My Academia.edu page can be found here.
I graduated from the University of Kent in 1998 with a degree in Film Studies and History, and was awarded an MA by the same institution in 2002. I received my PhD from Manchester Metropolitan University in 2006 for a thesis titled ‘Regionalism and the Cinema in the United Kingdom, 1992 to 2002.’ I have taught Film Studies, Media Studies, Communication Studies, and History at Manchester Metropolitan University and the University of Central Lancashire.
From 2013 I am teaching film studies at Leeds Trinity University.
The Theory of National Cinemas: defining the national in the cinema; the relationship between the national and globalisation; and the relationship between the national and other forms of identity.
Regional Film Cultures in the United Kingdom: the relationship between cinema and geography; regional film policy in the UK; and the representation of the regions.
Perception and Cognition in the Cinema: the nature of communication in the cinema; the production of meaning; and the perception of motion.
Narrative cinema: the formal structure of films; and the organisation and presentation of narrative information.
Paranoia in American Popular Culture: anxiety, narrative, and emotion; politics and Hollywood cinema; and surveillance and society.
Cinemetrics: shot length distributions; shot scales; authorship.
“Leading them down the garden path:” Another look at Hitchcock’s Psycho, Entertext 1 (3) 2001: 48-63.
Abjection and Evolution in The Island of Doctor Moreau, The Wellsian: The Journal of the H.G. Wells Society 27 2004: 37-47. [Reprinted as Abjection and Evolution in The Island of Dr. Moreau, in John S. Partington (ed.) H.G. Wells’s Fin-de-Siècle: Twenty-first Century Reflections on the Early H.G. Wells. Frankfurt-am-Main: Peter Lang, 2007: 17-25].
Communication and Meaning in the Cinema, Constructivism in the Human Sciences 9 (2) 2004: 39-48 [Download as a PDF file: Redfern2004 – Communication and meaning in the cinema].
Information and Entropy: The Disorganisation of Narrative in Cronenberg’s Videodrome, Entertext 4 (3) 2004: 6-24.
Film in the English Regions, International Journal of Regional and Local Studies 1 (2) 2005: 52-64.
“We Do Things Differently Here:” Manchester as a Cultural Region in 24 Hour Party People, Entertext 5 (2) 2005: 286-306.
Space and Hybridity in Contemporary British Cinema, International Journal of Media and Cultural Politics 2 (1) 2006: 97-103.
Realism, Radical Constructivism, and Film History, Essays in Philosophy 7 (2) 2006: http://commons.pacificu.edu/eip/vol7/iss2/10/.
London Spaces in Contemporary British Cinema: Notting Hill and South West 9, Literary London: Interdisciplinary Studies in the Representation of London 4 (2) 2006: http://www.literarylondon.org/london-journal/september2006/redfern.html.
Making Wales Possible: Regional Identity and the Geographical Imagination in The Englishman Who Went Up a Hill but Came Down a Mountain, Cyfrwng: Media Wales Journal 4 2007: 57-70. [The pdf of this article can be accessed here: Nick Redfern – Making Wales Possible]
Defining British Cinema: Transnational and Territorial Film Policy in the United Kingdom, Journal of British Cinema and Television 4 (1) 2007: 150-164. DOI 10.3366/JBCTV.2007.4.1.150. [The pdf of this article can be accessed here: Nick Redfern – Defining British Cinema]
Constructing Movement in the Cinema, New Review of Film and Television Studies 5 (2) 2007: 173-189. DOI: 10.1080/17400300701432860. [The pdf of this article can be accessed here: Nick Redfern – Constructing Movement in the Cinema]
Employability and Oral Assessment, Journal of Employability and the Humanities 1 2007: http://old.uclan.ac.uk/facs/class/cfe/ceth/journal/issue1_files/Case_Study_Nick_Redfern.pdf.
Connecting the Regional and the Global in the UK Film Industry, Transnational Cinemas 1 (2) 2010: 145-160. DOI: 10.1386/trac.1.2.145_1.
Northern Ireland and the Problem of Identity in Divorcing Jack (1998) and Wild About Harry (2000), Journal of European Popular Culture 1 (2) 2010: 135-149. DOI: 10.1386/jpec.1.2.135_1.
Shot Length Distributions in the Short Films of Laurel and Hardy, 1927 to 1933, Cine Forum 14 2012: 37-71.
Research Blogging in Film Studies, Frames 1 2012: http://framescinemajournal.com/article/research-blogging-in-film-studies/.
Genre Trends at the US box office, 1991 to 2010, European Journal of American Culture 31 (2) 2012: 145-167. DOI: 10.1386/ejac.31.2.145_1.
Correspondence Analysis of Genre Preferences in UK Film Audiences, Participations 9 (2) 2012: 45-55.
The Log-normal Distribution is not an Appropriate Parametric Model for Shot Length Distributions of Hollywood Films, Literary and Linguistic Computing, Advance Access published December 13, 2012, doi:10.1093/llc/fqs066.
The Impact of Sound Technology on the Distribution of Shot Lengths in Hollywood Cinema, 1920 to 1933, CINEJ 2 (1) 2012: 77-94. DOI 10.5195/cinej.2012.50.
Film Studies and Statistical Literacy, Media Education Research Journal 4 (1) 2013: 58-71.
Film Style and Narration in Rashomon, Journal of Japanese and Korean Cinema 5 (1-2) 2013: 21-36. DOI: 10.1386/jjkc.5.1-2.21_1.
The Structure of ITV News Bulletins, International Journal of Communication 8 2014: 1557-1578.
Comparing the Shot Length Distributions of Motion Pictures using Dominance Statistics, Empirical Studies of the Arts 32 (2) 2014: 257-273. DOI: 10.2190/EM.32.2.g.
Robust estimation of the mAR index of high grossing films at the US box office, 1935 to 2005, Journal of Data Science 12 (2) 2014: 277-291. [The pdf of this article can be accessed here: 4.JDS-1181_final-1].
Age, Gender, and Television in the UK, Journal of Popular Television 3 (1) 2015: 57-73. DOI: 10.1386/jptv.3.1.57_1.
Conference Papers, Presentations
London Spaces in Contemporary British Cinema: Notting Hill and South West 9, Literary London 2006: Representations of London in Literature: An Interdisciplinary Conference, University of Greenwich, 13-14 July 2006.
“Land of Hope and Bloody Glory:” Region and Nation in Brassed Off, Crash Cinema 6, Bradford International Film Festival/University of Bradford, National Media Museum, Bradford, 21 March 2007.
Locational Non-substitutability and Regional Film Policy in the United Kingdom, Regions and Regionalism in and beyond Europe, Institute of Advanced Studies, Lancaster University, 17-19 September 2007.
Emotion, Genre, and the Hollywood Paranoid Film, New Nightmares: Issues and Themes in Contemporary Horror Cinema, Manchester Metropolitan University, 3-4 April 2008.
Introduction to Brighton Rock, The Mitchell and Kenyon Cinema, University of Central Lancashire, Preston, 16 April 2008.
Introduction to Hell is a City, The Mitchell and Kenyon Cinema, University of Central Lancashire, Preston, 28 April 2008.
‘It’s chaos out there …:’ Northern Ireland and the Problem of Identity in Divorcing Jack (1998) and Wild About Harry (2000), Projecting the Regions: People, Identity, Place, Manchester Metropolitan University, 17 September 2009.
An Empirical Approach to Film Audiences, BFI Media Studies Conference, BFI Southbank, London, 7-9 July 2010.
The Romance Film at the Box Office in Five European Countries, 2006 to 2010, International Association for the Study of Popular Romance, York University, 27-29 September 2012.
The Transformation of Genre in Early Cold War Westerns, Current Thinking on the Western, University of Leeds, 18 June 2014.