Rachel Moore teaches at Goldsmiths, University of London in the department of Media and Communications. Her writing focuses largely on the historical avant-garde, experimental film, and artists’ moving images. Her theoretical approach leans heavily on the work of the College of Sociology’s search for the sacred in everyday life and the Frankfurt School’s notion of the radical historical materialist’s task of ‘reawakening’. These interests were initially explored in her book Savage Theory: Cinema as Modern Magic (Duke, 2000). Her forthcoming book with Anke Hennig for DeGruyter looks at transgression, animality, and revolution in Kalatozov’s most radical films: Salt and Sugar: A Contribution to Comparative Revolutionary Studies; a study of screens in public places and the concept of Boredom; an investigation of films of ‘contact’ across time and space conducted during her Guggenheim Fellowship entitled ‘In the Film Archive of Natural History’. She has published articles on such filmmakers as Jean Epstein, James Benning, Kenneth Anger and Patrick Keiller, as well as a monograph on Hollis Frampton’s nostalgia (MIT/Afterall, 2006).