{"id":717,"date":"2010-08-31T16:09:18","date_gmt":"2010-08-31T20:09:18","guid":{"rendered":"http:\/\/carleton.ca\/filmstudies\/"},"modified":"2026-03-02T12:56:12","modified_gmt":"2026-03-02T17:56:12","slug":"malini-guha","status":"publish","type":"cu_people","link":"https:\/\/carleton.ca\/filmstudies\/people\/malini-guha\/","title":{"rendered":"Malini Guha"},"content":{"rendered":"
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Malini Guha is interested in supervising students and postdocs on migration, cinema and media, world cinema, cities in cinema and race\/representation in cinema and media.<\/em><\/p>\n\n\n\n

Malini Guha (she\/her) is an Associate Professor of Film Studies. She is a settler of South Asian descent. Guha\u2019s research interests are expansive, extending from a longstanding commitment to thinking and writing about film and the city as well diasporic and postcolonial cinemas to more recent turns toward the subject of world cinema and other moving image practices, including public projection.<\/p>\n\n\n\n

Guha is cross-appointed with the Institute for Studies in Art and Culture and is affiliated with Migration and Diaspora Studies. She is the current holder of the Ruth and Mark Phillips Professorship<\/a> in Cultural Mediations at the Institute for Comparative Studies in Literature, Art and Culture (2025-27). Her project, \u201cTraction, Flight Becoming: Geographical Thinking Across Disciplines\u201d will facilitate and nurture geographical thinking across disciplinary divides.<\/p>\n\n\n\n

Guha is the author of From Empire to the World: Migrant London and Paris in Cinema<\/em><\/a> (Edinburgh University Press, 2015) and co-editor (with Elizabeth Evans) of London as Screen Gateway<\/em><\/a> (Routledge University Press, 2023). Her essays have been published in Feminist Media Histories,<\/em> the Canadian Journal of Film Studies<\/em>, NECSUS<\/em>, Screening the Pas<\/em>t,PUBLIC: Art \\Culture| Ideas<\/em> and the Journal of British Cinema and Television<\/em>. As a contributing editor for the online journal Mediapolis<\/em>, she writes a regular column, \u2018Screening Canada\u2019, where she explores aspects of Canada\u2019s mediated place-making in relation to recent issues concerning its global role and domestic negotiation of racial and ethnic difference.<\/p>\n\n\n\n

Guha assumed the role of Resident Critic for Knot Projections 2019: Imagining Publics<\/em>, a public projection program launched by Knot Project Space and SAW Video (2018-19). Under the leadership and direction of SAW Video\u2019s former Programming Director Neven Lochhead, she worked with five artists who produced moving image work that was projected on multiple sites across Ottawa. She wrote an essay about the project that was commissioned by Lochhead and published in The Routledge Companion to Media and the City<\/em><\/a> (eds. Erica Stein, Brendan Kredell and Germain R. Halegoua, 2022).<\/p>\n\n\n\n

\"Knot<\/figure>\n\n\n\n

<\/p>\n\n\n\n

In 2019, she was an invited speaker for the Sydney Asian Art Series. As part of this series, she programmed and introduced a tribute screening for the late Bengali director, Mrinal Sen, held at the New South Wales Art Gallery. In 2024, she conducted a career-spanning interview with filmmaker Deepa Mehta as part of the Canadian Master\u2019s series at the International Film Festival of Ottawa. <\/p>\n\n\n\n

Guha has engaged in a series of collaborative projects over the last several years involving colleagues at Carleton. She was co-chair of the Racialized and Indigenous Faculty Alliance (with Professor Leila Angod) at Carleton from 2022-2024. As part of this role, she co-organized two summer institutes as well as a session on alternative grading as part of Inclusion Week at Carleton. In 2023, she, along with Professors G\u00fcl Kale and Kathy Armstrong, co-taught a course<\/a> on the subject of intersectional approaches to race and representation in the arts that spanned the disciplines of film studies, art and architectural history and music. <\/p>\n\n\n\n

\"In-class
(From Guha\u2019s section of \u201cIntersectional Approaches to Race and Representation in the Arts, shot by Ainslie Coghill)<\/figcaption><\/figure>\n\n\n\n

Guha is currently working on a research project that revisits a number of longstanding questions and debates about cinema and reality through the lens of traction, fight and becoming. She was awarded a FASS Mid-Career Research Grant (2021) for this project as well as a SSHRC Insight Development Grant titled \u201cOn Traction: Moving Images and Their Realities\u201d (2023-2025). As part of her SSHRC grant, she commissioned artist, curator and educator Neven Lochhead to produce Something Happened<\/em><\/a> (2024), a residency and exhibition platform based in Tamworth, Ontario. <\/p>\n\n\n\n

She is one of two first-time North American editors of the journal Screen <\/em>and is also on the editorial board of the Canadian Journal of Film Studies<\/em>. She serves as CUASA councillor for the School of Studies in Art and Culture and was a member of Collective Bargaining (2023-2024). <\/p>\n\n\n\n

Select Publications<\/h3>\n\n\n\n

Monographs<\/h4>\n\n\n\n

From Empire to the World: Migrant London and Paris in the Cinema<\/em> (Edinburgh University Press, 2015).<\/p>\n\n\n\n

\"Book<\/figure>\n\n\n\n

<\/p>\n\n\n\n

Edited Collections<\/h4>\n\n\n\n

London as Screen Gateway<\/em> (Routledge University Press, 2023), co-edited with Elizabeth Evans.<\/p>\n\n\n\n

Essays in Journals and Edited Collections<\/h4>\n\n\n\n

\u201cBorder as Method in a Film and Media Studies Context\u201d in Teaching Migration in Literature, Film and Media<\/em><\/a> (MLA, 2025), eds. Masha Salazkina and Yumna Siddiqi, pp. 39-47.<\/p>\n\n\n\n

\u201cCollisions, Echoes, Swallowings\u201d, PUBLIC: Art|Culture|Ideas <\/em>70: The Weather (November 2024).<\/p>\n\n\n\n

\u201cOutside In: Twilight City and the Birth of Global London<\/em>\u201d in Global London on Screen: Visitors, Cosmopolitans and Migratory Visions of a Superdiverse City<\/em> (Manchester University Press, 2023), eds. Keith B. Wagner and Fran\u00e7ois-Roland Lack, pp. 72-92.<\/p>\n\n\n\n

\u201cPiccadilly Lights as Pandemic Portal? The Case of CIRCA Art\u2019s Public Projection Series\u201d in London as Screen Gateway<\/em> (Routledge Press, 2023), eds. Elizabeth Evans and Malini Guha.<\/p>\n\n\n\n

\u201cPublic Projection as Traction: The Case of Imagining Publics<\/em> (2019)\u201d in Routledge Companion to Media and the City<\/em>(Routledge Press, 2022), eds. Erica Stein, Brendan Kredell and Germain R. Halegoua, pp. 167-177.<\/p>\n\n\n\n

\u201cOn, For, With Structure: Tanya Lukin Linklater\u2019s My Mind is With The Weather<\/em>\u201d, Mediapolis <\/em>4.7 (November 2022).<\/a><\/p>\n\n\n\n

\u201cAssemblage, Performance, Precarity: Moving through the archive in Filipa C\u00e9sar\u2019s Spell Reel (2017) and Conakry (2013)\u201d, Feminist Media Histories<\/em> no. 3, vol. 7 (Summer 2021): 82-103.<\/p>\n\n\n\n

\u201cProjections that Give: Cauleen Smith\u2019s Covid Manifesto <\/em>(2020)\u201d, Mediapolis<\/em> 2.6 (April 2021).<\/a><\/p>\n\n\n\n

\u201cVaguely Visible: Intersectional Politics in Bertrand Bonello\u2019s Nocturama\u201d<\/em> in Media Crossroads: Intersections of Space and Identity in Screen Cultures<\/em>, eds. Paula J. Massood, Angel Daniel Matos and Pamela Robertson Wojcik (Duke University Press, 2021), pp. 262-274.<\/p>\n\n\n\n

\u201cAdventure Cinema in the Age of Austerity: the case of Miguel Gomes\u2019 Arabian Nights<\/em> (2015) trilogy\u201d in Cinema of Exploration: Essays on an Adventurous Film Practice<\/em>, eds. James Leo Cahill and Luca Caminati (Routledge, 2021), pp. 211-227.<\/p>\n\n\n\n

\u201cEncounters and Affinities: Exchanges Through the Essay Form\u201d, NECSUS (Autumn, 2020).<\/a><\/p>\n\n\n\n

\u201cWorld Cinema 3.0? The \u201cWorld as Backdrop\u201d for a Multimedial Age\u201d, Canadian Journal of Film Studies<\/em>, vol. 29, no. 2 (Fall 2020): 37-51.<\/p>\n\n\n\n

\u201cRevisiting Lists in a Time of Rebellion\u201d, Mediapolis<\/em> 5.2 (July 2020).<\/a><\/p>\n\n\n\n

Infrastructural Sovereignty: IsumaTV at the 2019 Venice Biennale\u201d. Mediapolis<\/em> 4.3 (October 2019).<\/a><\/p>\n\n\n\n

\u2018Unceded\u2019 as Elsewhere: Indigenous-Led Concepts of Architecture at<\/a><\/p>\n\n\n\n

the 2018 Venice Architectural Biennale. Mediapolis<\/em> 1.4 (February 2018).<\/a><\/p>\n\n\n\n

Beyond the Archive: The Work of Remembrance in John Akomfrah\u2019s The Nine Muses <\/em>(2010)\u201d, Screening the Pas<\/em>t, no. 43 (2018). <\/a><\/p>\n\n\n\n

\u201cThe Cinematic Revival of Low London in the Age of Speculative Urbanism\u201d in London on Film: The City and Social Change,<\/em> eds. Pamela Hirsch and Chris O\u2019Rourke and Pamela Hirsch (Palgrave Macmillan, 2017), pp. 205-220.<\/p>\n\n\n\n

\u201cCinephilia and the City: The Politics of Place in Contemporary Bengali Cinema\u201d in\u00a0Global Cinematic Cities: New Landscapes of Film and Media<\/em>, eds. Johan Anderson and Lawrence Webb (Wallflower Press, 2016), pp. 121-142<\/p>\n\n\n\n

\u201cNarratives of Return in the Films of Ousmane Sembene and Djibril Diop Mambety\u201d in\u00a0After Exile: Cinematic Homecomings: Exile and Return in Transnational Cinema<\/em>, ed. Rebecca Prime (Bloomsbury Academic Press, 2014), pp. 229- 249.\u00a0<\/p>\n\n\n\n

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