Doctoral Researchers Film Screening

Tuesday 24 May 2022, 17.00–20.00

The Graduate School Film Screening showcases the creativity and diversity of a selection of our CREAM (Centre for Research and Education in Arts and Media) doctoral researchers.

Responding to the Graduate School Festival 2022 theme Look Up and Look Beyond, the films deal with matters of temporality, embodiment, materiality, ecological practice, and social ecologies.

Register here. Further details and film still images can be found here


PROGRAMME:

Siting Cinema

Julie Marsh
2022, loop.
installation

Siting Cinema is a research project that ‘performs’ the cinema space through a film installation made in Regents Street Cinema. The cinema is first filmed using a 360-degree rig, recording every detail of the architectural site. The pre-recorded film of the auditorium is then projected onto the cinema screen and the same rig is used to track the movement of the recording device. The projected image has two roles: one to locate (anchor the audience within the cinema space) and the other to disorientate (see the cinema space in a new way). Siting Cinema forces the viewer to actively look, engage and experience the physical site of the cinema auditorium.

Part One

Twisting Metal With Earth

Harry Meadows
2020, 10 mins 06 secs
Apple ProRes 422 HQ, 1920×1080

Twisting Metal with Earth explores how weather stations can be useful beyond their function as mechanical sensors. It suggests the potential to also act as an aesthetic interface with the hyperobjects of big data and global climate. The video’s animated characters are voiced by interview recordings from couples discussing their experience of weather. One interviewee collected and shared data from his own weather station, others gave more experiential accounts. From the characters, a conversation emerges that blurs the boundaries between global systems and local experience. Mechanical climate sensors and plants are discussed by the characters as useful objects to think through large and complex topics.

Nita Harvey Archive: Casting Film

Ellen Nolan
c.1933, 1 min 24 secs
.mp4

Drawing from the Nita Harvey archive, (London, 1928-38) and using feminist film/photographic theory to underpin my approach, I aim to re-map the archive to create an innovative counter-hegemonic discourse about femininity, experience, and objectification in 1930s Hollywood, arguing for the significance of this hidden history. Courtesy of The Nita Harvey Archive.

Nita Harvey Archive: Floating Images

Ellen Nolan
2022, 1 min 03 secs
.mov

This piece explores my familial and artist relation to The Nita Harvey Archive, the making process and my attempt at re-looking, re-enactment and embodying female experience and objectification using the archive as object.

THE RISK SISTERS

Dellores Laing
2022, 3 mins 51 secs
.mp4, 1920×1080

THE RISK SISTERS interrogates altered orthodox space and place by disrupting the online Pathé newsreel ‘Roulette Fashions’ with a counter chronology, lexicon and sound score. This traversing and reassembly of oppressive boundaries is made manifest within an unexpected space of fashion, London’s infamous gambling haunt The River Club. Infiltrated by The Rahvis’ 1963 couture collection, virtual space therefore becomes the medium for counter patriarchal narratives. Here, feminist practice creates hybrid environments where
dislocation and reimagined place proves fundamental to
the marginalised and silenced subject, the Rahvis Sisters.

Discussion and Q&A

Following the screening of these four short films, there will be a response by Joshua Oppenheimer followed by a Q&A session with the three film makers. This will be chaired by George Clark and Camille Waring. 

Part Two

The Way It Behaves

Megan Carnrite
2018, 3 mins 22 secs
.mov, 1280×720

The Way It Behaves is a short performative video art piece concerned with bodily autonomy and the materiality of the corporeal form.

Triple Exposure

stav B
2021, 2 mins 26 secs
16:9

This is a plot of a resurrection and a new discovery. The narrative is altered with the pink ribbon: Passage to ash, blood and water. Trailing, wandering and looking for the legend of Eanswythe, the princess who became a nun. Where are her bones resting? Where can her whispers be heard? Where can her aura, a slither even, be seen? A tale of a legend.

Biting Cheek Beyond the Sea

stav B
2022, 3 mins
16:9

A solitary voyage, far and beyond the horizon of existing possibilities.

War Crimes for Likes

Manisha Ganguly
2019, 15 mins 08 secs
Youtube upload, 1080

Using a combination of open-source and traditional investigative methods, journalist and filmmaker Manisha Ganguly exposes how war crimes committed in the Libyan civil war, such as the desecration of bodies, extrajudicial killings of civilians, and mutilation of bodies of POWs, are being shared on social media platforms like Facebook, Youtube and Twitter to incite violence. The film directly identifies the members of the Libyan National Army’s special forces committing these crimes and tracks down its survivors in exile. The evidence is then presented to executives at Facebook for a response.

IMPORTANT: This film contains extremely graphic violence, war and death. It is not suitable for children.

Discussion and Q&A

Following the screening of these four short films, there will be a response by Joshua Oppenheimer followed by a Q&A session with the three film makers. This will be chaired by George Clark and Camille Waring. 

Attendees are then invited to join us for a reception in the cinema bar. 

The Doctoral Researchers Film Screening is part of the Graduate School Festival 2022

Geographies of Ruins in Contemporary Brazilian Cinema

Friday 20 May 2022, 15.00–18.00

Ecological Futurism, Ambika P3 and University of Westminster Film TV and Moving Image MA present: Geographies of Ruins in Contemporary Brazilian Cinema, screening and conversation

15:00 Screening of Hu Enigma (Pedro Urano and Joana Traub Csekö, 2011)

16:30 Conversation between Dr. Guilherme Carréra (joining via Zoom) and Dr. Mariana Cunha 

In recent years, several unconventional documentaries have been released portraying distinct geographies of contemporary Brazil, which articulate critiques of the notions of progress and (under)development in the country. This event will unpack ideas around urban and ecological ruins present in recent films, which offer radical depictions of the afterlives of (neo)colonisation and neoliberalisation in the context of Brazil.

There will be a screening of Pedro Urano’s and Joana Traub Csekö’s 2011 film Hu Enigma. The film is a cinematic portrait of the University Hospital in Rio de Janeiro, a building that is part public hospital and part ruin serving as a metaphor for utopia and dystopia. The screening will be followed by a conversation.

Speaker Bios:

Guilherme Carréra is a postdoctoral researcher at the Federal University of Rio de Janeiro. He holds a PhD in Film awarded by the University of Westminster, CREAM, with a project sponsored by the CAPES Foundation (Ministry of Education, Brazil). 

His book Brazilian Cinema and the Aesthetics of Ruins (Bloomsbury Academic, 2021) examines imagery of ruins in contemporary Brazilian cinema and considers these representations in the context of Brazilian society. The book looks at three groups of documentaries focused on distinct geographies: Brasília – The Age of Stone (2013) and White Out, Black In (2014); Rio de Janeiro – ExPerimetral (2016), The Harbour (2013), Tropical Curse (2016) and HU Enigma (2011); and indigenous territories – Corumbiara: They Shoot Indians, Don’t They? (2009), Tava, The House of Stone (2012), Two Villages, One Path (2008) and Guarani Exile (2011).

Mariana Cunha is a Lecturer in Screen Studies at the University of Westminster. She has a PhD with a focus on Brazilian Cinema and a MA in Cultural and Critical Studies from Birkbeck, University of London. Her recent research addresses the relationship between cinematic affect, spatial practices, and ecological visualities in Latin American cinema. She co-edited the books Space and Subjectivity in Contemporary Brazilian Cinema (Palgrave Macmillan, 2017) and Human Rights, Social Movements and Activism in Contemporary Latin American Cinema (Palgrave Macmillan, 2018).

This event is free and drinks will be served – please get your entry tickets here.

Presented by the Centre for Research and Education in Arts and Media (CREAM), Ecological Futurism, Ambika P3 and the University of Westminster Film TV and Moving Image MA

People PhD

Patrick F. Campos

Patrick F. Campos is a film scholar, programmer, and associate professor at the University of the Philippines Film Institute and a member of NETPAC. His research investigates the intertwining of political and cinematic discourses and problematizes notions of ‘national’ and ‘regional’ cinema formations.

He is the author of The End of National Cinema (2016) and Scenes Reclaimed (2020), editor of Pelikula: A Journal of Philippine Cinema, and the special issues “Southeast Asian Horror Cinemas” for Plaridel, “The Politics of Religion in Southeast Asian Cinemas” for Situations, and “Contemporary Philippine Cinema” for Art Archive, among others.

Along with regional cinema scholars, he co-organizes the roving biennial Association of Southeast Asian Cinemas Conference, for which he recently put together the program Cinematic Counter-Cartographies of Southeast Asia. He has programmed for Guanajuato International Film Festival, Image Forum Festival, Minikino, Cinema Rehiyon, and curates the annual TINGIN Southeast Asian Film Festival in Manila.

PhD Researchers

INLAND, ISLAND

Thursday 3 March – Saturday 2 April 2022

INLAND, ISLAND, an Asian Film Archive programme of 18 Southeast Asian films, curated by Patrick F. Campos, including works by Garin Nugroho, Yuda Kurniawan, Teng Mangansakan, Sheron Dayoc, Remton Siega Zuasola, Uruphong Raksasad, Pimpaka Towira, Chong Keat Aun, Putri Purnama Sugua, Brian Chew, Truong Minh Quy, Pham Thu Hang, Jai Jai, Ka Xiong and Cyril Eberle, Kalyanee Mam, Kirsten Tan, and Russell Morton, runs from 3 March – 2 April 2022 at the Oldham Theatre in Singapore with a parallel screening online of four short films. 

INLAND, ISLAND envisages the growth of filmmaking in the region without relying on the fictions of state boundaries and centre-periphery relations but neither does it erase the organizing ideal of the national nor idealize the ambiguous promise of the postnational. Instead of bounded thinking, the programme provides an opportunity for a topological and scaled appreciation of how films are made, where, by and about whom, mapping cinematic imagination as dynamic processes of place-making grounded in historical moments. 

*** 

Like the tidal islets of Pulau Hantu (Ghost Island) in the Strait of Singapore that are deeply connected but sometimes appear as separate, the satellite programme of INLAND, ISLAND online, featuring four films available worldwide via the AFA’s website, offers a glimpse into how figurative “island” (as opposed to “national”) filmmaking in the region can unsettle but reveal flows, be mobile but chart new grounds, appear solitary but call forth communities. The online programme is available to stream from 3 March – 2 April 2022

Hyphen Journal Issue 3.1: Ecologies

2022

Hyphen Journal launches Issue 3.1: Ecologies.

This issue of Hyphen Journal is about matters of ecology – biological, cosmological, philosophical, ethical matters, as well as a vibrant materialism in which violent separations between thought and matter, humans and ‘nature’, civilisation and its others are dissolved. The issue seeks to provide a platform on and through which encounters and interferences between radically different practices, schools of thought, positions, histories, cosmologies can play out, guided by the journal’s ethos of facilitating a sociality between research and practice. Through this, a tangled web of becomings and beings-with can emerge into view from the wreckage wrought by centuries of illusions of human, rational, colonial, capitalist mastery.

Issue 3.1 was made possible through the dedicated work of the Hyphen Editorial Collective: Steven Barclay, Harshavardhan Bhat, Sue Goldschmidt, Frankie Hines, monika jaeckel, Sarah Niazi, Sam Nightingale, Renan Porto, Arne Sjögren, James Snazell, Jol Thoms and Lennard Van Oldenborgh and issue co-editors-in-chief: Iram Ghufran, Matthias Kispert, Lucy Rogers

Read Issue 3.1: Ecologies online on Hyphen Journal.

Join Hyphen Collective for an online colloquium to celebrate the launch of the issue on Thursday 10th March 2022, 11am-6pm GMT. Tickets available via Eventbrite.

Cloud Sediments

Wednesday 9 March – Sunday 13 March 2022, 12.00–19.00

Hyphen Collective presents CLOUD SEDIMENTS, 9-13 March 2022 at AmbikaP3.

The meeting of clouds and sediment suggests an intersection of disparate temporalities and materialities – time in fleeting or geological registers, matter as diffuse and fugitive or compressed and layered. Clouds are mutable, transient and can be seen from afar but merge into surroundings up close, while sediment carries the weight of millennia in skin-like layers, each of which is an accumulation of histories. The works presented in this Hyphen Lab address these convergences through dealing with matters of temporality, embodiment, recording, ecological practice, social ecologies and more-than human life. 

Participating artists include: Shannon Alonzo, A.S.T, stav B, Hanjo Berressem, Manuela Johanna Covini, Ifor Duncan, Amanda Egbe, Lydia Halcrow, monika jaeckel, Matthias Kispert, David McEwen, Harry Meadows, mirko nikolic, Ellen Nolan, Verónica Pasada Álvarez, Sensory Design Studio, Arne Stögren, Jol Thoms, John van Aitken

Find out more on the Hyphen website.

People PhD

Zoe Butt

Zoe Butt is a curator and writer whose practice centres on building critically thinking and historically conscious artistic communities and fostering dialogue among cultures of the Global South. She was Artistic Director, Factory Contemporary Arts Centre, Ho Chi Minh City (2017-2021); Executive Director and Curator, Sän Art, Ho Chi Minh City (2009-2016); Director, International Programs, Long March Project, Beijing (2007-2009); and Assistant Curator, Contemporary Asian Art, Queensland Art Gallery, Brisbane (2001-2007). She has been published widely and is a MoMA International Curatorial Fellow; a member of the Asia Society’s Asia 21 initiative; and member of the Asian Art Council, Solomon R. Guggenheim Museum. She is currently a PhD candidate with CREAM, University of Westminster, London.

PhD Researchers

Visual Empire: Translations & Reproductions

Friday 18 February 2022, 08.30

Once called “La perle de l’empire,” Indochina was understood as one of France’s benevolent and civilising enterprises. Within the context of colonial expansion, photography played a substantial yet overlooked role in defining vernacular forms of modernity for the indigènes. In this lecture, Jacqueline Hong Nguyén will focus on the international mobility of Vietnamese photographers during the first quarter of the 20th century and the role photography played in anti-colonial struggles. By mapping a network of Vietnamese photographers, Visual Empire investigates the translation of photographic technology, the dissemination of photographic equipment and, through the technological lens, the restoration of a modern Vietnamese subject.

Jacqueline Hong Nguyén is a visual artist who uses archives and a broad range of media to investigate issues of historicity, collectivity, utopian politics and multiculturalism via feminist theories. She is a PhD candidate in Art, Technology and Design at Konstfack University of Arts, Crafts and Design and KTH Royal Institute of Technology. Nguyén completed the Whitney Museum’s Independent Study Program in 2011, an MFA and post-graduate diploma in Critical Studies from the Malmö Art Academy in 2005, and a BFA from Concordia University in 2003. Her work has been shown internationally, such as at the Boras Art Biennial (2021); Trinity Square Video, Toronto (2019); and Sharjah Art Foundation (2018).

Zoe Butt is a curator and writer whose practice centres on building critically thinking and historically conscious artistic communities and fostering dialogue among cultures of the Global South. She was Artistic Director, Factory Contemporary Arts Centre, Ho Chi Minh City (2017-2021); Executive Director and Curator, Sän Art, Ho Chi Minh City (2009-2016); Director, International Programs, Long March Project, Beijing (2007-2009); and Assistant Curator, Contemporary Asian Art, Queensland Art Gallery, Brisbane (2001-2007). She has been published widely and is a MoMA International Curatorial Fellow; a member of the Asia Society’s Asia 21 initiative; and member of the Asian Art Council, Solomon R. Guggenheim Museum. She is currently a PhD candidate with CREAM, University of Westminster, London.

Register here.

Decriminalised Futures

Wednesday 16 February – Sunday 22 May 2022

CREAM doctoral candidate Camille Waring‘s talk on the state, technology, surveillance and how we resist, now forms part of a new exhibition at the London Institute of Contemporary Art (ICA) in central London.  

Decriminalised Futures is a group exhibition featuring thirteen international artists whose work speaks to the multiplicity of contemporary sex worker experiences.

The exhibition highlights the history of the sex worker rights movement and its inextricable links to issues of racial and social justice, migrant rights, labour rights, anti-austerity work, and queer and trans liberation.

The works in the exhibition – comprising ten distinct projects from the United Kingdom, France, Germany and the United States – include moving image, embroidery, linocut prints, bookmaking, writing, drawing, gaming and sculpture.

Through an interdisciplinary approach, themes of sacred space, mental health, gender, racial justice, joy, pain, disability, tenderness and desire become tools for solidarity and elicit conversations rooted in the imaginaries of a decriminalised future.

Camille Waring’s talk was originally part of a panel discussion at the Decriminalised Futures Conference, held in May 2019. To find out more about the exhibition, visit www.ica.art/decriminalised-futures.

Visual Violence: Sex Workers’ Experiences of Image-Based Abuses

2022

In 2021, CREAM doctoral candidate Camille Waring, was awarded £11,400 in research funding from National Ugly Mugs (NUM). NUM is a charity working with sex workers to research, provide safety tools and end the culture of violence against sex workers. The research project, Visual Violence: Sex Workers’ Experiences of Image-Based Abuses was birthed from an unpublished PhD chapter on the way sex workers experience visual terrorism and the weaponisation of photography in online spaces. Little attention has been paid to the way internet web technologies have enabled photographic violence and the implications for image-based surveillance against sex workers. This research goes towards addressing this and seeks to showcase image-based harms, specific to sex workers and their experiences, and we call this visual violence.

Camille Waring developed and led this research project, which involved creating new definitions, visual language, collecting and analysing data, and producing a research report.

“Visual violence is broad, and encompasses a wide range of experiences, from image theft to filming without consent, to blackmail. In all of its forms, visual media is used to incite fear, harm, abuse and destruction. The perpetrators can be sex buyers, intimate partners, friends, family, other sex workers, and strangers on the Internet. Ultimately, this research demonstrates that fears of, and experiences of, visual violence are core concerns for sex workers and that it is vital that their concerns are recognised and included” – Camille Waring.

This research is cutting edge and could not be timelier. The increasing digitisation of sex work, particularly in the wake of the Covid-19 pandemic, presents both new opportunities and new hazards for sex workers. At the same time, there is a need to understand visual violence as it is uniquely experienced by sex workers, within and outside traditional lenses of “revenge porn” and copyright, where debates around sex work online are intensifying.

Camille Waring’s report is available on nationaluglymugs.org.