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Anindita Mukherjee is a writer, translator, and researcher in English and Film Studies at the University of Alberta, collaborating with Dr. Michael O’Driscoll. Her research investigates the ways in which literature and cinema engage with histories of violence, displacement, and collective catastrophe, with a focus on memory, affect, and the ethics of representation. Integrating critical theory, continental philosophy, and poetics, she analyses how aesthetic forms capture experiences that surpass conventional historical or political discourse.
Her scholarship encompasses twentieth and twenty-first-century literatures, focusing on historiography, narratology, testimony, Holocaust and genocide studies, translation, and philosophical aesthetics. She has been awarded research fellowships from the United States Holocaust Memorial Museum and the Holocaust Research Institute at Royal Holloway, University of London, and has participated in international workshops on Holocaust memory, censorship, and knowledge networks. Her primary research interest concerns the relationship between form and responsibility, particularly how narrative, sound, image, and rhythm shape processes of remembrance, mourning, and the conceptualisation of political futures.
In addition to her academic work, she maintains an active creative and translational practice. She is the author of two poetry collections: How Silkworms Break Their Eggs: Selected Poems of Mridul Dasgupta (2024), which was a finalist for the Kala Literature Awards, and Nothing and Variations (2022). She edited The Chime of Time: A Yearbook of Bengali Poetry in Translation (2025), and her poems and translations have been published in venues such as Guernica Editions, Poetry Pause, periodicities, and The Lake. Her screenplay, Beneath her Shroud, was selected for Berlinale Talents at the Berlin Film Festival in 2025.
She currently serves as Managing Editor of The Philosopher and has led public humanities initiatives, including the project “Voices of the Dead to the Living” at the University of Alberta. By bridging criticism and creative practice, she approaches writing, translation, and storytelling as complementary modes of inquiry, each providing distinct perspectives on questions that scholarship alone cannot fully address.