Dr Paul Newland BA (Hons) English (Exeter), MA English (Exeter), PhD English (Exeter)

Dr Paul Newland

Reader in Film

Contact Details


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



Newland, P. 2016. The Spatial Politics of the Voice in Patrick Keiller’s Robinson in Ruins (2010). New Soundtrack 6 (2) pp. 129-142. 10.3366/sound.2016.0087 Cadair

Newland, P. 2016. Folk horror and the contemporary cult of British rural landscape: the case of Blood on Satan's Claw . In P. Newland. (ed) British Rural Landscapes on Film . Manchester University Press Cadair

Newland, P. 2016. ‘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. 10.3366/jbctv.2016.0312 Cadair

Newland, P. 2016. Introduction: Post-millennial British Art Cinema. Journal of British Cinema and Television 13 (2) pp. 233-242. 10.3366/jbctv.2016.0310 Cadair

Newland, P. 2016 (In press). Space, place, and architecture in British films: The case of Last Resort (2000). The Blackwell Companion to british Cinema. Wiley Cadair


Newland, P. 2015. 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. 10.1080/14714787.2015.1078257 Cadair


Newland, P.Newland, P. 2013. Don't Look Now: British Cinema in the 1970s. Intellect Cadair

Newland, P. 2013. Introduction: Don't Look Now. In P. Newland. (ed) Don't Look Now: British Cinema in the 1970s. Intellect, Bristol pp. 9-20. Cadair

Newland, P. 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. Cadair

Newland, P. 2013. British Films of the 1970s. Manchester University Press Cadair


Newland, P. 2011. To the West there is Nothing...Except America: The spatial politics of Local Hero. Visual Culture in Britain 12 (2) pp. 171-183. 10.1080/14714787.2011.575266 Cadair


Newland, P. 2010. Towards (East) London 2012: Emily Richardson's Transit (2006) and Memo Mori (2009), and the work of Iain Sinclair. In R. Koeck., L. Roberts. (eds) The City and the Moving Image: Urban Projections. pp. 156-168. Cadair


Newland, P. 2009. On location in 1970s London: Gavrik Losey. Journal of British Cinema and Television 6 (2) pp. 302-312. 10.3366/E1743452109000958 Cadair

Newland, P. 2009. Look Past the Violence: Automotive destruction in American movies. European Journal of American Culture 28 (1) pp. 5-20. 10.1386/ejac.28.1.5_1 Cadair

Newland, P. 2009. The Grateful Un-Dead: Count Dracula and the Transnational Counterculture in Dracula A.D. 1972'. In J. E. Browning. (ed) Draculas, Vampires, and Other Undead Forms: Essays on Gender, Race and Culture. pp. 135-152. Cadair


Newland, P. 2008. Folksploitation: Charting the horrors of the British folk music tradition in The Wicker Man (Robin Hardy, 1973). In R. Shail. (ed) Seventies British Cinema. BFI Publishing pp. 33-52. Cadair

Newland, P. 2008. The Cultural Construction of London's East End: Urban Iconography, Modernity, and the Spatialisation of Englishness. Brill Cadair

Newland, P. 2008. Global Markets and a Market Place: Reading EastEnders as the Anti-Docklands. Journal of British Cinema and Television 5 (1) pp. 72-87. 10.3366/E1743452108000071 Cadair

Newland, P., Losey, G. 2008. An Involuntary Memory? Joseph Losey, Harold Pinter and Marcel Proust's À 'la recherche du temps perdu'. In D. North. (ed) Sights Unseen: Unfinished British Films. Cambridge Scholars Publishing pp. 33-52. Cadair

Newland, P. 2008. Towards 2012: The imaginative (re)development of east London in Emily Richardson's Transit and the work of Iain Sinclair. In J. Hallam., R. Koeck., R. Kronenburg., L. Roberts. (eds) Cities in Film: Architecture, Urban Space and the Moving Image. Liverpool University Press pp. 157-162. Cadair


Newland, P. 2007. On an Eastern Arc: Reading Iain Sinclair’s interest in Christ Church, Spitalfields in Lud Heat through East End discourse. In R. Bond., J. Bavidge. (eds) City Visions: The Work of Iain Sinclair. Cambridge Scholars Publishing Cadair

Newland, P. 2007. A Place to Go? Exploring liminal space in Aki Kaurismäki’s I Hired a Contract Killer (1990). Cadair