This volume, co-edited with Alice Lovejoy and Pansy Duncan is under contract with University of Minnesota Press. It presents the first book dedicated to the material history of film stock. My chapter is titled ‘Celluloid Skin. Cotton, Silver, Celluloid, Porcelain: The Racial Materialities of Film Stock’.

With Ranjani Mazumdar (Co-I) and Poorvi Gaur (Network Co-Ordinator) I am the Principal Investigator on the AHRC funded Bombay Film Colour Research Network. We are researching Hindi cinema’s conversion to colour between the 1950s and 1980s. As part of this project I am working on an essay with Josephine Diecke about the supply of East German Orwocolor film to the Bombay film industry from the 1960s.

You can learn more on website: bombayfilmcolour.wordpress.com/

This project asks whether the movement of British artists’ materials around the world from the nineteenth century changed how these products were made, stored and used—and in turn how these transformed material properties informed artistic practices in the metropole. Moving away from the British Empire as a locus of extraction or representation, it asks if we can consider colonial modernity as a techno-material, as well as an ideological paradigm in British art.