Mike Wayne has a BA (Hons) Film Studies from the Polytechnic of North London, an MA in Film and Television from the Polytechnic of Westminster, and a Ph.D from Middlesex University on "Travels In Modernity: Spectatorship and Narrative in British Film Culture". His book titles are Theorising Video Practice (Lawrence and Wishart, 1997), as editor, Dissident Voices: The Politics of Television and Cultural Change (Pluto Press, 1998), Political Film: the dialectics of Third Cinema (Pluto Press, 2001), The Politics of European Cinema: Histories, Borders, Diasporas(Intellect Press 2002) and Marxism and the Media: key concepts and contemporary trends(Pluto 2003). He is also the editor of a new anthology, Understanding Film: Marxist Perspectives. Along with Esther Leslie, Mike Wayne edits a new book series Marxism and Culture, published by Pluto Press.
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European Cinema, Third Cinema and Documentary. His research interests are: British cinema, contemporary European Cinema and British television, documentary, the relationship between theory and cultural practice, Third Cinema and Marxist cultural theory.
2008: (with Julian Petley, Craig Murray and Lesley Henderson) “Television News and the Symbolic Criminalisation of Young People” in Journalism Studies Vol.9, no.1.
2007: “Theses on Realism and Film” in International Socialism Journal, no.116 (available online at: http://www.isj.org.uk/)
2007: “Failing the Public: The BBC, The War Game and Revisionist History” in Journal of Contemporary History, vol.42, no.4.
2007: “Monopoly politics and television news in the ” in International Journal of Media and Cultural Politics, vol.3 no.2.
2006: "The Performing Northern Working Class in British Cinema:
Cultural Representation and its Political Economy ” in Quarterly Review of Film and Video vol.23, no.4.
2006: ’Working Title Mark II: A Critique of the Atlanticist Orientation of British Cinema’ in International Journal of Media and Cultural Politics, vol.2., no.1.
2004: "Mode of Production: New Media Technology and the Napster File" In
Rethinking Marxism vol.16, no.2.
2003: "Reflections on Pedagogy: Documentary theory and practice in the classroom” in Journal of Media Practice Vol. 4, no.1.
2003: "Post-Fordism, Monopoly Capitalism and Hollywood’s Media-Industrial Complex", In International Journal of Cultural Studies Vol.6. No.1.
2003: "Surveillance and Class: A Materialist Reading of Big Brother" In Radical Philosophy Jan/Feb, no.117.
2003: "Utopianism and Film" In Historical Materialism, research in critical marxist theory, Vol. 10., no.4. pp.135-154.
2002: "A Violent Peace: Robert Guédiguian’s La Ville est Tranquille", Historical Materialism, research in critical marxist theory, Vol.10.no.2.
2002: “Constellating Walter Benjamin and British Cinema: a study of The Private Life of Henry VIII (1933)” in Quarterly Review of Film and Video, vol.19.no.3.
2002: "The Tragedy of History: Peter Watkins’s La Commune" In Third Text, no. 58, vol.16, no.1.
2001: "Problems and Possibilities In Developing Critical Practice" In Journal of Media Practice no.1 Vol.2.
2000: “The Critical Practice and Dialectics of Third Cinema” in Third Text Winter, No.52.
2000: “Family Video, Oral History And Reflexivity: My Uncle Wolf ” in Journal of Media Practice no.1. Vol.1.
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Theorising Video Practice (Lawrence and Wishart 1997). Addressed specifically to students and practitioners engaging in video practice from a theoretically informed perspective, this book draws on film and cultural theory to explore the contextual determinants and aesthetic/ideological choices and implications of cultural labour.
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Political Film: the dialectics of Third Cinema (Pluto Press 2001). The first book length study of Third Cinema for over a decade, Political Film retools the concepts and relations between radical cinema (Third Cinema), dominant cinema (First Cinema) and art cinema (Second Cinema).
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The Politics of European Cinema: Histories, Borders, Diasporas (Intellect Press, 2002). This book situates the study of European cinema within some key pan-European themes and issues, including the dominance of Hollywood, the concept of national cinema, the emergent sense of Europe as a determining space on place, nationalism, the spread of neo-liberalism, diasporic travels and hybridity theory.
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Marxism and Media Studies Key Concepts and Contemporary Trends (Pluto Press 2003). Provides a comprehensive exposition of the key concepts required for a Marxist analysis of the media and current cultural trends. Retooling and redeeming concepts such as class, mode of production, culture industries, base-superstructure, ideology, the state and commodity fetishism, this book ranges across film, television, the Internet, digital media, and print media and various genres, from the game show, Big Brother, to black American Marxist hip hop, from Disney films to Injustice, a documentary investigating the deaths of black people in police custody.
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Understanding Film: Marxist Perspectives. In film, perhaps more than any other medium, we can read the politics of time and place, past and present. The history of Marxism has intersected with film in many ways and this book is a timely reminder of the fruits of that intersection, in film theory and film practice. Marxist film theory returns to film studies some of the key concepts which make possible a truly radical, political understanding of the medium and its place both within capitalism and against it. This book shows how questions of ideology, technology and industry must be situated in relation to class – a category which academia is distinctly uncomfortable with. It explores the work of some of the key theorists who have influenced our understanding of film, such as Althusser, Benjamin, Brecht, Gramsci, Jameson and others. It shows how films must be situated in their social and historical contexts, whether Hollywood, Russian, Cuban, Chinese or North Korean cinema. The authors explore the political contradictions and tensions within dominant cinema and discuss how Marxist filmmakers have pushed the medium in new and exciting directions.
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