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Andrew Spicer is Professor of Cultural Production in the Department of Arts and Cultural Industries at University of the West of England. He co-ordinates the AHRC-funded 3D3 Centre for Doctoral Training He was recently principal investigator for a major two-year (Feb. 2010-Jan. 2012) AHRC-funded research project: ‘Michael Klinger, the Role of the Producer and the British Film Industry in the 1960s and 1970s’. In addition to journal articles and a conference (April 2011), the project generated the definitive study of Michael Klinger published by I.B. Tauris, The Man Who Got Carter - Michael Klinger, Independent Production and the British Film Industry with Anthony McKenna which was awarded First Prize in the 2015 British Association of Film, Television and Screen Studies (BAFTSS) Best Book category. Spicer attended the presentation in Manchester Town Hall on 16 April 2015. The Association’s judges were impressed by a book that opened out new directions for the study of film by focusing on the neglected role of the producer: ‘Director-focused and star-focused more often than not, scholars don’t often think about the producer.’ They also praised a book in which ‘scrupulous archival research is transformed into clear authoritative prose and a sweeping sense of narrative. It's original, uncluttered, fresh and important.’
Andrew is currently engaged, with Steve Presence, on a three-year European-funded research project: Success in the Film and Television Industries (SiFTI), which investigates the production cultures of film and television companies in four European countries: Norway, Denmark, The Netherlands and the UK. Andrew is currently writing the chapter, ‘Managing Creativity in Two UK Television Companies’, in Eva Bakoy, Roel Puijk and Andrew Spicer (eds), Creating Successful and Sustainable Film and Television Companies: A Comparative Study of Four European Countries (Bristol: Intellect, 2017), the major outcome of the project.
Spicer and Steve Presence wee recently awarded a Higher Education Innovation Funding (HEIF 6) for: ‘Investigating and Analysing the Film and Television Industries in Bristol and their Impact on the Creative Economy of the Bristol Region’. This is a ten month project (1 October 2015 – July 2016) that aims to provide systematic data about the formation, size, location, turnover, personnel, networks and systems pertaining to the expanding film and television industries in Bristol and an accompanying analysis of their economic, social and cultural impact It complements the SiFTI project and the Bristol and Bath by Design AHRC-funded project. A graduate research intern (.8) will be appointed whose work will be directed by Spicer and Presence. In addition to providing a comprehensive data set, the research intern will develop a website and various social media accounts that will promote and provide information about the project, be regularly updated and include information about how to participate; set up a programme of invited speakers from the companies involved in the project to UWE students and staff; and organise a closing public engagement event with key industry professionals and stakeholders to share the outcomes of the project and discuss the development of subsequent knowledge exchange activities. Spicer and Presence will compose and publish a preliminary report accompanying the dataset, aimed at industry professionals and stakeholders and start to shape a future funding bid.
Spicer co-wrote the Introduction and the chapter ‘The independent producer and the state: Simon Relph, government policy and the British film industry, 1980-2005’, in Spicer, A., McKenna, A. and Meir, C., eds. (2014) Beyond the Bottom Line: The Producer in Film and Television Studies. New York and London: Bloomsbury Academic (2014), pp. 65-93. He is currently working on a monograph on Sean Connery for the BFI/Palgrave Macmillan ‘Stars’ series. Andrew is an international authority on the representation and historical construction of masculinity and on film noir and is the author of the most widely used single volume study: Film Noir (Longman/Pearson Education, 2002) that has sold 4,000 copies. He has also written extensively on British cinema. In addition to Film Noir, Andrew is the author of four other monographs: An Ambivalent Archetype: Masculinity, Performance and the New Zealand Films of Bruno Lawrence (Kakapo Books, 2000); Typical Men: The Representation of Masculinity in Popular British Cinema (I.B. Tauris, 2001/2003); Sydney Box (Manchester University Press, 2006); and the Historical Dictionary of Film Noir (Scarecrow Press, 2010). He has edited three books: Sydney Box’s autobiography: The Lion That Lost Its Way and Other Cautionary Tales of the Show Business Jungle (Scarecrow Press, 2005); European Film Noir (Manchester UP, 2007and : Companion to Film Noir (with Helen Hanson, Wiley/Blackwell, 2012).
Andrew has contributed numerous entries for reference works including: 13 entries for the Encyclopedia of British Cinema (Methuen/BFI, 2003, rev. 2005, 2008 and 2011); 14 entries for Directors in British and Irish Cinema: A Reference Companion (British Film Institute, online 2003, book version, 2006); and 12 entries for the New Oxford Dictionary of National Biography (Oxford University Press, 2004 and subsequent revisions); and the entry on 'Masculinity and Film' for the International Encyclopedia for Masculinities (Routledge, 2007, in press).
Andrew is a member of the Editorial Board for the Journal of British Cinema and Television, the leading forum for research and scholarship in this field, and also on the editorial board of the recently launched Journal of Screenwriting that aims to transform this neglected area of film studies. He has been a member of the Peer Review College for the Arts and Humanities Research Council and is a subject adviser for film to the New Oxford Dictionary of National Biography. Andrew also sits on several other editorial advisory panels and is an adviser and peer reviewer for a number of publishers and journals.
Andrew is currently engaged, with Steve Presence, on a three-year European-funded research project: Success in the Film and Television Industries (SiFTI), which investigates the production cultures of film and television companies in four European countries: Norway, Denmark, The Netherlands and the UK. Andrew is currently writing the chapter, ‘Managing Creativity in Two UK Television Companies’, in Eva Bakoy, Roel Puijk and Andrew Spicer (eds), Creating Successful and Sustainable Film and Television Companies: A Comparative Study of Four European Countries (Bristol: Intellect, 2017), the major outcome of the project.
Spicer and Steve Presence wee recently awarded a Higher Education Innovation Funding (HEIF 6) for: ‘Investigating and Analysing the Film and Television Industries in Bristol and their Impact on the Creative Economy of the Bristol Region’. This is a ten month project (1 October 2015 – July 2016) that aims to provide systematic data about the formation, size, location, turnover, personnel, networks and systems pertaining to the expanding film and television industries in Bristol and an accompanying analysis of their economic, social and cultural impact It complements the SiFTI project and the Bristol and Bath by Design AHRC-funded project. A graduate research intern (.8) will be appointed whose work will be directed by Spicer and Presence. In addition to providing a comprehensive data set, the research intern will develop a website and various social media accounts that will promote and provide information about the project, be regularly updated and include information about how to participate; set up a programme of invited speakers from the companies involved in the project to UWE students and staff; and organise a closing public engagement event with key industry professionals and stakeholders to share the outcomes of the project and discuss the development of subsequent knowledge exchange activities. Spicer and Presence will compose and publish a preliminary report accompanying the dataset, aimed at industry professionals and stakeholders and start to shape a future funding bid.
Spicer co-wrote the Introduction and the chapter ‘The independent producer and the state: Simon Relph, government policy and the British film industry, 1980-2005’, in Spicer, A., McKenna, A. and Meir, C., eds. (2014) Beyond the Bottom Line: The Producer in Film and Television Studies. New York and London: Bloomsbury Academic (2014), pp. 65-93. He is currently working on a monograph on Sean Connery for the BFI/Palgrave Macmillan ‘Stars’ series. Andrew is an international authority on the representation and historical construction of masculinity and on film noir and is the author of the most widely used single volume study: Film Noir (Longman/Pearson Education, 2002) that has sold 4,000 copies. He has also written extensively on British cinema. In addition to Film Noir, Andrew is the author of four other monographs: An Ambivalent Archetype: Masculinity, Performance and the New Zealand Films of Bruno Lawrence (Kakapo Books, 2000); Typical Men: The Representation of Masculinity in Popular British Cinema (I.B. Tauris, 2001/2003); Sydney Box (Manchester University Press, 2006); and the Historical Dictionary of Film Noir (Scarecrow Press, 2010). He has edited three books: Sydney Box’s autobiography: The Lion That Lost Its Way and Other Cautionary Tales of the Show Business Jungle (Scarecrow Press, 2005); European Film Noir (Manchester UP, 2007and : Companion to Film Noir (with Helen Hanson, Wiley/Blackwell, 2012).
Andrew has contributed numerous entries for reference works including: 13 entries for the Encyclopedia of British Cinema (Methuen/BFI, 2003, rev. 2005, 2008 and 2011); 14 entries for Directors in British and Irish Cinema: A Reference Companion (British Film Institute, online 2003, book version, 2006); and 12 entries for the New Oxford Dictionary of National Biography (Oxford University Press, 2004 and subsequent revisions); and the entry on 'Masculinity and Film' for the International Encyclopedia for Masculinities (Routledge, 2007, in press).
Andrew is a member of the Editorial Board for the Journal of British Cinema and Television, the leading forum for research and scholarship in this field, and also on the editorial board of the recently launched Journal of Screenwriting that aims to transform this neglected area of film studies. He has been a member of the Peer Review College for the Arts and Humanities Research Council and is a subject adviser for film to the New Oxford Dictionary of National Biography. Andrew also sits on several other editorial advisory panels and is an adviser and peer reviewer for a number of publishers and journals.