William Brown is an Honorary Fellow for the School of Arts at the University of Roehampton, London, UK, where he was Reader and taught film for 10 years. Prior to that, he was Lecturer in Film at the University of St Andrews and Heath Harrison Fellow of Modern Languages at the University of Oxford, where he completed his DPhil in 2007. His research expertise focuses on aspects of contemporary global cinemas, including: digital and new media, posthumanism, critical race theory, and film-philosophy.
He has published numerous essays in journals and edited collections (as per his Publications page), and is also the author of The Squid Cinema from Hell: Kinoteuthis Infernalis and the Emergence of Chthulumedia (with David H. Fleming, Edinburgh University Press, 2020), Non-Cinema: Global Digital Filmmaking and the Multitude (Bloomsbury, 2018), Supercinema: Film-Philosophy for the Digital Age (Berghahn, 2013), and, with Dina Iordanova and Leshu Torchin, of Moving People, Moving Images: Cinema and Trafficking in the New Europe (St Andrews Film Studies, 2010).
He is also the editor, with David Martin-Jones, of Deleuze and Film (Edinburgh University Press, 2012), and, with Jenna P-S Ng, of a Special Issue (7:3, November 2012) of animation: an interdisciplinary journal on the film Avatar (James Cameron, USA, 2009).
William is also a maker of zero- to low-budget films, produced under the umbrella of Beg Steal Borrow.
He has directed various feature films and shorts, including En Attendant Godard (2009), Afterimages (2010), Common Ground (2012), China: A User’s Manual (Films) (2012), Selfie (2014), Ur: The End of Civilization in 90 Tableaux (2015), The New Hope (2015), Circle/Line (2016), Letters to Ariadne (2016), St Mary Magdalen’s Home Movies (short, 2016), Roehampton Guerrillas (2011-2016) (2017), #randomaccessmemory (2017), Sculptures of London (short, 2017), Clem (short, 2018), The Benefit of Doubt (2019), Vlado and William (2019),
This is Cinema (2019), La Belle Noise (2019), Golden Gate (short, 2019), Coyote (short, 2020), The New Hope 2 (2020) and Mantis (post-production). He has also directed various music videos for the London-based band Extradition Order.
William is now based in Vancouver, British Columbia.
9 thoughts on “About”
Quite interesting website 😉 Did you study film?
I eventually studied film. I now teach film. Thanks for the comment!
Is Afterimages available anywhere?
I’d be delighted to send you a copy once I burn off a few more copies and if you give me an address.
Thank you. That would be great. Can you give me your email address? I am reluctant to post my address here.
I produced DRAGONSLAYER and wanted to thank you for the incredibly insightful and considered review you gave it from LFF. It truly moved me.
I saw you talk yesterday at the screening. I should have said hello afterwards, not least because I thought the film you guys have made would go down really well with a lot of my students at the university where I teach. Plus because I should spend more time trying to show my own films to people…
Nonetheless, it is great to hear from you – and many thanks for the positive comment…!
Do please write about The Passenger. I enjoyed listening to your comments during the BFI discussion.
Many thanks for the kind comment! Et voilà… I hope that it is not too incoherent…: https://wjrcbrown.wordpress.com/2019/01/22/philosophical-screens-professione-reporter-the-passenger-michelangelo-antonioni-italy-spain-france-1975/