Areas of interest
Artist’s moving image, experimental film, documentary, intermediality and transcultural filmmaking, phenomenology, feminist visual cultures, critical disability studies.
Jenny is Co-Investigator on a large AHRC grant, ‘The Legacies of Stephen Dwoskin’s Personal Cinema’ (£969,985, 2018-2021). This is a collaborative project with academics at the Universities of Reading, Glasgow and Sheffield, the British Film Institute and the LUX, incorporating film history, embodiment and disability studies, fine art practice and the digital humanities. Dwoskin was a multidisciplinary artist who was both one of the founders of the London Filmmaker’s Co-Operative (now the LUX), and an early adopter of digital film. She is currently writing articles and book chapters on Dwoskin’s disability activism and technological aptitude, on the fluidity of gender and sexuality through the lens of his photography and late films, and on intermediality in his digital filmmaking.
Jenny works on two distinct areas in her research: one is on orientations of complex embodiment in the moving image, including film-phenomenology, feminist phenomenologies, and disability studies. The other is on the intermedial relationships between the moving image and archives, museums and other cultural sites. Her next monograph in progress, Cinemuseology: Museum Vitrines, Digital Screens, and Cultural Politics examines this subject.
Jenny’s first monograph, Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French Cinema (Palgrave Macmillan: 2012) has become an important intervention in the emerging field of film-phenomenology. Jenny has also written extensively on female filmmakers and artists such as Agnès Varda, Chantal Akerman, Shirin Neshat and Gillian Wearing, and transcultural and intermedial filmmakers such Abbas Kiarostami, Philippe Grandrieux and Elia Suleiman, discussing documentary, fiction and hybrid film, as well as artist’s moving image and installation.
Between 2015 and 2017 Jenny was a member of the AHRC-funded International Research Network on Film and the Other Arts: Intermediality, Medium-Specificity, Creativity. She has been invited to speak internationally on ethnographic film, performance and live art, and moving image installation in museum contexts. In 2018 Jenny joined the editorial board of MAI: Journal of Feminism and Visual Culture, and in 2019 was appointed to the editorial board of the Film Section of Modern Languages Open.
Art writing and creative non-fiction are ongoing interests of Jenny’s, and they go hand in hand with her work as a curator and programmer, where she has collaborated at the Southbank Centre, King’s College London, and the Whitechapel Gallery. She has collaborated with artists, writers, poets and curators including So Mayer, Aura Satz, Daria Martin, Anna Cady, Ricarda Vidal, Gareth Evans and Chris McCabe in the exhibitions and programmes she has worked on.
Jenny welcomes enquiries from prospective postgraduate students who would like to work on such topics as: film-phenomenology, gender, disability and embodiment, experimental cinema, non-fiction film and artist's moving image, curation and programming, non-Anglophone transcultural and intermedial cinema, practice-based research, and archives/museums/galleries.
Jenny studied Modern Languages, before proceeding to an MPhil in European Literatures and Cultures, and then completing a PhD in French experimental cinema and continental philosophy, all at the University of Cambridge. She has worked at the Universities of Cambridge, Leicester and Queen Mary, University of London.
- Chamarette, J. ORCID: 0000-0003-0701-1514 (2022) Curating the Godardian institution: agency and critique in film and contemporary art. Screen , 62 (4). pp. 484-511. ISSN: 1460-2474 | doi: https://dx.doi.org/10.1093/screen/hjab051
- Chamarette, J. ORCID: 0000-0003-0701-1514 (2021) Agnès Varda and Xavier Dolan – between politics, the art house and popular culture. French Screen Studies pp 7. ISSN: 2643-895X | doi: https://dx.doi.org/10.1080/26438941.2021.1948172
- Chamarette, J. ORCID: 0000-0003-0701-1514 (2018) Overturning feminist phenomenologies: disability, complex embodiment, intersectionality, and film. Rethinking Feminist Phenomenology : Theoretical and Applied Perspectives. Rethinking Feminist Phenomenology: Theoretical and Applied Perspectives pp. 187-208. ISBN: 9781786603739
- Chamarette, J. ORCID: 0000-0003-0701-1514 (2015) The “new” experimentalism? Women in/and/on film. Feminisms. Feminisms pp. 125-140. ISBN: 9789048523634 | doi: https://dx.doi.org/10.1515/9789048523634-013
- Chamarette, J. ORCID: 0000-0003-0701-1514 (2015) Visible and invisible institutions: cinema in the French Art Museum. International Handbooks of Museum Studies: Museum Media. , 3. The International Handbooks of Museum Studies , 3 pp. 95-119. ISBN: 9781118829059 | doi: https://dx.doi.org/10.1002/9781118829059.wbihms305
- Chamarette, J. ORCID: 0000-0003-0701-1514 (2014) Absurd avatars, transcultural relations: Elia Suleiman, Franco-Palestinian filmmaking and beyond. Modern & Contemporary France , 22 (1). pp. 85-102. ISSN: 0963-9489 | doi: https://dx.doi.org/10.1080/09639489.2013.867152
- Chamarette, J. ORCID: 0000-0003-0701-1514 (2013) Transitional borders and intermedial spectacle: Kiarostami and opera, between France and Iran. Studies in French Cinema , 13 (3). pp. 257-271. ISSN: 1471-5880 | doi: https://dx.doi.org/10.1386/sfc.13.3.257_1
- Chamarette, J. ORCID: 0000-0003-0701-1514 (2012) Phenomenology and the Future of Film: Rethinking Subjectivity Beyond French CInema. Palgrave Macmillan ISBN: 9781349335220 | doi: https://dx.doi.org/10.1057/9781137283740
- Chamarette, J. ORCID: 0000-0003-0701-1514 (2007) Flesh, Folds and Texturality: Thinking Visual Ellipsis via Merleau-Ponty, Hélène Cixous and Robert Frank. Paragraph , 30 (2). pp. 34-49. ISSN: 0264-8334 | doi: https://dx.doi.org/10.3366/prg.2007.0018