About

This blog is written and edited by William Brown.

William is an Honorary Fellow for the School of Arts at the University of Roehampton, London, United Kingdom. This mainly involves him researching about various aspects of contemporary cinema.

He has published numerous essays in journals and edited collections (as per his Publications page), and is also the author of The Squid Cinema from Hell: Kinoteuthis Infernalis and the Emergence of Chthulumedia (with David H. Fleming, Edinburgh University Press, 2020), Non-Cinema: Global Digital Filmmaking and the Multitude (Bloomsbury, 2018), Supercinema: Film-Philosophy for the Digital Age (Berghahn, 2013), and, with Dina Iordanova and Leshu Torchin, of Moving People, Moving Images: Cinema and Trafficking in the New Europe (St Andrews Film Studies, 2010).

He is also the editor, with David Martin-Jones, of Deleuze and Film (Edinburgh University Press, 2012), and, with Jenna P-S Ng, of a Special Issue (7:3, November 2012) of animation: an interdisciplinary journal on the film Avatar (James Cameron, USA, 2009).

Furthermore, William is also a maker of zero- to low-budget films, all produced under the umbrella of Beg Steal Borrow.

He has directed various feature films and shorts, including En Attendant Godard (2009), Afterimages (2010), Common Ground (2012), China: A User’s Manual (Films) (2012), Selfie (2014), Ur: The End of Civilization in 90 Tableaux (2015), The New Hope (2015), Circle/Line (2016), Letters to Ariadne (2016), St Mary Magdalen’s Home Movies (short, 2016), Roehampton Guerrillas (2011-2016) (2017), #randomaccessmemory (2017), Sculptures of London (short, 2017), Clem (short, 2018), The Benefit of Doubt (2019), Vlado and William (2019), This is Cinema (2019), La Belle Noise (2019), Golden Gate (short, 2019), Coyote (short, 2020), The New Hope 2 (2020) and Mantis (post-production). He has also directed various music videos for the band Extradition Order.