Jann Matlock is Senior Lecturer in the French Department at UCL (University College London) where she teaches French cultural history, film studies, and nineteenth-century French and comparative literature. She has held research fellowships from the Guggenheim Foundation, the Getty Foundation, the National Endowment for the Humanities, and the AHRC. After receiving her A.B. at Brown University and her M.A. and Ph.D. from the University of California, Berkeley, she was an Assistant and Associate Professor at Harvard University between 1989 and 1998 and a Visiting Professor at the Université de Paris 7-Denis Diderot in 1998-99.
She is the author of Scenes of Seduction: Prostitution, Hysteria, and Reading Difference in Nineteenth-Century France (Columbia University Press, 1994), the recently completed Before the Voyeur, and a book manuscript-in-progress entitled Looking at Risk: The Invisible Women and Their Secrets Unveiled. She has published widely on French and American culture, including recent projects on cinematic hotel registration desks, the Paris catacombs, and the photography of exile. In addition to coediting, with Marjorie Garber and Rebecca L. Walkowitz, Media Spectacles (Routledge, 1993), she co-authored two films for the Musée du Louvre, Le Film 100 Têtes and Psychopathia sexualis: Fragments d’un enquête, and participated in the catalogue of a show at the Musée d’Orsay, Lanternes magiques, tableaux transparents. She is the Co-Organizer of The Film Studies Space at UCL where she leads the Autopsies Research Group (www.autopsiesgroup.com), a research project concerned with the filmic afterlife of the objects of modernity. She is currently working on a project on ghost objects.
She is the author of Scenes of Seduction: Prostitution, Hysteria, and Reading Difference in Nineteenth-Century France (Columbia University Press, 1994), the recently completed Before the Voyeur, and a book manuscript-in-progress entitled Looking at Risk: The Invisible Women and Their Secrets Unveiled. She has published widely on French and American culture, including recent projects on cinematic hotel registration desks, the Paris catacombs, and the photography of exile. In addition to coediting, with Marjorie Garber and Rebecca L. Walkowitz, Media Spectacles (Routledge, 1993), she co-authored two films for the Musée du Louvre, Le Film 100 Têtes and Psychopathia sexualis: Fragments d’un enquête, and participated in the catalogue of a show at the Musée d’Orsay, Lanternes magiques, tableaux transparents. She is the Co-Organizer of The Film Studies Space at UCL where she leads the Autopsies Research Group (www.autopsiesgroup.com), a research project concerned with the filmic afterlife of the objects of modernity. She is currently working on a project on ghost objects.