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Programme Overview
Time
9-10 am
10-11.30am
Keynotes
Bob Kayley Studio
Registration (foyer)
Sue Thornham
Maureen McNeill
11.30-11.50am Break
11.50-12.50pm Parallel
Sessions
12.50-1.40pm Break
1.40-2.40pm
Break
Keynote
B147
Studio 1
Coffee
Pedagogy
Claire Molloy and students
Rebecca Feasey
Practice/ New Media
Roshini Kempadoo
Rachel Armstrong
Film Screening
This is What a Feminist Looks
Like
Lunch
Parallel
Sessions
2.50-3.50pm Parallel
Sessions
3.50-4.10pm
4.10-5.10pm
Studio 2
Discursive Issues
Lisa Purse
Ruth McElroy
Karen Wilkes
Methodology
Kathryn Geraghty
Meeta Rani Jha
Definition
Susan Berridge
Clare Walsh
Vicky Ball
Institution
Ursula Troche
Kristin Aune
Coffee
Christine Geraghty
1
Detailed Programme
2
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Detailed Programme
9-10 am
Registration
Bob Kayley Foyer
10-11.30am
Keynotes
Bob Kayley Studio
Sue Thornham (University of Sussex): ‘(Post)Feminism and the Academy’
Maureen McNeill (University of Lancaster): ‘Relative Neglect: Some Reflections on Feminism and
Cultural Studies.’
11.30-11.50am Coffee
Studio 1
11.50-12.50pm Parallel Sessions
Pedagogy:
Studio 2
Chair: Anita Biressi (Roehampton University)
Film This is What a Feminist Looks Like + Presentation by Claire Molloy, Frances Gilbert, Joanne
Bowers, Sarah Holbrook, Emma Denby and Ami Guest (Liverpool John Moores University)
Rebecca Feasey (Bath Spa University): ‘Female Students and Feminist Media Criticism: The Pleasures
and Frustrations of Teaching Gender Studies’
Respondents: Kathryn Geraghty (University College Cork), Pamela Church-Gibson (London College of
Fashion), Jan Miller (London College of Fashion)
Practice/ New Media:
B147
Chair: Clarissa Smith (University of Sunderland)
Roshini Kempadoo (University of East London): ‘Counter-practices to the Caribbean archives: the
feminised narrative of Amendments.’
Rachel Armstrong (University of East London): ‘Feminism and Medical and Artistic Practice’
Respondent: Sharif Mowlabocus (University of Sussex)
12.50- 1.40pm
Lunch
Studio 1
Film Screening
Bob Kayley Studio
This is What a Feminist Looks Like
1.40-2.40pm
Empirical:
Chair: T.B.C.
Parallel Sessions
Studio 2
Detailed Programme
3
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Elke Weissmann (Edge Hill University): ‘Count(er)ing the Feminisation of Television’
Respondent: Heather Sutherland (University of Reading)
Discursive issues
B147
Chair: Heather Nunn (Roehampton University)
Lisa Purse (University of Reading): ‘The digital is political: fighting ‘entertainment’ alibis in the
researching and teaching of mainstream digital effects cinema’
Ruth McElroy (University of Glamorgan): ‘Consuming Retrosexuality: On Screen, In Class, In Life’
Karen Wilkes (University of East London): ‘You’re Worth It! Exploring Notions of Entitlement in
Contemporary Visual Texts’
Respondent: Vicky Ball (University of Sunderland)
2.50-3.50pm
Parallel Sessions
Definition:
Studio 2
Chair: Karen Boyle (University of Glasgow)
Susan Berridge (University of Glasgow): ‘Role Models for Whom? The Pedagogic Advice Mode of
Contemporary Feminist Television Scholarship’
Clare Walsh (University of Bedfordshire): ‘The feminist mystique: why ‘feminism’ has become a dirty
word.’
Vicky Ball (University of Sunderland): ‘British feminine-gendered fiction and the feminization of
television’
Respondent: Niall Richardson (University of Sussex)
Institution
B147
Chair: Caroline Bassett (University of Sussex)
Ursula Troche (University of East London): ‘Media for activism on feminism, politics and society’
Kristin Aune (University of Derby): ‘Teaching feminism and popular culture: thoughts on third-wave
feminist pedagogy’
Respondent:
Methodology
Bob Kayley Studio
Chair: Sue Thornham (University of Sussex)
Kathryn Geraghty (University College Cork): ‘Public or Private? The Challenge of Combining Feminist
and Internet Methodologies’
Meeta Rani Jha (Working Lives Research Centre, London Metropolitan University): ‘Bombay Cinema
Practice and Feminist Cultural Methodology’
Respondent:
Detailed Programme
4
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3.50-4.10pm
Coffee
Studio 1
4.10-5.10pm
Keynote
Bob Kayley Studio
Christine Geraghty (University of Glasgow): ‘What was Feminist about Women and Soap Opera?
Reflections on Feminism and Television Studies’
5.10pm
End of Conference
Abstracts in Alphabetical Order
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Rachel Armstrong: ‘Feminism and in Medical and Artistic Practice’
The scientific method is the most successful ideology of the twentieth century and not only fuels our
industry but also shapes our experience of culture and society. Currently there is no feminist critique of
science that calls for change at the level of scientific ‘facts’ which are assumed to be untouchable truths.
Scientific research uses a traditional methodology that has lacked critical appraisal by its own systems
of enquiry since it is too close to its own methods of production. An arts based practice led research
project can make provocations through research and references that are not usually considered to be
part of a scientific narrative, yet can explore its social and philosophical implications for a broader
community which facilitates public investigation. My research currently investigates alternative
discourses of science which may then be performed using a range of media and I am particularly
interested in developing a socialist feminist perspective of scientific theory as the framework for my
performances.
Project Development:
Although at the earliest stages of my research I have begun to investigate scientific assumptions at their
most fundamental level and my reading has deconstructed classical evolutionary theory and through a
re-working using Donna Haraway’s Cyborg Manifesto, I have developed a “Cytoplasmic Manifesto” that
agitates that significant evolutionary development takes place by permission of the maternal lineage
through the cooperative entity called the cytoplasm, or cell matrix. This counterpoises the traditional
Neo-Darwinist perspective that puts cell organization at a hierarchical level whose locus of control is
centered at the nucleus. The project will develop as a series of investigations that will be workshopped
to different audiences speculating on the significance of reconfiguring the locus of control if indeed there
is one at all within the unity of biological identity termed the ‘cell’. It aims to agitate for considering
collectives within cell function that give rise to multiple identities. The outcome will be performance
based but will also include a range of texts that will be published through various outlets such as print
and online, as lectures to artists, scientists and the general public.
Kristin Aune: ‘Teaching feminism and popular culture: thoughts on third-wave feminist
pedagogy’
The decline in undergraduate women’s studies in the UK has been accompanied by a burgeoning – and
perhaps mainstreaming – of gender modules in humanities and social science degree courses. This is
often portrayed as an example of the depoliticization of academic feminism. Similarly, young women,
who have entered higher education in rapidly increased numbers over recent decades, are viewed in
popular discourse as post-feminist, more interested in shopping than social change. But the first decade
of the new millennium has seen a burgeoning new ‘wave’ of feminism amongst young women in the UK
– with the most prominent examples being websites like The F-Word, annual FEM conferences,
Abstracts in Alphabetical Order
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regional campaign groups like London Feminist Network and the Ladyfest arts festivals. This, however,
has gone largely unnoticed by academic feminists. For the new generation of feminists, media and
culture are paramount, and they are becoming newly politicised by an increasingly sexualized and bodyfocused culture and through university study. As a younger feminist who has begun teaching on
feminism and popular culture in response to student interest, and who has recently begun researching
the new forms of UK feminism, I wish to offer some reflections on this new climate. This workshop
would argue that the growth of UK ‘third-wave’ feminism represents a new opportunity for feminist
teachers and scholars of culture and media. It advocates a third-wave feminist pedagogy that learns
from and builds on earlier feminist pedagogical work and adapts to the new context of young women’s
lives.
Vicky Ball: ‘British feminine-gendered fiction and the feminization of television’
Since its inception, a central and defining strand of feminist media studies has been concerned with the
feminine-gendered identity of particular media forms; that is, how feminine-gender identity impacts on
the cultural forms which do the constructing; on the way in which they are perceived in culture as well as
how feminine-gendered identity is constructed within particular texts (Gledhill 1997: 345). Indeed, as
earlier research by feminist media academics have firmly established, areas of culture tied to the
‘feminine’ have not only been marked out as gendered in comparison to the ‘masculine’ norm but they
have enjoyed only low cultural status and are critically denigrated because of their association with
women and femininity.
This paper explores the continuing relevance of these concerns in a postfeminist context in which, as
McRobbie (2006) has argued, feminism is acknowledged within the cultural landscape as having been
‘taken into account’ (2006: 61) and the new female power is perceived to be personified through cultural
shifts such as the ‘feminization of culture’ and the ‘feminization of television’. In this paper I will suggest
that discourses of postfeminism provide an unproblematic ‘narrative of progress’ (Harris 2006:1) for
women and values constructed as ‘feminine’. More specifically, I will address a particular paradox: that
is, while the spaces and discourses associated with women now occupy a more culturally central
position, ‘feminine’ forms of drama, such as the female ensemble drama, remain the subject of critical
neglect.
Susan Berridge: ‘Role Models for Whom? The Pedagogic Advice Mode of Contemporary
Feminist Television Scholarship’
An embrace of women’s viewing pleasures is often posited as a central tenet of third wave and post
feminist television scholarship and a key distinguishing feature between contemporary versions of
feminism and its second wave, which is falsely perceived as being overly censorious. However,
paradoxically, much of this contemporary feminist criticism is embroiled with a ‘pedagogic advice mode’
Abstracts in Alphabetical Order
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on how women should ‘read’ television texts and characters, thereby neglecting to take account of the
complex and active ways in which viewers make meaning and take pleasure from texts (Brunsdon and
Spigel, 2008: 5). This advice mode is particularly prevalent in feminist criticism of television
programmes that are intended for or watched by young females, assuming these viewers to be less
discerning than adults and, therefore, in need of feminist guidance on how and what to watch. This
paper will explore the implications of this advice mode, both in relation to feminist television scholarship
and feminist studies more widely. My hypothesis is that rather than educating female students on how
to critique sexist ideologies imbued in television texts, the pedagogic advice structure of this criticism
perpetuates stereotypical notions of females being more vulnerable and passive than men and,
furthermore, serves to alienate young women from feminism by creating a sense of distance between
the feminist academic and the young female viewer.
Kathryn Geraghty: ‘Public or Private? The Challenge of Combining Feminist and Internet
Methodologies’
I have just completed the taught section of a Masters in Women’s Studies, at the University of Ireland,
University College, Cork, and am beginning the research for my minor thesis. I would like to outline my
specific attempts to combine feminist methodology with internet methodology. Here, I will give particular
emphasis to the ethics of internet research, and discuss what constitutes private space online. I am
currently formulating my research methodology and have been particularly influenced by the work of
Elgesem (n.d.); Sharf (1999); Mann and Stewart (2000) and Eysenbach and Till (2001).
For my research I am examining young women’s participation in a social networking/alt. porn website,
called www.suicidegirls.com . I can give you more details of this research topic if you wish, but my
proposal to you focuses on my experiences, rather than on my research and its possible outcomes.
Meeta Rani Jha: ‘Bombay Cinema Practice and Feminist Cultural Methodology’
In my research I investigated the crucial role of Bombay cinematic discourse (also popularly known as
Bollywood) in shaping British Asian consumption practices and subjectivity. Bollywood or Bombay
cinema practice is a key site where British Asian gendered cultural norms are constituted and
reconfigured. Bombay cinema engagement provides an emotional space to debate the discourses
constituting the terrain and boundaries of South Asian sexual pleasure, acceptability, transgressions
and individual formation as well as to articulate a critique of both Asian sexual norms and Western
sexual and racialised ideals.
In this paper I explore the reasoning behind my methodological framework. I wanted to analyze a
transnational circuit of complex and dynamic conjectural power relations forming cultural meanings,
values and norms. Therefore I adopted a feminist critical reflexive ‘circuit of culture’ methodological
approach to reveal the power relation between a researcher and her respondents and examined the
responsibility of the researcher in representing her research subjects. I wanted to research and produce
Abstracts in Alphabetical Order
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knowledge which both filled the gap in existing knowledge about British Asian subjects and which also
challenged many of the dominant Orientalist and racist ideas about them. In my research I hoped to
provide a space for the voicing of stories of everyday culture of a marginal group. Activists from feminist,
black, queer and disability movements used similar methods of voicing of counter stories, as a powerful
form of critique of mainstream epistemology. They retrieved the telling of stories as a political act – to
voice was to visibilise oneself against the grand narratives of patriarchy, racism, heterosexism and ablebodied normalisation. The voices of these groups of people had been erased out of history and
knowledge production.
I elaborate on the accountability and transparency of the research by using a plural and critically
reflexive methodological approach. In addition, using grounded theory, ethnographic ‘thick description’
and the evaluative mechanism of accountability and plausibility, a feminist researcher can produce a
rich and dense map of cultural meanings. I explore how we understand the experience of research, the
researched and ourselves. In the particular experience of doing research (spending time, knowing the
interviewees), one starts to believe that this gives one access to particular forms of knowledge which
others may not know about; that it is authentic and privileged. As Haraway points out, it is a complex
politics of location at stake not relativism. A politics of location recognizes that I can have commonalities
with my respondents but these are by no means universal (Haraway, 1988).
Roshini Kempadoo: ‘Counter-practices to the Caribbean archives: the feminised narrative of
Amendments’
This presentation explores the Caribbean archives and the Trinidad archive (1838 – 1938) in particular
as being inherently problematic in two ways. On the one hand, the tendency is towards a conservative
and conventional mode of archival conservation and curation; while on the other, there is a persistent
way in which the Trinidad colonial archive is limited by the inherent absence of particular and
personalised narratives. I would like to present the artwork Amendments (2007) as a fictional interactive
work that interprets historical material of the Trinidad archive to centralise the Trinidadian women’s
presence and everyday experience of the colonial period. As a creolised practice, Amendments offers a
metaphoric method for the retrieval and reconfiguration of archival accounts formulated in the ‘language’
of the male colonial figure. The artwork also allows for an expansion of social and historiographical
space to take account of the imagined horizons and everyday practices of the plantation worker
experience.
Ruth McElroy: ‘Consuming Retrosexuality: On Screen, In Class, In Life’
This paper seeks to identify some of the televisual and filmic sites for the making of retrosexualities,
understood as depoliticising interventions in contemporary consumer culture. I begin by outlining
competing definitions of retrosexuality, before offering a typology of screen-based retrosexualities
across both dramatic and factual entertainment forms. Drawing upon the work of feminist scholars such
Abstracts in Alphabetical Order
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as Arthurs, Hollows, Gill, and McRobbie, I argue that the nostalgic object has come to stand as the
televiusal and filmic object of a stylised consumerist self-formation, offering modes of connection and
commonality against difference. In particular, I am interested in the screen’s capacity to animate selfreflexivity, not only through participants and actors, but through its own animated self-recollections,
epitomised in the recent BBC Wales drama, Life on Mars and its impoverished sequel, Ashes to Ashes.
Screen fantasies of the past – and their dramatisation of sexual relations – are then considered in both
classroom and academic professional contexts for the kinds of discourse they may elicit and those they
adroitly deny the feminist media scholar working in universities where Gene Hunt’s contemporaries may
still thrive.
Claire Molloy and students: ‘This is What a Feminist Looks Like’
The film is a short 10 minute documentary that was made by a group of 5 female 3rd year
undergraduates on the BA Screen Studies programme at Liverpool John Moores University. One of the
main motivations for making this documentary, for the students, was to attempt to make sense of what it
means to identify as a feminist at this point in time. The documentary manages to mix a balance of
humour and serious enquiry as it looks at stereotypes of the 'feminist' and then asks 'what does a
feminist look like?'.
The documentary has a brief introduction to feminism as a movement. It includes interviews with four
people who identify as feminists and it is centrally concerned with challenging the stereotypes of
feminism. It is also keen to highlight the ways in which feminism is rejected in popular culture and to ask
why women no longer wish to be associated with feminism.
The students and I will discuss motivations, feelings and thoughts behind the film and in the production
process.
Lisa Purse: ‘The Digital is Political: Fighting ‘Entertainment’ Alibis in the Researching and
Teaching of Mainstream Digital Effects Cinema’
Confronted by the increasing ubiquity of digital effects spectacle in current popular cinema, various
writers (Aylish Wood, Stephen Prince, and Kristin Whissel amongst others) have started to excavate the
ways in which digital imaging may produce meaning within the film text, and provoke certain responses
in the spectator. And yet such writing, while extremely valuable, stays almost silent on the political
dimensions of the representations produced by digital imaging. At the same time, in the media
discourses and multiplying plethora of movie paratexts circulating around film texts such as King Kong
(2005), Sin City (2005), 300 (2007), Beowulf (2007) and Speed Racer (2008), a myopic fetishisation of
digital technologies and digital image production noticeably points the spectator towards a mythic
utopian vision of capitalist-technological empowerment, and away from detailed perusal of the films’
representational dynamics. Such movies hardly offer innocent pleasures, indeed they most often represent reactionary and often deeply prejudiced representations of gender, race, and sexuality, with
Abstracts in Alphabetical Order
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women’s bodies spectacularised, objectified, and/or insistently digitally ‘sanitised’. This paper will
meditate, and I hope foster necessary debate, on the following directly personal but also critically
pertinent questions: Are the alibis Hollywood pushes – that such films should be framed and explained
away as ‘only entertainment,’ ‘just’ a comic book adaptation (for example), ‘just’ feats of digital
technology as pleasure – preventing many researchers of film from engaging properly with the
underlying politics of these movies? Is ‘entertainment’ of this kind not worthy of extended critical
engagement, is there a resignation operating about the neo-conservative nature of our neo-liberal US
and UK cultures, or no appropriate avenue or audience for protesting readings? And how do we teach
the ideological operations of such texts to students who emerge in this contemporary moment of
amnesia and erasure – erasure not least of both the ideological work of (second wave and third wave)
feminism, and of the ideological work that shapes these digitally imaged ‘others’.
Ursula Troche: ‘Media for Activism on Feminism, Politics and Society’
Where bell hooks still wrote ‘From Margin to Centre ‘(1984), we seem to be moving back to the margin.
Development such as the case of Sheila Rowbotham’s threatened forced departure illustrates the low
status of feminism. In Rowbotham’s case not only her feminism in general is under attack but her
socialist feminism. If feminism has seen a resurgence, then it is because it has less radical contents
which, on the whole, does not call for social change anymore but individual change. The personal has
thus been dangerously privatised and moved away from the political.
Feminism had also made space to discuss ‘race’ and racism and contributed to the emergence of
cultural studies. Now cultural studies and feminist/women’s studies have been dismantled, along with
African centred studies (such as at Sheffield University and UEL). Next under threat is sociology with
dwindling provision at university, FE colleges or WEA centres. These developments run counter to
policy-makers’ vision to get people and communities to participate in society.
Cause of the demise of feminism and other disciplines for social change is the drive towards the
marketisation of education. Students and trade unions are organising against this (Education not for
Sale; UCU), with which I am involved. I am calling therefore for the establishment of networks that
would form alliances between campaigns that support the cause of feminism, education for all and
similar aims.
Film and other media are necessary to document our experience, move forward, (re)gain status, power
and increase our visibility. Media has to be part of a network of action on the issues mentioned above.
Hence I will be discussing the links between media, feminism, education and fighting marginalisation,
arguing for a practice-oriented methodology to maximise impact and make the point of feminism
intelligible and important beyond feminists.
Abstracts in Alphabetical Order
11
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Clare Walsh (University of Bedfordshire): ‘The feminist mystique: why ‘feminism’ has become a
dirty word’
This paper will trace the etymology of the term ‘feminism’, and will then go on to explore its subsequent
semantic ‘derogation’, primarily in, relation to the fragmentation of the so-called ‘second wave’ of the
feminist movement into multiple, and often competing, feminisms. The paper will also evaluate critically
the role played by the media in discrediting feminism in all its guises, not least by foregrounding
divisions between feminists, as well as by implicating its claims in a more general revisionist backlash
against political correctness from the late-1960s onwards (Faludi, 1999). It will consider whether the
term is worthy of reclamation, or whether it has lost its usefulness and may even have become a barrier
to on-going efforts to achieve equality between the sexes. It will conclude by giving a voice to a new
generation by playing edited excerpts from a recording of a discussion in which young women (and
one man, because his opinions are ‘worth it too’) in a final year undergraduate module on ‘Women and
Culture’ are asked to reflect on what feminism means to them.
Elke Weissmann (Edge Hill University): ‘Count(er)ing the Feminisation of Television’
Television has in recent years been criticised for the increased feminisation (and ‘consequent’ loss in
‘quality’) of its output and staff. Senior broadcasters including Michael Burke and cultural critics argue
that because there are more women working in the television industry, there are now more programmes
that are aimed at a female demographic – and this means that television now focuses on make-over
shows, soap operas and reality television. Whilst the quality assessments of these critics are in
themselves problematic, this paper will argue that ideas of feminisation are grossly exaggerated. It will
make a stand for the use of empirical research and quantitative methods as a means to intervene in this
debate and show – with statistical data – that the number of senior television executives are still
relatively low and that programming aimed at women has become more generic and more relegated to
specific time slots, therefore creating a more stereotyped address to women which does not match the
reality of contemporary women’s lives.
Karen Wilkes: ‘You’re Worth It! Exploring Notions of Entitlement in Contemporary Visual Texts’
The aim of this paper is to embark on a discussion regarding the visual representation of women in the
contemporary, neo-liberal and ‘post’ feminist context.
Despite the indications or assumptions that feminism is no longer relevant, the continued sexualisation
and construction of the female body being used in advertising, music videos and life-style publications
as the site of heterosexual desire, suggests otherwise. There is a need to continually examine the
discourses which circulate and reproduce unremittingly narrow and restrictive representations of women
in the post modern context where we are led to believe that alternatives to the traditional gender
binaries are possible and obtainable.
Abstracts in Alphabetical Order
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I draw on the critical analysis of gender and representations of femininity and consumption in Rosalind
Coward’s (1984) classic text Female Desire, in which Coward draws on her own experiences to
examine the taken for granted association of women with beauty.
In this paper, I aim to explore the use of the white female body to reinforce hierarchical differences
between men and women, which includes a process of normalising notions of entitlement and privilege,
seemingly ascribed to western ideals of beauty and femininity. By taking a selection of L’Oreal adverts
and their slogan “You’re Worth It”, I aim to examine the process of hailing the female subject as worthy
of attention and beautification. What are the limits of the alleged liberalising effect of such advertising
and consumption? Although there have been gains achieved through the feminist movement as there is
not an absolute lack of choices for white women, and they are not faced with the same constraints as
women from racialised communities, but what are they indeed worth if they continue to earn 20% less
than men in the ‘post’ feminist context?
Names and Email Addresses
13
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Name
Armstrong, Rachel
Affiliation
University of East London
email address
grayanat@yahoo.co.nz
Aune, Kristin
University of Derby
k.aune@derby.ac.uk
Bainbridge, Caroline
Roehampton University
c.bainbridge@roehampton.ac.uk
Ball, Vicky
University of Sunderland
vicky.ball@sunderland.ac.uk
Bassett, Caroline
University of Sussex
C.Bassett@sussex.ac.uk
Berridge, Susan
University of Glasgow
seberridge@yahoo.co.uk
Betterton, Rosemary
Lancaster University
r.betterton@lancaster.ac.uk
Birch, Anna
Manchester Metropolitan University
silvabirch@btinternet.com
Biressi, Anita
Roehampton University
biressi@aol.com
Boyle, Karen
University of Glasgow
k.boyle@tfts.arts.gla.ac.uk
Budgeon, Shelley
University of Birmingham
s.budgeon@bham.ac.uk
London College of Fashion
p.church-gibson@fashion.arts.ac.uk
Church-Gibson,
Pamela
Central School of Speech and
Crabb, Jamie
Drama
j.crabb@cssd.ac.uk
Feasey, Rebecca
Bath Spa University
r.feasey@bathspa.ac.uk
Geraghty, Christine
University of Glasgow
c.geraghty@tfts.arts.gla.ac.uk
University of Ireland, University
Geraghty, Kathryn
College Cork
kathgld@gmail.com
Gilber, Frances
Liverpool John Moores University
f.gilbert86@googlemail.com
Holbrook, Sarah
Liverpool John Moores University
sarahjh86@gmail.com
Holland, Patricia
Bournemouth University
pholland@bournemouth.ac.uk
Jha, Meeta Rani
Working Lives Research Institute
meetarani65@hotmail.com
Kempadoo, Roshini
University of East London
r.kempadoo@gmail.com
Kosetzi, Konstantia
Aristotle University of Thessaloniki
konstantia.kosetzi@gmail.com
Lawson, Jenny
University of Leeds
pcjl@leeds.ac.uk
Lindner, Katharina
University of Glasgow
k.lindner.1@research.gla.ac.uk
McElroy, Ruth
University of Glanmorgan
rmcelroy@glam.ac.uk
McNeil, Maureen
Lancaster University
m.mcneil@lancaster.ac.uk
Miller, Janice
London College of Fashion
j.miller@fashion.arts.ac.uk
Mowlabocus, Sharif
University of Sussex
S.J.Mowlabocus@sussex.ac.uk
Munford, Becky
Cardiff University
munfordr@cardiff.ac.uk
Nunn, Heather
Roehampton University
H.Nunn@roehampton.ac.uk
Omar, Qamar Salad
Somali Pen
qamarmac@hotmail.com
Polyzou, Alexandra
Lancaster University
a.polyzou@lancaster.ac.uk
Purse, Lisa
University of Reading
l.v.purse@reading.ac.uk
Richardson, Niall
University of Sussex
N.D.Richardson@sussex.ac.uk
Ritchie, Ani
Southampton Solent University
Ani.Ritchie@solent.ac.uk
Smith, Clarissa
University of Sunderland
clarissa.smith@sunderland.ac.uk
Sutherland, Heather
University of Reading
h.a.sutherland@reading.ac.uk
Tate, Sue
University of the West of England
Sue.Tate@uwe.ac.uk
Central School of Speech and
Terret, Liselle
Drama
l.terret@cssd.ac.uk
Thornham, Helen
City University
h.thornham@city.ac.uk
Thornham, Sue
Sussex University
S.Thornham@sussex.ac.uk
Names and Email Addresses
14
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Troche, Ursula
University of East London
ursulatroche@yahoo.co.uk
Walsh, Clare
University of Bedfordshire
Clare.Walsh@beds.ac.uk
Weissmann, Elke
Edge Hill University
w_elke@hotmail.com
White, Rosie
Northumbria University
rosemary.white@unn.ac.uk
Wilkes, Karen
University of East London
K.Wilkes@uel.ac.uk