Arts University Bournemouth
AUBREI - Arts University Bournemouth Research Excellence and ImpactNot a member yet
342 research outputs found
Sort by
‘Our Stories...’: Co-Constructing Digital Storytelling Methodologies for Supporting the Transitions of Autistic Children - Study Protocol
Get PDFThe voices of autistic children and their families are routinely underestimated and overlooked in research and practice. Research is challenged methodologically in accessing the views of autistic people who, by definition, are characterised by social and communication difficulties. Consequently, many voices remain unheard and experiences undocumented. This has important implications for the validity of research that is interested in improving the life experiences of marginalised groups since the representation of those experiences is partial and dominated by research perspectives that prioritise particular kinds of evidence. This situation matters because there remains a substantial gap between research and practice such that the longer-term outcomes for autistic people across social, educational and economic indices remain poor. We argue that research can only make an impact on practice if there is a genuine commitment to gathering and understanding these different sources of evidence in ways that connect research and practice from the start. This protocol describes a methodological project funded by the Economic and Social Research Council in the UK. The ‘Our Stories’ project applies and extends a participatory Digital Stories methodology to explore the research challenge of gathering a range of views from autistic children, families, and practice in authentic ways and at points of transition. Digital Stories is an accessible and inclusive methodology that supports the sharing of views and experiences in visual, video form. We describe the rationale for, and design, of the project across four pilot studies in different contexts as well as our approach to analysis and ethics. While our project focuses on autism, the knowledge we gain is applicable to research and practice much more widely and to any voices or groups who are marginalised from the traditional ways of doing research and to any contexts of practice
Performing the digital city: flash mob performance and social exclusion in Bengaluru's 'new' India
No full textAlongside South India’s rapid urbanisation, the early decades of the twenty-first century have witnessed the arrival of new digital technologies and social media platforms in India, opening new possibilities for performance on a mediatised urban and global stage. In a wave of popular performance practices emerging around 2011–2, Bengaluru (as with other cities across India) became the site to a host of flash mobs staged in urban spaces and filmed for online publics. This chapter examines the flash mob performance trend of that era in relation to national discourses of ‘New India’as an example of forms of cultural practice characterised by an ‘aesthetics of arrival’ in globalising India
Latin American feminist film and visual art collectives
Get PDFThis special section within the issues 61 of Jump Cut: A Review of Contemporary Media was co-edited by Lorena Cervera Ferrer, Sonia Kerfa, and Elizabeth Ramírez-Soto. All the articles included in this special section were peer-reviewed. Moreover, this section also includes book reviews and an edited transcription of the roundtable that took place at the conference 'Cozinhando Imagens, Tejiendo Feminismos. Latin American Feminist Film and Visual Art Collectives,' from which this section emerged
Militancy, feminism and cinema: The case of Grupo Feminista Miercoles
Get PDFThis article contextualizes and characterizes the Venezuelan feminist film collective Grupo Feminista Miercoles. Founded by Venezuelan Josefina Acevedo and Italians Franca Donda and Ambretta Marrosu, among others, Grupo Feminista Miercoles (1979–88) produced the documentary Yo, tu, Ismaelina (‘I, you, Ismaelina’) (1981) and the videos Argelia Laya, por ejemplo (‘Argelia Laya, for example’) (1987), Eumelia Hernandez, calle arriba, calle abajo (‘Eumelia Hernandez, up and down the street’) (1988) and Una del monton (‘One of the bunch’) (1988), and participated in several activities organized by the Venezuelan women’s movement. On the one hand, this article pays attention to both the cinematic and political contexts that allowed the emergence of this collective, with a focus on the influence that Italian cinematic and feminist ideas had in these contexts. On the other hand, it also provides formal analysis of the collective’s filmography and explores how feminist ideas and praxis are deployed in its films. The overall aim of this article is to restore the contributions of Grupo Feminista Miercoles to both Latin American political cinema and transnational feminist cinema
The horror of the woman flower: Fetish and florals in the work of Richard Quinn
Get PDFSince the start of his career, British fashion designer Richard Quinn has juxtaposed highly fetishistic imagery with bourgeois floral prints in his runway presentations. The interplay of Quinn’s masks, latex and whips with his choice of bold and bright florals is informed by the various and complex symbolic associations with flowers, which communicates both a delicate femininity and sexual danger. At the core of this is the idea of the hybridized image of the woman-as-flower, who embodies a beguiling combination of exaggerated feminine beauty and uncanny horror. To contextualize why Quinn’s fetish-chic fashion is so impactful, this article explores the fashionable representations of the ‘woman-flower’ through history and how Quinn co-opts imagery of BDSM (bondage, discipline, and sado-masochism), and fetishwear to evoke the complex associations found within floral symbolism, its links to eroticism and sexuality, and how this is enacted on the runway within the discourses of plant horror and the monstrous-feminine
Independent, Short and Controversial: The Script Development of San Sabba
No full textFrom the beginning, the Risiera di San Sabba, the only concentration and extermination camp of the Axis in Italy, had been the central character in the film San Sabba (2016). However, in 2014 the project was denied access to the premises. This chapter explores how and why the initial treatment, featuring interviews with survivors and tour guides conducted in a traditional participatory style, evolved into an experimental script for an essay film questioning the ontological status of memorialisation. Constructed around unseen documents, held in multiple languages (Italian, Slovenian, German and English), the narrative aimed to illustrate the harrowing topic without entering the camp. With the story locked in the relationship between the silenced history of the victims and those who struggled for the persecution of the perpetrators, when late into production some access to the camp was granted, the team was brought back to the drawing board and editing became screenwriting
Jugs, Mugs and Goblets: Comments on Marion Milner's artistic insights
No full textThis article examines Milner’s artistic insights in “The role of illusion in symbol formation” (1952) and “Psychoanalysis and art” (1956). She notes how Milner extends existing psychoanalytic formulations of art as substitution and reparation to include exploratory motivations towards the undiscovered. Scott situates Milner’s thinking within her artistic community namely Ben Nicholson and Cedric Morris, citing overlaps of experimental “free” drawing, unconsciously interchanged body parts, and mixing the “visitation of the gods” with everyday objects, potentially used to explore human relationships
A Frayed Edge
Get PDFOnce heralded as a ‘fortress built by Nature for herself... a moat defensive to a house…’ our island is slowly unravelling. Across political, social and economic dimensions, Britain is beset and besieged. ‘Our scepter’d isle’ is fast fraying at the edges.
Politically, these have been intense years. A tortuous and messy divorce from Europe is being tested daily at customs posts on the land and across invisible lines on the high seas. Once a totem of English authority, the White Cliffs of Dover have become irreversibly politicised. One faction regards them as unassailable battlements, while a rival party deploys their sheer white slopes as a vast projection screen to beam forlorn messages of loss to our European neighbours. North and south along the coastline, our Channel beaches have become the landing sites for waves of refugees seeking solace and security after perilous voyages from war-ravaged homelands
Questions of imagination and process: The potential of film practice pedagogy to challenge existing modes of production in the context of the climate emergency
Get PDFIt is now accepted that current film production practices are unsustainable and new formulations need to be found that address the climate crisis. The issue’s primary reporting is concerned with industrial film productions, which is undoubtedly important, but this top down approach needs to be balanced with more inclusive and imbedded solutions. Therefore, a pedagogic perspective, which considers whether learning initiatives can influence production methods, is timely. This article proposes that through this engagement alternative practices can be developed
Work of Memory
Get PDFFilm is the ‘art of time’, and film and memory’s
generative affiliation is founded in this relationship.
This paper will examine how this mnemonic facility is
invoked through practice and how this in turn creates
memories.
The tension between narrative interests
and memory’s imperatives can form an axis of
experimentation and exploration. All films reference
memory, one way or another, however not all are
works of memory. Some films would evoke the idea
of memory but do not risk structural and psychological
instability whereas others consciously suggest
memory’s presence through offering more than one
temporal plain and other related signifiers.
The latter categorisation includes the films suchas
Muriel ou le temps d’un retour (Resnais, 1963), Tren
de sombras (Guerín, 1997) and Appearances (Meter,
2000). In this work the correspondence of history and
form, narrative and memory relates and develops
subjective and cultural recollection.
These films relate a form of filmic hybridity that
emphasizes conceptual potentiality and will be the
focus of this study. This examination will consider how
these films’ account of memory’s evolving resonances
is an act of writing and re-writing, and how these works
produce new ways of seeing and thinking