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Dr. C.M. (Catherine) Lord

Faculty of Humanities
Departement Mediastudies
Photographer: onbekend

Visiting address
  • Turfdraagsterpad 9
Postal address
  • Postbus 94550
    1090 GN Amsterdam
Contact details
  • Profile


    Dr. Catherine Lord is a scholar and writer, currently focusing on the interdisciplinary links between environmental humanities, psychoanalysis and feminsim. Her book and artistic projects explore the possibilities and limits of environmental mourning. 

    One strand of her research is practice-based, and is devoted to theatre-making and acting.  Between 2016 and 2021, she colloborated as an actor with the filmmaker, visual artist and scholar Michelle Williams Gamaker. Two of the collobrations The Eternal Return (2019/2020) and The Fruit is there to be Eaten (2017/2018) won the London Film 2020 Derek Jarman award. As a theatre-maker, Catherine Lord is developing a project about how human subjectivity fantasizes and constructs the "more-than-human' world. 


    The psyche is geopolitical. From it emerge stories which think. Lectures erupt into moments of poetry and performance. From the archaeology of knowledge emerge the cavedwellers, from the unconscious, posthuman, all gathered around the camp fire.


    I started out in literary studies with The Intimacy of Influence  (1999) , which is a feminist response to Harold Bloom's The Anxiety of Influence (1973).  My dissertation explores the transgenerational transfer of literary tropes between selected novels from the ouevres of George Eliot, Virginia Woolf and Jeanette Winterson.  Freud, Lacan, Kristeva and Judith Butler were the theoretical interlocuters. Since then, I have published essays on literature and film, developing my work into the fields of ecofeminism, as well as the work of 'ecological' Walter Benjamin,  Bruo Latour and Timothy Morton.

    I find it important to explore environmental humanities through both academic and creative writing. I participated in one of the Royal Court Playwrighting Programmes in February and March 2017. My theatre piece "All Things Bright and Beautiful," a political piece about the nineteenth century British 'rust belt' and slavery, was part of Blink Theatre Company's series, Respone. Practice-based projects include Trapped  at the Cockpit theatre in London (August 2016). In 2014, directing and acting in Caryl Churchill's Seagulls (Amsterdam). 

    My contributions to the UvA's BA lecture series, Greening Media, is devoted to questions of eco-cinema, climate breakdown and psychoanalysis. Students are encouraged to write not just essays, but contribute their creative work. My MA course, How to Save the World, examines the problems of capitalism, climate breakdown and postcolonial studies. I also teach poetry and visual culture in LCA (Literature and Cultural Analysis). 


    See Artistic Work link.


    See Artistic Work link.


    See Publications link.  

    Work in Progress: 

    A boook and play on protagonists who explore memory and mourning through relationships with land. 

    Short Story

    "In the Cooler." Essays in Migratory Aesthetics. Series Ed. Ernst van Alphen. Amsterdam and New York: Rodopi, 2007.

    Book Chapter (Short Screenplay)

    "Scholars, Dreams and Memory Tapes" in Mind the Screen: Media Concepts  According to Thomas Elsaesser, ed. Jaap Kooijman, Patricia Pisters and Wanda Strauven, Amsterdam: AUP, 2008.   

     Book Chapter (Essay-Fiction)

    "Set Adrift in Style: the Scholar as Artist in Jacob's Room." Interdiscipline: New Languages of Criticism.  Ed. Gillian Beer, Malcolm Bowie, Beatte Perrey. Oxford: Legenda, OUP, 2007.

  • Artistic Work

    Artistic Work 


    Collaboration with wri-dir Michelle Williams. 

    Won: 2020 London Film Derek Jarman Award for Michelle Williams Gamaker's body of work, incl. The Eternal Return and The Fruit is there to be Eaten.

    Nominated: 2018 AHRC/BAFTA award for Redell Olson's Now Circa (2018)

    2019/2020 Tintype Museum and Whitechapel Galleries, The Eternal Return.  Wri-dir Michelle Williams Gamaker, acted the role of Tom Arnold.

    2018 Peckham Theatre Diversity Festival, May. My Tempest, as wri-dir.

    2017 Royal Court Writer's Programme, as playwright.

    2017 Blink Theatre, London, Old Red Kion and Court Yard,  "All Things Bright and Beautiful," as playwright.

    2017 Freud Museum London, "Solitary Pleasures" Exhbition, The Fruit is for the Eating, short film by Michelle Williams Ganmaker, acted role of Sister Philippa

    August 2016 Directed Trapped 1, by Sian Rowland, Cockpit Theatre, London.

    May-July 2016 Directed New Writing for Blackshaw Theatre Company, London.

    August 2015, Assistant Director, Fats and Tanja, by Lucy Galaghar, Salon Collective, Et Cetera Theatre, London.

    June 2015, played role of Narrator and Head of School, Good Girl, by Maureen O'Connel, Gielgud Theatre, RADA Festival, London.

    May-September 2015. Directed New Writing, Blackshaws Theatre.

    October/September 2014. Acting and Directing, Caryl Chruchill's Seagulls, Free Fringe Festival and University Theatre Amsterdam.   

    September 2013 - "BMW Tate Live- Nicoline van Harskamp," Tate Gallery, London (acting). 

    April 2013. Yours in Solidarity.  Premiered at NASA museum Amsterdam (acting).

    June 2012. Yours in Solidairty. dir. wri. Nicoline van Harskamp, museal film, played role of Pat, Documenta 9 Film Festival, Belgium. Also Beijing International Art Biennale.  htpp://

    November 2011. Character Witness. dir.wri. Nicoline van Harskamp. Live solo performance - played the Politician, Kaai Theatre Brussels, Spoken Word Festival.

    2010. the Getty LA, museal feature film, Mere Folle, dir. wri. Mieke Bal. Played Alice.

    2010. October 16. Collected Stories, wri. Daniel Marguleis, dir. Jacqueline McClintock,  played Ruth Steiner.  Mulholland Academy, Amsterdam. 

    2010. Montreal. Workshop Production of Martin Crimp's Designs on Her Life. Various parts.

    2012. "October. Midsummer Night's Wire Up." Ecozone: European Journal for Culture and the Envrionment. Vol 3, No. 2: The Invention of Eco-Futures.

    2008. June 6. "Ghostlight": the First Act (with the participation of actors from the Birmingham Repertory Theatre. Birmingham Hippodrome, Showcase Performance for the Mphil in Playwriting 2008.

    Short Film

    2007. Raak , Short Film  (Hanro Smitsman). Assistant Director. Berlin Film Festival, Won Golden Bear.

    2006. She's Back Again. Dir. New York Film and Video Festival.

  • Keynote/invited lectures

    Keynote/invited lectures/conference papers (selected).


    2022, January. "Mourning 'beyond' and 'with' the Human in Don't Look Up (2021). SympocieAlbion, University of Utrecht. 

    2021, June. "Biophilia in Robert Keillar's Robinson in Ruins (2010)." Hinterlands. ASCA. University of Amsterdam.

    2021, May. "Looking at Ecological Filmaking: the work of Michelle Williams Gamaker." Goldsmith's University.

    2020, October. "Ecological Violence in Cinema." Research Masters Master Classes. University of Amsterdam.

    2019, November. "The Embrace of the Serpent and the State of Gaia." ASCA. University of Amsterdam.

    2014, June 18-21. "We are all Michaelangelo: the Case of Sally Potter's Rage.  NECS Conference Milan: Creative Industries.

    2013. March 20. "Anarchy, GAIA and other Actresses." NASA, Smart Space, Amsterdam., Narrative 'Performance' Lecture for Yours in Solidarity Exhibition.

    2012. July 5. "The Trauma of Elephants: a Postcolonial Critique." University of Utrecht, Minding Animals Conference.

    2012. June 29. "Doing Feminism Darkly: Ending the World in Lars von Trier's  Melancholia." University of La Laguna, Tenerife, Spain., EASCLE Biennial Conference.

    2012. January 27. "The Elephant in the Room: Pastoral and Fable between People, Elephants, Environments." Amsterdam, NICA: Eco-Poco: The Ecocritical Turn Through Postcolonial Eyes.

    2012. February 8. "The 'Content' of an Ending: Digital Effects, Theoretical Effects and Lars von Trier's Melancholia." Universitiy of Amsterdam, Staff Research Seminar.

    2012. January 20. "Introducing 'Dark Ecology' and the Work of Timothy Morton."  University of Amsterdam, Recycling Media Group, (Imagined Futures Programme).

    2011. May 11. "What do Pictures Want: the State of Art Research." University of Amsterdam, Adventures in Multimodality, Research Group.

  • Publications



    • Lord, C. (2022). Sexy, slimy, monstrous: Infection as collaboration in Ben Wheatley’s In the Earth and Jaco Bouwer’s Gaia. Australasian Journal of Popular Culture, 11(1-2), 147-161. [details]



    • Lord, C., & Williams Gamaker, M. (2019). House of Preposterous Women: Michelle Williams Gamaker Re-Auditions Kanchi. OAR: The Oxford Artistic and Practice Based, 3, 9-17. [details]


    • Lord, C. M. (2018). My Tempest: Or How to Manifest with Myths. Ecozon@: European Journal of Literature, Culture and Environment, 9(2), 202-206. [details]
    • Lord, C. M. (2018). Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-Serial [Review of: M. Williams Gamaker (2017) The Fruit is There to be Eaten]. M/C Journal, 21(1). [details]





    • Lord, C. (2011). Dolphins Who Blow Bubbles: Anthropological Machines and Native Informants. Akademisk Kvarter, 03, 107-120. [details]


    • Lord, C. M. (2009). Angels with Nanotech Wings: Magic, Medicine and Technology in Aronofksky's The Fountain, Gibson's The Neuromancer and Slonczewski's Brain Plague. Nebula, 6(4), 162-174. [details]


    • Lord, C. M. (2008). Scholars, dreams, and memory tapes. In P. Kooijman, P. Pisters, & W. Strauven (Eds.), Mind the screen: media concepts according to Thomas Elsaesser (pp. 125-137). Amsterdam: Amsterdam University Press. [details]


    • Durrant, S., & Lord, C. M. (2007). Introduction: Essays in migratory aesthetics: cultural practices between migration and art-making. In S. Durrant, & C. M. Lord (Eds.), Essays in migratory aesthetics: cultural practices between migration and art-making (pp. 11-19). (Thamyris intersecting: place, sex, and race; No. 17). Amsterdam: Rodopi. [details]
    • Lord, C. M. (2007). Set Adrift in Style. In G. Beer, M. Bowie, & B. Perrey (Eds.), In(ter)discipline: New Languages for Criticism Oxford: Legenda.


    • Lord, C. M. (2004). Becoming Still, Still Moving: Theoretical Pleasure in Sally Potter's Orlando. In J. de Bloois, & F. W. Korsten (Eds.), Discern(e)ments: Deleuzian Aesthetics (pp. 171-185). Amsterdam, New York: Rodopi. [details]



    • Lord, C. M. (2002). Romeo, Juliet, and the Scholar Get Framed: Filmed Shakespeare, Cultural Analysis and a Frame at the Cutting Edge. In Travelling Concepts II: Meaning, Frame and Metaphor (pp. 267-289). Amsterdam: ASCA Press. [details]


    • Lord, C. M. (2001). The Lady Sits between Two Long Windows, Writing: Deleuze/Guattari and the Practice of Cultural. In P. Pisters (Ed.), Micropolitics of Media Culture: Reading the Rhizomes of Deleuze and Guattari Amsterdam: Amsterdam University Press. [details]


    • Lord, C. M. (2000). "The Frames of Septimus Smith: Through Twenty Four Hours in the City of Mrs. Dalloway, 1923, and of Millennial London: ART IS A SHOCKING EXPERIENCE". Parallax, 12, 36-46.


    • Lord, C. (2011). Off the see the Wizard: a short film. In E. Peeren, & M. Aydemir (Eds.), Eighty-eight: Mieke Bal PhDs 1983-2011 (pp. 73-82). Amsterdam: ASCA Press. [details]


    • Durrant, S., & Lord, C. M. (2007). Essays in migratory aesthetics: cultural practices between migration and art-making. (Thamyris intersecting: place, sex, and race; No. 17). Amsterdam: Rodopi. [details]
    • Lord, C. M. (2007). In the cooler. In S. Durrant, & C. M. Lord (Eds.), Essays in migratory aesthetics: cultural practices between migration and art-making (pp. 49-56). (Thamyris intersecting: place, sex, and race; No. 17). Amsterdam: Rodopi. [details]


    • Lord, C. M. (2005). "Orpheus Leaves Home: Mixing Scholarship and Fiction in Camus' Black Orpheus.". In Patricia Pisters, & Wim Staat (Eds.), Shooting the Family: Transnational Media and Intercultural Values (pp. 133-146). Amsterdam: AUP.


    • Lord, C. M. (2018). Interview with Catherine Lord. In D. Weatherer (Ed.), The Dead Stage: From Page to Stage Crystal Lake Publishing.


    • Lord, C. M. (2018). Shamans off the Grid: Practices of Life in Ciro Guerra's Embrace of the Serpent.


    • Lord, C. M. (Author). (2012). Performance in "Character Witness" by Nicoline van Harskamp. Digital or Visual Products, Paris: Exhibition, "Enacting Populism", Curated by Matheo Lucchetti, Kadist Art Foundation. Retrieved from


    • Lord, C. M. (Author). (2011). Alice (performance) in "A Long History of Madness". Digital or Visual Products, Amsterdam: Cinema Suitcase.


    • Lord, C. M. (Author). (2010). Alice (performance) in Mère Folle. Digital or Visual Products, Stedelijk and Guggenheim: Suitcase Cinema.


    • Lord, C. M. (Author). (2007). Raak (Hanro Smitsman). Digital or Visual Products

    Prize / grant

    • Lord, C. M. (2015). Assistant-Directing, Fats and Tanya, Salon Collective, Etecetera Theatre.
    • Lord, C. M. (2015). Directing: Blackshaw Theatre, New Writing Night : 'Beige' (Dan Weatherer).

    Media appearance

    • Lord, C. & Williams-Gamaker, M. (19-09-2019). Distant Relative [Other] Tintype Gallery, London. Distant Relative.
    • Lord, C. (20-07-2018). Circa 2018 [Other]. Circa 2018 (writing/dir Professor Redell Olsen).
    • Lord, C. (31-05-2018). My Tempest [Other]. My Tempest.
    • Lord, C. (26-04-2018). Moving Knowledge: Library Interventions [Other]. the Monk's Performance (inspired by Umberto Ecco, The Name of the Rose).
    • Lord, C. (26-04-2018). Library Interventions: Moving Knowledge [Other] Leeds Arts University. Library Interventions: Moving Knowledge.
    • Lord, C. (18-04-2018). The Fruit is There to be Eaten [Other] The Freud Museum. The Fruit is There to be Eaten.
    • Lord, C. (21-01-2018). Rut by Jess O'Kane, Directed by Catherine Lord [Other] Theatre503. Rut, by Jess O'Kane.
    • Lord, C. (16-04-2017). "All Things Bright and Beautiful." [Other] Blink Theatre Company, London, Courtyard Theatre and the Old Red Lion. All Things Bright and Beautiful, by Catherine Lord, Produced by Blink Theatre Company, London.
    • Lord, C. (28-08-2016). Trapped by Sian Rowland, Directed by Catherine Lord [Other]. Trapped, by Sian Rowland, Directed by Catherine Lord.
    • Lord, C. (28-06-2016). Holding On, by Augustina Figueras, Directed by Catherine Lord [Other]. Holding On, by Augustina Figuera, Directed by Catherine Lord.
    • Lord, C. (29-10-2015). Theatre in the University Theatre, Amsterdam [Other] Factories for Flying Carpets. Seagulls, by Caryl Churchill, October 29th, 30th, 31st, 2015..
    • Lord, C. (31-05-2015). "Beige" by Dan Weatherer, Directed by Catherine Lord. [Other]. "Beige" by Dan Weatherer, Directed by Catherine Lord.

    Talk / presentation

    • Lord, C. M. (speaker) (7-5-2013). We are all Michaelangelo: Performance, Convergence and the Case of Sally Potter’s "Rage", Colleagues Colloqium, Medastudies, University of Amsterdam.
    • Lord, C. M. (invited speaker) (20-3-2013). Anarchy, GAIA and other Actresses., Narrative 'Performance' Lecture for Yours in Solidarity Exhibition, NASA, Smart Space, Amsterdam..
    • Lord, C. M. (invited speaker) (5-7-2012). The Trauma of Elephants: a Postcolonial Critique., Minding Animals Conference, University of Utrecht.
    • Lord, C. M. (invited speaker) (29-6-2012). Doing Feminism Darkly: Ending the World in Lars von Trier's "Melancholia.", EASCLE Biennial Conference., University of La Laguna, Tenerife, Spain..
    • Lord, C. M. (speaker) (8-2-2012). The 'Content' of an Ending: Digital Effects, Theoretical Effects and Lars von Trier's Melancholia, Staff Research Seminar, Universitiy of Amsterdam.
    • Lord, C. M. (invited speaker) (27-1-2012). the Elephant in the Room: Pastoral and Fable between People, Elephants, Environments, NICA: Eco-Poco: the Ecocritical Turn Through Postcolonial Eyes, Amsterdam.
    • Lord, C. M. (speaker) (20-1-2012). Introducing "Dark Ecology" and the Work of Timothy Morton, Recycling Media Group, (Imagined Futures Programme), University of Amsterdam.
    • Lord, C. M. (speaker) (26-11-2011). Character Witness, Spokenworld 2011, The Kaai Theatre, Brussels.
    • Lord, C. M. (invited speaker) (11-5-2011). What do Pictures Want: the State of Art Research, Adventures in Multimodality, Research Group, University of Amsterdam.
    • Lord, C. M. (speaker) (16-10-2010). "Collected Stories" (Donald Margulies) with Catherine Lord and Courtney Noble, Scene Night, Mulholland Academy, Amsterdam.
    • Lord, C. M. (speaker) (15-11-2009). Monologue: "Her Story", Black Magic Women's Theatre Festival, Zid Theatre, Amsterdam.
    • Lord, C. M. (invited speaker) (28-1-2009). Feral Tales, Art and Design Research instiitue Lecture Series: Writing Art and Design, University of Ulster.
    • Lord, C. M. (speaker) (6-6-2008). "Ghostlight": the First Act (with the participation of actors from the Birmingham Repertory Theatre, Showcase Performance for the Mphil in Playwriting 2008, Birmingham Hippodrome.
    • Lord, C. M. (invited speaker) (11-4-2005). To Hold an Actor Up to Nature: Performance as Disruptive Narrative in 'Looking for Richard', 'The Revenger's Tragedy' and 'Gosford Park', Stories That Just Happen: Performative Narratology, University of Amsterdam.
    • Lord, C. M. (invited speaker) (20-9-2003). Set Adrift in Style: The Scholar as Fiction and Filmmaker in Woolf's Jacob's Room, New Languages for Criticism, University of Cambridge, Sidney Sussex College.
    • Lord, C. M. (invited speaker) (4-9-2003). Rapturing the Magus: Intertextuality as Intermediaity in Prospero's Books, Opening of the Academic Year, Amsterdam (UvA).
    • Lord, C. M. (invited speaker) (12-7-2003). Images to Duet: Practice Research and the Case of Philip Glass, Conference Entitled: Warp/Woof: Aurality, Textuality, Music, University of Leeds, Centre CATH.
    • Lord, C. M. (invited speaker) (10-8-2001). Titus the Movie Nasty: Taymour's Titus Andronicus and the Case of Theatre to Film Studies, Shakespeare and his Contemporaries in Performance, St. John's College, the University of Cambridge.
    • Lord, C. M. (invited speaker) (11-5-2000). As Modernism Turned: Shakespeare's Influence on Mrs. Dalloway and Chris Marker, Modernism in Context, University of Leiden, OSL.


    • Leberg, D. H. M. (2018). The moving parts: Screen acting and empathy. [details]
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  • Ancillary activities
    • No ancillary activities