Stephen Lee Naish is a writer, independent researcher, and cultural critic. Originally from Leicester, UK, he now resides in Kingston, Ontario, Canada with his wife Jamie, a third year PHD student in Cultural Studies and their son Hayden, a post-doc student in Star Wars Philosophy.
Steve studied media and filmmaking at Leicester college in the late ’90s. He then set up a one-man film company called FrameDropFilms, which produces music video, music documentaries, and video installations for local, and visiting bands and artists. When the smell of stale beer and dirty cigarette smoke got too much, he turned his attention to writing about film. At the age of 27 he went back to school and studied with The Open University in the fields of creative writing, essay writing, and contemporary politics.
Steve’s writing explores film, film memory, politics, and pop culture and the places where these entities meet. His writing has appeared in numerous journals and periodicals, including Candid Magazine, The Quietus, 3:AM, Empty Mirror, Gadfly, and Everyday Analysis. He also writes book reviews for Review 31, Hong Review of Books and LSC Review of Books.
Steve is the author of three books, the essay collection ‘U.ESS.AY: Politics and Humanity in American Film (Zero Books, 2014), Create or Die: Essays on the Artistry of Dennis Hopper’ (Amsterdam University Press, 2016), and ‘Bringing Up Baby: Deconstructing Dirty Dancing’ (Zero Books, 2017). His next book, coming in 2019 with Headpress is about Welsh alternative rock band Manic Street Preachers.
He has had essays published in a number of anthologies, most recently in Everyday Analysis’s third volume of essays entitled ‘Politactics’, and a short story in Centum Publishing’s 100 voices anthology. His influences are wide, but narrows it down to Dennis Hopper, Crispin Glover, Nicolas Cage, Stanley Kubrick, Kelly Reichardt, Lynn Shelton, Joe Strummer, Shia Labeouf, Barbara Ehrenreich, and Chris Hedges. He once received in the mail a pirated DVD copy of Dennis Hopper’s The Last Movie (1971) from Alex Cox.