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Penny Siopis’s films write histories that are markedly alternative. Combining family home movies, amateur or documentary found footage with sound and a written text presented through subtitles, her films tell untold or censored histories. They speak to (auto)biographical concerns and widely shared experiences of colonialism, war, Apartheid, migration, globalisation, and ecological crisis, all the while standing out as strong aesthetic/affective experiences beyond the historical, and as art objects in dialogue with a number of traditions. Here, I am most interested in producing an understanding of her films as a specific form of post-medium cine-writing. My interest is not purely formal, for the cine-writing in Siopis’s films is not independent of the stories they construct; it is a mode of writing beyond-the-book, born of the task of telling history otherwise. By working through her paragrammatical, scripto-visual style, my discussion will circle in particular around the unspeakable film subject produced by her work.

Film and Television Studies has scored 96.3% student satisfaction for Overall Quality of Teaching and Learning in the 2022 National Student Survey.

The latest issue of Mediapolis Journal (Vol.7 No.2)Link opens in a new window has recently been published, featuring contributions by a number of researchers from Film and Television Studies at Warwick.

Film and Television Studies have won the Warwick Awards for Teaching Excellence: Community and Culture Award.

Details of funding for PhD researchers