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Professor Peter Stanfield

Professor of Film and Media

 

 

About

Professor Peter Stanfield has a truant eye for pulp culture. He has written two monographs on the Western, with a third on postwar dirty westerns under development. Recent publications include Maximum Movies-Pulp Fictions: Film Culture and the Worlds of Samuel Fuller, Mickey Spillane, and Jim Thompson (Rutgers University Press, 2011), which takes a long look at our fascination with a pulp aesthetic, and The Cool and the Crazy: Pop Fifties Cinema (Rutgers, 2015), which examines cycles of sensational movies produced to capitalise on current events, moral panics, and popular fads. His latest monograph, Hoodlum Movies: Seriality and the Outlaw Biker Film Cycle, 1966-1972 (Rutgers, 2018), draws on his two previous books and further develops ideas on film cycles and pulp cinema. Popular music’s interaction with film is a key theme in all of his outputs, whether that is a singing cowboy’s blue yodel, the siren song of a torch singer behind a veil of smoke and tears, the calypso beat of a juvenile delinquent pic, or the grease and chug of an outlaw biker movie soundtrack. He is currently working on a study of The Who and Pop Art: a band with built in hate.

www.peterstanfield.com

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Publications

Also view these in the Kent Academic Repository

Book
Stanfield, P. (2018). Hoodlum Movies: Seriality and the Outlaw Biker Film Cycle, 1966-1972. [Online]. New Jersey, USA: Rutgers University Press. Available at: https://www.rutgersuniversitypress.org/hoodlum-movies/9780813599014.
Stanfield, P. (2015). The Cool and The Crazy : Pop Fifties Cinema. New Brunswick: Rutgers University Press.
Stanfield, P. (2011). Maximum Movies -- Pulp Fictions: Film Culture and the Worlds of Samuel Fuller, Mickey Spillane and Jim Thompson. [Online]. New Jersey: Rutgers University Press. Available at: http://rutgerspress.rutgers.edu/acatalog/maximum_movies.html.
Stanfield, P. (2005). Body & soul: jazz and blues in American film, 1927-63. Urbana: University of Illinois Press.
Stanfield, P. (2002). Horse opera: the strange history of the singing cowboy. Urbana: University of Illinois Press.
Stanfield, P. (2001). Hollywood, westerns and the 1930s: the lost trail. University of Exeter Press.
Edited book
Stanfield, P. et al. eds. (2007). "Un-American" Hollywood: Politics & Film in the Blacklist Era. Rutgers University Press.
Stanfield, P., Grieveson, L. and Sonnet, E. eds. (2005). Mob Culture: Hidden Histories of American the Gangster Film. Berg.
Article
Stanfield, P. (2017). The Who and Pop Art: the simple things you see are all complicated. Journal of Popular Music Studies [Online] 29:e12203. Available at: http://dx.doi.org/10.1111/jpms.12203.
Stanfield, P. (2013). Intent to Speed: Cyclical Production, Topicality and the 1950s Hot Rod Movie. New Review of Film and Television Studies [Online] 11:34-55. Available at: http://dx.doi.org/10.1080/17400309.2012.734496.
Stanfield, P. (2010). Crossover: Sam Katzman's Switchblade Calypso Bop Reefer Madness Swamp Girl or 'Bad Jazz,' Calypso, Beatniks, Hot Rods, and Rock 'n' Roll in 1950s Teenpix'. Popular Music [Online] 29:437-456. Available at: http://dx.doi.org/10.1017/S0261143010000255.
Briggs, J. et al. (2008). Cult Film: A Critical Symposium. Cineaste 34:43-50.
Stanfield, P. (2008). Maximum Movies: Lawrence Alloway's Pop Art Film Criticism. Screen [Online] 49:179-193. Available at: http://dx.doi.org/10.1093/screen/hjn032.
Stanfield, P. (2008). Notes Toward a History of the Edinburgh International Film Festival, 1969-77. Film International 6:62-71.
Stanfield, P. (2005). A Monarch for the Millions: Jewish Filmmakers, Social Commentary & the Postwar Cycle of Boxing Films. Film Studies: An International Review:66-82.
Stanfield, P. (2003). 'The Last Scene of the Titanic: Vernacular American Phonograph Recordings'. Interdisciplinary Literary Studies 5:21-33.
Stanfield, P. (2002). 'An Excursion into the Lower Depths: Hollywood, St. Louis Blues, and Urban Primitivism.'. Cinema Journal 41:84-108.
Stanfield, P. (1997). '"An Octoroon in the Kindling": American Vernacular & Blackface Minstrelsy in 1930s Hollywood.'. Journal of American Studies 31:407-438.
Stanfield, P. (1992). 'Heritage Design: The Harley-Davidson Motor Company.'. Journal of Design History 5:141-155.
Stanfield, P. (1987). 'The Western 1909-14: A Cast of Villains.'. Film History 1:97-112.
Book section
Stanfield, P. (2016). Run, Angel, Run: Serial Production and the Biker Movie, 1966-72. in: Fisher, A. and Walker, J. eds. Grindhouse: Cultural Exchange on 42nd Street, and Beyond. London, UK: Bloomsbury Publishing. Available at: http://www.bloomsbury.com/uk/grindhouse-9781628927450/.
Stanfield, P. (2012). "'Got-to-See': Trends in Social Problem Pictures and the Postwar Cycles of Juvenile Delinquency Movies". in: Lucia, C., Grundmann, R. and Simon, A. eds. The Wiley-Blackwell History of American Film. Chichester: Wiley-Blackwell, pp. 220-241. Available at: http://dx.doi.org/10.1002/9780470671153.
Stanfield, P. (2011). "Punks! Topicality and the 1950s Gangster Bio-Pic Cycle". in: Bolton, K. and Olsson, J. eds. Media, Popular Culture and the American Century. National Library of Sweden, pp. 185-215.
Stanfield, P. (2011). "From the Barroom: American Song, Saloon Culture, Stack O'Lee and Wild Bill, or 'Did you touch my hat?'". in: Kalinak, K. ed. Music in the Western: Notes from the Frontier. New York: Routledge, pp. 183-202.
Stanfield, P. (2007). A Monarch for the Millions: Jewish Filmmakers, Social Commentary & the Postwar Cycle of Boxing Films. in: Krutnik, F. et al. eds. "Un-American" Hollywood: Politics & Film in the Blacklist Era. Rutgers University Press.
Stanfield, P. and Sonnet, E. (2005). '"Good Evening, Gentleman, Can I Check Your Hats Please?": Masculinity, Dress and the Retro Gangster Cycles of the 1990s'. in: Grieveson, L., Sonnet, E. and Stanfield, P. eds. Mob Culture: Hidden Histories of American the Gangster Film. Berg, pp. 163-184.
Stanfield, P. (2005). 'Walking the Streets: Black Gangsters and the "Abandoned City" in the 1970s Blaxploitation Cycle'. in: Grieveson, L. and Sonnet, E. eds. Mob Culture: Hidden Histories of American the Gangster Film. Berg, pp. 281-300.
Stanfield, P. (2005). American Like Chop Suey: Invocations of gangsters in Chinatown 1920-35. in: Stanfield, P., Grieveson, L. and Sonnet, E. eds. Mob Culture: Hidden Histories of the American Gangster Film. New York: Rutgers University Press, pp. 238-262.
Stanfield, P. (2002). '"Film Noir Like You've Never Seen": Jim Thompson Adaptations and Cycles of Neo Noir'. in: Neale, S. ed. Genre and Contemporary Hollywood. British Film Institute, pp. 251-268.
Stanfield, P. (2001). '"Extremely Dangerous Material": Hollywood and the Ballad of Frankie and Johnny'. in: Bernardi, D. ed. Classic Hollywood, Classic Whiteness. University of Minnesota Press, pp. 442-465.
Stanfield, P. (2000). 'From the Vulgar to the Refined: American Vernacular & Blackface Minstrelsy in Showboat (1936)'. in: Marshall, B. and Stillwell, R. eds. Musicals: Hollywood and Beyond. Intellect Press, pp. 147-156.
Stanfield, P. (1998). 'Dixie Cowboys & Blue Yodels: The Strange History of the Singing Cowboy'. in: Buscombe, E. and Pearson, R. eds. Back in the Saddle Again: New Essays on the Western. British Film Institute, pp. 96-117.
Stanfield, P. (1996). 'Country Music & the 1939 Western: From Hillbillies to Cowboys'. in: Cameron, I. and Pye, D. eds. The Movie Book of the Western. Studio Vista, pp. 22-33.
Total publications in KAR: 33 [See all in KAR]
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Teaching

Before starting work at Kent I’d held the desire (but not had the opportunity) to teach a class that examined the tension between the competing concepts of film as art and film as commerce. Within my first year here I was given the go-ahead to write such a module. The premise was that I would consider film through a prism of low and high culture, a set-up that would help order the conversation between popular cinema and the avant-garde.

I wanted to examine the creative interventions of artists, critics and scholars who work with popular film to produce new cultural forms and ideas.  To investigate the Surrealists’ play with the violent poetics of crime fictions; the Nouvelle Vague’s validation of American hard-boiled fiction; abstract painter and film critic Manny Farber’s theory of termite art; Lawrence Alloway’s concept of “maximum movies;” the art brut style of Samuel Fuller, and the crime-scapes and the genealogy of pulp.  That was the premise, but to put all of this into play was not straightforward. There were no text books or pre-set readings for such a programme of study. I would have to research what I wanted to teach and my students would have to be participants in that project.

Together we set out across five years to explore the pulp landscape as it had been earlier travelled by avant-garde artists and critics.  In the process I began to write the book that would become Maximum Movies ? Pulp Fictions: Film Culture and the Worlds of Samuel Fuller, Mickey Spillane and Jim Thompson (Rutgers University Press, 2011).

I don’t think it is an exaggeration to say that this book would not have taken the shape it did without student input (through their own research carried out in preparation for our debates in seminars and as articulated in their essays). There was a perfect cycle of knowledge acquisition, dissemination and debate. At times I led the way; at other times the students set the path to follow. In the end, the book closed the circuit, but not before a new research project had begun on repetition and novelty in popular film. . .

 

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Research

For every film you remember, you forget a thousand. Stanfield’s research is about some of those forgotten films; not lost classics, but movies that deserve their fate in the trash bin of history.

His latest book, Hoodlum Movies, takes a concentrated look at the cycle of outlaw motorcycle films (1966-1972). Despised by critics but welcomed by exhibitors, these cheaply and quickly made pictures were produced to appeal to audiences of under-educated mobile youths. Plagiarizing contemporary films for plotlines, the cycle reveled in a brutal and lurid sensationalism drawn from the day’s headlines. Disreputable and interchangeable these films may be, but their lack of cultural legitimacy and low ambition is a large part of the rationale for his study; inviting questions about seriality and film cycles that are otherwise ignored in histories of 1960s and 70s American film. Hoodlum Movies explains why these films were made, who they were made for, and how the cycle developed through the second half of the 1960s before coming to a shuddering halt in 1972.   

 

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Supervision

I am interested in supervising research into any aspect of popular film, but particularly those that engage with the topic from an interdisciplinary or intermedial perspective. Research proposals that consider film production in terms of fads, cycles, and trends will be positively received.

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Last Updated: 04/12/2018