Academic & Teaching staff

Professor Lúcia Nagib

Centenary Professor of World Cinemas

Professor Lúcia Nagib

0113-3437069

Single-authored books

  • World Cinema and the Ethics of Realism. New York/London: Continuum, 2011, 298 pp.
  • Brazil on Screen: Cinema Novo, New Cinema, Utopia. London/New York: I.B. Tauris, 2007, 180 pp.
  • A utopia no cinema brasileiro: matrizes, nostalgia, distopias. São Paulo: Cosac Naify, 2006, 207 pp.
  • The Renaissance of Brazilian Cinema: Interviews with 90 Filmmakers of the 90s. São Paulo: Editora 34, 2002, 528 pp.
  • Born of the Ashes: The Auteur and the Individual in Oshima's Films. São Paulo: Edusp, 1995, 344 pp.
  • Around the Japanese Nouvelle Vague. Campinas: Editora da Unicamp, 1993, 183 pp.
  • Werner Herzog: Film as Reality. São Paulo: Estação Liberdade, 1991, 288 pp.

Edited books

  • Impure Cinema: Interdisciplinary and Intercultural Approaches to World Cinema (with Anne Jerslev). London/New York: I.B. Tauris (forthcoming, 2013).
  • Viewing Film, by Donald Richie. London/New York: IB Tauris (forthcoming).
  • Theorizing World Cinema (with Chris Perriam & Rajinder Dudrah). London/New York: IB Tauris, 2011.
  • Realism and the Audiovisual Media (with Cecília Mello). Basingstoke: Palgrave, 2009.
  • The New Brazilian Cinema, Japanese edition (revised and expanded). Tokyo: Petit Grand, 2006.
  • The New Brazilian Cinema. London/New York: I.B. Tauris, 2003.
  • Master Mizoguchi. São Paulo: Estação Liberdade, 1990.
  • Ozu. São Paulo: Marco Zero, 1990.

Book chapters

  • 'Oshima, Corporeal Realism and the Eroticized Apparatus, in Lúcia Nagib, Chris Perriam and Rajinder Dudrah (eds.), Theorizing World Cinema. London/New York: I.B. Tauris, pp. 161-82.

  • 'Beto Brant: realismo, género y obra de arte en proceso', in Juan Carlos Vargas Maldonado (ed),  Tendencias del cine iberoamericano en el nuevo milenio: Agentina, Brasil, España y Mexico. Universidad de Guadalajara, 2011, pp. 273-302.
  • 'Back to the margins in search of the core: Foreign Land's geography of exclusion', in Dina Iordanova, David Martin-Jones & Belén Vidal (eds), Cinema at the Periphery: Industries, Narratives, Iconography. Detroit: Wayne State University Press, 2010.
  • 'Filmmaking as the Production of Reality: A Study of Hara and Kobayashi's Documentaries', in Lúcia Nagib & Cecília Mello (eds), Realism and the Audiovisual Media. Basingstoke: Palgrave, 2009, pp. 193-209.
  • 'Paraméricas Utópicas: Entranced and Transient Nations in I Am Cuba (1964) and Land in Anguish (1967)', in Paul Gladston (ed), China and Other Spaces. Nottingham: CCCP, 2009, pp. 71-87.
  • 'Rumo a uma definição positiva de world cinema', in Gelson Santana (ed), Comunicação, Cinema e Audiovisual. São Paulo: Alameda Editorial, 2009.
  • 'Paraméricas Utópicas: Entranced and Transient Nations in I Am Cuba (1964) and Land in Anguish (1967)'. In: Hispanic Research Journal, 8, 2007, pp.79-90.
  • 'The zero, the centre and the empty utopia: From Rossellini to Walter Salles. In: Studies in European Cinema, 3, 2006, pp. 223-233.
  • 'Going Global: the Brazilian scripted film', in Sylvia Harvey (ed), Trading Cultures: Global Traffic and Local Cultures in Film and Television. Eastleigh, John Libbey, 2006, pp. 95-103.
  • 'Towards a positive definition of World Cinema', in Song Hwee Lim and Stephanie Dennison (eds), Remapping World Cinema: Identity, Culture and Politics in Film. London: Wallflower Press, 2006, pp. 30-37.
  • 'Cinema Novo, Glauber, Herzog', in Matheus Araújo Silva (ed), Glauber par Glauber. Paris: Magic Cinema, 2005, pp. 88-90.
  • 'The trilogy of John of God', in Alberto Mira (ed), The Cinema of Spain and Portugal. London: Wallflower Press, 2005, 188-197.
  • 'Talking Bullets - the language of violence in City of God'. Third Text, vol. 18, number 3/2004, pp. 239-250.
  • 'Talking Bullets: the language of violence in City of God', in Vieira, E.R.P. (ed), City of God in Several Voices: Brazilian Social Cinema as Action. Nottingham: Critical Cultural and Communications Press, 2006, pp. 32-43.
  • 'Teoria experimental do realismo corpóreo baseada nos filmes de Nagisa Oshima e da nouvelle vague japonesa', in Christine Greiner and Claudia Amorim (eds), Leituras do Sexo. São Paulo: Annablume, 2006.
  • 'The Revival of Brazilian Cinema', in Vilaron, A.B., Guimarães, J.E.C. & Sena, Raquel Ferreira (eds), Contemporary Brazilian Cinema. London/Brasilia: Ministério das Relações Exteriores, 2005, pp. 164-169.
  • 'Domingos Oliveira e a espontaneidade sofisticada de Amores' and 'Arte de corpo inteiro', in Arthur Nestrovski (ed), Artes brasileiras na Folha: 1990-2003. São Paulo: Publifolha, 2004.
  • 'A língua da bala', in Sabrina Sedlmayer and Maria Esther Maciel (eds), Textos à flor da tela. Belo Horizonte: Faculdade de Letras da UFMG, 2004.
  • 'Nagisa Oshima', in Adriano Schwartz (ed), Memórias do presente:100 entrevistas do Mais!. São Paulo, Publifolha, 2003.
  • 'Death on the beach: the recycled utopia of Midnight', in Lúcia Nagib (ed), The New Brazilian Cinema. London/New York: I.B. Tauris, 2003.
  • 'Entrevista com Kazuo Ohno', in Inês Bogéa (ed), Kazuo Ohno. São Paulo: Cosac & Naify, 2003.
  • 'Ouédraogo and the Aesthetics of Silence', in Russel H. Kashula (ed), African Oral Literature. Claremont (África do Sul): New Africa Books, 2001.
  • 'The New Cinema Meets Cinema Novo'.  In: Framework, vol. 42, available on http://www.frameworkonline.com/
  • 'El nuevo cine bajo el espectro del cinema novo', in: Cuadernos hispanoamericanos, 601-602, Madrid, jul-ago 2000, pp. 39-51.
  • 'Film and Politics at the last Fespaco', in Framework, vol. 41, Londres, Autumn 1999, pp. 124-126.
  • 'Tendências do cinema brasileiro atual', in Studies in Latin American Popular Culture, n. 18 (1999), UCLA, pp. 19-32
  • 'Befreiung vom Politischen: Das neue brasilianische Kino besucht das Cinema Novo', in Filmbulletin, no 218, Winterthur, October 1998, pp. 41 a 52.
  • 'L'empire de l'individu: L'empire des sens de Nagisa Oshima', in Cinémathèque,  Cinémathèque Française, Spring 1996, pp. 62-73.
  • 'In the Realm of the Individual: An Analysis of Nagisa Oshima's In the Realm of the Senses' , in Nevena Dakovic, Deniz Derman and Karen Ross (eds), Gender & Media. Ankara: Med-Campus Project, pp. 156-74.
  • 'Nagisa Oshima, Dokumentarist' and 'Gespräch über den Dokumentarfilm', in Nagisa Oshima, Filmfest München 1992.

Book translations

  • Donald Richie, Retratos japoneses: crônicas da vida pública e privada (Public People, Private People: Portraits of Some Japanese, from English). São Paulo: Unesp/Escrituras, 2000
  • Paulo Emilio Salles Gomes, Vigo, vulgo Almereyda (Vigo, dit Almereyda, from French). São Paulo: Companhia das Letras, 1991)
  • Peter Buchka, Olhos não se compram: Wim Wenders e seus filmes (Augen kann man nicht kaufen: Wim Wenders und seine Filme, from German). São Paulo: Companhia das Letras, 1987
  • Lotte Eisner, A tela demoníaca: as influências de Max Reinhardt e do Expressionismo (L'écran démoniaque: les influences de Max Reinhardt et de l'Expressionisme, from French). Rio de Janeiro: Paz e Terra, 1984
  • Werner Herzog, Caminhando no gelo (Vom Gehen im Eis, from German). Rio de Janeiro: Paz e Terra, 1982

Honorary Positions Held

  • Distinguished Visitor, Dept of English and Film Studies, University of Alberta, Edmonton, Canada, 3-7 March 2008.
  • Leverhulme Trust Visiting Professor at the School of History of Art, Film and Visual Media, Birkbeck College, University of London, 2003-04.
  • Ministry of Culture Visiting Fellow at the Centre for Brazilian Studies, University of Oxford, Jan-Feb 2000.

Current Major Research Project

Lúcia Nagib's current major research project relates to the international Mixed Cinema Network. The network, involving the Universities of Leeds, Sheffield and York, was initially funded by the White Rose Consortium, that awarded to the project, under Nagib's leadership, three full PhD studentships worth c. 200k, taken by three high-quality students conducting split-site research: Julian Ross (Leeds-Sheffield); Anya Benson (York-Leeds); and Jasper Sharp (Sheffield-York). The network subsequently expanded to include scholars at Sydney (Dr Richard Smith), RMIT Melbourne (Professor Stephanie Donald), Southampton (Professor Tim Bergfelder), Copenhagen (Professor Anne Jerslev) and Meiji Gakuin,Tokyo (Professor Ayako Saito). Its high-profile activities, such as the major international conference 'Impure Cinema: Interdisciplinary and Intercultural Approaches to World Cinema' (held at the Leeds Art Gallery in December 2010) and the other international workshops taking place at Leeds, York and Sheffield, as well as the PGR symposium 'Breaking Boundaries: Alternative Approaches to Japanese Cinema', are yielding publications of the highest standards, such as the Impure Cinema edited book, the special edition of the Journal of Japanese and Korean Cinema and the edited book New Approaches to Japanese Cinema. Several grants have been obtained in order to secure the continuation of the network over a period of five years, including a Leverhulme Visiting Professorship for Professor Stephanie Donald, RMIT Melbourne, worth £32,706.00 (PI: Lúcia Nagib), and a FIRC-WUN grant.

Teaching

  • MODL1030: Introduction to World Cinema I (coordinator)
  • MODL1040: Introduction to World Cinema 2 (coordinator)
  • MODL5600: World Cinemas Core Module (coordinator)
  • MODL5604: World Cinemas Research Methods
  • MODL5607: World Cinemas Dissertation (coordinator)
  • MODL5602: Gender and Sexuality in World Cinemas
  • SPPO2410/1 Culture and Society in the Portuguese-speaking World

Postgraduate Research Supervision

Lúcia Nagib currently supervises or co-supervises the following students: 

  • Lee Broughton (PhD) - on European Westerns
  • Tamara Courage (PhD) - on Chinese cinema
  • Robert Johnson (PhD) - on Thai cinema
  • Anastasia Malama (PhD) - on American Independent Cinema
  • Sarah Metcalf (PhD) - on Jan Svankmajer
  • Aimee Richmond (PhD) - on Japanese cinema
  • Laura Rodriguez Izasa (PhD) - on Latin American Cinema
  • Julian Ross (PhD) - on Japanese cinema
  • Michael Smith (PhD) - on Japanese cinema
  • Martha Jurksaitis (MAR) - on Gunvor Nelson
  • David Lashbrook (MAR) - on music biopics
  • Giulia Manica (MAR) - on cinematic representations of the city

Administrative Responsibilities

Director, Centre for World Cinemas

Subject Leader, World Cinemas

Leader, Research Group Film and Visual Culture

Programme manager, MA in World Cinemas