Classical Hollywood Cinema: Point of View and
Communication. Manchester University Press, 2016. (Due for
publication in December 2015.)
(Co-authored with Amy M. Davis and Jemma Gilboy.) ‘How time works
in The Simpsons.’ Animation: An Interdisciplinary
Journal 10.3 (2015): 175-88.
(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? Structures of desire in
recent British lifestyle television.’ NECSUS 2
‘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
‘Filmic point of view and the representation of character
interaction.’ Presented at Film-Philosophy, St Anne's
College, University of Oxford, Wednesday 22 July 2015.
‘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 Paddy Scannell, Television and the meaning of
live: An enquiry into the human situation (Cambridge:
Polity, 2014). Critical Studies in Television 9.3 (2014):
Review of Amanda D. Lotz, Cable Guys: Television and
Masculinities in the Twenty-First Century (London: New York
University Press. 2014). Journal of Gender Studies
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):
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),
Country for Old Men (2007) and Waitress
Sympathy and Detachment
I am an occasional guest presenter for Hull Independent
Cinema. In 2014 I introduced their screenings of Frances
Ha (Baumbach, 2012) and Calvary (McDonagh, 2014). I
contributed to their website.
For the past two years I have been a guest judge at the Wyke
'MAFTAs', an event which recognises and celebrates the achievements
of film and media students at Wyke
Sixth Form College.
I regularly participate in public screenings in association with
the University. In 2012 I introduced A Short Film About
Killing (Kieslowski, 1988) as part of the University's Polish
Season. In 2014 I introduced Lifeboat (Hitchcock, 1944)
and then led a post-screening discussion as part of the
University's Conflict and Peace Film Season. During the 2015/6
academic year, under the heading of 'Liberation', I will introduce
public screenings of Passport to Pimlico (Cornelius, 1949)
and Roman Holiday (Wyler, 1953).
In July 2015 I participated in the University of Hull's summer
school, a week of events organised for around one hundred school
leavers from the Yorkshire and Humber region.