Deputy Head of Institute
0113 343 7607
Clothworkers' Building North, 1.07a
Office hours: My office hours are Wednesday 10-12 and by appointment
Senior Lecturer in Cinema
My research interests include:
- Early Cinema
- British Cinema
- European Cinema
- Photography and popular visual cultures
- Digital archives and cultural heritage
My two current projects are around the digital archive and the changing relationships between the practices of cinema and photography and the consequences of increasing technological convergence.
I have recently acted as the Principal Investigator on a joint AHRC/BBC Open Archive project entitled Open Archive Project: The Miners’ Strike – A case study in regional content. The purpose of this joint project was to consider a number of research questions in relation to the exploitation of BBC holdings via the Open Archive and to develop future policy in relation to ethical and representational issues which arise within regional contexts. The research was predicated on the need to examine notions of representation and memory in relation to communities within regional rather than national contexts, and to study the potential for the use of BBC materials which represent important or sensitive events. This project resulted in my current interest in the future role and use of the BBC Archive and in the development of the digital archive as a democratic public space.
Deputy Head ICS
(2012) Digging The Seam: Creative Cultures of the Miners' Strike. Cambridge Scholars Press. [In preparation]
(2012) Content Cultures: Transformations of User Generated Content in Public Service Broadcasting. I.B.Tauris. [In preparation]
(2012) “From ‘Brother Boer’ to ‘Dirty Boers’: Colonizing the colonizers through the popular representations of the Boer in the British illustrated journal 1899–1902”, Journal of War & Culture Studies. 2012. Volume 5.Number 2: 137-156. [In preparation]
The Anglo-Boer War marks a fascinating intersection between two colonial powers and the use of the press and associated news-carrying popular cultural forms as a means of shaping public opinion and demonizing Britain’s ‘enemy’. The publication of photographs in magazines and the popular press via the halftone process was a very recent development and coincided with a propaganda campaign to denigrate the Boers as an uncivilized and brutal colonial power and to legitimize benevolent British interest in the territories. This article examines the use of the press, photographic, cinematic and dramatic cultural forms within this context, as well as the constructed colonial identity of the Boers in relation to that of the British. A key focus is the racial stereotyping and the representation of the enemy as ‘other’, a perpetual feature of a range of news-orientated texts and evidenced by the coverage of stories that revealed the uncivilized nature of the Boers and positioned them both as colonial oppressor and colonial subject.
(2010) “'Fresh From the Front': Performance, war news and popular culture during the Boer war”, Early Popular Visual Culture. Issue 4. Volume 8.Issue 4: 401-418.
(2005) “Indecent Exposures: Photography, vice and the moral dilemma in Victorian Britain”, Early Popular Visual Culture. 3.2: 113-134.
(2013) “The New Golden Age?: Using UGC to develop the Public Digital Space”, In: Popple S; Thornahm H (eds.) Content Cultures: Transformations of User Generated Content in Public Service Broadcasting. UK: I.B.Tauris. [In preparation]
This chapter looks explicitly at the consequences of two Knowledge Transfer projects funded by the AHRC/BBC and examines the BBC’s development of User Generated Content (UGC) activities as a means of opening up their collections and the need to establish genuine democratic credentials through their current involvement in the Digital Public Space project. It offers a reading of the role of UGC within the BBC and suggests that through understanding and identifying different types of UGC activity organisations can target and engage new audiences in democratic exchanges.
(2011) “The 1984/85 Miners' Strike: Re-claiming Cultural Heritage”, In: Smith L; Shackel P; Cambell G (eds.) Heritage, Labour and the Working Classes.
This chapter examines the ownership of cultural heritage of the strike and uses the two projects as a case study to understand how communities can use archival sources to construct their own histories.
(2011) “‘It’s Not Really Our Content’: Archiving Media History in the Digital Age”, In: Park DW; Jankowski N; Jones S (eds.) The Long History of New Media: Technology, Historiography, and Newness Contextualized. Digital Formations. New York: Peter Lang. 317-332
This article is concerned with issues relating to processes of institutional ownership of digital archives and the moves towards more open and democratic models. It uses the BBC archives as a major case study.
(2005) “'Startling, Realistic, Pathetic': The Mitchell and Kenyon 'Boer War' Films”, In: Toulmin V; Popple S; Russell P (eds.) The Lost World of Mitchell and Kenyon: Edwardian Britain on Film. British Film Institute. 150-157
(2002) “'But the Khaki-coloured Camera is the Latest Thing'- The Boer War Cinema and Visual Culture in Britain”, In: Higson A (eds.) Young and Innocent? The Cinema in Britain 1896 - 1930. University of Exeter Press. 13-27
(2001) “'The Happiest Dexterity': Sambourne and the art of the political cartoon”, In: Simon R (eds.) Public Artist, Private Passions: The World of Edward Linley Sambourne. The British Art Journal. 36-42
Founder and joint editor of the journal Early Popular Visual Culture (Routledge)