Associate Professor (Reader) in Film Studies
Alastair Phillips holds a BA in Film & Media Studies and Art History from the University of Stirling and an MA and PhD in Film Studies from the University of Warwick. He has worked for the British Film Institute and the Edinburgh International Film Festival and lived and worked in Scotland, France, Japan and Australia. After teaching in the Department of Film, Theatre and Television at the University of Reading for several years, he returned to Warwick in 2007. Alastair is an editor of Screen and currently serves as the journal’s Reports and Debates editor. He also serves on the Editorial Boards of the BFI’s Film Classics series and the Journal of Japanese and Korean Cinema.
My research interests lie in the fields of international film history, culture and aesthetics with special emphasis on French and Japanese filmmaking; histories of exile and emigration within Europe and between Europe and Hollywood; and the representation of place and landscape in historical and contemporary world cinemas. My current projects include The Japanese Cinema Book (with Hideaki Fujiki), a BFI Classic on Tokyo Story and a monograph on the films of Jacques Becker.
Paris in the Cinema. Beyond the Flaneur (co-edited with Ginette Vincendeau) (London: British Film Institute, 2017).
The Blackwell Companion to Jean Renoir (co-edited with Ginette Vincendeau) (Hoboken and Oxford: Wiley-Blackwell, 2013).
Rififi (French Film Guide) (London and New York: I.B. Tauris, 2009)
100 Film Noirs (co-authored with Jim Hillier) (London: British Film Institute, 2008).
Japanese Cinema: Texts and Contexts (co-edited with Julian Stringer) (London and New York: Routledge, 2007).
Journeys of Desire. European Actors in Hollywood (co-edited with Ginette Vincendeau) (London: British Film Institute, 2006).
City of Darkness, City of Light. Émigré Filmmakers in Paris 1929-1939 (Amsterdam: Amsterdam University Press, 2004).
- ‘Unremarkable Paris. Jacques Becker and the Urban Everyday’ in Alastair Phillips and Ginette Vincendeau (eds.) Paris in the Cinema. Beyond the Flaneur (London: British Film Institute, 2017)
- ‘Seeing With His Own Eyes: Renoir and Photography’ in Alastair Phillips and Ginette Vincendeau (eds.) A Companion to Jean Renoir (Hoboken and Oxford: Wiley Blackwell, 2013).
- ‘The 400 Blows. Youth and Entrapment in the French New Wave’ in Jeffrey Geiger and R. L. Rutsky (eds.) Film Analysis: A Norton Reader (2nd ed.) (New York: W. W. Norton, 2013).
- ‘Cinematic Boundaries. Alexander Sokurov’s The Sun (2005) as Liminal Biopic’ in Tom Brown and Belen Vidal (eds.), The Biopic in Contemporary Film Culture (New York and London: Routledge, 2013).
- ‘Criss Crossed. Film Noir and the Politics of Mobility and Exchange’ in Helen Hanson and Andrew Spicer (eds.), The Blackwell Companion to Film Noir (Hoboken and Oxford: Wiley-Blackwell, 2013).
- ‘Placing French Film History’ in Will Higbee and Sarah Leahy (eds.) Studies in French Cinema: UK Perspectives 1985-2010 (Bristol: Intellect Press, 2011).
- ‘Fractured Landscapes: Detection, Location and History in Uchida Tomu’s Fugitive From the Past (1965)', Screen Vol. 52 no. 1 (Summer 2011).
- ‘The Salaryman’s Panic Time: Ozu Yasujiro’s I Was Born But” in Alastair Phillips and Julian Stringer (eds.) Japanese Cinema: Texts and Contexts (London and New York: Routledge, 2007).
- ‘Unsettled Visions: Imamura Shohei’s Vengeance is Mine’ in Alastair Phillips and Julian Stringer (eds.) Japanese Cinema: Texts and Contexts (London and New York: Routledge, 2007).
- ‘Changing Bodies / Changing Voices. Success and Failure in Hollywood in the Early Sound Era’ in Alastair Phillips and Ginette Vincendeau (eds.) Journeys of Desire. European Actors in Hollywood Cinema (London: British Film Institute, 2006).
- ‘Pictures of the Past in the Present. Modernity and Femininity in the Post-War Cinema of Ozu Yasujiro’ in Catherine Grant and Annette Kuhn (eds.) Screen Reader in World Cinema (Oxford: Oxford University Press, 2006).
- ‘Exile and Emigration in Classic French Cinema 1930-1950’ in Michael Temple and
Michael Witt (eds.) The French Cinema Book (London: British Film Institute, 2004).
- ‘La séductrice française No. 1: Le cas de “Martine Chérie”’, Iris, no. 26 (Autumn 1998).
Teaching and supervision
I have taught across many areas of international film history, culture and aesthetics including French and Japanese cinema; film noir in its transnational dimensions; contemporary world cinema; early cinema and mainstream and avant garde European cinemas of the classical period.
I am especially interested in supervising postgraduate projects related to international film history; contemporary world cinemas; and general issues of film historiography and aesthetics.
I have supervised various PhD theses to completion on topics that include the representation of Kyoto on film; montage aesthetics and the film and television adaptations of Berlin Alexanderplatz; the representation of the everyday in the films of Ozu Yasujiro; cinema and the politics of displaced nationhood; Seijun Suzuki and the aesthetics of negativity; Ernst Lubitsch and the concept of ‘the Lubitsch touch’, the films of Jacques Demy, and the representation of space and place in contemporary Romanian and Hungarian cinema.
I am currently supervising a PhD thesis on Japanese erotic cinema, female stardom and the politics of national identity.
Student Experience Officer (from January 2019)
National roles and professional associations
I am a member of BAFTSS (British Association of Film, Television and Screen Studies), SCMS (Society of Cinema and Media Studies) and the BFI (British Film Institute)
Film Cultures (Autumn 2018)
World Cinema (Autumn 2018)
Film Criticism (Spring 2019)
Feedback and Advice Hours
Autumn term 2018: 2-4 pm on Wednesdays (by appointment).
I am usually able to see students and tutees at other times by appointment depending on my diary commitments.