dr Danijela Kulezic-Wilson). Her doctorate focuses on the topic of music, noise and isolation in the films of Gus Van Sant. She holds an MA in Film Studies (also at UCC), with a dissertation topic on music and race in Disney’s cartoon musicals. She has presented her work on Van Sant at the Society for Musicology in Ireland, York St. John University UK, University of Leeds UK, and at MAMI. She has also presented papers on Dexter at MAMI and ‘Music and the Real Outsider in FX’s Son’s of Anarchy’ at the Irish Association for American Studies and on Jackie Brown at University of West England.

Gwenda Young (Journal Director) a lecturer in Film Studies in University College Cork. She has contributed articles to a range of US and European journals and to the recent collections, American Cinema of the 1920s: Themes and Variations ed. Lucy Fischer (2009) and Screening Irish America ed. Ruth Barton (2009). Her monograph on American director Clarence Brown will be published in 2012. She has also co-edited a collection (with Eibhear Walshe) on the Anglo-Irish writer, Molly Keane (2005). Her research interests include: American silent cinema (especially 1920s); the Jazz Age in film; ethnicity in film; Irish American cinema; classical Hollywood cinema; American cinema post 1960; and selected directors such as Maurice Tourneur, Jacques Tourneur, Marshall Neilan, Clarence Brown, and David Cronenberg.


Founding Members: Marian Hurley, Abigail Keating, Deborah Mellamphy, Jill Moriarty, Jill Murphy, Stefano Odorico, Aidan Power, Laura Rascaroli, Gwenda Young


International Advisory Board

Dudley Andrew (Yale University)

Stefano Baschiera (Queen's University Belfast)

Stella Bruzzi (University of Warwick)

Francesco Casetti (Yale University)

Maeve Connolly (Dun Laoghaire Institute of Art, Design and Technology)

Elizabeth Cowie (University of Kent)

Angela Dalle Vacche (Georgia Institute of Technology)

Derek Duncan (University of St Andrews)

Catherine Fowler (University of Otago)

Mattias Frey (University of Kent)

Kathrina Glitre (University of the West of England)

Catherine Grant (University of Sussex)

Liz Greene (Dublin City University)

Mette Hjort (Lingnan University)

Conn Holohan (National University of Ireland, Galway)

Michael Lawrence (University of Sussex)

Ewa Mazierska (University of Central Lancashire)

Laura McMahon (University of Cambridge)

Toby Miller (University of California Riverside)

Barry Monahan (University College Cork)

Douglas Morrey (University of Warwick)

Diane Negra (University College Dublin)

Dana Polan (Tisch School of the Arts, New York University)

Phil Powrie (University of Surrey)

Maria Pramaggiore (Maynooth University)

Stephanie Rains (Maynooth University)

John David Rhodes (University of Cambridge)

Michael Witt (Roehampton University)


ISSN 2009-4078

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Film and Screen Media at University College Cork, 2011-2015
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