Tina’s research addresses questions of negative affect, materiality, ethics, violence, and spectatorship in contemporary film and media. She has particular expertise in extreme cinema.
Tina holds a PhD in French Studies (with a designated emphasis in Critical Theory) from the University of California, Davis. She attended the Cornell School of Criticism & Theory in 2001, and was pensionnaire étrangère at the École normale supérieure in Paris from 2001-2002. This training provided a solid grounding in critical theory and continental philosophy, which continues to inform her work in the area of contemporary film and media studies.
She has a particular interest in extreme cinema, and is the co-editor of The New Extremism in Cinema: From France to Europe and other publications on affect, ethics, and extreme cinema spectatorship. Other recent work addresses the role of negative affects such as disgust and boredom in film and media ecologies.
At present, Tina is working on a monograph that focuses on boredom and the attention economy of contemporary media. She is also collaborating with her colleague Dr Tanya Horeck on an international research network on digital violence, which considers the significance of violence in a digital age.
Kendall, T., forthcoming 2015. The Aesthetics and Ethics of Snuff in the Films of the New Extremism. In: Jackson, N., Kimber, S., Walker, J and Watson, T. (Eds.).Snuff: Real Death and Screen Media. London: Bloomsbury.
Kendall, T. (Ed.), forthcoming 2015. In Focus: Cinematic Speed. Cinema Journal, 55(2).
Horeck, T. and Kendall, T., 2014. Extreme Memes: O-Faces, Paper Bags, and the Paratexts of Nymph()maniac. MediaCommons: In Media Res, ‘Extreme Cinema’, 6 May 2014.
Horeck, T. and Kendall, T., 2014. Idiot Media: The Culture of NekNomination Videos. MediaCommons: In Media Res, ‘Circulating Pain’, 2 April 2014.
Kendall, T., 2013. No God But Cinema: Bruno Dumont’s Hadewijch. Contemporary French & Francophone Studies, 17(4), pp.405-413.
Kendall, T., 2013. Cinematic Affect and the Ethics of Waste. New Cinemas: Journal of Contemporary Film, 10(1), pp.45-61.
Horeck, T. and Kendall, T., 2013. The New Extremisms: Re-Thinking Extreme Cinema. Cinephile, 8(2), pp.7-9.
Kendall, T., 2012. The Still Life: DVD Stills Galleries and the Digital Uncanny. In: Hubner, L. and Allen, S. (Eds.). Framing Film: Cinema and the Visual Arts. London: Intellect, pp.113-126.
Kendall, T. (Ed.), 2012. Tarrying with Disgust. Special issue of Film-Philosophy, 15(1).
Horeck, T. and Kendall, T. (Eds.), 2011. The New Extremism in Cinema: From France to Europe. Edinburgh: Edinburgh University Press.
Kendall, T., 2011. Christophe Honoré’s Ma Mère: Reading Bataille’s Remains in the New European Extremism. In: Horeck, T., and Kendall, T. (Eds.). The New Extremism in Cinema: From France to Europe. Edinburgh: Edinburgh University Press, pp.43-54.
Kendall, T., 2010. The 'In-Between of Things': Intermediality in Ratcatcher. New Review of Film and Television Studies, 8(2), pp.179-197.
Kendall, T., 2006. Utopia Gleaners. In: Knechtel, J. (Ed.). Trash. Cambridge: Alphabet City/MIT Press, pp.222-229.
Kendall, T., 2014. Virtuosic Boredom: Attention, Affect, and Performance in David Cronenberg’s Cosmopolis. Seattle: Society for Cinema and Media Studies, unpublished.
Kendall, T., 2014. Against Slow and Boring: Reframing Slowness in Global Art Cinema. Seattle: Society for Cinema and Media Studies, unpublished.
Kendall, T., 2013. French Horror and the New Sincerity: Pascal Laugier’s Martyrs. Nottingham: French Studies Conference, unpublished.
Kendall, T., 2013. Boredom in extremis. Chicago: Society for Cinema and Media Studies, unpublished.