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Professor David Roberts, Birmingham City University.


George Farquhar: A Migrant Life Reversed

Studio Space, Minghella, 15.30, Thursday, 12 October

This paper is based on the introduction to David’s forthcoming book, George Farquhar: A Migrant Life Reversed, to be published by Bloomsbury Academic in 2018. It examines the tradition of biographical writing about the Restoration dramatist George Farquhar and begins to explore how the theory and practice of migrant writing might be used to address concerns in Farquhar’s work hitherto either over-valued or disregarded as merely personal. Addressing ethical and epistemological issues in the production of literary biography, the paper presents a case for the radical revision of that genre in respect of Farquhar’s life.

David Roberts is Professor of English and Dean of the Arts, Design and Media at Birmingham City University, where he oversees and teaches at the (now) Royal Birmingham Conservatoire of Music and Acting. Recent books include Thomas Betterton and Restoration Plays and Players, both for Cambridge University Press, and The Library of a Seventeenth-Century Actor for the Society for Theatre Research.

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You are warmly invited to the next in our research seminar series on Thursday 2 March, 4.00-6.00 pm, G03, Henley Business School. We are delighted to host a talk by Andréa Franca.

Andréa’s abstract and biographical note can be found below.


The 15-minute short video Passeio Público [Public sidewalk] is a new expression of subjects dear to Andréa França’s heart as a researcher. For years she has been investigating the relationship between documentary and the usage of archive film through a few key questions which include: What artistic potential can be extracted from using archive footage in documentaries? How has such footage been reused? In what aesthetic form have the subjects of memory, history and forgetting been brought into play? The most thought-provoking documentaries in Brazilian film that draw on previously shot material are the ones that interrogate the document as objective evidence left behind by events. Passeio Público also seeks to open up the field of meaning of the images from the past. It tells a surprising story about images of the Brazilian city of Rio de Janeiro in the 1920’s. A story told through the debris of an unknown Alberto Botelho’s film made at that time and given as a gift to an Italian prince.

Andréa França Martins is researcher and Associate Professor in the Department of Social Communicationat Pontifical Catholic University of Rio de Janeiro (PUC-Rio). Member of the Decision Committee at SOCINE – Brazilian society of Cinema and Audiovisual Studies. She is the author of Terras e fronteiras no cinema politico contemporâneo (2003). Her contributions include chapter “Cinema de terras e fronteiras” for História do Cinema Mundial (2013, 7 edição), “Os brinquedos-fósseis e o tempo da memória” for Eu assino embaixo: Biografia, memória e cultura (2014), “La invención del Lugar en el cine brasilero contemporâneo” for Déplacements culturels : migrations et identités (2013), “Documentary Cinema and the Return of What Was” for New Argentine and Brazilian Cinema: Reality Effects (2013), “A imagem-excesso, a imagem-fóssil, a imagem-dissenso: propostas cinematográficas para a experiência da ditadura no Brasil” for Narrativas Sensoriais(2014). She is researcher of National Counsel of Technological and Scientific Development /CNPq.

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