Dr Andy Willis

Reader in Film Studies

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I have been teaching film and media studies in higher, further and adult education for almost thirty years. My research is focused on popular cinemas from around the world and he has published on a range of film and television related topics.
A am also currently Senior Visiting Curator (Film) at HOME (, where I have curated and programmed film seasons focusing on Spanish, British , Chinese, Taiwanese and Hong Kong cinemas. I am also a founder member of the Chinese Film Forum UK ( and was a member of the board of trustees of Cornerhouse ( until 2015.


Current Teaching on the BA Film Studies:
Level 4: ‘Film Form, Film Meaning’
Level 5: ‘Cinema Asia’, ‘Genre and Beyond’
Level 6: ‘British Television Drama: texts and contexts’, ‘Film Distribution and Exhibition’, ‘Dissertation’

Research Interests

Contemporary Hong Kong Cinema
Spanish Popular Cinemas
Film Distribution and Exhibition
Politics and British Television Drama

Qualifications and Memberships

BA (Hons) Film and Drama (Bulmershe College , Reading)
MA Cultural Studies (Thames Valley University)
PhD Film Studies (University of Nottingham)


2016 Chinese Cinemas: International Perspectives (co-editor with Felicia Chan, University of Manchester), London: Routledge.
2014 East Asian Film Stars (co-editor with Wing Fai Leung, University of Cork) Basingstoke: Palgrave. ISBN: 9781137029188
2009 Cliff Twemlow: the king of Manchester exploitation cinema (co-author with CP Lee) Manchester: Hot ‘Un Press. ISBN: 9780955625718
2007 The Cinema of Alex de la Iglesia (co-author with Peter Buse and Nuria Triana Toribio) Manchester: Manchester University Press. ISBN: 9780719071362
Journal Special Editions
2013 Co-editor, with Sarah Perks, of Film International 65, ‘My Noir’. An edition in which a wide range of artists, filmmakers and critics reflect on the idea of film noir.
2009 Co-editor, with Sarah Perks, of Film International 40, devoted to Hong Kong cinema since re-unification
Articles in Journals
2013 ‘Neo-noir: the cultural significance (and insignificance) of a film style’. In Film International 65, 11:5, pp. 32-38
2012 ‘Articulating British Chinese Experiences on Screen: Sour Sweet (1988) and Ping Pong (1986)’ co-written with Felicia Chan (University of Manchester). In Journal of Chinese Cinemas, 6:1, pp. 27-39
2011‘Painted Skin: Negotiating Mainland China’s Fear of the Supernatural’. In Asian Cinema, 22: 1, Spring/Summer, pp. 20-30.
2010 ‘Cinema Curation as Practice and Research: the Visible Secrets project as a model for collaboration between art cinemas and academics’. In Screen 51:2, pp. 161-168
Chapters in Books:
2015 ‘Violence and Politics: The influence of the Giallo in Spanish cinema of the 1970s’. In Global genres / Local Films, Elena Oliete, Beatriz Oria and Juan Tarancón (eds.), London: Bloomsbury.
2014 ‘Hong Kong Noir and the Limits of Critical Transplant’. In East Asian Film Noir, Mark Gallagher (ed.), London: IB Tauris.
2014 ‘British Chinese Short Films: Challenging the Limits of the Sinophone’ (co-written with Felicia Chan). In Sinophone Cinemas, Audrey Yue and Olivia Koo (eds.), Basingstoke: Palgrave.
2014 ‘Amando de Ossario’s Bind Dead Quartet and the Cultural Politics of Spanish Horror’. In Screening the Undead: Vampires and zombies in film and television, Leon Hunt, Sharon Lockyear and Milly Williamson (eds.), London IB Tauris, pp. 233-248
2012 ‘Paul Naschy, Exorcismo and the reactionary Spanish horror film’. In European Nightmares, Patricia Allmer, Emily Brick, David Huxley (eds.), London: Wallflower Press pp. 121-131
2012 ‘Memory Banks Failing: Life on Mars and the politics of re-imagining the 1970s’. In Life on Mars to Ashes to Ashes, Stephen Lacey and Ruth McIlroy (eds.). Cardiff: University of Wales Press.