Academic Qualifications PhD University of East Anglia, School of English and American Studies, 1996 Thesis: Early British Television Drama: Aesthetics, Style and Technology Supervisor: Charles Barr External Examiner: John Caughie B.A. (Hons.) Film and Literature, University of Warwick, First Class, 1989

Employment History

• 2008 - Reader in Cultural History, School of Arts, Media and Art History, University of Queensland
• 2005-2007, Associate Professor, School of Arts, Media and Culture, Griffith University
• 2000-2004, Senior Lecturer, School of Arts, Media and Culture, Griffith University
• 1994-2000, Lecturer, Department of Film and Television Studies, University of Warwick
• 1991-1994, Tutor, School of English and American Studies, University of East Anglia

Publications

Books

• Body Trauma TV: The New Hospital Dramas, London: British Film Institute, 2003
• The Intimate Screen: Early British Television Drama, Oxford: Oxford University Press, 2000
• Associate Editor, Michele Hilmes (ed.), The Television History Book, London: British Film Institute, 2003

Book Chapters

• ‘Al Swearengen, Philosopher King’, in David Lavery (ed.), Reading Deadwood: A Western To Swear By, London: I.B. Tauris, 2006
• ‘Television and History: Investigating the Past’ in Glen Creeber (ed.) Tele-Visions, London: British Film Institute, 2006
• ‘Amour Fou: Violence and Therapy in The Sopranos’, in Michael Hammond and Lucy Mazdon (eds), The Contemporary Television Series, Edinburgh: University of Edinburgh Press, 2005
• Chapters on ‘ER’, ‘Marty’, ‘Charlie’s Angels’, ‘Teletubbies’, in Glen Creeber (ed.), 50 Key Television Texts, London: Arnold, 2004
• ‘Early Television in Great Britain’ and ‘Experimental and Live TV in the US’, in Michele Hilmes (ed.), The Television History Book, London: British Film Institute, 2003
• ‘Hospital Drama’, in Glen Creeber (ed.), The Television Genre Book, London: British Film Institute, 2001
  ‘No Respect: Shot and Scene in Early Television Drama’, in Jeremy Ridgman (ed.), Boxed Sets: Television Representations of the Theatre, Luton: Arts Council/John Libbey: 1998
• ‘Gunfire’, in Karl French (ed.), Screen Violence (London: Bloomsbury, 1996). Reprinted in Jose Arroyo (ed.) Action/Spectacle Cinema, London: British Film Institute, 2000
• ‘Rudolph Cartier’, ‘Gerald Cock’, ‘Sydney Newman’ and ‘Studio One’, in Horace Newcomb (ed.), The Encyclopaedia of Television, Chicago: Fitzroy Dearborn, 1997; reprinted 2005

Refereed Journal Articles

• ‘Television Aesthetics: An Infantile Disorder’, Journal of British Cinema and Television, vol. 3, no.1, Edinburgh: Edinburgh University Press, 2006
• ‘The Television Archive: Past, Present and Future’, in Critical Studies in Television, vol.1, no.1, Manchester: Manchester University Press, 2006
• ‘Issues of Judgement and Value in Television Studies’, International Journal of Cultural Studies vol. 4, no.4, December 2001
• With Charlotte Brunsdon, Ian Goode, Ann Gray, Ros Jennings, Peter McCluskie, Rachel Moseley and Tim O’Sullivan, ‘Midlands Television Research Group’ in Screen, vol. 40 no. 1, Spring 1999
• ‘The Amateur Stage: BBC Television Drama, 1938-1952’, in Clive Scott (ed.), Norwich Papers: papers in European Languages, Literatures and Culture, No. 1, February 1994

Book Reviews

• ‘What’s the Competition?’ [Review of Jim Leach, British Film], Southern Review: Communication, Politics and Culture, vol.38 no.3, Melbourne: RMIT Publishing, 2006
• ‘Fanthome, Christine, Channel 5: The early years’ in Media International Australia, 2005
• ‘Kristin Thompson, Storytelling in the New Hollywood’ in Media International Australia, vol.97, Brisbane: Australian Key Centre for Cultural and Media Policy, 2000

Conference Papers

• ‘The ABC’s Early Television Drama’, The Australian Television History Conference, UNSW December 2005.
• ‘Television drama history and the decline of the medium’ (Keynote), Cultures of British Television Drama Conference, University of Reading, September 2005.
• ‘Television Aesthetics: an infantile disorder’, Screen Studies Conference, Glasgow University, July 2005.
• ‘How (Not) to sell television to the world: the BBC transcription service in the 1950s’, Society for Cinema and Media Studies Conference, London March 2005.
• ‘An International Approach to Television History and Aesthetics’, Screen Studies Conference, Glasgow July 2004.
• ‘Issues of Judgement and Value in Television Studies’, Television: Past, Present and Futures Conference, University of Queensland, December 2000.
• ‘“We have space, time... no pressure”’: Death, mourning and photography in Shooting the Past’ 18th Annual Conference of the International Association of Media History, ‘Television and History’, University of Leeds, July 1999.
• ‘Wallop in the Past: history as affect in Poliakoff’s Shooting the Past’, paper presented at the Screen Studies Conference, University of Glasgow, July 1999.
• ‘Grace Wyndham Goldie and the Modernisation of the BBC’ Screen Studies Conference, June 1996.
• ‘Critic on the Hearth: Grace Wyndham Goldie’ Console-ing Passions Conference, University of Wisconsin-Madison, April 1996.
• ‘No sound, no vision: the epistemology of television’s absent past’ Screen Studies Conference, June 1993.
• ‘TV Drama 1936-39: “Live” Space, Frame, Narrative’ Fourth International Television Studies Conference, July 1991.

Honors and Postgraduate Supervision

Ph.D. principal supervision

• 2006-present: Christon Rose, ‘Truth in camera: cinematic depictions of judgement in postmodernity’
• 2006-present: Kim Shaw, ‘The tragic vision and transgression in contemporary cinema’
• 2004-present: Sylvester Carraway, ‘The history of community television in Australia’ (submitted)
• 2002-2007: Daniella Zuvela, ‘The history of Expanded Cinema in Australia’ [ awarded]
• 2000-2006: Jason Wilson, ‘Gameplay and the aesthetics of intimacy’ [ awarded]

Partial/associate supervision

• 2004: Maureen Burns, ‘ABC Online: becoming the ABC’ [awarded]
• 2001: Nadine Wills, ‘Pantylines on Parade: femininity, spectacle and the 1930s Hollywood musical’ [ awarded]
• 2000: Peter Thomas, ‘Flourishing inside a bastardism: the significance of textual miscegenation in post-classical
  Hollywood’ [awarded]
• 1998-2000: Catherine Johnson, ‘Telefantasy’ (University of Warwick) [ awarded]
• 1999-2000: Helen Wheatley, ‘Gothic television’ (University of Warwick) [awarded]

Honours dissertation supervision

• 2006: Ali Taylor, ‘The aesthetic eroticisation of violence in the films of Tony Scott’ [first class]
• 2004: Claire Shamier, ‘Educational soap opera in Latin America’[first class]
• 2001: Gavin Hewitt, ‘Unreliable narration in Stage Fright and The Usual Suspects’.

MA dissertation supervision (University of Warwick)

• 1998: Helen Wheatley, ‘Millennium and gothic television’.
           Peter Moore, ‘Seaside locations in British Films, post-1970’
• 1997: Jo-Ann Hartwell, ‘Absolutely Fabulous and postmodernism’.
           Hannah Patterson, ‘The Truman Show’
• 1996: Carolina Matos, ‘British sitcom and ethnicity’

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