DOCSLIB.ORG

Passengerfilms Contact Name: Mia Hunt Contact Position: Co-Director Contact Address: Flat 633, 15-25 Talbot Square, London

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Passengerfilms Contact Name: Mia Hunt Contact Position: Co-Director Contact Address: Flat 633, 15-25 Talbot Square, London FILM SOCIETY OF THE YEAR AWARDS 2012 - APPLICATION FORM PLEASE REMEMBER TO READ THE GUIDANCE NOTES BEFORE FILLING IN THIS FORM. 1. Contact Information. Please nominate a contact person from your organisation. NAME OF ORGANISATION: PASSENGERFILMS CONTACT NAME: MIA HUNT CONTACT POSITION: CO-DIRECTOR CONTACT ADDRESS: FLAT 633, 15-25 TALBOT SQUARE, LONDON POSTCODE: W2 1TT TELEPHONE: 079 7739 6421 EMAIL: [email protected] WEBSITE: PASSENGERFILMS.WORDPRESS.COM 2. The Award Categories. Please tick the category for which you are applying. If you are applying for multiple categories, please submit a separate application for each award category. ENGHOLM PRIZE FOR FILM SOCIETY OF THE YEAR COMMUNITY AWARD BEST FILM PROGRAMMING BEST NEW SOCIETY BEST FILM EDUCATION PROGRAMME ■ BEST STUDENT SOCIETY BEST MARKETING AND PUBLICITY OUTSTANDING CONTRIBUTION BY AN JIM DEMPSTER AWARD FOR INNOVATION INDIVIDUAL 3. Supporting Documents. Please list all the documents provided to support your application. 1. Introduction to PASSENGERFILMS 4. 2012 Screenings 2. Supporting Statement 5. Sample Screenings 3. Testimonies 6. Appendices: Links; Event Posters; Sample Programme Notes 4. Signature by authorised representative of your organisation: Signed ……………………………………………………… Name/ Position: Mia Hunt / Co-Director PLEASE RETURN BY 10TH AUGUST 2012 TO: FSOY 2012, BFFS, THE WORKSTATION, 15 PATERNOSTER ROW, SHEFFIELD, S1 2BX OR MAIL [email protected] PASSENGERFILMS “The car-crash of cinema and geography” BEST FILM EDUCATION PROGRAMME APPLICATION Amy Cutler, Rupert Griffiths, Liz Haines, Mia Hunt, Liberty Rowley photos by Rupert Griffiths CONTENTS Introducing PASSENGERFILMS...............................3 Supporting Statement...............................................4 Testimonies...............................................................6 01 Screenings.......................................................7 Sample Screenings..................................................8 Appendices............................................................14 Links...........................................................14 Event Posters..............................................15 Sample Programme Notes.........................4 From our “Surveillance” screening event PASSENGERFILMS INTRODUCING PASSENGERFILMS PASSENGERFILMS — “the car-crash of geography Drawing from Diverse Practices and cinema” — is a new not-for-profit film enterprise, founded and run by volunteer PhD students, which PASSENGERFILMS aims to show the diversity and aims to bring hot topics from cultural geography to relevance of geographical approaches. We avoid the film-going public in London. the pedagogical model of having a single speaker talking to what is often considered a “civilian” audi- Cinema? Geography? ence. Instead, we invite several speakers who tack- le our chosen theme from a variety of angles. We As Sir Peter Hall (UCL) has remarked, “We’ve long challenge theoretical research by bringing it face-to- had books about places by geographers, and books face with the poetry and practicalities of film-making, about films and TV by critics — but they’ve remained political activism, urban-planning, sound-art, dance, in hermetically sealed compartments, separated by and much more. an impassable gorge.” Cultural geography is not well known as a discipline, but has a strong impact An Expanded Audience on contemporary discussions about film, landscape, place, and politics. PASSENGERFILMS presents Our audience is as eclectic as our films and collab- multi-disciplinary research on the constructed and orators. We run events in a number of venues, but contested spaces of human life, through cinema, most often hold screenings in informal settings and talks, and Q&As offering novel interpretations of schedule drinks breaks to allow people to circulate, classic, cult, and obscure films. We bring together meet, and discuss. Since the beginning of 01, conversations that have been happening, albeit in- new collaborations have brought opportunities to in- dependently, inside and outside of the academy and teract with even wider audiences — from a hugely within geography and film communities. successful live arts evening with the Brick Box (a community arts organization), to advising on a pro- gramme for St John on Bethnal Green church, to a series of screenings with the UCL research group Urban Lab. PASSENGERFILMS’ birthday event at the Brick Box 3 PASSENGERFILMS SUPPORTING STATEMENT Impassioned Amateurs and Themes and Seasons Generous Experts We do run one-off collaborations, but also focus We are not film students, but film fans. We do not on developing themed seasons. For example, at focus on “film education”, but on developing and ex- the start of 01, we ran five screenings on urban panding eclectic debates in geography. We have space in collaboration with UCL’s Urban Lab and the successfully developed a strong base of PASSEN- Bartlett School of Architecture. This model allows for GERFILMS fans and continually reach out to new more sophisticated programming around particular groups whose interests chime with our wide-ranging ideas; it also allows us to build and maintain par- themes. The informal atmosphere encourages ques- ticular audiences, and create more constructive and tions and debates across our diverse audiences. substantial discussions. Our seasons often involve the participation of themed venues, institutions, and collaborators. The Serious and the Sensational We work to balance the academic and public as- pects of our programming to engage both com- munities; we aim to keep PASSENGERFILMS lively, trendy and entertaining, as well as provocative and thoughtful. We constantly experiment with combin- ing intellectual material with exciting experience. For example, alongside a talk on the John Wyndham archive at an eco-horror screening of “The Day of the Triffids”, we filled the cinema bar with carnivorous plants sourced from Essex Carnivorous Plants. Last year we co-organised the first UK Green Film Festi- val and ran special events tied to the films, involving live bee hives and free cycle-painting workshops. At most events we play themed playlists during the breaks, and encourage the audience to collaborate on the playlist beforehand, with tongue-in-cheek themed prizes distributed on the night for best song addition. Collaborations: Academic Research Groups, Film Societies and Beyond We have academic affiliations with institutions and research groups including the Social and Cultural Geographies Research Group (SCGRG) at Royal Holloway, UCL’s Urban Lab, and the Autopsies Re- search Group in Film Studies. We also have strong relationships with a large number of London film so- cieties, clubs, venues, and partners. We were found- ing participants in the famous “Scala Forever” sea- son at the Roxy Bar & Screen last year; the season returns this year as “Scala Beyond”, when we’ll be programming a “Film Jam” slot. We have collabo- rated on nights with other well-known film organisa- tions, such as the London Short Film Festival, Rush- es Soho Shorts, and Open Cinema (a cinema for the Urban Planning Screening and book launch event 4 PASSENGERFILMS homeless, which received the proceedings). We are Future Plans members of Cinematic Drifters and of the South East London Film Club Network, and have collaborated Since launching in March 011, we have raised our with local arts organisations such as the Brick Box, profile within academic and public communities. which helped us throw our first birthday party. See Early on, we were chuffed when one of our earli- our sample screenings section for details. est screenings was picked by Time Out as Critic’s Choice for Other Cinema. This year we are build- Publicising the Event and Providing ing on our profile to develop themed seasons and Theoretical Contexts events with new institutions and academics. We are also working towards capturing a whole new audi- We keep things fresh and maintain our strong public ence through a schools programme. appeal by including “wild cards” in our programme. We also work hard to best convey the academic as- In the autumn, we will be working with “guest cu- pects of our events. In the run up to each screening, rators” — well-known geographers from around the we write extensive programme notes and post them country — on specialist topics. Forthcoming events on our blog, and begin discussion threads on our include: Facebook page and on Twitter (@Passengerfilms). These platforms link to relevant research websites, • a mini-season on border controls in September with articles, online projects, and recommended publica- geopolitics lecturers Klaus Dodds and Pete Adey tions on the theme. At the event itself, we provide printed programme notes (please see the appendi- • a Brazilian scholar of indigenous film-making will ces for examples), and encourage audience mem- join us in November for a session on indigenous and bers, speakers, and others to share relevant materi- ethnographic film, with archival films presented by als at a table we provide. Where possible, we make academics Luciana Martins and Felix Driver the screenings’ intellectual content freely available afterwards for people unable to make the events. • a session on material geographies with another We arrange for reviewers to write up each event and visiting international director, Fredrick Kerrten, co- make links to their reviews available afterwards. We curated by Ian Cook, founder of “Follow the Things” also encourage speakers to put talk materials
Load more

Recommended publications
  • Of Time, Dissonance and the Symphonic-Poetic City Les Roberts, University of Liverpool
    Published in Eselsohren: Journal of the History of Art, Architecture and Urbanism, 2 (1-2): 87-104 (2015). Of Time, Dissonance and the Symphonic-Poetic City Les Roberts, University of Liverpool The „time‟ of Terence Davies‟s celebrated cine-poem Of Time and the City (2008) can in one sense be characterised as linear inasmuch as it accords with a biographical period – the 1940s to 1970s – that maps on to the history of a specific place: the port-city of Liverpool in the north west of England. The duration of the seventy-five minute film is thus homologous to that of the director‟s own time growing up on post-war Merseyside, from his birth in 1945 until 1973 when he moved away from the city. In other words, the film tells a story that unfolds as a linear narrative: a time-line of geobiographical memory. But the „time‟ of Of Time and the City also conveys a different temporal geography, one that works against the linearity of narrative form. Time in this other sense is poetically woven from the fluid and contingent temporalities of Terence Davies‟s Liverpool: a city reassembled from the excavatory fragments of an archaeology of memory. It is as fitting to describe Of Time and the City as a „symphony‟ as it is for other classics of the genre, such as Walter Ruttman‟s Berlin: Symphony of a Great City (1927) or Dziga Vertov‟s Man with a Movie Camera (1929). However, the film‟s rich orchestration of archival memory (around 85% of the film consists of archive material) and its dissonant poetics of everyday time map out the contours of what might better be described as a „symphonic-poetic city‟.
    [Show full text]
  • Index to Volume 26 January to December 2016 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 26 January to December 2016 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND Index 2016_4.indd 1 14/12/2016 17:41 SUBJECT INDEX SUBJECT INDEX After the Storm (2016) 7:25 (magazine) 9:102 7:43; 10:47; 11:41 Orlando 6:112 effect on technological Film review titles are also Agace, Mel 1:15 American Film Institute (AFI) 3:53 Apologies 2:54 Ran 4:7; 6:94-5; 9:111 changes 8:38-43 included and are indicated by age and cinema American Friend, The 8:12 Appropriate Behaviour 1:55 Jacques Rivette 3:38, 39; 4:5, failure to cater for and represent (r) after the reference; growth in older viewers and American Gangster 11:31, 32 Aquarius (2016) 6:7; 7:18, Céline and Julie Go Boating diversity of in 2015 1:55 (b) after reference indicates their preferences 1:16 American Gigolo 4:104 20, 23; 10:13 1:103; 4:8, 56, 57; 5:52, missing older viewers, growth of and A a book review Agostini, Philippe 11:49 American Graffiti 7:53; 11:39 Arabian Nights triptych (2015) films of 1970s 3:94-5, Paris their preferences 1:16 Aguilar, Claire 2:16; 7:7 American Honey 6:7; 7:5, 18; 1:46, 49, 53, 54, 57; 3:5: nous appartient 4:56-7 viewing films in isolation, A Aguirre, Wrath of God 3:9 10:13, 23; 11:66(r) 5:70(r), 71(r); 6:58(r) Eric Rohmer 3:38, 39, 40, pleasure of 4:12; 6:111 Aaaaaaaah! 1:49, 53, 111 Agutter, Jenny 3:7 background
    [Show full text]
  • Walpole Public Library DVD List A
    Walpole Public Library DVD List [Items purchased to present*] Last updated: 9/17/2021 INDEX Note: List does not reflect items lost or removed from collection A B C D E F G H I J K L M N O P Q R S T U V W X Y Z Nonfiction A A A place in the sun AAL Aaltra AAR Aardvark The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.1 vol.1 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.2 vol.2 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.3 vol.3 The best of Bud Abbot and Lou Costello : the Franchise Collection, ABB V.4 vol.4 ABE Aberdeen ABO About a boy ABO About Elly ABO About Schmidt ABO About time ABO Above the rim ABR Abraham Lincoln vampire hunter ABS Absolutely anything ABS Absolutely fabulous : the movie ACC Acceptable risk ACC Accepted ACC Accountant, The ACC SER. Accused : series 1 & 2 1 & 2 ACE Ace in the hole ACE Ace Ventura pet detective ACR Across the universe ACT Act of valor ACT Acts of vengeance ADA Adam's apples ADA Adams chronicles, The ADA Adam ADA Adam’s Rib ADA Adaptation ADA Ad Astra ADJ Adjustment Bureau, The *does not reflect missing materials or those being mended Walpole Public Library DVD List [Items purchased to present*] ADM Admission ADO Adopt a highway ADR Adrift ADU Adult world ADV Adventure of Sherlock Holmes’ smarter brother, The ADV The adventures of Baron Munchausen ADV Adverse AEO Aeon Flux AFF SEAS.1 Affair, The : season 1 AFF SEAS.2 Affair, The : season 2 AFF SEAS.3 Affair, The : season 3 AFF SEAS.4 Affair, The : season 4 AFF SEAS.5 Affair,
    [Show full text]
  • Why Documentaries Matter Recognised As an Innovative Cultural Form
    RISJ CHALLENGES CHALLENGES Documentaries have for many decades inhabited the schedules of public Why Documentaries Matter Why broadcasters. They have chronicled the lives and institutions of western democracies. In the past two decades, however, documentaries have become Why Documentaries Matter recognised as an innovative cultural form. Instead of being exclusively funded by television channels, documentaries receive money from a number of sources, including film funds, private investors and foundations. Rather than observing, documentaries are now thought capable of changing the world. Is this what they really do? How do we define a documentary? What does it mean to be the ‘author’ of a film? Nick Fraser has been editor of the BBC’s Storyville series since 1997; here he looks at the history of documentaries, showing how definitions of documentaries have changed – and how fragile is their funding. If we want good documentaries, he concludes, we have to find ways of encouraging their creators. “Nick Fraser writes about documentaries with unique authority. Not only has he made some good ’uns, he has commissioned more than practically anyone else on earth (for the BBC’s Storyville) and - as this book shows - he Nick Fraser has watched docs from their earliest days. His ideas on what the growth of the web and the decline of public service broadcasters mean for doc-makers are informed, imaginative and challenging.” Brian Lapping Chairman and Executive Producer, Brook Lapping “The rise of documentaries over the past two decades owes more to Nick Fraser than to any other single person. For so many of us who make non-fiction films, Nick’s peerless brand of tough love and mischievous curiosity have inspired us to aim higher as we try to promote greater understanding of the major events and issues of our time.” Eugene Jarecki Documentary film maker “This expert lament is beautifully written.
    [Show full text]
  • Dis/Embedded Geographies of Film: Virtual Panoramas and the Touristic
    Space and Culture http://sac.sagepub.com/ Dis/embedded Geographies of Film: Virtual Panoramas and the Touristic Consumption of Liverpool Waterfront Les Roberts Space and Culture 2010 13: 54 DOI: 10.1177/1206331209353691 The online version of this article can be found at: http://sac.sagepub.com/content/13/1/54 Published by: http://www.sagepublications.com Additional services and information for Space and Culture can be found at: Email Alerts: http://sac.sagepub.com/cgi/alerts Subscriptions: http://sac.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://sac.sagepub.com/content/13/1/54.refs.html Downloaded from sac.sagepub.com at University of Liverpool on October 29, 2010 Space and Culture 13(1) 54 –74 Dis/embedded Geographies © The Author(s) 2010 Reprints and permission: http://www. sagepub.com/journalsPermissions.nav of Film: Virtual Panoramas DOI: 10.1177/1206331209353691 and the Touristic Consumption http://sac.sagepub.com of Liverpool Waterfront Les Roberts1 Abstract Drawing on archive film footage of Liverpool waterfront shot by tourists and other visitors to the city in the first half of the 20th century, this article examines the touristic construction and consumption of a panoramic space of representation that was materially embedded within the everyday flux of a thriving urban–industrial landscape. The deindustrialization of the waterfront and the closing up of the river as a well-integrated social landscape (epitomized by the closure of the dockside Overhead Railway in 1956) have precipitated a certain shift in the various “ways of seeing” that have hitherto structured the tourist gaze in Liverpool.
    [Show full text]
  • Index to Volume 29 January to December 2019 Compiled by Patricia Coward
    THE INTERNATIONAL FILM MAGAZINE Index to Volume 29 January to December 2019 Compiled by Patricia Coward How to use this Index The first number after a title refers to the issue month, and the second and subsequent numbers are the page references. Eg: 8:9, 32 (August, page 9 and page 32). THIS IS A SUPPLEMENT TO SIGHT & SOUND SUBJECT INDEX Film review titles are also Akbari, Mania 6:18 Anchors Away 12:44, 46 Korean Film Archive, Seoul 3:8 archives of television material Spielberg’s campaign for four- included and are indicated by Akerman, Chantal 11:47, 92(b) Ancient Law, The 1/2:44, 45; 6:32 Stanley Kubrick 12:32 collected by 11:19 week theatrical release 5:5 (r) after the reference; Akhavan, Desiree 3:95; 6:15 Andersen, Thom 4:81 Library and Archives Richard Billingham 4:44 BAFTA 4:11, to Sue (b) after reference indicates Akin, Fatih 4:19 Anderson, Gillian 12:17 Canada, Ottawa 4:80 Jef Cornelis’s Bruce-Smith 3:5 a book review; Akin, Levan 7:29 Anderson, Laurie 4:13 Library of Congress, Washington documentaries 8:12-3 Awful Truth, The (1937) 9:42, 46 Akingbade, Ayo 8:31 Anderson, Lindsay 9:6 1/2:14; 4:80; 6:81 Josephine Deckers’s Madeline’s Axiom 7:11 A Akinnuoye-Agbaje, Adewale 8:42 Anderson, Paul Thomas Museum of Modern Art (MoMA), Madeline 6:8-9, 66(r) Ayeh, Jaygann 8:22 Abbas, Hiam 1/2:47; 12:35 Akinola, Segun 10:44 1/2:24, 38; 4:25; 11:31, 34 New York 1/2:45; 6:81 Flaherty Seminar 2019, Ayer, David 10:31 Abbasi, Ali Akrami, Jamsheed 11:83 Anderson, Wes 1/2:24, 36; 5:7; 11:6 National Library of Scotland Hamilton 10:14-5 Ayoade, Richard
    [Show full text]
  • 1 the Communicating Village: Humphrey Jennings And
    THE COMMUNICATING VILLAGE: HUMPHREY JENNINGS AND SURREALISM NEIL GEORGE COOMBS A thesis submitted in partial fulfilment of the requirements of Liverpool John Moores University for the degree of Doctor of Philosophy January 2014 1 Acknowledgments. With thanks to my supervisors Dr David Sorfa and Dr Lydia Papadimitriou for their support during the process of writing this thesis. 2 Abstract This thesis examines the films of Humphrey Jennings, exploring his work in relation to surrealism. This examination provides an overview of how surrealism’s set of ideas is manifest in Jennings’s documentary film work. The thesis does not assert that his films are surrealist texts or that there is such a thing as a surrealist film; rather it explores how his films, produced in Britain in the period from 1936 to 1950, have a dialectical relationship with surrealism. The thesis first considers Jennings’s work in relation to documentary theory, outlining how and why he is considered a significant filmmaker in the documentary field. It then goes on to consider Jennings’s engagement with surrealism in Britain in the years prior to World War Two. The thesis identifies three paradoxes relating to surrealism in Britain, using these to explore surrealism as an aura that can be read in the films of Jennings. The thesis explores three active phases of Jennings’s film work, each phase culminating in a key film. It acknowledges that Spare Time (1939) and Listen to Britain (1942) are key films in Jennings’s oeuvre, examining these two films and then emphasising the importance of a third, previously generally overlooked, film, The Silent Village (1943).
    [Show full text]
  • The Programme Booklet in PDF Format Here
    the badlands collective presents The Long Day Closes A 35MM SCREENING ICA LONDON 10 SEPTEMBER, 2014 WITH SPECIAL GUEST TERENCE DAVIES the badlands collective presents The Long DayCloses 1992 / UK / 85 mins / Directed by Terence Davies / Photographed by Michael Coulter Starring Leigh McCormack, Marjorie Yates Movie lovers often talk of cinema as being their church. In The Long Day Closes, the parallel of these places of worship is made explicit, with an overhead shot of punters watching a film fading into a matching one of heads bowed in prayer. And in the films of Terence Davies in general, there is a constant working out of the obsessions of religion and drama - narratively, as Davies recalls his Catholic upbringing and lifelong romance with movies, and spiritually, as his films use rich tableaux, experimental rhythm and haunting pop, classical and choral music to summon subjective memory with all the stark, contemplative authority of a cathedral mass. The Long Day Closes is a hypnotic, bittersweet ode to boyhood that follows Bud, the autobiographical surrogate for Davies, a lonely lad growing up in postwar Liverpool and navigating the nascent realisation of his homosexuality, the difficulties of schoolmasters, the love of his mother and the sensations of movies, church, candy floss and glacial erosion. Unfolding as a trance of memories and moments, it’s contradictorily at once solipsistic, self-pitying and demanding while being a tribute to a real, fading time and place, an affirmation of family love and life’s beauty, and an entrancingly unique entertainment that displays Davies as one of the most important artists in British filmmaking.
    [Show full text]
  • Sight and Sound: the International Film Monthly
    Sight and Sound: the international film monthly 2008 – 18:1 Articles The Road Goes On Forever Wim Wenders took the language of American film - in particular the rambling alienation of the road movie - and gave it a distinctly European spin. Nick Roddick travels the director's landscapes of the mind Cruel Intentions: Ang Lee Ang Lee's Lust, Caution portrays a lost world whose glittering surfaces mask sexual intrigue and political treachery. He tells Nick James how a midlife crisis prompted his triumphant return to the Shanghai and Hong Kong of the late 1930s It ain't me, babe In I'm Not There Todd Haynes turns his gift for precise recreations of the past to a portrait of Bob Dylan's early years that uses six different actors to personify aspects of the music legend. And it works, says Michael Gray PLUS Jonathan Romney talks to the director about gaining Dylan's approval and James Bell surveys the singer's journeys into cinema Things fall apart Southland Tales, the second feature from Donnie Darko director Richard Kelly, imagines an apocalyptic American near- future that's not far removed from our current political, economic and ecological collective insanity, says Amy Taubin. She talks to the director about the Second Coming and the Terminator in the White House Mystery Trains Trains in movies are claustrophobic microcosms that intensify class conflicts, criminal urges and sexual tension - and no one better exploited their potential than Alfred Hitchcock in The Lady Vanishes, says Graham Fuller PLUS Philip Kemp celebrates the career of star Margaret Lockwood The sheltering sky Mexican director Carlos Reygadas' Silent Light infuses its tale of a love triangle in a strictly religious Mennonite community with a sensuality and beauty that's near miraculous, says Jonathan Romney.
    [Show full text]
  • Edge Hill University Institute for Creative Enterprise PROFILES
    Edge Hill University Institute for Creative Enterprise Northern Powerhouse and Film Policy th 30 September 2015 PROFILES Eddie Berg - Strategist/Consultant/Producer, Film, Creative, and Cultural Sectors Eddie Berg is an independent consultant specialising in film, digital and media arts with a successful track record of establishing and leading major cultural venues, capital projects and strategic change, as well as building new audiences, resources, world-class teams and wide-ranging national and international partnerships. From 2005 - 2014 he worked at the BFI, firstly as Artistic Director of BFI Southbank (leading the transformation of the venue) and then as Director of Partnerships where he was responsible for leading the BFI’s lottery investment in film exhibition, education and skills across the UK. He is also the Founder and former Director of the £11m FACT Centre in Liverpool which opened to popular and critical acclaim in 2003. Prior to that he was Founding Director of Video Positive, the UK's first major international festival of video and new media art. The biennial event featured commissioned works by both established and emerging artists and was a showcase for technological innovation. Eddie Berg is also Chair of ICE's External Advisory Group. Roy Boulter - Producer, Hurricane Films, Liverpool Roy runs Liverpool based production company, Hurricane Films, with Sol Papadopoulos. Prior to producing, Roy was a musician - drummer with the Liverpool band, The Farm - and a screen writer for Brookside, Hollyoaks, and for Jimmy McGovern's drama The Street. He has co-produced four feature films, 'Under the Mud'; Terence Davies's feature doc', 'Of Time and the City; and Terence Davies's two most recent feature films, 'Sunset Song' and 'A Quiet Passion'.
    [Show full text]
  • Malcolm Lowry's Poetics of Space
    AND MIGUEL MOTA LANE EDITED BY RICHARD J. Malcolm Lowry’s Poetics of Space offers new and controversial readings that seek to readdress Lowry’s masterpiece Under the Volcano and many of his MALCOLM Lowry’S other writings. With contributions by international Lowry scholars, the collection focuses on Lowry’s spatial dynamics and engages with the P notion of Lowry as a multi-media artist who influenced and was deeply OETICS influenced by a broad range of modernist and postmodernist aesthetic practices. OF Space Acutely aware of the world of film and deeply immersed in a vast range of literary traditions and the avant-garde, Lowry worked within an inter- textual space that transgressed aesthetic boundaries. Malcolm Lowry’s Poetics of Space offers a new approach to the author’s life and work that EDITED BY RICHARD J. LANE AND MIGUEL MOTA will undoubtedly inspire a fresh debate. MALCOLM LOWRY’S POETICS OF SPACE MALCOLM LOWRY’S Richard J. Lane is Professor of English at Vancouver Island University, BC. He directs the Seminar for Advanced Studies in the Humanities and the Literary Theory Research Group at VIU, where he is also the principal investigator of the MeTA Digital Humanities Lab. Lane is also a director of Innovation Island Technology Association, as well as an Associated Researcher at The Electronic Textual Cultures Lab at the University of Victoria. Miguel Mota is Associate Professor of English at the University of British Columbia in Vancouver, BC. In addition to his work on Lowry, Mota has published in the areas of contemporary British literature and culture and on the relationship between literature and film, including articles on Jeanette Winterson, John King, Mike Leigh, Derek Jarman, and Peter Greenaway.
    [Show full text]
  • Films2008new
    Copyright © BFI 2008 CRITICS BY NAME GULNARA ABIKEYEVA .................................... 4 GEOFF ANDREW ......................................... 5 MICHAEL ATKINSON ..................................... 5 JAMES BELL ............................................. 6 GUIDO BONSAVER ....................................... 7 NICK BRADSHAW ........................................ 8 PETER BRADSHAW ....................................... 9 MICHAEL BROOKE....................................... 10 ED BUSCOMBE.......................................... 11 TOM CHARITY.......................................... 12 IAN CHRISTIE .......................................... 13 MICHEL CIMENT ........................................ 15 KIERON CORLESS ....................................... 15 MARK COUSINS ........................................ 16 HAMID DABASHI........................................ 17 CHRIS DARKE .......................................... 18 MARIA M. DELGADO ..................................... 19 ANDREA DITTGEN ...................................... 21 THE FERRONI BRIGADE AKA OLAF MOLLER & CHRISTOPH HUBER. 22 MARK FISHER .......................................... 23 LIZZIE FRANCKE ........................................ 24 JEAN-MICHEL FRODON ................................... 25 GRAHAM FULLER ....................................... 26 LEONARDO GARCIA-TSAO ................................ 28 CHARLOTTE GARSON .................................... 29 CHARLES GANT......................................... 30 RYAN GILBEY .........................................
    [Show full text]