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Portrails 2016

Project

Portrayal – a depiction of someone or something in a work of art or literature; a picture
Trail – a mark or a series of signs or objects left behind by the passage of someone or something.

 

This year’s screening of fourteen final year visual anthropology projects took us on an afternoon long journey with the portrayal of groups or particular people as a common theme.

We were very happy to welcome Dr Virginia Pitts from the School of Arts as a new judge to award a  prize in her name. She has a remarkable wealth of experience in practice-based research projects developed in part out of her career in British and New Zealand film and television industries. You can learn more about her research, creative work and very popular teaching  here. Having held many roles in documentary and television drama production we were very curious what she would make of video productions made by students doing all the preparation, camera-work and editing themselves.

We also welcomed back Professor Hugh Brody, who has been a stalwart supporter of our screenings for many years. He is Canada Research Chair in Aboriginal Studies at the University of the Fraser Valley as well as being an Honorary Professor here at the University of Kent. His films and publications have have been hugely influential in engaging with contemporary indigenous peoples’ challenges. His most recent project, ‘Tracks across Sand’, is an interactive DVD project focussed on the first Bushman land claim in South Africa containing some remarkable archival footage and resources now shared across the whole continent.

 

More recently he has been working on a video project in ‘the Jungle’ in Calais.

Student productions were shown in groups with the opportunity of a joint Q&A at the end of each screening.

To hear a review of all the films by Professor Hugh Brody, the prizes being awarded and see the prizewinning films scroll down.

For a taste of each of the films see our trailer:

 

 

 

Portrails...2016

(Click to access film blogs and films)

Untucked Margate                       Callum Rolfe

It’s all Greek to Me                Christina Stavridi

The Re-Invention of Food Culture     Olanrewaju (Larry) Idowu

 

Bibliophile                   Casey Harris

Humdrum Thoughts                 Sara Copham

Exploring 5Rhythms   Johanna Nyloy & Richard Murray

 

Asocial                 Soffia Kristinsdottir

MIND | ME             Marianna Tarvainen

Esta Vida de Imigrante    Rebecca Giannecchini

The Cast     Lissa Davies

 

The Cheesemaker       Lucia Munoz- Sueiro

Aishiteru/I love you 2     Tomoko Obata

A Vauxhall Agila Ecoflex         Ellie Brown

A Different River     Christopher de Coulon Berthoud

 

 

PRIZES AWARDED

 

 

The Hugh Brody Visual Anthropology Prize

Runner Up- Asocial      Soffia Kristinsdottir

Winner- Exploring 5Rhythms   Johanna Nyloy & Richard Murray

 

 

 

 

 

The Virginia Pitts Prize

 

Runner Up-MIND | ME    Marianna Tarvainen

Winner-The Cast     Lissa Davies

 

 

The Public Engagement Prize (The Lynn Bicker Foundation)

Presented by Professor Michael Fischer

Esta Vida de Imigrante    Rebecca Giannecchini

 

 

 

Audience Prize

Presented by Dr Daniela Peluso

Runner Up-  MIND | ME             Marianna Tarvainen

Joint Winners:    Aishiteru/I love you 2     Tomoko Obata

                              Asocial                 Soffia Kristinsdottir

 

 

Photographic Record of Portrails 2016

 

 

 

 

 

 

 

 

 

Photography and the humanity of the moment – final year student projects

Project

Robert Frank commented that ‘photography must contain the humanity of the moment.’ What better combination then than photography and anthropology? In their final term year some visual anthropology students at the University of Kent have combined the two to explore different aspects of contemporary life, from the experience of refugee children in Kent, the use of body art as political expression, and the movement of seafood from ocean to stomach. With unique insights into aspects of life, these projects explored the humanity of the moment, a selection of which is displayed below.

The photographs are part of the wider exhibition of visual projects that came out of Kent this year, and continue the tradition started by previous year’s projects: Inter-reflexions; Peopling Places; and Self Spaces.  You can scroll through the photos and project descriptions by clicking on one and then using the arrow keys to navigate.

Resolations 2015

Project

 

 

 

 

 

 

 

“Film can rescue anthropology and deliver it from its confines.”

By James Kloda

The introduction from film-maker Hugh Brody to this year’s screening of ethnographic projects made by the undergraduate and Master’s visual anthropology students suggests a liberation of authorial voice to articulate its subject through a cinematographic medium: indeed, many of the shorts that were screened were free from an imposed agenda, telling moments revealed through shrewd observation and unforced technique. Charlotte Austwick’s Welcome To The Country looked at the rural community that she grew up in, and the reaction of locals to the increasing influx of urbanites relocating there and the prejudices they hold against parochialism. There was a pleasingly sardonic wit expressed by the film-maker (an interviewee bemoans city slickers invading the countryside that cuts to an axe chopping a log), and her father proved an eccentrically entertaining character, sighing when he recognises the look of piqued curiosity exhibited by outsiders toward them (“Oh, they’re going to want to talk about the locals again…”) and recounting tales of their prurient fascination at seeing such ‘marvels’ as peas growing in the wild. But, despite justified grumblings from the villagers, there was admitted compromise in the fact that those accustomed to city ways are more prepared to pressurise local councils regarding maintenance of facilities. Austwick’s film could have perhaps benefited from the point of view of an interloper, to see what visual and behavioural contrasts exist between the two types of inhabitant, but, overall, it was a work of warm confidence.

Anastasia To, Harrison Holt, Charlotte Austwick and Kate Al-Khalili take questions from the audience.

 

Rachel Downes poses a question to the four filmmakers.

Rachel Downes poses a question to the four filmmakers.

Communities featured prominently in the next array of films, from the University’s diverse religious fraternities to a busy indoor market in Leicester, via a Cosplay conference in London. Kate Al-Khalili’s The Community Within Religion observed ritual, be it a baptism or Muslim prayer session, with intimacy, her camera genuflecting with prayer-goers and close-framing the various groups, highlighting the bond between them. Yet there was also the occasional flash of the pragmatic limitations of open-armed welcome: the RC chaplain at the University of Kent opines that he couldn’t physically cope if too many students came to the institution for Catholic foundation. Anastasia To’s Muchly Needed captured the multicultural diversity that still thrives in a fish market with a vibrancy of colour and contrast, reflected in the choice of interview subjects and close-ups of the wide variety of fish for sale. The choice of location was inspired, as many customers related to the piscine wares as a connection to home, a demand for domestic staple fuelling supply of increasingly exotic fish, which led many to recount family anecdotes of fish preparation and styles of cooking to the camera. Cosplay, filmed by Harrison Holt, asked a number of people why they participate in costuming: a means to overcome shyness; an antidote to bullying; providing outreach for disadvantaged community groups. What was striking was the static poise that cosplayers exhibited when Holt filmed them, as if waxworks in a gaudy gallery. And there was something sneakily subversive about including footage of them drinking Coca Cola or eating a Subway: for all the flamboyant esotericism on display, the cosplayers still chow down on junk food, a symbol of homogeneity if ever there was one.

Hannah Evans' mother, father and sister (centre).

Hannah Evans’ mother, father and sister (centre).

The next collection of films were individual portraits that often revealed more about the film-maker than their subject. Hannah Evans’ About Dad fulfilled a desire that most of us have: to put our parents in the spotlight at the mercy of our interrogation. But her father Jeremy proves an elusive figure, disarming Hannah with a banality of recollection when she asks him what his favourite memories are of her or matter-of-factly recounting details of his brother’s death, a story that an audibly upset, off-camera Hannah hears for the first time. If the presence of a camera can open up its subject, the revelations that this affords are not always easy to swallow. With Time To Use also focused on a father, one who has taken an early retirement yet is becoming increasingly restless. Alex Astin’s frustrated insistence that his father sit back, relax and enjoy his well-deserved fallow period instead of obsessively busying himself subtly articulated an irreconcilable generational divide, made poignant by inserts of the tide ebbing and flowing on the beach that Astin Senior’s house overlooks, potent metaphors for what time there is to use. Lucinda Newman’s Portrait Of A President followed the student president of Canterbury Homeless Outreach as she discussed the voluntary work that the group do. Impact softened by prolonged imagery of the subject smoking and playing guitar in the sunshine, presumably to suggest what a free spirit she is, and no footage of or interviews with the people she helps, the film nevertheless provided a saddening exposé of NIMBY (not-in-my-back-yard) council attitude, that homeless people should be moved on to another place for someone else to deal with. This revelation was all the more powerful for its organic emergence in Newman’s conversational approach.

Hannah Evans, Alex Astin and Lucinda Newman

Hannah Evans, Alex Astin and Lucinda Newman

The peripatetic subject of Anna Bettini’s Reflessioni On The Go ambled around Canterbury’s Westgate Gardens and High Street, as his thoughts on the differences between his native Sardinia and Britain were narrated through voiceover. Whilst delineating the British stereotype that he has experienced, his comments reinforced popular notions of the Italian temperament, whether announcing that “British people give credit to our level of learning and knowledge” with blithe hauteur or detailing how quick his fellow countrymen are to make a scene in the workplace as opposed to the polite placidity of their UK counterparts. If the imagery often seemed superfluous to the pre-recorded interview (frustratingly we do not hear his comments when in front of an Italian war memorial in the city), Bettini revealed her strategy in the closing moments: since staying in Canterbury, and despite the cultural differences good or bad, he feels a closeness to his current location, as a ‘second home’ to the one of his birth, the constant roving reflective of this transition.

Cirque de Curiosite

Cirque de Curiosite

With so many quiet epiphanies, the final three shorts displayed a direct confidence with both style and examination. Rachel Downes’ Cirque de Curiosité had little to say about its titular cabaret company, their filmed acts intercut with rather conventional interviews. However, the acts themselves were a marvel of montage and colour, the febrile intensity of performance captured through swathes of neon, pulsating editing and multi-angled curiosity. And, for the interviews themselves, Downes made dramatic choice of camera position, filming jugglers from a high gantry or, bravely, right underneath them, the camera lens in danger of destruction should a ball stray from its controlled rhythm. Telling Secrets began with its maker and subject, Simon Holt, attempting to light candles on a birthday cake that become continually extinguished: in a droll cut, it is revealed that this is because the table is positioned next to an electric fan. Holt chose to make a film about his prior struggles with depression and is candid on camera about his feelings. But it is the facility with visual metaphor that distinguished this piece, that opening image profoundly resonant through its deadpan simplicity. A therapeutic experience, for both Holt and the audience.

 

 

Simon Holt, Rachel Downes and Joe Spence.

Simon Holt, Rachel Downes and Joe Spence.

Wrapping things up was Joe Spence’s Our Patch, a documentary about a farm in Herefordshire that doubles as an animal rescue shelter and a centre for people with special needs. Spence’s warmth and empathy with his subjects was touching, his camera drifting out of focus briefly as the owner of the farm becomes moved to tears, a moment of discretion to his subject but one that also elicits a similar response in the audience, the image welling up through a subtle lens shift. It is moments like this that film does not only rescue anthropology, but delivers us all from the confines surrounding us, be they social, emotional or familial.

Professor Hugh Brody gives detailed feedback on all the films.

Professor Hugh Brody

 

 

 

David Pick and Professor Hugh Brody gave detailed feedback before awarding the prizes in their name.  Click here and scroll down to learn more about their work.

Resolation Prize Winners

HUGH BRODY VISUAL ANTHROPOLOGY PRIZE:      Our Patch– Joe Spence
RUNNER-UP:                     Welcome To The Country– Charlotte Austwick

 

 

 

 

 

 

 

 

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Professor Hugh Brody presents the Visual Anthropology Prize to Joe Spence.

 

 

 

 

 

 

 

 

DAVID PICK DOCUMENTARY  PRIZE:           Telling Secrets– Simon Holt
RUNNER-UP:                     Muchly Needed– Anastasia To

 

 

 

 

 

Simon Holt receives the David Pick Documentary Prize.

Simon Holt receives the David Pick Documentary Prize.

 

 

 

 

 

 

 

PUBLIC ENGAGEMENT PRIZE : Telling Secrets– Simon Holt
RUNNER-UP:                     With Time To Use– Alex Astin

The Public Engagement Prize was presented by Alan Bicker on behalf of the Lyn Bicker Mentoring Foundation

The Public Engagement Prize was presented by Alan Bicker on behalf of the Lyn Bicker Mentoring Foundation

 

 

 

 

 

 

 

 

AUDIENCE AWARD:        Our Patch– Joe Spence/Telling Secrets- Simon Holt

RUNNER-UP:                     Muchly Needed– Anastasia To

 

Anastasia To receiving the Runner-Up audience prize from Dr Daniela Peluso.

Anastasia To receives the Runner-Up audience prize from Dr. Daniela Peluso.

 

 

CSAC SPECIAL DISTINCTION PRIZE IN TECHNICAL & CINEMATOGRAPHIC CREATIVITY & DIGITAL STORYTELLING: Cirque de Curiosité– Rachel Downes

 

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Rachel Downes and the CSAC Prize.

 

 

 

 

 

 

 

 

[All the screened films can be accessed through clicking on the links above]

Anthropological Documentary for Public Policy in Jakarta

Project



Sarine Arslanian, Visual Anthropology student from 2012, reports from Jakarta and shares her latest documentary.

With the support of the Center for Public Policy Transformation, Sarine Arslanian explores through documentary the social and economic dynamics of life in the slum areas of Bukit Duri which have been overlooked in the current relocation strategy implemented by the government as a measure for flood prevention. Her documentary also examines the bureaucratic and environmental challenges, and alternative approaches to make the plans more sustainable on the long term.

 

Sarine won the Hugh Brody  Visual Anthropology Runner Up prize for her film ‘Connecting Strings; Armenian Spirit in Music’.

 

Since graduating from Kent in 2012, with a degree in ‘Cultural Studies and Social Anthropology’, my passion for travelling, discovering new cultures, learning about people, languages, customs and cuisines has taken me to various places around the world.

For 15 months, I travelled throughout Latin America and South East Asia, where I was trying, as much as I could, to experience new places the way the locals do.

Taking an anthropological perspective in producing development-related documentaries has been something I have been aspiring to ever since I took the ‘Visual Anthropology’ class in Kent.

Hence, I decided to return to the UK to pursue a masters degree in ‘Development Studies’ at the University of Cambridge. 

After graduation, I moved to Jakarta, Indonesia, where I have been living since. I am now working as a researcher for a local think tank called Transformasi, exploring the socio-economic impacts of public policies in the country, through visual means. 

A year ago, if you had asked, I would never have thought about Jakarta. But the think tank I work for has some connections with the Centre of Development Studies at Cambridge and I received an email about this position a little before graduation. The job description looked amazing, especially as it involved producing documentaries based on my research. So I thought, why not move to Jakarta? 🙂 I wasn’t expecting to love the city so much! It’s a hectic city with a lot of pollution, and traffic, but there is always something interesting going on. The movement, colours, smells, people,  food, cultural diversity etc. definitely make the place for me. I have had countless amazing experiences, especially with people in rural areas and slums, but also more ‘disturbing’ but memorable ones, such as experiencing kerokan; a traditional massage to let the wind flow out of your body – someone rubs a coin across your back so hard that you end up with ‘tiger’ stripes, having my roof fall in my room and my room flood, also pushing a bike through flood water, etc. It’s basically a love and hate relationship that is making me love the city even more.

 

I have produced the documentary ‘The Reality of Ciliwung People in Jakarta’, which explores the social and economic dynamics of life in the slum areas of Bukit Duri which have been overlooked in the current relocation strategy. It also looks at bureaucratic and environmental challenges, and alternative approaches to make the relocation plans more sustainable on the long term.

 

I could never be thankful enough to Mike and all the wonderful people I met in my ‘Visual Anthropology’ class at Kent. The experience I gained both in the classroom and while filming and editing my first documentary ‘Connecting Strings; Armenian Spirit in Music’ is invaluable. It taught me culturally sensitive research skills, and the more technical and practical aspects of filmmaking that I am now applying in my current job.

I will be working here until the summer, and planning to produce one or two more documentaries until then!

 

(You can see her prize winning film in SELF Spaces)

‘Homeless Youth’ – a local collaborative film project

Project

@Porchlight1974 @KentSAC @CTunaker @Pelaris

#homelessyouth #appliedanthropology

Carin Tunaker is a PhD student in social anthropology at the University of Kent.  Her research examines the conditions and circumstances that contribute toward LGBTQ youth homelessness in East Kent.  Carin and the co-director for this project, Prem Konieczny from Porchlight, used participatory film-making as a research tool for this project.  Below she explains the process and the outcomes both for the young people and for her own research.

The film was a project by and for young homeless people living in Porchlight’s young persons’ services in Canterbury and Tonbridge. It follows three young people, Josh, Shaunagh and Michael, through their journeys as homeless youth living in hostels in Kent. In making this film, they wanted to show people that being young and homeless isn’t always what you think it might be; they wanted to challenge negative stereotypes of homeless people and show what the ‘reality’ of homelessness is, for them.

The Idea

There were never any grandiose intentions for this film project, it simply started out with me, as a Support and Resettlement worker in Porchlight, asking the residents in the project where I worked, to sit down and brainstorm with me about perhaps making a film on homelessness. I had little hope of engagement and excitement about the project, because engaging young people who are going through a traumatic time in their lives in something as time consuming as making a film, seemed a distant and optimistic idea. But after a few false starts, one young person, Shaunagh, who had done a course at college in film, decided she felt confident enough to take the lead and motivate others to join in too. All in all, around 15 young people from Porchlight took part in the process of making this film. There was one simple guideline: the film had to be about homelessness. The rest was up to them.

Young people from Porchlight interviewing passers-by on the streets of Canterbury

Young people from Porchlight interviewing passers-by on the streets of Canterbury

After careful consideration, the girls decided that they wanted to make a film about youth homelessness, to show people what it’s REALLY like. They often hear homeless people described as rough sleepers, dirty beggars, drug or alcohol misusers and generally a drain of society’s resources – descriptions that they felt do not fit them in any shape or form and they wanted to challenge this. So then they had to figure out HOW to make their point. Initially, they thought that just filming different activities and doing a general tour of the hostel would be enough, but it wasn’t long before they realised that they needed some hard evidence of people’s ignorance and misconceptions. Reluctantly, all agreed that they would need to go into town and ask the general public for their opinions – on film!

The Process

We borrowed equipment from the Visual Anthropology programme at the University of Kent, but at first, nobody wanted to touch the camera and nobody wanted to be ON camera, which gave a bleak outlook for the entire project. To take the pressure off, I decided to keep the camera in the hostel’s office and told the service users that they could wait until something ‘interesting’ happened and come and get it when they felt inspired and wanted to use it. Eventually they did take the camera away and returned to me with it full of footage of interviews that they had done with each other on their ideas of youth homelessness. Most was not useable because of issues with sound and/or image, but because they had now broken down the barrier of fear of the camera, the film project could now mature into something that they felt capable of taking ownership of.

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Amy performing the music for the opening scenes of ‘Homeless Youth’

Week by week, they got more and more confident with the camera and eventually we could have a session talking about HOW to use the camera, what to think about in terms of positioning of the subject, background noise and other technicalities. Keeping the camera on site for ‘interesting’ moments turned out to be a much better idea than trying to produce interesting moments on demand, so this is how we proceeded. All the service users taking part were dealing with issues of their own during this time period, such as difficult family relationship problems, depression, self-harm, problems in college, trying (and mostly failing) to find work, relationship problems and so on. These, of course, took precedence, so finding ‘good’ days to film was always a challenge.

Eventually, despite personal fears and inhibitions, a group of our young service users took to the streets of Canterbury and bravely approached strangers to ask them what they thought a homeless person looks like. The replies were shocking and showed exactly the kind of negative stereotypes that they were expecting to hear – and worse! There were comments such as homeless people are dirty, disgusting, smelly, have a lack of personal hygiene, and (a personal favourite), they always have long hair (!). While filming in Canterbury town centre, I started out as the cameraman, since nobody else dared to do it, but after a few of our interviews, confidence grew in the group and eventually everyone had a go at either asking questions or holding the camera.

Film as Method

Screenshot from the film at the first official screening. Josh is talking about what he thought a hostel would be like before he had to live in one himself

Screenshot from the film at the first official screening. Josh is talking about what he thought a hostel would be like before he had to live in one himself

Most of the filming was done by the young people, but my colleague Prem Konieczny (who edited the film) and I also did some. I took the camera with me to any activity I did with the service users and rigged it up for some group discussions as well, for which I asked the questions. I had my own agenda for this film project: I wanted to get the service users to engage in meaningful conversations about their ideas of what ‘home’ is to them, and what ‘homelessness’ actually means, which in turn would inform my own research into youth homelessness. A lot of the conversations ended up far less serious than intended, with more banter and jokes than thoughtful ideas; breaking through this hurdle of protective chitchat was quite challenging. One of the more successful ideas was to put the questions up on the wall behind the camera and allow the service users to speak freely about them, rather than me probing and asking questions directly to them. This somehow seemed to give them more power over the conversation and removed the teacher/student aspect that can sometimes feel more like an interrogation.

By allowing the service users to be in charge of this project, not only did they get a huge confidence boost themselves and learned a great deal in the process, but it was also a method for me to open different channels of thought and reflection from them, as opposed to normal casual conversations or interviews. As an anthropologist in the hostels, I had spent significant time trying to get them to talk about these concepts in general conversation and interviews, with mixed results. Suddenly, with them in charge of the camera and their own voice, they felt the need to put words to their thoughts in a way that was never necessary in my previous inquisitions as ethnographer and fieldworker. Rouch, in his 1973 essay ‘The Camera and Man’, couldn’t be more right when he said that “The situation is clearly this: the anthropologist has at his disposal the only tool (the participating camera) that offers him the extraordinary possibility of direct communication with the group he studies-the film he has made about them.”

Two of the girls that took part in the project ‘staging’ a game of badminton for the camera in the hostel’s garden

Two of the girls that took part in the project ‘staging’ a game of badminton for the camera in the hostel’s garden

I never had any intention for ‘true objectivity’ or a search for the ‘truth’ for this film, if ever such a thing existed (Pink outlines this debate well in the introduction to her book Doing Visual Ethnography). As Vertov’s concept of the ‘cine-eye’ dictates, my own intent and actions inevitably shaped this film. However, as Rouch advocated, I did engage in ‘audiovisual reciprocity’ where the participants were a part of the process, from start to finish: the service users that took part in this project had a say in what the film should show; the participants “staged” the reality that they wanted to portray publicly. In a way, it feels like fulfilling the dream of Jean Rouch, when he said that this type of ethnographic filmmaking will help us make a ‘shared anthropology’; “Which is to say, the time of the joint dream of Vertov and Flaherty, of a mechanical cine-eye-ear and of a camera that can so totally participate that it will automatically pass into the hands of those who, until now, have always been in front of the lens. At that point, anthropologists will no longer control the monopoly on observation; their culture and they themselves will be observed and recorded. And it is in that way that ethnographic film will help us to “share” anthropology.”

Editing

Chelsea and Zach interviewing Shaunagh for the additional footage they felt was missing from the film at editing stage

Chelsea and Zach interviewing Shaunagh for the additional footage they felt was missing from the film at editing stage

Once the filming was done, Prem and I started the painstaking process of sieving through hours of footage, much of it unusable, to find the hidden gems – footage of the service users interviewing each other and thinking seriously about their own situations, about homelessness, about being young and living in a hostel, about their potential futures, hopes and dreams. We constructed a rough draft of the clips and invited the service users to the Visual Anthropology lab at the university to watch the draft film and comment. They deemed the film inconclusive, and a bout of new shooting ensued. They had a clear idea of the direction they wanted the film to take, so they constructed interviews with each other targeting the information they felt was missing. This part of the project was truly inspiring, since at this point the service users had really taken charge of their own film and displayed a proud ownership of it.

The young people that joined us in the Visual Anthropology lab had mostly never visited a university and never thought they would ever do so either, and after the end of this some had grown aspirations for taking up study and possibly even continue onto university to pursue a career in filmmaking, grades permitting. Seeds of hope and possibilities were sown and self-esteem grew and blossomed in a way that you could almost see and feel. It all culminated in a cold but sunny afternoon at the UKC campus, where some final shots were done in the UKC campus’ labyrinth.

"The the maze totally symbolises everything about this film, about us and what it is we want to say!”

“The the maze totally symbolises everything about this film, about us and what it is we want to say!”

I was a mere bystander while Shaunagh walked through the labyrinth, making her way to the centre, through the maze of paths, filmed by her friends from the hostel. The shot captured the apogee of the film project, where the service users thoughts and realisations met in the middle of the maze, expressed by Chelsea who exclaimed in realisation: “Hey, the maze totally symbolises everything about this film, about us and what it is we want to say!”

Finally we added the music. Porchlight had for some time collaborated with an agency called Rhythmix, who visited our hostels to teach our young people to make their own music. Michael (a.k.a. ‘Ike Boi’), who appears in the film as one of the main characters, provided most of the music that he had created together with Rhythmix, and another service user Amy provided the songs for the start and end credits with her own wonderful talent.

The Screening

Carin Tunaker at the screening of 'Homeless Youth' at the University of Kent, November 2014

Carin Tunaker at the screening of ‘Homeless Youth’ at the University of Kent, November 2014

It took over a year for the film to make its way from the end of filming to the finished product. In that year, our service users moved on, moved out, and quite possibly forgot temporarily about their experiences as filmmakers. Unfortunately some made themselves un-contactable as well (purposefully or un-purposefully), so they missed the opportunity to see the film in its finished form, screened at the Lupino Screening Room at UKC in November 2014. Those who came told us they felt very proud to have taken part in something like this. They spoke of their hopes for futures in the film industry – they want to send the film to the BBC and E4, and some hope to start careers in singing and/or film.  In the least they want to pass the buck to other young homeless people now living in Porchlight’s hostels, for them to continue with ‘Episode Two’ of Homeless Youth!

Amchi- Tibetan Medicine and Ethical Anthropological Filmmaking

Project

Former MPhil student Elif Eda Tibet tells us about her latest documentary.

Amchi is an observational road trip documentary, about an idealistic Tibetan doctor Amchi Karma Chodon journey with her five month old baby Teljor into the Himalayas of Ladakh.

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Amchi and her son Teljor, on their way to raise awareness and conduct a final course with her students on women and child healthcare.

In the film Amchi Karma goes to Zanskar, the most remote region in Ladakh, to give a final revision class for her graduated students on women and child-healthcare. Before she reaches to her final destination she stops by at Tso Moriri, the highest lake in Ladakh near Korzok village to find the Changpa nomads so to give them an awareness campaign on preventive women and child healthcare. The film raises concerns over the protection of the medicinal plants which are under great threat due to climate change, overgrazing, unscientific exploitation and questions the future of the young amchis, as Tibetan Medicine if not supported by the government and its own people, is a tradition under the threat of extinction.

Amchi Karma Chodon a Tibetan refugee and a prior nomad herself, holds the Katchupa diploma (Tib. dka’ bcu pa), which she received from the Central Institute of Buddhist Studies, Choglamsar. She is the main professor during the Dusrapa training (4 years education program for Tibetan Medicine) at the NGO where she currently works for in Ladakh Society for Traditional Medicines (LSTM). She has been a social worker for the last thirty years of her life, in which in between she ran a clinic for sometime in Leh. Her skills and knowledge have given her the opportunity to travel to England, Switzerland and France, where she has given lectures and treated European patients as well.

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Amchi Karma Chodon and Amchi Namgyal at Korzok Village with the Changpa people near Tso Moriri Lake during the women and child healthcare campaign.

It was during my time at the NGO (2012) where I was assisting the program coordinator on financial and administrative issues where Amchi Karma suggested that I come and travel with her,  to understand better what they do. I was delighted by her offer and made some funny dance moves out of joy. Amchi and her eldest son, a 14 year old Monk who came for a visit from DehraDun, laughed out loud. She observed that I was just like her son.

This little brief dialogue was the beginning of my very meaningful friendship with this very intelligent and courageous woman, who’d play a major role in my spiritual, mental and personal development in the following months.

I felt extremely fortunate, that I was there with her to film events as they happened.  As a team in LSTM we had the idea to use some visual clips for fundraising purposes. Also, Amchi Karma Chodon wanted to interview her students’ for their feedback on the courses she had given to them and she wanted them to raise their voices on the difficulties they faced while treating patients. So initially we used visual material solely for research and documentation purposes. Although I did not speak and understand a word of Bhoti language, I had this strange instinctual feeling that I should be filming any detail that I was allowed to by the Amchi, students and the people. We actually had no time to even set up a tripod, as we were on a constant move and had lots of work to do to carry out the awareness campaigns. We would carry them out in two to three different villages a day and would go to sleep by midnight and wake up early the next morning, to carry on.

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Landscape of Zanskar, early in the morning on our way to the gompa with Amchi Kanji.

After a very challenging, exhausting and yet a life changing experience of 15 days travelling in Zanskar (October 2012) together in very difficult conditions.  Horrible roads and flat tires were the least of the  challenging issues we faced. On the way back I got extremely sick. Amchi Karma  diagnosed me with a minor inefficiency problem in my left kidney that was probably triggered by the high altitude, an illness that was hidden in me for long.

After a week of trying to recover in Leh, which was quite difficult as the weather got extremely cold, dropping down to minus 15 degrees at nights, I had to fly back to Delhi, and later on had to go back to my home in Istanbul. I insisted on using Amchi Karma’s prescribed medicines for 52 days, and I was entirely cured within two months. The doctor in Istanbul couldn’t believe how effective the medicines she gave were, in the beginning the doctor  just laughed at me, and insisted that I take Western medicine just in case.

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Amchi Karma and her students in the class at Amchi & Astrological Centre in Zanskar.

But I knew that this was not a mystical recovery, the medicine I used was based on a thousand year old heritage, and on medicinal plants that would grow only on the high altitude of the mighty Himalayas, ancient scripts based on astrology, prayers and hundreds of trials and enhancements made on it. There was nothing for me to be surprised about. The surprised doctor keenly watched the film and admitted that there was a lot for him to learn from holistic medicine, which is exactly what LSTM strives to achieve by bringing together Tibetan Medicine with Allopathic medicine in India.

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Amchi Karma’s student conducting women and child healthcare awareness campaign in her own village in Zanskar.

So after I became better, I sat down to watch the recently transcribed material we had, and I could not believe my eyes that there was a very satisfying and natural scenario to it. After asking for the full consent and permission from Amchi Karma I proposed to turn it into a film.  All I did was to bring things together as they happened and ask to my favorite two-world famous Tibetan musicians Tenzin Choegyal and Ani Choying Dolma for consent four soundtrack to their beautiful songs. Both said yes, and have granted their music with great generosity.

It actually took me a whole year to decide what to do about the film, whether I should have gone back to Ladakh to improve the film or should I just be going on with what I was gifted for the time I was granted there. I followed my inner voice and decided that I should follow the amateur in me.  I decided to keep the film as sincere and simple as possible and let go of my desire to improve it artistically.  That would have been another year of struggle, and might have complicated my relationships with the people out there if I went with a professional team of cameramen.

After I made up my mind, it took me only four months to finish the editing myself. I needed no color or sound correction as what I had was absolutely beautiful thanks to the serene landscape and good fortune we had while filming randomly.

Amchi_Poster

Amchi Film Poster

It was also remarkable that I finally recovered from my illness during the post production process so I decided to put an explanatory sentence under the title AMCHI, “on the path of Sowa Rigpa, the way to healing…”

I then submitted the the film to various festivals. It recently won two awards of excellence for the best original song and filmmaker of inspiration, and two honorable mentions for best originality/creativity of the story and best cinematography from Indonesia’s prominent International film festival of Jakarta (June 2014). The awards were given by the health minister of Indonesia. We have also been nominated for the best foreign documentary film by American Online Awards (Dec.2014) and have been officially selected for a showcase in Lucerne Film Festival in Switzerland (Oct 2014).

Aside from raising awareness and advocating for the recognition of Sowa Rigpa around the world, opening up conversation among the prominent amchis to consider women and child healthcare more in depth within the discipline, our other major aim continues to be to find the right sponsor for LSTM.  I believe the film can play an important role in this goal.

Our film was also reviewed by The Tibetan council for Medicine and gained approval from the prominent amchis from Men- Tsee Khang in Dharmsala which was established by his Holiness the 14th Dalai lama during the 50’s after establishing his government in exile there in India. The film was then screened at the Tibet festival of the people of Himalayas organized by the Tibet bureau of his Holliness in Paris on the 14th of June in 2014, followed up by a conversation with Amchi Tsamchoe.

Very soon Amchi will be distributed by a professional distributor and all the royalty rights will be dedicated to Amchi Karma and her social projects on women & healthcare. After all, participatory and shared anthropology should not just remain as an approach for the making of the film and the post production process but should be there as a concern for after what happens also.

I believe filmmakers should share their earnings with the people they film as they are the reason for their films to come into existence in the first place.  It was saddening for me to read just recently that the lead Nepalese actor  today , who played at the inspiring film nominated for Academy Awards, Himalaya by Eric Valli is still penniless and struggles for survivor. I dreamt of becoming a filmmaker after seeing that film.

It is very upsetting to see that the industry and agents between the broadcasters and filmmakers are making things very difficult, and that is why I decided to remain out of the industry.  I managed to make my way into being even more creative and productive while producing really low budget films that got into festivals and Tv broadcast, as I collaborate only with the like minded people. As we live on the cutting edge of technology, it is certainly the time for independent documentary filmmakers and visual anthropologists to establish their vision more widely.

One should recognize and admit that the making and the destiny of a film is beyond the filmmaker herself, as the universe may have better plans with it and it would be a pity if one blocks good things from happening with unnecessary limiting self interests, as for me there is nothing so important about “the self” if compared to the amazing life stories we have luckily access to film.

So, I suggest 7 epistemological and ideological ideas to guide ethical visual anthropological film-making.  I find them to be very rewarding and am determined to follow them in future work. I gathered these principles from my personal experiences and from literature, particularly the book edited by Pink , Alfonso and Kurti on “Working Images: Visual Research and Representation in Ethnography” (2004);

  •  The film’s main characters should become full members of the research and film-making process.
  • There should be the desire to reach and work towards social change leading to a fairer society based on self-management and solidarity among persons and groups.
  • There should be a (Self-) critical passion for revealing hidden aspects of our society and ourselves.
  • There should be a conviction that social change will only follow individual transformation, and can be best achieved through group work and equal participation.
  • To ensure that the achievements of our individual and group subjects work to reduce negative entropy.
  • In order to work this way it is imperative that no person or institution, including film / research team, NGO or association sets the agenda on the basis of their financial contribution. It is a prerequisite that our documentaries are majorly self funded- and visuals are strictly protected and not shared other then education and cultural use with third parties.
  • That all the earnings from awards and royalty rights of the distribution of the films or images shall be shared equally between the filmmakers and the main characters.

To learn more about the film:

Official Web Site: www.amchithefilm.com

To learn more about Eda Elif Tibet’s latest productions:

www.tibettoproductions.weebly.com

 

INTER-REFLEXIONS-2014

Project

 

Reflexion– expression without words; a remark expressing careful consideration; a calm, lengthy, intent consideration.

Inter– Between, among; mutually; reciprocally

 

Marlowe Lecture Theatre 1, University of Kent, Tuesday, 3rd June, 1-7pm

 

This year’s screening and exhibition of third year visual anthropology projects was titled Inter-Reflexions. The organisation of the screening programme made more explicit how our students’ projects speak to each other as much as they do to the wide issues they engage with. They testify to the processes of collaboration and feedback they followed and inspiration they took from teaching in visual anthropology theory in the Autumn term.

In this yearly event we celebrate our students commitment to creative use of photography and video that takes visual anthropological methodologies into engagement with the issues and interests that inspire and fascinate them.

 

Timetable

 

Matthew, Chelsey and Liam answer questions about their films.

Matthew, Chelsey and Liam answer questions about their films.

For the screening we started with the body’s most symbolised extension into the space that surrounds us in Matthew Neale’s Hair, a critical exploration of the meanings of hair and hair products. The student experience also featured strongly in Hollie Goman’s intimate enquiry into what university means to students, in The Art of Growing Up. In an altogether more imagined and playful space of magic and alternative use of university spaces, Jake Conley and Chelsey Jacobs, entered into the games of the Harry Potter inspired university club, The Hogwarts Society. By contrast, Liam Dorr took us off campus in an ethnofiction inspired film on one student’s plan for the perfect party. Ongka’s Big Moka was the inspiration, but Joel’s Big Party is a lot funnier.

From the student ‘hair’ and the now we moved to the theme of eternity and longevity in shorts that tackled religion, activism and laughter. Christiane Howe deepened our appreciation of arranged and sometimes fortuitous marriages in The Unification Movement. Annabelle Spooner travelled to South Korean churches in the UK to see the challenges they face in Yeswhonim.

In Of Families and Eternity, Robert Malin delivered new insights from behind the doors of the Mormon church. In fighting for the continued use of their skatepark on the Southbank, the activists that Henry Worger collaborated with in Culture with a Capital U, also desire a sense of continuity and longevity.  Troy King’s The Act of Laughter delved deeply into the challenges of being a stand up comedian and found strong links with anthropology.

Dr Oliver Double, who starred in Troy King’s film, dropped in to contribute further insights into stand up comedy.

 

Photo Exhibition

In the break we had the opportunity to look at the photographic exhibition. It covered similarly wide-ranging topics, exploring a range of photographic techniques within anthropology as well as diverse visual subjects. From the performance of gender and sexuality, to the effect of moving into a retirement home, to the emotional journey of a mixed-martial arts fighter as he prepares for, and takes part in, the biggest fight of his career, the photographic projects asked how, as researchers, we can explore and depict the encounters with life that make up the human experience using photography. This year’s photographers were: Alice Keegan, Lewis Batterham, Jamie Baird, Ayla Jay, Joanna Jones, Sarah Graham, Thomas Lindsay, Rebecca Scutcher, Keira Henderson, Daven Nijran-Talwar, Lydia Hill and Monique Dray.

 

Jesse Tomlinson answers questions on Cornish Identity.

Jesse Tomlinson answers questions on Cornish Identity.

We returned from the break to the themes of home, place and identity, linked in a series of shorts that travel from Cornwall to Canterbury’s Good’s Shed, to London protests against homelessness, to a novel exploration of the idea of stress and ending with one man’s fight with mental illness. Jesse Tomlinson tested claims for Cornish identity in Ve Bos Kernewek in a short in which he was also tested. In Localised, Oliver Seary took us to the heart and soul of local produce, through evocative visual portraits of traders from the Good’s Shed. Experimental in format with a challenging message, Mike Cadby, delivered a novel framing of the challenge of homelessness in Life’s a Beach. Scott Skinner addressed the question of how the idea of stress effects us using a key TED talk as a vehicle propelled by anthropological interest in the reception of media. A Stressful Perception aims to transform the audience’s perceptions. In Fragments of a Life, Simon Schwarz took us into the home of one man and their journey of facing mental illness through the camera.

Our final group of films shifted more deeply into the theme of reflection. In A Journey Into Landscape & Tourism in Aljezur, Alex Woodcock, journeyed to Portugal to meditate on a village where most of the population now live in cities.

 

In Transient Reflections, Becci Geach translated the experience of being human in moving trains into a visual aesthetic that linked us to fellow passengers. Piano Talk, focused on the destination. Helen Peek explored the reasons why people come from far and wide to play the pianos in King’s Cross Station. Naomi Webb’s Running Monologue, was a strikingly personal portrayal structured by a powerfully moving motif. Sam Parsons’ gravity defying film, Leave it on the Ground, opened up the social and personal motivations of sky divers and concluded our afternoon.

This concluded the screening part of the day.

David Pick and Hugh Brody discuss the films during the break.

David Pick and Hugh Brody discuss the films during the break.

This year we welcomed back Professor Hugh Brody to award the prize in his name. We were also excited to learn how the Tracks Across Sand project has developed since last year. Tracks Across Sand is a major video project that looks the history of the first indigenous land claim in Africa. Last year he started a major fundraising initiative to fund the dissemination of the film and to create an online resource. This year he confirmed that he has got funding to screen the film all over the African continent and to set up an archive at the University of Cape Town.

This year we also welcomed a new judge for the screening to award the David Pick Documentary Prize. In a career spanning more than three decades, David Pick produced and directed hundreds of television programmes in the UK, mainly for ITV. From science magazines (The Real World) to religious/ethical affairs documentaries (The Human Factor); from a twice-weekly live soap opera (Together) to filmed family comedy (Worzel Gummidge); from documentaries like The Tigers’ Tale, chronicling the excavation of The Channel Tunnel, to The Hannibal Test, which followed Ian Botham and elephants on a charity trek across the Alps.

Are Mothers Really Necessary?, a seven-part series for Channel 4 on the work of the controversial child-psychiatrist, Dr John Bowlby, was focused on three of his major studies: Attachment, Separation and Loss. The filming presented many practical and ethical challenges to the documentary-maker: in a residential unit for children suffering the effects of severe emotional and/or physical abuse; in day-care centres for babies and toddlers; in a preparatory boarding school; in the mother-and-baby units of British and American prisons; in the cancer wards of children’s hospitals; and with grieving parents in a children’s hospice. Since retiring from TV, David has studied Creative Writing, taking two modules of a part-time BA at UKC before joining the MA programme at Christ Church Canterbury, where he gained a distinction. His first novel, Mrs May: A PsychoSexual Odyssey, tells the story of a primary schoolteacher’s mission to redeem a teenage thug, once a delightful child in her reception class. Mrs May is available as a paperback or e-book on Amazon.

In the dialogue between Hugh Brody and David Pick we hoped to find the creative tension and possibilities between the increasingly blurred boundaries of ethnographic and documentary filmmaking.

Sarah receives her award from Maria-Paz and Glenn.

Sarah receives her award from Maria-Paz and Glenn.

The photography prizes were judged by Glenn Bowman and Maria-Paz Peirano.  Maria-Paz Peirano is a PhD student researching Chilean cinema. Glenn Bowman is a reader of social anthropology at the University of Kent, Director of the Liberal Arts programme and a visual anthropologist who uses photography extensively in his research in Jerusalem and the Occupied Territories of Palestine, Macedonia and Cyprus.

To see photos of the day please click on our Flickr photostream.

Photography  Prizes

Photography prizes went to the following:

Most innovative use of photography: Sarah Graham for ‘Threads of History’

Anthropological Vision: Jamie Baird for ‘The evolution of Murals in East Belfast’

Best overall photographs: Joanna Jones for ‘Timberlina: an anthropological case study of a contemporary drag artist’

The photography exhibition can be viewed online here.

Video Prizes

 

The David Pick Prize was accepted by Peter McCulloch of 'Fragments of a Life'.

The David Pick Prize was accepted by Peter McCulloch of ‘Fragments of a Life’.

David Pick Prize –Fragments of a LifeSimon Schwarz

Peter McCulloch, the key protagonist and collaborator in Simon’s film received the prize in his absence.

David Pick Runner Up- Localised–  Oliver Seary

Special Commendation- The Unification Movement–  Christiane Howe      

Christiane Howe receives a special commendation.

 

Hugh Brody Prize –Running MonologueNaomi Webb

Hugh Brody Runner Up Prize- Joel’s Big PartyLiam Dorr

Audience Prize-Fragments of a Life–Simon Schwarz

 

Liam Dorr receives an award for 'Joel's Big Party'.

Liam Dorr receives an award for ‘Joel’s Big Party’.

If you would like to see photographs of the event please look at our Flickr feed. Our thanks to Caroline Bennett and Mike Poltorak for the considerable work organising the exhibition and screening.

Photographs by Caroline Bennett and Mike Poltorak.

Peopling Places-2013

Project

The screening and exhibition of third year anthropology student visual projects took place over a long afternoon in Marlowe Lecture theatre. The event was attended by a large group of students, staff and people who had featured in the films.  We were especially happy to see Caroline Grundy, a longstanding member of staff who had recently retired. For many years she had wanted to be present for the whole event.

This year’s photographic display covered a wide range of themes, demonstrating a common desire among students to engage with people in the local area and explore anthropology’s relevance for making sense of cultural difference in Southeast England.

Topics covered include the Kurdish Newroz (New Year) celebrations in Finsbury Park, sexuality, tattooing, Canterbury and its cathedral, cultural greetings, Canterbury markets and more. Photographic work  by Katie Bowerman, Bianca Corriette, Helen Delmar, Myrthe Flierman, Sophie Giddings, Tabitha Hamill, Ville Laakkonen, Sarah O’Donovan, Sophie Tyler, Emma Ward and Matt Weston was exhibited in the Marlowe Foyer. Glenn Bowman judged the three photography prizes.

The theme of people’s engagement with place was also very strong in this year’s video projects.  The Cathedral  featured in two meditative films by Charles Beach and Claire McMurtrie.

We were extremely happy to welcome Professor Roger Just back this year. His popularity and inspiration in the year of his retirement had prompted the students that year to suggest a prize in his name. This was the last year that students taught by him were still at Kent. We were very happy to welcome a longstanding friend of the school Professor Hugh Brody, and previous Stirling Lecturer, to award a prize in his name. He took time from a intensive schedule of screenings of a groundbreaking film project that documents an indigenous land claim in South Africa.

In 2011 he gave a retrospective of his work at Kent. Our third judge, Dr Kate Moore, is also a documentary filmmaker and had  recently been awarded her PhD in visual anthropology for a project in collaboration with the Powell-Cotton Museum on their Angolan collection that led to a major exhibit, ‘TALA! Visions of Angola’ that gained widespread acclaim. As the teacher of the course last year, we were especially interested to hear her opinion of the changes in filmmaking styles and focus from last year’s cohort, screened as ‘Self Spaces’ .

We reflected on the students last year and what were they doing now. Nazly Dehganiazar and Harriet Kendall won the Roger Just and Hugh Brody prizes last year for their films ‘Canterbury’s Buskers’ and ‘Voices from the Back Seat’ and we were all very moved to watch their video messages from Holland and the US. Nazly is now doing an MA in Social Anthropology, while Harriet  is using her anthropological skills, in the year before going to film school, as the cultural adviser in the English Village in Disneyworld.

Films were grouped into themes related to peoples’ engagement with space and introduced by the teacher of the video project,  Mike Poltorak. After the screening of a group of films, the directors came to the front for a Q and A. If you’d like to make your decision about your favourite film please feel free to view and read about them before you read the judges’ choices below.

Initiative

Noisy Neighbours   Michael Selmes

Why Whitstable?   Anastasia Sotiriou

Discontinuous Space   Claire McMurtrie

Ethnochoreology   Shaheen Kripalani

Expansion 

Cathedral Triptych   Charles Beach

More Human   Kane Taylor

The 1882 Movement    Harry Farrell

 

Grounding 

Using the Stour   Michael Bonnington

Starry  Chi-An  Peng

6 Miles Southeast   Oliver Hall

The Lives We’ve Lost   Bhokraj Gurung, Danny Mahaffey

 

Longevity

Anglo-Deutsch Edward Coates

Under My Skin   Olivia Maguire

From East to West   Carmen Yam, Thomas Slatter

The Art of Being Lost   Elinor Turnbull

Hugh Brody spoke about the high quality of films this year and how so many of the films deserved a prize. He reviewed all the film drawing attention to particular things he liked in each film.  The judges’ decision however was unanimous. The Hugh Brody Prize went to Charles Beach for his film ‘Cathedral Triptych’. The runner up prize was awarded  to Olivia Maguire for ‘Under My Skin’.

The Roger Just Prize for Visual Anthropology went to Chi-An Peng for ‘Starry’ and the runner up prize to Harry Farrell for ‘The 1882 Movement’.

The Audience Prize was voted on by a large audience of students, visitors and staff. It went to Elinor Turnbull’s ‘The Art of Being Lost’. The runner up prize went to Carmen Yam and Thomas Slatter’s ‘From East to West’. It was a close vote with the difference between  1st and 2nd only one vote and closely followed up by Bhokraj and Danny’s film, ‘The Lives We’ve Lost’  picking up a large number of second place votes.

The prize was awarded  by Alex Woodcock, representing our very active student group TRIBE, and Kate Moore. TRIBE organised the first ever undergraduate conference (Breaking Bubbles)  in anthropology in the UK.

For the photography prizes there were three categories and a special mention.

Katie Bowerman won the prize for  Innovative Photography.

Tabitha Hamill won the prize for  Best Set of Photographs.

Ville Laakkonen won the prize for Best Anthropological Content and received a special mention. As a visiting student from Finland, Ville was particularly happy to receive this accolade and commented on how studying at Kent had been an incredible beneficial experience.

The three prize winner’s work is currently on permanent display outside the visual anthropology room in the Marlowe Building.

Students and staff joined together to  thank the teachers of the visual anthropology projects course this year, Matt Hodges (Photography) and Mike Poltorak (Video), for their inspiration and considerable work that went into preparing the exhibit and screening. Mike Poltorak thanked the students for their energy and creativity and expressed the desire for them to keep in contact after graduation to help inspire future generations of visual anthropologists.

You can see photos of the event here. You can also see all the films and read more about them in the dedicated blogs above.

We’d love to read any comments in this blog or in our facebook group, UK Visual Anthropology    especially related to how these films can be useful more broadly. Please post the films you like on your networks so that our students get the wider recognition they deserve.

Video Prizes Awarded 

Cathedral Triptych   Charles Beach        (Hugh Brody Prize for Visual Anthropology)

The 1882 Movement    Harry Farrell      (Roger Just Runner-Up Prize)

Starry  Chi-An  Peng             (Roger Just Prize for Visual Anthropology)

Under My Skin   Olivia Maguire        (Hugh Brody Runner Up Prize)

From East to West   Carmen Yam, Thomas Slatter  (Audience Runner Up Prize)

The Art of Being Lost   Elinor Turnbull   (Audience Prize)

 

10 Challenges-2011

Project

LtoR: Rose Delamare,Joanna Turner, Mike Poltorak, Roger Just, Max Harrison & Sarah Molisso

Third year undergraduate students have the opportunity to do a Photographic or Video Project in Visual Anthropology in the final Spring Term. For the video project the course begins with students making symbolic cameras that represent their own unique involvement and creativity in their projects. These cameras (see right), remind them of their artistic and creative visions during the trials and challenges of the collaborative process. The resulting videos are screened in the Summer Term to an enthusiastic group of staff, students and visitors. Two prizes are awarded. The first, the Roger Just Visual Anthropology Prize, is awarded by Professor Roger Just, much admired by students for his inspirational teaching. The second prize is voted on by the audience. This year the judges decided that Runners Up prizes were also awarded. Below are the projects, click on the link to see some of the films and learn more of the projects.

Max Harrison     Danny the… (Roger Just Visual Anthropology Prize) Christian Hurley & Joshua Delport      We Are Anthropologists (Audience Prize) Joe  Gallagher      Breaking the First Rule Thomas Clover    Live Anthropological Role Play  (Runner Up-Audience Prize) Michael Ralph     Redheads

Sarah Molisso     The Bubble   (Runner Up Roger Just Visual Anthropology Prize)

Joanna Turner &  Rose Delamare        Young at Heart (Runner Up Roger Just Visual Anthropology Prize) Rosemary Headland & Dulcie Ruttley-Dornan    Naughty Legs Becca Toop      Homeless but Not Helpless (Runner Up-Audience Prize) Julian Warner      Who Arrested Will and Gregg

Caremotions 2017

Project

CAREMOTION –noun- finding balance between the care of others and self, and the emotions during video making.

Etymology-(coined Canterbury 2017) a synthesis of care, motion, emotion, motion picture and commotion.

 

Please join us on the 31st May for a screening of visual anthropology projects that demonstrate the remarkable creativity and engagement of our visual anthropology students at the School of Anthropology and Conservation.

The twelve films will be shown in three thematic parts, after each there will be a opportunity for discussion and Q and A.

Professor Hugh Brody continues his long support of visual anthropology at Kent and will award the Hugh Brody Visual Anthropology Prize.

We welcome visiting Professor Daw-Ming Lee from Taiwan who will award a prize in his name. He is a reknowned academic and filmmaker and will be

giving a talk about his work on the 24th May.

The Lynn-Bicker foundation led by Alan Bicker will award a Public Engagement Prize. There will also be an audience prize.

After the event we will move to the Gulbenkian for post screening drinks and pot-luck.

Screenshot from Painting a Journey (Evleen Price)

Painting: Andrew Price

Invitation to Portrails 2016

May 20, 2016

ukvisualanth

 

 

Portrayal – a depiction of someone or something in a work of art or literature; a picture
Trail – a mark or a series of signs or objects left behind by the passage of someone or something.

Join us for the screening of final year visual anthropology projects. Students focussed on a remarkable diversity of themes this year with a strong common focus on the portrayal of groups or particular people.

Four prizes will be awarded this year
The Hugh Brody Visual Anthropology Prize
The Virginia Pitts Prize
The Public Engagement Prize (The Lynn Bicker Foundation)
Audience Prize

All audience member will be able to vote for the audience prize but only if they have viewed all films.

Picture Credit-Lissa Davies (The Cast)

‘Silence is golden/but my eyes still see’: Award winning documentary ‘The Silence of the Flies’

Project

In December 2015 the School of Anthropology and Conservation was privileged to welcome alumnus Gonzalo Chacon for a screening and discussion of the award winning documentary ‘The Silence of the Flies’ for which he was co-executive producer.  Guest contributor James Kloda reviews the film below.   All images included are courtesy of NorteSur Producciones.  

12297755_10156288234080287_1165019744_o-2

 

“Silence is golden/But my eyes still see.”

This refrain from The Four Seasons’ song is both haunted and haunting, its stated serenity mere illusion. Similarly, Eliezer Arias’ documentary, The Silence Of The Flies, has a lingering disquietude hanging over its subject of multiple suicide, predominantly amongst young adults, in rural Venezuela. Organised by Dr Caroline Bennett, the School was delighted to welcome the film’s executive producer, MA in Visual Anthropology alumnus Gonzalo Chacon, to introduce the screening and participate in a Q & A session, proving to be an engaging, thought-provoking evening.

Arias follows the stories of two ladies, Marcelina and Mercedes, whose daughters tragically took their own lives. One, María José, was a spiky, rebellious character who despised the inherent chauvinism of the society surrounding her, defiantly coming out much to the disgust of her father: the other, Nancy, remains far more enigmatic, any allusions to troubled personality reflected in the figure of her devoted sister, who herself tried to commit suicide when she was eight months pregnant. The dichotomy of silence is drawn thus: present absence and absent presence. And silence is very much the thematic heart of the film, for what typifies this seemingly phenomenological outbreak of self-sacrifice is the cloak of hush wrapped around it.

12315250_10156288237175287_903556283_o-2            Similar to Joshua Oppenheimer’s recent documentary The Look Of Silence, which followed an Indonesian optometrist confronting the perpetrators of his country’s 1965 genocidal purge, the precise challenge of Arias’ film is to dramatise that dichotomy of silence. Stories are heard in voiceover against images of their narrators, silent in frame but always staring into the lens, searching it, and us, for answers or a means to express their private tragedies. The effect of this disconnect is persuasive, a voice only able to be candid when disembodied from its speaker.

12299486_10156288236685287_2002026562_o-2The images themselves are desolate, vast pockets of empty space pushing compositional detail to the fringe leaving a void centre-frame: figures are almost exclusively shot in isolation and, when a group is seen together, it is always from a distance. Perhaps the most striking articulation of the palpable absence at the heart of these communities is of a frozen photograph depicting María José filling the screen as the sound of her brother scrubbing down walls prior to decorating scratches metronomically on the soundtrack: a face etched domineeringly in close-up to the tune of attempted erasure.

12311434_10156288236250287_1855006345_o-2            The Silence Of The Flies is not always this gracefully lyrical. Indeed, some of its more stylised imagery seems too studied: dew drops fall from drooping leaves as Polaroids of victims float down streams. And whilst the lack of objective narration allows us to relate directly to troubled biography, it sometimes becomes difficult to understand whose story we are now following.

Yet there is so much to tell, clamouring to get out to reach some form of resolution, that confusion is perhaps inevitable. With questions still so present and answers wholly absent, The Silence Of The Flies ends with a montage of faces now with eyes closed, meditating, perhaps beginning to find some kind of peace now that hush has been broken. For a brief moment, silence is golden.

Inter-Reflexions Photography 2014

June 11, 2014

CarolineB

For those of you who missed the Inter-Reflexions video and photo exhibition on June 3rd, worry not.  You can now watch the videos on line, just click on each video’s link in this post.  And now you can view the photos in the digital exhibition below:

 

This slideshow requires JavaScript.

 

Prizes were won by the following:

  • Anthropological Vision: Jamie Baird for ‘The Evolution of Murals in East Belfast’
  • Most innovative use of Photography: Sarah Graham for ‘Threads of History’
  • Best overall photo / set of photos: Joanna Jones for ‘Timberlina: portraits of a contemporary drag artist’