B.A. Reed College, 1996; Ph.D. Comparative Literature, University of California, Berkeley, 2007.
20th-Century British literature; Interdisciplinary Modernism; History of Photography; Film History and Theory; Time-based Media; Climate Change and Contemporary Art
“Stillness and the Anticinematic in the Work of Fiona Tan,” Grey Room 41 (Fall 2010), 48-71.
“The Cameraless Optic: Anna Atkins and Virginia Woolf,” ELN, Special Issue on Photography and Literature, 44.2 (Fall/Winter 2006), 87-101.
“Visual Clockwork: Photographic Time and the Instant in ‘Proteus,’” James Joyce Quarterly, Special Section on Joyce and Cinema, 42.1-2 (Summer 2006), 49-68.
Louise Hornby is completing a book on the significance of photography in modernist literature and early film. Focusing on a corpus of texts by Virginia Woolf, James Joyce, and Marcel Proust, the book articulates a central desire for stillness and objectivity in these works—a stillness and objectivity associated with photography and positioned alongside cinematic motion. The book reveals how the photographic disruption of continuity operates in early films, which, despite the medium’s affiliation with motion, speed, and distraction, revert to the earlier technology’s insistence on stillness, contemplation, and singularity. Louise Hornby is also working on a new project about contemporary time-based media, the weather, and climate change.