- Canterbury, England, United Kingdom
- Canterbury Christ Church University, Media, Art and Design, Graduate Studentadd
- I have taught on the Film Radio and Television and Photography Degree courses at Canterbury Christ Church University for a number of years, previously as a Sessional Academic, and have a particular interest in Film Production, Film Sound Theory, Television Theory, Film Analysis and Film History. I also have a professional interest in music and was formely a Manager with Kent Music working with young people in orchestral and choral groups. My particular theoretical interests include queer theory and gender performativity in media,... moreI have taught on the Film Radio and Television and Photography Degree courses at Canterbury Christ Church University for a number of years, previously as a Sessional Academic, and have a particular interest in Film Production, Film Sound Theory, Television Theory, Film Analysis and Film History. I also have a professional interest in music and was formely a Manager with Kent Music working with young people in orchestral and choral groups.
My particular theoretical interests include queer theory and gender performativity in media, feminism and film, film sound theory and post-structuralist/deconstruction film analysis.edit
My thesis is an investigation into the period of history surrounding the introduction of synchronised sound to film. The intention is in part to redress the current position that sound practice and theory holds in film today, but also to... more
My thesis is an investigation into the period of history surrounding the introduction of synchronised sound to film. The intention is in part to redress the current position that sound practice and theory holds in film today, but also to discover a method for understanding film as an audiovisual medium; ontologically necessitating an interplay between sound and image. Prioritising sound is not the intention of this thesis, as to do so would negate the ability to understand film as both sound and image. Theoretical concepts from the deconstructionist philosopher, Jacques Derrida, are appropriated to create a new model that can be used for film analysis. This model attempts to treat film as audiovisual, and uncover specifically, a way in which sound and image can be understood and examined together, resulting in a proliferation of available readings and meanings from the film text. Two ‘transitional’ films from 1927, The Jazz Singer, and Sunrise, along with synchronised sound tests fr...
