Arts University Bournemouth
AUBREI - Arts University Bournemouth Research Excellence and ImpactNot a member yet
342 research outputs found
Sort by
Process & Temporality: Chance & (Al)chemical Traces invigorating Materiality & Content in the films of Péter Forgács, Penny Siopis and Ben Rivers
Get PDFThis article discusses encounters occurring between the hand of the artist and filmmaking processes that may bypass the intellect, identifying themselves through intuitive modes of production to reveal integral relationships between film form, materiality and content. In this way the results of non-human agency, registered within film chemistry and processes of production – physical, intellectual, ‘spiritual’, (un)conscious – interact as the filmmaker takes an idea from conception to projection. Jane Bennett’s theorization of ‘vital materialism’ is important for investigations (2010), as is the role of chance discussed by William Kentridge (1993), whereby deliberations include the fortuitous manifestations occurring as encounters between hand, page and camera coalesce in the production of films. Additionally, approaches are informed by Vilém Flusser’s description of the photographer as a ‘Functionary: ‘a person who plays with apparatus and acts as a function of apparatus’ (Flusser 2007, p.83). This is, arguably, equally pertinent for the cinematographer/animator/artist who can ‘creep into the camera [and processing/editing equipment] in order to bring to light the tricks concealed within’ (Flusser, p.27)
Radical mainstream: independent film, video and television in Britain, 1974 - 1990
No full textRadical Mainstream examines independent film and video cultures in Britain in the 1970s and 1980s in the context of capitalism, patriarchy, racism, colonialism and homophobia. It explores how radical discourse can impact on dominant cultural forms such as television, using public sphere theories to examine relations between counterpublics and social change
Animation storyboarding as part of the pre-production process: An Aardman case study
No full textStoryboards are not simply boards that tell stories – they are “a material contract between the artist and the future film” and “‘boundary objects’ that bridge different knowledge and development states” (Blatter, 2007: 4; 5), thereby connecting the activities of a range of personnel in the overall production pipeline. They are therefore key pre-production assets that need to be understood across a variety of contexts – not all of which are directly (if at all) to do with “telling the story”. Stahl (2005) examines how a deeper understanding of storyboarding in animation production enables us to discuss individual labour activity in a collaborative production process – in other words, to allow us to ask the question: “Who is the artist who has the contract with the future film?”
In this chapter I use Blatter and Stahl’s work to examine the role of storyboard artists and examine some of the ways in which this historically ‘analogue’ process – often paper-based, on boards that are physically shuffled and re-ordered – has been changed and remediated by the shift to digital techniques. The main focus is Aardman Animations and through discussions with key personnel such as Luis Cook, Ashley Boddy and Michael Salter I will discuss how the boarding process works and how individual and collective labour are realized in the finished projects in what is now a post-digital era for animation production
Provocative Plastics: Their Value in Design and Material Culture
No full textPlastics have now been our most used materials for over fifty years. This book adopts a new approach, exploring plastics’ contribution from two perspectives: as a medium for making and their value in societal use. The first approach examines the multivalent nature of plastics materiality and their impact on creativity through the work of artists, designers and manufacturers. The second perspective explores attitudes to plastics and the different value systems applied to them through current research undertaken by design, materials and socio-cultural historians. The book addresses the environmental impact of plastics and elucidates the ways in which they can and must be part of the solution. The individual viewpoints are provocative and controversial but together they present a balanced and scholarly un-picking of the debate that surrounds this ubiquitous group of materials
Stitching Together: Ethical dimensions and innovative approaches to participatory textile making
Get PDFThis article, written by the coordinators of the Stitching Together network, introduces a diverse range of case studies that critically discuss participatory textile making activities, complementing a first collection of case studies that was provided in the previous volume of this journal. Drawing on a recent network event and the case studies included in this issue, the article outlines a number of ethical dimensions that arise in participatory textile making activities: first, the challenge of inclusivity; second, the vulnerabilities that arise when space is made for shared learning; third, the issue of communication between facilitators, participants and partners in collaborative projects; and fourth, the ways in which projects and participants are (re)presented in research findings. The theme of innovation is also discussed, with a focus on the participant experience. Looking to the future, the need for further collaborative interrogation of the complex questions raised through participatory textile work is highlighted. A good practice document, created with the input of network members, is highlighted as a potentially useful foundation for critical discussion
The Materiality of Exhibition Photography in the Modernist Era: Form, Content, Consequence
No full textThis book challenges the status quo of the materiality of exhibited photographs, by considering examples from the early to mid-twentieth century, when photography’s place in the museum was not only continually questioned but also continually redefined.
By taking this historical approach, Laurie Taylor demonstrates the ways in which materiality (as opposed to image) was used to privilege the exhibited photograph as either an artwork or as non-art information. Consequently, the exhibited photograph is revealed, like its vernacular cousins, to be a social object whose material form, far from being supplemental, is instead integral and essential to the generation of meaning
Surrealism and photography in 1930s Japan: The Impossible Avant-Garde
No full textDespite the censorship of dissident material during the decade between the Manchurian Incident of 1931 and the outbreak of the Pacific War in 1941, a number of photographers across Japan produced a versatile body of Surrealist work. A pioneering study of their practice, this book draws on primary sources and extensive archival research in order to map out art historical and critical contexts relevant to the apprehension of this rich photographic output, most of which is previously unseen outside of its country of origin. Richly illustrated, the volume is an essential resource in the fields of Surrealism and Japanese history of art, for researchers and students of historical avant-gardes and photography, as well as for readers interested in visual culture
Blended professionals, technology and online learning: Identifying a socio‐technical third space in higher education
Get PDFThe idea of a ‘third space’ located between academic and professional domains has proven useful in exploring changing academic and professional roles in higher education, including in online learning. However, the role of technology in accounts of third space activity remains under‐explored. Drawing on research into the introduction of Massive Open Online Courses (MOOCs) at three UK higher education institutions, it is argued that both social and technical factors must be considered to understand, plan for and manage the third space roles and structures which emerge in such initiatives. This study focuses on learning designers, confirming that they act as third space ‘blended professionals’ in the somewhat distinctive case of MOOC development. However, it also proposes the concept of a socio‐technical third space in which blended professionals act as hubs in a metaphorical network of activity, using social and technical means to shape their own roles and those of others
Stitching Together Good Practice Guidelines: Advice for facilitators of participatory textile making workshops and projects
No full textIndependent, Short and Controversial: The Script Development of San Sabba
No full textThe Chapter reports on the screenwriting development processes employed to create the essay film San Sabba (Turina, 2016).
Independent filmmaking is often confronted with difficulties. For the team behind San Sabba (Turina 2016), script development resembled a mission in enemy territory. This chapter will explore how and why the initial treatment, featuring interviews with survivors and tour guides in classic participatory style, evolved into an experimental script for an essay film questioning the ontological status of memorialisation.
From the beginning, the Risiera di San Sabba, the only concentration and extermination camp of the Axis in Italy, had been the central character in this film. However, in 2014 the project was denied access to the premise. What followed were two years of script development. The second script was constructed around unseen documents, held in multiple languages (Italian, Slovenian, German, and English), for a narrative able to illustrate the harrowing topic without entering the premises. With the story locked in the relationship between the silenced stories of some victims and the portraits of the people who struggle for the persecution of the perpetrators in the 1970s, the film had found a form.
However, access to the camp was granted during the last week of production and brought the team back to the drawing board. Having regained the central character of the film, the team went through some hard times in trying not to invalidate already agreed conditions of access to documents while allowing space for the project’s initial angle. The final decisions made ofSan Sabba a piece on postmemory, which benefitted from a strategy of editing ‘as screenwriting.