37_15 Cutaway Newsletter v6_Layout 1 06/03/2015 16:10 Page 1

FILM STUDIES NEWSLETTER QUEEN MARY UNIVERSITY OF LONDON ISSUE 4 • SPRING 2015 CUTAWAY

02 Interview: Anat Pick Screening the Forest 03

04 Beyond Borders Teaching Film Practice 06

07 Archive Fever What Are We Up To… 08 37_15 Cutaway Newsletter v6_Layout 1 06/03/2015 16:10 Page 2

02 FILM STUDIES NEWSLETTER • ISSUE 4

Interview: Anat Pick Senior Lecturer in Film Studies talks to Cutaway about her Anat Pick: I am happy with our achievement to showcase rarely-seen passion for animals and how it intersects with her research. artists’ films on flora and fauna, and to link up with venues across London, like CUTAWAY: Anat, since you came to QMUL Anat Pick: I think of documentary as the Whitechapel Gallery, the Horse in 2012, what are the ideas that you have a really broad umbrella term. The Hospital, Tate Modern or the Goethe- contributed to the Film Department? distinction between documentary and Institut. It’s been an overwhelmingly fiction is just a disciplinary one, not an positive experience. We managed to get Anat Pick: My main research is in the new ontological one. However, I guess my the public to show up: attendance was field of Animal Studies. My contribution overarching interest is in understanding generally high. Personally, it has been a has been the introduction of a nonhuman reality. That’s the link to animals because wonderful experience in terms of putting perspective into film studies – thinking the reality of mass-domination of animals together a large film programme. This about film studies as something that and organised violence – that is the helped me think more about curation and extends beyond the human. This means definitive mode of the relationship film programming, which are both now considering the different aspects of between ourselves and other animals – part of the Visual Essay module. cinema – from narrative structure, remains largely invisible. This is where through to formal qualities and, film, especially documentary film, comes CUTAWAY: Could you tell me about your significantly, also ethics – from what is in, because documentary has a kind of current research? sometimes called a post-anthropocentric commitment to reality. Then, thinking perspective, or beyond the perspective about what makes the reality of animals Anat Pick: My new book project is called that places human beings at the centre visible, how it can become visible, and Vegan Cinema . There are several of the art form and its concerns. what are the mechanisms that govern its orientations that underline what vegan visibility or invisibility – that’s the link cinema means. It’s a cinema that makes CUTAWAY: When and how did your passion between animals and non-fiction film possible a non-anthropocentric for animals begin? forms. perspective, a cinema told from the point of view or experience of a nonhuman Anat Pick: I am one of those people who CUTAWAY: How is the experience of animal, or the perspective of another have always loved animals, and have teaching the Ecocinemas module? nonhuman entity, like a tree or even a always considered myself to have a special stone. Vegan cinema is acutely aware of connection with animals. But it took me a Anat Pick: The module has run once, the instrumentalisation of animals (in the long, long time to turn this into my and is about to run a second time. The world and by cinema itself). So, I try to set academic research interest. Nonhuman experience was great. Everyone seems up a different, non-instrumentalising way animals have always been my passion, and open to it and really interested. This may of looking at animals, what you might call in a way, because this was my passion, I be due in part to the novelty factor: a non-devouring gaze. Vegan cinema taps was reluctant to turn it into a scholarly ecocinema and film that places the into the parallels between eating and pursuit. Then, at some point, nonhuman at the centre are a new thing looking: eating as destroying something I realised that it was difficult for me to for students to encounter and think about. and assimilating it into yourself, and ignore it. For me, this is a very pressing and It was also the first time, interestingly, that looking that similarly masters its object. central issue and it made no sense to keep many of our undergraduate students dealt Vegan cinema asks if there’s another way it out of my scholarship. So, it was the right with documentary film in a more of looking, like another way of eating, that thing for me intellectually, politically and systematic way. does not devour, assimilate and destroy. ethically to merge the two together. Finally, I consider vegan cinema as a CUTAWAY: Over the past year, you ran critical practice that you can apply to films CUTAWAY: You teach film studies and many activities for the Screening Nature to critique them from a vegan perspective. documentary practice. How do these Network project. Looking back, what areas intersect with your work and your have been the highlights? dedication to animals? 37_15 Cutaway Newsletter v6_Layout 1 06/03/2015 16:10 Page 3

Screening the Forest FILM STUDIES NEWSLETTER • ISSUE 4 03 The Cinematic Forest at the Horse Hospital Living British

Curating the films related to your research to contact filmmakers from Thailand, and screening them in London is such a Singapore, the Philippines, and Taiwan and Cinema challenge, yet it is a dream job for many to screen their work at a packed theatre. The second Living British Cinema film scholars. I was lucky that I had this Festival took place in March 2014, with After the screening, I was privileged to talk opportunity during my first year as a PhD over 200 people in attendance. Day with the audience. While many viewers’ researcher. Screening the Forest was an One focused on British fashion films favourite was The Legend in the Mist, a event that was held at the Horse Hospital and musicals, with talks by Marits Taiwanese experimental video, the scary on 21 May 2014. The screening was also Roberts from the British Fashion Thai evil in The Forest Spirit won over many the closing event of the AHRC-funded Council and Pamela Church Gibson Asian viewers. The surprise came when project, the Screening Nature Network, a from the London College of Fashion. two viewers saw the same film in a totally collaboration between the Department of This was followed by a session on different way; when they spoke Film Studies at QMUL, the University for British musicals with talks from passionately about them, it was the kind the Creative Arts, the Whitechapel Gallery, Lawrence Napper of King’s College of priceless moment any researcher would Goethe-Institut, and the Horse Hospital. and a very special interview with Murray ask for. Melvin, star of A Taste of Honey and The event originated when Dr Anat Pick Barry Lyndon . Day Two began with a asked me to put together a programme Graiwoot Chulphongsathorn, or 'Tay' careers event where film students got to of Asian experimental films that place the ([email protected]), is a hear from industry professionals about forest at the center of the filmmakers’ first-year PhD student of Film Studies at what their jobs entail. This was followed creative vision. It was a privilege for me QMUL. by the student short film competition. A jury of programmers from the British Film Institute, the Barbican, the Anxiety Film Festival and Cinema Jam gave top Debout! prize to Word on the Water , a documentary by Mitchell Harris and In May 2014, it was a pleasure to have Annabel Nicolson. Community filmmaker Carla Steinberg about the London book the opportunity to work with the Electra and researcher Ed Webb-Ingall gave a barge. We then moved to the Genesis Arts Organisation on Debout! Feminist great paper on community video in Cinema to welcome Gurinder Chadha, Activism and the Moving Image in Milton Keynes and Laura Guy spoke director of Bend it Like Beckham , to France and Beyond , an event held at about Roussopoulos and Seyrig’s introduce a screening of her first film, Queen Mary. Electra have a fantastic adaptation of Valerie Solanas’s SCUM Bhaji on the Beach , and to be in track record of producing and curating manifesto. Screened as part of the final conversation with LBC Festival Director, programmes from a wide range of paper was Professor Emma Wilson's Dr Lucy Bolton. Days One and Two feminist and queer artists working in thoughtful and moving presentation on were capped by late-night horror moving image and performance, so they Alina Marazzi's home movies. screenings in the Hitchcock Cinema, were the perfect organisation to team programmed by Matt Jacobsen and up with for this event. It was also a great The roundtable, convened by George students on the British Horror module. privilege to be able to invite Nicole Clark, assistant curator of film at Tate, Fernández Ferrer, the director of the provoked an interesting discussion Day Three began with a talk and Centre Audiovisuel Simone de Beauvoir between Marina Vishmidt from Cinenova screening by the South Asian Cinema in Paris, to come and present some (the London-based women’s film and Foundation reflecting on Indo-British films and videos from their collection. video distribution network) and Nicole, collaboration in cinema between 1908 The centre was opened in 1982 by focussing on a variety of issues. Perhaps and 1929. We then welcomed Ben Carole Roussopoulos, Delphine Seyrig the most poignant was how funding Gibson from the London Film School to and Ioana Wieder to promote, distribute structures affect the way that women’s be in conversation with Charles Drazin and archive feminist video, and is still film and video archives can function, about the film that won the LBC poll to going strong today. In addition to particularly given the current climate find Britain’s Most Iconic Film – David running the centre, Nicole regularly where feminist organisations are Lean’s Brief Encounter . The festival organises screenings in prisons and increasingly suffering from funding cuts. finished on a more contemporary note, secondary schools and is herself One can only hope that non-profit with a screening of Art Ache, a new film involved in making documentary films. organisations such as Electra, which has directed by Berty Cadihac. The film was recently lost its funding, can continue to shot locally, including in the Mile End There was a fascinating range of find the resources to keep up the Art Pavilion. We welcomed the director, academic papers, beginning with Dr important work they have been doing. cast and crew for a Q&A, and then Ursula Tidd who spoke about Simone de toasted the end of an exciting and Beauvoir’s television appearances in the Links: successful festival with a closing night 1970s. This was followed by Dr Kate www.electra-productions.com/ party. Ince’s wonderful contribution on www.centre-simone-de-beauvoir.com/ feminism, film and pleasure including www.cinenova.org Dr Lucy Bolton ([email protected]) clips from Agnès Varda’s short, film is a Lecturer in Film Studies at QMUL Plaisir d’amour en Iran ; and Dr Lucy Dr Ros Murray ([email protected]) Reynolds introduced us to the work of is an Early Career Research Fellow at QMUL. 37_15 Cutaway Newsletter v6_Layout 1 06/03/2015 16:10 Page 4

04 FILM STUDIES NEWSLETTER • ISSUE 4

Beyond Borders QMUL Film Studies graduate Matthew Kay talks about his experience of making documentary films

It’s Summer, 2011 – the year of the Arab Spring. The King’s Speech has just cleaned up at the Oscars, Bin Laden has been assassinated and I’ve just graduated from Queen Mary University of London. I’m about to embark on my first Middle Eastern adventure and, more importantly, my first documentary. The opportunity arose for me to follow the charity Football Beyond Borders on their annual tour which would see them using football to engage with local communities. The former captain, Jasper, wanted to make a documentary about the trip but had no film experience whatsoever and wanted to pair up with me. Some of the team had never been outside of London, and so the chance to film them witnessing the Arab Spring first-hand seemed too good to miss.

Armed with two Sony PD170s lent to us by Matthew Kay at work our respective universities, we set off with the team, having no idea what to expect. norm. Everything was in place for filming, amounts of both! By this point, we had We travelled to Egypt where the players and it seemed that by being there, it was lived and breathed the documentary for found themselves amidst passionate my duty to document it. four weeks and the thought of our footage protests in the heart of Tahrir Square, then being destroyed at the last hurdle was I maybe took this ‘duty’ a little too carried on to Israel where they were traumatic. A Palestinian filmmaker seriously and by the end of the tour we shocked to see large numbers of heavily informed us that if there were less than ended up with 120 hours of footage! The armed young men of their own age, before five tapes, border control wouldn’t old cameras use mini DV tapes, so as we ending up in the West Bank where they consider it necessary to check the came to leave Israel we had 120 DV tapes became the first British sports team to play footage, and so we divided the tapes up to get out of the country. Footage on in Palestine. All nineteen of us travelled between the team with each player hiding Palestine is always deemed ‘sensitive’ and together and the month-long shoot was them in their toilet bags and football often doesn’t find its way out. Added to very intense. Through staying in refugee socks. Sure enough none of the bags this, we had heard that there was an camps and spending so much time with were flagged up; and we managed to active ban on any footage shot in Tahrir the locals, hearing moving stories and leave the Middle East with all equipment Square – naturally, we had copious witnessing powerful scenes became the and the smuggled footage intact. The film, Over The Wall , was well received and went on to screen at various film festivals as well as being picked up by a distributor. I had never formally learned the different stages required to shoot a documentary, and worked mainly on instinct and advice from other filmmakers. Jasper and I forged a good working relationship and both of us abandoned our previous career plans to set up our own production company, Walks of Life Films, and pursue documentary filmmaking full time. Previously I had been more interested in fiction filmmaking but the experience of making Over The Wall convinced me otherwise. There is A still from Over The Wall 37_15 Cutaway Newsletter v6_Layout 1 06/03/2015 16:10 Page 5

FILM STUDIES NEWSLETTER • ISSUE 4 05

filmmaking at Queen Mary. Studying different eras of cinema such as the French New Wave and German Expressionism gave me an appreciation for the craft and something to aspire to regarding form and technique. This helped me develop my own taste and think about how I would like to progress as a filmmaker. Not only do I love cinema as entertainment, I also feel that film is a powerful tool that can enlighten viewers and positively affect the world around us. University is where I first learned about and debated the different ways cinema can manifest itself within society. Studying modules on, say, psychoanalytic film theory or the relationship between film and philosophy expanded my sense of what is achievable and the different ways of addressing and inspiring an audience. I have always loved the immersive nature of cinema and try to make my films a gateway into a world that can educate and inspire as well as entertain. These formal learning experiences contributed to the content I now produce and incentivised me to feel that I can make a difference to our world.

Matthew Kay graduated from QMUL Filming in a Brazilian favela in 2011 and is now an established documentary filmmaker. something magical about filming a Sudanese refugee camps in the Israeli moment knowing that what you are desert, into Brazilian favelas and even Young filmmaker documentary runner-up: capturing is potentially history in the onto the back of a police motorbike in http://gu.com/p/3fdv4/sbl making. It’s exhilarating not knowing Bethlehem! exactly what will happen next, having to African migrants speak out about life in adapt to the situation as it unfolds and None of these wonderful experiences Israel's detention centres: carve out narratives as the shoot would have been possible had I not http://gu.com/p/44a7k/sbl develops. gained such solid experience of film and

After committing to the idea of being a documentary filmmaker, I made a number of shorts and participated in various mentorship schemes with the BFI, Sheffield Doc Fest and Sky News. All these experiences have been invaluable and helped me hone my craft. Some of the documentaries I’ve made have screened at major film festivals such as Cannes, IDFA and Open City Doc Fest, with one broadcast on BBC3. Filmmaking has taken me to the Houses of Parliament, Buckingham Palace and the top of tower cranes on building sites, to Shelters for prisoners at the Holot detention centre in Israel 37_15 Cutaway Newsletter v6_Layout 1 06/03/2015 16:10 Page 6

06 FILM STUDIES NEWSLETTER • ISSUE 4

Teaching Film Practice Eugene Doyen, Director of Film Practice at Queen Mary

Because I teach a module on film That is why I’m not interested or directing, I always get the Stanley Kubrick concerned about the concept of a director question. What do I think of Stanley being a genius. To offer another answer to Kubrick? Wasn’t he a genius and a the Kubrick question: Stanley began work perfectionist? My reply sounds cynical: as a stills photographer and by doing this Stanley might have directed some good he learned about lighting, framing and films – but didn’t he plunge down a composition. This is good knowledge precipice of indecision that meant it took for a director. It’s an essential skill for a him nineteen years to make his last two cinematographer and a camera operator. films and these are hardly works of Stanley Kubrick with Leica III Camera, Library of Then, Stanley made some short films perfection and genius. Congress, Prints & Photographs Division working with friends. This taught him set in terms of acting and blocking. This about staging action, shooting continuity The reason for my resistance to any understanding of the script is what gives footage and editing. Staging action idolisation of Kubrick is because this the director authority: they are respected successfully is essential for good offers a very flawed idea of what a director because it is clear to the production team direction. When he directed his first two does. My job is to teach students how to and the crew that they know what they features, Stanley worked with experienced direct, and they need to overcome any are doing. Second, working with actors: professionals who gave him support as an assumptions they have so they can really the director works with the actors to inexperienced director to make successful learn what is involved. support them in giving the right films: he worked as part of a team. A key performance for their character. Acting is collaborator with Kubrick was Kirk The mythologised Kubrick offers an idea a combination of voice (accent, phrasing, Douglas, who – as producer and actor – of directing which is appealing because it intonation), physicality (posture and enabled Stanley to work on more complex is a simplification which goes something movement), expression (facial or physical productions such as Spartacus and Paths like this: I am a genius therefore I am movement) and the interaction between of Glory . In the mythology of Stanley always going to make the right choices, characters (spatial relationships and Kubrick being a genius, the process of no one can challenge me. I am a physicality). Through script preparation, how he learned his directing skills is perfectionist so I can keep on changing the director can cast suitable actors and diminished and the importance of who my ideas, demanding more and more, then guide and direct performances Stanley worked with is marginalised. The because in the end, I will make something successfully. Third, directing the creative Stanley Kubrick Archive provides ample that is perfect. Besides being process: filmmaking is a collaborative evidence of the many talented writers, megalomaniacal, egotistical and design and production process. The designers, illustrators, composers and solipsistic, this conception of a director director works as part of a team of producers that Stanley worked with. is also rather vague. It offers no answers creative people, and based on their script to the crucial questions like: what skills preparation, a good director I teach film directing so that people can are needed to direct? How does a director will support and guide these people to do make films working as part of a team. I work on set? What does a director need their best possible work. Using this want them to be professional, to get the to know in order to direct a film well? model, an inexperienced director can job done. There are skills to learn, there make a successful film because they are is work to do. In my module on film directing, I help using the skills of others. When a director students understand that the director has Film Directing: Beat by Beat and Block by is experienced, they will want to work with three major roles. First, script preparation: Block , Eugene’s teaching materials for his other equally experienced professionals: a film script can be analysed in terms of film directing module, can be found on writers, production designers, story, plot beats , and in terms of acting, academia.edu cinematographers, and so on. character beats . Analysing the script will allow the director to make the key These roles can be learned and one aim decisions that will guide the visual design of my teaching is to remove the hyperbole for the film and how to direct the film on surrounding the work of film directing. 37_15 Cutaway Newsletter v6_Layout 1 06/03/2015 16:10 Page 7

Archive Fever FILM STUDIES NEWSLETTER • ISSUE 4 07

Jeremy Hicks, Reader in Russian Culture/Film, discusses his work in the Russian film archives

What is it about archives? Philosophers Jacques Derrida and Michel Foucault theorised them as metaphors for the organisation of knowledge; for historians, they play a particularly important role as stores of documents that have not been prepared for public consumption, and therefore tell us more about the true thoughts of the actors of history. For scholars working in film history, the archive presents a contrast with the documents we use most: films. Movies in their final cuts are highly polished products, typically the result of a process of pitching, scripting, shooting, re- shooting, editing and so forth. It can be hard to get at the decisions and debates that shaped what we see on a cinema screen. One of the joys of film studies is the process of reconstructing the thinking behind the film, through, for example, the writings, memoirs and biographies of the personalities involved. But these are all still published materials deliberately might tell of the horrors of Auschwitz, and filtered through the bias of their authors. it is the archive footage and documents The archives enable us to see that enable us to see this moment of correspondence that no one wanted uncertainty and disorientation. published, rushes and rough-cuts that In my most recent research, I have been were never released. They give us a better looking at the origins of a famous image picture of the film not as a polished, symbolising the fall of the Nazi regime in complete thing, but a work in progress, May 1945: the raising of the Soviet red a site of debate and interpretation. flag over the Reichstag in Berlin. Once In my work on Russian film history, I have again, I have found it possible to trace worked in the archive of documentary film the process of making this image that and photography at Krasnogorsk has come to stand widely for a historical (RGKAFD), where they not only keep event. copies of all Russian documentaries and For all my fascination with these kinds newsreels released since 1926 until the of materials, it is, of course, an illusion to end of Soviet Union in 1991, but also the see the archives as the uncut, unrefined footage shot for but not included in these truth. Here too knowledge is interpreted films. This extraordinary material comes through the kinds of material collected to life when combined with published and the way they are organised. histories and memoirs, but especially Recognising and defining that bias, and when seen in the light of unpublished your own standpoint, permits a deeper archival documents such as the internal insight. Here the wider considerations correspondence of the studios producing of both film studies and history are the these films or government communiques necessary antidote to ‘archive fever.’ to them. In the case of a book I published in 2012, First Films of the Holocaust , I Dr Jeremy Hicks is Reader in Russian was able to examine not only the rough Culture/Film at Queen Mary. cuts of films portraying the Nazi extermination camps, but also to see Jeremy contributed as historical consultant how the camera operators who took the to an important documentary about footage discussed what to film and how the liberation of the camps: Night Will Fall , to film it with the studio in Moscow. They which was shown worldwide, and on were unsure what kind of narrative they Channel 4 in the UK. 37_15 Cutaway Newsletter v6_Layout 1 06/03/2015 16:10 Page 8

08 FILM STUDIES NEWSLETTER ISSUE 4 Locations: Athens . Nick Jones is looking forward to the forthcoming publication of his first book Hollywood Action Cinema and Spatial Theory, and has published What Are We Up To? articles on the ‘Stereoscopic Image in 3-D Media’ in New Review of Film and Television Studies and 'The Abstract Space Cutaway asked staff and postgraduates furnishing Domestic Modernity in the Post- of Virtual Cinematography' in Animation : teaching and researching film studies at war Years' in Journal of British Cinema An Interdisciplinary Journal . Oliver Kenny QMUL to send us details of their recent and Television, and co-organised the organised the BAFTSS-funded 'Queen and forthcoming work. We ended up with interdisciplinary forum 'Domestic Mary Postgraduate Symposium on the a list far too long to reproduce here; but to Imaginaries: Representations of Home Gaze', presented on the Saw film series at give an idea of what everyone is up to, in Film, Literature and Popular Culture'. the British Association of American Studies here is a selection… annual conference and teaches courses on Janet Harbord introduced La Jeteé and film with The Brilliant Club. Pauline Small Adrian Garvey co-organised the conference Sans Soleil in a double bill at the Barbican has published two book chapters, one on Exploring British Film and Television (in collaboration with the Whitechapel Chris 1950s female Italian stars in The Italian Stardom and will contribute on article on Marker solo exhibition) and organised the Cinema Book and another on Italian film stardom to a special issue of Journal of symposium 'Piracy: the politics and producers in Beyond the Bottom Line: British Film and Television Studies . practices of borrowing' hosted by the AHRC the Producer in Film and Television . Alasdair King has published 'Fault Lines: Network project 'Bazaar Cinema’. She has Deleuze, Cinema and the Ethical also published 'Gesture, Time, Movement: Peter Evans has given talks on Blonde Landscape' in Cine-Ethics: Ethical David Claerbout meets Giorgio Agamben Venus at the BFI, and is due to speak on Dimensions of Film Theory, Practice, on the Boulevard du Temple ' in Cinema romantic comedy at the London Cinema and Spectatorship and 'Still Lives in and Agamben : Ethics, Biopolitics and the Museum and on Baz Luhrmann's Romeo Transit: Movement and Inertia in Angela Moving Image and 'Copernicus and I: and Juliet as part of the Institute of Schanelec's Orly (2010)’ in Studies in Revolutions in Perception and The Powers Psychoanalysis's series 'Shakespeare on European Cinema . He presented on of Ten ' in Technology and Desire: The Screen'. Ros Murray will soon see the finance and aesthetics at the ACLA Capitals Transgressive Art of Moving Images . Jenny publication of her book Artaud: The Scum conference in New York and interviewed Chamarette has published articles on Elia of the Soul , and articles on Carl Theodor the master financier, Rainer Voss, at the Suleiman in Modern and Contemporary Dreyer in Film-Philosophy and Pedro UK premiere of the acclaimed banker France , on Abbas Kiarostami in Studies in Almodóvar in Transnational Cinemas . She documentary Master of the Universe . Anat French Cinema and on Agnes Varda and also organised the conference 'Debout! Pick has three articles coming out on the Chantal Akerman in Studies in European Feminist Activism and the Moving Image in topic of animals and the moving image; in Cinema , as well as a book chapter on France and Beyond'. Sue Harris presented Yale French Studies , Screen , and the 'Cinema in the (French) Museum' in the work from her forthcoming BFI classics edited collection Animal Life and the book Museum Media . She also co-curated book An American in Paris at BAFTSS Moving Image and co-organised the AHRC a series of workshops, events and 2014. She has also written a series of funded 'Screening Nature' Project. Annette exhibitions under heading of 'Translation articles for the academic online news site Kuhn has published 'Otra mirada a Family Games'. The Conversation , including one on Gérard Secrets ', in Album de Depardieu in Abel Ferrara's Welcome to familia:[re]presentacion, [re]creacion Jo Stephenson organised a British Fashion New York . Victoria Grace Walden writes a e [in]materialidad de las fotografias Film event as part of the Living British blog on embodiment, organises an online familiares as well as serving on the steering Cinema festival and has a forthcoming research forum 'Holocaust, Contemporary committee of two projects 'Childhood and book chapter entitled ‘The Regal Catwalk: Genocide, Popular Culture and Digital Nation in World Cinemas' and 'Cultural Royal Weddings and the Media Promotion Technologies' and has published an article Memory and British Cinemagoing of the of British Fashion’. Libby Saxton , whilst on 'The Non-Human and Affect' in the 1960s'. Chair of the department, co-edited Short Film Studies Journal. Holocaust Intersections: Genocide and Charles Drazin has co-edited a special Visual Culture at the New Millennium , issue of the Historical Journal of Film, with Axel Bangert and Robert Gordon, Editorial team: Radio and Television on Film Finances and contributed a book chapter ‘ Passion , Guy Westwell and a special issue of the Journal of British Agamben and the Gestures of Work’ to e: [email protected] Cinema and Television on director Lindsay Cinema and Agamben: Ethics, Biopolitics and contributed articles on both. In April and the Moving Image . Lucy Bolton has Graiwoot 'Tay' Chulphongsathorn 2014 he gave a sell-out talk at the BFI published chapters on The Hours in e: [email protected] Southbank on the film star Merle Oberon. Hollywood Puzzle Films , on Monster's Ball Calvin Fagan Graiwoot 'Tay' Chulphongsathorn has in Race , Philosophy and Film and on Fish e: [email protected] presented papers at the Screen conference Tank in International Cinema and the Girl . Oliver Kenny and at the Southeast Asian Cinemas She co-organised the 7th Film-Philosophy e: [email protected] Conference in Bangkok, as well as curating Conference at the University of Glasgow, 'Screening the Forest' at the Horse Hospital presenting on Under the Skin , and curated School of Languages, Linguistics in London. Guy Westwell , while mainly the second Living British Cinema Festival. and Film CUTAWAY overcoming the shock of becoming a Marios Psarras has published on Alain father, has published the monograph Queen Mary University of London Guiraudie in Alain Guiraudie , Dennis Iliadis Parallel Lines: Post-9/11 American Mile End Road, London E1 4NS in Filmicon: Journal of Greek Film Studies Cinema . Hollie Price has a forthcoming http://filmstudies.sllf.qmul.ac.uk/ (Special Issue: Contemporary Greek Film article on 'A "Somewhat Homely" Stardom: cutaway-magazine Michael Denison, Dulcie Gray and Re- Cultures) and Panos Koutras in World Film