Monographs by James Newton
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Book chapters by James Newton
Social Class and Television Drama in Contemporary Britain ed. David Forrest, Beth Johnson, 2016
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Animated Landscapes: History, Form, and Function, ed. Chris Pallant, 2015
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Papers by James Newton
While a small number of contemporary animated television shows have sought to represent ā and int... more While a small number of contemporary animated television shows have sought to represent ā and interrogate ā the British social class system in explicit ways, there remains a bias within contemporary scholarship towards live action representation over the animated form. This chapter seeks to address this imbalance by considering: the way our understanding of class has changed in recent years; how the animated ident intersects with notions of class in both provocative and formative ways; how Crapston Villas animates the aesthetics of class; and how representations of conspicuous consumption inform newer frameworks of class identity in the shows 2DTV and Monkey Dust.
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NECSUS European Journal of Media Studies, Dec 2014
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Offscreen film journal 18:6, Sep 2014
In an era of renewed critical appreciation of Italian genre/exploitation cinema (such as Austin F... more In an era of renewed critical appreciation of Italian genre/exploitation cinema (such as Austin Fisher's Radical Frontiers in the Spaghetti Western) there is one cycle of films where any appreciation appears to be absent: the Nunsploitation movie. These films, set in convents where a nascent lust bubbles just under the surface, examine themes of feminism, radical left wing politics, and the role of the Church and religion in society. This paper examines the way two films, The Nuns of Saint Archangel, and Flavia, the Heretic, tackle these issues through their mise en scene and narrative structure.
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Offscreen film journal, Nov 30, 2011
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Book Reviews by James Newton
Journal of Screenwriting, Feb 2013
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Conference Presentations by James Newton
My paper explores the relationship between the James Bond newspaper comic strips (Initially Daily... more My paper explores the relationship between the James Bond newspaper comic strips (Initially Daily Express, 1957 - until 1983 in various newspapers, before carrying on into Scandinavian only publications), graphic novels, and the partially animated title sequences from the Eon produced official film series. In these alternative visual expressions of the character, 007 is presented as a cypher, often depicted in silhouette. I argue that this is closer to Ian Fleming's original interpretation of the character. These near faceless, almost anonymous likenesses of Bond also hark back to the character's origins in pulp material. From here, I compare Bond to other pulp comics of the 1960s, in particular the Italian Diabolik comics. I also look to cinematic pulp, including the character of the Man With No Name, who emulates the anonymous cypher incarnation of Bond. This includes looking in depth at the animated title sequences of A Fistful of Dollars, and The Good, the Bad, and the Ugly, which draw on the visual style of the 007 title sequences.
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Glitch 2015
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There has been only a minimal amount written in academic circles on the connections between polit... more There has been only a minimal amount written in academic circles on the connections between political anarchism and cinema. Alan Lovellās Anarchist Cinema (1962) focuses on allegorical readings of films by Jean Vigo, Luis Bunuel, and Georges Franju. Richard Portonās Film and the Anarchist Imagination (1999) examines the historical representation of anarchists and their ideas. More recently, Nathan Junās article Towards an Anarchist Film Theory (2011) lays out ideas for a proposed ācinema of liberationā. Yet these three texts, the most notable attempts at discussing the subject, do not refer to one another. This creates a disconnection between the areas of existing scholarly research, and therefore fails to adequately analyse the complex series of relationships that exist between anarchism and film.
To investigate these relationships my research focuses on three main areas; the notion of cinema as an inherently unruly and anarchic space; defining the criteria for what an anarchist film should be; and examining the place of grassroots and DIY filmmaking in the wider context of an anarchist cinema.
My paper suggests ways in which anarchist theory can inform our understanding of cinema as a cultural and industrial institution, and also provide an alternative process of reading and interpreting films. I propose that the ultimate embodiment of anarchist cinema should consider the analysis of films, and of the cinema as a social and physical space. In turn this can help us to consider the ways in which film and cinema may form part of a culture of resistance ā one which fully articulates the concerns and questions surrounding radical politics.
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In an era of renewed critical appreciation of European genre and exploitation cinema (such as in ... more In an era of renewed critical appreciation of European genre and exploitation cinema (such as in Austin Fisher's Radical Frontiers in the Spaghetti Western) there is one cycle of films where any recognition appears to be absent: the Nunsploitation movie. This minor cycle of exploitation cinema, set in convents where a nascent lust bubbles just under the surface, examines themes of feminism, radical left wing politics, and the role of the Church and religion in society.
Each film is based around a set of similar scenarios, where nuns transgress the rules of the authoritarian institutions which govern them. Their behaviour is then brutally punished by the repressive authorities of the church and state. In doing so the films set up a series of binary clashes; conflicts of order and disorder, the feminine against the masculine, and church or state against the individual.
The films address these concerns through the presentation of a succession of ādeviantā behaviours; a series of acts committed by the rebellious nuns which contravene the oppressive rules of the convent. However, the deviance of the acts committed is only in contrast to the inhumane arrangement of the religious order of the convent. The deviance of the nuns is expressed in their very human qualities and failings; for falling in love, for having ambitions of a life beyond the convent, or for expressing themselves sexually. āDevianceā from authority and hierarchy is demonstrated as being the normal human condition.
This paper examines the way two films, The Nuns of Saint Archangel, and Flavia, the Heretic, tackle the issues surrounding deviance through their mise en scene and narrative structure. In particular, it analyses how through diverse cinematic techniques, both films arrive at similar conclusions; making radical proclamations for the role of individual freedom in society, and critiquing organised religion, patriarchy, capitalism, and hierarchical institutions.
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"Social media, along with other digital technologies, has re-configured traditional notions of th... more "Social media, along with other digital technologies, has re-configured traditional notions of the production, exhibition, and consumption cycle of media forms such as filmmaking. Previously, these areas were distinct categories, carried out by specialists in each area. In the realm of independent production in particular, this is no longer the case. A filmmaker or independent company can now use social media to find an audience, and to distribute their work. Sites like YouTube, Twitter, Facebook, and Tumblr are now essential tools in a filmmakerās marketing and distribution thanks to their ability to combine networking and exhibition.
My research analyses the political ramifications of this shift. My presentation explores the move from the previous hierarchical model to one which has been argued has a greater level of democratisation. I examine how social mediaās use in film production is in line with aspects of the politicisation of film which happened in France in the post May 68 era. I aim to assess to what degree the changes presented by social media provides a genuine threat to the old model, and how any changes may be approached politically.
"
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Conferences organised by James Newton
Symposium: Exploitation Cinema in the 21st Century
Canterbury Christ Church University
Date: Ju... more Symposium: Exploitation Cinema in the 21st Century
Canterbury Christ Church University
Date: June 9th 2017
Deadline for proposals: 3rd March 2017
Keynote Speaker: Dr Johnny Walker, Northumbria University
In relation to cinema, the term āexploitationā has been adopted by various individuals and institutions over time, from opportunistic film producers and marketers of the 1920s to contemporary online distributors releasing new films in the 21st century. There is a current wave of exciting and productive scholarship on the historical developments of exploitation cinema, and its famous, and not so famous, films and filmmakers. But much of this research focuses on exploitation before the year 2000, with a particular focus up to and including the VHS era of the 1980s. Less research exists on the inflections of exploitation in the 21st century, and the trends and developments that have taken place since the turn of the century. This one-day symposium seeks to shed new light on the embodiments of exploitation cinema since 2000, with particular emphasis on current waves and cycles, the way in which they are now consumed (such as online rather than in theatres), and which particular exploitation filmmakers stand out as being important in contemporary times.
Topics might include (but are not limited to);
ā¢ Analysis of single films
ā¢ Studies of current waves or cycles of exploitation
ā¢ Exploitation cinema from global national contexts (in particular from non-English speaking countries)
ā¢ The re-emergence of old cycles since 2000 (Rape-Revenge, the Biker movie, etc.)
ā¢ Individual filmmakers
ā¢ New genres, sub-genres, and hybrids
ā¢ High budget exploitation (such as that produced by Quentin Tarantino and Robert Rodriguez)
ā¢ Patterns of exhibition and distribution
ā¢ Studies of industrial models or modes
ā¢ Exploitation studios (The Asylum etc.)
ā¢ Exploitation online
ā¢ Exploitation fandom and audiences
We invite proposals of up to 300 words for 20 minute papers, plus a short bio (up to 150 words) by March 3rd 2017.
We also welcome video essays to be submitted with a 300 word proposal/150 word bio, sent to us by March 3rd 2017. Final video submissions should be sent by June 2nd 2017 via Vimeo link. Video submissions should aim to be 10 minutes maximum running time.
All proposal (and any queries) should be sent to Dr James Newton at james.newton@canterbury.ac.uk
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Talks by James Newton
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Panel discussion on the topics and themes of the British horror film, with Dr Johnny Walker and D... more Panel discussion on the topics and themes of the British horror film, with Dr Johnny Walker and Dr Michael Grant
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Uploads
Monographs by James Newton
Book chapters by James Newton
Papers by James Newton
Book Reviews by James Newton
Conference Presentations by James Newton
To investigate these relationships my research focuses on three main areas; the notion of cinema as an inherently unruly and anarchic space; defining the criteria for what an anarchist film should be; and examining the place of grassroots and DIY filmmaking in the wider context of an anarchist cinema.
My paper suggests ways in which anarchist theory can inform our understanding of cinema as a cultural and industrial institution, and also provide an alternative process of reading and interpreting films. I propose that the ultimate embodiment of anarchist cinema should consider the analysis of films, and of the cinema as a social and physical space. In turn this can help us to consider the ways in which film and cinema may form part of a culture of resistance ā one which fully articulates the concerns and questions surrounding radical politics.
Each film is based around a set of similar scenarios, where nuns transgress the rules of the authoritarian institutions which govern them. Their behaviour is then brutally punished by the repressive authorities of the church and state. In doing so the films set up a series of binary clashes; conflicts of order and disorder, the feminine against the masculine, and church or state against the individual.
The films address these concerns through the presentation of a succession of ādeviantā behaviours; a series of acts committed by the rebellious nuns which contravene the oppressive rules of the convent. However, the deviance of the acts committed is only in contrast to the inhumane arrangement of the religious order of the convent. The deviance of the nuns is expressed in their very human qualities and failings; for falling in love, for having ambitions of a life beyond the convent, or for expressing themselves sexually. āDevianceā from authority and hierarchy is demonstrated as being the normal human condition.
This paper examines the way two films, The Nuns of Saint Archangel, and Flavia, the Heretic, tackle the issues surrounding deviance through their mise en scene and narrative structure. In particular, it analyses how through diverse cinematic techniques, both films arrive at similar conclusions; making radical proclamations for the role of individual freedom in society, and critiquing organised religion, patriarchy, capitalism, and hierarchical institutions.
My research analyses the political ramifications of this shift. My presentation explores the move from the previous hierarchical model to one which has been argued has a greater level of democratisation. I examine how social mediaās use in film production is in line with aspects of the politicisation of film which happened in France in the post May 68 era. I aim to assess to what degree the changes presented by social media provides a genuine threat to the old model, and how any changes may be approached politically.
"
Conferences organised by James Newton
Canterbury Christ Church University
Date: June 9th 2017
Deadline for proposals: 3rd March 2017
Keynote Speaker: Dr Johnny Walker, Northumbria University
In relation to cinema, the term āexploitationā has been adopted by various individuals and institutions over time, from opportunistic film producers and marketers of the 1920s to contemporary online distributors releasing new films in the 21st century. There is a current wave of exciting and productive scholarship on the historical developments of exploitation cinema, and its famous, and not so famous, films and filmmakers. But much of this research focuses on exploitation before the year 2000, with a particular focus up to and including the VHS era of the 1980s. Less research exists on the inflections of exploitation in the 21st century, and the trends and developments that have taken place since the turn of the century. This one-day symposium seeks to shed new light on the embodiments of exploitation cinema since 2000, with particular emphasis on current waves and cycles, the way in which they are now consumed (such as online rather than in theatres), and which particular exploitation filmmakers stand out as being important in contemporary times.
Topics might include (but are not limited to);
ā¢ Analysis of single films
ā¢ Studies of current waves or cycles of exploitation
ā¢ Exploitation cinema from global national contexts (in particular from non-English speaking countries)
ā¢ The re-emergence of old cycles since 2000 (Rape-Revenge, the Biker movie, etc.)
ā¢ Individual filmmakers
ā¢ New genres, sub-genres, and hybrids
ā¢ High budget exploitation (such as that produced by Quentin Tarantino and Robert Rodriguez)
ā¢ Patterns of exhibition and distribution
ā¢ Studies of industrial models or modes
ā¢ Exploitation studios (The Asylum etc.)
ā¢ Exploitation online
ā¢ Exploitation fandom and audiences
We invite proposals of up to 300 words for 20 minute papers, plus a short bio (up to 150 words) by March 3rd 2017.
We also welcome video essays to be submitted with a 300 word proposal/150 word bio, sent to us by March 3rd 2017. Final video submissions should be sent by June 2nd 2017 via Vimeo link. Video submissions should aim to be 10 minutes maximum running time.
All proposal (and any queries) should be sent to Dr James Newton at james.newton@canterbury.ac.uk
Talks by James Newton
To investigate these relationships my research focuses on three main areas; the notion of cinema as an inherently unruly and anarchic space; defining the criteria for what an anarchist film should be; and examining the place of grassroots and DIY filmmaking in the wider context of an anarchist cinema.
My paper suggests ways in which anarchist theory can inform our understanding of cinema as a cultural and industrial institution, and also provide an alternative process of reading and interpreting films. I propose that the ultimate embodiment of anarchist cinema should consider the analysis of films, and of the cinema as a social and physical space. In turn this can help us to consider the ways in which film and cinema may form part of a culture of resistance ā one which fully articulates the concerns and questions surrounding radical politics.
Each film is based around a set of similar scenarios, where nuns transgress the rules of the authoritarian institutions which govern them. Their behaviour is then brutally punished by the repressive authorities of the church and state. In doing so the films set up a series of binary clashes; conflicts of order and disorder, the feminine against the masculine, and church or state against the individual.
The films address these concerns through the presentation of a succession of ādeviantā behaviours; a series of acts committed by the rebellious nuns which contravene the oppressive rules of the convent. However, the deviance of the acts committed is only in contrast to the inhumane arrangement of the religious order of the convent. The deviance of the nuns is expressed in their very human qualities and failings; for falling in love, for having ambitions of a life beyond the convent, or for expressing themselves sexually. āDevianceā from authority and hierarchy is demonstrated as being the normal human condition.
This paper examines the way two films, The Nuns of Saint Archangel, and Flavia, the Heretic, tackle the issues surrounding deviance through their mise en scene and narrative structure. In particular, it analyses how through diverse cinematic techniques, both films arrive at similar conclusions; making radical proclamations for the role of individual freedom in society, and critiquing organised religion, patriarchy, capitalism, and hierarchical institutions.
My research analyses the political ramifications of this shift. My presentation explores the move from the previous hierarchical model to one which has been argued has a greater level of democratisation. I examine how social mediaās use in film production is in line with aspects of the politicisation of film which happened in France in the post May 68 era. I aim to assess to what degree the changes presented by social media provides a genuine threat to the old model, and how any changes may be approached politically.
"
Canterbury Christ Church University
Date: June 9th 2017
Deadline for proposals: 3rd March 2017
Keynote Speaker: Dr Johnny Walker, Northumbria University
In relation to cinema, the term āexploitationā has been adopted by various individuals and institutions over time, from opportunistic film producers and marketers of the 1920s to contemporary online distributors releasing new films in the 21st century. There is a current wave of exciting and productive scholarship on the historical developments of exploitation cinema, and its famous, and not so famous, films and filmmakers. But much of this research focuses on exploitation before the year 2000, with a particular focus up to and including the VHS era of the 1980s. Less research exists on the inflections of exploitation in the 21st century, and the trends and developments that have taken place since the turn of the century. This one-day symposium seeks to shed new light on the embodiments of exploitation cinema since 2000, with particular emphasis on current waves and cycles, the way in which they are now consumed (such as online rather than in theatres), and which particular exploitation filmmakers stand out as being important in contemporary times.
Topics might include (but are not limited to);
ā¢ Analysis of single films
ā¢ Studies of current waves or cycles of exploitation
ā¢ Exploitation cinema from global national contexts (in particular from non-English speaking countries)
ā¢ The re-emergence of old cycles since 2000 (Rape-Revenge, the Biker movie, etc.)
ā¢ Individual filmmakers
ā¢ New genres, sub-genres, and hybrids
ā¢ High budget exploitation (such as that produced by Quentin Tarantino and Robert Rodriguez)
ā¢ Patterns of exhibition and distribution
ā¢ Studies of industrial models or modes
ā¢ Exploitation studios (The Asylum etc.)
ā¢ Exploitation online
ā¢ Exploitation fandom and audiences
We invite proposals of up to 300 words for 20 minute papers, plus a short bio (up to 150 words) by March 3rd 2017.
We also welcome video essays to be submitted with a 300 word proposal/150 word bio, sent to us by March 3rd 2017. Final video submissions should be sent by June 2nd 2017 via Vimeo link. Video submissions should aim to be 10 minutes maximum running time.
All proposal (and any queries) should be sent to Dr James Newton at james.newton@canterbury.ac.uk
"
The 2009 version played at;
The Exploding Cinema - London
Souvenir Film Circus - The View, Folkestone; Orange Street Music Club, Canterbury; The Farmhouse, Canterbury
Secret Cinema - Canterbury
Directed by James Newton
Written by Paul Richards
The Exploding Cinema, London
Souvenir Film Circus, Canterbury
Film Factory, Folkestone