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Film and TV Group Members

Film and TV Studies staff and areas of current research specialism:

Dr Ramon Bloomberg: Film theory and practice. Writing focused on relations between remote sensing, knowledge and power, including the use of drones and CCTV systems. Practical work mobilizes moving image technics (full motion video, animation, procedural game engines) to formally interrogate the conceptual material ("content") of works including Glacis and T’s World. 

Dr Sean Holmes: British film and television industries, including collaboration with the BECTU History Project on a number of oral history initiatives, including work on film laboratory workers whose skills have been rendered largely obsolete by digital technologies. 

Dr Leon Hunt: Postwar Italian cinema, cult film, film and comics, the horror film. Recent publications include Danger: Diabolik (Wallflower Press, 2018)) and Cult British TV Comedy: from Reeves and Mortimer to Psychoville (Manchester UP, 2013) and The League of Gentlemen (BFI TV Classics, 2008).  

Dr David Ingram: Ecocriticsm and film, including recent work that reinterprets key paradigms in film studies for ecocriticism, including cognitivism, phenomenology and historical materialism. Publications include Green Screen: Environmentalism and Hollywood Cinema (University of Exeter Press, 2004). 

Prof Geoff King: American independent cinema, art cinema, quality Hollywood, constructions of cultural value. Earlier work on Hollywood cinema, spectacle and narrative in cinema, film comedy, videogames. Recent publications include Positioning Art Cinema: Film and Cultural Value (2019) and Quality Hollywood: Markers of Distinction in Contemporary Studio Film (2016). Website: http://www.gkindiefilm.com 

Dr Deirdre O’Neill: Intersection of film practice and theory particularly in relation to the issue of social class. Research and film practice engages with questions of power and inequality and the how they are mediated and reproduced through the optic of film and television. Utilising an ethnographic methodology, work in in prisons and with food bank users utilises film as a vehicle to explore questions of representation build grassroots resistant film practice. Recent publications include Film as a Radical Pedagogic Tool (Routledge 2017) and O’Neill and Mike Wayne, eds, Considering Class (Haymarket 2018). Co-director with Mike Wayne of films including The Acting Class (2017). 

Dr Caroline Ruddell: Screen representation and animation. Recent focus particularly on craft-based, handmade animation and constructions of cultural value. Combines textual analysis, industry and production studies, and feminist approaches. Includes classic 'animation studies' which takes into account the ontology of animation, metamorphosis and the illusion of life. Recent publications include The Animations Studies Reader (co-editor, Bloomsbury 2018) and The Crafty Animator: Handmade, Craft-based Animation and Cultural Value (co-editor, Palgrave 2019). 

Dr Daniele Rugo: Film theory and documentary practice. World cinema, film philosophy. Recent publications include Jean-Luc Nancy and the Thinking of Otherness: Philosophy and Powers of Existence (Bloomsbury 2014) and, with Nikolaj Lubecker, eds, James Benning’s Environments: Politics, Ecology, Duration (Edinburgh University Press, 2017. Films include About a War (2018), co-director with Abi Weaver. 

Prof. Mike Wayne: film practice and theory with emphasis on: social class, inequality and representation; politics, critical/cultural theory and the media; documentary practice as research. Recent publications include England’s Discontents: Political Cultures and National Identities (Pluto 2018) and O’Neill and Wayne, eds, Considering Class (Haymarket 2018). Co-director with Deidre O’Neill of films including The Acting Class (2017).