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Did You Know?

I organised the JMP symposium entitled, 'Articulating Media Practice as Research' (June 2005) exploring the challenge of contextualising practice as research for the forthcoming Research Assessment Exercise RAE2008.

I am chair of the Practice Section of the Media, Communication and Cultural Studies Association ( MeCCSA). Celluloid, High Definition and "The Cinema" (Pilot, 2006, HDV, 3 minute)My current research, funded through the HEFCE Promising Researcher Fellowship, is a practice research project entitled Celluloid, High Definition and "the Cinema" which uses an embodied practice methodology to explore the impact of High Definition video and other digital technologies on feature film production, post production and distribution.

I have published articles on the use of sound in Terence Malick's work, the representation of whiteness and gender in Hollywood film and have revisted Angela Carter's work from a post colonial perspective.Recently I have reflected on my own film practice, presenting and screening my short film, Bluebell at a number of academic conferences and film festivals.

Filmed on location at Arnos Vale Cemetery, Bristol and Aulon Cemetery, France.Screened at Joyof8, Bristol YouTube page EYEfull Productions website Flickr pageMajor:Anagrams of DesireThe Holy Family AlbumPractice researchScreen media practice researchMinor:AcademiaAngela CarterBadlandsThe Company of WolvesThe Curious RoomBilly WeberDays of HeavenThe Magic ToyshopRape and RepresentationTerrence MalickWhiteness studiesWurlitzer.

Dr Charlotte Crofts is a filmmaker and Senior Lecturer in Film Studies and Video Production at the University of The West of England, Bristol, Department of Culture, Media and Drama.

Please contact me via the LSBU Phonebook if you wish to acquire a review copy.Chapter in book (2006), '"The Other of the Other": Angela Carter's "New-Fangled Orientalism"', in Becky Munford (ed.), Re-Visiting Angela Carter: Text, Contexts, Intertexts, Palgrave Macmillan.Book (2003), Anagrams of Desire: Angela Carter’s Writing for Radio, Film and Television, Manchester University Press (95,000 words).Refereed Article (2001), ‘From the “Hegemony of the Eye” to the “Hierarchy of Perception”: The Reconfiguration of Sound and Image in Terrence Malick’s Days of Heaven’, Journal of Media Practice, 2:1, 19-29 (5,000 words).Chapter in Book (1999) (with Rachel Connor), ‘Assuming White Identities: Racial and Gendered Looking across the Literature / Media Divide’ in White?Women: Critical Perspectives on Race and Gender, York: Raw Nerve Books, 113-129 (3,000 words).Entries (1999) on Angela Carter, The Bloody Chamber (1979) and Nights at the Circus (1984) and Edna O'Brien Girls With Green Eyes (1964) in Lorna Sage (ed.), The Cambridge Guide to Women’s Writing in English, Cambridge: Cambridge University Press, 69, 469.Chapter in Book (1998), ‘Curiously Downbeat Hybrid or Radical Retelling?: Neil Jordan’s and Angela Carter’s The Company of Wolves’ in Cartmell, Hunter, Kaye and Whelehan (eds), Sisterhoods Across the Literature / Media Divide, London and Sterling, Virginia: Pluto Press, 48-63 (5,000 words).Researcher, Angela Carter (1997), Shaking A Leg: Collected Journalism and Writings, London: Chatto and Windus.Review (1996/7) of Cartmell, Hunter, Kaye and Whelehan (eds) (1996), Pulping Fictions: Consuming Culture Across the Literature/Media Divide, London and Chicago: Pluto Press in ManuScript, 1:3, Winter.Review (1996), of Angela Carter (1996), The Curious Room: Collected Dramatic Works, London: Chatto and Windus in Times Literary Supplement, 8 November, 34.Refereed Article (1995), '"The Peanut Crunching Crowd" in the work of Sylvia Plath: Holocaust as Spectacle?' in ManuScript 1:1, Autumn [1]Founding and Managing Editor of ManuScript, biannual graduate journal in english, University of Manchester (1995-1997). Wings (2003, miniDV, 90 Seconds)Even angels get the blues.