Dr Kingsley Marshall is a film producer, composer and academic. Working as Head of Film & Television at the CILECT-accredited School of Film & Television based within Falmouth University in the UK, this subject area consists of 40 staff working with over 500 undergraduates, supplemented by a postgraduate community studying from MA level through to PhD. His research focuses on cultures of film and music production, and the representation of real events – specifically the US presidency, asymmetrical conflict, and the ethics of artificial intelligence development as part of the ‘fourth industrial revolution’.
As a film practitioner, Kingsley focuses on the relationship between sound design and music composition for film, and the production of short and micro-budget feature films. He executive produced the feature Wilderness (Director: Justin John Doherty), written by Neil Fox, which won 13 awards at international film festivals since making its premiere at Cinequest in California. In 2018, Kingsley executive produced Mr Whippy (Dir: Rachna Suri) and co-produced with Neil Fox the H.P. Lovecraft adaptation Backwoods (Director: Ryan Mackfall). The film its world premiere in Portland, Oregon in October 2019 and its European premiere is scheduled for London Short Film Festival in January 2020. Most recently, Kingsley completed the score as composer on a film project – Hard, Cracked the Wind – with director Mark Jenkin and production company Early Day Films. The film completed principal photography in Autumn 2018, premiered at Encounters Film Festival in September 2019 and is playing at Cork and Leeds International Film Festivals in November 2019
He has published widely, and speaks regularly at international conferences. Published work is included in:
Presidents In The Movies: American History and Politics on Screen (Palgrave Macmillan, 2011), Watergate Remembered (Palgrave Macmillan, 2012), Kathryn Bigelow: Interviews (University of Mississippi Press, 2014), Brian Eno: Oblique Music (Bloomsbury, 2016), the Journal of Visual Arts Practice (2016), the Musicology Research Journal (2017) and Critical Essays on Twin Peaks: The Return (Palgrave Macmillan, 2018).
In 2018, Kingsley conducted a series of interviews with members of the team behind HBO’s Westworld, including Co-Creator Jonathan Nolan, Producer Stephen Semel and Supervising Music Editor Christopher Kaller for an edited collection, Reading Westworld (Palgrave Macmillan, 2019), and has recently completed a chapter on rhizomic storytelling for a second textbook on Twin Peaks – Listen to the Sounds: Music and Sound Design in Twin Peaks, co-edited by Reba Wissner and Katherine Reed due for publication in 2020 through Routledge.
Current projects include writing on the representation of asymmetrical conflict for the Handbook on Violence in Film and Media (Palgrave, 2019), on the relationship between film composers and directors for A Critical Companion to Robert Zemeckis edited by Adam Barkman and Antonio Sanna (Lexington Books, 2020) and is developing work around the ethics of artificial intelligence/machine learning development and application for a collection on Black Mirror (Bloomsbury, 2020).
For over twenty years, Kingsley has 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 amongstothers 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 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.
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.
Kingsley established Deconstructed 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 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.” You can read more DC press here.