Artists Moving Image in Britain since 1989

2019

Over the last three decades, the moving image has grown from a marginalised medium of British art into one of the nation’s most vital areas of artistic practice. How did we get here? Artists’ Moving Image in Britain Since 1989 seeks to provide answers, unfolding some of the narratives – disparate, entwined and often colourful – that have come to define this field. Ambitious in scope, this anthology considers artists and artworks alongside the organisations, institutions and economies in which they exist. Writings by scholars from both art history and film studies, curators from diverse backgrounds and artists from across generations offer a provocative and multifaceted assessment of the evolving position of the moving image in the British art world and consider the effects of numerous technological, institutional and creative developments.

Editors: Erika Balsom, Lucy Reynolds and Sarah Perks.

Published by Paul Mellon/Yale University Press.

https://www.paul-mellon-centre.ac.uk/publications/browse/9781913107017

The Cinema of Lina Wertmüller

Friday 13 December 2019, 13.30–20.30

CREAM presents a one day symposium devoted to the work of Lina Wertmüller, followed by the UK Premiere of Seven Beauties (Pasqualino Settebellezze) (1975)

The first woman to ever receive an Academy Award nomination for best director for her 1975 film Pasqualino Settebellezze (Seven Beauties), Lina Wertmüller has rarely been granted the attention she so richly deserves, by both audiences and critics. Receiving a career Oscar in October 2019, it is timely to rediscover this director’s work. Often labelled controversial and transgressive, her films are indeed quintessentially political, addressing matters of class and gender in a bold and innovative manner. A truly original voice in an Italian landscape dominated by male filmmakers, Wertmüller’s cinema tackles challenging topics with irony and levity, producing unforgettably tragi-comic results.

The symposium will take place on December 13th, 2019 from 1.30pm – 5.30pm, Room UG05, Regent Street Campus, and will be followed by a 6.30pm screening at the Regent Street Cinema.

The symposium will bring together scholars in the field of film and gender studies to engage with the work of Wertmüller on all aspects of her cinema.

To reserve a place: https://www.eventbrite.co.uk/e/lina-wertmuller-symposium-tickets-79379481165?aff=ebdssbeac

Seven Beauties (Pasqualino Settebellezze )(1975), Dir Lina Wertmuller 116 minutes
Presenting the newly restored version of the film nominated for four Academy Awards including Best Director. Seven Beauties stars Giancarlo Giannini as Pasqualino Frafuso, a small time crook known in Naples as “Pasqualino Seven Beauties.” Living off his seven sisters and claiming to defend patriarchal honour, Pasqualino goes from a life of power on the streets to a concentration camp where he attempts to escape by seducing a German officer. The film has been restored in 2019 by Centro Sperimentale di Cinematografia – Cineteca Nazionale from the original 35mm and the optical sound negative made available by RTI- Mediaset in collaboration with Infinity.

To book a ticket for Seven Beauties go to: https://www.regentstreetcinema.com/programme/seven-beauties/

Sidereal Sound, ‘Time Machines’ and ‘Baby Food’: The Recursive Turn in Coil’s Music from the 1990s

2019

Michael Goddard will present the paper  “Sidereal Sound, ‘Time Machines’ and ‘Baby Food’: The Recursive Turn in Coil’s Music from the 1990s”, at the Recursions: Music and Cybernetics conference  in Edinburgh,  24-25th October, 2019.

About Recursions: Music and Cybernetics conference:

Cybernetic thinking, engineering and pedagogy left indelible marks on the progressive arts and sciences of the late twentieth century. There is now widespread recognition of the role cybernetics played in inspiring many Cold War composers and improvisers, from Cagean experimentalists and Schaefferian acousmaticians to afrofuturists, conceptual artists, ravers and psychedelic rockers. Less widely acknowledged is the extent to which cybernetics shaped the epistemology of late twentieth century music theoretical, pedagogical and ethnographic research, including early iterations of what is now called sound studies, notably in the work of Jacques Attali, Christopher Small, Barry Truax, Charles Keil and Steven Feld. In fact, the impact of cybernetic principles and methodologies on our understanding of music and musicality is ongoing. They permeate the management and outreach discourse of the institutions that support music and music research. They lie at the foundation of recent accounts of cognition and brain function involving predictive processing, dynamic systems theory, and ecological models linking perception with action. They are even gaining a significant foothold in the study of music history, both directly in the computational techniques reshaping corpus studies and network analysis, and indirectly through the ideas of communication and social theorists like Friedrich Kittler, Niklas Luhmann, Michel Serres and Bruno Latour. 

Assessments of the political and scientific value of cybernetics have been as varied as its applications. On one hand, it has been said to offer an open, nondualist alternative to the ontology of modern science (Pickering 2010). On the other, it seems to create the conditions for a permanent revitalization of the modern project, optimizing life, knowledge and society in terms of automated information exchange (Tiqqun 2001).

We seek to gather researchers interested in cultivating a deeper understanding of the ways cybernetics, systems theory and information theory have informed musical practice, theory, policy and industry since the Second World War, with a particular emphasis on perspectives from cultural, social and intellectual history. We are especially interested in proposals that expand the framework of normal musicological inquiry to encompass: the role of cybernetics and information theory in constructions of race, gender, sexuality and/or ability; connections between music and other cultural or scientific practices; ideas and practices inherited from the work of 19th and early 20th century educationalists, scientists and spiritualists; and connections with the management of decolonization and deindustrialization in science, culture and education policy at local, national and/or international levels.

Presented with support from the British Academy and the Reid School of Music, Edinburgh College of Art.

https://recursions.org/

Media Archaeology as Film Studies Method from Revisionist Film Histories to Interpretive Strategies

2019

Michael Goddard will present the paper ‘Media Archaeology as Film Studies Method from Revisionist Film Histories to Interpretive Strategies’ at the ECREA Film Studies section ‘Research Methods in Film Studies: Challenges and Opportunities’, at the University of Ghent, 18-19 October.

About ‘Research Methods in Film Studies: Challenges and Opportunities’ Conference:

The academic study of film has involved looking at generic conventions, authorial features, and the use and function of different aspects of film language, including mise-en-scène, narrative, editing and sound. Film Studies has also examined the relationship between film and society, by contemplating issues such as race and gender, the on- and off-screen construction of stardom, the association between cinema, ideology and propaganda, and the way in which films mirror and shape national and transnational identities. The industrial features of film, film policy and legislation, as well as matters of film reception, distribution and exhibition, venues and audiences (cf. the New Cinema History Movement) have also been extensively considered by scholars, within and beyond the discipline.

Research questions and methodologies from the humanities and social sciences have often been used in conjunction in the analysis of this multitude of topics. The history of Film Studies is thus one of transdisciplinarity. As the discipline moves forward, and its future is called into question – both in relation to debates about the post-cinematic era (Denson and Leyda 2016) and the changing academic context (Fairfax 2017) – methodological considerations have been given greater attention in academic discussions. This is at least partly connected to the rise of the Digital Humanities, which has afforded the study of film with a variety of new digital sources, tools and methods, as well as a growing interest in quantitative data, which allows for new forms of analysis of film texts, industries, audiences and cultures. At the same time, more traditional methods, such as the multiple approaches to textual analysis, the use of interviews and surveys, as well as archival research, retain their important place within Film Studies. The wide variety of methodologies adopted by researchers of film across the globe have meant the discipline is now faced with a series of challenges and opportunities.

Aiming to explore a wide range of approaches, this conference invites contributions that engage with current methodological challenges and opportunities in Film Studies. We welcome theoretical contributions on methodological issues in Film Studies, papers or workshop sessions on specific methods, as well as research papers paying considerable attention to the methodological framework at stake.

 https://ecreafilmstudies2019.wordpress.com/

Immersive Media, Virtual Reality and Radical Histories of Audiovision

2019

Michael Goddard presented the paper  “Immersive Media, Virtual Reality and Radical Histories of Audiovision”, at the DRHA 2019 Radical Immersions: Navigating between virtual/physical environments and information bubbles conference, 8-10 September 2019 at the Waterman’s Arts Centre in West London.

 http://www.2019.drha.uk

Mitra Tabrizian: Gholam and other stories

Sunday 3 November 2019, 14.00–17.00

Mitra Tabrizian is an Iranian-British award-winning artist and filmmaker. Her photographic work has been exhibited and published widely and is represented in major collections internationally including the British Museum.

Solo shows include Tate Britain (2007) and she was part of the Iranian Pavilion at the Venice Biennale (2015). She received the Royal Academy’s Rose Award for Photography (2013) and was selected as one of the Royal Photographic Society’s Hundred Heroines: Celebrating Women in Photography Today, (2018).

Her critically acclaimed debut feature Gholam was released in cinemas in the UK in 2018 and her most recent work is The Insider. Tabrizian’s new book (Kerber Verlag) is released in October this year.

Ben Okri is a poet, novelist, and playwright. His novel, The Famished Road, won the Booker Prize in 1991.

His works have been translated into 26 languages. He has been a Fellow Commoner in Creative Arts at Trinity College, Cambridge and is a Fellow of the Royal Society of Literature. Okri’s books have won numerous international prizes. The recipient of a number of honorary doctorates, he is a vice-president of the English Centre of International PEN and was presented the Crystal Award by the World Economic Forum for his outstanding contribution to the Arts and cross-cultural understanding.

He also wrote the script for the film N: The Madness of Reason. Nigerian born and based in London, he is an honorary fellow of Mansfield  college, Oxford. His latest novel is The Freedom Artist and his latest book, a volume of stories, is Prayer for the Living.

During this afternoon’s event, artist and film-maker Mitra Tabrizian will talk about her work. She will be joined by writer Ben Okri who will discuss her film The Insider which was shown alongside his adaptation of Albert Camus’ The Outsider at the Coronet Theatre in 2018.

There will be screenings of The Insider and excerpts from Gholam.

A reception for ticket holders will be held in the theatre foyer from 17.00.

Tickets: https://www.britishmuseum.org/whats_on/events_calendar/event_detail.aspx?eventId=5582&title=Mitra%20Tabrizian:%20Gholam%20and%20other%20stories&eventType=Special%20event

THE DEATHLESS WOMAN

Sunday 6 October – Saturday 12 October 2019

THE DEATHLESS WOMAN is a ghost story for the 21st Century.

WORLD PREMIERE: BFI London Film Festival 2019

Roz Mortimer’s hybrid documentary charting the persecution of the Roma from the forests of WWII Poland to the villages of present-day Hungary will have its world premiere at BFI London Film Festival.

The far right are rising again in Europe. A Roma woman buried alive in a forest in Poland during WWII returns to haunt us, uncovering a history of atrocities against the Roma in Europe. She is the Deathless Woman. Motivated by rage, she rises from her grave to draw our attention to the persecution of the Roma people from the 1940s to the neo-Nazi hate crimes of the present day.

Eight years in the making, Mortimer has worked with the support of Roma communities in the UK, Poland, Hungary and Czech Republic to create a film that brings together testimony, verité, and fantastical re-enactments created in the University of Westminster film studios.

This urgent and magical hybrid documentary fluidly interweaves fantastical re-imaginings of buried secrets with the Deathless Woman’s ghostly narration and testimony from survivors and witnesses of historic and contemporary crimes against the Roma in Hungary and Poland. 

Sunday 06 October 2019 18:10BFI Southbank, NFT3. Sold out!

Saturday 12 October 2019 17:00BFI Southbank, Studio. Sold out!

https://whatson.bfi.org.uk/lff/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=1CF4FF6E-ECB2-4E19-8F6D-30AF15974D8A&BOparam::WScontent::loadArticle::context_id=A09F755A-AB5D-4D86-8D47-2761406EC756

Chantal Akerman book launch and screening at the Regent Street Cinema

Tuesday 24 September 2019

Ambika P3

A rare screening of Chantal Akerman’s 1996 self-portrait Chantal Akerman par Chantal Akerman celebrates the launch of two new publications devoted to her work.  

The evening launches a double issue of the journal Moving Image Review and Art Journal (MIRAJ) devoted to Akerman, with essays and features from eminent and emerging writers on her work, both for screen and gallery. This follows the Ambika P3 exhibition of 2015, entitled Chantal Akerman NOW. Contributors include Griselda Pollock, Janet Bergstrom, Alison Rowley and Dominique Piani.

A Nos Amours also launch a book gathering together research and reference materials relating to the 2013-15 complete retrospective of work for the cinema. The Chantal Akerman Retrospective Handbook has a foreword by the celebrated theorist and film-maker Laura Mulvey. The book includes accurate information to assist with curation and screening, as well as texts from the likes of Ivone Margulies, Raymond Bellour and Richard Brody. The book is intended to be the essential Akerman companion.

Chantal Akerman par Chantal Akerman (1996, 63′)

Commissioned for Cinéma, de notre temps, the legendary series of film-maker portraits curated by Janine Bazin and André Labarthe. Akerman chose to make a study of herself as film-maker. Why not? She had turned film-making back on itself, and discovered a feminised and ‘other’ sensibility, another way of seeing the world and self.

Tickets available here:

https://www.regentstreetcinema.com/programme/miraj-cream-screens-x-a-nos-amours-present/

Uriel Orlow

Uriel Orlow’s resseach is concerned concerned with residues of colonialism, spatial manifestations of memory, blind spots of representation and forms of haunting. His research- based, process-oriented and multi-disciplinary practice includes film, photography, drawing and sound as well as publishing. Over the last years he has been investigating the botanical world as a stage for politics and history.

Following his PhD, he was an AHRC research fellow between 2005 and 2008. In 2017 he was awarded the Sharjah Biennial prize. He also received the annual art-award of the City of Zurich in 2015 and three Swiss Art Awards at Art Basel and was shortlisted for the Jarman award in 2013.

Orlow’s work is presented widely in museums, film festivals and international survey shows including Manifesta 12, Palermo (2018), 2nd Yinchuan Biennial (2018), 13th Sharjah Biennial 13 (2017), 7th Moscow Biennial (2017), EVA International, Limerick (2016), 2nd Aichi Triennale, Nagoya (2013), Bergen Assembly (2013), Manifesta 9 (2012), 54th Venice Biennale (2011). Recent solo exhibitions include Les Laboratoires d’Aubervilliers, Paris (2018); Market Photo Workshop & Pool, Johannesburg (2018); Kunsthalle St Gallen (2018); PAV – Parco Arte Vivente (2017); Parc Saint Léger (2017), The Showroom, London (2016); Castello di Rivoli, Turin (2015); John Hansard Gallery, Southampton (2015); Depo, Istanbul (2015), Spike Island (2013).

Orlow’s writing has been published in MIRAJ (Moving Image Review and Art Journal), the Journal of Visual Culture and the Whitechapel Documents of Contemporary Art series amongst others. In 2018 Sternberg Press published the major monograph Theatrum Botanicum.

For more information on Uriel’s research, teaching and supervision experience, also see: https://www.westminster.ac.uk/about-us/our-people/directory/orlow-uriel

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Film and Media

Film and media research is a long standing area of excellence at CREAM, and leads the field for interdisciplinary approaches to moving image practices and their discourses. CREAM research ranges from experimental documentary to moving image installations of international renown.

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