Kingsley Marshall is Head of Film at the CILECT accredited School of Film & Television based within Falmouth University in the UK. The subject area consists of 28 staff working with over 300 undergraduates studying the Skillset accredited BA (Hons) Film degree, supplemented by a postgraduate community studying from MA level through to PhD. His research primarily orientates around the use of sound (including music and effects) in cinema and television.
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 Wilderness (Doherty, 2017), written by Neil Fox, which won 11 awards at 16 international film festivals since making its premiere at Cinequest in 2017 and has co-produced Backwoods (Mackfall, 2018) with Neil Fox, currently in post-production. Over the summer of 2018, Kingsley began work as the music composer on a film project with director Mark Jenkin and production company Early Day Films, shooting Autumn 2018.
Kingsley has delivered papers on sound design, music and filmmaking practice at conferences in Oxford, Princeton, Los Angeles, New York and as an invited speaker at the University of London. He has published some of this work 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) and the Musicology Research Journal (2017).
More recently, Kingsley has contributed to Critical Approaches to Twin Peaks, due for publication in 2018, and has also conducted 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, due in 2019. He is currently writing on the use of sound in representations of conflict for the Handbook on Violence in Film and Media, due for publication in 2019.
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 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.” You can read more DC press here.