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Dr Steven Eastwood, BA, PhD

Dr Steven

Reader in Film Practice, Convenor, MA Film Studies

Telephone: 0207 882 2992
Room Number: Room G23a


Steven Eastwood is an artist-filmmaker working in both the cinema and gallery. His feature film Buried Land was officially selected for Tribeca, Moscow, Sarajevo, Mumbai film festivals 2010. Recent and forthcoming exhibitions and screenings include Fabrica Gallery Brighton; London Film Festival; Jerwood Space, London. His documentary Those Who Are Jesus was nominated for a Grierson Award. Prior to joining QMUL Steven was the director of the Moving Image Research Centre at the University of East London, and an assistant professor in film at SUNY Buffalo. He has convened a number of symposia and screenings to do with cinema and artists’ moving image, and has published widely. He co-founded the arts laboratory event OMSK (1995-2008), a London based collective of artists creating site specific and cross-disciplinary events. Steven gained a theory-practice PhD through UCL, The Slade in 2007.



My current research is on autism and cinema (cinemautism) and filming end of life:

The Interval and the Instant: inscribing Death and Dying

A feature-length film and gallery installation exploring what happens at the end of a person’s life. Made through close engagement with individuals experiencing and witnessing death and dying, and with the involvement and oversight of palliative care professionals at Earl Mountbatten Hospice (Isle of Wight), the project addresses the positive need for different kinds of images of dying.Funded by Arts Council England and Big Lottery. The research will also lead to a monograph on film, end of life and ethics.

The Sally-Anne Test

Feature drama in development. Writer/director Steven Eastwood. Producers: Patrick Cassavetti and Alison Sterling. The film is a character driven drama concerned with autism, working formally with unorthodox on-screen social encounter and proposing a less inference-based narrative mode. The test from which the project takes its title is one of a number of theory-of-mind tasks commonly applied in the diagnosis of autism. Developed in partnership with the Autism Research Group at City University London.

OMSK Moving Image Archive

A substantial resource consisting of approx 250 hours of captured artists’ moving image and documentation of fifty live events produced by the OMSK Artists’ Collective (1996-2008), which I co-founded. The archive features film, sound and live art from London’s counter culture.

Films (select)

Buried Land (Steven Eastwood & Geoffrey Alan Rhodes, HD. 81:00. 2010)

Part documentary, part drama, Buried Land tells the story of the real community and strange reality of Visoko, the small town at the heart of a remarkable claim: the discovery of ancient pyramids, not in Egypt, but in central Bosnia. Supported by funding from the AHRC and the Princess Grace Foundation, Buried Land premiered in competition at the Tribeca Film Festival, 2010, and was the official selection at Moscow, Sarajevo, Mumbai, Gothenburg International and East End Film Festival.

The Hiss of the Blow (S16mm/HD. 17.40 loop. 2009)

Multi-screen installation commissioned for Jerwood Encounters ‘Laboratory’ exhibition, Jerwood Space Gallery, London, 29 July-31 August 2009.

Save It (HD. 1:00. 2014) part of The Film That Buys The Cinema portmanteau.

In Transit (2010-13) Paul Hamlyn Foundation and Project Art Works commission 

Seminar in Film Sound(16mm. 11.07 looped. 2007)

Hearsay(DV. 9:00. 2006.) For Tank TV DVD publication;

Like a House on Fire(16mm/DV. 16:00. 2006.)

The Film We Didn't Make(16mm/DV. 25:00. 2005)

The Film (16mm/DV. 28:00. 2004)

Those Who Are Jesus (56:00. 2001), presents three individuals who each have had revelatory experiences, and focuses on debates concerning diagnosis and treatment of psychosis in the context of the Mad Pride movement in the UK. Nominated for best documentary newcomer, Grierson Award 2002.


Articles, book chapters, screenings and exhibitions (select)

  • ‘Cinemautism’published in Screen Bodies (Ed Brian Keith Bergen-Aurand, Berghahn Books, forthcoming2016)
  • ‘Inscribing Immanence: filming death and dying’ published in in Moving Image Review and Art Journal MIRAJ  (Ed. Cate Elwes, Intellect Books, forthcoming2016).
  • Buried Land: Filming the Bosnian Pyramids’ published in Screening Nature: Cinema beyond the Human (Eds A. Pick and G. Narraway, Berghahn Books, 2013.
  • ‘Powers of the False’ in Moving Image Review and Art Journal MIRAJ  (1.2, Ed. Cate Elwes, Intellect Books, 2012).
  • ‘The Film to Come’ in Cinematic Folds: the Furling and Unfurling of Images (Ed. Firoza Elavia, Pleasure Dome Press, 2009).
  • ‘The Film is in Front of Us’ in Telling Stories: Visual Practices, Theories and Narrative (eds Jane Tormley and Gillian Whiteley, Cambridge Scholars Press, 2009)
  • Buried Land (Steven Eastwood & Geoffrey Alan Rhodes, HD. 81:00. 2010),Tribeca Film Festival 2010, Moscow Film Festival (2010), Sarajevo Film Festival (2010),  Mumbai Film Festival (2010),  Gothenburg International Film Festival (2011), East End Film Festival (2011).
  • Of Camera, Artists Vs Hollywood, group show,QUT Gallery, Queensland, Australia and Globe Gallery Newcastle, 2008-9.
  • Seminar in Film Sound group show, KK Projects Gallery New Orleans, 2008
  • Seminar in Film Sound group show ‘A Walk Through’ at The Stephen Lawrence Gallery, London, 2007
  • Like a House on Fire, Trace Exhibition, Stephen Lawrence Gallery, Greenwich
  • Like a House on Fire, installation/screening, Open Video Projects, Rome screening/artists' talk, 1:1 Gallery, Rome, 2006
  • The Film! The Film! The Film! Cinemaniac group show, MM Luka Gallery, Pula, Croatia, 2005
  • Come As You Are, installation, Killing Time, CCA, Oslo, Norway, 2005.

MPhil/PhD supervision and external examining

PhD (practice-lead and theory-practice) supervising:

  • A hybrid approach to site, where the interfaces and platforms of digital modes of navigation, construction and distribution are extended into physical site.
  • The Concept of Affective Tonality, and the Role of the Senses in Producing a Cinematic Narrative.
  • Tales from The Wicker Man: How Cinema and Television Reinvented the Mythical Landscape of Britain, first supervisor.
  • Professional Doctorate, digital animation.

PhD External Examining:

  • Ruskin School of Art, Oxford University, 2014.
  • Goldsmiths College, 2013.
  • External Examiner, MA Contemporary Film Practice, University of Plymouth, 2010-2014.

I welcome applications from filmmakers, film artists and research students interested in undertaking practice-lead and theory-practice PhDs, along with written-only doctoral research.  


Grants and Awards

  • 2015 Arts Council England for The Interval and the Instant
  • Big Lottery for The Interval and the Instant
  • 2014 University of East London research grant, for OMSK Archive research internship phase 2
  • 2013 University of East London research grant, for The Sally-Anne Test
  • University of East London research grant, for OMSK Archive research internship phase 1
  • 2012 Arts Council England / Fabrica Gallery for End of Life exhibition

  • Paul Hamlyn Foundation / Project Art Works, for In Transit

  • MeCCsa, for Powers of the False symposium

  • University of East London research grant, for Powers of the False symposium
  • 2011 University of East London, sabbatical research leave

  • 2010 Paul Hamlyn Foundation / Project Art Works, for In Transit
  • 2008 AHRC (Arts and Humanities Research Council, UK) for Buried Land
  • 2007 PGF (Princess Grace Foundation) for Buried Land

  • 2006 Arts Council Grants for the Arts, for OMSKBOOK

  • 2004 Arts Council Grants for the Arts, for The Film

  • 2002 Tower Hamlets Film Fund, for Of Camera
  • University of Plymouth, research fund, for Of Camera
  • 2001 London Arts, for Cinema into the Real, Test 1, and EATOMSK
  • 2000 Arts Council, for ATOMSK
  • Peabody Foundation, for Those Who Are Jesus
  • University of Plymouth, research fund, for Those Who Are Jesus
  • 1997 Arts Council, for Approaches to Autism



I teach two MA modules, Documentary Production (SMLM7053) and Film Studies Core Course (SMLM035), along with two BA modules in film production, Forms of Film Practice, and Production Skills (FLM403)



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