Kruth Patricia


Research themes

  • Film Analysis. Film Theory
  • Cinema and Painting. Cinema and Other Art Forms
  • Architecture, City, Landscape in Film
  • Representation of the American City in Film and Visual Arts
  • Oral History of Visual Arts and Cultural Institutions

Current Project

  • Book project: Visual Arts and the University of Cambridge Today: An Oral History (working title)
  • Website on cinema and emotions, and cinema as therapy

Education and Academic Positions:

  • Doctorat Études Cinématographiques, Université Paris 3 – Sorbonne Nouvelle. “Figures filmiques : les mondes new-yorkais de Martin Scorsese et Woody Allen “. 2000
  • Agrégation in English. 1984
  • M.A. in Cinema Studies, New York University. 1978
  • Maître de conférences (Associate Professor) in English-Speaking Cinema and American Studies, Université de Lille (2001 – Present)
  • PRAG (Professeur Agrégé) in American Civilization, Université de Toulon (2000-2001)
  • Instructor in French Cinema, University of Cambridge, UK. (1996-2000)
  • Official Fellow of Darwin College, University of Cambridge (1993-1997)
  • Cultural Delegate. Director of the French Cultural Delegation in Cambridge. Cultural Service of the French Embassy (Jan. 1993 – Sept. 1996)

Administrative Responsibilities:

  • Responsable des cours de cinéma, Département d’Anglais (Angellier), Université de Lille

Research Supervision:

  • English-speaking cinema and TV series: Auteurs, theory, adaptations, genres…
  • Cinema and other art forms
  • Representation of the US city and landscape in film and other media
      • “Le spectateur, le monstre et la victime : le point de vue dans Lolita de Stanley Kubrick”, in Didier Machu and Taïna Tuhkunen (eds.), Lolita, roman de Vladimir Nabokov et film de Stanley Kubrick, Paris : Ellipses, 2009, pp. 153-170.
      • “David Lynch peintre et cinéaste : corps et espace”, in Patricia-Laure Thivat (CNRS, ARIAS), (ed.), Peintres Cinéastes, Ligeia n° 97-100, 2010, pp. 180-191.
      • “Freeze Frame, Photograph, and Re-animation in Martin Scorsese’s Films”, in Laurent Guido and Olivier Lugon (eds.), Between Still and Moving Images : Photography and Cinema in the 20th Century, London : John Libbey Publishing / Indiana University Press, 2012, pp. 291-308.