Occupation Writer, critic Role Writer Name Masha Tupitsyn | Ethnicity Russian, Armenian Nationality American | |
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Notable works LACONIA: 1,200 Tweets on Film, Life As We Show It: Writing On Film,Beauty Talk & Monsters Relatives Margarita Tupitsyn, Victor Tupitsyn Books Beauty Talk & Monsters, Love Dog, Laconia: 1 - 200 Tweets o, Like Someone in Love: A | ||
Beauty Talk & Monsters-Masha Tupitsyn
Masha Tupitsyn is an American writer and cultural critic based in New York City.
Contents
- Beauty Talk Monsters Masha Tupitsyn
- Masha tupitsyn kleptomania from beauty talk and monsters kqed the writer s block
- Education
- LACONIA 1200 Tweets on Film
- Love Sounds
- Books
- Selected articles and stories
- References
Tupitsyn's writing focuses on contemporary cinema and experiments with form and genre, using media including Twitter, video essays, and Tumblr to produce innovative work. Recurring themes in her work include gender, sexuality, spectatorship, childhood, time, the human face, the politics of beauty and acting, 70s culture and aesthetics, screen persona, love, and the relationship between onscreen and offscreen in 21st Century culture.
Masha tupitsyn kleptomania from beauty talk and monsters kqed the writer s block
Education
Tupitsyn received her B.A. in Literature and Cultural Studies from The New School for Social Research and her MA in Literature and Cultural Theory from the University of Sussex in England. She is currently a PhD candidate in philosophy at the European Graduate School.
LACONIA: 1,200 Tweets on Film
Tupitsyn's most recent book of film criticism, LACONIA: 1,200 Tweets on Film, was written entirely on Twitter between the years 2009–2010, and was subsequently published as a print book by Zer0 Books in 2011. LACONIA: 1,200 Tweets on Film uses social media to explore the changing ways that we consume and construct narrative in the 21st century.
Love Sounds
The final installment of an immaterial trilogy that began in 2011, Love Sounds (2015), is a 24-hour audio history and essay of love in cinema that dematerializes cinema’s visual legacy and reconstitutes it as an all-tonal history of critical listening.