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[EFF15S3] Session 3: Remembrance: A Small Film about Oulu in the 1950s
No full text24 March 2015, 20:30, ICA Cinema
Film: Remembrance: A Small Film about Oulu in the 1950s [Muisteja: Pieni elokuva 1950-luvun Oulusta], Peter von Bagh, Finland, 2014, DCP, 86 minutes, Finnish with English subtitles
Introduced by Bernard Eisenschitz, film historian
An exercise in autobiography, Remembrance – A Small Film about Oulu in the 1950s brings together an extraordinary array of archival materials, images, music and other elements to reconstruct the filmmaker’s memories of growing up in Oulu, one of Finland’s largest cities and industrial cities. The film is a very tender and yet critical view of post-war Finland and its present.
“Remembrance – A Small Film about Oulu in the 1950s is not only a bitter-sweet personal remembrance of things past but at the same time a meditation on the making of a generation and on the plight and follies of postwar Finland.” (Olaf Möller)
Supported by Goethe-Institut London and the Finnish Institute in London
[EFF15S4] Session 4: Rediscovering Esfir Shub: The Compilation Film and the Art of the Editing Table
No full text25 March 2015, 11:30, Birkbeck Cinema
This event combined screenings and discussion to explore the work of Esfir Shub (1894-1959), often considered the inventor of the compilation film, and undoubtedly a major figure in the history of documentary filmmaking. Although her name is always cited in histories of Soviet film and documentary cinema, Shub’s films are rarely if ever seen, with the exception of The Fall of the Romanoff Dynasty (1927). This study day featured screenings of rare films (notably Today and Komsomol: Patron of Electrification), as well as a re-evaluation of Shub’s role as an artist and as a pioneer of the recycling of archive footage in the essay film tradition.
Films: Today [Segodnya], Esfir Shub, Russia, 1930, 35mm, 70 minutes, Russian with English subtitles
Repurposing newsreels and other documentary materials, Shub creates a montage film that seeks to demonstrate the differences between life in communist and capitalist societies.
Komsomol: Patron of Electrification [K.S.E. – Komsomol Shef Elektrifikatsii], Esfir Shub, Russia, 1932, digital, 55 minutes, Russian with English subtitles
A very early Soviet sound film, Shub’s experimental documentary portrays the process of electrification across Soviet society and industry.
Panel:
• Michael Chanan (University of Roehampton, writer and filmmaker, notably The American Who Electrified Russia, 2009)
• Bernard Eisenschitz (film historian, Paris, author of Nicholas Ray: An American Journey, Faber & Faber, 1993, and Gels et dégels: une autre histoire du cinéma soviétique 1926-1968, Mazzotta, 2013)
• Esther Leslie (Birkbeck, author of Hollywood Flatlands: Animation, Critical Theory and the Avant-Garde, Verso, 2004, and Walter Benjamin, reaction, 2007)
• Graham Roberts (University of Leeds Trinity, author of Forward Soviet: History and Non-Fiction Film in the Soviet Union, I.B. Tauris, 1998, and Man with the Movie Camera, I.B. Tauris, 1999
Supplementary Data for G Driver JGR Planets paper "Large area Glacier-Like Forms on Mars, Insights from Crater Morphologies and Crater Retention Ages"
No full textDataset contains a number of spreadsheets of statistical data for the paper along with files applicable to the CraterStats program for surface age dating
Effect of expectation on face perception and its association with expertise - Neural and Behavioural Data
No full textThis dataset contains EEG and behavioural measures taken from participants observing images of faces and cars, with different expectations.
Probabilistic information associated with a high and low expertise category (faces and cars respectively) was manipulated, and behavioural and EEG data was collected for conditions with high and low face expectation. Raw data is provided for 57 participants.
The data was collected to study how neural signals of expectation effects on face processing relate to a measure of face expertise (the Cambridge Face Memory task - long; also provided in the dataset alongside with the Cambridge Cars Memory Test)
[EFF15S8] Session 8: Three Films by The Otolith Group
No full text27 March 2015, 18:30, ICA Cinema
A special presentation of three video essays by The Otolith Group, introduced by Kodwo Eshun. The Otolith Group was founded by Kodwo Eshun and Anjalika Sagar in London in 2002. Their work encompasses video, installation, exhibition making and publications. [Link: http://otolithgroup.org]
Films: In the Year of the Quiet Sun, The Otolith Group, UK, 2013, digital, 34 minutes, English
In the Year of the Quiet Sun takes its name from the decrease in solar surface temperature that occurs every eleven years. From November 1964 to November 1965, the nation states of the world issued postage stamps to commemorate the first scientific expedition to study the sun. As the stamps turn their face towards the sky, they overlook the unstable land of Africa's newly independent states, confronting the astronomical time of the quiet sun with the political calendar of Pan-Africanist conferences in Accra, Addis Ababa, Bandung, Berlin and Casablanca.
Anathema, The Otolith Group, UK, 2011, digital, 37 minutes, English
Anathema reimagines the microscopic behaviour of liquid crystals undergoing turbulence as a sentient entity that possesses fingertips enthralled by the LCD touchscreens of communicative capitalism. In isolating and recombining the magical gestures of dream factory capitalism, Anathema proposes itself as a prototype for a counter-spell assembled from the possible worlds of capitalist sorcery.
People to Be Resembling, The Otolith Group, UK, 2012, digital, 22 minutes, English
People to Be Resembling is a pentagonal portrait of Codona, the post-free jazz, pre-world music trio founded by multi-instrumentalists Collin Walcott, Don Cherry and Nana Vasconcelos in 1978. In its arrangement of positive and negative stills with colour and black and white moving images and original compositions by Charles Hayward, People to be Resembling reimagines the process of recording as a meditation upon permutation and cohabitation
[EFF15P3] Prelude 3: Marc Karlin
No full text6 March 2015, 19:00, Birkbeck Cinema
In the third prelude to the Essay Film Festival 2015, Holly Aylett presented three films by Marc Karlin.
On his death in 1999, Marc Karlin was described as Britain’s most significant “unknown” filmmaker. For three decades, he was a key figure within Britain’s independent film community; a founding member of the Berwick Street Film Collective, active within the Independent Filmmakers Association, a vital voice in the creation of Channel 4, and a founding member of a group that published the independent film journal, Vertigo, in 1993. His ground-breaking films for television in the 1980s and 1990s combine documentary and fiction film tropes to explore the themes of memory, history and political agency. Karlin was a committed political filmmaker, but his dense, yet subtle films are also rich meditations on the nature of filmmaking, the formation and collapse of ideologies, and the endurance of the human spirit.
Holly Aylett is a documentary filmmaker, a founder member of Vertigo, and co-founder of the Marc Karlin Archive. [Link: https://spiritofmarckarlin.com]
Films: For Memory, Marc Karlin, UK, 1982, digital, 104 minutes [extracts], English
“For Memory is a film and television programme about remembering [...] Made by Karlin as a solo director, it is essayistic in form, and rather than focussing on a single ‘cause’, it fuses a vast array of different sources under a single but broad concept: the notion of popular memory, and the need to preserve it.” (source: LUXonline)
A Dream from the Bath, Marc Karlin, UK, 1985, digital, 22 minutes, English
“Commissioned by Large Door and broadcast on Visions, Channel 4’s film programme, A Dream from the Bath is a response to the Film Act of 1985, questioning the role of cinema in structuring our sense of belonging, and the need for a pluralist cinema free of national stereotypes.” (source: spiritofmarkkarlin website)
The Serpent, Marc Karlin, UK, 1997, digital, 40 minutes, English
“The Serpent (1997) is a drama-documentary about Rupert Murdoch. Borrowing from Milton’s Paradise Lost, Karlin tells the tale of commuter Michael Deakin (Nicholas Farrell), self-appointed archangel, who falls asleep on his train and dreams of ridding Britain of the Dark Prince (Rupert Murdoch). The Voice of Reason stops him and not only exposes the futility of Deakin’s quest but confronts us, the silent majority, with our complicity in Murdoch’s rise to power.” (source: spiritofmarkkarlin website
Disaggregation assay
No full textValues for graphs of Thioflavin T fluorescence vs time to detect amyloid fibre disassembly the Hsc70 chaperone syste
[EFF15S6] Session 7: Constanze Ruhm, Re-staging the Locations of Film History
No full text27 March 2015, 12:30, Birkbeck Cinema
Constanze Ruhm is an artist and author, whose work, exhibited internationally, encompasses installations, films and videos, publications and curatorial activities. Her artistic practice explores the interactions between film, film theory, theatrical forms, and new media, primarily with regard to questions of identity, representation and (feminist) film theory. Since 2006, she has been professor for Art and Media at the Academy of Fine Arts Vienna. Since 2007, she has also been an adjunct professor at the Art Institute Boston/Lesley University.
This event, combining screenings and discussion, was structured in two parts.
Part one – Constanze Ruhm in conversation with Roland-Francois Lack (UCL, creator of website: The Cine-Tourist) [Link: https://www.thecinetourist.net]
In La Difficulté d’une perspective: A Life of Renewal (2013), Constanze Ruhm, with Emilien Awada and using location research by Roland-Francois Lack, created this photographic series of eight locations from Une Femme est une femme (Jean-Luc Godard, 1961) shot from two different perspectives: first, as a precise replica of a shot from the original film, and then as a representation of the subjective perspective of the main female character (Angela/Anna Karina). The photos show what Anna Karina must have seen when she herself was seen by Godard and his camera.
Part two – screening and presentation
Film: Panoramis Paramount Paranormal (part of the Invisible Producers series), Constanze Ruhm with Emilien Awada, Austria, 2014, digital, 59 minutes, French and German with English subtitles
Out of their work on Une Femme est une femme, Ruhm and Awarda discovered the film studio St. Maurice, founded in 1913 and destroyed by fire in 1971. The film focuses on the history of this specific location and its place within the history of cinema. Subsequently, the apartment complex Le Panoramis was built on the same site
This dataset contains data from parents, reviews and childcare providers that have interacted and were offering their services on childcare.co.uk on or before 2023
No full textThis dataset contains data from parents, reviews and childcare providers that have interacted and were offering their services on childcare.co.uk on or before 202
SDS gels of amyloid fibre-chaperone complexes
No full textMetadata in a spreadsheet
Photos of the gels used for binding assay