The show: Hope for Robots
Location: Camden People's Theatre, 60 Hampstead Rd NW1 (2 mins from Euston Square or Warren St)
When: Sunday 23rd Jan 2011, Sunday 30th Jan 2011, Sunday 6th Feb 2011
Time: 8.00pm (Doors and bar at 7.30pm)
Flyer: http://bit.ly/eteIip
Press Release: http://bit.ly/hSplHK
Review (Spoiler alert): http://bit.ly/idzA5N
Friday 21 January, 2.00pm, Studio 55, Keyworth Building
Reconfiguring Caribbean Literary History
Suzanne Scafe (Department of Culture, Writing & Performance)
This session will talk through the findings from a research project investigating the relationship between Caribbean literary production during the period 1930-50 and the news media that ‘housed’ it. The research focussed on a body of literature that has never been recognised as such, but which forms the basis for more familiar forms of national/nationalist and anti-colonial literary texts produced from 1950 onwards and published in London and New York. This talk will discuss how this material has formed the basis of an argument (currently being developed for publication) about literary history and nation-formation.
Living Montage: the Subject & the Interval in the Portrait Film
Patrick Tarrant (Department of Arts & Media)
Pedro Costa’s Where Does Your Hidden Smile Lie? (2001) is a portrait of the filmmakers Jean-Marie Straub and Daniel Huillét, one that renders an image of the couple living and becoming on screen, while acknowledging that the duration of their lives lies substantially in the intervals between and before shots. Straub claims at one point that psychology in his own films lies ‘in between the shots, in the very montage and in the way the shots are linked to each other, it is extremely subtle psychology.’ And depending on where you look in Costa’s film, one gets a sense that elided duration is the very ground of the film’s performative articulations about presence and about subjects in time. Springing from the author’s own filmmaking, this paper offers an account of how ‘Living Montage’ constitutes both an applied filmmaking methodology and a tool for film analysis, and thereby provides an example of the productivity and dialectical play of practice-led research.
----
Wednesday 23 March, 12.00pm, Room L260, London Road Building
Image Warfare: A New War Paradigm For the Twenty-First Century
Nathan Roger (Swansea University)
The September 11, 2001 terror attacks marked a paradigm shift in terms of contemporary terrorism and contemporary war: a shift from Digital War (which dominated the post-Cold War period) to Image Warfare. This paper explores how the image as circulated within society has changed from what is broadly conceived of as a mass media society to that of an information society or a rhizomatic condition and how this has resulted in the weaponization of images. This paper also develops three new conceptual terms: ‘image munitions’, ‘counter-image munitions’ and ‘remediation battles’, which together provide a framework for exploring image warfare.
----
Thursday 9 June, Room K205, Keyworth Building
‘Farewell Nathan Barley’? The Rise and Fall of the Freelance Creative
Graham Barnfield (University of East London)
Prior to the so-called credit crunch, it was claimed that the future of employment would involve freelancing, networking and horizontal portfolio projects displacing the vertical career ladder. The creative industries – arts, media, culture, consultancy – were treated as central, and important in New Labour discourse and policy. This paper considers the discourse and infrastructure that gave such (temporary) prestige to this particular aspect of 'creative Britain' and asks whether such 'fictitious variable capital' of working in the cultural industries has a future.
Internship: Online marketing assistant (leading to: online marketing supervisor)
Essential:
· Working knowledge of social media marketing in general and content promotion in particular
· Excellent knowledge of online media networks (especially film)
· Proven basic design ability (Photoshop, In-Design skills)
· Strong interest in cinema and independent/ foreign films
Definite plus:
· Basic HTML skills and experience of CMS platforms
· Experience of handling digital video files (working knowledge of QT pro, FCP)
· Prior experience in marketing/ publicity
· Photographic skills
Desired Profile:
· Recent graduate in film/ media marketing OR
· Current online marketing position-holder wishing to break into film
· Willing to commit to at least 6 months internship
Please send CV and cover page to: jobs@t-fe.com
Working In Film (www.workinginfilm.com) is a brand new network for filmmakers, listing events, jobs and companies within the film industry.
You can register with the website (for free) and leave feedback as to how you think the website can be improved. By registering, students will be able to make a profile of their work and be found by users of the website searching for talented filmmakers.
Wednesday 20 October, 12pm, Room VG11, K2 Building
The Estonian Museum Landscape
Ave Tarva (Chief Treasurer, Museum of Tallinn University of Technology)
This presentation will give a short overview of what is going on in the landscape of the Estonian museums, and the role of the Museum of Tallinn University of Technology (TUT). Since the TUT Museum is still in the establishment stage and a new permanent exposition is being created, the talk will cover issues related to that process.
Friday 26 November, 3.30pm, Room K205, Keyworth Street
Reconfiguring Caribbean Literary History
Suzanne Scafe (Dept. of Culture, Writing & Performance)
This session will talk through the findings from a research project investigating the relationship between Caribbean literary production during the period 1930-50 and the news media that ‘housed’ it. The research focussed on a body of literature that has never been recognised as such, but which forms the basis for more familiar forms of national/nationalist and anti-colonial literary texts produced from 1950 onwards and published in London and New York. This talk will discuss how this material has formed the basis of an argument (currently being developed for publication) about literary history and nation-formation.
Living Montage: the Subject & the Interval in the Portrait Film
Patrick Tarrant (Dept. of Arts & Media)
Pedro Costa’s Where Does Your Hidden Smile Lie? (2001) is a portrait of the filmmakers Jean-Marie Straub and Daniel Huillét, one that renders an image of the couple living and becoming on screen, while acknowledging that the duration of their lives lies substantially in the intervals between and before shots. Straub claims at one point that psychology in his own films lies ‘in between the shots, in the very montage and in the way the shots are linked to each other, it is extremely subtle psychology.’ And depending on where you look in Costa’s film, one gets a sense that elided duration is the very ground of the film’s performative articulations about presence and about subjects in time. Springing from the author’s own filmmaking, this paper offers an account of how ‘Living Montage’ constitutes both an applied filmmaking methodology and a tool for film analysis, and thereby provides an example of the productivity and dialectical play of practice-led research.
ABOUT the {WAREHOUSE} magazine
"Our goal is to redefine the political magazine. Best summed up as a lifestyle magazine with a conscience, we seek to tackle issues that are at the core of what matters to our urban community of readers: politics, fashion, art, social commentary and entertainment. These elements overlap and infuse to create a uniquely vibrant blend of content."
This international conference on 9-11 September, organised by LSBU's Centre for Media and Culture Research, addresses representations of war and terrorism since 9/11 in film, TV drama & documentary.