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Dr Andrew Spicer
Reader in Cultural History

Andrew Spicer is Reader in Cultural History, teaching on the undergraduate and postgraduate programmes in Visual Culture and was also the first Director of the Visual Culture Research Group. He was recently principal investigator for a major two-year (Feb. 2010-Jan. 2012) AHRC-funded research project:
‘Michael Klinger, the Role of the Producer and the British Film Industry in the 1960s and 1970s’.

In addition to journal articles and a conference (April 2011), the project will generate the definitive study of Michael Klinger to be published by I.B. Tauris,
The Man Who Got Carter - Michael Klinger, Independent Production and the British Film Industry with Anthony McKenna.

http://michaelklingerpapers.uwe.ac.uk/

He is an international authority on the representation and historical construction of masculinity and on film noir and is the author of the most widely used single volume study: Film Noir (Longman/Pearson Education, 2002) that has sold 4,000 copies. He has also written extensively on British cinema.

In addition to
Film Noir, Andrew is the author of four other monographs: Am Ambivalent Archetype: Masculinity, Performance and the New Zealand Films of Bruno Lawrence (Kakapo Books, 2000); Typical Men: The Representation of Masculinity in Popular British Cinema (I.B. Tauris, 2001/2003); Sydney Box (Manchester University Press, 2006); and the Historical Dictionary of Film Noir (Scarecrow Press, 2010). .

He has edited two books: Sydney Box’s autobiography:
The Lion That Lost Its Way and Other Cautionary Tales of the Show Business Jungle (Scarecrow Press, 2005); and European Film Noir (Manchester UP, 2007). A third is forthcoming: Companion to Film Noir (with Helen Hanson, Wiley/Blackwell, 2012).

Andrew has contributed numerous entries for reference works including: 13 entries for the
Encyclopedia of British Cinema (Methuen/BFI, 2003, rev. 2005, 2008 and 2011); 14 entries for Directors in British and Irish Cinema: A Reference Companion (British Film Institute, online 2003, book version, 2006); and six entries for the New Oxford Dictionary of National Biography (Oxford University Press, 2004 and subsequent revisions); and the entry on 'Masculinity and Film' for the International Encyclopedia for Masculinities (Routledge, 2007, in press). For a full list of his book chapters, journal articles and conference papers - follow the links in the 'Quick links' box at the top right of this page.

Andrew is a member of the Editorial Board for the Journal of British Cinema and Television, the leading forum for research and scholarship in this field, and also on the editorial board of the recently launched Journal of Screenwriting that aims to transform this neglected area of film studies. He has been a member of the Peer Review College for the Arts and Humanities Research Council and is a subject adviser for film to the
New Oxford Dictionary of National Biography. Andrew also sits on several other editorial advisory panels and is an adviser and peer reviewer for a number of publishers and journals.


Books Edited
Companion to Film Noir, edited by Dr Andrew Spicer and Dr Helen Hanson (Wiley Blackwell 2013)

Book Chapters:
'Male Stars, Masculinity and British Cinema, 1945-60', in Robert Murphy (ed.), The British Cinema Book (BFI, 1997; 2nd edition, 2001, 3rd edition, 2009);

The emergence of the British tough guy; Stanley Baker, masculinity and the crime thriller, in Steve Chibnall and Robert Murphy (eds), British Crime Cinema (Routledge, 1999);

'Misfits and the Marginalised: Gender in the Boultings' Feature Films', in Alan Burton et al (eds), The Family Way: The Boulting Brothers and British Film Culture (Flicks Books, 2000);

Sean Connery: loosening his Bonds', in Bruce Babington (ed.), British Stars and Stardom (Manchester University Press);

'The 'Other War': images of the Second World War in service comedies', in Stephen Caunce et al (eds), Relocating Britishness (Manchester University Press,2004);

'The reluctance to commit: Hugh Grant and new British romantic comedy', in Phil Powrie et all (eds), The Trouble with Men: Masculinities in European and Hollywood Cinema (Wallflower, 2004);

'Demons of the Mind' in Brian McFarlane (ed.), 24 Frames: The Cinema of Britain and Ireland (Wallflower, 2005);

'Jack Buchanan and British Musical Comedy in the 1930s', in Ian Conrich and Estella Tincknell (eds), Film's Musical Moments (Edinburgh University Press, 2006);

'Acting Nasty? British Male Actors in Contemporary Hollywood', in Ginette Vincendeau and Alastair Phillips (eds), Journeys of Desire: European Actors in Hollywood (British Film Institute, 2006);

'An Occasional Eccentricity: The Strange Course of Surrealism in British Cinema', in Graeme Harper and Rob Stone (eds), The Unsilvered Screen: Surrealism on Film (Wallflower, 2007);

''Echoes of War': Tunes of Glory (1960) and the Demise of the Officer Class in Postwar British Cinema', in Danielle Hipkins and Gill Plain (eds), War-Torn Tales: Constructions of Gender in the Aftermath of World War II in Literature and Film (Palgrave, 2007);

'The Author as Author: Restoring the Screenwriter to Film History', in James Chapman, Mark Glancy and Sue Harper (eds), The New Film History: Approaches, Methods and Sources (2007);

'Missing Boxes: The Unmade Films of Sydney Box, 1940-1967', in Dan North (ed.), Sights Unseen (Cambridge Scholars Press), 2008).

‘The Mark of Cain: Eric Portman and British Stardom’, in Titti Soila (ed.), Stellar Encounters: Stardom in Popular European Cinema (John Libbey, 2009;

‘At the Margins of the Canon: the Content and Context of Anthony Simmons’ Films’ (with Josie Dolan), in Paul Newland (ed.) Don’t Look Now: British Cinema in the 1970s (Intellect Press), 2010.

‘The Precariousness of Production: Michael Klinger and the Role of the Film Producer in the British Film Industry during the 1970s’, in Sue Harper, Justin Smith and Esther Sonnet (eds) British Culture and Society in the 1970s, (Cambridge Scholars Press), 2010

‘Targeting the Hitman’, in Bran Nicols, Patricia Pulman and Eugene McNulty (eds), Crime Cultures: Figuring Criminality in Fiction and Film (Continuum), 2010.

‘An Impossible Task? Scripting The Chilian Club’, in Jill Nelmes (ed.) Analysing the Screenplay (Routledge) 2010-11-04

Journal Articles :
'The BBFC Scenario Reports at the BFI: the case of the macabre film', Journal of Popular British Cinema, no. 3 (2000), pp. 121-24;

'British Neo-Noir and the male Anti-Hero', Anglo Files (Denmark) No. 128 (May 2003), pp. 11-19;

'Extending People's Minds for a Brief Time Every Day: The Wartime Propaganda Short', Journal of Media Practice, vol. 4 no. 2 (2003), pp. 105-112;

'Film Studies and the Turn to History', Journal of Contemporary History vol. 39 no. 1 (Jan 2004), pp. 147-55;

'The Production Line: Reflections on the Role of the Producer in British Cinema', Journal of British Cinema and Television vol. 1 no. 1 (Nov 2004), pp. 33-50;

'What Cannot Be Said: Silent Dust (1949) and the Malevolent Veteran'
Zeithistorische Forschungen, vol. 1 no. 1 (January 2005), pp. 110-18;

'Fit for a King? The Royal Film Perfomance', Journal of British Cinema and Television vol. 2 no. 2 (Nov. 2005);

'Creativity and the 'B' Feature: Terence Fisher's Crime Films', Film Criticism vol. 30 no. 2 (Winter 2005-06);

'Masculinity in British Cinema', Kwartalnik Filmowy (Film Quarterly) Poland Academy of Science (2006) in Polish. English translation.

‘Interview: Anthony Simmons’, (with Josie Dolan) Journal of British Cinema and Television vol. 5, no. 1, pp. 132-45

‘Interview: Allan Cubitt’, Journal of British Cinema and Television vol. 5, no. 2, pp. 362-75

‘Writing New Film History: Michael Klinger and the Independent Film Producer’, New Review of Film and Television Studies (in press)

He co-edited Volume 5, no. 2 of the
Journal of British Cinema and Television (November 2008) on Screenwriting.

Conferences and study days
Andrew has disseminated his research on British cinema and film noir at a number of conferences and study days including:

'Gender in the Boultings' Feature Films', De Montfort University, Leicester, February 2002;
'Masculinities in British Cinema', Watershed, July 2000;
'Gents and Junkies: Exploring British Male Stardom in the 1990s', University of Newcastle, July, 2001;
'British Neo-Noir and the Performance of Masculinity in Croupier and Following', University of Surrey, Roehampton, September 2002;
'Approaches to Film Noir', Evento speciale, Noir in Festival, Courmayeur, Italy, December 2002;
'The Mark of Cain: Eric Portman and British Stardom', University of Stockholm, July 2003;
'
The Independent Film Producer in the 1950s and 1960s', University of Westminster, London, June 2004;
'Spaces and Places in Four Weddings and a Funeral', Queen Mary College, London, June 2005.
'The Creative Producer: Sydney Box', University of Reading, 29-30 June 2006;
'The Author as Author: Restoring the Screenwriter to British Film History', Manchester Metropolitan University, 11-13 September 2006;
'
Screenwriting in British Cinema: Problems and Perspectives', Institute of Historical Research, University of London 19 October 2006;
'Autopsies of Society: The British Crime Thriller', Popular European Cinema conference no. 5, Paris, 25-27 June 2007;
'At the Margins of the Canon: The Context and Content of Anthony Simmons' Films', University of Exeter, 4-6 July 2007.
‘The Precariousness of Production: Michael Klinger and the Role of the Film Producer in the British Film Industry during the 1970s’, British Culture and the Society in the 1970s, University of Portsmouth, 1-3 July 2008
‘Targeting the Hitman’, Crime Cultures: Figuring Criminality in Literature, Media and Film, University of Portsmouth 14-16 July 2008
‘Productive Research: Approaches and Sources to Uncovering the Role of the Film Producer’, Studies Beyond the Screen, University of Exeter, 25 April 2009
‘Understanding Independent Film Production: Michael Klinger and the New Film History’, Researching Cinema History, Geological Society, London, 6-7 July 2009
‘The Creative Producer: Michael Klinger’, Archives and Auteurs - Filmmakers and their archives, University of Stirling, 2-4 Sept. 2009
‘Secret Histories and the Dirty War: The 1970s’ Second World War Film’, Going to War, 1939-45: Film History and the Second World War, Institute of Historical research, London, 22-23 October 2010.

Memberships:
Andrew is a member of the editorial board for the Journal of British Cinema and Television, the leading forum for research and scholarship in this field. He is also on the editorial board of the recently launched Journal of Screenwriting that aims to transform this neglected area of film studies.

He has been a member of the Peer Review College for the Arts and Humanities Research Council and is a subject adviser for film to the New Oxford Dictionary of National Biography.

Andrew also sits on several other editorial advisory panels and is an adviser and peer Reviewer for a number of publishers and journals.


Andrew2.Spicer@uwe.ac.uk

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'Typical Men' Dr Andrew Spicer

'European Film Noir' Dr Andrew Spicer
'Film Noir' Dr Andrew Spicer
'Sydney Box' Dr Andrew Spicer
'Hsitorical Dictionary of Film Noir' Dr Andrew Spicer