MA Film Curating

Core Teaching Faculty

Andrew Brighton was formally Senior Curator: Public Events at Tate Modern and has taught both art history and practice in various art schools, including the Royal College of Art and Goldsmiths’ College. His publications include books on Francis Bacon, Picasso and David Hockney; he has edited anthologies on cultural policy and management discourse and his articles and reviews have appeared in Art in America, Studio International, New Art Examiner, London Review of Books, Art Monthly and the Guardian. He curated Towards Another Picture (1977), The Bristol Sample (1979) and Blasphemies Ecstasies Cries (1989). He is a contributing editor to Critical Quarterly and is currently working on a graphic novel with Catherine Brighton.

Ben Gibson worked as a producer from the late ’80’s to 2001, and as Head of Production at the British Film Institute from ‘89 to ‘99. His credits as producer and executive producer include Terence Davies’ The Long Day Closes, Derek Jarman’s Wittgenstein, John Maybury’s Love is the Devil, Carine Adler’s Under the Skin and Jasmin Dizdar’s Beautiful People, as well as 18 other low budget features and numerous shorts by UK directors including Patrick Keiller, Gurinder Chadha, Lynne Ramsay, Richard Kwietniowski and Andrew Kotting. From ‘81 to ‘87 he was a partner in distributors The Other Cinema/Metro Pictures, acquiring and promoting films by Almodovar, Marker, Akerman and Godard and opening the Metro Cinema. He has also been a theatre director, a repertory film programmer, founder of the London International Festival of Theatre and a film critic and journalist.

Teresa Gleadowe was director of the Curating Contemporary Art programme at the Royal College of Art, from its inauguration in 1992 until 2006. Prior to this she was a curator in the Visual Arts Department of the British Council from 1978 to 1989 and was Head of Information at the Tate Gallery from 1989 to 1992. She is Series Editor and Research Consultant for a new series of books on Exhibition Histories, published by Afterall, and has contributed to numerous conferences and anthologies on curating contemporary art. She teaches for De Appel Amsterdam and last year initiated and convened The Falmouth Convention, a three-day international meeting of artists, curators and writers.

Francis Gooding is the director of the MA in Film Curating at the London Consortium. He has written widely on subjects including film, art, music and anthropology, and was a researcher on the Colonial Film: Moving Images of Empire project (www.colonialfilm.org.uk). He is a contributing editor to Critical Quarterly and his book Black Light is published by Blackwells.

Lee Grieveson is Reader in Film Studies and Director of the Graduate Programme in Film Studies at University College London. A silent cinema historian with particular interests in governance, citizenship, and the formation of disciplinary studies, he is the author of Policing Cinema: Movies and Censorship in Early Twentieth Century America (Berkeley: University of California Press, 2004), and co-editor of six volumes including The Silent Cinema Reader (London: Routledge, 2004, with Peter Kramer); Inventing Film Studies (Durham, N.C.: Duke University Press, 2008, with Haidee Wasson); Empire and Film (London: BFI, 2011, with Colin MacCabe); and Film and the End of Empire (London: BFI, 2011, with Colin MacCabe). He is co-editor, with Haidee Wasson, of the British Film Institute book series entitled ‘Cultural Histories of Cinema’.

Colin MacCabe is an academic and a producer of film, television and installations. His books include Godard: A Portrait of the Artist at Seventy (Bloomsbury, 2004), T.S. Eliot (The British Council, 2006) and The Butcher Boy (Irish Film Institute, 2007). His recent work as a producer includes Owls at Noon Prelude; The Hollow Men (dir. Chris Marker), and Derek (dir. Isaac Julien).

Laura Mulveyhas been writing about film and film theory since the mid-1970s. She has published Visual and Other Pleasures (1989), Fetishism and Curiosity (1996), Citizen Kane (1996), Death Twenty-four Times a Second: Stillness and the Moving Image (2006) and a new, updated, edition of Visual and Other Pleasures in 2009. In the late 1970s and early 1980s, she co-directed six films with Peter Wollen including Riddles of the Sphinx (1978) and Frida Kahlo and Tina Modotti (1980). In 1994, she co-directed a documentary with artist/filmmaker Mark Lewis entitled Disgraced Monuments, which was broadcast on Channel 4. She is Professor of Film and Media Studies at Birkbeck College, University of London.

Nick Roddick is a film journalist and academic. His books include A New Deal in Entertainment: Warner Brothers in the 1930s (BFI, 1984) and British Cinema Now (with Martin Auty, BFI, 1985). He has worked extensively as a trade journalist and consultant within the film industry and for a number of major film festivals. He is also a regular contributor to Sight and Sound, Evening Standard and other publications.

 

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