“Ėsfir’ Shub on Women in the Editing Room,” Apparatus, No. 6 (Summer 2018), open access. Link here.
“Perceptual Cells: James Turrell’s Vision Machines Between Two Paracinemas,” Leonardo Journal, 49.4 (2016, Special SIGGRAPH Issue): 306 – 316.
“Assembling Movement: Scientific Motion Analysis and Studio Animation Practice,” Discourse, 37.3 (Fall 2015): 269 – 297.
“Anticipation of Contact: Pina 3D and Stereoscopic Cinematography.” PUBLIC: Art, Culture, Ideas, 47 (Spring 2013): 174-185.
“A National Filmmaking without a Home: Home and Displacement in the work of Amir Naderi.” Comparative Studies of South Asia, Africa, and the Middle East, 31. 2 (Fall 2011): 474-486.
“Anthologizing ‘Davandeh’ (The Runner).” Quarterly Review of Film and Video, 27.5 (Fall 2010): 358-359.
“At a Loss for Words: Televisual Liveness and Corporeal Interruption.” Journal of Dramatic Theory and Criticism, 24.4 (Spring 2010): 117-134.
“A Skillful Isis: Esfir Shub and the Feminization of Film Editing,” in New Studies in Documentary Film, ed. Joshua Malitsky (Forthcoming, Wiley-Blackwell, 2020).
“Twenty Four Signatures per Second: Direct Animation and Gestural Repetition,” in Process Cinema: Handmade Film in the Digital Age, Ed. Janine Marchessault and Scott MacKenzie (McGill-Queen’s University Press, 2019): 21-39.
“Independent Animators and the Artisanal Mode, 1949-1989,” in Animation, Ed. Scott Curtis (Rutgers, 2019): 103-130.
“Trade Tattoos: Len Lye’s Animation Stencils and Programmed Movement,” in The Long Dream of Waking: New Perspectives on Len Lye, Ed. Paul Brobbel. (Auckland: Canterbury University Press, 2017): 184- 203.
“Comics (as) Journalism: Teaching Joe Sacco’s Palestine to Media Students” [Co-authored with Sarah Henstra], in Critical Approaches to Teaching Graphic Narratives, Ed. Lan Dong. (McFarland, 2012): 243-260.
“Ghosts in the Machine: The Body in Digital Animation,” in Popular Ghosts: The Haunted Spaces of Everyday Culture, Ed. Esther Peeren and Maria del Pilar Blanco. London: Continuum (2010): 225-238.
Exhibition and Catalog Essays:
“Lens on Lye: Turn on, Turn in” (Govett-Brewster Art Gallery, New Plymouth, 2020). Link here.
“Robert Breer’s Blazes: Animation on Fire” (Carnegie Museum of Art, Pittsburgh, 2018). Link here.
“Spotlight on Len Lye’s Filmmaking Tools: The Stencil” (Govett-Brewster Art Gallery, New Plymouth, 2017). Link here.
“How the Sausage Gets Made: Recent works by Weronika Stepien and Stephen Wichuk” (Grunt Gallery, Vancouver, 2016). Link to exhibition page.
“Oskar Fischinger’s Wax Experiments” for Defining Experimental Animation film exhibition (Cinema Borealist, Chicago, 2013). Link to post.
Alla Gadassik is a media scholar, curator, and lifelong cinephile (although she defines "cinema" very broadly). Her research and writing investigates the history of filmmaking techniques and philosophies. While her main area of expertise is the history of animation, she is also interested in the history of cinematography and film editing. She holds a PhD in Screen Cultures from Northwestern University, an MA in Communication & Culture from York University, and a BA in Radio/TV/Film from Ryerson University. Alla currently resides in Vancouver (Canada), where she is Assistant Professor of Media History and Theory at Emily Carr University of Art + Design.