I have been employed in the Department of Film and Television of the University of Bristol since March 2020 as Research Associate in the ERC-funded project ‘STUDIOTEC: Infrastructure, Culture, Innovation in Britain, France, Germany and Italy, 1930-60’ (PI Professor Sarah Street), a five-year collaborative project which investigates how filmmaking practices changed over time across key European film production sites.

Before moving to the School of Arts, I was employed in the School of Modern Languages as British Academy Postdoctoral Research Fellow specializing in Hollywood’s transnational history.

I have spent more than half of my career working at the University of Bristol, contributing to the activities of its academic community and researching and teaching a wide range of film and media topics.

Over the years I successfully applied to a range of funding schemes, including two competitive research grants: in 2014, as an independent scholar, I was the recipient of a British Academy/Leverhulme Trust Small Research Grant; in 2016 I was awarded a three-year British Academy fellowship. These schemes have a success rate of circa 6%. Both grants enabled me to conduct extensive research in film archives in Amsterdam, Rome, London, Los Angeles, New York and Washington DC. 

My research is broadly concerned with the history, politics and materiality of film and media production and circulation. At present, I am co-writing the book Film Studios in Britain, France, Germany and Italy: Architecture, Innovation, Labour, Politics, 1930-60 (contracted with Bloomsbury & British Film Institute) which discusses the economic and political forces behind studios' evolution in the four countries investigated by the project. It also documents how studios' material environments and labour practices changed and adapted as new technologies were introduced.

I am also studying and writing about:

1) Hollywood’s soft power and international ‘film’ diplomacy;

2) the ways in which technological change impacts labour and how this intersects with class, gender, ethno-cultural diversity, and race, among other variables;

3) the ideological and legal concept of ‘alien’ and how it has shaped 20th and 21st-century film and media discourses on the foreign/other.