Dr Rachel Moore

Rachel's research covers early film history and theory, specifically the historical and contemporary avant-garde.

Staff details

Dr Rachel Moore


Lecturer in International Media, convenor of the MA in Film and Screen Studies


Media, Communications and Cultural Studies


r.o.moore (@gold.ac.uk)

Rachel Moore convenes the MA in Film and Screen Studies and is head of the intercollegiate University of London Screen Studies Group.

Her research covers early film history and theory; the historical and contemporary avant garde. The relationship of these to modern society charted via the theories of the College of Sociology and the Frankfurt School (both loosely defined).

Rachel is also a participant in the Goldsmiths Leverhulme Media Research Centre.

Publications and research outputs


Moore, Rachel. 2006. Nostalgia. MIT/Afterall Press. ISBN 1846380189

Moore, Rachel. 1999. Savage Theory: Cinema as Modern Magic. Duke University Press. ISBN 978-0822323884

Book Section

Moore, Rachel. 2013. In Transit: Between Labor and Leisure in London’s St. Pancras International. In: Rachel Moore; Chris Berry and Janet P. Harbord, eds. Public Space Media Space. London: Palgrave Macmillan, pp. 162-177. ISBN 9781137027757

Moore, Rachel. 2013. Tesseract. In: Neil Campbell and Alfredo Cramerotti, eds. Photocinema: The Creative Edges of Photography and Film. University of Chicago Press: Intellect, pp. 88-100. ISBN ISBN 978-1-84150-562-6

Moore, Rachel. 2012. 'A Different Nature' ” in Jean Epstein: Critical essays and new translations. In: Sarah Keller and J.N. Paul, eds. Jean Epstein: Critical essays and new translations. Amsterdam: Amsterdam University Press, pp. 177-194. ISBN 978 90 8964 292 9


Moore, Rachel. 2004. James Benning's California Trilogy: A Lesson in Natural History. Afterall, 8, pp. 35-42. ISSN 14654253

Moore, Rachel. 2004. Love Machines. Film Studies, 4, pp. 1-11. ISSN 14690314

Moore, Rachel. 2004. Space is the Place”: The films of Patrick Keiller. Luxonline,

Research Interests

Investigating colonial film archives; the use of archival footage in current film practice; changes in avant-garde film aesthetics. She is interested in the cross overs between anthropology and film theory, most recently writing on Jean Epstein's Breton films. This interest extends to film practice, as with the study of the treatment of dead bodies in film and in magical ritual in a forthcoming essay entitled, 'Magical Death: the international Comedies of Re-burial'. Her current book project, based on earlier research around film and contact across time and space conducted during her Guggenheim Fellowship, is called 'In the Film Archive of Natural History'.