2010 2012: PG Cert. in Learning & Teaching in H.E., University of Worcester.
2005 - 2010: Doctor of Philosophy, University of Essex.
Supervisor: Dr. Shohini Chaudhuri.
External Examiner: Dr. Anna Powell (Manchester Metropolitan University)
My thesis was centred on the notion of the postmodern scopic regime, a phrase used to describe the recent interest in embodiment and synaesthesia in various disciplines including neuroscience, anthropology and film theory. I look at a broad range of theorists from Maurice Merleau-Ponty to Luce Irigaray, Gilles Deleuze to Didier Anzieu, and trace the rise of visual thinking that is based in hapticity and multi-modality rather than optics and the self.
2004 - 2005: Master of Arts (with Distinction), Literature, University of Essex.
1991 - 1994: Bachelor of Arts (First Class), English and American Literature, University of Essex.
2014. Studying the British Crime Film (London: Auteur Press)
2012. Guattari Reframed (London: I.B. Tauris)
2011. Hitchcock and the Cinema of Sensations: Embodied Film Theory and Cinematic Reception (London: IB Tauris).
Articles and Chapters:
TBA. Art will not disappear into nothing; it will disappear into everything: The Black Audio Film Collective and Latin America. In Hoyle, B and P. Newland (eds). British Avant-Garde Cinema.
2014. The British War Film, in Mitchell, N. and E. Bell (eds.), Directory of World Cinema: Britain 2nd Edition, (London: Intellect, 2014).
2014. The Weak and the Wicked: Images of non-Conscripted Masculinity in British Cinema 1939 - 1945 in Andrews. M and J. Lomas (eds.), The Home Front in Britain: Images, Myths and Forgotten Experiences, (London: Routledge).
2014. The Iron Lady and the Working Girl: Images of Prostitution in 1980s British Cinema, in Andrews, M and S. McNamara (eds.), Feminism and Femininity: Women and Media since 1900, (London: Routledge).
2013. Im the Monster Now: Remembering, Repeating and Working-through in Twenty Four Seven and Dead Mans Shoes, in Fradley, M. and M. Williams (eds.) Shane Meadows Critical Essays (Edinburgh: UEP)
2010. Neuroscience and the Process of Cinema Spectatorship In-Vision June, (Falmer: University of Sussex). Online.
2006. Cinematicity: 1895 Before and After, Scope, Issue 8 (Nottingham: University of Nottingham). Online.
2005. The First Rule Is...Images and Reflections of the Rhizome and Fight Club, Postgraduate English, 12 (Durham: University of Durham).
2014. Trash: African Cinema From Below in Transnational Cinema, Vol. 1. Online.
2012. The Wiley Blackwell History of American Film, Vols 1 4, in Scope, Issue 25. Online
2012 Humphrey Jennings, Shadows of Progress and From Pinewood to Hollywood British Filmmakers in American Cinema 1910 1969 in Scope, Issue 23., 2012. Online.
Conference Papers and Seminars:
2014. Making Strange: The 1960s Avant-Garde Documentary (Revolution and Evolution, University of Essex, 10-11 July)
2014. The Face of It: The British Portrait Film (Life Through the Lens: The British Biopic in Focus, University of Bristol, 31st May)
2012. The Iron lady and the Working Girl: Images of Prostitution in 1980s British Cinema (Feminism and Femininity Symposium, University of Worcester)
2012. Im the Monster Now: Remembering, Repeating and Working-through in Twenty Four Seven and Dead Mans Shoes (Straight Outta Uttoxeter: The Films of Shane Meadows, University of East Anglia. 2010)
2009. Deleuze and Film Theory (Open Seminar, University of Essex)
2009. Toward a Film Theory of the Postmodern Scopic Regime (Open Seminar, University of Essex)
2009. The Eye, The Brain, The Screen: Film and Neuroscience (Science in Society, Oxford University)
2008. What Neuroscience Can Teach Film Theory (Postgraduate Conference, University of Essex)
2009. Vision and the Nineteenth Century; The Modern Scopic Regime (Cinematicity: 1895 Before and After, University of Essex, 2006)
2006. Haptic Vision and Aesthetic Theory (Postgraduate Conference, University of Essex, 2006)
2006. The Deleuzian Rhizome as a Literary and Cinema Narrative Model (ManuScript, Manchester University, 2006)