Screening European Heritage

Network

This project is led by Professor Paul Cooke, the Director of the Centre for World Cinemas at the University of Leeds, in collaboration with Professor Rob Stone, The Director of B-Film: The Birmingham Centre for Film Studies.

 

CookePaul Cooke is Professor of German Cultural Studies and Director of the Centre for World Cinemas at the University of Leeds. He has written on the legacy of both National Socialism and the GDR in contemporary German culture, with a particular emphasis on contemporary German film (Representing East Germany: From Colonization to Nostalgia; with Marc Silberman (eds), Screening War: Perspectives on German Suffering; Contemporary German Cinema; (ed.) The Lives of Others and Contemporary German Film). For the Screening European Heritage project, Paul is particularly interested in the relationship between heritage cinema and movie-related tourism across Europe.

StoneRob Stone is Professor of European Film at the University of Birmingham where he directs B-Film: The Birmingham Centre for Film Studies. He is the author of Spanish Cinema, The Flamenco Tradition in the Works of Federico Lorca and Carlos Saura, Julio Medem and The Cinema of Richard Linklater and the co-editor of The Unsilvered Screen: Surrealism on Film, Screening songs in Hispanic and Lusophone cinema and A Companion to Luis Buñuel. Rob currently holds a Leverhulme Trust Research Fellowship and co-writes a book on Basque cinema with María Pilar Rodríguez (to be published by IB Tauris in 2015). Rob is especially interested in heritage film in relation to nation-building and nationhood, the study of which overlaps greatly with his other project on Basque cinema.

 

The other members of the network are:

BerghahnDaniela Berghahn is Professor of Film Studies at Royal Holloway, University of London. She has widely published on post-war German cinema, the relationship between film, history and cultural memory and transnational cinema. Her extensive, AHRC-funded work on migrant and diasporic cinema in Europe is documented on www.farflungfamilies.net and www.migrantcinema.net. Daniela’s publications include Hollywood Behind the Wall: The Cinema of East Germany (2005), Far-flung Families in Film: The Diasporic Family in Contemporary European Cinema (2013) and European Cinema in Motion: Migrant and Diasporic Film in Contemporary Europe (co-edited with Claudia Sternberg, 2010). Daniela will explore films that imagine the memory of migration through heritage aesthetics.

Bondebjerg

Ib Bondebjerg is Professor of Film and Media Studies at the Department of Media, Cognition and Communication, University of Copenhagen, and was founder and director of the Centre for Modern European Studies (2008-2011). From 1997 to 2000, he was chairman of the Danish Film Institute. Ib is a specialist in Scandinavian and European film and television. From 2000 to 2009 he was editor in chief of Northern Lights, and he is currently on the editorial board of Studies in Documentary FilmJournal of Scandinavian Cinema and The Journal of Popular Television. He is the co-editor of Media, Democracy and European Culture and the book series Palgrave European Film and Media Studies. Many of his publications are available via his academia.edu profile page.

MatthewMatthew Boswell is an Arts Engaged Fellow at the University of Leeds. In 2006, he gained a PhD in Holocaust poetry from the University of Sheffield. His postdoctoral research focuses on Holocaust representation in works of fiction by non-victims, with a particular emphasis on issues of irreverence and the taboo. In his recent monograph Holocaust Impiety in Literature, Popular Music and Film, he discusses a range of provocative responses to the Holocaust across a variety of media, including literature, film, documentary, comedy, the graphic novel and punk and post-punk music. Matthew is also interested in the idea of “dark heritage” and the way that historical traumas such as the Holocaust relate to the heritage industries that develop around them, such as tourism and film.

LawrenceBill Lawrence set up Reel Solutions in 2006 to pursue his passion for supporting all forms of cinema. He was Creative Director at Showroom Cinema, Sheffield, one of the UK’s leading independent cinemas, and Head of Film at the National Museum of Photography, Film & Television (later the National Media Museum), Bradford. He set up three of the city’s film festivals – Bradford International Film Festival, Bite the Mango Film Festival and Bradford Animation Festival. In 2006 Bill was one of the key people to set up the partnership board of Bradford: City of Film and was involved in achieving the UNESCO designation in 2009. Bill is chair of All Animated Limited and is a director on the Board of Creative England.

HerranzAmparo Martínez Herranz is a Lecturer in Film History at the University of Zaragoza. Much of her research has centred on aspects of architecture and leisure. She is the author of Los cines en Zaragoza, 1896–1936, El Teatro Principal, La arquitectura teatral en Zaragoza (1875–1939) and Los cines de Zaragoza, 1939–1975. From 2001 to 2007, she led a research project on Spanish archives and collections related to Luis Buñuel funded by the Spanish Ministry of Education and Science. The exhibition she curated, “Un perro andaluz, 80 años después” was hosted in several venues throughout 2009 and 2010. She currently leads a research project on the audiovisual culture of late Francoism (1959–1975) in which her interest in heritage cinema plays a vital role.

InceKate Ince is a Reader in French Film and Gender Studies at the University of Birmingham. Her research currently focuses on women’s cinema and French film theory. Kate has co-edited books on women’s erotic writing, Samuel Beckett, and Marguerite Duras, and written a study of the performance artist Orlan and a monograph on the film director Georges Franju. She is also the editor of a volume of essays on Auteurism from Assayas to Ozon. At present, she is co-editing and authoring a critical edition of writings from the French filmology movement and working on a book on female subjectivity in the work of French and British women directors. Kate is interested in the diversification of French heritage cinema since 2000.

KilicbayBaris Kilicbay is Associate Professor in the Department of Sociology at Abant Izzet Baysal University, Turkey. He is currently working on a monograph on national identification, trauma and melancholy in (Turkish) German cinema. Another interest of his is Turkish heritage cinema and its complicated relationship with national identity and memory. Historical dramas in recent Turkish cinema portray two distinct heritages: the “glorious” Imperial Ottoman past and the modern, secular and Westernized Republican tradition. Both narratives sublimate the nation’s foundational loss by celebrating a shared inheritance. Baris aims to analyse instances of suppressed or disavowed traumas that surround these narratives and how they relate to melancholic national identification.

MonkClaire Monk, Reader in Film & Film Culture at De Montfort University, Leicester, is a scholar of post-1970s British cinema, its cultural and socio-political contexts and reception discourses. She is known for her interventions in the critical and cultural-political debates around the “heritage film”, marked by revisionist concerns with questions of gender, sexuality and pleasure. Claire’s recent work, such as the monograph Heritage Film Audiences and its sequel “Heritage Film Audiences 2.0″, engages with contemporary audiences and fans of British period films, within the UK and internationally, including 21st-century internet and transmedia fan practices. Her earlier publications include British Historical Cinema, co-edited with Amy Sargeant, and the article “Sexuality and Heritage”.

AlanAlan O’Leary is Associate Professor in Italian at the University of Leeds. He is co-director of the Popular Cultures Research Network (with Stuart Green) and director of the Cultural Studies Research Group of the School of Modern Languages and Cultures at Leeds. His monograph on the Italian Christmas film, Fenomenologia del Cinepanettone, will be published in 2013. The concept of “tainted heritage” is key to his work on the terrorism of the 1970s in Italian cinema, for instance, in his monograph Tragedia all’italiana (2011). Heritage cinema is also part of his current project, “Italian Cinemas/Italian Histories” which aims to rethink the relationship of Italian cinema to the history of Italy from a descriptive and analytical rather than a prescriptive and paternalistic perspective.

RydzewskaJoanna Rydzewska lectures at Swansea University. Her research focuses on European, Eastern European and British cinema with an emphasis on exile, migration and transnational film. She has written on émigré Polish directors such as Roman Polanski, Krzysztof Kieslowski and Pawel Pawlikowski. Her approach employs robust contextual analysis that informs aesthetic and thematic analyses of film and television texts. Most recently she has published on the portrayal of Polish migration to Great Britain in the Polish television series Londyńczycy/Londoners (2008-2009), and the changing discourses of Eastern Europeannes in contemporary British cinema. Her interest in heritage cinema concentrates on its definition in relation to images of intelligentsia in Polish film.

VoigtsEckart Voigts is Professor of English Literature and Culture at TU Braunschweig, Germany. His many publications include Introduction to Media Studies (2004), Janespotting and Beyond: British Heritage Retrovisions since the Mid-1990s (2005) and Adaptations – Performing Across Media and Genres (2009). Eckart’s current research on heritage focuses on issues of neo-Victorianism, participatory culture and adaptation. His co-edited volume Reflecting on Darwin is under contract with Ashgate and papers on “Mashup Culture”, “Reception Studies and Participatory Culture” (Anglistik) and “Emilie Autumn’s Neo-Victorianism” (Neo-Victorian Studies) are forthcoming. He is the co-editor, with Pascal Nicklas, of a special issue of Adaptation on “Adaptation, Transmedia Storytelling and Participatory Culture”.

WildNick Wild is a senior media executive and entrepreneur at 360° Media with over 25 years experience in developing, financing and producing projects in music, online and in film. For the last 8 years Nick has also been active in the film sector, raising over $1m in development funds for a slate of feature projects, and latterly developing the 103 West production fund with partner Alistair Maclean-Clark and Peter Touche. He has extensive experience in the new paradigms of digital media consumption and distribution backed-up with solid experience in funding and has worked actively with brands developing innovative commercial products based around IP concepts.

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