MA(UCSB) MA PhD(UCLA)
Senior Lecturer
Contact
Office: 3N9, 3rd floor, Arts (Burns) Building
Tel: 64 3 4798472
Email: kevin.fisher@otago.ac.nz
Research Interest
Cinematic representation from historical and phenomenological perspectives, digital culture, film spectatorship, and film violence.
Papers in 2021
Semester One:
MFCO318 Indigenous media
Semester Two:
MFCO 210 Theory of Film and Media
MFCO 213 Media Genres
Publications
Fisher, K. (2015). Seismic energy and symbolic exchange in When a city falls. In A. Wright (Ed.), Film on the faultline. (pp. 163-179). Bristol, UK: Intellect.
Fisher, K. (2014). The ecstatic gestalt in Werner Herzog's Cave of Forgotten Dreams. Refractory, 24. Retrieved from http://refractory.unimelb.edu.au/2014/08/06/fisher/
Fisher, K., & Randell-Moon, H. (2014). Intermediations. Refractory, 24. Retrieved from http://refractory.unimelb.edu.au/2014/08/06/editorial/
Fisher, K., & Hokowhitu, B. (2013). Viewing against the grain: Postcolonial remediation in Rain of the children. In B. Hokowhitu & V. Devdas (Eds.), The fourth eye: Māori media in Aotearoa New Zealand. (pp. 60-75). Minneapolis, MN: University of Minnesota Press.
Fisher, K. (2013). Staging the medium in Ben Cauchi's The Evening Hours. Scope (Art & Design), 8, 71-76.
Chapter in Book - Research
Fisher, K. (2015). Seismic energy and symbolic exchange in When a city falls. In A. Wright (Ed.), Film on the faultline. (pp. 163-179). Bristol, UK: Intellect.
Fisher, K., & Hokowhitu, B. (2013). Viewing against the grain: Postcolonial remediation in Rain of the children. In B. Hokowhitu & V. Devdas (Eds.), The fourth eye: Māori media in Aotearoa New Zealand. (pp. 60-75). Minneapolis, MN: University of Minnesota Press.
Fisher, K. (2009). Cinephilia as topophilia in The Matrix (1999). In S. Balcerzak & J. Sperb (Eds.), Cinephilia in the age of digital reproduction: Film, pleasure and digital culture (Vol. 1). (pp. 173-190). London: Wallflower Press.
Fisher, K. (2008). Sonic resonances of nature and supernature in the Lord of the Rings trilogy. In H. Margolis, S. Cubitt, B. King & T. Jutel (Eds.), Studying the event film: The Lord of the Rings. (pp. 169-175). Manchester University Press.
Fisher, K. (2007). Dora, Miki. In D. Booth & H. Thorpe (Eds.), Berkshire encyclopedia of extreme sports. (pp. 85-86). Great Barrington, MA: Berkshire.
Fisher, K. (2007). Dogtown and Z-Boys. In D. Booth & H. Thorpe (Eds.), Berkshire encyclopedia of extreme sports. (pp. 83-85). Great Barrington, MA: Berkshire.
Fisher, K. (2007). Video technology. In R. Robertson & J. A. Scholte (Eds.), Encyclopedia of globalization (Vol. 4). (pp. 1233-1235). New York: Routledge.
Fisher, K. (2007). Big wave contests. In D. Booth & H. Thorpe (Eds.), Berkshire encyclopedia of extreme sports. (pp. 28-32). Great Barrington, MA: Berkshire.
Journal - Research Article
Fisher, K. (2014). The ecstatic gestalt in Werner Herzog's Cave of Forgotten Dreams. Refractory, 24. Retrieved from http://refractory.unimelb.edu.au/2014/08/06/fisher/
Fisher, K. (2013). Staging the medium in Ben Cauchi's The Evening Hours. Scope (Art & Design), 8, 71-76.
Fisher, K. (2012). The Canterbury earthquakes and the production of reality in When a City Falls. New Zealand Journal of Media Studies, 13(2), 66-77. doi: 10.11157/medianz-vol13iss2id16
Fisher, K. (2011). Sounds between worlds: The audiovisual hyperchiasm in The Thirteenth Floor and The Matrix. New Review of Film & Television Studies, 9(1), 57-70. doi: 10.1080/17400309.2011.521718
Fisher, K. (2010). Information feedback loops and two tales of the posthuman in Forbidden Planet. Science Fiction Film & Television, 3(1), 19-35. doi: 10.3828/sfftv.2010.2
Journal - Research Other
Fisher, K., & Randell-Moon, H. (2014). Intermediations. Refractory, 24. Retrieved from http://refractory.unimelb.edu.au/2014/08/06/editorial/
Fisher, K. (2013). Forces of gravity. Deletion, 2. Retrieved from http://www.deletionscifi.org/episodes/episode-2/forces-gravity/
Conference Contribution - Published proceedings: Abstract
Fisher, K. (2011). The cut as hyperchiasm: Cinematic ontology reconsidered. Proceedings of the Screen Cultures Conference. Retrieved from http://www.otago.ac.nz/languagescultures/screencultures.html
Fisher, K. (2008). Subjective vision, narrative fiction, and historical tragedy in Out of the blue (2006). In C. Fowler & R. Simmons (Eds.), Proceedings of the XIVth Biennial Conference of the Film and History Association of Australia and New Zealand (Vol. 1: Refereed Abstracts). (pp. 26-27). Dunedin, New Zealand: Department of Film, Media and Communication, University of Otago. [Abstract]
Conference Contribution - Verbal presentation and other Conference outputs
Fisher, K. (2011, November). Citizens and Kiwis in Operation 8. Verbal presentation at the Postcolonial Studies Research Network Conference: Citizenship in an Era of Global Crisis, Dunedin, New Zealand.
Fisher, K. (2011, February). Into the cut: The digital hyperchiasm in contemporary special effects cinema. Verbal presentation at the Rendering the Visible Conference, Atlanta, GA.
Fisher, K. (2010, November-December). Hyperspace philosophy and hypermodernism in the work of Hollis Frampton. Verbal presentation at the XVth Biennial Conference of the Film and History Association of Australia and New Zealand: Cinema, Modernity and Modernism, Sydney, Australia.
Fisher, K. (2010, March). The historicity of time machines and the contraction of the present in Timecrimes. Verbal presentation at the Society for Cinema & Media Studies (SCMS) Conference: SCMS @ 50/LA: Archiving the Future/Mobilizing the Past, Los Angeles, CA.
Fisher, K. (2007, February). Screen as chiasm in contemporary moving image art. Verbal presentation at the Otago Polytechnic School of Art Conference Day, Dunedin, New Zealand.
Fisher, K. (2006, June). Cinema as hyperspace: A four dimensional perspective. Verbal presentation at the On Space Conference, Dunedin, New Zealand.
Fisher, K. (2006, November). Virtuality, indigeneity, and the posthuman. Verbal presentation at the Postcolonial Politics Conference, Dunedin, New Zealand.
