Research Without Borders

In May I showcased the beginnings of my research at the University of Bristol's event 'Research Without Borders': a day-long exhibition of PhD students' work, which was open to members of the public.

Focusing on the topic that will form one of the early chapters in my thesis, my stall was entitled 'Harry Potter and the marketing of movies: what ideas about British culture are represented?' My poster board summarised the What, Why and How of my research and I also ran two activities.

I had set up a simple voting task to encourage visitors to think about whether or not they considered Harry Potter to represent British culture. 'Yes' gained more votes and I noticed that many of these were cast by international visitors, who referred to specific aspects such as the food (roast dinner and Yorkshire puddings) and Ron's use of the word 'bloody'. A lot of home visitors weren't so sure (voting 'Yes' and 'No' to reflect this) as they felt that it represented a type of British culture but not all British culture.

I also encouraged visitors to analyse the film poster for Harry Potter and the Philosopher's Stone, taking into consideration issues of representation, with prompts such as: who is included? What is their race, gender, age? What are they wearing and what is their position on the poster? What else is included? By the end of the day the poster was surrounded by post-it notes with really interesting comments from the visitors.

I am looking forward to the next opportunity to showcase my PhD work: the NECS conference in Amsterdam, where I will be presenting my research to academics in the field of cinema and media studies.

Research without Borders 2018

My stand: 'Harry Potter and the marketing of movies: what ideas about British culture are represented?'

BAFTSS symposium and conference 2018

I recently attended two events organised as part of the British Association of Film, Television and Screen Studies (BAFTSS).

The first was a one day symposium 'Investigating Regional Creative Clusters', held at The Watershed in Bristol. I was interested in finding out more about the development of the British film industry over the last 20 years. An emerging theme relevant to my research was the impact of New Labour's neo-liberal approach to the arts and culture industries. This was repeatedly called out for being 'top down' and driven by capitalism and commerce, squeezing out diversity in filmic representations in the process. This is particularly relevant to the Harry Potter films, as Warner Bros were exactly the type of big studio producers that New Labour wanted to encourage to invest in the British film industry. In return for their UK based work on the films, Warner Bros. benefitted from incentives such as tax breaks.

I later attended the annual BAFTSS conference at the University of Kent. This was an opportunity to keep abreast of current issues of interest in the field, to meet fellow scholars and to find out about the BAFTSS community. It was particularly useful to learn more about the history of the British film industry through panels on 1960s British cinema, the Eastmancolor revolution and the completion bond guarantor company Film Finances. A highlight of the conference was a Q&A with Ken Loach and Tony Garnett who collaborated on many influential British productions including the television play Cathy Come Home and the film Kes.

Q&A with Ken Loach and Tony Garnett

Attending the BAFTSS conference with fellow Bristol PGRs and Professor Sarah Street

And so the PhD journey begins...

It has been a while since my last post but I am pleased to say that this is because I have been busy navigating the first few months of my PhD at the University of Bristol. I was very honoured to receive an Alumni Research Scholarship from the University, without which I could not pursue my research into representations of British culture in the Harry Potter and James Bond films, with a particular focus on paratextual analysis.

My PhD journey began in September when I attended 'Ken Adam: Designing Bond and Beyond' at the V&A Museum. This event gave me an insight into the work of the production designers for many of the James Bond and Harry Potter films and the role that their sets play in representation by 'simplifying and making meaning clear'.

Since then I have been refining my research question and methodology while reviewing existing literature around paratextual analysis, approaches to cinema history and British film.

I have also undertaken two research trips to the Bill Douglas Cinema Museum in Exeter to analyse promotional material and merchandise for the first two Harry Potter films (Philosopher's Stone and Chamber of Secrets). Over the Christmas break I also visited Edinburgh and participated in one of the city's many JK Rowling walking tours. Arguably, these are also paratexts for the Harry Potter franchise since they tell a compelling story about the author, her influences and the rocky road to publication. They also reinforce many of the representations of British culture conveyed by the films through the inclusion of supposed real-world inspirations for certain settings and characters.

My next trip will be to the British Library and the BFI in London to analyse news media materials from the build up to the cinematic release of Harry Potter and the Philosopher's Stone.

From the walking tour: Inspirations for Hogwarts, Prof McGonagall and the graveyard in book/film 4

Published work: The Power That Lies Within: Ideologies in Daniel Craig's Bond Films

In 2015 I was very honoured to present at the IAFOR MediAsia conference in Kobe, Japan. Speaking at the time of Spectre's release worldwide, my paper discussed this film's apparent shift in themes and ideas from its predecessor, Skyfall, and the socio-political context that may have influenced this. Having previously written about Bond's national identity in Casino Royale, Quantum of Solace and Skyfall, my 2015 presentation attempted to look more widely at the relationship between the ideologies in Bond films and contextual socio-political factors. As such this paper provided what I hoped was an accessible discussion of this concept with opportunities to explore aspects in further detail as I moved forward with my research interests and ambitions for PhD study.

I was very pleased to receive recent correspondence from IAFOR requesting permission to feature this work on their publishing platform, THINK. This paper can be viewed by clicking on the image below:

Cinema Rediscovered 2017

I recently volunteered at this year's Cinema Rediscovered film festival. Predominantly hosted by the Watershed in Bristol, the eclectic programme included digital restorations, lesser known film gems and classics 're-viewed' through thought-provoking introductions and Q+As. It was fantastic to be part of this truly cinephilic event. Of the festival's offerings I particularly enjoyed Dr Peter Walsh's walking tour of Bristol's cinema history and filming locations, and a screening of Sweet Smell of Success (1957): a dark portrayal of corruption in the press industry, forming part of the festival's 'Manipulating the Message' strand. Having recently watched Christopher Nolan's Dunkirk, it was also interesting to see another depiction of WWII on the big screen, this time through the British Government commissioned Millions Like Us (1943), which follows several women as they take up work in a British wartime aircraft factory. You can read more about Cinema Rediscovered here: www.watershed.co.uk/cinema-rediscovered

Volunteers and organisers of Cinema Rediscovered

National Cinema(s) course at 20th Century Flicks

This Spring I completed a film course run by the wonderful 20th Century Flicks in Bristol. The subject matter of National Cinema(s) sparked many discussions that I felt were particularly relevant to my research interests and I produced a short summary of my experience that has been posted on the 20th Century Flicks blog.

BAFTSS conference

I recently attended the British Association of Film, Television and Screen Studies (BAFTSS) conference at the University of Bristol. It was wonderful to return to the film and television department at Bristol and to see the lecturers that had made my masters degree study and subsequent teaching there such rewarding experiences. I am returning to start a PhD in Film and Television in the Autumn and the conference was an opportunity to listen to the work of other PhD students as well as some bigger names in the field of screen studies.

I attended some panels that I thought could be relevant to my research interests and noted the following key points/questions that could feed into my project:

Heritage and Quality Genres

Which socio-political events could be linked to the recent resurgence of British heritage film and television texts such as Downton Abbey, Great British Bake Off, The Imitation Game (and arguably Skyfall and Harry Potter)?

Twitter and social media brings a new element to British heritage discourse and may provide sources for analysing the audience reception/implications for these texts.

The concept of capitalising on British heritage and imperial nostalgia, not just through film and television texts but paratexts such as merchandise, theme parks and literature, and the particular ideas these texts reinforce.

Diversity in the UK Screen Industries

The top down influence of the Oscars on the business case for diversity at production level (only white males win awards and therefore make money).

Film Academics and Film Festivals

What role do film festivals play in the case for diversity on screen and, as a possible practical aspect to my research, how could a film festival challenge ideas about British heritage cinema?

Euro-Bollywood

The representation of British culture and landscapes in the products of film industries from other countries (e.g. Bollywood) and the relationship this has with exported images of Britain/Britishness.

A Thoroughly English movie Franchise: The James Bond Films

The successful ‘backwards and forwards looking’ formula of the James Bond and Harry Potter films and the implications for this.