Dr Jamie Sexton
Senior Lecturer in Film and Television Studies

Research interests: CULT CINEMA, MUSIC AND THE MOVING IMAGE, AMERICAN INDEPENDENT CINEMA
Academia.edu: Profile
About
My research is mostly concerned with alternative forms of film and other media, particularly cult cinema and independent cinema. Methodologically, I have approached subject areas from different angles, but I am particularly interested in looking at how films and other media forms are embedded within particular contextual frameworks, which has led me to employ historical and reception approaches on a number of occasions. I am, nevertheless, also interested in exploring other issues, such as the relations between new technologies and aesthetics.
Qualifications
Postgraduate Certificate in Teaching in Higher Education, Aberystwyth University, 2007

PhD in Film Studies, University of East Anglia, 2001                                                                                       
BA (Hons) in Film and English Studies (First Class), University of East Anglia, 1995           
Professional Affiliations
Peer Review College member, AHRC

Higher Education Academy Fellow
Modules Taught
  • MI4017: Films for Filmmakers 1: Critical Concepts in Film and Television Studies
  • MI5013: Hollywood Cinema
  • MI6009: Cult Film and Television
  • MI6020: Film and TV Studies Dissertation
Publications

Books and edited collections
  • Freak Scenes: American Independent Film and Indie Music Cultures (Edinburgh University Press, forthcoming, 2020)
  • Routledge Companion to Cult Cinema (co-edited with Ernest Mathijs) (Routledge, forthcoming, 2019).
  • Stranger than Paradise (part of the Cultographies series) (Wallflower/Columbia University Press, 2018).
  • ‘Cult Cinema and the Transnational,’ guest edited issue of Transnational Cinemas, co-edited with Matt Hills (Routledge: Vol. 8, Issue 1, 2017).
  • ‘Cult Cinema and Technological Change,’ guest edited issue of New Review of Film and Television Studies, co-edited with Matt Hills (Routledge: Vol. 15, Issue 1, 2016).
  • No Known Cure: The Comedy of Chris Morris (co-edited with James Leggott) (London: BFI, 2013).
  • Cult Cinema: An Introduction (co-written with Ernest Mathijs) (Wiley-Blackwell, 2011).
  • Alternative Film Culture in Inter-War Britain (Exeter University Press, 2008).
  • Music, Sound and Multimedia: From the Live to the Virtual (edited) (Edinburgh University Press, 2007).
  • Experimental British Television (co-edited with Laura Mulvey) (Manchester University Press, 2007).
 
Journal articles
  • ‘The Allure of Otherness: Transnational Cult Film Fandom and the Exoticist Assumption’, Transnational Cinemas (Vol. 8, Issue. 1, 2017), pp. 5-19.
  • ‘Creeping Decay: Cult Soundtracks, Residual Media and Digital Technologies’, New Review of Film and Television Studies (Vol. 13, Issue 1, 2015), pp. 12-30. 
  • ‘Weird Britain in Exile: Ghost Box, Hauntology and Alternative Heritage’, Popular Music and Society (Vol. 35, Issue 4, 2012), pp. 561-584.
  • ‘US Indie-Horror: Critical Reception, Genre Construction and Suspect Hybridity’, Cinema Journal (Vol. 51, Issue 2, 2012), pp. 67-86.
  • ‘A Cult Film by Proxy: Space is the Place and the Sun Ra Mythos’, New Review of Film and Television Studies (Vol.4, Issue 3, 2006), pp. 197-215.
  • ‘The Audio-Visual Rhythms of Modernity: Song Of Ceylon, Sound And Documentary Filmmaking’, Scope: an On-Line Journal of Film Studies <www.scope.nottingham.ac.uk> (May 2004).
  • ‘‘Televérité hits Britain: Documentary, Drama and the growth of 16mm Filmmaking in British Television’, Screen (Vol. 24, Issue 4, 2003), pp. 429-444.
  • ‘Grierson’s Machines: Drifters, the Documentary Film Movement and the Negotiation of Modernity’, Canadian Journal of Film Studies (Vol.11, Issue 1, 2002), pp. 40-59.

Book chapters
  • ‘Low Budget Audio-visual Aesthetics in Indie Music Video and Feature Filmmaking: The Works of Steve Hanft and Danny Perez’ in Lori Burns and Stan Hawkins, The Bloomsbury Handbook to Popular Music Video Analysis (Bloomsbury, forthcoming 2019).
  •  ‘Independent Intersections: Indie Music Cultures and Independent Cinema’ in Geoff King, ed., A Companion to American Independent Film (Wiley-Blackwell, 2016), pp. 106-128.
  • ‘Lo-Fi Excavations: Surveying the Indie-Rock Documentary’ in Holly Rogers, ed., Music and Sound in Nonfiction Film (Routledge, 2014), pp. 156-170.
  • ‘From Bad to Good and Back to Bad Again? Cult Cinema and its Unstable Trajectory’ in Constantine Verevis and Claire Perkins, eds, B For Bad Cinema: Aesthetics, Politics and Cultural Value (SUNY Press, 2014), pp. 129-145.
  • ‘Lost in Techno Trance: Dance Culture, Drugs and the Digital Image in Jam’ in James Leggott and Jamie Sexton, eds, No Known Cure: The Comedy of Chris Morris (BFI, 2013), pp. 141-160.
  • ‘Prisoner of Cool: Chloë Sevigny, Alternative Stardom and Image Management’ in Kate Egan and Sarah Thomas, eds, Cult Film Stardom: Offbeat Attractions and Processes of Cultification (Palgrave, 2012), pp. 73-89.
  • ‘Early Avant-Garde Film Sound and Music’ in Graeme Harper (ed.), Sound and Music in Film and Visual Media: A Critical Overview (London and New York: Continuum, 2009), pp. 574-587.
  • ‘The State of Music in a Digital Age’ (including case study on the iPod) in Glen Creeber and Royston Martin (eds), Digital Culture: Understanding New Media (Open University Press, 2008), pp. 92-106.
  • ‘From Art to Avant-Garde? Television, Formalism and the Arts Documentary in 1960s Britain’ in Mulvey and Sexton (eds), Experimental British Television (2007), pp. 89-105.
  • ‘Reflections on Sound Art’ in Sexton (ed.), Music, Sound and Multimedia: From the Live to the Virtual (2007), pp. 85-104.
  • ‘Television and Convergence’ in Glen Creeber (ed.), Tele-Visions: Methods and Concepts in Television Studies (London: BFI, 2006), pp. 160-168.
  • ‘The Film Society and the Creation of an Alternative British Film Culture in the 1920s’ in Andrew Higson (ed.), Young and Innocent? Cinema and Britain 1896-1930 (Exeter: Exeter University Press, 2002), pp. 291-305.
  • ‘Parody on the Fringes: Adrian Brunel, Minority Film Culture and the Art of Deconstruction’ in Alan Burton and Laraine Porter (eds), Pimple, Pranks and Pratfalls: British Film Comedy Before 1930 (Trowbridge: Flicks, 2000), pp. 89-95.
Grant Awards

AHRC Research Network Grant, ‘Global Cult Cinema in the Age of Convergence’, 2013. Amount: £19,657.

British Academy Small Research Grant, to contribute towards the costs involved in researching the reception of American independent cinema in Britain, 2006. Amount: £2768.