26,159 research outputs found
Peter & nou
No full textPeter & nou is an artwork, associated with the films 'Peter' (Topping, Jane, 2014) and 'nou' (Topping, Jane, 2018). Designed by Matthew Walkerdine and published by Good Press. It’s element heavy, with a sticker of a lab rat in a kaleidoscopic space/time travelling tunnel included for you, gratis. The work is comprised of the book 'Peter', the book 'nou', two postcards and an envelope – all in a beautiful box. The whole package echoes the dimensions of a DVD ‘box set’ and if you post off your envelope, you get yet another book sent straight back to you.
2 x books, 2 x postcards, 1 x sticker, 1 x return envelope, packaged in a card slip case.
'Peter': 135mm x 190mm, 120 pages, black and white digital printing throughout, perfect bound.
'Nou': 135mm x 190mm, 224 pages, full colour digital printing throughout, perfect bound
'Peter' premiere
No full text'Peter' (digital film, 30 mins., 2014), directed by Jane Topping, premiered at the 12th International Festival Signes de Nuit in Paris in September 2014. The film was entered in the 'International competition (experimental) documentary' section of this film festival. The film re-frames what is considered a classic of dystopian cinema (Blade Runner, 1982, dir. Ridley Scott) with the intention of positioning the artist within the text and so implying that such radical gestures are not only warranted and necessary, but also implicit in the contemporary viewer’s experience of watching film. Peter manipulates found footage and narrative voice to reveal difficulties of viewer identification when watching Blade Runner. Peter makes use of wholesale appropriation of ‘facts’, both visual and textual, personal and public, in order to create a new reality around the film. The use of personal biography and the trope of the unreliable narrator are key elements in the discussion of the illusive nature of truth at the core of Peter
Ostrogorskij (Georges). Pour l'histoire de la féodalité byzantine.
No full textTopping Peter. Ostrogorskij (Georges). Pour l'histoire de la féodalité byzantine.. In: Revue belge de philologie et d'histoire, tome 35, fasc. 2, 1957. pp. 453-456
Peter (2014) [screening]
No full textJane Topping's film 'Peter' (2014, 30 min) was shown as part of TRANSIT #3. TRANSIT is a nomadic programme of artists’ film, screened from the back of a van. For its third episode, the roving screen presents a selection of moving image work by Dorine Aguerre, Miles Joseph, Lucie Rachel, Jane Topping, and Josie Rae Turnbull. With narrative film the dominant aesthetic, these artists choose a more transgressive approach: bending, rearranging, and rewriting the record. Momentarily, the screen becomes a palimpsest of ideas and images, stories overlaid and erased. Found footage is repurposed, the mise-en-scene dismantled, new realities are constructed, and old ones buried. (Three screenings, all in Glasgow: Peña 17 March 2016, CCA Glasgow 18 March 2016, The Glad Cafe 19 March 2016.) Presented as part of Glasgow Short Film Festival 2016. See also the accompanying commissioned publication including contributions from Marcus Jack, Denise Bonetti, Jane Topping, and Stephen Nelson (http://insight.cumbria.ac.uk/id/eprint/2332/)
Peter (2014) [screening]
No full textJane Topping's film 'Peter' (2014) is screened at the 5th Annual Philip K. Dick Science Fiction Film Festival held in New York in May 2017 - and wins the Best Philip K. Dick Short award. For fans of Blade Runner, Peter is a film to watch. Directed by Jane Topping is re rendering of the classic dystopian tale within the fantasies and life of an artist in that period. A blurring of real and fantasy is achieved leaving you wondering who is the person experiencing this film? Q&A with Jane after the short
Peter (2014) [film]
No full text'Peter' (Dir. Jane Topping, 2014) re-frames a classic of dystopian cinema (Blade Runner, 1982, dir. Ridley Scott) with the intention of positioning the artist within the text and so implying that such radical gestures are not only warranted and necessary, but also implicit in the contemporary viewer’s experience of watching film. Peter manipulates found footage and narrative voice in order to reveal difficulties of viewer identification when watching Blade Runner. Peter makes use of wholesale appropriation of ‘facts’, both visual and textual, personal and public, in order to create a new reality around the film. The use of personal biography and the trope of the unreliable narrator are key elements in the discussion of the illusive nature of truth at the core of Peter. Winner: Best PKD Short Film, 2017 Philip K. Dick Science Fiction Film Festival, New York. French premier at The 12th International Festival Signes de Nuit, September 15-21, Studio des Ursulines & Institut Finlandais, Paris 2014. Screened in the No Budget Competition, 31st Hamburg International Short Film Festival, 2015. Running time 29 minutes 55 seconds. You can watch 'Peter' here: https://rabbitcottontoothcottonrabbit.com/peter
Author Peter FitzSimons speaking at the National Library of Australia, Canberra, 13 November 2012 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author Peter FitzSimons speaking at the National Library of Australia, Canberra, 13 November 2012.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
'Peter' screening
No full textA Cumbria academic has returned triumphant from a New York sci fi film festival. Fine art programme leader Jane Topping, based at the University of Cumbria’s Institute of the Arts, won ‘best short film’ for her production Peter which was shown at the 5th Annual Philip K Dick Science Fiction Film Festival. Peter was screened to a rapt audience and impressed a panel of experts at the SoHo Playhouse in Manhattan on Monday May 29th 2017. The production is said to re-frame what is considered a classic of dystopian cinema (Blade Runner, 1982, dir. Ridley Scott) with the intention of positioning the artist within the text and so implying that such radical gestures are not only warranted and necessary but also implicit in the contemporary viewer’s experience of watching film. “This is an amazing result for Jane, we all knew that Peter was a splendid piece of work, and that view has been reinforced by the judging panel of this very influential international film festival,” Professor of Fine Art Robert Williams said. “This is a wonderful example of how effective our research through arts practice is at the Institute of the Arts and a massive confirmation of Jane’s work out in the world.
Peter
No full textPeter (2014) is a 30-minute, single screen video which takes the form of a documentary in which the narrator recalls her appearance in Ridley Scott’s 1982 film Blade Runner. Peter weaves The Horizon Object into the fabric of Blade Runner, using the work and biography of Philip K. Dick as a loom-like tool. The result is a repositioning and a forced reappraisal of what is considered a classic of post-modern science fiction in a post-digital context
nou (2018)
No full text'nou' (18 mins, 2018) is a film inspired by Scottish socialist writer Naomi Mitchison’s Memoirs of a Spacewoman. It is a tale of space travel, hypnosis and transformation across time and space, from an alien world to a dentist’s chair in Glasgow, 1981. 'nou' is the sequel to Peter (2014), which won Best PKD Short Film at the Philip K. Dick Science Fiction Film Festival in New York in 2017.
Subject of paper presented at NeMLA 2021- 52nd Annual Convention, March 10-14, Virtual Convention
Local Host Institution: University of Pennsylvania
World Premiere: Glasgow International Festival, 2018 https://glasgowinternational.org/wp-content/uploads/2017/12/Old-Hair-Programme.pdf
In Competition & French Premiere: 16th International Signes de Nuit Festival, Paris, 2018, International Competition Cinema in Transgression #2
USA Premiere: The Psychedelic Film and Music Festival, New York, 2018
Semi Finalist: The Australian Independent Film Festival 201
- …
