Principal Lecturer
I began my tenure at Sheffield Hallam University in 2003. My research interests include film adaptation, narrative theory, heritage cinema, contemporary US TV. I am currently the Global and Academic Partnerships Lead for Humanities, where my duties include overseeing Humanities collaborative provision at UCEN, The Manchester College, and The Sheffield College. I hold a BA in English Literature and a PhD from the University of Sheffield.
I am passionate about film and television, and about teaching both Screenwriting and Film Studies students here at Sheffield Hallam University.
As Global and Academic Partnerships Lead in the Humanities Department, I am proud to work with our colleagues at UCEN, The Manchester College, and at The Sheffield College, in their delivery of a rich variety of specialist courses, which include Acting, Musical Theatre, Music, Dance, Make-Up and Special Effects. I enjoy working alongside colleagues in the College of Social Sciences and Arts here at SHU, in promoting transnational learning experiences and international partnerships.
My research includes:
Film adaptation, in particular film adaptation within British cinema contexts, film adaptations of twentieth century novels and adaptation theory
European cinemas, in particular German cinema and German cinema since reunification
Social Sciences and Arts
BA Screenwriting and Film BA Film Studies
Film Analysis;
Screen Storytelling;
Must-See TV;
Film Dissertation.
I am currently writing a monograph on film, television and stage adaptations of the novels and short stories of E. M. Forster.
As part of this project, I have undertaken extensive research at the EMF Archive at King’s College, Cambridge. King’s College are the beneficiaries of Forster’s estate, and therefore the exclusive rights-holders to almost all of his works. The focus of my research is the work-in-progress screenplays of Ruth Prawer Jhabvala, as well as the negotiations, both successful and otherwise, between filmmakers and the College for the screen rights to Forster’s fiction. I believe that this historical and paratextual material offers new scope for the study of adaptation processes, through a methodology which is both historically specific and theoretically rigorous.
Speidel, S. (2020). Letters from Page to Screen and Back Again: Jane Austen’s Lady Susan and Whit Stillman’s two versions of Love and Friendship. Persuasions: The Jane Austen Journal On-Line, 40 (2). http://jasna.org/publications/persuasions-online/volume-40-no-2/speidel/
Speidel, S. (2014). "Scenes of Marvellous Variety" : the work-in-progress screenplays of Maurice. Journal of Adaptation in Film and Performance, 7 (3), 299-318. http://www.intellectbooks.co.uk/journals/view-journal,id=153/
Speidel, S. (2018). ‘Lux Presents Hollywood’: films on the radio during the ‘golden age’ of broadcasting. In Cutchins, D., Krebs, K., & Voigt, E. (Eds.) Routledge companion to adaptation. (pp. 265-277). London: Routledge: http://doi.org/10.4324/9781315690254
Speidel, S. (2016). Fantasy, fallacy and allusion : reconceptualizing British landscapes through the lens of children’s cinema. In Newland, P. (Ed.) British Rural Landscapes on Film. Manchester: Manchester University Press: https://manchesteruniversitypress.co.uk/9780719091575/
Speidel, S. (2009). 'Post-impressionism' and the cinema: how we are 'made to see' in Conrad's Victory. In Baxter, K., & Hand, R. (Eds.) Joseph Conrad and the Performing Arts. Aldershot: Ashgate
Ginesi, K.A. (2011). Virginia Woolf and cinema : Adaptations of Mrs Dalloway. (Doctoral thesis). Supervised by Ryall, T., Speidel, S., Lebihan, J., & Constable, C.
Film adaptation; narrative theory, heritage cinema, European cinema, film and comedy.
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