School of Journalism, Media and Performance
Media Factory, ME316
+44 (0) 1772 89 3050
Subject Areas: TV, Film and Photography
Erik Knudsen is a filmmaker and Professor of Media Practice at the University of Central Lancashire. Prior to joining UCLan, Erik was a Professor of Visual and Digital Culture at Bournemouth University’s Media School. He has also been Professor of Film Practice at the University of Salford, where he was for a period of time Head of the School of Media, Music and Performance.
Erik Knudsen is a filmmaker and Professor of Media Practice at the University of Central Lancashire (UCLan) in the UK. Prior to joining UCLan, Erik was a Professor of Visual and Digital Culture at Bournemouth University’s Media School. He has also been Professor of Film Practice at the University of Salford, Manchester, UK, where he was for a period of time Head of the School of Media, Music and Performance. During his many years at the University of Salford, Erik also acted as the University of Salford’s Director of Graduate Studies. Earlier roles at the University of Salford include programme leading the MA in Fiction Film Production, the MA in Television Documentary Production and the MA in Wildlife Documentary Production. Prior to his University of Salford tenure, he was Head of Production at the Northern Film School at Leeds Beckett University. Alongside his current role, Erik is also Visiting Professor, and the former Head of the Editing Department, at the Escuela Internacional de Cine y Television in Cuba. He writes extensively about creative film practice and his latest book, Finding The Personal Voice In Filmmaking, published by Palgrave Macmillan in 2018. He is principal investigator on two recent Arts and Humanities Research Council grants: StoryLab International Film Development Research Network (2016 - 2018) and StoryLab Skills Training for Democratised Film Industries (2019 - 2020).
As a filmmaker his films include Cleft Lip (84 min., fiction, 2018), The Raven On The Jetty (88 min., fiction, 2015), The Silent Accomplice (84 min., fiction, 2011), Vainilla Chip (17 min., Documentary, 2009), Veil (for Horse & Bamboo Theatre Company’s touring show, 2008), Heart of Gold (40 min., documentary, 2006), Sea of Madness (86 min., fiction, 2006), Brannigan’s March (99 min., fiction, 2004), Bed of Flowers (50 min., documentary, 2001), Signs of Life (70 min., fiction, 1999), Reunion (50 min., documentary, 1995), One Day Tafo (70 min., documentary, 1991).
Erik runs his own film production company, One Day Films Ltd (onedayfilms.com). More recently, Erik has been engaged with photography. He has exhibited and published, for example his photographic essay Cuba in Waiting was exhibited at the Cervantes Institute in Manchester (2013) and Dean Clough Galleries, Halifax (2014) and is available as a book. His latest work, entitled Doubt. photographic and poetic book, combined with a film. This work had its opening exhibition in Manchester, United Kingdom, during January 2018 and has also been exhibited at Dean Clough Galleries, Halifax, from October 2018 to January 2019.
2018 Book, Finding The Personal Voice In Filmmaking (Palgrave MacMillan). Awaiting publication, due 2018.
2018 Cleft Lip, fiction, 84 minutes, One Day Films Limited. Winner, Best Film, Black Star International Film Festival 2018. Winner, Best Foreign Film, Lebanese Independent Film Festival 2018. Best Supporting Actor, Amsterdam International Filmmaker Festival 2018.
2015 The Raven On The Jetty, fiction, 88 minutes, One Day Films Limited. Festival Screenings from March 2014. Premiere: Official Selection, Keswick Film Festival, March 2014. Opening Film, Legon International Film Event, Accra, Ghana, March 2014. Jury Award, Madrid International Film Festival, 2014.
2016 Article, New Writing: The International Journal for the Practice and Theory of Creative Writing (Vol. 13 No. 1): The Total Filmmaker - thinking of screenwriting, directing and editing as one role.
Erik Knudsen conducts predominantly practice-led film research, in particular narrative documentary and fiction. He is interested in exploring alternative modes of cinematic narratives and stories, the changing narrative practices resulting from developments in production and dissemination technologies and in the epistemology of fact and fiction within the narrative moving image. His own creative work takes the form of creative practice and applied theory and is concerned with the exploration and development of transcendent qualities and themes in cinematic storytelling and understanding the meaning and impact of independence in contemporary filmmaking contexts. Erik has several PhD students and many completions. He is principal investigator on two recent Arts and Humanities Research Council grants: StoryLab International Film Development Research Network (2016 - 2018) and StoryLab Skills Training for Democratised Film Industries (2019 - 2020).