Charlotte Brunsdon (born 1952 [1] ) is a professor of film and television studies at the University of Warwick and researcher. [2] She was one of the principal researchers of the Nationwide Project. [3]
Brunsdon studied English at University College London and completed her Ph.D. at the Centre for Contemporary Cultural Studies Birmingham in the 1970s, where she and David Morley were the principal researchers for the Nationwide Project. [4] Brunsdon's research is focused on television, film, and media audience research. She is a founding member of the Midlands Television Research Group, was the principal investigator on the Projection Project, and a Fellow of the British Academy. [5] [6]
Brunsdon's research interests focuses on television and film and their connection to culture and feminism as well as the effects media has on audiences. Her approach to researching and studying television and film focuses less on how it plays out on the screen and more about how it can be discussed and studied in academia. [7]
She was one of the principal researchers in the Nationwide Project, a media audience research project conducted at the Centre for Contemporary Cultural Studies in the 1970s and 1980s. David Morley and Charlotte Brunsdon were its principal researchers. [8] The project focused on media audiences to study the encoding and decoding model, which is a part of reception theory. The research focused on the difference between how certain audiences understand texts with an emphasis on British television, something Brunsdon and Morley call 'national-ness'.
Brunsdon, along with Jason Jacobs, Ann Gray, and Tim O’Sullivan founded the Midlands Television Research Group in the 1990s, to create a space for media scholars in the United Kingdom. [9] The group continues to meets once a term to discuss television, the news, keep up to date about new work regarding film and television, discuss their individual projects, and work on collaborative projects. [10] Group members include Ph.D. students and media scholars at the University of Warwick, De Montfort University, University of Lincoln, Leeds Metropolitan University, University of Hull, and University of Central England. Group projects led by Brunson include "Factual entertainment on British television: The Midlands TV Research Group’s‘8–9 Project’" [11] and "In Focus: The Place of Television Studies: A View from the British Midlands: Introduction". [12]
Brunsdon was the Principal Investigator on the Projection Project from 2014-2018. [13] In the Projection Project she served as the key point of contact for project management. [14] In addition to this she worked with Dr. Richard Wallace in the planning and analysis of interviews. The Project researched the history of cinema projection in the United Kingdom after the switch to digital projection in most cinemas by using interviews, archives, feature films, and photographs. It focused on four areas: the modern transition to digital, the history of the cinema projectionists job, the projectionists in films themselves, and digital projection as a new form of art. The project ran from 2014-2018 and was funded by the Arts and Humanities Research Council (AHRC). [15]
Brunsdon has developed and taught a large array of courses regarding television and film studies at the University of Warwick and visiting semesters in the United States at Duke University and the University of Wisconsin-Madison. The classes she has taught include ‘The Cinema and the City’, ‘National Cinemas’ and ‘Film and Television Culture in Britain’. She has also supervised many Ph.D. theses on film and television.
The University of Warwick is a public research university on the outskirts of Coventry between the West Midlands and Warwickshire, England. The university was founded in 1965 as part of a government initiative to expand higher education. The Warwick Business School was established in 1967, the Warwick Law School in 1968, Warwick Manufacturing Group (WMG) in 1980, and Warwick Medical School in 2000. Warwick incorporated Coventry College of Education in 1979 and Horticulture Research International in 2004.
A movie projector is an opto-mechanical device for displaying motion picture film by projecting it onto a screen. Most of the optical and mechanical elements, except for the illumination and sound devices, are present in movie cameras. Modern movie projectors are specially built video projectors.
The UK Film Council (UKFC) was a non-departmental public body set up in 2000 to develop and promote the film industry in the UK. It was constituted as a private company limited by guarantee, owned by the Secretary of State for Culture, Media and Sport, and governed by a board of 15 directors. It was funded from various sources including The National Lottery. John Woodward was the Chief Executive Officer of the UKFC.
A projectionist is a person who operates a movie projector, particularly as an employee of a movie theater. Projectionists are also known as "operators".
The Centre for Contemporary Cultural Studies (CCCS) was a research centre at the University of Birmingham, England. It was founded in 1964 by Stuart Hall and Richard Hoggart, its first director. From 1964 to 2002, it played a critical role in developing the field of cultural studies.
Television studies is an academic discipline that deals with critical approaches to television. Usually, it is distinguished from mass communication research, which tends to approach the topic from a social sciences perspective. Defining the field is problematic; some institutions and syllabuses do not distinguish it from media studies or classify it as a subfield of popular culture studies.
A timeline of China's media-related history since World War II, including computer hardware, software development, the history of the Internet, etc.
A cam is a bootleg recording of a film. Generally unlike the more common DVD rip or screener recording methods which involve the duplication of officially distributed media, cam versions are original clandestine recordings made in movie theaters.
The Nationwide Project was an influential media audience research project conducted by the Centre for Contemporary Cultural Studies at the University of Birmingham, England, in the late 1970s and early 1980s. Its principal researchers were David Morley and Charlotte Brunsdon.
The Telecinema was a small cinema built especially for the Festival of Britain's London South Bank Exhibition in the summer of 1951. It was situated between Waterloo station and the Royal Festival Hall.
Learning on Screen - The British Universities Film & Video Council (BUFVC) is a representative body promoting the production, study and use of moving image, sound and related media for learning and research. It is a company limited by guarantee, with charity status, serving schools, colleges and post compulsory education interests in the UK.
Deb Verhoeven is currently the Canada 150 Research Chair in Gender and Cultural Informatics at the University of Alberta. Previously she was Associate Dean of Engagement and Innovation at the University of Technology Sydney, and before this she was Professor of Media and Communication at Deakin University. Until 2011 she held the role of director of the AFI Research Collection at RMIT. A writer, broadcaster, film critic and commentator, Verhoeven is the author of more than 100 journal articles and book chapters. Her book Jane Campion published by Routledge, is a detailed case study of the commercial and cultural role of the auteur in the contemporary film industry.
A projection booth, projection box or Bio box is a room or enclosure for the machinery required for the display of movies on a reflective screen, located high on the back wall of the presentation space. It is common in a movie theater.
The Curzon Memories App is a locative media mobile app based at the Curzon Community Cinema, Clevedon, UK. The cinema celebrated its centenary in April 2012 and is one of the oldest continuously operating independent cinemas in the UK. The app was developed as part of an academic practice-based research project by Charlotte Crofts in collaboration with the Curzon's education officer, Cathy Poole and was funded by the Digital Cultures Research Centre and an Early Career Researcher Grant from the University of the West of England.
The history of film technology traces the development of techniques for the recording, construction and presentation of motion pictures. When the film medium came about in the 19th century, there already was a centuries old tradition of screening moving images through shadow play and the magic lantern that were very popular with audiences in many parts of the world. Especially the magic lantern influenced much of the projection technology, exhibition practices and cultural implementation of film. Between 1825 and 1840, the relevant technologies of stroboscopic animation, photography and stereoscopy were introduced. For much of the rest of the century, many engineers and inventors tried to combine all these new technologies and the much older technique of projection to create a complete illusion or a complete documentation of reality. Colour photography was usually included in these ambitions and the introduction of the phonograph in 1877 seemed to promise the addition of synchronized sound recordings. Between 1887 and 1894, the first successful short cinematographic presentations were established. The biggest popular breakthrough of the technology came in 1895 with the first projected movies that lasted longer than 10 seconds. During the first years after this breakthrough, most motion pictures lasted about 50 seconds, lacked synchronized sound and natural colour, and were mainly exhibited as novelty attractions. In the first decades of the 20th century, movies grew much longer and the medium quickly developed into one of the most important tools of communication and entertainment. The breakthrough of synchronized sound occurred at the end of the 1920s and that of full color motion picture film in the 1930s. By the start of the 21st century, physical film stock was being replaced with digital film technologies at both ends of the production chain by digital image sensors and projectors.
Annette Frieda Kuhn, FBA is a British author, cultural historian, educator, researcher, editor and feminist. She is known for her work in screen studies, visual culture, film history and cultural memory. She is Professor and Research Fellow in Film Studies at Queen Mary University of London.
Martin Barker was a British scholar of media studies and cultural studies. He was an Emeritus Professor at Aberystwyth University, having previously taught at the University of the West of England and the University of Sussex. Over the course of his career he wrote or co-edited fifteen books. He was known for being one of the pioneers behind the concept of cultural racism, which he termed "new racism".
Audience studies is a discipline and field of study, a sub-set of media studies, that investigates the processes of media audiences using different methodologies to test and develop theories of audiences' processes of reception. Much of the field borrows concepts from literary theory and research approaches from cultural studies. The primary media of study are film and television and the field intersects in many ways, including its methods used and its focus on everyday media audiences, with fan studies. Audience studies emerged as a field in the early 20th century as a form of market research, but slowly, with the rise of film studies, became popular in an academic context.
Stephen Gundle, is a British cultural historian and film scholar. He is a Professor of Film and Television Studies at the University of Warwick. He is best known for his books and articles on Italian culture, politics and the mass media.
Sarah Street is professor of Film and Foundation Chair of Drama at University of Bristol.
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