Maud Ceuterick is the leader of the international DIGISCREENS project, which has received funding from the CHANSE ERA-NET Co-fund programme and examines "Identities and Democratic Values on European Digital Screens: Distribution, Reception, and Representation" (DIGISCREENS, 2022-2025). Her research deals with gender, space and power relations on screen, in film and digital media. She has published the open access monograph Affirmative Aesthetics and Wilful Women: Gender, Space and Mobility in Contemporary Cinema (Palgrave Macmillan, 2020).

In 2018-2020, she was the recipient of a Horizon 2020 Marie Skłodowska-Curie Individual Fellowship for the project "Affirmative Post-Cinema: Narrative and Aesthetic Responses to Gender and Power", which dealt with the narrative and aesthetic mechanisms of digital media, in particular of immersive technologies such as Virtual Reality (VR), Augmented Reality (AR), as well as locative narratives and social media. This research led to the publication of articles on queering cultural memory, the road movie genre, masculinity and domesticity in transnational cinema, women and everyday spaces on screen, and space tourism in film.

She is currently (2022-2024) developing an interactive map for the Queer Archive of Norway (Skeivt Arkiv) and contributing to the project QUEERDOM: Researching queer domesticities and intimacies in Norway 1842–1972.

2021

MEVI 224: Media Technology and Society

MEVI 304: Strategic Communication

2020

DIKULT 251: Critical Perspectives on Technology and Society with Bachelor Thesis

DIKULT 304: Seminar Topics in Digital Culture

2019

MIX 202: Design for Media Use

MEVI103: Media Texts: Theory and Analysis

Interview Journal

• Aas, Vilde Aardahl; Ceuterick, Maud Eurydice (2024). Den hvite mannen i alle aldre er fortsatt den vanligste hovedrollen og helten. (external link)

Academic lecture

• Ceuterick, Maud Eurydice; Malet, Marine (2024). National Funding Schemes and Glocal Streaming: The Case of France and Norway. (external link)
• Ceuterick, Maud Eurydice (2024). Presenting DIGISCREENS's methodology to GEMMA. (external link)
• Ceuterick, Maud Eurydice (2023). Presenting DIGISCREENS. (external link)
• Ceuterick, Maud Eurydice (2023). How to remain relevant in a post-#metoo global streaming context: Public service and the strength of the local, the case of Norwegian public television series Exit. (external link)
• Jansson, Maria; Ceuterick, Maud Eurydice (2023). Comparing variations in the implementation of EU regulations of streaming platforms. (external link)
• Ceuterick, Maud Eurydice (2019). A Machine vision anthology. (external link)
• Ceuterick, Maud Eurydice (2019). Creation of a queer affirmative space through sound in augmented reality. (external link)
• Ceuterick, Maud Eurydice (2019). Sound and queer affirmative space in augmented reality. (external link)
• Ceuterick, Maud Eurydice (2019). Estética Afirmativa: Género, espacio y formas cinematográficas. (external link)
• Ceuterick, Maud Eurydice (2019). Creation of a feminist affirmative space through sound in augmented reality. (external link)
• Ceuterick, Maud Eurydice (2018). A Bibliography of Machine Vision. (external link)
• Ceuterick, Maud Eurydice (2016). Inhabiting space through gender, film and affect. (external link)

Academic article

• Ceuterick, Maud Eurydice; Malet, Marine (2024). (In)visibilising diversity on national streaming platforms in France and Norway: A quantitative and qualitative visual analysis of thumbnails. (external link)
• Ceuterick, Maud Eurydice; Giannotti Mura, Carola Ludovica (2024). Academic filmmaking and its discontents: In between videographic criticism and visual anthropolog. (external link)
• Ceuterick, Maud Eurydice (2024). Rawr: Kitchen, rage, Judith and I. (external link)
• Ceuterick, Maud Eurydice (2023). Resilient Ageing Women: A Question of Performance. (external link)
• Ceuterick, Maud Eurydice (2021). Queering Cultural Memory Through Technology: Transitional Spaces in AR and VR. (external link)
• Ceuterick, Maud Eurydice (2021). Post-cinematic spectatorship in virtual reality: Negotiating 3DoF and 6DoF in ‘Queerskins: Ark’. (external link)
• Ceuterick, Maud Eurydice; Ingraham, Chris (2021). Immersive Storytelling and Affective Ethnography in Virtual Reality. (external link)
• Ceuterick, Maud Eurydice (2020). Walking, Haunting, and Affirmative Aesthetics: The Case of Women without Men . (external link)
• Ceuterick, Maud Eurydice (2020). An affirmative look at a domesticity in crisis: Women, Humour and Domestic Labour during the COVID-19 Pandemic. (external link)
• Ceuterick, Maud Eurydice (2016). Porous rural spaces in Possum. (external link)
• Ceuterick, Maud Eurydice (2014). ‘Review essay of Welcome, Le Havre and Un cuento chino: Visceral cosmopolitanism and the domestic sphere’. (external link)

Popular scientific article

• Ceuterick, Maud Eurydice (2021). Revisiting Masculinity and the American Dream in First Cow. (external link)

Academic chapter/article/Conference paper

• Ceuterick, Maud Eurydice (2020). A home on the road in Claire Denis’ Vendredi soir. (external link)
• Ceuterick, Maud Eurydice; Johnson, Mark R. (2019). Space Tourism in Contemporary Cinema and Video Games. (external link)

Academic monograph

• Ceuterick, Maud Eurydice (2020). Affirmative Aesthetics and Wilful Women Gender, Space and Mobility in Contemporary Cinema. (external link)

Editorial

• Azarmandi, Mahdis; Laforteza, Elaine; Ceuterick, Maud Eurydice (2016). Guest Editors' Introduction: Geocorpographies of Commemoration, Repression and Resistance. (external link)

Book review

• Ceuterick, Maud Eurydice (2015). ‘Review: Neil Archer’s The French road movie: Space, mobility, identity (2012) and Michael Gott and Thibaut Schist’s Open road, closed borders: The contemporary French-language road movie (2013)’. (external link)

Feature article

• Ceuterick, Maud Eurydice (2011). Siete meses de desgobierno en Bélgica. (external link)

See a complete overview of publications in Cristin.

2022-2025, Funding awarded for EU funded CHANSE project DIGISCREENS: Identities and Democratic Values on European Digital Screens: Distribution, Reception, and Representation. About the CHANSE program, see: https://chanse.org/call-results/

DIGISCREENS is a three-year international collaborative project led by Dr. Maud Ceuterick, and in collaboration with PIs Dr. Lina Kaminskaitė Jančorienė (Lithuanian Academy of Music and Theatre), Prof. Maria Jansson (Orebro University), and Prof. Adelina Sanchez (University of Granada). The project focuses on five European countries: France, Spain, Sweden, Norway and Lithuania, and has the objective is to analyse how current practices of digital distribution of films and TV series on global and national platforms intertwine with the representation and the reception of identities and democratic values. See more on: https://www.uib.no/en/digiscreens

 

2018-2020, Marie Skłodowska-Curie Actions (Individual Fellowships Call: H2020-MSCA-IF-2017): "AFFIRMATIVE: Affirmative Post-Cinema: Narrative and Aesthetic Responses to Gender and Power"

The goal of AFFIRMATIVE is to determine how post-cinematic arts counteract and aim to change current gender norms through affirmative narratives and aesthetics. By analysing post-cinematic critical engagements with issues of gender and power, I will examine how post-cinema reframes gender norms in an affirmative manner. Rather than being 'natural' or neutral, gender is a social construct inflected with layers of meaning, affect and power. Gender manifests as norms that are 'performed' and reiterated (mostly unconsciously and on a daily basis) through the ways we dress, interact and behave in different spaces and social environments. As attempts to shift the power imbalance between genders, feminist films, television series and social campaigns have often opposed the binary associations between gender and space (men/women, public/domestic). While feminist narratives are often created through negation and opposition, this project takes affirmative narratives and aesthetics as starting point.