3-6/2008 Post-Doctoral Research Fellow, Databasing Key Documents and Narrative Chronologies of Artists' Film and Video Distributors in the UK (AHRC Funded Project). Part time, University of Sunderland. Details below

2-6/2008 Visiting Lecturer in MED48-2 Documentary Practices, Part time. Second year module in Media Production BA, School of Media, Arts and Design, University of Bedforshire. Expanded details

School of Media Arts and Design
University of Bedfordshire
Park Square, Luton, LU1 3JU

2001 Ph.D (Film Theory) “‘Flourishing Inside a Bastardism’: the Significance of Textual Miscegenation in Post-Classical Hollywood”, supported by Australian Post-Graduate Research Award scholarship 1993-96, Griffith University, Australia. Ph.D awarded April 2001.

1992 B.A. Hons. First Class (Film Studies) “The Cinema of Memory or the Memory of Cinema?” Griffith University, Australia. Enrolled from February to November 1992 (full-time). Course work: Tragedy in Modern Culture and Film Theory.

1989, Semesters 1 & 2: Social Inquiry, Cultural Studies and Text and Culture.
1990, Semester 1: 19th Century Culture and Film and Media Texts.
1990, Semester 2: 20th Century Culture I and Film and Media Institutions.
1991, Semester 1: Theories of Media, Film and Politics I and 20th Century Culture II.
1991, Semester 2: Avant-Garde Theories, Film and Politics II and 20th Century Culture III.

10/2005-9/2007 Post-Doctoral Research Fellow to Julia Knight on Databasing Key Documents and Narrative Chronologies of Artists' Film and Video Distributors in the UK (AHRC Funded Project), Full time, University of Sunderland. Expanded details

10/2004-9/2005 Post-Doctoral Research Fellow to Julia Knight on The Contemporary Promotion of British Artists’ Film and Video in UK (AHRB Funded Project), Full Time, Media Arts, University of Luton, UK. Expanded details, Project Findings

2001 Research Assistant to Dr Albert Moran in his research on Copycat TV, School of Film, Media and Cultural Studies, Griffith University, Australia.

10/2007-1/2008 Visiting Lecturer in MED48-2 Documentary Practices and MED75-3 Drama, Documentary and Experimental modules, Part time. Second and third year modules in Media Production BA, School of Media, Arts and Design, University of Bedforshire. Expanded details

School of Media Arts and Design
University of Bedfordshire
Park Square, Luton, LU1 3JU

2001 Convenor/Lecturer/Tutor (Part Time) FMC2003: Classic Hollywood Cinema, Module in B.A. in Screen Studies, School of Film, Media and Culture, Faculty of Arts, Griffith University, Australia. Second or third year level, single semester, full-time internal course, with external option (web-based information, Study Guide). Expanded details

Objectives:To give students a firm understanding of the American film industry from 1895 to 1980.  Students were assessed on their knowledge of the entire span by examination, and their research and analytical ability was developed in a major essay where they focused on an industrial or institutional topic of their choice.

Responsibilities and Achievements: Weekly lectures, seminars, film screenings, and consultation, as well as marking, exam design and administration.  I was the sole staff member responsible for 60 students. My contribution was to encourage students to challenge received notions, such as that Hollywood ever effectively ‘cleaned up’, that the MPPC was simply a negative and conservative force in the industry, or that Hollywood production was ever homogeneous. My achievement in this was the production of a large number of essays that engaged with the complexity of these issues.  To accomplish this I additionally instituted the requirement of a research proposal due six weeks prior to the essay, which encouraged depth of research and minimised over general topics

1998-2001 Tutor (Part Time) FMC7301: Media Institutions and Policies Module from M.A. in Cultural Policy, delivered by Open Learning, Australian Key Centre for Cultural and Media Policy,Griffith University. Single semester external course, offered in second semester only, to be undertaken at any point in M.A.. Expanded details

Objectives: To give students a firm understanding of Australian media history and the evolution of Australia’s regulatory system, concluding on the implications of the new media for existing media institutions.

Responsibilities and Achievements: Weekly consultation (phone), 3 teleconferences, marking, report on the success of the course. I was the sole tutor working under a convenor who did not participate in teaching or marking. As the course was designed for mature age students undertaking professional development, regardless of academic background, my tasks were to encourage critical distance from and analysis of received discourse, and develop writing skills to M.A. level.  My achievements were to considerably lift the level of students’ writing and researching, which encouraged several to undertake the optional minor thesis.

1996-2001 Tutor (Part Time) FMC1001/L: Text and Culture (Semester 1) FMC1002/L: Film, Media and Culture (Semester 2) Prerequisite courses for B.A.s in Screen Studies and Media Studies, School of Film, Media and Culture, Faculty of Arts, Griffith University, Australia. First year level, single semester, full-time internal courses offered in either order and with an external option (web-based information, Study Guide). Expanded details

Objectives: To introduce students to film history and theory covering Hollywood, the art cinema, television, advertisements, psychoanalytic semiotics, ideological critique, close analysis and auteurism. Additionally, the students are exposed to a variety of films from different periods and countries.

Responsibilities and Achievements: Weekly consultation, tutorial preparation and delivery, marking, and input on course development. Guest lectures delivered in Film Media and Culture in 1996, 1998, 2000 and two in 2001, and in Text and Culture in 2000. These lectures were respectively on close analysis (The Piano), auteurism and the star persona, Brecht, psychoanalytic semiotics and ideology, German Expressionism, ideology and the counter cinema, and genre narratives in cinema and television.  I worked with a team of five, most of whom were also part time, to teach 300-400 students. My major contribution to the development of the course over five years was to suggest that generic regimes and categories of cinema (art cinema, Hollywood, counter cinema) be treated as neither entirely discrete nor stable.  This successfully combated students’ previous tendency to reduce examples of each to ideal types based on simplistic readings of the course materials, and reduced their discomfort with what had seemed to be totalising theoretical frameworks. My lecture strategy for counter cinema is still in use.

1996-2002 Tutor (Part Time) CMM24/34: Australian Media Institutions and CMM25/35: Australian Media Policy Module from Diploma in Media and Cultural Policy, delivered by Open Learning (web-based information, Study Guide) taught through the Australian Key Centre for Cultural and Media Policy, Griffith University, Australia. Courses are offered continuously and can be undertaken in either order and at either 2nd or 3rd year level. Expanded details

Objectives: To give students a firm understanding of Australian media history and the evolution of its regulatory system, concluding on the implications of the new media for existing media institutions.

Responsibilities and Achievements: Consultation on request (phone or email), marking, and input on course development. I was the sole tutor working under a convenor who does not participate in teaching or marking. My tasks were to encourage critical distance from and analysis of received discourse, and to improve writing skills.  I participated in course development and altered essay topics.  My achievements were to substantially improve writing and researching ability, and to impress upon students the previously poorly understood distinction between institution and policy.

1993 Tutor (Part Time) Culture and Society (Semester 2). Prerequisite course for B.A. majoring in Comparative Studies in History and Literature. Department of Humanities, Griffith University. First year level, single semester, full-time internal course. Expanded details

Objectives: To give students a firm understanding of nineteenth century European history, including cultural movements such as Romanticism, the development of political ideas such as Utilitarianism and the importance of utopias to political and cultural thinking.

Responsibilities: Weekly consultation, tutorial preparation and delivery, marking, and input on course development.  I suggested that assessment be reordered so that students received the chance to use the research and essay design skills developed in the final essay of the course.

Knight, Julia and Peter Thomas (2008) The History of Artists’ Film and Video Distribution in the UK, Intellect

Thomas, Peter (2007) “The Seduction of Innocence: Virginity as a Weapon in Primal Fear”, in Tamar Jeffers MacDonald (ed.), Virgin Territory: Representations of Sexual Inexperience in Film, Detroit, Wayne University Press

--- (2006) “The Struggle for Funding: Sponsorship, Competition and Pacification (British Cinema Institutions Dossier)”, Screen 47/4 Winter: 461-7 Extended version

Nowell-Smith, Geoffrey and Peter Thomas (2006) “Introduction: British Cinema Institutions Dossier”, Screen 47/4 Winter: 441-2

--- (2003) “Editorial”, Convergence: Special Issue on Digital Cinema (guest edited by Nowell-Smith and Thomas) 9/4 Winter: 5-9 link

Thomas, Peter (2003) “Victimage and Violence: Memento (Chris Nolan, 2000) and Trauma Theory”, Screen 44/2 Summer: 200-207

--- (2001) “‘No Marxism for the Subject in Process’: the Problem of Ideology in Contemporary Film Theory” Postscript 4 Summer

Thomas, Peter (2007-8/2003) “Victimage and Violence: Memento (Chris Nolan, 2000) and Trauma Theory”, Screen 44/2, supplied reading for third year course 'Television and Audio-visual Culture', University of Warwick.

--- (2007/2001) “Genre and Authorship I: The Wild Bunch and the Western”, (extract of PhD thesis) supplied reading for core film and media studies course, Griffith University, Australia.

Thomas, Peter and Julia Knight (2007) “Independent Film and Video Distribution in the UK” project information website (alt-fv-distribution.net), recognised by Intute as among “the best Web resources for education’ and research.”

Thomas, Peter (2002/2001) “‘Other Than Major’: The Ambiguity of Independence”, (extract of PhD thesis) supplied reading for core film history course, University of Exeter.

--- (2001) “Surviving Submission: Welcome to Limboland” Gradchat (Griffith University, Australia), October.

--- (1998) “Physical Textuality: The Community of Enactment in Crash”, in Anita Greenhill, Gordon Fletcher and Eduardo de la Fuente (eds.), Rethinking the Social, Graduate Studies Centre, Griffith University, Australia.

--- (1996-7) “Analysis of The Piano” in Dossier for Introduction to Film and Media, 1996 and 1997.

Thomas, Peter (2007) organisation, technical assistance, promotion and documentation of the Temporal Distortions: Photosonicneurokineasis & Place performance, an international programme of audio-visual experiment featuring Botborg and Storm Bugs. The Foundry, Shoreditch, 1 September. e-flyer

--- (2006) organisation, technical assistance and documentation of the Lend an Eye to Your Ears screening of pan-African and diasporic music films, by the Black Door Collective. Part of the Spice Festival, Hackney Empire, 19 July. link

--- (2005) organisation and promotion of Mike Leggett: Retrospective and Contemporary Work screening, Bar Kick, Shoreditch, 11 April.

--- (2004) organisation and moderation of the ‘Independent Film and Video Distribution in the UK’ Seminar Day, and author of Position Paper, University of Luton, 17 September.

--- (2004-present) organisation, technical assistance, promotion, programming, documentation and site management, Exploding Cinema screenings (5-7 per year). This includes participation in the London-wide Node-L festival of digital media (1 April 2006) the pan-European Temporary Autonomous Art event (18 May 2007, London), and annual screenings in Australia, 2005-8. website