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Downloadbrochure MEDIA PLUS learn more at alexanderstreet.com MediaPlus MediaPlus is a service delivered to the UK higher and further education community in association with Jisc, bringing more than 100,000 The widest videos, images, and sound recordings to your screen to teaching and lens on British social, political research. Jisc-licensed material includes news, film, image and music and cultural content including high profile collections such as ITN, Getty, Imperial history War Museum, Associated Press and the Wellcome Library. Featured content First and Second World Wars, conveying movement, including Alberto Cavalcanti, official instructions and statements Humphrey Jennings, Basil Wright, Harry AP Archive - An unrivalled collection of at home and abroad during wartime, Watt, Edgar Anstey, Arthur Elton and news footage, including Associated Press, conveying powerfully the civilian wartime John Taylor, alongside innovators and ABC News, and Sky News (launched 1989). experience of officialdom experimentalists such as Len Lye and AP’s coverage includes the Arab-Israeli Norman McLaren. The collection includes ITN Source - An unrivalled collection of conflict, the 2003 War in Iraq, the 9/11 classics such as Nightmail (1936), which 55,000 films from ITN news programmes, terrorist attacks, conflict in the Balkans, perhaps best exemplifies how British categorised by type of broadcast. ITN News US Presidents Bush, Reagan, and Clinton, industry supported leading artists in the was aired on ITV (News at Ten), Channel Nelson Mandela, and many more pre-television age, drawing as it does on 4 and Channel 5, and include unreleased the combined talents of Basil Wright and Getty Images (moving images) - 8,000 content, rushes and special bulletins. ITN Harry Watt, alongside WH Auden, Benjamin clips covering cultural, social, and political Open Enders are television broadcasts Britten, John Grierson and Stuart Legg. issues, including images from over 35 covering major events, live, as the news separate collections. Getty has drawn on unfolded from 1997 (the Death of Diana, Teacher’s TV - Not part of the Jisc- hundreds of thousands of high-quality Princess of Wales), 2001 (9/11 - the attack on licensed content set, but freely available to downloadable footage clips, to depict the the World Trade Centre and other sites), 31 UK HE and FE courtesy of the Department people, the places and the events that have March 2002 (the death of Queen Elizabeth, for Education. Features more than 3,800 shaped the world as we know it today. the Queen Mother) and 7 July 2005 (the concise instructional videos featuring The source collections, used to provide bombings of three London Underground engaging and practical in-classroom news, sports, personalities, lifestyle, wildlife, trains and a London bus). British Paramount demonstrations and commentary from locations, cultures, politics and more, and Gaumont British News provide historical teachers, administrators and other include Archive Films and Image Bank Films, perspectives from the 1930s through educational experts. Key topics covered plus Discovery Footage Source (wildlife, newsreels shown in cinemas. include teaching global issues and nature, science and technology), AFP News citizenship, behaviour issues, assessment, Royal Geographical Society with IBG - (news footage from over 2,900 journalists administration techniques, social issues, The achievements and experiences of across the globe) and many others. ICT (information and communications nineteenth and early twentieth century technology), and special education. Imperial War Museum (films) - travellers and geographers are translated A substantial selection of 50 hours of films through the photographs, watercolours, from one of the most important moving sketches, maps and artefacts they brought Purchasing options image resources for the study of the major back to the Royal Geographical Society, • Available on subscription for higher conflicts in which Britain was involved which are still held in the RGS archives. education institutions, priced via Jisc in the 20th Century. This selection from The RGS has provided some of the most band their holdings consists mainly of British haunting and valuable images from its official films, but there are also titles from archives of over half a million items, • Access is FREE for further education – just the USSR and the USA. The material spans including unique photos of Captain register with us the First and Second World Wars, post-war Scott at the South Pole in 1912, Ernest • Includes free access to Teacher’s TV for reconstruction, Cold War and Civil Defence Shackleton, sketches of the Victoria Falls both HE and FE films, and, most recently, videotape from by David Livingstone, and the last known the United Nations Television Campaign in photograph of Mallory and Irvine before the former Yugoslavia from 1994 to 1996. they set off to reach the summit of Everest. Imperial War Museum (images) - Images Royal Mail - One of the finest British from the Imperial War Museum, including collections of documentary, public three collections: Art of First World War; information, animation and industrial films, Art of the Second World War, and a unique created by the GPO Film Unit and covering collection of proclamations. All the main subjects ranging across transport and figures of British art in the twentieth communications in Britain and abroad, the century are represented, from academic Home Front during the Second World War, painters, like John Singer Sargent and British industries from fishing to mining, William Orpen, to leading progressive the nation’s health - and developments in artists, such as Paul Nash, Henry Moore, the Post Office service itself. A selection Graham Sutherland and Stanley Spencer. of 16 hours. The GPO Film Unit provided The proclamations collection is drawn a temporary home to many of the best- from around 33,000 paper items from the known names in the British documentary Learn more or request a free trial at alexanderstreet.com/mediaplus ALEXANDER STREET, A PROQUEST COMPANY | 30 Queen’s Road • Reading, RG1 4AU • 0118 957 5659.
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  • Marion Grierson Transcription.Docx
    COPYRIGHT: No use may be made of any interview material without the permission of the BECTU History Project (http://www.historyproject.org.uk/). Copyright of interview material is vested in the BECTU History Project (formerly the ACTT History Project) and the right to publish some excerpts may not be allowed. CITATION: Women’s Work in British Film and Television, Marian Grierson, http://bufvc.ac.uk/bectu/oral- histories/bectu-oh [date accessed] By accessing this transcript, I confirm that I am a student or staff member at a UK Higher Education Institution or member of the BUFVC and agree that this material will be used solely for educational, research, scholarly and non- commercial purposes only. I understand that the transcript may be reproduced in part for these purposes under the Fair Dealing provisions of the 1988 Copyright, Designs and Patents Act. For the purposes of the Act, the use is subject to the following: The work must be used solely to illustrate a point The use must not be for commercial purposes The use must be fair dealing (meaning that only a limited part of work that is necessary for the research project can be used) The use must be accompanied by a sufficient acknowledgement. Guidelines for citation and proper acknowledgement must be followed (see above). It is prohibited to use the material for commercial purposes and access is limited exclusively to UK Higher Education staff and students and members of BUFVC. I agree to the above terms of use and that I will not edit, modify or use this material in ways that misrepresent the interviewees’ words, might be defamatory or likely to bring BUFVC, University of Leeds or my HEI into disrepute.
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  • 29 Nov 2015 Projection Series #1 Len Lye's
    25 Jul – 29 Nov 2015 Projection Series #1 Projection Series 1: Len Lye’s Colour Box 25 July – 29 November 2015 Daily,Projection 1pm Series 1: Len Lye’s Colour Box Len Lye’s Colour Box Running25 July –time: 29 November 51 minutes 2015 Daily,Projection 1pm Series 1: Len Lye’s Colour Box RunningLen25 July Lye Curator:–time: 29 November 51 minutesPaul 2015Brobbel AssistantDaily, 1pm Len Lye Curator: Sarah Wall RunningLen Lye Curator:time: 51 minutesPaul Brobbel AssistantImages: Unless Len Lye otherwise Curator: stated Sarah allWall material courtesyLen Lye Curator: of the Len Paul Lye Brobbel Foundation and the Govett-BrewsterAssistantImages: Unless Len Lye otherwise Art Curator: Gallery, stated Sarah from allWall material material madecourtesy and preservedof the Len by Lye The Foundation New Zealand and the ArchiveGovett-BrewsterImages: ofUnless Film, otherwise ArtTelevision Gallery, stated and from Soundall material material Ngā Taongamadecourtesy and Whitiāhua preservedof the Len Me by LyeNgā The FoundationTaonga New Zealand Kōrero. and the ArchiveGovett-Brewster of Film, ArtTelevision Gallery, and from Sound material Ngā TaongaPrinter:made and Whitiāhua preserved Me by Ngā The Taonga New Zealand Kōrero. Paperstock:Archive of Film, Television and Sound Ngā Typeface:TaongaPrinter: Whitiāhua Me Ngā Taonga Kōrero. ISBN:Paperstock: 978-0-908848-80-5 Typeface:Printer: Color Cry All Souls Carnival ISBN:PublishedPaperstock: 978-0-908848-80-5 in association with the Projection SeriesTypeface: Len Lye’s Colour Box, 2015. 1952-3Color Cry 1957All Souls Carnival ISBN:Published 978-0-908848-80-5 in association with the Projection Series© 2015 Govett-BrewsterLen Lye’s Colour ArtBox, Gallery, 2015. 1952-33Color min, 16mm Cry Kodachrome, sound 195716min,All Souls 16mm colour, Carnival sound thePublished artist, in writers association and contributors.
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    The British THE PSYCHOLOGIST is the official monthly Bulletin of The British Psychological Society. It will publish official statements on behalf of the Psychological Society when appropriate, and from time to time. Society It will also provide a forum for discussion and controversy among The British Psychological Society was members of the Society. As a consequence, views expressed in any founded in 1901, and incorporated by section of this journal which are signed by the writer are the views Royal Charter in 1965. Its principal exclusively of that writer: publication in this journal does not constitute objects are "to promote the endorsement by the Society of the views so expressed. This is in no way advancement and diffusion of a affected by the right reserved by the Managing Edttor to edit all copy knowledge of psychology pure and published. applied and especially to promote the Equally, publication of advertisements in THE PSYCHOLOGIST is not efficiency and usefulness of Members of an endorsement of the advertiser nor of the products and services the Society by setting up a high standard advertised. Advertisers may not incorporate in a subsequent of professional education and advertisement or promotional piece the fact that a product or service has knowledge; to maintain a Code of been advertised in THE PSYCHOLOGIST. The Society reserves the right Conduct for the guidance of Members to cancel or reject any advertisement without notice. and Contributors, and to compel the observance of strict rules of professional conduct as a condition of membership; Information for Contributors to maintain ... a Register of Chartered The Managing Editor welcomes Psychologists".
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  • Newsletter 32
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  • De Alberto Cavalcanti
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  • Coal Face, Um Filme De Alberto Cavalcanti
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  • Documentary Movement Outline
    “Land of Promise”: Society and Politics in British Documentary films, 1930-1960 During this tumultuous period in British history, the Documentary Movement of filmmakers associated with producer-directors John Grierson, Basil Wright and a generation of their colleagues sent the celluloid film into battle for social understanding and change. They set out to help shape a new citizen for a new era of educated democracy and advancing technology. During the same period, the General Post Office Film Unit occupied an important position in British film history and the documentary cinema in particular. The Unit attracted cinematic and artistic talent such as Humphrey Jennings, Charlotte Reiniger, Benjamin Britten and W.H. Auden. In an age of increasing social concern and sensitivities, the governments of the day themselves were sponsoring and guiding experiments in new cinematic genres: The Central Office of Information (established in 1946) produced and distributed thousands of short films in Britain, the Commonwealth and the world. It is arguable that Britain’s post-colonial identity was shaped in significant ways by these films. Though never reaching truly wide audiences, the documentary film had matured into a media and art form on the British silver screen before a significant home grown feature film industry did. For this reason the British feature films of the 1940s and ‘50s show remarkable dependence on the techniques developed by the documentarists. The protagonists, methods, techniques, aims and achievements of the early British documentary film movement will be explored in this article. There are few sources on this topic other than the films themselves that have recently been restored, digitised and published on DVD by the British Film Institute.
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  • Appendix Screenings and Additional Resources
    Appendix Screenings and Additional Resources The analyses of various films and television programmes undertaken in this book are intended to function ‘interactively’ with screenings of the films and programmes. To this end, a complete list of works to accompany each chapter is provided below. Certain of these works are available from national and international distribution companies. Specific locations in the United States, the United Kingdom and Australia for each of the listed works are, nevertheless, provided below. The entries include running time and format (16 mm, VHS, or DVD) for each work. (Please note: In certain countries films require copyright clearance for public screening.) Also included below are further or additional screenings of works not analysed or referred to in each chapter. This information is supplemented by suggested further reading. 1 ‘Believe me, I’m of the world’: documentary representation Further reading Corner, J. ‘Civic visions: forms of documentary’ in J. Corner, Television Form and Public Address (London: Edward Arnold, 1995). Corner, J. ‘Television, documentary and the category of the aesthetic’, Screen, 44, 1 (2003) 92–100. Nichols, B. Blurred Boundaries: Questions of Meaning in Contemporary Culture (Bloomington: Indiana University Press, 1994). Renov, M. ‘Toward a poetics of documentary’ in M. Renov (ed.), Theorizing Documentary (New York: Routledge, 1993). 2 Men with movie cameras: Flaherty and Grierson Nanook of the North, Robert Flaherty, 1922. 55 min. (Alternative title: Nanook of the North: A Story
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  • 1 "Documentary Films" an Entry in the Encylcopedia of International Media
    1 "Documentary Films" An entry in the Encylcopedia of International Media and Communication, published by the Academic Press, San Diego, California, 2003 2 DOCUMENTARY FILMS Jeremy Murray-Brown, Boston University, USA I. Introduction II. Origins of the documentary III. The silent film era IV. The sound film V. The arrival of television VI. Deregulation: the 1980s and 1990s VII. Conclusion: Art and Facts GLOSSARY Camcorders Portable electronic cameras capable of recording video images. Film loop A short length of film running continuously with the action repeated every few seconds. Kinetoscope Box-like machine in which moving images could be viewed by one person at a time through a view-finder. Music track A musical score added to a film and projected synchronously with it. In the first sound films, often lasting for the entire film; later blended more subtly with dialogue and sound effects. Nickelodeon The first movie houses specializing in regular film programs, with an admission charge of five cents. On camera A person filmed standing in front of the camera and often looking and speaking into it. Silent film Film not accompanied by spoken dialogue or sound effects. Music and sound effects could be added live in the theater at each performance of the film. Sound film Film for which sound is recorded synchronously with the picture or added later to give this effect and projected synchronously with the picture. Video Magnetized tape capable of holding electronic images which can be scanned electronically and viewed on a television monitor or projected onto a screen. Work print The first print of a film taken from its original negative used for editing and thus not fit for public screening.
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  • A Supercut of Supercuts: Aesthetics, Histories, Databases
    A Supercut of Supercuts: Aesthetics, Histories, Databases PRACTICE RESEARCH MAX TOHLINE ABSTRACT CORRESPONDING AUTHOR: Max Tohline The genealogies of the supercut, which extend well past YouTube compilations, back Independent scholar, US to the 1920s and beyond, reveal it not as an aesthetic that trickled from avant-garde [email protected] experimentation into mass entertainment, but rather the material expression of a newly-ascendant mode of knowledge and power: the database episteme. KEYWORDS: editing; supercut; compilation; montage; archive; database TO CITE THIS ARTICLE: Tohline, M. 2021. A Supercut of Supercuts: Aesthetics, Histories, Databases. Open Screens, 4(1): 8, pp. 1–16. DOI: https://doi.org/10.16995/os.45 Tohline Open Screens DOI: 10.16995/os.45 2 Full Transcript: https://www.academia.edu/45172369/Tohline_A_Supercut_of_Supercuts_full_transcript. Tohline Open Screens DOI: 10.16995/os.45 3 RESEARCH STATEMENT strong patterning in supercuts focuses viewer attention toward that which repeats, stoking uncritical desire for This first inklings of this video essay came in the form that repetition, regardless of the content of the images. of a one-off blog post I wrote seven years ago (Tohline While critical analysis is certainly possible within the 2013) in response to Miklos Kiss’s work on the “narrative” form, the supercut, broadly speaking, naturally gravitates supercut (Kiss 2013). My thoughts then comprised little toward desire instead of analysis. more than a list; an attempt to add a few works to Armed with this conclusion, part two sets out to the prehistory of the supercut that I felt Kiss and other discover the various roots of the supercut with this supercut researchers or popularizers, like Tom McCormack desire-centered-ness, and other pragmatics, as a guide.
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  • Progress Music
    10.5920/soundings.06 CHAPTER 6 109 Progress Music James Bulley Thanks go to Goldsmiths Special Collections, The Daphne Oram Trust, The Hugh Davies Collection, The BBC Written Archives, The British Film Institute Special Collections, Tom Richards, Dave Charlesworth (South Kiosk), Philip Zavier Serfaty (South Kiosk), Netta Pelota (South Kiosk), Daniel Jones, Ben James (Jotta), and Andrew Lister & Matthew Stuart (Bricks from the Kiln). This chapter existed in an earlier incarnation as writing commissioned for Bricks from the Kiln #2. (Lister & Stuart, 2017) 10.5920/soundings.06 110 SOUNDINGS In the Golden Age, progress music was heard in the background by nearly everybody. The first phone, the first car, the first house, the first summer holiday, the first TV — all to progress music. Then the arrival of sexual intercourse, in 1966, and the full ascendancy of the children of the Golden Age Martin Amis, The Pregnant Widow, 2010 This project explores a speculative era of ‘Progress Music’, unfolding narratives written from and through the archive. Here, form is found first as textual historical analysis, and then in the documentation of a multi-channel sound-film artwork, Progress Music I. This is a document of a time in 1960s Britain where the rapid rise of industry, communications and air travel was teamed with a spirit of idealistic public- information- film commissioning to inspire patternings of rhythmic, experimental, and incisive industrial documentary film. It is illustrated here by the collaborative work of British filmmaker Geoffrey Jones, and the composer and co-founder of the BBC Radiophonic Workshop Daphne Oram, on the British Petroleum (BP) documentary filmTrinidad and Tobago (1964).1 This inquiry began in 2012, stemming from research in the Daphne Oram collection, hosted at Goldsmiths, University of London, where I became curious about Trinidad and Tobago.
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