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British Cinema & Television

Organisational unit: Research Group

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British Film and Television has been an established research theme at UEA for several decades, and remains one of the key areas that our Film, Television and Media department is best known for in academic and industry circles.

The British Film and Television research group has enhanced that reputation in recent years through being awarded over £880,000 in grants from the AHRC and other funders, and undertaking new studies of the British film and television industries: Melanie Williams’ AHRC-funded 1960s project and work on British directors and stars, Keith Johnston’s AHRC-funded work on British Eastmancolor filmmaking, Su Holmes’ work on British television history, Sarah Godfrey’s research on masculinity and British cinema of the 1990s and 2000s and Claire Hines’ focus on the James Bond franchise and British culture. The group benefits from its interaction with the East Anglian Film Archive, with has supported research/engagement projects such as ‘Gender and the Archive: Reclaiming Women Amateur Filmmakers’ and a BAFTSS workshop on new approaches to amateur filmmakers. The group maintains strong working partnerships with Studio Canal UK, the British Film Institute, Film Archives UK, and Talking Pictures TV, with colleagues regularly interviewed for DVD special features, introducing special screenings, and appearing on podcasts.

In addition, we run regular themed conference events: most recently, 'Still swinging: 1960s British cinema and popular culture in the 21st century' and ‘Colour and British Visual Culture’.

Recent and current PhD projects in this area include studies of the representation of young women in contemporary British cinema, maritime cultures in British film and television, surveillance aesthetics on television sitcom, the censorship of film horror by local watch committees, transnational British interwar film comedy, the construction of the directorial reputation of Ken Russell, critical reception of British fantasy film, heritage sites’ interaction with the film and television industries, Channel Four’s comedy production cultures, British amateur filmmaking clubs, and comic representations of old women in British film 1935-1965.

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