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The Oxford Brookes Language and Discourse interdisciplinary group has a specific focus on the relation between forms discourse, ideology and society.
Our interests range from the production, interpretation and comprehension of discourse; to its mediation through materials, media and technologies; to the role it plays in social issues of gender, class, race, identity, politics, culture, literacy, and beyond.
PhD in film Studies at the University of Warwick
School of Arts
Faculty of Technology, Design and Environment
Film Studies and Digital Media Production have become hugely dynamic academic areas because of the increasing transformation in the creative world. This transformation requires talented graduates with a whole new set of skills to respond to a fast-moving industry. Our programmes offer the ideal combination of theoretical and technical expertise to prepare students for a career in film, television, and digital media, as well as to pursue further postgraduate studies in these areas.
My role as Programme Lead is to ensure the academic portfolio is in line with the industry requirements, but also that students are offered the best experience to succeed in their ambitions. I am fully committee to pursue this and I work closely to students in Film Studies and Digital Media Production in order to ensure support, academic guidance and opportunities are offered to improve the prospects of our graduates’ career in such a thriving interactive sector.
PhD supervision of:
1. Diaspora, Identity and Cinematic Memory in Rural South Australia
2. Modes of film production in 1950s Italy
My area of research is cinema studies, more specifically film programming, exhibition and reception of popular cinema. I have been working for the last few years on memories of cinema-going in post-war Italy (and Europe) as well as on applied digital humanities tool into film studies.
2016- Present Date: Coordinator of the HoMER Research Network (History of Moviegoing, Exhibition and Reception)
2013-2016 Consultant in a project on ‘The role of Italian cinema in the process of negotiation of the social and religious conflicts of the years 1945-1960’ (funded by the University of Milan and the Ministry for the University and Research).
2013 - Present Date Member of the DICIS – Digital Cinema Studies (funded by the Research Foundation - Flanders (FWO).
2014- Present Date Editorial Board member of the Journals COGENT (Taylor and Francis) and Schermi
Winner of the AHRC Follow-on Funding Impact & Engagement for the project ‘Mapping cinema experience as living knowledge across Italy's generational divide’ (ICAMAP). Role: Principal Investigator.
Winner of the RIKSBANKENS JUBILEUMSFOND European Research on the Historical Experience of Cinema Going. Role: Steering Committee member.
Winner of the British Academy/Leverhulme Fellowship for the project ‘Mapping European Cinema: a comparative project on cinema-going experiences in the 1950s’. Role: Principal Investigator.
Winner of the AHRC Research Grant for the project ‘In Search of Cinema Audiences in 1940s and 1950s Italy’. Role: Principal Investigator.
Winner of the British Academy Mid-Career Fellowship for the project ‘In Search of Cinema Audiences in 1940s and 1950s Italy: An Oral History Project in Rome’. Role: Principal Investigator.
I am currently:
This article, based on the AHRC-funded project (2013-16), ‘In Search of Italian Cinema Audiences in the 1940s and 1950s: Gender, Genre and National Identity’, explores the power of geo-visualization for capturing the affective geographies of cinema audiences. This mapping technique, used in our project both to interrogate the Italian exhibition sector as well as to map film distribution, is used in this article to illustrate the affective and emotional dimensions of cartographic practices related to memory. The article will firstly examine the imbrication of memory and space, before moving on to a discussion of our mapping of the memories of one of our respondents, and the questions this mapping raises about geographical and remembered space, mobility, and the relation between mapping and life-cycles.
‘Italian Cinema Audiences’ è un progetto di ricerca collaborativo che indaga la memoria collettiva legata all’esperienza dell’andare al cinema in Italia negli anni Cinquanta.1 In particolare, il progetto si concentra sull’importanza del cinema nella vita quotidiana attraverso interviste con membri del pubblico, le cui risposte vengono elaborate e contestualizzate grazie ad ulteriori ricerche di archivio. Questo articolo offre una panoramica su alcuni dei risultati della prima fase di questo processo, basato su un’indagine a livello nazionale, condotta su più di 1000 italiani ultra sessantacinquenni, che ha raccolto sia dati statistici sulle loro esperienze di frequentazione cinematografica sia testimonianze dei loro ricordi. Con l’aiuto dell’Università delle Tre Età in Italia, abbiamo distribuito un questionario a un gruppo di partecipanti scelti fra otto province e otto città. Le città di Bari, Roma, Torino, Milano, Palermo, Napoli, Cagliari e Firenze sono state selezionate tra le 12 città capozona, scelte dall’AGIS per monitorare gli incassi al botteghino nel periodo in questione. Le realtà urbane sono state affiancate da località rurali in Toscana, Lombardia, Piemonte, Lazio, Sardegna, Campania, Sicilia e Puglia. I partecipanti ai questionari comprendono in maniera più o meno equa uomini e donne, abitanti di città e provincia, e rispecchiano un panorama completo di provenienza sociale.
During the 1950s, cinema in Italy blossomed, bringing film entertainment to Italians on an unprecedented scale. This study draws upon the testimony of 325 elderly Romans about their cinemagoing experiences during this period. Their memories are set in the particular context of the film programs that they (and fellow filmgoers) selected—information that is derived from daily newspapers and supplemented with trade listings of the most popular films screened in Rome. In producing a bottom-up account of cinemagoing, the paper contributes to the general debate about film culture in Italy in the postwar era.
Cinema was the most popular form of entertainment in Italy in the 1950s. In particular, Rome not only boasted the highest number of movie theatres in the country, but was also the home of cinema studios, production and distribution companies as well as film industry offices. Building upon a survey of film-goers who lived in Rome between the years 1945 and 1960, this article analyses the experience of film consumption, choice and movie taste in the capital at the time. Moreover, it investigates how the memory of events related to cinema-going was woven into people’s personal narrative. The project not only adds new dimensions to our understanding of audiences in Rome during the 1950s, but also looks into the way people construct their memories of the social experience of cinema-going and reflect upon them after over 60 years.
Catholic film policies in 1950s Italy were clearly dictated by the Censorship Commission of the Centro Cattolico di Cinematografia1 (Catholic Cinema Centre) which issued regular guidelines about what films were acceptable by the Vatican and, therefore, allowed to be screened in religious venues. If, in theory, the network of parish cinemas was meant to function as an indirect way to censor immoral film content, the reality, however, was very different. In practice films that the CCC considered unsuitable to be screened in parish venues were often shown in religious cinemas. So far – as information on parish cinema programming is patchy and inconsistent – no research has been conducted which looks at the extent to which the Catholic Church’s attempt to moralise programming in parish cinemas was successful. This chapter will use Rome as a significant example of contrast between official policies and programming practices in the city which was the centre of the Catholic world, housing the Vatican, the Catholic curia and all the main Catholic administration offices. Catholic programming of the Roman parish cinemas listed in the online archive of the local edition of the newspaper L’Unità will be analysed. A research into what religious venues screened will offer a better understanding of the dynamics at play between the educational and censorial intentions of parish cinema networks in the mind of the ecclesiastic establishment and the actual processes put in place by the local exhibitors to attract audiences and run a profitable business.