Dr Lavinia Brydon
- +44(0)1227 826553
I joined Kent as an Associate Lecturer in 2012 and began a full-time lectureship in September 2013. Prior to this, I received my PhD in Film Studies from Queen Mary, University of London for a thesis that explored the space of the garden within British cinema. I also hold an MA in Film and Visual Culture from Queens University Belfast and a BA in Drama and English Literature from Trinity College Dublin.
My research interests centre on the issues of space and place within film culture. This extends from questions of representation to current debates regarding pop-up cinema, location filming and screen media tourism. In 2015 I received a Public Engagement with Research Award from the University of Kent to kick start a project on location filming in regional spaces and from 2015-16 I was Co-Investigator on the AHRC-funded The People’s Pier project. You can read more about these projects and areas of interest on my publications and research pages.
At Kent, I am currently the Deputy Director of Education for the School of Arts and Co-director for the Research Centre for Film, Media and Culture. As part of the former role, I engage with the University-wide Student Success project and contribute to the School’s EDI committee. I am also a committed teacher and won a Humanities Teaching Prize in 2016 for the innovative design and delivery of the module ‘Beyond Cinema’. This was followed by a Teaching Enhancement Small Support Award (TESSA) in 2018, which allowed my ‘Beyond Cinema’ students to run a festival of ‘live cinema’ events in the summer term.
Beyond Kent, I sit on the publication committee for the European Network for Cinema and Media Scholars (NECS) and co-edit the book reviews section of the associated online journal NECSUS: European Journal of Media Studies. I also peer review for a number of other journals and academic presses.back to top
Also view these in the Kent Academic Repository
At Kent, I have developed and typically convene the following modules:
FI624: Beyond Cinema
From the intimate viewing experience offered by mobile phones to the social interaction required by sing-a-long screenings, this module considers the changing nature of where, when and how audiences engage with film and the moving image. It considers the history of cinema-going, paying attention to the old and new sites of exhibition, especially those facilitated by new technologies. Connectedly, the module analyses the different modes of spectatorship, including audience participation and the desire to prolong or enhance the cinematic experience via extra-filmic activities, such as film-tourism. It also considers film’s interaction with other arts and media—for example, its use within theatrical performances and its relationship with television. In doing so, this module reflects upon and reconsiders the definitions and limits of cinema and addresses the implications this has for the academic discipline ‘Film Studies’.
FI632: TV: From Soap Opera to Sitcoms
Television is the most pervasive media form in daily life. In this introductory module students will look at the various historical, institutional and cultural factors that influence television production and programming. The module will examine a range of formats and genres (such as soap operas, sitcoms and ‘reality TV’) and students will gain critical understanding of the theoretical frameworks developed for their study. In addition, questions of target audiences (for example, children’s programmes) and key debates (such as the role of a public service broadcaster) will be addressed. The course will be taught through a series of case-studies using a wide range of television texts from Britain and beyond
I also typically alternate convening the FI565: British Cinema with Dr Maurizio Cinquegrani
FI565: British Cinema
In a country with a very strong literary and theatrical tradition, the British have also had a long-standing love of "going to the pictures." For more than a century, British filmmakers have been forging a rich and diverse national cinema in the face of Hollywood’s dominance on British screens for most of that time. This course will offer an introductory historical overview of British cinema from its beginnings to the present day, assessing its role in the construction of British national identity, evaluating its major directors—including Humphrey Jennings, Ken Loach and Sally Potter. The films will be approached through multiple frameworks, including consideration of aesthetics (e.g. realism), genre (e.g. the British heritage film), and history (e.g. World War II). The institution of cinema and film culture in a larger sense will be considered through the exploration of British film exhibition, criticism, cultural policy, and industry. Both fiction films and documentaries will be addressed.
At Kent, I have also convened Film Theory, New York and the Movies, Storytelling and Cinema, and the Avant-Garde and Experimental Cinema
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My research interests and expertise centre on issues of space and place in film culture. This extends from questions of representation to current debates regarding pop-up cinema, location filming and screen media tourism. This work necessitates an interdisciplinary approach to film that takes into account ideas developed in other disciplines, most notably cultural geography. It also frequently intersects with issues of identity both in terms of the geographical (for example, regionality) and the personal (for example, gender).
Much of my recent work has been collaborative. This includes an on-going project on regional location shooting with Dr Lisa Stead (Exeter) where we consider the impact of filming on a place in both real and imagined terms. It also includes a recently completed AHRC-funded project entitled The People’s Pier whereby an academic team of five plus two community partners investigated how the popular cultural heritage of British pleasure piers can be utilised to build positive relationships across different groups and empower the local community. Research on the latter project has also pushed me to work beyond traditional disciplinary boundaries, allowing me to consider how wider arts initiatives and popular cultural activities contribute to ‘place-making’ and a sense of community identity. Furthermore, it has engaged me in questions of regeneration, heritagization and gentrification.back to top
I'm interested in supervising students in projects that connect with my research interests. Key areas of interest include:
- Representation of space and place on screen
- Cinematic places as they intersect with questions of identity
- Location filming
- Screen media tourism (including how it connects to wider cultural tourism)
- Non-traditional film exhibition practices (live cinema, community cinema, pop-up cinema etc)
- The (trans-)national cinemas of Britain and Ireland
Current supervision includes a practice-research project examining the representation of Britain’s forgotten towns and a project looking at the experience of streamed and screened theatre.back to top