Gianluca Sergi
Associate Professor of Film Studies, Faculty of Arts
Contact
Biography
My interest in Film and TV and other screen industries stems from an early fascination with cinema while growing up in Italy. I was one of the co-founders of a film club for young people in my home town that had over 300 members. Age 13 I was the youngest person ever to deliver a presentation at the annual conference of film societies and later became a member of the managerial team running the senior film society (with over 700 members). Following that early interest, I worked in a variety of media outlets (especially radio where I co-produced and presented a live show for two years. I also worked in a local TV stations and print magazine). After being awarded two scholarships (one from local government for sustenance, the other from the EU for my fees) I decided to move to the UK to study Film and Literature at University (Warwick). During that time I also worked part-time on several productions, including a professional show fro children that aired on Channel 4. Following an MA in Mass Communication (Leicester) I wrote a PhD in film (contemporary film sound) under the supervision of Prof. Richard Maltby and Prof. Steve Neale (Sheffield Hallam). The research I carried out as part of my thesis allowed me to build a network of contacts with leading industry professionals and executives in some of Hollywood's leading companies, including Lucasfilm, Pixar, Fox, Dolby amongst others. This in turn helped me develop a keen interest in filmmakers and filmmaking practices. This interest, later extended and developed into studios practices as well as filmmaking, now forms the cornerstone of my current and future research. I have published two books in this area, am currently completing a major report. From September 2011 I have taken on the role of Director of the Institute for Screen Industries Research, a new institute whose key aim is precisely to develop greater understanding of industry and filmmakers by building bridges between academia and industry.
Expertise Summary
I am currently leading a new project aimed primarily at creating opportunities for industry partners and scholars to work together on addressing real-world questions and issues affecting the Film and TV industry today. The ultimate aim is to become an incubator of ideas for the creative industries producing both effective solutions for industry and cutting-edge research. The project brings together industrial partners, practitioners and researchers from all levels and crafts around the world to address a variety of issues and challenges faced by makers of films, TV and video games.
The first project emerging from this collaboration is a study of the role of traditional production workshops and studios in the digital age and the possible future 'models' of production that emerge out of recent developments in practices and technology (August 2011).
Following the publication of two books (Making films in Contemporary Hollywood and Cinema Entertainment), I am also working on several projects both in print and online whose main aim is to encourage as wide a debate on filmmaking practices as possible. These include a website, www.debatefilm.org, that will go live in Winter 2011. In particular, I am interested in exploring questions and debates around issues such as filmmaking practices, the transforming nature of filmmaking crafts, and the articulation of the relationship between art/entertainment and commerce). The key objective is to develop an approach to the study and appreciation of cinema that moves beyond the traditional juxtaposition of money vs art and individual effort vs. mass production which has historically produced a very negative view of entertainment and its economic, political and cultural relevance, as it is often reflected in the negative coverage of popular contemporary films.
Most of my research has been defined by engaging with filmmakers directly. In particular, researching sound has provided me with an opportunity to learn much about filmmaking practices. I consider myself fortunate that I have been able to forge and develop working relationships with several leading film sound practitioners in Hollywood (both in Los Angeles and San Francisco) including several Oscar winners. This dialogue with top level practitioners, has effectively become the cornerstone of my research methodology: interviews with and accounts of practitioners' work have substantially informed my book publications, at first on the role of sound in contemporary cinema (The Dolby Era: Film Sound in Contemporary Hollywood, 2004), and later on contemporary cinema (Making Films in Contemporary Hollywood, 2005 and Cinema Entertainment, 2009)
I would be very happy to talk to students wishing to pursue these interests as research students at either MA or PhD level. The main areas of supervision I offer broadly cover the following topics: Filmmaking practices, Film sound, Scriptwriting, Hollywood cinema. I have supervised to completion many students and have acted as both internal and external examiner in the UK and abroad.
Teaching Summary
I am very interested in a variety of issues concerning teaching and learning. In particular, the relationship between practical work and assessment is very relevant to the subjects I teach… read more
Research Summary
I am currently leading a major project aimed at creating opportunities for the film and TV industry and academia to work together on addressing opportunities and challenges facing the Film and TV… read more
Selected Publications
SERGI, G & LOVELL, A, 2009. Cinema Entertainment: Essays on Art, Films and Filmmakers McGraw-Hill/OUP. (In Press.)
LOVELL, A. and SERGI, G., 2005. Making films in contemporary Hollywood London: Hodder Arnold.
SERGI, G., 2004. The Dolby era : film sound in contemporary Hollywood Manchester: Manchester University Press.
SERGI, G., 2006. A Cry in the Dark (reprint). In: BENNETT, P., HICKMAN, A. and WALL, P., eds., Film Studies: The Essential Resource Routledge.
I am very interested in a variety of issues concerning teaching and learning. In particular, the relationship between practical work and assessment is very relevant to the subjects I teach (filmmaking practice, industry, historical developments, etc.). The way in which practice can inform theory is at the core of how I teach. I often encourage students to approach theory by doing practical activities that are designed to ground their theoretical knowledge into an understanding of issues of practice and industrial relations.
I have also recently started experimenting with alternative means of organising and delivering modules to first year students in an attempt to improve early learning experiences that are so crucial to the future success and well-being of students. I fully agree with those education experts who indicate the first year of studying at HE as the most important year of all and have tried to alleviate some common problems such as large class size, impersonal teaching, late assessment (i.e. allowing students to go throughout a module without testing their learning until the module is effectively over), poor attendance, an so forth.
I have nearly twenty yers teaching experience in a variety of contexts ranging from adult education to Sixth Form Colleges and HE (15 years). I have taught at all levels of HE education, including UG, MA and PhD as well as participated to teaching forums adn conferences (including delivering two keynotes at British Film Institute's annual conference for teachers).
I have also considerable experience in designing and delivering new courses and assessing the quality of UG adn PG degress as I have serves as external assessor on a number of degree validation panels, and external examining duties.
Current Research
I am currently leading a major project aimed at creating opportunities for the film and TV industry and academia to work together on addressing opportunities and challenges facing the Film and TV industry today, from piracy to multi-platform content and from new audiences and modes of consumption to the emergence of new countries as major producers and consumers of TV and films. The ultimate aim is to become an incubator of ideas for the creative industries producing both effective solutions for industry and cutting-edge research. The project brings together industrial partners, practitioners and researchers from all levels and crafts around the world to address a variety of issues and challenges faced by makers of films, TV and video games.
The first project emerging from this collaboration is a study of the role of traditional production workshops and studios in the digital age and the possible future 'models' of production that emerge out of recent developments in practices and technology.
Following the publication of two books (Making films in Contemporary Hollywood and Cinema Entertainment), I am also working on several projects both in print and online whose main aim is to encourage as wide a debate on filmmaking practices as possible.
In particular, I am interested in exploring questions and debates around issues such as filmmaking practices, the transforming nature of filmmaking crafts, and the articulation of the relationship between art/entertainment and commerce).
The key objective is to develop an approach to the study and appreciation of cinema that moves beyond the traditional juxtaposition of money vs art and individual effort vs. mass production which has historically produced a very negative view of entertainment and its economic, political and cultural relevance, as it is often reflected in the negative coverage of popular contemporary films.
Most of my research has been defined by engaging with filmmakers directly. In particular, researching sound has provided me with an opportunity to learn much about filmmaking practices. I consider myself fortunate that I have been able to forge and develop working relationships with several leading film sound practitioners in Hollywood (both in Los Angeles and San Francisco) including several Oscar winners. This dialogue with top level practitioners, has effectively become the cornerstone of my research methodology: interviews with and accounts of practitioners' work have substantially informed my book publications, at first on the role of sound in contemporary cinema (The Dolby Era: Film Sound in Contemporary Hollywood, 2004), and later on contemporary cinema (Making Films in Contemporary Hollywood, 2005 and Cinema Entertainment, 2009)
I would be very happy to talk to students wishing to pursue these interests as research students at either MA or PhD level. The main areas of supervision I offer broacover the following topics: Filmmaking practices, Studios practices, Contemporary Industry, Film sound, Scriptwriting, Hollywood cinema
Past Research
My past work in terms of general research and publications has mostly focussed on issues concerning filmmaking and production practices, industrial relations in Hollywood cinema,and film sound. These interests continue to inform my present and planned future work, with particular focus of course on fostering better and more effective dialogue between industry and academia.
Future Research
My current and future research will focus on developing relationships with industry and academia to foster debate around and contribute to the development of the screen industries, Film and TV in particular. The first project (an exploration of studios in the digital age) is now completed (August 2011) and I am consulting with our industry partners to develop new projects together. In addition to a report on the studios I am also currently working on wo related articles on i) the current and foreseeable outlook of studios and studio production practices and ii) the landscape of tax and government incentives for filmmakers and its effect on film and TV practices.
I am also currently working on a web project exploring the potential of wide-dissemination of current ideas and debates on the cinema that online resources offer. The website (www.debatefilm.org) encourages users to engage with and contribute to a variety of debates around notions of popular cinema, production practices and related issues.
SERGI, G & LOVELL, A, 2009. Cinema Entertainment: Essays on Art, Films and Filmmakers McGraw-Hill/OUP. (In Press.)
SERGI, G., 2006. A Cry in the Dark (reprint). In: BENNETT, P., HICKMAN, A. and WALL, P., eds., Film Studies: The Essential Resource Routledge.
LOVELL, A. and SERGI, G., 2005. Making films in contemporary Hollywood London: Hodder Arnold.
SERGI, G., 2004. The Dolby era : film sound in contemporary Hollywood Manchester: Manchester University Press.
SERGI, G., 2003. Blockbusting sound: the case of <i>The Fugitive</i>. In: STRINGER, J.E., ed., Movie Blockbusters London: Routledge. 141-152
SERGI, G., 2002. The Sonic Playground: Hollywood Cinema and its Listeners. In: STOKES, M. and MALTBY, R., eds., Hollywood spectatorship: changing perceptions of cinema audiences London: British Film Institute. 121-131
SERGI, G., 2002. The Use of the Voice in Film. In: The Visible Man Forum, Udine.
SERGI, G., 2002. A Cry in the Dark: the Role of Post-Classical Hollywood Film Sound (reprint). In: , ed., Film Cultures Reader London and New York, Routledge.
SERGI, G., 1999. Mikes and the Sound Gang. In: KRAMER, P. and LOVELL, A., eds., Screen Acting as Art and Performance Routledge.
SERGI, G., 1998. Tales of the Silent Blast: Star Wars and Sound Journal of Popular Film & Television. 26(1), 12-22 (In Press.)