In the twenty first century it is incumbent upon us all to understand better how life itself is mediated in order to negotiate the promise and the threat posed by ever new forms of mediation and the new expressions of power they bring with them. The stakes are enormous and there are no guarantees. One thing that is certain in this uncertain world is that the study of media and screen studies today is essential to the project of suturing the rift between the sciences and cultural creativity. It is only on that basis that education and knowledge will foster ethical responsibility rather than unfettered instrumentality.
Research in our School responds to and engages with a wide array of themes and topics of wider concern and interest to culture, society and the creative industries. LSFM is home to a community of researchers undertaking projects relevant to life in a digitally connected world in which both the sharing of information and resources, and the imperatives of consumer culture, are formative of cultural values and expressive of the state of democracy in the world. We are open to collaborative research proposals and keen to partner with academics in the UK, Europe and around the world in response to external funding opportunities as they arise. We warmly welcome post-graduate students to join us on our Ph.D and taught programmes and we would be delighted to hear from more experienced researchers looking for a great research environment in which to carry out post-doctoral work related to our research.
Professor Dave Boothroyd, Director of Research
This research group focuses on the entanglements of media theory with media arts practice, media technologies and widely with the integrations of media with numerous aspects of public, private, cultural and political dimensions of everyday life. It is equally concerned with the how the entanglements of media with life sciences, software studies, and new directions in political and ethical thinking, are transforming media studies itself in the 21st century.
Our work is motivated by and shares an affinity with non-representational, non-media centric and transversal approaches to media in the academy and more widely. We embrace, experimental, participatory, collaborative and transdisciplinary approaches to research. Individual members’ specific supervision interests are detailed below. Take a look at the Centre for Entangled Media website for additional information.
Carolina Bandinelli’s research is concerned with emerging forms of subjectivity in (post-)neoliberal societies, which she explores from the perspective of cultural studies and critical theories. She has published on social and creative entrepreneurship, self-branding, and the ethos of co-working spaces in urban economies. She also has a special interest in digital cultures of love and romance, and the forms of care of the self they produce.
Bandinelli, C. and Gandini, A. (2018) Creative hubs versus creative networks. In: Creative hubs. Palgrave.
Bandinelli, C. et al (2017) Collaborating, competing, coalescing, coworking: artists, freelancers and social entrepreneurs as the new subjects of the creative class. In: Collaborative production in the creative industries. University of Westminster Press.
Bandinelli, C. et al (2016) Self-branding amongst freelance knowledge workers. In: Invisible labor: hidden work in the contemporary world. University of California Press.
Dave Boothroyd works on and has research degree supervision interests in all aspects of contemporary digital culture and especially online life from the perspective of contemporary European philosophy and recent media and cultural theory. He has special interests in the ethico-politics of communication, technics and cultural memory and techno-cultural studies more widely. His most recent publications have focused on online drug cultures and the nature/culture distinction. Dave’s most recent funded research project is the Space for Sharing Project.
Boothroyd, D. (2018) ‘Levinas, Nature and Ecology’ In: David Morgan (ed) The Levinas Handbook (Oxford University Press).
Boothroyd, D. (2017) Rethinking Evidence in Online Social drug Use Research In: O’Gorman, A. et al (eds) Evidence in European Social Drug Research and Policy
Boothroyd, D. (2016) ‘Online Drug Scenes and Harm Reduction from Below as Phronesis’, Contemporary Drug Problems, 43 (3).
Boothroyd, D. (2013) Ethical Subjects in Contemporary Culture (Edinburgh University Press)
Rob Coley’s research explores the intersection of visual and digital culture, with a particular focus on contemporary media aesthetics. He is interested in how certain forms of media – primarily speculative fictions of different genres and types – express a crisis of human knowledge and human being. He is the author (with LSFM colleague Dean Lockwood) of Cloud Time: The Inception of the Future (Zer0, 2012), Photography in the Middle: Dispatches on Media Ecologies and Aesthetics (Punctum, 2016), and coeditor of a special ‘drone culture’ issue of the journal Culture Machine (2015).
Coley, Rob (2018) ‘Street smarts for smart streets’ in P. Dibazar and J. Naeff (eds) Visualizing the Street: New Practices of Documenting, Navigating, and Imagining the City, University of Amsterdam Press
Coley, Rob (2017) ‘The case of the speculative detective: Aesthetic truths and the television “crime board”’ NECSUS: European Journal of Media Studies, Spring
Coley, Rob (2016) ‘Mapping the contours of vectoral space: Inaugural statement of the Committee for Aeronautical Psychogeography’ in D.B. Shaw and M. Humm (eds) Radical Space: Exploring Politics and Practice, Rowman and Littlefield
Coley, Rob (2015) ‘Vector portraits, or, photography for the Anthropocene’ Philosophy of Photography vol.6 (1-2): 51-60
Dean Lockwood teaches and has research interests in many aspects of contemporary digital culture and especially its implications for the rethinking of media studies as a field and media theory in particular (eg. issues around media ecologies, aesthetics and affects and media infrastructures). He also has a special interest in horror studies, with a special focus on the Weird, and is currently writing a monograph on entanglements between the Weird in fiction and the condition of mediality in the twenty-first century.
Book: Cloud Time (with Rob Coley), Winchester: Zero, 2012
Book: Photography in the Middle: Dispatches on Media Ecologies and Aesthetics (with Rob Coley), New York: Punctum, 2016
Chapter: ‘Blackened Puppets: Chris Cunningham’s Weird Anatomies’, in Music/Video: Histories, Aesthetics, Media, eds. G. Arnold, D. Cookney, K. Fairclough and M. Goddard, London: Bloomsbury, 2017.
Alberto Micali gained his Ph.D in the School in 2016 and continues to work with Group whilst teaching as an Associate Lecturer. Alberto researches hacking culture and political forms of resistance in internet cultures more widely
Micali, A (2017) ‘Towards a non-linear history of digital swarms’, Internet Histories. Digital Technology, Culture and Society, 1(3) 238-57.
Micali, A. (2016) ‘How to become a war machine, or… a low hacktivist (un)methodology in pieces’, Networking Knowledge 9(1): 1-17
Micali, A. (2015) ‘Notes for an ecological archaeology of imaginary media hacking. Journal of Contemporary Archaeology, 2(1).
Paolo Ruffino has been researching and publishing in the areas of video game culture, media arts and media studies. His research supervision interests include independent forms of video game development, archaeologies of games, hacking, modding and practices of modification of video game software and hardware, gamification and the Quantified Self. He has been engaging with critical aspects of digital culture from an artistic perspective with the collective IOCOSE, and would be interested in supervising approaches that combine theory and practice. Paolo works with the Lincoln Games Research Network.
Future Gaming: Creative Interventions in Video Game Culture, Goldsmiths Press, 2018.
‘Engagement and the Quantified Self: In Self-tracking: empirical and philosophical investigations. Palgrave, 2017.
‘From Engagement to Life: or, How to do things with gameification: In Rethinking Gamefication, Meson Press, 2014.
Thomas Sutherland is chiefly interested in questions of mediation, representation, communicability, and time in continental philosophy from Kant onward, and the ways in which we might bring concerns from media studies and communications studies into meaningful dialogue with this tradition. He has further interests in media history and archaeology, especially the ways in which our apperception of time and space has been transformed through media technologies; the philosophical and theological underpinnings of Marshall McLuhan’s work; and political normativity in media theory, particularly focusing upon notions of speed, productivity, and futurity.
Thomas Sutherland and Elliot Patsoura (2017) ‘Michel Foucault, Friedrich Kittler, and the interminable half-life of “so-called man”’, Angelaki: Journal of the Theoretical Humanities. 21 (4). [should be out by December]
Thomas Sutherland (2017) ‘Ontological co-belonging in Peter Sloterdijk’s spherological philosophy of mediation’, Paragraph. 40 (2): 133-153.
Thomas Sutherland (2016) ‘Time-without-temporalization: Futurality in Laruelle’s non-philosophy’, Chiasma. 3: 11-31.
Thomas Sutherland (2016) ‘Art, philosophy, and non-standard aesthetics’ pp. 53-68 in B. Brits, P. Gibson, and A. Ireland (eds) Aesthetics After Finitude. Melbourne: re.press.
Extra Sonic Practice (ESP) are a group of scholars and artists who work with sound in multiple contexts and configurations. Playfully and knowingly (re)appropriating the acronym from its origin (Extra Sensory Perception) – ESP is a response to the growing prevalence of sound within various disciplinary contexts. The ‘extra’ of the group’s title points to sound’s connections to other media, sensory phenomena and theoretical concepts. It also alludes to the difficulty in drawing a clear distinction between the sonic and the vibrational, the heard and the felt, audibility and inaudibility. Take a look at the Extrasonic Practice Research Group for more details.
Marie Thompson’s research centres on the affective, material and gendered dimensions of sound, noise and music. Marie welcomes enquiries from prospective research students working in any area of media, music and cultural studies. She is particularly interested in supervising research projects with a connection to sound studies, sonic arts, gender, and affect theory.
Thompson, Marie (2017) Beyond Unwanted Sound: Noise, Affect and Aesthetic Moralism. New York: Bloomsbury.
Thompson, Marie and Biddle, Ian (eds., 2013) Sound, Music, Affect: Theorizing Sonic Experience. New York: Bloomsbury.
Film and Screen Studies researchers in the School pursue a wide range of enquiries into stardom, national and transnational cinemas, broadcasting and children’s television, issues of exclusion and marginalization and questions of representations of race, gender and sexuality. Although diverse, the projects are imbricated as a broad engagement with who is speaking in what ways to whom, and who are excluded from or relegated to the margins of culture in the system of representation. Enquiries into Italian women stars’ career trajectories in Hollywood and female fandom overlap and inform projects on Hungarian cinematic nation building, exploitation cinema and youth-oriented British TV programming. Audience and star studies, archival research and textual analysis, national and transnational cinema theory are amongst approaches taken and reflect our breadth of supervision interests and openness to collaborative, innovative and transdisciplinary approaches to research. See below for specific supervision interests.
Gábor Gergely’s research interests are focused around questions of belonging and foreignness in popular film in a variety of national cinema settings. He would especially welcome proposals on questions of migration and exclusion and their performance and representation on screen, in particular in, but not limited to the context of Hollywood, Hungary and France; on questions of industry organization and regulation in relation to the marginalization and exclusion of specific real or imagined communities; on questions of Hungarian national identity and/or anti-Semitism in any period of cinema. His current projects focus on the notion of the foreign accent and a sound-oriented approach to questions of foreignness. Gábor’s most recent funded research project is the Anti-Semitism and Hungarian Cinema project, which was funded by the Leverhulme Trust under its Early Career Fellowship scheme (2012-15).
Gergely, Gábor (2017) Hungarian film 1929-1947: national identity, anti-Semitism and popular cinema. Amsterdam: AUP.
Gergely, Gábor (2017) The invention of prestige: people on the mountain and the politics of the national. Slavonica.
Gergely, Gábor (2017) "The jungle Is my home": questions of belonging, exile, and the negotiation of foreign spaces in the Tarzan films of Johnny Weissmuller. In: Projecting the world: representing the "foreign" in classical Hollywood. Contemporary Approaches to Film and Media. Detroit: Wayne State UP. pp. 69-87.
Gergely, Gábor (2012) ‘The nature of the exile: discourse and power in The Thief of Bagdad (1940)’. Journal of British Cinema and Television. pp. 159-176.
Neil Jackson researches exploitation cinemas and porn cultures. He was co-organiser of the ‘Global Exploitation Cinemas: Historical and Critical Approaches’ conference held at Lincoln in 2015. Neil welcomes enquiries form students wishing to undertake research in these and related areas.
Jackson, Neil (2016) ‘ “Bigger than payphone, smaller than a Cadillac” : porn stardom in Exhausted: J.C.Holmes The Real Story’ In. Grindhouse: Cultural Exchange on 42nd Street and Beyond: Global Exploitation Cinemas. (Bloomsbury)
Jackson, Neil et al (eds) (2015) Snuff: Real Death and Screen Media (Bloomsbury).
Nigel Morris welcomes research supervision enquiries across film, television, media, cultural and educational studies, with particular interests in Hollywood and British Cinema, authorship, adaptation, representation and realism, and representations of science. Nigel has a particular interest in interdisciplinary research topics and has a special interest in the representation of science in popular culture.
Morris, N. (2018) “Staging science on TV: Richard Hammond’s Invisible Worlds, Richard Hammond’s Miracles of Nature, and Wild Weather with Richard Hammond.” Journal of Science and Popular Culture, Vol.1, No.1.
Morris, N. (2017) A Companion to Steven Spielberg, Boston: Wiley-Blackwell, 2017.
Morris, N. (2015)“’Do you like taster menus?’ Beyond hybridity: The Trip and The Trip to Italy”, New Review of Film and Television Studies, Vol.13, No.4, pp.1-21.
Morris, N. (2007)The Cinema of Steven Spielberg: Empire of Light, London: Wallflower Press.
Antonella Palmieri works on the politics of gender, sexual and ethnic representations in popular film and television. She has published on Italian cinema and star studies and on ‘italianess’ in Hollywood cinema. She welcomes applications from prospective research students wishing to work in all areas of celebrity and star studies.
(2016) Sophia Loren and the healing power of female Italian ethnicity in Grumpier Old Men. In: Lasting screen stars: images that fade and personas that endure. Palgrave
(2014) "America id home...America is her oyster!": Dynamics of ethnic assimilation in Alida Valli's American star persona. In: Stars in world cinerma: screen icons and star systems across cultures. Tauris World Cinema . I.B.Taurus.
The Shared Space and Space for Sharing Project is a multi-institutional project within which Professor Dave Boothroyd is working on online illicit drug use cultures and investigating online information sharing amongst users of illicit drugs: a qualitative and media theoretical analysis. The full project is funded by AHRC, ESRC, EPSRC, Dstl and CPNI. (£1.3m).
The research at Lincoln investigates the ways in which people use the internet to share information, knowledge and experience relating to illicit drug use and risky drug taking practices, and at how this online sharing mediates the meanings associated with such drug use, the perception of the risks involved and strategies adopted by users for mitigating those risks, and at how trust in information and empathy amongst sharers of it figure in these communications.
We are looking at information sharing in relation to addictive, recreational and experimental use of both ‘traditional’ drugs (such as cannabis, cocaine and heroin) and new psychoactive substances (‘legal highs’ or ‘research chemicals’), as well as at non-medicinal uses of prescription drugs. This research will try to better understand how trust and empathy figure in this scene of drug-related online communication as a whole, and how it influences the judgements and the decisions of drug users as well as those who are affected by drug use in various indirect ways.
The focus is primarily on drugs-related online content and looking at the ways in which a variety of information sources are shared – interlinked, cross-referenced, recommended or critiqued, and so forth – and thus contribute to the overall open, publicly available resource of drugs and drug use information on the internet today.
The Media Histories and Archives research cluster reflects a diverse group of researchers across LSFM and the College of Arts. The cluster is united by their analysis of and research into the ways in which the media - especially the moving image - reflects the past, as well as the ways in which we as scholars go about understanding the history of those media themselves, and the impact of archival policies on the memory of earlier media. The cluster includes scholars of historical film, television and video games, experts in archival policies situated in and around the Media Archive of Central England (MACE, which is housed at the University of Lincoln), and researchers of film cultures, Hollywood film and queer theory in cinema and television.
Dr Andrew Elliott is the coordinator of this research cluster. He is Senior Lecturer in Media and Cultural Studies, and works on the representation of history in film, TV, and video games, as well as online cultures of historical commemoration. He has published four books on medieval film, games and history, the epic film and medievalism in 21st-century online culture, as well as articles on media depictions of the past and medievalism more generally.
(2017) Medievalism, politics and mass media: appropriating the Middle Ages in the twenty-first century.Boydell and Brewer, Woodbridge.
(2016) Arthurian fragments, Arthurian mosaics. Arthuriana: The journal of Arthurian studies, 25 (4). pp. 14-24.
(2015) The Grail as symbolic quest in Andrei Tarkovsky’s Stalker. In: The Holy Grail on Film: Essays on the Cinematic Quest. McFarland, Jefferson, N.C., pp. 187-201
(2014) The return of the epic film: genre, aesthetics and history in the 21st century. Edinburgh University Press.
Dr Chris O’Rourke is a historian of media, especially film and television, and popular culture.
(2017) Acting for the silent screen: film actors and aspiration between the wars. Cinema and Society . I.B.Tauris
(2017) London on film. Screening Spaces . Palgrave Macmillan
(2017) Queer London on film: Victim (1961), The Killing of Sister George (1968) and Nighthawks (1978). In: London on Film. Screening Spaces . Palgrave Macmillan
The staff of Lincoln School of Film Media includes many media practitioners working in, and across, several fields, including film-makers, sound practice, photography and media arts widely. We invite applications to our Ph.D by practice programme from candidates with first degrees and Masters degrees in any discipline, and we will be happy to work with you from proposal stage through to formal application in order to make sure we can facilitate your research project.
Jane Batkin is an animator with research interests in the history, theory and practice of animation in the context of the cultural and creative industries.
(2017) Identity in animation:a journey into self, difference, culture and the body. Routledge.
(2016) Rethinking the rabbit: revolution, identity and connection in Looney Tunes. Animation Studies Online Journal, 11.
Mikey Murray is a practice-based research specializing in film. He is also an award winning film-maker, writer and director. He is founding Director of the Indie-Lincs Film Festival. His most recent credit is Natalie (2016) - co-funded by BFI via Ffilm Cymru Wales, starring Bafta winning actress, Kate Dickie. He is winner of several awards, including:
Best Sci-Fi Short Film — Philip K. Dick International Sci-Film Film Festival, New York
John Hefin Award - Best Short Film made in Wales — Carmarthen Bay Film Festival, Wales.
Best Sci-Fi/Fantasy Short Film — Screentest Film Festival, London.
Conohar Scott has completed a practice-based PhD on the subject of the photographer as environmental activist, and he continues to conduct research on the representation of environmental despoliation in photography. As part of his practice, Conohar founded the artist-led collective Environmental Resistance, which raises awareness of industrial pollution and engages in campaigns for environmental remediation. In addition, he publishes papers which examine the history of environmental activism in photography, the aesthetics of industrial pollution, and the function that multi-modality plays in environmental advocacy.
(2018) The eco-anarchist potential of environmental photography: Richard Misrach's & Kate Orff's Petrochemical America. In: The Routledge companion to photography theory.
(2017) Photographing mining pollution in gold rush California. Photographies, 10 (2). pp. 189-209.
(2017) Environmental resistance: art for change. Collaborative working practices. In: Photographers and research: the role of research in contemporary photographic practice. Focal Press, UK.
Brian Winston is a world-leading authority on the history, theory and practice of documentary film-making. He is the author or editor of around twenty books, author of over a hundred articles and chapters and an award winning documentary writers. His most recent film, as writer and co-producer, is A Boatload of Wild Irishmen (Icarus Films, 2010) directed by Mac Dara Ó Curraidhín. The film was awarded the Special Jury prize from the British University Council for Film and Video.
(2017) The act of documenting: documentary film in the 21st century. Bloomsbury Academic.
(2015) The documentary script as an oxymoron? Journal of Screenwriting, 6 (3). pp. 287-300.
(2014) The Rushdie Fatwa and after: a lesson to the circumspect. Palgrave Macmillan
(2000) Lies, damn lies and documentaries. BFI, London.
Recent and Current Ph.D students
Alberto Micali, title: ‘Hacktivism and the Heterogeneity of Resistance in Digital Cultures’. The thesis analyses the micro-political dimensions of contemporary forms of digital media interventionism, offering a non-representational investigation of hacktivism. Drawing on Guattarian machinism, it combines media ecological and archaeological approaches to develop a cartographic analysis of the media resistance strategies of ‘Anonymous’. (Awarded 2016)
Wang Chi, title: 'Politics and Aesthetics of Chinese Documentary: The New Documentary Movement Re-Evaluated'. The thesis, grounded in a detailed examination of the Chinese documentary film archive, is a revision of the widely accepted concept of the so-called ‘New Documentary Movement’ of the 1990s. Examining the tropes supposedly introduced by the 'Movement' that occurred previous to this, the thesis presents an alternative, more nuanced account of Chinese documentary since Deng Xiaoping. (Awarded 2017)
Tom Philip Edwards, title: ‘Fascist works of art? Violence, spectatorship and identification in the vigilante thriller: 1970-1976’ (Awarded 2018)
Rachel Barraclough, title: ‘Japanese Horror Cinema: Reconceptualizing and Interrogating Dominant Modes of Thought Through Deleuze’. This project explores the molecular, affective dimensions of globalization and attendant socio-cultural mutations as articulated in Japanese horror cinema, and their implications for scholarship in the fields of transnational and world cinemas. (Submitted)
Niall Flynn, title: ‘Ecological films in the context of contemporary connectivity’. This project develops a critique of connectivity and the digital paradigm by examining an anti-connectivity aesthetics developed in the context ecological film.
Paul Sinclair, title: ‘Animating lived experience: media, metaphor and impact upon therapeutic models in narrative based treatments’. This is a Ph.D by practice enquiry approached and investigated through the medium of animation. It focuses on metaphorical story depictions of the lived experience; and how these can inform understanding of how visual media can be more effectively framed within psychological and therapeutic contexts.
Andrew Bracey, title: ‘Towards Symbiosis: An investigation into the parasite as metaphor for painting practice’.
Current Masters by Research students
Tom Martin: Tom’s research explores representation in documentary methodologies. It investigates how vulnerable communities can be represented authentically and the issues that affect them, specifically through the use of participatory media projects. It explores how techniques pioneered in the context of forensic architecture may offer new insights into how images are produced and consumed?
Rose Braisby: Rose’s project is on ‘Improving Lives and Behavioural Change Through Radio Production in the 21st Century’. It investigates how radio production skills learning and creative experience can serve to help bring about behavioural change in psychological therapeutic contexts. Her research draws on on extensive participatory practice in a clinical setting.
co_LAB is the Collaboration Laboratory Research Network, which was initiated by staff from the Lincoln School of Film and Media. co_LAB is designed to explore and develop new approaches to collaborative teaching and learning through the use of networked digital tools, and through the transferral of knowledge, skillsets and teaching styles. Our projects involve working with mixed disciplinary groups of students, utilising discovery-based learning methods to explore issues pertinent to digital culture. The aim is to develop interdisciplinary and collaborative methods for innovation and social entrepreneurship, resulting in a variety of institutional and community focused projects.
In addition to undertaking a variety of practice-based research projects across the University and local community, co_LAB has developed a substantial European network of partner universities, departments and practitioners. This network has resulted in collaboration on externally-funded projects and international strategic alliances to enable the sharing of pedagogical practice, and to enhance student mobility.