The Centre for Critical Studies was incorporated in the Institute for Advanced Studies in the Humanities in August 2015.

The information in this website is therefore out of date but retained for archival and staff purposes.

Dr Lisa Bode

Faculty Research Fellow
Centre for Critical and Cultural Studies


Lisa Bode is Lecturer in Film and Television Studies in the newly formed School of Communication and Arts at UQ. Her recent and current research is concerned with understanding the ways in which, historically, the actor’s contribution in screen performances, and the creative and commercial uses of dead celebrities images, have been shaped by the emergence of new screen technologies in tension with aesthetic and cultural norms. She has published work in Cinema Journal, Celebrity Studies, Continuum, Animation: An Interdisciplinary Journal, Screening the Past, and Post Script, and has essays in the upcoming collections Special Effects: New Histories, Theories, Contexts, edited by Dan North et al (BFI-Palgrave, 2015) and Lasting Stars: Images that Endure, Icons that Fade edited by Lucy Bolton et al (Palgrave, 2016). She is on the editorial board of Celebrity Studies and is a founding member of the Special Interest Group in Digital Media for the Society of Cinema and Media Studies.

Lisa intends to use her time at CCCS to complete the writing for her first monograph, Screen Performance and Cinema’s Illusions: Technological Trickery, Authenticity, and Value. This book promises to shed new light on screen performance, historicising it within the context of visual and special effects cinema and technological change in Hollywood film-making through the silent, early sound and current digital eras. Using archival material such as film reviews, trade and fan magazine articles, publicity materials, actor and crew interviews, and screen-actor training manuals, it argues that Anglophone conceptualisations of screen performance and its value have formed, in part, through a dialectic between shifts in acting discourse and audience awareness of cinema’s changing capacity for trickery and illusionism. Against this historical narrative it also investigates the implications of the rise of digital effects cinema for performance styles, audience reception, the cultural status of acting, and the screen-performers’ labour market. The book will be published by Rutgers University Press as part of their ‘Techniques of the Moving Image’ series, edited by Murray Pomerance.