Dr Michael Hammond

Position: Senior Lecturer

Location: 65/1005
Extension: 26708
Telephone: (023) 8059 6708
Fax: (023) 8059 2859
Email Dr Michael Hammond

Research interests

My interests lie in the transnational nature of Hollywood from the silent period to the present day. This includes issues of globalization, reception, exhibition, genre, and the migration of production personnel. I welcome PhD proposals in any of these areas.

Research projects

I am presently working on a British Academy funded project entitled 'The After Image of the Great War in Hollywood, 1919-1939'. The overall aim of this work is the impact of the Great War on the aesthetics of Hollywood in the interwar period. Aspects of this work include the history of scriptwriting and the relationship between medical discourse on shell shock and the portrayal of veterans across genres in this period.

Publications

Books

(ed., with Michael Williams) Goodbye to All That: British Silent Cinema and The Great War (Exeter: Exeter University Press, 2008, forthcoming)

(ed., with Linda Ruth Williams) American Cinema since 1960 (New York and London: Open University/McGraw-Hill, 2006)

The Big Show: British Cinema Culture in the Great War (Exeter: Exeter University Press, 2005)

(ed., with Lucy Mazdon) Contemporary Television Series (Edinburgh: Edinburgh University Press, 2005)

Articles

'"Mr Elliot Books Chaplins Direct”: Essanay’s Exclusives Strategy in Southampton 1915' in Networks of Entertainment: Early Films Distribution 1895-1915, edited by Frank Kessler and Nanna Verhoeff (London: John Libbey, 2007), pp.105-13.

'Cinema in Southampton' in Southampton: Gateway to the British Empire, edited by Miles Taylor (London: I.B.Taurus, 2007).

'Charles Chaplin' in Journeys of Desire: European Actors in Hollywood, edited by Ginette Vincendeau and Alistair Phillips (London: BFI, 2006).

'"A Great American Sensation": Thomas Ince's Civilization at The Palladium, Southampton, 1917’, in Hollywood Abroad: Audiences and Cultural Exchange, edited by Richard Maltby and Melvyn Stokes (London: BFI, 2004).

'Saving Private Ryan's "Special Affect"' in The Action and Adventure Cinema, edited by Yvonne Tasker (London: Routledge, 2004), pp. 156-66

'Laughter During Wartime: The Comedy and the Language of Trauma in British Cinema Regulation 1917', Screen, 44:2 (Summer 2003)

'The Men who came Back: Recognition and Anonymity in the Roll of Honour Films of the Great War', Scope: Online Journal of Film Studies, University of Nottingham (2002).

'Some Smothering Dreams: The Combat Film in Contemporary Hollywood', in Genre and Contemporary Hollywood, edited by Steve Neale (London: Routledge, 2002).

'Letters to America: British Exhibitors Write to Selig Polyscope', in Young and Innocent?: Cinema and Britain, 1896-1930, edited by Andrew Higson (Exeter: Exeter University Press, 2002).

'Cultivating Pimple: The Film Comedy of Fred and Joe Evans', in British Silent Comedy, edited by Larraine Porter and Alan Burton (Bath: Flicks Books, 2000), pp. 58-68.

'Propaganda', 'Family Melodrama' and 'Media Events', entries in Critical Dictionary of Film and Television Theory, eds. Roberta Pearson and Phillip Simpson (London: Routledge, 2000).

'"A Soul-Stirring Appeal to Every Briton": The Reception of The Birth of a Nation in Britain (1915-1916)', Film History, 11.3 (1999), pp. 353-70.

(with A. Massey) "'But it was true! How can you laugh?" The reception of Titanic in Britain and Southampton', in Titanic: Anatomy of a Blockbuster, edited by Gaylyn Studlar and Kevin Sandler (Rutgers, NJ: Rutgers University Press, 1999).

'Education or Entertainment: Public and Private Interpretations of Battle of the Somme (1916)', in Alan Burton, ed., Beyond Grierson: Studies in the British Non-Fiction Film (Bath: Flicks Books, 1999)

' The Historical and Hysterical: Melodrama, War and Dead Poets Society', in You Tarzan: Masculinity, Movies and Men, edited by Pat Kirkham and Janet Thumim (London: Lawrence and Wishart, 1993).

Biographical notes

I took my BA in History at California State University Los Angeles, my MA in Film Studies at the University of East Anglia, and my PhD at Southampton Institute. I am currently a Senior Lecturer in the English Department at the University of Southampton.

Teaching responsibilities for Dr Michael Hammond
Module title	Module code	Discipline	Role
Archaeology of Cinema	FILM1017	Film,Cinematics & Photography	Course leader
Early Film	FILM2002	Film,Cinematics & Photography	Course leader
Nineteeth Century Visual Sensations	ENGL2060	English Studies	Course leader
American Cinema Since 1965	FILM3006	Film,Cinematics & Photography	Tutor
Crowds, Cities and the Popular Arts	ENGL2065	English Studies	Tutor
Dissertation	ENGL3016	English Studies	Tutor

Publications from e–Prints Soton

	Williams, Linda Ruth and Hammond, Michael (eds.) (2006) Contemporary American Cinema, London, UK; U.S.A. and Canada, Open University Press; McGraw-Hill, 584pp.
	Hammond, Michael (2006) The big show: British cinema culture in the Great War (1914-1918), Exeter, University of Exeter Press, 315pp. (Exeter Studies in Film History)
	Hammond, Mary (2005) Presentation and proposal. In, Anderson, Linda (ed.) Creative Writing: a Workbook with Readings. London, UK, Routledge, 397-412.
	Hammond, Michael and Mazdon, Lucy (eds.) (2005) The contemporary television series, Edinburgh, UK, Edinburgh University Press, 272pp.
	Hammond, Michael (2004) Saving Private Ryan's 'special affect'. In, Tasker, Yvonne (ed.) The Action and Adventure Cinema. London, Routledge, 153-166.
	Hammond, Mike (2003) Laughter during wartime: the comedy and the language of trauma in British cinema regulation 1917. Screen, 44, (2), 222-228.
	Hammond, M. (2002) Some smothering dreams: the combat film in contemporary Hollywood. In, Neale, Steve (ed.) Genre and Contemporary Hollywood. London, UK, British Film Institute, 62-76.
	Hammond, M. (2002) Letters to America: a case study in the exhibition and reception of American films in Britain, 1914-18. In, Higson, Andrew (ed.) Young and Innocent? The Cinema in Britain 1896-1930. Exeter, University of Exeter Press, 128-143.