Biography

I previously taught Film Studies at Anglia Ruskin University, after completing an MA in World Cinemas at the University of Leeds, and a PhD in French cinema at the University of Cambridge. I joined Keele as Lecturer in Film in 2013, and became Senior Lecturer in 2019.

 

Research and scholarship

I have published widely on late twentieth- and twenty-first-century film aesthetics and the history of film industries, with a particular focus on popular British and other European cinemas, Hollywood cinema, mobility in cinema, and the relationship between globalization and film. My work has appeared in journals such as JCMS: Journal for Cinema and Media Studies, Studies in European Cinema, Journal of British Cinema and Television and Mobilities.

I am the author of six monographs, including The Road Movie: In Search of Meaning (Wallflower, 2016), The French Road Movie: Space, Mobility, Identity (Berghahn 2013) and Hot Fuzz (Auteur, 2015). 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, and shortlisted for the BAFTSS Best Monograph Award in 2018. My most recent book, Twenty-First-Century Hollywood: Rebooting the System (London and New York: Wallflower) was published in 2019.

I am currently working on a book examining English popular cinema in the contexts of the UK’s EU referendum and Brexit, due to published by Bloomsbury in 2020.

I am also a regular contributor to The Conversation:

 

 

 

Teaching

Module which I lead, or on which I teach, include:

  • Reading Film
  • Approaches to Film: History and Theory
  • Popular British Cinema
  • Hollywood and Beyond: Global Popular Cinemas
  • Science Fiction Cinema
  • Parody in British Film and Television
  • Approaches to Screenwriting

 

Further information

I have successfully supervised two PhDs to date, respectively, on Derek Jarman’s cinema (Dr William Davies), and on the labour and politics of ‘girlhood’ in recent film and television (Dr Wallis Seaton). I can offer supervisory experience on the following topics:

  • Hollywood cinema
  • Parody in film and television
  • Contemporary European genre film
  • The Road Movie
  • Adaptation theory
  • Science Fiction

 

 

 

 

 

Books

Twenty-First-Century Hollywood: Rebooting the System (London and New York: Wallflower, 2019).

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).

Journal Articles

‘Transnational Science Fiction at the End of the World: Consensus, Conflict, and the Politics of Climate Change’, JCMS: Journal of Cinema and Media Studies 58.3 (2019), 1-25.

‘Genre on the Road: The Road Movie as Automobilities Research’, Mobilities 12.4 (2017), 509-519.

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), 3-14.

‘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.

Book Chapters

‘Science Fiction Cinema and the Road Movie: Case Studies in the Estranged Mobile Gaze’, in Mobilities, Literature, Culture, eds. Marian Aguiar, Charlotte Mathieson and Lynne Pearce, (Basingstoke: Palgrave Macmillan, 2019), 281-306.

Et in Arcadia Ego: Precarious Romanticism and the English Road Movie’, in The Global Road Movie: Alternative Journeys Around the World, ed. Tim Corrigan and José Duarte (Bristol: Intellect, 2018), 203-218.

‘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 (Edinburgh University 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.

Book Reviews

David Forrest and Beth Johnson (eds.), Social Class and Television Drama in Contemporary Britain, Cercles: Revue Pluridisciplinaire du Monde Anglophone (2018) http://www.cercles.com/review/r83/Forrest.html

Peter Brunette, Michael Haneke, in Studies in European Cinema, 10.2-3 (2013).

 

 

Selected Publications

  • Archer N. 2017. Gone Girl (2012/14) and the Use(s) of Culture. Literature Film Quarterly. full text>
  • Archer N. 2017. Genre on the road: the road movie as automobilities research. MOBILITIES, vol. 12(4), 509-519. link> doi> full text>
  • Archer N. 2016. 'Speeds of Sound: On Fast Talking in Slow Movies'. Cinema Journal, 55.2. doi> full text>
  • Archer N. Fan du Cinéma: Imitation, Europe and The Trip to Italy (2014). Studies in European Cinema, 1-14. doi> link> full text>
  • Archer N. 2016. Beyond a Joke: Parody in English Film and Television Comedy. I. B. Tauris. full text>

Full Publications List show

Books

  • Archer N. 2016. Beyond a Joke: Parody in English Film and Television Comedy. I. B. Tauris. full text>
  • Archer N. 2016. The Road Movie In Search of Meaning. full text>
  • Archer N. 2015. Studying Hot Fuzz. Auteur. full text>
  • Archer N. 2012. The French Road Movie: Space, Mobility, Identity. Berghahn.

Journal Articles

  • Archer N. 2017. Gone Girl (2012/14) and the Use(s) of Culture. Literature Film Quarterly. full text>
  • Archer N. 2017. Genre on the road: the road movie as automobilities research. MOBILITIES, vol. 12(4), 509-519. link> doi> full text>
  • Archer N. 2016. 'Speeds of Sound: On Fast Talking in Slow Movies'. Cinema Journal, 55.2. doi> full text>
  • Archer N. Fan du Cinéma: Imitation, Europe and The Trip to Italy (2014). Studies in European Cinema, 1-14. doi> link> full text>
  • Archer N. 2016. ‘“The shit just got real”: Parody and National Film Culture in The Strike and Hot Fuzz’. Journal of British Cinema and Television, 13.1, 42-60., vol. 13(1), 42-60. doi> link> full text>
  • Archer N. 2014. A novel experience in crime narrative: Watching and reading The Killing. Adaptation, vol. 7(2). doi>
  • Archer N. 2014. A Novel Experience in Crime Narrative: Watching and Reading The Killing. Adaptation. doi> full text>
  • Archer N. 2014. And then as farce: Globilization and ambivalence in Jo Nesbo and Morten Tyldum's Headhunters (2011). New Cinemas: Journal of Contemporary Film. doi>
  • Archer N. 2013. The Girl with the Dragon Tattoo (2009/2011) and the New "European Cinema". Film Criticism, vol. 37(2), 1-20.
  • Archer N. 2011. The City Presented to Itself: Perspective, Performance and the Anxiety of Authenticity in Recent Parisian Films. Studies in European Cinema, vol. 8(1).

Chapters

  • Archer N. 2014. 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.
  • Archer N. 2011. 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.