Active and accomplished scholars engaging with students

Prof. Aileen Blaney

Ph.D. in Film Studies from Trinity College, Dublin; M.Phil in Theatre & Film Studies from Trinity College, Dublin; B.A. International in English Literature and French Literature from National University of Ireland, Galway.


Prof. Aileen Blaney is Associate Professor – Film Studies at FLAME University. She completed her PhD from Trinity College, Dublin in the field of Film Studies. She has completed M.Phil in Theatre and Film Studies from Trinity College Dublin and Bachelor’s Degree in English Literature and French Studies from National University of Ireland, Galway.
Prof. Aileen Blaney is a writer and an editor. Her scholarship has explored Irish cinema and, more recently, examines photography in India and the photo-based image online.  Her writing has appeared in peer-reviewed journals such asPhotography and Culture, Philosophy of Photography, History & Memory, European Journal of Cultural Studies, European Journal of Women’s Studies, Film and Image Studies and on popular news sites such as The WireThe Business Post and Huffington Post. She is the co-editor of Photography in India: from Archives to Contemporary Practice (Bloomsbury/2019; Routledge/2020).

Prior to joining Flame, she was faculty at School of New Humanities and Design, Srishti Institute of Art, Design and Technology, Bangalore for six years. She has also taught Film Studies at Dublin Institute of Technology and Trinity College, Dublin. In addition, she has done stints as a Film Programmer at a Film Festival at Seoul and as a Curatorial Assistant at India Foundation for the Arts (IFA), Bangalore.


Books/Journal Articles:  

  • Co-editor of Photography in India: From Archives to Contemporary Practice (Bloomsbury/2019; Routledge/2020).

  • ‘Macro Your Shot: Citizen Scientists go ‘Frogging’ in the Western Ghats and on Social Media’, India Photographed, MurthyNAYAK Foundation, 2020.

  • ‘Whatsapp Good Morning Messages and the Networked Image in India,’ in Indian Photography in Contemporary Times. Ed. Gayatri, Sinha. Delhi: DAG MODERN, 2020. [Co-author]

  • Review essay of ‘Memoire temporelle, comme un mirage’ (Kalpash Lathigra), Source: Thinking through Photography, May issue, 2020.

  • ‘Photographic Art and Technology in Contemporary India’, Journal of Philosophy of Photography, vol. 10, number 1, 2019.

  • Farming on Facebook, Camera-less Food Photography and a New Indian Pastoral, International Journal of E-Politics, vol. 10, issue 2, 2019.

  • ‘The Aesthetics of Contemporary Indian Photography in an ‘Incredible India’’, Journal of Photography and Culture, vol. 11, issue 1, 2018. [Co-author]

  • ‘Introduction’, Photography in India: from Archives to Contemporary Practice. London: Bloomsbury, 2019/Routledge, 2020.

  • ‘On Photography After Photography’, PIX: The Student Issue, February 2018.

  • ‘Food Photography, Pixelated Produce and Cameraless Images: A Photographic Journey from Farmville to Kheti Badi’, in Politics, Protest and Empowerment in Digital Spaces. Ed. Yasmin Ibrahim. Pennsylvania: IGI Global, 2016.

  • ‘EVA International: Still the Barbarians’, Unbound: A Journal of Discourse and Creative Practice, Monsoon edition, 2016.

  • ‘Food, Photography and the Indian Pastoral,’ The International Journal of E Politics, vol.7, issue 2, 2015.

  • ‘Voices from the Field: Funding Scenarios for the Visual Arts in India’, India Foundation for the Arts (IFA), 2013.

  • ‘FOMACS Retrospective - the Story So Far’, the Forum on Migration and Communications and Atlantic Philanthropies, 2012

  • ‘Facing the TruthPain & Reconciliation,’ in Televising History: Mediating the Past in Postwar Europe, eds., Gray, Ann and Erin Bell, Basingstroke: Palgrave MacMillan, 2010.

  • ‘In and Out of Competition: Korean Cinema at the Cannes Film Festival,’ Journal of Film and Image Studies, vol. 14, May, 2009.

  • ‘Visible Victims: the Politics of Suffering in Omagh,’ The European Journal of Cultural Studies, vol. 12, no. 3, 2009.

  • ‘All’s Fair in Love and War? Representations of Prison Life in Silent Grace,’ European Journal of Women’s Studies, vol. 15, no. 4, 2008.

  • ‘Remembering Historical Trauma in Paul Greengrass’s Bloody Sunday,’ History and Memory, vol. 20, Autumn 2007.

  • ‘Caught in the Holy Cross Fire: Ethno-sectarian Conflict in Ardoyne’ in National Cinema, Film History, eds., Kevin Rockett and Martin McLoone, Dublin: Four Courts Press, 2007.

  • ‘From waste to Worth: the Politics of Self-sacrifice in H3’ in National Cinema, Film History, eds., John Hill and Kevin Rockett, Dublin: Four Courts Press, 2006.

Feature Writing & Criticism

  • ‘Varadkar’s Village: Discovering Leo’s Indian Roots’, The Business Post, January 2020.

  • ‘At a Museum for Toilets, Perspectives on Public Sanitation’, The Wire, February, 2020.

  • ‘How Frogs on Instagram are Spurring an Unprecedented Collective Documenting of Species’, Huffington Post India, October 2019.

  • ‘Why Don’t Big Tech Companies Listen to Users, Only User Data?, Huffington Post India, May 2019.

  • ‘Hustle Away: The Dawn of an Instagram Work Culture’, The Wire, April 2019

  • ‘The ‘‘Do What You Love’’ Mantra and Co-Option of a Laborious Work Culture’, The Wire, April 2019

  • ‘Turner Prize 2013: A Review’, Kindle Magazine, December edition, 2013.

  • ‘Training days: a filmmaker recounts shooting at a Hindu fundamentalist camp for girls’, The Caravan, August issue, 2013.