Dr Paul Newland BA (Hons) English (Exeter), MA English (Exeter), PhD English (Exeter)
Paul Newland joined the Department as Lecturer in Film in September 2008. He was previously AHRC Research Associate in Film in the Department of English at the University of Exeter. He is author of The Cultural Construction of London's East End (2008) and British Films of the 1970s (2013), and editor of Don't Look Now: British Cinema in the 1970s (2011) and British Rural Landscapes on Film (2016). He is currently Reader in Film, and Director of Research for the Institute of Literature, Languages and Creative Arts.
- FM32720 - Soundscapes
- FM24420 - Case Studies in Contemporary Art Cinema
- FM10120 - Studying Film
- FM11020 - British Cinema
Paul Newland's main areas of research are:
British film history (especially the 1970s)
Representation of space, place, location, territory and architecture on film
Film sound and music
Folk horror and the contemporary cult of British rural landscape: the case of Blood on Satan's Claw . In (ed) British Rural Landscapes on Film . Manchester University Press2016.
Introduction: Post-millennial British Art Cinema. Journal of British Cinema and Television 13 (2) pp. 233-242. Cadair2016.
Space, place, and architecture in British films: The case of Last Resort (2000). The Blackwell Companion to british Cinema. Wiley2016. (In press)
We come, our country's rights to save: English rural landscape and leftist aesthetics in Comrades. Visual Culture in Britain 16 (3) pp. 331-347. Cadair2015.
British Films of the 1970s. Manchester University Press2013.
Don't Look Now: British Cinema in the 1970s. Intellect2013.
Introduction: Don't Look Now. In (ed) Don't Look Now: British Cinema in the 1970s. Intellect, Bristol pp. 9-20.2013.
We know where we’re going, we know where we’re from: Babylon. Don’t Look Now: British Cinema in the 1970s. Intellect, Bristol pp. 93-104.2013.
Towards (East) London 2012: Emily Richardson's Transit (2006) and Memo Mori (2009), and the work of Iain Sinclair. In (eds) The City and the Moving Image: Urban Projections. pp. 156-168.2010.
The Grateful Un-Dead: Count Dracula and the Transnational Counterculture in Dracula A.D. 1972'. In (ed) Draculas, Vampires, and Other Undead Forms: Essays on Gender, Race and Culture. pp. 135-152.2009.
An Involuntary Memory? Joseph Losey, Harold Pinter and Marcel Proust's À 'la recherche du temps perdu'. In (ed) Sights Unseen: Unfinished British Films. Cambridge Scholars Publishing pp. 33-52.2008.
Folksploitation: Charting the horrors of the British folk music tradition in The Wicker Man (Robin Hardy, 1973). In (ed) Seventies British Cinema. BFI Publishing pp. 33-52.2008.
The Cultural Construction of London's East End: Urban Iconography, Modernity, and the Spatialisation of Englishness. Brill2008.
Towards 2012: The imaginative (re)development of east London in Emily Richardson's Transit and the work of Iain Sinclair. In (eds) Cities in Film: Architecture, Urban Space and the Moving Image. Liverpool University Press pp. 157-162.2008.
A Place to Go? Exploring liminal space in Aki Kaurismäki’s I Hired a Contract Killer (1990). WiderScreen2007.
On an Eastern Arc: Reading Iain Sinclair’s interest in Christ Church, Spitalfields in Lud Heat through East End discourse. In (eds) City Visions: The Work of Iain Sinclair. Cambridge Scholars Publishing2007.