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.
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
The Spatial Politics of the Voice in Patrick Keiller’s Robinson in Ruins (2010). New Soundtrack 6 (2) pp. 129-142. Cadair2016.
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 Press Cadair2016.
‘I didn’t think I’d be working on this type of film’: Berberian Sound Studio and British Art Film as Alternative Film History. Journal of British Cinema and Television 13 (2) pp. 262-277. Cadair2016.
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. Wiley Cadair2016 (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.
Don't Look Now: British Cinema in the 1970s. Intellect Cadair2013.
Introduction: Don't Look Now. In (ed) Don't Look Now: British Cinema in the 1970s. Intellect, Bristol pp. 9-20. Cadair2013.
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. Cadair2013.
British Films of the 1970s. Manchester University Press Cadair2013.
To the West there is Nothing...Except America: The spatial politics of Local Hero. Visual Culture in Britain 12 (2) pp. 171-183. Cadair2011.
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. Cadair2010.
On location in 1970s London: Gavrik Losey. Journal of British Cinema and Television 6 (2) pp. 302-312. Cadair2009.
Look Past the Violence: Automotive destruction in American movies. European Journal of American Culture 28 (1) pp. 5-20. Cadair2009.
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. Cadair2009.
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. Cadair2008.
The Cultural Construction of London's East End: Urban Iconography, Modernity, and the Spatialisation of Englishness. Brill Cadair2008.
Global Markets and a Market Place: Reading EastEnders as the Anti-Docklands. Journal of British Cinema and Television 5 (1) pp. 72-87. Cadair2008.
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. Cadair2008.
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. Cadair2008.
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 Publishing Cadair2007.
A Place to Go? Exploring liminal space in Aki Kaurismäki’s I Hired a Contract Killer (1990). Cadair2007.