Kingsley Marshall is a Senior Lecturer and Head of Film within the School of Film & Television at Falmouth University in the UK, a department which includes undergraduate degrees in BA Film, BA Television and a postgraduate programme, MA Film & Television. For over twenty years, he has also worked as an entertainment journalist contributing film, video game and music criticism, features, interviews and reviews for magazines worldwide, including Clash and Little White Lies magazines in the UK, Sabotage Times online & Magnetic overseas.
This site is the archive both of that writing, scholarship and associated ephemera.
Kingsley has interviewed filmmakers, musicians, and designers for over 30 publications and broadcasters worldwide, written album sleeve notes and biographies for over 100 artists, and contributed to anthologies on hip hop and soul. His byline has appeared in Mixmag, Dazed & Confused, DJ, Touch, Shook, Big Screen, Blues & Soul, Darker Than Blue, Grand Slam, Breaking Point, Wax, ATM, Knowledge, Amazon, Stranger, Notion, Muzik, and Hip Hop Connection amongst others in the UK, in addition to Break It Up in France, 3D World in Australia, Zavtone in Japan, and MTV, Urb, Massive, BPM and XLR8R in the US. Since 2003, he has also contributed video game criticism and technology features and interviews to the BBC, iDJ and Notion, and served as the Editor of a games and technology section in Clash magazine.
His academic research primarily orientates around the use of sound (including music and effects) in film and television, and the cinematic representation of the real, including historical figures and events with a specialism in the US presidency. A PhD research project with the University of East Anglia, entitled The Unification of Film Sound, interrogates the use of sound and subjectivity in representations of the Iraq War – including film, television and video games.
The project is structured around close study informed by a series of interviews with leading film practitioners, including the multiple Academy Award winners behind The Hurt Locker – director Kathryn Bigelow, screenwriter Mark Boal, sound designer Paul Ottosson and editor Chris Innis. Other interviewees for the project include director Paul Greengrass, the cinematographers Barry Ackroyd, Peter Suschitzky and James Whitaker, sound designers Walter Murch and Ben Burtt, composers John Powell, Marco Beltrami, Buck Sanders, David Shire, Marvin Hamlisch, Lee Ranaldo, Jon Cameron, Craig Armstrong and Lalo Schifrin, in addition to a number of editors, sound recordists, directors and producers. The first part of this project was published as part of Kathryn Bigelow: Interviews, through the University of Mississippi Press.
He has presented papers on the representation of US presidents in cinema at Oxford University, Rider University and as an invited speaker at the University of London, and contributed to Presidents In The Movies: American History and Politics on Screen, published by Palgrave Macmillan as part of their Evolving Presidency series. ‘The Cinematic Watergate: From All the President’s Men to Frost/Nixon’ was included in Watergate Remembered, a book which considered the legacy of the scandal that engulfed the US presidency. Publication coincided with the 40th anniversary of Watergate, again on Palgrave Macmillan.
More recently, in collaboration with Rupert Loydell, Kingsley has focused on the production techniques employed by Brian Eno. Having presented papers at the Modular Forms conference at Roehampton University and at the Music & Moving Image conference in New York, this work was published in the Journal of Visual Arts Practice in 2016. A second work centred around collaboration, chance and the Oblique Strategies was published by Bloomsbury in 2016 within Brian Eno: Oblique Music, edited by Sean Albiez and David Pattie.
Kingsley began writing at the tail end of the 1980s – an expansive record collection having taken him from the turntables to the recording studio and, eventually, the word processor. In recent years, like some kind of musical Marty McFly, he’s made the return journey, and intends to finally deliver on a record deal, originally signed in 1998, in 2018. He is aware that his album has taken longer than Guns N’ Roses Chinese Democracy and hopes that it too will enjoy similar levels of multi-platinum success.
Kingsley established Deconstructed Live in 1996, a set of club nights at a smattering of venues which drew upon the movers and shakers of independent music in an irregular showcase of contemporary music. Guests have included Bonobo, Caribou, Rob Da Bank, Tom Middleton, Mark Pritchard, Luke Vibert, Jonny Trunk, Rephlex Records, Ladytron, Red Snapper, Ollie Jacob from Memphis Industries, Jamie Odell, Ian Simmonds, Will Quantic and Henry Riton – DJ sets from whom are peppered across this site.
Heralded by the NME as one of the best nights in the country, The Guardian were kind enough to describe Kingsley as “an ace DJ” and profile Deconstructed as “one of those nights that nightclubbing was made for.” In a career highlight style bible i-D went further, describing Kingsley, somewhat bizarrely, as an “Orwellian-era disc-jockey and romantic poetry quoting soul boy.” If you take that as meaning he couldn’t beat mix his way out of a paper bag, and plays sets guaranteed to include at least Ennio Morricone record, then they were right on the money. You can read more DC press here.