Diane Negra

Diane Negra is Professor of Film Studies and Screen Culture at University College Dublin. A member of the Royal Irish Academy, she has served or will serve as Guest Professor at Brown University, the Free University of Berlin, the University of Reims and Aristotle University of Thessaloniki. She is the author, editor or co-editor of ten books including What a Girl Wants?: The Reclamation of Self in Postfeminism (2008), The Irish in Us: Irishness, Performativity and Popular Culture (2006)and Extreme Weather and Global Media (with Julia Leyda, 2015). Her work in media, gender and cultural studies has been widely influential and recognized with a range of research awards and fellowships, including an award from the Government of Japan that led to a lecture tour in that country. She serves as Co-Editor-in-Chief of Television and New Media.

Professor Negra is an in-demand speaker with a long track record of editorial board service for journals including Cultural Studies, Screen, Feminist Media Studies, Culture, Communication and Critique and The Velvet Light Trap, Professor Negra was elected to the Board of Directors of the Society for Cinema and Media Studies and currently serves on the Board for Console-ing Passions. In partnership with two other Irish universities UCD hosted the Console-ing Passions conference in 2015 bringing over 350 media studies scholars to Ireland. Professor Negra is Chair of the Royal Irish Academy’s Working Group on Culture and Heritage and a Member of the Interacademy Partnership Working Group on Predatory Journals and Conferences. In 2016 she was appointed by the US Ambassador to Ireland to the Irish Fulbright Commission Board. In 2019 she was elected Chair of the Commission.

Working under a grant from the Broadcast Authority of Ireland, Professor Negra (together with Dr. Eleanor O’Leary and Dr. Anthony McIntyre) has completed a research project entitled “Broadcasting Irish Emigration in the Era of Global Mobility.” Her next book is a study of Shadow of a Doubt (1943), an unconventionally female-centered Hitchcock text consistently marginalized in the massive scholarly canon on the director’s body of work and a milestone film not only because it marks the director’s emergent engagement with the pathologies of violence in American life but because it opens a window into the placement of femininity in World War II consensus culture and more broadly into the politics of mid-century gender and family life. Together with Mary Harrod and Suzanne Leonard she is currently assembling an anthology for Routledge entitled Imagining “We” in the Age of “I:” Romance and Social Bonding in Contemporary Culture. With Michele White she is preparing a collection entitled Anti-Feminisms in Media Culture (also for Routledge).