(Co-authored with Tom Steward.) ‘(G)hosting
Television: Ghostwatch and its Medium.’ Journal of
British Cinema and Television 11.2-3 (2014): 189-212.
(Co-authored with James
‘The Aesthetics of "So Bad It's Good": Value, Intention and The
Room.’ Intensities: The Journal of Cult Media 6
‘Can you see yourself living here? The role and nature of fantasy
in property-search programmes on British television.’
NECSUS 2 (2012).
‘Beyond the Male Gaze: Departures from Scottie’s point of view
in Vertigo.’ CineAction 84 (2011): 13-23.
‘The Rhetoric of The Wire.’ Movie: A Journal of
Film Criticism 1 (2010).
Chapters in edited collections
Pete Falconer.) 'Townes Van Zandt: "Now here's what this
story's told."' Walking the Line: Country Music Lyricists and
American Culture. eds. Thomas Alan Holmes and Roxanne Harde.
Lanham, MD: Lexington Books, 2013.
'The presentation of detail and the organisation of time in
The Royle Family.' Television Aesthetics and
Style. eds. Jason Jacobs and Steven Peacock. London:
Bloomsbury, 2013: 125-34.
Recent conference papers
‘Representing the everyday in Coronation Street (1960 and
2013).’ Presented at Spaces of Television, University
of Reading, Thursday 19 September 2013.
‘Broadcasting, Horror and Children: the case of Ghostwatch
(BBC, 1992).’ Presented at Childhood and the Media
(25th IAMHIST conference), University of Leicester, Wednesday 17
of Alignment: Jack Regan on screen and page.’ Presented at
‘You’re Nicked!’ The Sweeney and Crime Drama in British Film
and Television, University of East Anglia, Friday 21 September
Theory of Mind: Dial M for Murder as false belief
test.’ Paper presented at Film-Philosophy, King’s
College London, Thursday 13 September 2012.
‘Amanda Price as author figure, fan and critical reader in
Lost in Austen (ITV, 2008).’
Paper presented at ‘Viewer, I married him’: Reading
(Re)Productions of the Long Nineteenth Century in Period
Drama, University of Hull, 29 June 2012.
Entries in reference works
‘The Classic Realist Text.’The Routledge
Encyclopedia of Film Theory. eds. Edward Branigan and Warren
Buckland. London: Routledge, 2013.
Entries on director Alexander Payne and
films Adventureland (2009), Hollywood
Shuffle (1987), Hoop Dreams (1994), Monster’s
Ball (2001) and Sling Blade (1996) for the
Directory of World Cinema: American Independent, Vol. 2.
ed. John Berra. Bristol: Intellect, 2013.
Review of Melissa Ames (ed), Time in Television Narrative:
Exploring Temporality in Twenty-First-Century Programming
(Jackson: University Press of Mississippi, 2012) and Paul Booth,
Time on TV: Temporal Displacement and Mashup Television
(New York: Peter Lang, 2012). Critical Studies in
Television 9.1 (2014): 117-9.
Review of Michael Z Newman and Elana Levine, Legitimating
Television: Media Convergence and Cultural Status (London:
Routledge, 2012). Screen 53.4 (2012): 492-5.
Review of Hamilton Carroll, Affirmative reaction: New
formations of white masculinity (London: Duke University
Press, 2011). Journal of Gender Studies 20.3 (2011):
Review of Robert J. Corber, Cold War Femme: Lesbianism,
national identity, and Hollywood cinema (London: Duke
University Press, 2011). Journal of Gender Studies 20.3
Review of Barry Keith Grant, Shadows of doubt: negotiations
of masculinity in American genre films (Detroit: Wayne State
University Press, 2010). Journal of Gender Studies 20.2
Review of Andrew Britton, Britton on Film. ed. Barry
Keith Grant (Detroit, Wayne State University Press, 2009).
Screen 50:4 (Winter 2009): 450-3.
Reviewing and criticism
I am a long-term contributor to the website Alternate Takes, which
attempts to 'bridge the gap
between reviewing and criticism.' Most recently I have
written about Austenland (2013),
Knew (2012) and Much Ado About
Nothing (2012). Earlier pieces that I still
particularly like include critical accounts of The Cabin in the
Woods (2011), The Dark Knight
Rises (2012), The Hunger
Games (2012), It's a Wonderful
Life (1946), No Country for
Old Men (2007) and Waitress
My principal research objects are popular
cultural texts (I have written work on British lifestyle
television, British television sitcom, British broadcast
horror, US ‘quality’ television, classical Hollywood cinema
and country music lyrics). My central aim is to account in
detail for the properties and effects of these texts. In
pursuing this aim, I draw upon and try to synthesise in a
scrupulous fashion the insights of a range of methodologies and
research areas: cognitive science, cultural studies, evaluative
criticism, historical poetics, material culture, media and
broadcasting history and theory, narratology, phenomenology and the
philosophy of aesthetics and of fiction. I am interested in
and try to remain attuned at all times to the vital
metacritical issues of how academic disciplines and their
histories shape i) their objects of enquiry, ii) the kinds of
questions that seem worth asking of those objects, and
iii) the kinds of answers to those questions that are favoured
(these issues as they pertain to the histories of film and
television studies are of particular interest to me).
I am currently revising my monograph on
communication, distance and point of view in classical Hollywood
I am interesting in supervising doctoral
research on film and/or television from perspectives that fit the
principles outlined above.
In 2014/5 I will be teaching the following undergraduate
Reading the Screen (level 4)
Understanding Media (level 4)
Analysing Television Drama: Narration, Style and
Themes (level 5)
Television, Radio and the Everyday (level 5)
(co-taught with Dr Iris Kleinecke-Bates)
History of Hollywood Cinema (level 4,
Screen Nations (level 4, team-taught
Interpreting American Culture (level 4,
American Film and Society (level 4, team-taught
In 2011/2 I taught two modules on the MA in Popular Cultures:
'Theorising Popular Cultures' and 'Valuing Popular Cultures'.
In 2012 I won the Hull University Union Student-Led Teaching
Award for 'Best Feedback'.
In October 2013 I successfully completed my Postgraduate
Certificate in Higher Education, and in February 2014 I became a
Fellow of the Higher Education Academy.