18th May 2010, 11:10am  (updated 18th May 2010, 11:11am)
Lincoln welcomes cinema expert as new Head of Media
Dr Sarah Barrow Dr Sarah Barrow has become the new Head of the University of Lincoln’s successful School of Media.

She succeeds Professor David Sleight who became the University’s Dean of Media, Humanities and Technology.

Dr Barrow was previously at Anglia Ruskin University where she developed the integration of film studies and film production – a blend of theory and practice, alongside industry experience, that is also the predominant model at Lincoln.

She is very keen to promote opportunities for students to work on projects outside the curriculum and has already started to develop a number of initiatives with Lincolnshire business, community and media organisations.

Dr Barrow was one of the founding members of the Cambridgeshire Film Consortium, an internationally-recognised initiative that provides a range of formal and informal education opportunities for all those interested in the production, reception and enjoyment of cinema. From 1997 until 2003, she was also co-director of ‘Great Little Films’ which produced numerous short films funded by local authorities and arts organisations.

Sarah said: "I'm delighted to have joined the School of Media at such an exciting time. Our academic programmes are going from strength to strength and our growing reputation and the quality of our students is evident in their recent success at the Royal Television Society National Student Awards."

Before joining Anglia Ruskin, Dr Barrow managed the education programme of the Cambridge Arts Cinema and Cambridge Film Festival (which included collaborations with European funding programmes and festivals) and this experience fed her fascination with the industrial aspects of cinema, particularly distribution and exhibition.

Sarah’s PhD is in Peruvian cinema and her research interests lie within the area of national cinema and its relationship with violence (for example terrorism), cultural identity, economics and policy. For example, she is interested in the way that government policy at times of politically-motivated conflict may mean funding for film making is stripped away and censorship is tighter. She has found that this often has the effect of encouraging film makers to unite and develop a more powerful sense of national affiliation.

Sarah is now looking at these questions in other parts of Latin America, parts of the Middle East and to some extent, the impact of political and social crisis on cinema and identity in the UK.
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