I am a Lecturer in French Film at the University of Bristol.

I am currently working on a book project that explores ‘listening spaces’ in contemporary French and Francophone documentaries, with a focus on the documentary convention of the filmed interview. Part of this project is particularly concerned with works by the Belgian filmmaker Chantal Akerman. Other research interests that dovetail with this project include sound studies, musicology and listening, queer studies, and feminist queer theory and intersectionality. My first monograph Godard and Sound: Acoustic Innovation in the Late Films of Jean-Luc Godard was published by I.B.Tauris in 2017 and explores the relationship of sound to vision in cinema and in turn our relationship as spectators with the audiovisual in a selection of post-1979 films by Jean-Luc Godard.


BA, French with Music (Royal Holloway, University of London)
MA by Research in French: Film (Royal Holloway, University of London)
PhD in French: Film (Royal Holloway, University of London)

Other Publications

‘The Mute E of a Listening Presence: a collaboration and interview with Corine Shawi’, in Journal of Middle East Women’s Studies, 16:3 (2020), pp. 331-340. https://read.dukeupress.edu/jmews/article/16/3/331/167210/The-Mute-E-of-a-Listening-PresenceA-Collaboration

‘The Auditory Imagination and the Polyphony of Listening: a study of Chantal Akerman’s South (1999)’ in Paragraph, 43.3 (2020) https://www.euppublishing.com/doi/abs/10.3366/para.2020.0340

‘Hearing the Crackles in the Background: Listening and Female Intimacy in Portrait of a Lady on Fire, in Screen Queens Blog, April 2020. Online: https://screen-queens.com/2020/04/14/listening-and-female-intimacy-in-portrait-of-a-lady-on-fire/

‘Sounding queer collaborative acts: Chantal Akerman films Sonia Wieder-Atherton’, in French Screen Studies 20:3-4, 2020. https://doi.org/10.1080/14715880.2019.1693113

‘Sensory Experience, Sound and Queerness in Chantal Akerman’s Maniac Shadows (2013)’, in Moving Image Review and Art Journal, 8:1-2, 2019, pp. 68-81. https://doi.org/10.1386/miraj_00006_1

Vocal Landscapes: Framing Mutable Stories in De l’autre côté (2002) and Une voix dans le désert (2002)’. in: Marion Schmid, Emma Wilson (eds) Chantal Akerman: Afterlives (Oxford: Legenda, 2019).  

Godard and Sound: Acoustic Innovation in the Late Films of Jean-Luc Godard (London and New York: I.B.Tauris, 2018).

‘Looking at the Carpet from the Wrong Side: Albertine Fox on writing Godard and Sound (September 2017), published on ‘The Female Gaze’ blog by the US Alliance of Women Film Journalists (AWFJ).

‘Love and work differently: Anne-Marie Miéville’s cinema of companionship’ in Sight and Sound Magazine (2016).

‘EXTREME STATES: Remixing Cinema, Visual Art and Music in Godard’s Puissance de la parole’ in Sequence, 3.1, 2015. Online at: http://reframe.sussex.ac.uk/sequence3/archive/sequence-3-1/.

‘Performing Through Space: Overflow, Displacement, and the Voice in Keep Your Right Up (Jean-Luc Godard, 1987)’, in Tom Whittaker, Sarah Wright (eds) Locating the Voice in Film: Critical Approaches and Global Practices. Oxford University Press (USA), New York and London, pp. 279-294.

‘Constructing voices in Jean-Luc Godard’s Sauve qui peut (la vie) (1979)’ in Studies in French Cinema, 14:1 (2014).

‘Writing the Rhythms of Desire: Le Ravissement de Lol V. Stein, L’Amour and L’Amant‘, in French Studies Bulletin, A Quarterly Supplement (Society for French Studies), No. 107 Summer, 2008.


Blog Posts


    Society for Cinema and Media Studies

    British Association of Film, Television and Screen Studies

    Modern Language Association MLA

    The Higher Education Academy

    Albertine Fox

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