FILM STUDIES NEWSLETTER QUEEN MARY, UNIVERSITY OF LONDON ISSUE 2 • SPRING 2012 CUTAWAY
02 Interview: Libby Saxton Living British Cinema 03
04 Ken Loach: the Big Issues The People’s Picture Palace 06
07 Post Graduate East End Locations 08 02 FILM STUDIES NEWSLETTER • ISSUE 2 LAMF burns FILM STUDIES NEWSLETTER • ISSUE 2 03
The Lindsay Anderson Memorial everyday.’ The purpose of LAMF, Foundation (LAMF) was founded ten which includes many people who had years ago at the suggestion of Lindsay’s collaborated with Lindsay as well as his friend Lois Smith. Fifty years earlier, she friends and admirers, is of course to had encouraged Lindsay, who had then celebrate Lindsay’s work, whether as Living just graduated from Oxford and was filmmaker, theatre director or writer, Interview: considering a career as a teacher, to but much more importantly to foster the make a film instead. Meet the Pioneers nonconformist and egalitarian spirit he British (1948) was a documentary about a represented. factory in Wakefield that made conveyor Libby Saxton belts for the mining industry, and was the The true measure of Lindsay’s first step in a career that would culminate achievement will be the degree to which Cinema in Lindsay’s winning the Palme d’Or for he can be an inspiration for generations As of January 2012 Libby Saxton, Senior Lecturer in Film Studies, is head of the If .... at Cannes twenty-one years later. that follow. It was with this in mind that department of Film Studies at Queen Mary. Cutaway took the opportunity to chat with the the members of the Foundation – who avid franco-cinephile about the art of cinema, future plans for Film Studies at Queen Mary, Some recent and forthcoming When Lindsay made Meet the Pioneers , often marvel at how old they have and illuminated manuscripts. events he knew nothing about practical become – embarked on a collaboration filmmaking. But he did have an attitude with Living British Cinema. Among the June 2011 Inside Film visit CUTAWAY: What was the first film that made Libby Saxton: They seem intrinsically We’ve got a new MA module in film- and, as he would later put it in the Free projects we hope will follow are a new Queen Mary to talk about their you aware of film as an art and got you aware that a film like Shoah might require philosophy, and the MA in Film Studies Cinema Manifesto of 1956, ‘An attitude website for the Foundation, the online work making films with serving interested in cinema? a different type of critical engagement core course has been rethought from a means a style.’ From that, all else publication of Sequence, the legendary prisoners, and show some of from a film by Tarantino, for example. more philosophical perspective. followed. Implicit in Lindsay’s work – film magazine Lindsay edited between the films. Libby Saxton: During my undergraduate However, I’m not sure we shouldn’t to quote from the Manifesto again – was 1947 and 1952 and, in partnership with degree I was studying French and analyse both types of film in the same Cutaway: Isn’t it ironic that film-philosophy ‘a belief in freedom, in the importance of Mile End Films, interviews with Lindsay’s January 2012 LBC hosts a German literature, and became interested ways. I think it’s not helpful or wise to courses are blossoming, while actual people, and in the significance of the friends and collaborators. Lindsay Anderson Memorial in a certain set of French films that were sacralise films like Shoah . philosophy courses are being stripped? Foundation (LAMF) meeting dealing with history, memory, trauma, and and screens footage from Mile Libby Saxton: It is ironic, and utterly so on. So, I guess the first film I really Cutaway: On a more personal note, do you End Films of interviews with disturbing in my view. tried to engage with seriously was [Claude feel that you have enough space and time LAMF members. Lanzmann’s] Shoah , which is nine-and-a- to get on with research as well as fulfilling Cutaway: Your original post was in French half hours [long]. your teaching commitments? SP-ARK flies March 2012 In an event run and Film Studies; and Film Studies at jointly by LBC and the QM Film Queen Mary emerged out of Modern Like many people I have moments-- Libby Saxton: The solution in my mind is Society, Sue Harper and Justin Languages. What, in your opinion, is the perhaps what one might call cinephilic to think very carefully about how research SP-ARK is an interactive digital archive resource on both the undergraduate and Smith, authors of British Film future of the relationship between the two epiphanies or something like that--where and teaching can be brought together. I’m based upon the work of the British film the MA programmes, and the department Culture in the 1970s , introduce disciplines? you have a particular.... It’s always a sure you’ve had the experience where director Sally Potter, and is rooted in her has hosted events at QM and at BFI Tommy (Ken Russell, 1975). moment, as opposed to a narrative; part you’ve been worrying away at a research independent audience-focused Southbank exploring the potential of SP- Sue and Justin had suggested Libby Saxton: I think there’s some of a film that you remember: certain problem, and then manage to solve that filmmaking practice. Potter was the first ARK as a resource for researchers, three films, and students had extremely exciting and innovative moments in Jaws , as a twelve-year-old; problem through the experience of filmmaker to blog (with YES in 2004), lecturers and students. Several QM voted for their choice. certain moments in the Disney Fantasia teaching. A senior colleague once told me research being conducted at the and SP-ARK extends Potter’s web students have become involved with SP- intersection between the two disciplines as a much younger child. that you should never write a book about presence for both her previous and her ARK and Adventure Pictures, Potter’s January-March 2012 Third-year in the fields of film history, film theory anything until you’ve taught it for at least subsequent work. Currently focused production company. Final year film studies student Leanne and philosophy, and I’m sure this will Cutaway: Shoah would seem to be the ten years. Her view, with the benefit of mainly on Orlando (1993), it includes undergraduate Rosamund Attwood is Furnaux runs a season of continue. I see this strong relationship furthest from escapism that you can many years of experience, was that in documentation of the film’s pre- currently working as an intern, for British horror films, with as of benefit to both disciplines. possibly get in cinema. order to thoroughly understand something production, production and post- example; and Stella Coradi, who introductions and discussions, you need to teach it for a long time, and I production phases. Users can search the graduated with an MA in Film Studies in called ‘I Wake Up Screaming’ Cutaway: Libby Saxton: Yes, and it’s a very obvious increasingly [agree with her]. As the new head of department, material, tag items that interest them and 2009, is working as Sally Potter’s assistant do you still have time to pursue your place for a student of French and German create their own research pathways on Bomb . March 2012 Meeting with SP- hobbies? literature and philosophy to start in terms Cutaway: Looking ahead, what’s your vision through the archive’s assets. The site has ARK to discuss ongoing projects of engaging with film. I have since for the department? recently been updated to cover the full This summer, Adventure Pictures will be and future collaborations. Libby Saxton: At the moment I look out of realised that a film does not have to be range of production roles on the film, and at the Living British Cinema Film Festival, my window at my new gorgeous, tiny little serious for it to merit serious study, and Libby Saxton: The things I want to see over 4000 assets are now available online. showing footage from, and talking about June 2012 The LBC Film garden, and wish I had time to cultivate it. also that there are things other than are a closer integration of teaching and Interviews are being recorded with crew the making of, Bomb . Other mooted Festival takes place on 12, 13 That’s the plan for the summer. trauma and horror that are worth research, but also bringing together members on Potter’s new film, Bomb , future collaborations include internships and 14 June, with events and studying. theory and practice. We’ve got a new MA for MA students working on developing screenings at QM and the One thing I did want to get back to was currently in production, with the intention in Documentary Practice coming online SP-ARK, further explorations and Genesis cinema, Mile End something I used to do as a teenager, of making these available online as well, Cutaway: Do you find your students think from September, and that’s going to have development of the site as a teaching Road. which was manuscript illumination – I and linking them to other archive in a similar way, trying to come across as theoretical and practical components. and learning resource, and various joint always really enjoyed the filigree designs materials relating to production. serious by emphasizing serious films The other thing I’m excited about are research projects. Follow @LBCinema on Twitter. that are designed around calligraphic rather than giving credit to more developments in film-philosophy. Over the past few years, the Film Studies texts, that sort of thing. lighthearted ones? department at Queen Mary has been Visit SP-ARK at http://www.sp- Film-philosophy relates to my personal collaborating with SP-ARK in a number of ark.org/index.php interests, but is also an area where we as ways. The archive is used as a teaching a department seem to be blossoming. 04 FILM STUDIES NEWSLETTER • ISSUE 2 FILM STUDIES NEWSLETTER • ISSUE 2 05
lamppost gets urinated on. The problem with film criticism, he believes, is that it The Big Issues often fails to deal with the substance of a film and the validity of the ideas it is trying to express. Criticism, he adds, should address what is in the film’s story. Is it true? Is it worth telling? Are characters Daniel Chan talks to Ken Loach. valid? Do they ring true? What is the significance of the story? If a film is merely Last summer, with David Chan, a film filmmakers, the acclaimed Polish director a commodity and is only there in order to critic at Hong Kong Economic Journal, Krzysztof Kie ślowski among them, make money, he asks, is it even worth and Hoi-Lun Law, a third-year Film acknowledge Loach’s influence on their writing about? Studies student at the University of work. Ken Loach Sussex, I founded a Hong Kong-based But he is keen to offer helpful advice online film journal called Cinema in Our conversation ranged over the and encouragement to young filmmakers, Prints . Our intention is to treat film as an directing of actors, the social and political In Art in the Service of the People, Jacob Characters in Loach’s films do not always for instance. These characters are often suggesting they try their hand at art form and engage seriously with the purposes of cinema, the role of film Leigh quotes Loach as saying he wants adhere to conventional morality and quiet and laconic until pushed beyond everything they can. aesthetics of the medium, challenging criticism, and advice to young filmmakers. the camera to be a sympathetic observer. sometimes even break the law. For their limits. We ask the director how he the culturally and semiotically oriented Among the films we talk about are Kes Does he want audiences to share this example, the father in Raining Stones achieves such subtle changes in I think everyone benefits from doing approach prevalent in film criticism in (1969), Ladybird, Ladybird (1994), sympathy, we ask; or even, like the boy (1993) tells Bob, the male protagonist, emotional register and elicits these documentaries: observational Hong Kong. Raining Stones (1993) and Riff Raff in the Hong Kong cinema, to empathise? not to confess to the police; and at the polarized performances from his actors. documentaries or documentaries where (1991). Ken Loach is modest about his ‘I think you need to be able to do both’, end of Riff-Raff (1991) Stevie, a young There is no simple answer, he says. you have something to explore. That’s
Last September, the British Film Institute achievements, refusing to regard himself Loach replies. construction worker, burns down a half- It has to do with how he prepares the always useful. Also, if you want to make held a retrospective of Ken Loach’s work as an auteur. In our brief encounter, he finished middle-class apartment. And actors, and how the scene is shot. ‘It’s fiction, then you should work in the theatre to celebrate his 75th birthday. I felt this displays the same generosity, insight, You want the audience to respond to yet these characters are sympathetically very much in how you use their instinct’, because that’s where you have to deal with would offer a good opportunity to integrity and intelligence as is evident in the characters with understanding and portrayed and their actions seem almost drawing on what is in the script and also actors and work with actors. Without interview the director and hear his his films. ‘‘ ‘‘ humanity and recognize the common justifiable under the circumstances; so giving the actor space, directing them ‘in anything in between, you can’t hide behind thoughts on filmmaking, and also perhaps humanity shared by the audience and the although they seem to be amoral and on an indirect way’ through other people in the camera there [because] you have to We start by telling him about an incident his reflections on his career till now. characters, but then see the totality of the edge of the law, their actions are the film, and preparing the ground so that work with the actors all the time. So try to at a recent screening of Kes in Hong ‘‘ And so on behalf of Cinema in Prints I their world and see them in the context actually a struggle for dignity and integrity. the actor is receptive to the emotion. make a documentary and try to work in a Kong. A friend of ours, sitting next to a approached him before his introduction of their society. So I think you need to Pressed on his attitude towards justice, For instance, in Ladybird Ladybird , Crissy theatre. Try to be an actor for a bit and you seven-year-old boy, noticed that the child to the National Film Theatre screening do both, we want them to do both: to be Loach says that the law is not always Rock (who plays Maggie) was unaware will realize how difficult it is and how was identifying so deeply with the film’s ‘‘ of Land and Freedom to request an touched by the characters and by the story, moral, in that it upholds property that the babies were going to be taken vulnerable you feel and [that] it’s not easy main character, 14-year-old Billy, that he interview. He kindly agreed and gave me but also to see the wider social issues and relationships in society. away until they were actually taken in the and how nervous you can get. And then burst into tears on the tragic death of the email address of his assistant, Ann. pressures that surround them. film. ‘It was in the script but she didn’t you think ‘What can I say to the actors that Billy’s kestrel, Kes . It is pleasing to hear An interview at his office was accordingly It keeps the rich rich and the poor poor. So have the script. So when the social will make it easier?’ or ‘What can I say to that the film can make such a connection arranged. What his films aim to do, he adds, is put sometimes you have to struggle against the workers come in and take them, she was make it more difficult?’ and then you learn with the audience, Loach says, because
on the screen both the characters as law. The classic situation is this; ‘should completely taken by surprise. So what you what to say. On 27 September, Hoi-Lun and I arrived he wanted people to see the world from individuals and what happens to them in you rob to feed your family?’ The end lines see is her true reaction to it.’ But, Loach at the Soho premises of Sixteen Films, Billy’s point of view. But, he adds, Kes the world they live in: a film should offer of those circumstances, morality says you adds, he will never trick actors into an Loach is currently completing Angel’s the production company co-founded by was not intended as a film for children, some indication of the structure of the must feed your family; the law might say emotional response. Share , a comedy set in Scotland.
Ken Loach and Rebecca O'Brien. Ann but as a film about children for adults; society that produces those people and you can’t rob. It is an obvious case where Despite the considerable changes in showed us into the conference room, because it is about seeing Billy in the those conflicts, and the choices open to there’s conflict between the law and what They know that things will happen that will contemporary filmmaking technology where a large poster of Kes graced the context of his world, seeing the society people. In the films Loach wants to make, ‘is r‘ight. So I think there are times when surprise them, and we keep it as part of (Loach will make use of digital methods wall. Ken was busy editing his new film, that surrounds Billy, the society Billy is the characters are rooted in their you can understand why people break the the film. I mean that’s part of the process ‘‘ where they offer additional possibilities), and we waited in high anticipation. Ten part of. ‘It is a story about the boy and the economic circumstances, their political law. The law isn’t perfect, but of course we that everybody knows and everybody is he regards the most important issues for minutes later, Ken came in, sporting a bird; but the boy will never able to reach circumstances, their social would all want to uphold it. You know you part of. They know in the course of the film the filmmaker as unchanging: Are the bandage on his right hand. I was his ambitions the way the bird can fly.’ circumstances, their family should not commit murder. You shouldn’t that they will be surprised and that’s part characters important? Is the story worth profoundly moved that a veteran director relationships—in other words, in the wider be violent to each other. You should ‘‘ of the film. So they respond as part of the telling? What does it show us? ‘These are with an injured hand was willing to give conditions that determine their lives and respect your neighbours’ rights, and so on. film. That was certainly the case with the big issues and it is the same whether up his precious time to talk to two young ‘‘ then determine who they become, the But when it comes to matters of class Crissy in Ladybird, Ladybird […] If I had you shoot it on a 35mm camera or on a foreigners. characteristics they develop and the kinds conflict, then the law will generally stand told her what was going to happen, I don’t mobile phone.’ And he has no plans for of personal relationships they have. behind the ruling class. In particular when know that it would have worked so well. retirement. Making films, he says, Ken Loach began his career in television ‘So I suppose what we want to see is like people go on strike, the law is now used to becomes addictive. ‘I am very lucky to be in the 1960s, directing Up the Junction a series of consequences [of living] in a uphold the rich against the poor. So I think As young film critics, we were interested able to still do it. It is a hard drug to give (1965), Cathy Come Home (1966) and society based on class struggle, based it’s complicated and adhering the law in hearing Loach’s thoughts on critics up.’ The Golden Vision (1968). His first film on exploitation that is damaging to doesn’t always give justice. and the purposes of film criticism. He for cinema, Poor Cow , was released in everybody. It is damaging to personal professes scepticism, referring to the Daniel (LikHang) Chan is a first-year 1967. The IMDb currently credits 46 relationships as much as it is damaging We have been struck by the dramatic adage about the relationship between the student on the BA in Film Studies at works to Loach as director; awards for his to people’s economic circumstances.’ moments in Loach’s films, especially the crirtic and the filmmaker being like that Queen Mary. films include the Palme d'Or for The Wind abrupt emotional outbursts of certain between a dog and a lamppost: the dog That Shakes the Barley at the 2006 characters-- Simon in Ladybird, Ladybird needs the lamppost more than the Cannes Film Festival; and many younger and Sandy and her father in Family Life , lamppost needs the dog—and the 06 FILM STUDIES NEWSLETTER • ISSUE 2 Post Politics Post Production FILM STUDIES NEWSLETTER • ISSUE 2 07 Maren Thom Jo Stephenson and Hollie Price
What is the defining genre of German In February, the Queen Mary Department cinema? The Heimat film? New German of Film Studies hosted the first meeting of Post ‘68 Cinema? Another contender for the most Post Production, a forum for MA students, enduring myth-making machine of PhD candidates and lecturers in the Jim Morrissey German Selbstverständnis (self- department, run by postgraduate students conceptualisation) must be the Rote and meeting once a month during term I only faced one real difficulty over the Armee Fraktion (RAF) film. Since the time to share and discuss research. It was course of my PhD – finishing the thing. The People’s 1970s the RAF (perhaps better known set up with the aim of bringing staff and Something I found surprisingly as the Baader-Meinhof group) has served students together – and of staving off the straightforward, on the other hand, as a vehicle for the political fears and prospective madness induced by was taking my project beyond the concerns of a particular German mindset; spending three years sitting alone at a boundaries of a single discipline. The Picture Palace and this extends to films – from Germany computer. For new postgraduate students thesis (supervised by Dr Sue Harris in Autumn (1978) to The Baader Meinhof like ourselves, the forum is also an and Dr Will McMorran) draws on my Complex (2008). opportunity to get to know students who background in French and English On 13 February 1937, the Daily Sketch reported that ‘Six years of waiting and hoping will have survived their first year of doctoral literature and film, taking an be over for London’s East End to-day when the King and Queen, driving from Buckingham With The Coming Days (2010), however, research and can pass on the benefits of interdisciplinary approach to Palace to Mile End-road, will share (and so complete) the people’s happiness in the the RAF film has entered a new phase. their wisdom. Meetings consist of a key investigating ‘Political Engagement in rebirth of the famous People’s Palace.’ This film is not interested in exploring paper followed by drinks, snacks and the French Fiction Film 1968-2008’. In RAF myths, but takes them as given general chat; the aim being to create an it I explore the recurrent contradiction truths from the outset. Its fictional terrorist informal platform for researchers to test This was the first major public film starring Walter Huston as Cecil document: new types of films were being whereby films that invest in the idea of group, Die Schwarzen Stürme , is a out ideas, practice talking about their engagement by the new King and Queen Rhodes (certificate ‘U’, seats from 4d to made by a rising generation of socially- more egalitarian social arrangements superficial reincarnation of the RAF and work, and build up a support network following the abdication of Edward VIII. 1/6). Among the films shown over the conscious artists (Neorealism) and often adopt aesthetic strategies that of the aims and rhetoric of the radical within the department. We may even see Though cinema did not play a part in the following months were the Shirley Temple Hollywood aficionados (the Nouvelle seem to confirm social divisions among politics of the past. But the group’s unexpected academic collaborations official opening--this took the form of an vehicle Bright Eyes; Charlie Chan in Vague); and there was a worldwide surge their implied audiences. agenda actually expresses contemporary (wine-fuelled or otherwise) along the way. organ recital, a recitation and a Shanghai , featuring Warner Oland in the in membership of film societies alongside German fears – of modern capitalism’s I engage extensively with the work of performance by the 250-strong People’s role he made famous; and The Three a growing appetite for serious interest in disregard for social cohesion and At the forum’s first meeting – a lovely the French sociologist Pierre Bourdieu, Palace Choral and Orchestral Society--the Musketeers . In early February 1937 The cinema. The People’s Palace programme ecological sustainability. evening and a great chance to meet fellow setting his insights alongside new building was fully equipped for Ghost Goes West , starring Robert Donat leaflet for the Paisà screening carries an researchers – Lucy Bolton gave a talk on competing accounts of political agency showing films, as well as for theatrical and and directed by René Clair, was screened; advertisement for evening classes at The politics of Die Schwarzen Stürme are Living British Cinema’s exciting plans. and cultural production put forward by musical performances. it proved a hit with thinking film lovers, nearby Toynbee Hall, with ‘film a fictional expression of a real-life desire: At the March meeting, Nick Jones thinkers such as Sartre, Brecht, Fredric and won the Picturegoer Award for the appreciation’ among the offerings. Many the radical implementation of a politics discussed his doctoral research on 3-D Jameson and Lyotard. My aim was to There were deeper historical roots. The year’s best British film. Children were commentators regard this budding of sustainability, using the bien-pensant film, giving a fascinating paper complete propose new perspectives on aspects new theatre was a direct replacement for catered for with Saturday matinees ‘appreciation’ of what today would be perception of a disequilibrium between with 3-D glasses. This was followed by an of recent French cinema that are not the original People’s Palace which had (entrance 2d), as was the local Jewish called cultural cinema as the beginnings man and nature as a basis for social animated informal discussion. normally compared (le cinéma du look opened in 1887, and was destroyed by population with screenings of the Eddie of a thoughtful engagement with the reorganization, and so to avoid what and post 1995 ‘New Realism’, for fire in 1931. This was a grand Victorian Cantor comedy musical Whoopee! and medium that would culminate in the is felt to be the inevitable outcome of Up-to-date information (including details example), while drawing on critical philanthropic enterprise to which the of a French-made sound version of The 1960s in the ‘invention’ of Film Studies. uncontrolled capitalism--wars, ecological of forthcoming meetings and abstracts perspectives underused in film studies present Queen Mary, University of London Golem . disasters and a collapse in living of papers) can be found on the Post directly owes its origins. There survive The People’s Palace, now Grade 2 listed, (such as Bourdieu’s). In this way, the standards. Production blog: from the original building both the present After the war, the People’s Palace is currently being refurbished. The new thesis offers an anti-canonical and postproductionqmul.wordpress.com/ . Queens’ Building and the magnificent launched a regular Sunday evening film People’s Palace, scheduled to open this innovative account of French cinema The Coming Days is built on anti- We would be delighted to receive details Octagon Library. This original nineteenth- series under the title ‘Famous Films from year, will provide a 750-seat auditorium culture since 1968. humanist tropes common in post-political of links to other appropriate groups or century complex was designed both to Many Nations’. The emphasis was on with a re-creation of the exuberant original Germany, and a general retreat into personal blogs, general enquiries about It took the ultimate award of the degree bring technical education to East London European cinema, with films from France, colour scheme and restoration and conservatism. This mainstream trend Post Production or offers to present work to enable me to view the PhD process and to provide a rich source of Italy, Germany and Britain, including The reproduction of some of the art deco finds its extremes in such phenomena as at a future meetings. less as an end in itself and more as the entertainment and recreation for the local Blue Angel and Les enfants du paradis in light fittings. New raked seating will be the reactionary views on immigration held beginning of something greater. I am population. This included films: in 1911, 1948; and Un carnet de bal and Paisà in installed and the original balcony seating by the politician Thilo Sarrazin, or the Jo Stephenson currently putting together funding the People’s Palace could claim that it 1949. Queen Mary alumnus Len Finegold reinstated. The theatre will be fully rhetoric of the anti-nuclear movement. ([email protected]) and Hollie proposals for another interdisciplinary had the largest cinema screen in London (BSc Physics, 1956) grew up locally, and equipped with the latest audiovisual The evocation of a RAF-like organization Price ([email protected]) are PhD project, this one looking at the city of and was so up-to-the-minute that remembers as a teenager being ‘dragged equipment, including a 12-metre wide as a possible saviour shows how the RAF candidates at Queen Mary. Jo is Marseilles as it figures in French and ‘animated pictures’ of the Cambridge by my father to People’s Palace films on screen. We can look forward to the day mythos can morph and transform itself as researching the use of British film to international documentary and fiction and Harvard boat race, rowed late one Sunday night, and so, knowing no better when films will once again be regularly it retains its foothold in a nation’s promote the branding of Britain and the film. Starting the project is undoubtedly afternoon, were screened on that same I was brought up on the Nouvelle Vague screened at the People’s Palace, for the imagination. British fashion industry; and Hollie is the easy part, but the skills and evening. and the Italian equivalent [Neorealism]’. enjoyment and edification of all. researching domestic interiors in British experience gained over the course of It is agreeable to think that Len might Maren Thom is a PhD candidate at Queen films released between 1941 and 1951. my PhD at Queen Mary mean that I The new building, co-designed by George have seen Paisà , Roberto Rossellini’s Cutaway thanks Professor Philip Ogden, Mary, researching terrorism and the post- can confidently face the challenges Coles, a pre-eminent architect of picture Oscar-nominated contribution to Eoin Maolalai and Gil Toffell for political in German, British and Hollywood that will certainly arise along the path palaces in the then-favoured art deco Neorealism, on one of his Sunday trips information and images; and would be cinema. to its conclusion. ‘moderne’ style, had actually opened its to the People’s Palace. delighted to hear from anyone who doors to the public some two months remembers seeing films at the People’s Jim Morrissey’s PhD was awarded in ahead of the royal visit. The varied array This period in the history of the People’s Palace. September 2011 and he now holds the of entertainments on offer in its first week Palace coincides with a blossoming of post of Teaching Associate in French included Rhodes of Africa , a British-made interest in cinema as art and social Film Studies at Newcastle University On Location in the East End
Following our examination of filmmaking in London’s East End in Issue 1, Cutaway takes a look at how Film Studies students at Queen Mary tackle location filming.
we find and how easy or practical they are for us to use.’
Shooting on location presents its own challenges. Rain can prevent shooting and force some creative rescheduling. Human factors can hold up a shoot, too: from road works and earsplitting pneumatic drills to inquisitive The area around the Queen Mary dates. If all is well, says Alice, ‘that’s pedestrians interrupting a shot to ask campus in the East End is diverse, the moment when you formally and what the film is about. Abi describes an with a wide array of communities and bureaucratically start asking for permits.’ occasion when someone wandered into a neighbourhoods within a short walk: shot and then threatened to ‘bash heads’ the new developments and yachts of This process can be surprisingly painless. if any footage of him was used. Mostly, Limehouse, the colour and the buzz of Students are responsible for organising though, people are accommodating: Brick Lane, the grittiness of Hackney, the location permits themselves, and this during Abi’s production a café owner chic of Shoreditch.... This assortment of provides them with valuable experience allowed the crew inside in exchange for environments is a marvellous resource for in an unglamorous, but vital, area of prominently featuring the name of his filmmakers; and it is not just professionals filmmaking. Even for a location like Mile establishment in the film. She comments who can take advantage of it. Students in End tube station, permission is usually that Brick Lane is a good place to film QM’s Department of Film Studies also granted: it used to be free of charge, because, since filming is such a regular make use of their surroundings by but now (possibly related to heightened occurrence there, residents mostly ignore frequently shooting in local locations. security following the 7/7 bombings) crews and just go about their business. comes at a modest £50 fee. Shooting Alongside the critical, historical and permits from local councils usually come Other places frequently in front of the theoretical study of cinema, the Film at no cost, and are often issued promptly camera include Victoria Park, whose size Studies programme at Queen Mary provided the request has been correctly and beauty make it an ideal stand-in for contains a strong focus on practical work: prepared (including details of the number parks and green spaces in general, and students can, if they wish, get involved in of people involved in the production and Dalston Market. Then there is the Queen making short films and other production- the equipment being used, a health and Mary campus itself, the new building related study and projects through safety check and public liability developments and picturesque canal courses on scriptwriting, filmmaking insurance). providing potentially striking backdrops. practice and production skills. Assistant However, other aspects of the East End, Technical Director of Film Athena Mandis Alice thinks that the production she is like being beneath the flight path of City regards this as crucial to the distinctive involved in benefited from canny choices Airport, can prove problematic, at least makeup of undergraduate film studies of locations: ‘We would have never asked from a sound recording perspective. at QM, providing a ‘layering of meaning’ [for] permits to shoot on the Southwark in which theory and practice reinforce riverside, in front of Big Ben, in the City, For Alice, the appeal of East End locations each other. It also equips students in Chelsea, or in Mayfair. They would have for student and other low-budget with awareness of the challenges never said yes.’ In any event, she adds, filmmaking is the ease of obtaining of filmmaking, allowing them to see, avoiding obviously touristy images of permits compared with other London particularly during location shooting, London landmarks adds to a film’s boroughs, the strong London feel of the how external forces and unexpected realism. Abi Stevens, another third-year area and the ambiance of places like events can affect a film. Film Studies undergraduate, says that Shoreditch, Mile End and Hoxton, home filming on location in the QM area has to many people involved in the media and Describing the process of preparing practical advantages in terms of artistic industries--and therefore for location shooting, third-year transporting equipment, while stressing accommodating to artistic projects. undergraduate (and assistant director on that a production must be flexible: ‘We This welcoming atmosphere makes life the short film Entropy ) Alice Bellini states obviously have an idea of the type of relatively easy for students undertaking that it is necessary to ‘map out’ all the location we are looking for, though this location filming. kinds of places called for in the script: does alter depending on what locations ‘You try to pick an area that could encompass all needed locations. At that Editorial team: School of Languages, point, once you’ve got areas and specific Linguistics and Film Annette Kuhn places, you schedule a couple of days CUTAWAY when you comb through every possible [email protected] Queen Mary, University of London option.’ At this point, the production team Nick Jones Mile End Road will make informal inquiries about the [email protected] availability of the location on the required London E1 4NS Maren Thom www.sllf.qmul.ac.uk/filmstudies/ [email protected]