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Dr Neil Archer
|Title:||Lecturer in Film Studies|
|Role:||Programme Leader, MA Global Media and Culture|
|Contacting me:||by telephone or email|
My educational and teaching background is in Film Studies and Modern European Languages, and my PhD was on the road movie in French Cinema. I previously taught at Anglia Ruskin University and the University of Cambridge, before coming to Keele as Lecturer in Film Studies in January 2013.
I specialize in late twentieth- and twenty-first century film aesthetics and the history of film industries, with a particular focus on popular European cinemas (especially British cinema), Hollywood cinema, and the relationship between globalization and film. I am especially interested in the practices and aesthetics of parody, the road movie and science fiction.
I am the author of The Road Movie: In Search of Meaning (Wallflower, 2016), The French Road Movie: Space, Mobility, Identity (Berghahn 2013), Hot Fuzz (Auteur, 2015) and The Bourne Ultimatum (Auteur 2012), and the editor of Adaptation: Studies in French and Francophone Culture (Peter Lang, 2011). My most recent book, Beyond a Joke: Parody in English Film and Television Comedy (I.B. Tauris, 2017), was nominated for the Kraszna-Krausz Best Moving Image Book of 2017.
Beyond a Joke: Parody in English Film and Television Comedy (I.B. Tauris, 2017)
The Road Movie: In Search of Meaning (Wallflower/Columbia University Press, 2016)
Hot Fuzz (Auteur, 2015)
The French Road Movie: Space, Mobility, Identity (Berghahn, 2013)
The Bourne Ultimatum (Auteur, 2012)
Adaptation: Studies in French and Francophone Culture, co-edited with Andreea Weisl-Shaw (Peter Lang, 2011)
‘Genre on the Road: The Road Movie as Automobilities Research’, Mobilities (2017)
‘Gone Girl (2012/2014) and the Uses of Culture’, Literature/Film Quarterly 45.3 (2017)
'Fan du cinema: Imitation, Europe and The Trip to Italy (2014)', Studies in European Cinema 13.3 (2016), 246-259
‘Speeds of Sound: On Fast Talking in Slow Movies’, Cinema Journal 55.2 (2016), 130-135
‘“The shit just got real”: Parody and National Film Culture in The Strike and Hot Fuzz’, Journal of British Cinema and Television 13.1 (2016), 42-60
‘A Novel Experience in Crime Narrative: Watching and Reading The Killing’, Adaptation 7.2 (2014), 212-227
‘And then as farce: Globalization and ambivalence in Jo Nesbø and Morten Tyldum’s Headhunters (2011)’, New Cinemas: Journal of Contemporary Film 11.1 (2013), 55-70
‘The Girl with the Dragon Tattoo (2009/2011) and the New “European Cinema”’, Film Criticism 37.2 (2013) 1-20
‘The City Presented to Itself: Perspective, Performance and the Anxiety of Authenticity in Recent Parisian Films’, Studies in European Cinema 8.1 (2011), 31-42
‘The Rhetoric of the Transnational: Interpretation and Identity in Géla and Temur Babluani's L'Héritage/Legacy (2006)’, New Cinemas: Journal of Contemporary Film 8.1 (2010), 3-1
‘Virtual Poaching and Altered Space: Reading Parkour in French Visual Culture’, Modern and Contemporary France 18.1 (2010), 93-107
‘Baise-moi: The Art of Going Too Far’, E-pisteme 2.1 (2009)
‘Sex, the City and the Cinematic: The Possibility of Female Spectatorship in Claire Denis's Vendredi Soir’, French Forum, 33.1-2 (2008), 245-260
[Reprinted in Contemporary Literary Criticism, 286 (Gale, 2010)]
‘The Road as the (Non-)Place of Masculinity: L'Emploi du temps’, Studies in French Cinema, 8.2 (2008), 137-148
‘Paris je t’aime (plus): Europhobia as European-ness in Pierre Morel and Luc Besson’s “Dystopia Trilogy”’, in The Europeanness of European Cinema: Identity, Meaning and Globalisation, ed. Mary Harrod, Mariana Liz and Alissa Timoshkina (London: I.B. Tauris, 2015), 185-198
‘Jamón, Jamón’, ‘10’, ‘Rabbit-Proof Fence’, in The Routledge Encyclopaedia of Films, ed. Sarah Barrow, Sabine Haenni and John White (Abingdon and New York: Routledge, 2014)
‘Beyond Anti-Americanism, Beyond Eurocentrism: Locating Bruno Dumont's Twentynine Palms in the Context of European Extremism’, in The New Extremism in Cinema: from France to Europe, ed. Tina Kendall and Tanya Horeck (EdinburghUniversity Press, 2011), 55-65
‘Attack of the Clones: Watching Stars Playing Stars in French Biopics’, in Adaptation: Studies in French and Francophone Culture, ed. Neil Archer and Andreea Weisl-Shaw (Peter Lang, 2011), 163-175
‘Peter Brunette, Michael Haneke’, in Studies in European Cinema, 10.2-3 (2013)
Full Publications List show
Beyond a Joke: Parody in English Film and Television Comedy. I. B. Tauris. full text>2016.
The Road Movie In Search of Meaning. full text>2016.
Studying Hot Fuzz. Auteur. full text>2015.
The French Road Movie: Space, Mobility, Identity. Berghahn.2012.
Gone Girl (2012/14) and the Use(s) of Culture. Literature Film Quarterly. full text>2017.
A novel experience in crime narrative: Watching and reading The Killing. Adaptation, vol. 7(2). doi>2014.
And then as farce: Globilization and ambivalence in Jo Nesbo and Morten Tyldum's Headhunters (2011). New Cinemas: Journal of Contemporary Film. doi>2014.
The Girl with the Dragon Tattoo (2009/2011) and the New "European Cinema". Film Criticism, vol. 37(2), 1-20.2013.
The City Presented to Itself: Perspective, Performance and the Anxiety of Authenticity in Recent Parisian Films. Studies in European Cinema, vol. 8(1).2011.
Paris je t'aime (plus): Europhobia as Europeanness in Pierre Moreal and Luc Besson's "Dystopia Trilogy". In The Europeanness of European Cinema: Identity, Meaning and Globalisation. (15 vols.). I.B.Tauris.2014.
Beyond Anti-Americanism, Beyond Euro-Centrism: Locating Bruno Dumont's Twentynine Palms in the Context of European Cinematic Extremism. In The New Extremism in Cinema: From France to Europe. Horeck T and Kendall T (Eds.). Edinburgh: Edinburgh University Press.2011.
Film Texts and Contexts II: Contemporary Global Cinema
Gender and the Cinematic Gaze
Science Fiction Cinema
Parody in British Film and Television
Parody in British film and television
French and Spanish cinema post-1960
The Road Movie