Contemporary approaches to current and historic areas of Film Studies characterise the dynamic research of staff in the department. We explore how film is constructed and how it changes over time, where it travels to and how it takes effect, drawing on the various cultures of avant-garde, national and popular cinema.
We focus on four broad and interconnected fields.
The Centre for Film and Ethics facilitates interdisciplinary work involving ethics in the context of moving image research.
Our Film History group investigates the development of understudied genres and movements, changes in cinema technology, financing and audiences, and the work of major directors, stars and set designers, using methods such as archival research.
Our Film Philosophy group, known in-house as Think Tank, investigates how the distinctive characteristics of cinema are elucidated by questions of ethics and experience, archaeology and capital, museality and memory, humanity and animality.
Our Film Practice area investigates the formal, ethical and philosophical processes of moving image production and exhibition, including documentary filmmaking, artists’ moving image, fiction cinema, screenwriting, live art and performance.
Within and across these fields, we are engaged in a variety of individual and collaborative projects on topics including:·
· film institutions (museums, galleries, production companies) (Chamarette, Drazin)
· film, space and place (in particular urban, social and diasporic spaces, landscapes and set design as architecture) (Harris, King)
· European production histories and the branding of nations and studios (Drazin, Evans, Harris, Small)
· cinema, autism and disability (Chamarette, Eastwood)
· British film histories, including "minority" film cultures (Bolton, Drazin, Evans, Glancy)
· feminist video collectives (Murray)
· film stars (particularly in relation to questions of ageing and longevity) (Bolton, Harris, Small)
· film archaeology, unofficial film ecologies, 3D (Harbord, Jones)
· artists' moving image (Chamarette, Eastwood, Harbord)
· nature, humans, animals and moving images (Pick)
· transcultural and transnational film (Chamarette, Harris)
· film and cultural memory (Kuhn, Saxton, Westwell)
· filmmaking and end of life (Eastwood)
· iconic photographs and footage of war and genocide and their analogue and digital afterlives (Hicks, Saxton, Westwell)
· film's ontology and its relationship to other media (Bolton, Chamarette, Harbord, King, Pick, Saxton, Westwell)
· film phenomenology, embodiment and affect (Bolton, Chamarette, Pick)
· film, object-relations psychoanalysis and transitional phenomena (Kuhn)
· ideology critique, the war film and contemporary Hollywood (Westwell)