Dr Mattias Frey is Reader in Film Studies.
Dr Frey received his academic training in Heidelberg, Mannheim and Berlin as well as at Harvard University, where he earned his bachelor and doctoral degrees and taught in the Department for Visual and Environmental Studies. In 2008 he joined the University of Kent. In addition to his research and teaching, he has served as the Director of Internationalisation for the Faculty of Humanities, Director of Learning and Teaching for the School of Arts, Director of Internationalisation for the School of Arts, Director of Recruitment and Marketing for the School of Arts, Head of the Film department and in a variety of other roles.
His numerous articles appear in edited anthologies, reference works and journals such as Cinema Journal, Screen, New German Critique, Artforum, Quarterly Review of Film and Video, Jump Cut and Framework. In the 2000s, he reviewed movies for the Boston Phoenix and for many years he reported on film festivals for Senses of Cinema.
Dr Frey's books include Postwall German Cinema: History, Film History, and Cinephilia (Berghahn, 2013); Cine-Ethics: Ethical Dimensions of Film Theory, Practice, and Spectatorship (Routledge, 2014; co-edited with Jinhee Choi); The Permanent Crisis of Film Criticism: The Anxiety of Authority (Amsterdam UP, 2015); Film Criticism in the Digital Age (Rutgers UP, 2015; co-edited with Cecilia Sayad); Extreme Cinema: The Transgressive Rhetoric of Today’s Art Film Culture (Rutgers UP, 2016). He is currently preparing three further volumes for publication in 2016 and 2017.
Dr Frey is the Managing Director of the Centre for Film and Media Research. In addition, he is an Editor of the journal Film Studies (Manchester UP).
In 2015 Dr Frey received the Philip Leverhulme Prize, which awards ‘the achievement of outstanding researchers whose work has already attracted international recognition and whose future career is exceptionally promising’. He intends to use the prize to further his specialisms in historical media and digital distribution.
He is also recipient of an AHRC Early Career Fellowship in 2013-2014. In 2012 he received the University Teaching Prize for his pedagogical work on film criticism.
In the academic year 2014-2015 Dr Frey served as invited Visiting Professor of Art and New Media at the Universitaet Bremen, where he took part in a research cluster on the audio history of film, funded through the Exzellenzinitiative. In 2011, he was invited guest researcher at the Humboldt Universitaet zu Berlin for a project on cross-cultural film criticism.
His ongoing research concentrates on the historical film and popular period television, art cinema culture, film and other arts criticism, media industries analysis, digital distribution, classical and contemporary film theory, film and arts education as well as historical and contemporary European cinema (with particular emphasis on German and Austrian film). Dr Frey would welcome serving as a postgraduate supervisor in these and related areas.back to top
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Dr Frey convenes the following modules:
- FI585. Film Criticism
This module examines the theory and history of Anglophone film criticism, but above all is a practical course in writing about film for the print and online media. Each week students view and review a film, post their piece online and receive feedback on their work. In the past, the module has invited world-renowned critics as guest lecturers, including Jonathan Rosenbaum (Chicago Reader), Chris Darke (Film Comment; Sight & Sound), Sophie Mayer (Sight & Sound) and Jonathan Romney (Independent on Sunday). Upon completion of the course, students will have compiled a substantial dossier of film reviews addressed to various contemporary publications.
- FI587. Extreme Cinema
Why do art films these days, from Funny Games to Nymphomaniac, seem to dwell so graphically on rape, torture and sex addiction? Why does every film festival have a scandal? Why do DVD cases or posters at upscale cinemas resemble smut or gore? Why do otherwise intelligent filmmakers pull childish stunts? And who in their right mind would want to watch these films?
This module probes issues of extreme cinema, i.e., ‘arthouse’ films that, because of sexual, violent or other iconoclastic content, form or style, have created critical or popular controversy. Representative topics include the aesthetics and ethics of representing violence, boundaries between erotic art and pornography, filmmakers’ publicity stunts and media performances, film festival programming, the liberalisation of classification (e.g., at the BBFC), specialist distributors, ‘perverse’ spectators and the role of controversy and ‘moral panic’ in film criticism and the news press.
- FI822. Screening Histories (MA-level)
Entire media industries thrive on costume films, historical docu-dramas and other period productions, from Downfall to Downton Abbey;cultural and economic activity clusters around ‘heritage’. This module studies the central concerns of the historical film, one of today's most prominent and debated genres: how it endeavours to produce and disseminate understandings of the past and history's significance to the present, how dramatic feature films can stimulate national debates about identity and how they can help us empathise with people different from us. Key topics include: authenticity and 'accuracy', spectacle aesthetics, the role of sound, the biopic, historical empathy and the historical film as cultural, educational and industrial object.
- FI591. Introduction to Film Theory
- FI812. Advanced Film Theory (MA-level)
These modules approaches the ‘big questions’ that have surrounded film and the moving image and puts them into historical context. Although specific emphases vary, representative topics may address competing definitions of film and its constitutive elements, the effects that cinema has on spectators, the social, cultural and political implications that moving images reproduce, and the status of the medium between art and entertainment. Students will debate seminal writings on the nature of film and bring their arguments to bear on exemplary film productions.
- FI537. Postwar European Cinema: Realisms and Waves
- FI540. Contemporary European Cinema: Trends and Institutions
These modules acquaint undergraduates with major issues in European cinema. Postwar European Cinema grapples with discourses of realism, for example, the aesthetic claims of Italian neorealism; the subjective, political realisms of the New German Cinema; or Dogme 95. These movements are examined for their claims to interpret the real world, but also interrogated for the economic and artistic motivations behind their existence as critical categories. Contemporary European Cinema examines how the dramatic political events of 1989-1990 and the expansion of the size and role of the EU have left an indelible mark on film production and consumption in Europe.
- FI311. Introduction to Narrative Cinema II: World Cinema
The introductory course examines a variety of international cinemas. It analyses films as products of their particular national and regional origins and as addressing specific audiences. In addition, it treats topics such as realism, film as personal expression, how film represents or reflects upon history, as well as matters of industry, technology and distribution. It also explores how the films are informed by, or sometimes work to reject, Hollywood traditions of filmmaking. In the seminars students continue to develop skills in close analysis, discussing the style and significance of specific sequences.
Dr Frey’s current projects include a book on the historical film and period television and a study on today’s avenues of digital distribution.
His recent publications have concentrated on film and other arts criticism, institutional and media industries analysis, art cinema culture, classical and contemporary film theory, film and arts education as well as historical and contemporary European (especially German and Austrian) cinema.
His work on film criticism, recent German cinema and on the filmmaking of Michael Haneke has attracted acclaim and has been translated into several languages. He is regularly asked to peer review colleagues’ research and grant proposals and serves on the Peer Review College of the Arts and Humanities Research Council (AHRC), the Society of Cinema and Media Studies (SCMS) Translation/Publications Committee, the Steering Committee of the German Screen Studies Network (GSSN), the Advisory Board of the film journal Alphaville, as Editor of the journal Film Studies and as the Managing Director of the Centre for Film and Media Research.
He is frequently invited to guest lecture or to speak at research seminars, symposia and other public events, including recently at Cambridge University, Harvard University, Kings College London, University of Bristol, University of Sussex, University of Birmingham, Universita di Bologna, Waseda University Tokyo, Universitaet Frankfurt, Universitaet Bremen, Universitaet Passau, Boston University, Freie Universitaet Berlin, Deutsches Filmmuseum Frankfurt and the Museum of Fine Arts, Boston.
Dr Frey supervises undergraduate, MA and doctoral dissertations. Recent successful theses have researched Lars von Trier, Pedro Almodovar, British underclass cinema, Siegfried Kracauer, middlebrow taste formation, French political modernism and contemporary ‘slow cinema’.