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Masha Tupitsyn
Masha Tupitsyn is a writer, critic, and multi-media artist. She is the author of the books Like Someone in Love: An Addendum to Love Dog, Love Dog, LACONIA: 1,200 Tweets on Film Beauty Talk & Monsters, the anthology Life As We Show It: Writing on Film. In 2015, she completed the film Love Sounds, a 24-hour audio-essay and history of love in English-speaking cinema. Her fiction and criticism have appeared in numerous anthologies and journals. She teaches film and gender studies at The New School. Her new film, Time Tells, is forthcoming in 2017.

Articles Available Online


The Rights Of Nerves

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September 2016

Masha Tupitsyn

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September 2016

‘I transform “Work” in its analytic meaning (the Work of Mourning, the Dream-Work) into the real “Work” — of writing.’ — Roland Barthes, Mourning...

Art

December 2013

When We Were Here: The 1990s in Film

Masha Tupitsyn

Art

December 2013

‘I remember touch. Pictures came with touch.’ -Daft Punk, ‘Touch’   In the 1990s, three important pre post-reality films...

As a schoolgirl I was told that abortion was illegal in Mauritius No exceptions There was no reason for me to believe otherwise At church I heard men pontificate about God’s will, the sacred foetus, the mother’s responsibility, the sin of murder At school I heard women speak on the virtues of abstinence, of adoption as a gift No-one spoke of abortion at home: my mother perhaps didn’t believe she had any reason to do so When I was six she bought me an illustrated book explaining where babies came from; when I was nine she taught me about contraception; when I was a teenager she prevented me from going out, confiscated my phone, checked my messages    I knew nothing of the protests, the legal challenges to our colonial law, all the work that was being done by Muvman Liberasyon Fam (MLF), the first women’s rights organisation that publicly stood in favour of abortion1 I’d only vaguely heard of Lindsey Collen; whenever her name came up the phrase ‘radical madwoman’ usually followed   It was the early 2000s and all I wanted was perfect grades, a scholarship, an exit from the island Abroad, I hoped for kindness: the girls I knew who’d left for Europe spoke of freedom They said no-one cared about what they did, there was no surveillance; there were problems, yes, but most of the time people – at university, in the workplace – took them seriously, treated them with respect   Kindness, care, respect We had none of that at the Catholic school I attended I called our despotic headmistress Folcoche, after Hervé Bazin’s Vipère au Poing [Viper in the Fist] (1948); Paule Rezeau, named Folcoche (folle-cochonne, or ‘mad pig’ in English) by her sons, is one of literature’s cruellest mothers Our Folcoche was so terrible that a group of older students planned to write a letter to the local newspapers, denouncing her sadism and the malice of some of the other teachers: the way they’d taunt, scream; the way they patrolled the gates in the early morning, ready to castigate teenage girls for talking to the boys at

Contributor

August 2014

Masha Tupitsyn

Contributor

August 2014

Masha Tupitsyn is a writer, critic, and multi-media artist. She is the author of the books Like Someone in Love:...

Love Dog

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July 2013

Masha Tupitsyn

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July 2013

11 22 2011 – LOVE DOG     For months Hamlet has been floating around. Its book covers popping up everywhere. Non sequitur references...
Famous Tombs: Love in the 90s

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February 2013

Masha Tupitsyn

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February 2013

‘However, somebody killed something: that’s clear, at any rate—’ Through The Looking Glass, Lewis Carroll   I. BEGINNING   I was a pre-teen when...

READ NEXT

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Issue No. 10

What Can an Art Magazine Be?

Orit Gat

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Issue No. 10

What can an art magazine be? Today, as the publishing industry reassesses its role in the age of the internet,...

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September 2013

Outside the Uniform

Kaya Genç

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September 2013

I.   The first time I had to wear a uniform I looked like a madman struggling against a...

Interview

April 2017

Interview with Mark Greif

Daniel Cohen

Interview

April 2017

Since 2004, when his work started to appear in n+1, the magazine he co-founded, Mark Greif has taken contemporary...

 

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