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Posts from the ‘Mike Poltorak’ Category

Covidentities – Prizes

Project

Our annual screening event took place on zoom this year because of the pandemic. You can see all the films and interactive websites here.

You can read Felicia Dean’s report of the event and interview with two of the prize-winners (Ellie D. and Aqdas Fatima) here.

 

Public Engagement Prize

Awarded by  Dr Daniela Peluso (Senior Lecturer in Social Anthropology) and Georgia Buckland (Recipient of the Resolutionaries Public Engagement Prize 2019)

Public Engagement Prize – Farah Hallaba for Crawling on the Dust

Public Engagement Special Commendation – Melissa Ngige for Black Is

Prize winners are announced at 5.30 by Georgia Buckland after comments on the prize winners and other stand out projects by Dr Daniela Peluso.

 

Alumni Prize

Awarded by prize winning alumni (Emilia Brumpton, Noemie Degiorgis, Thomas Milroy & Kimberly Ubendran)  from Resolutionaries 2019.

Alumni Prize- Seasons Inside by Olivia Haywood Smith

Alumni Special Commendation – The Transition by Aqdas Fatima

Emilia Brumpton, Noemie Degiorgis and Thomas Milroy share their thoughts and impressions of the films that touched them. Noemie Degiorgis (above) announces the prize winners from 6.08.

 

New Horizons Prize

Awarded by Dr Yasmin Fedda.

New Horizons Prize- Another Hill by Becky Harrison

New Horizons Special Commendation –Locked Down Shot by Ellie Kriel Daly

 

Dr Yasmin Fedda speaks about some of the films that drew her attention and explains her choice of the two prizewinners.

From 7.15  you can also learn about how Yasmin is facing the challenges of the Corona crisis.  She also gives some advice to students interested in pursuing documentary film-making. She says, ‘”you have to put yourself out there, but also be patient”.

Dr Yasmin Fedda’s new film Ayouni was launched WorldWide on Wednesday 1st July and is available directly through the film’s website.  Yasmin shared with us some history of the film and its intention: ‘Made over 7 years, Ayouni follows the journeys of two phenomenal women Noura and Machi; their loved ones – open source software developer Bassel Khartabil, and Jesuit priest Father Paolo Dall’Oglio – are amongst over 100,000 forcibly disappeared individuals in Syria. Faced with the limbo of an overwhelming absence of information, hope is their only anchor. You can see the trailer here. THE launch was supported by The Syria Campaign, Amnesty International UK and Nophotozone – the organisation set up by Noura Ghazi, human rights lawyer and Bassel’s wife. We aim for it to have a significant impact particularly in light of the trials currently ongoing in Germany. We have focused our release plans on accessibility – Ayouni is available in all languages key to the international discussions relating to Syria (English, Arabic, French, Spanish, Italian, German and Russian), and it is free to view in the MENA region. Please help us spread the word! I would appreciate it hugely if you could help us spread the word (please use the hashtag #Ayouni via Twitter, Facebook, Instagram if you use them). It is a strange time, but we’re embracing the wonders of the virtual world with Bassel (who launched Creative Commons in Syria) firmly in mind – and with your help, we hope that Ayouni will reach as far and wide as the internet can take us! ‘

 

Hugh Brody Visual Anthropology Prize

Awarded by Professor Hugh Brody.  Following tradition he shares his appreciative and affirmative impressions of all the films screened this year.

Hugh Brody Visual Anthropology Prize- Ellie D. for The Golden Cage.

The story I told through film is the story I have struggled to tell my whole life‘ (Ellie D.)

Hugh Brody Visual Anthropology Special Commendation – Crawling in the Dust by Farah Hallaba

Hugh Brody Visual Anthropology Special Commendation- Stay Home by Sarah Mazza

 

 

From 29.20 Professor Hugh Brody announces the prize winners, and Sarah, Farah and Ellie respond. From 34. 10 Hugh speaks about the impact of the pandemic on his current film project on the history and impact of mapping with indigenous people in Canada.

From 37.25 Dr Mike Poltorak gives some thanks to the judges and alumni and Dr Daniela Peluso offers final thanks to Dr Mike Poltorak.

 

 

 

Invitation to Covidentities 2020

Project

 

Welcome to our annual visual anthropology celebration of student creativity at the School of Anthropology and Conservation at the University of Kent. This includes students on the BA Social Anthropology, BSC Anthropology, BA Cultural Studies and Social Anthropology, BA History and Anthropology, BSc Human Ecology and MA in Social Anthropology and Visual Ethnography. Students have produced diverse, engaged and personal short films and interactive web based projects on people and issues that matter to them. The title of the event hints at the obstructive and productive challenges presented by the pandemic and what it has revealed about our personal and collective identities. This year our students faced the added challenge of being in lock-down during a key period in the development and completion of their projects. Some lost relatives to the pandemic.

The usual screening event in the Gulbenkian is a highlight of the year for many of us. We present it this year online with the hope that many more people can join us and that we can gather old friends and alumni. Three collections of films and interactive websites integrates the impact of the pandemic through online discussions: 1. Communities, 2. Home & Away, and 3. Identity Trips. Each creates a conversation on a common theme through us finding links and the filling the gaps between them.

Films and interactive projects will be available to view online from the 3rd June. We recommend that you watch all the films and look at the websites from the same theme in one sitting before. Each requires about one hour. No films will be shown during the online event.

Our online event on the 10th June will include extended discussions, an alumni meet-up, a prize giving and online drinks. The discussions will be an opportunity for our filmmakers to speak about their and other films and for conversations to develop with those in the films, our international alumni, colleagues and friends. We welcome back Professor Hugh Brody and Dr Yasmin Fedda to award the Hugh Brody Visual Anthropology Prize and the New Horizons Prize. Dr Yasmin Fedda’s documentary film Ayouni, about two missing civilian activists in Syria, recently premiered at CPH: Dox Copenhagen. Professor Hugh Brody has been developing a major documentary project on cultural mapping in Canada. There will also be a Public Engagement Prize and an Alumni Award selected by prize winners from last year’s event.

You will need to register with Eventbrite to receive information of how to login with Zoom.

(1) COMMUNITIES

A diverse series of films explore the sense of community developed in a video club in France (Le Club Video), disconnection from loved one as a result of quarantine (20’s and Q…), camraderie and knowledge in a sailing club (Westbere Wednesdays), the cultural and community significance of teeth (Teeth), re-connecting unexpectedly to home in Pakistan and Japan because of the pandemic(The Transition & Covid 19) and thriving as a couple during the pandemic (A Couple in Corona). The interactive web projects explore plant based healing (Heal me Plantly), Jiu Jitsu communities (BJJC) and exchange, self-sufficiency and cohesion (Confused Planet).

To watch most of the films click here to view the session showcase.

If you also want to learn more about the films you can click on the links below.

Le Club Vidéo-Alix Mace

20’s and Quarantining in Europe -James Gallagher

Westebere Wednesdays-Isobel Howard

Teeth -Aishling Edwards

COVID-19 -Asomi Koishihara

The Transition -Aqdas Fatima

A Couple in Corona-Holly Maylin & George Cowell

 

Interactive Projects

Click on title links to explore.

Heal Me Plantly– Kai Greene

Brazilian Jiu Jitsu Communities-Harry McQuade

Confused Planet– Lara Edwards

 

(2) HOME AND AWAY 

This session presents a contrasting series of portraits of a newly arrived family member (Clover), a father and sheep farmer (Another Hill), a inspirational grandmother (An Ordinary Life), remembering home through archival footage (The Golden Cage) to emotionally framed portraits of fellow students (Walls & Living With Generalised Anxiety and Panic Attacks). The interactive web projects explore the impact of the pandemic on a family business (Business Inception), an experimental and graphic representation of a person (Clockwork Wolf) and flowers and family (The Flower Market).

To watch all the films as part of a vimeo showcase click here.

If you also want to learn more about the films you can click on the links below.

Clover-Giles Malcolm

Another Hill– Becky Harrison

Living With Generalised Anxiety and Panic Attacks – Abby Day

An Ordinary Life– Millie Chadwick

Walls -Felicia Dean

 

To watch the Golden Cage please email msp@kent.ac.uk with ‘Password, your name, your surname’ in the subject to receive a password:

The Golden Cage-Ellie D.

Interactive Projects

Click on title links to explore.

Business Inception-Nicole Robson

Clockwork Wolf-Nicole Au Yeung

The Flower Market-Acacia Springer

 

 

 (3) IDENTITY TRIPS

Our final series of film meditate on a revealing journey of identity prompted by the pandemic (Stay Home), explore the benefits of attention to the menstrual cycle (Seasons Inside),  philosophically and poetically explore experience of time (Time and Myself), journey into Afrobeat via preparation for a performance cancelled because of the pandemic (Motherland), explores an Egyptian visual anthropologist’s long commitment to Nomadic Bedouins (Crawling on the Dust) and concludes with an auto-ethnographic and humorous exploration of an unexpected return home (Locked Down Shot). Interactive web projects aim to capture the essence of black identity touching on cultural assimilation and colourism (Black Is),  and a quest for ‘sea change’ through self exploration in Horniman museum exhibitions (Sea Change).

To watch all the films as part of a vimeo showcase click here.

If you also want to learn more about the films you can click on the links below.

Stay Home -Sarah Mazza

Seasons Inside-Olivia Haywood Smith

Time & Myself  -Andrea Cavallini

Motherland-Janice Yan Ying Yap

Crawling on the Dust-Farah Hallaba

Locked down shot-Ellie Kriel Daly

 

Interactive Projects

Click on title links to explore.

Black Is– Melissa Ngige

Sea Change– Chika Afam

 

Programme

Please register with eventbrite to get all the information you need to login with Zoom.

 

Discussions and Q and A

2.00 -2.50 pm  Introduction and Communities

We will open with a poem called Nightingale by Matt Rose (Whose Future? Whose Climate? Resolutionaries 2019)  out of respect for those who have died from Covid-19 and gratitude for the health and care workers who have treated and cared and continue to care for those suffering during the current pandemic.

3-3.40 pm  Home and Away

3.40-4.10  Current students and Alumni Meet-Up

4.15-4.55 pm  Identity Trips

 

5-6 Prize Giving

Public Engagement Prize-awarded by  Dr Daniela Peluso and Georgia Buckland (Recipient of the Resolutionaries Public Engagement Prize 2019)

Alumni Prize-awarded by prize winning alumni (Emilia Brumpton, Noemie Degiorgis,  Thomas Milroy & Kimberly Ubendran)  from Resolutionaries 2019

New Horizons Prize-awarded by Dr Yasmin Fedda

Hugh Brody Visual Anthropology Prize-awarded by Professor Hugh Brody

The prize giving will be recorded.

6-7 Online Drinks– To replace our post event drinks and food at the Gulbenkian we will meet online via Zoom. There will be the opportunity of smaller rooms and meeting places to meet the filmmakers and catch up with alumni.

 

For further information contact the organiser Dr Mike Poltorak on msp@kent.ac.uk

 

Top photo-Screenshots from Lock Down Shot by Ellie Kriel Daly and Seasons Inside by Olivia Haywood Smith

 

 

 

Covidentities 2020

Project

To see the films and interactive websites please click here.

Techologically Ill wins Hugh Brody Visual Anthropology Prize 2019

Project

Noemie Degiorgis’ transformative short documentary, Technologically Ill, won the Hugh Brody Visual Anthropology Prize at this year’s visual anthropology screening, Resolutionaries.

 

‘In today’s reality we find ourselves so connected yet more emotionally disconnected than ever. Technologically Ill explores this paradoxical idea. In the new geological epoch of the Anthropocene or the Age of Humans, we notice the omnipresence of technologies around us. We do not however talk much about the impact these devices have on our well-being and more specifically on mental health issues. This film focuses on two persons who have completely different use of technologies which enabled me to create a discussion and contrast between them and their relationship to technology and more specifically their smartphones.’

 

 

 

 

What’s Eating Tom, Thomas Milroy’s intimately told exploration of male eating disorders received a Special Commendation.

 

 

 

Thomas Milroy receives a special commendation from Professor Hugh Brody.

Noemie Degiorgis receives the Hugh Brody Visual Anthropology Prize

 

 

 

 

 

 

 

 

 

Resolutionaries 2019

Project

Matt Rose introduces the event with a poem.

 

‘Welcome and thank you for coming.  Before the films get up and running I’d like to invite us all to reflect on why we’re here and why we should care. The ideas shared today bare directly from the socially bound places and inherent relations that each film maker found themselves in. From Emilia’s discovery of the wasted abundance in bins to the experiences of reclaiming stolen power reflected by Kim. Through the woodlands and music venues of Canterbury, to the daily realities of several Greece based refugees this journey will take us through the moments of lives embodied to us through the camera’s eye. In the manifestations of what each found you will find a range of reactions to the interrelated social situations by which we’re bound. Although divided by geographical locations our films share a specific space in time and today we come together to reflect on where we’ve got to, as a rapidly dying planet inhabited by divided people, inherently unequal, these films speak to the realities that many go through – some positive, others much less so. As a planet we have many issues to solve and too much lonesome focus on this can become a minefield to behold. But together we are strong. Let the recent extinction rebellion remind us of the power of collective action against that which is wrong. And perhaps together we can come a step closer to embodying the, title of this event: Resolutionaries. Now I think that all that’s left to say is a big thank you to our judges: the alumni, Yasmin Fedda and Hugh Brody. Thank you very much, and enjoy.’ ( A Poetic introduction by Matt Rose)

 

To watch the films and learn more about them please click on the below links.

To get a taste of all the films in order watch our trailer:

To see which films won awards scroll down.

 

 

 

 

THE PROGRAMME

The Tree Lover                 Alex Clay
Lady Luck                    Gavin Knight

Technologically Ill         Noemie Degiorgis

Sofi MX                  Ghislaine Howard

 

 

L to R-Ghislaine Howard, Alex Clay, Gavin Knight, Noemie Degiorgis

 

RECREATE

Warmth Through Movement            Carolina Rodriquez-Navarro
In the Making                           Stella Pitsillidou
Under the Archways                         Tom Banks
F.I.L.T.H                                             Hana Jeal

Tom Banks and Hana Jeal

 

RECLAIM

Who Am We?                        Meredith Ament
Ms                                                  Lizzie Millard
Catholicist                                       Lucy Evans
Flowering Rapeseed      Kimberley Ubendran
What’s Eating Tom                  Thomas Milroy

 

L to R- Kimberley Ubendran, Lizzie Millard, Thomas Milroy, Lucy Evans, Meredith Ament

 

REBEL

Whose Future? Whose Climate?    Matt Rose
Appropriating Icons              Georgios Ntazos
Fashion Swarm                    Georgia Buckland
Bins to Banquets                   Emilia Brumpton

L to R-Matt Rose, Emilia Brumpton, Georgios Ntazos, Georgia Buckland

 

 

 

 

RECEPTION and REACTIONS

THE AWARDS

Public Engagement Prize
Dedicated to Lynn Bicker &
Martin Ripley -Awarded by Rob
Fish

 

Georgia Buckland receiving the Public Engagement Prize from Dr Rob Fish, Director of Research in SAC.

Awarded for the website Future Fashion Index

 

New Horizons Prize
Awarded by Dr Yasmin Fedda

 

Ghislaine Howard receives a Special Commendation from Dr Yasmin Fedda

 

Hana Jeal receives the New Horizons Prize awarded by Dr Yasmin Fedda

 

New Horizons Prize- Hana Jeal for F.I.L.T.H

New Horizons Special Commendation- Ghislaine Howard for Sofi MX

 

Alumni Prize
Awarded by Francesca Tesler &
Johannes Walter

 

 

Emilia Brumpton receives a special commendation.

Kimberly Ubendran receives the Alumni Prize

Alumni Prize-Kimberly Ubendran for Flowering Rapeseed

Read her special project on The Bodies Battle for Identity.

 
 Alumni Special Commendation-Emilia Brumpton for  Bins to Banquets

 

 

 

Hugh Brody Visual Anthropology Prize
Awarded by Professor Hugh Brody

Watch Professor Hugh Brody’s commentary on all the films here.

 

Thomas Milroy receives a special commendation from Professor Hugh Brody.

Noemie Degiorgis receives the Hugh Brody Visual Anthropology Prize

 

 

 

For wonderful photography in the dark we thank- Ollie (Oliver) Trapnell

Invitation to Resolutionaries 2019-Rebel-Recreate-Reclaim

May 21, 2019

ukvisualanth

 

Dear students, friends, alumni and supporters of visual anthropology at Kent,

In the year when Extinction Rebellion protests caught the public imagination and led to the declaration of a climate emergency of the UK Government we would like to share with you seventeen films that capture our students’ filmic positions on contemporary experience and the challenges and opportunities we face.

We have chosen to create a title, RESOLUTIONARIES, that captures our desire to fight for solutions to address those challenges. The tagline, REBEL- RECLAIM- RECREATE, encapsulates the route to solutions but also describes the themes of the seventeen short ethnographic documentaries we will screen on Wednesday 29th May in the Gulbenkian Cinema.

 

The day is a  celebration of our students visual anthropological film-making creativity, honesty and engagement. We will have four prizes that reflect the value we put on video as research and intervention. Yasmin Fedda returns to award the New Horizons Prize, informed by her award winning documentary films and PhD research in transdisciplinary films. There will be a public engagement prize, funded by Allan Bicker in memory of Lynn Bicker and Martin Ripley, and awarded on the basis of the students interactive websites. This will be awarded by our  Director of Research, Rob Fish.

We welcome back some of our prize winning alumni from last year, Francesca Tesler and Johannes Walter, who will award a prize on behalf of our alumni. We look forward to learning how they are and how they are using their visual anthropological skills now. The alumni prize is for the film that best captures their excitement of the value of film in their current jobs, study and activity.

We are always happy to welcome Professor Hugh Brody to award the Hugh Brody Visual Anthropology Prize and continue his longstanding support of our programme. This prize is awarded to the most exceptional film in visual anthropological terms. Professor Hugh Brody is an inspiring anthropologist, writer, director and filmmaker whose films are informed by a deep respect for indigenous knowledge, particularly in Canada.

Please invite friends and interested students through our facebook event.

The events starts at 11.15 on Wednesday 29th May. There will be a vegan and vegetarian lunch  at 12.30. Feel free to attend all or separate sections. Each session will be followed by a Q and A of the filmmakers. After the event there will be drinks in the Gulbenkian, followed by food and drinks in the Monument from 7.15, the only vegan pub in Canterbury.

We look forward to seeing you there.

 

Mike Poltorak

 

Transparencies Report

June 13, 2018

ukvisualanth

 

Introduction

TRANSPARENCIES 2018  celebrated the creativity and initiative of our students,  how they gave of themselves and collaborated to be able to realise the films they wanted. This year we awarded five prizes, each with distinct criteria. Professor Hugh Brody awarded the Hugh Brody Visual Anthropology Prize.

Professor Paul Allain awarded prizes for films that uniquely revealed presence and embodiment. Yasmin Fedda awarded the New Horizons Prize. A Public Engagement Prize in memory of Lynn Bicker and Martin Ripley was awarded by Joe Spence. Visiting Alumni, Charlotte Austwick, Hannah Evans and Alice-Amber Keegan awarded the Alumni Audience Award. You can read more about the prizes and what stood out in the films that were awarded below. The prizes give recognition to exceptional projects, but they also extend the audience and reach of the conversation the films initiate as audio visual gifts. The alumni lunch was an opportunity for current students to hear from alumni what new horizons are open to them. You can view below the video messages from Christiane Howe in Australia, Ruth Krause in Germany and Soffia Kristinsdottir in Costa Rica.

The cultural association of film with entertainment means we are very used to consuming documentaries and then moving onto the next one. While the documentary may seem to be the end result of the process of the filmmaker, for us the viewing can be the start of a journey.  All the films screened today have emerged out of unique personal histories and intentions. They are the media manifestations of personal research journeys that gives us cause for conversation and reflection. The symbolic cameras (see below in brochure) was one artistic way that the students communicate this is in a material form.  They speak to the issues and concerns addressed in the films while revealing or hinting at the personal intentions of the filmmakers. That is why it is really important to see the films as the start of a conversation, as an audio-visual gift to us and wider audiences, to reflect and learn more about our place in the world and our aspirations for the world we want to live in.

The Q and A after each series of films was an opportunity to start that conversation by exploring how the films spoke to each other. Another opportunity are the interactive websites in which you can learn more about the intentions of the films and how they are located within visual anthropology and social anthropology more broadly. The Public Engagement prize is explicit recognition of the interactive website and its ability to reach out to wider audiences. To view the films and learn more about the projects through the interactive websites click on the links below. We encourage you to make comments on their websites to reciprocate the audio-visual gift.

With thirty one films Transparencies 2018  was the largest screening of visual anthropology projects in the long history of visual anthropology at Kent. It necessitated two parallel screenings in the morning, in the Gulbenkian Cinema and Marlowe Lecture Theatre 2.

 

1. GULBENKIAN CINEMA

MIGRANT REALITIES

Alex Douglas-Bailey and Shalini Arias Hurtado during the Q and A. Photo-Jess Moorhouse

Our first series of films explored the challenges of migration and the current refugee crisis. For Alex Douglas Bailey her Jamaican father is the focus of her exploration. Shalini Arias Hurtado travels to Berlin to try and meet refugees in the Tempelhof refugee centre. Ellie Bush travels to the Calais jungle refugee camp to learn about the life of volunteers. Liam Rowan takes us on a powerfully visual journey, pregnant with repeating motifs, that force reflection on our engagement with migration as we join Liam on a walk to Dover.

Hingland, Alex Douglas Bailey
Multi-faceted Realities, Shalini Arias Hurtado
Wendeing, Liam Rowan
We are Here, Ellie Bush

 

Images from WENDEING, were used for our poster above.

 

ART-IDENTITIES

These three films use artistry as their methodology or focus of exploration. Sophie Bell’s focus is her sister’s band and their inspirations. Judith explores sexuality and art practice in a creative and inspirational way. Aadam Khan richly produced soundscapes and pointed interviews encourage us to better feel and understand anxiety.

Off Topic: The Rehearsal, Sophie Bell
Making Identity, Judith Allen
Panic is the Word, Aadam Khan

 

NATURES

Nature is explored in three very distinct ways in these three moving films.  In Forest Alone, Georgious Ntazos, makes us aware of the forest in and around campus and the politics and effects of coppicing. What do the trees think is his underlying question? Liona Jupolli narrates a mystical exploration into her experience of Jungian synchronicity. The future of the planet and climate change is explored through the motivations of Miguel Alexiades’ Anthropocene module, in Liam Hodgetts film.

Forest Alone, Georgios Ntazos
Synchronicity, Liona Jupolli
The Anthropocene Module, Liam Hodgetts

 

2.  MARLOWE SCREENING ROOM, MLT2

SIMULATION

From the mysteries of mapping, via the creation of community in Margate and ghosts in Canterbury to the five rings of combat, these films take us on a journey of simulation in and around Canterbury.

Cartefacts, James Cusens
Creating Communities, Maya Shaw
Boo Canterbury, Kate Pickersgill
The Five Rings, Luke Perry

 

INBETWEEN

Alice Brucass during the Q and A.

 

These three films that encourage our appreciation of the inbetween. Andrew Brittain, explores the political situation in his native Ashford, Derya Iyaz, goes on a journey to Whitstable with a local busker and Alice Brucass counterposes two different ideas of masculinity.

A Splash of Red in a Sea of Blue, Andrew Brittain
The Busker, Derya Iyaz
Masc, Alice Brucass

 

 

 

 

CHANGE

Danielle Fletcher and Aisha Al-Abdallah during the Q and A. Photo-Jess Moorhouse

These films demand our attention to their desire for change. Just Listen is Aisha Al-Abdallah’s creative exploration of young women of colour, their voices are powerfully critical and emotive. Rowan Mohammed asks for an appreciation of what it means to be non-binary. Danielle Fletcher, takes us on her journey of transformation to her new found activism.

Just Listen, Aisha Al-Abdallah
Breaking the Binary, Rowan Mohammed
Glass Walls, Danielle Fletcher

 

Symbolic Cameras

Transparencies Brochure (Inner Pages)

 

ALUMNI LUNCH AND MESSAGES

We were very happy to welcome alumni to the lunch and to screen messages from visual anthropology alumni. Our current students wanted to know  where current alumni are and how they got into their current jobs.

 

Ruth Krause now works at a video journalist, Tv reporter and producer for DW, the German International TV station. She mainly covers environmental topics in Latin America and Africa.

Soffia Kristinsdottir. won the Hugh Brody runner up prize in 2016 for ‘Asocial‘. She sends her message from the Pura Vida Hostel in Costa Rica.

Christiane Howe’s film, the ‘Unification Movement‘ received a special commendation at our Inter-Reflexions event in 2014. She is now co-director of ‘Double Vision Documentaries‘ a company created with her twin sister that focuses on women’s rock climbing. They are currently travelling the world, filming and producing as they go.

AFTERNOON

GULBENKIAN CINEMA

Transparencies Brochure (Back Page)

 

 

HAVENS

L to R. Tom Hessom, Adriana Cotkova, Jess Moorhouse & Gabriele Zukauskaite

Being There, Jess Moorhouse
The Nail that Sticks Out, Thomas Hessom
Of Sizzlers and Men, Adriana Cotkova
Boats and Forests, Gabriele Zukauskaite

A local gaming store is the focus of Jess Moorhouse’s loving examination of Canterbury’s haven of gaming. Thomas Hessom meets Japanese young people and journeys with them to understand their idea of home. Cafe des Amis will never be same after you go behind the scenes with Adrian Cotkova’s roving camera. Gabriele Zukauskaite’s focus is home education, we meet those who were home educated, those who home educate and those who intend to.

 

 

 

 

Johannes Walter (middle right), asks question.

Ameera of Aisha Al-Abdallah’s “Just Listen’ contributes to discussion.

 

OUT ON A LIMB

Out on a Limb Q & A. L to R. Sundarii Hernandez Pereyra, Johannes Walter and Ellie Middlemass (For Maddie Spencer)

Go Kambak, Johannes Walter
Surviving, Sundarii Hernandez Pereyra
Jack and I, Madeline Spencer

These films go out on a limb. Johannes Walter travels to the Orkney Islands, to reconnect a Ni Vanuatu woman to her family with photos and video of her family. Surviving is powerfully truthful, ironic, cathartic and inspirational. It confronts us with our assumptions ‘We are all suffering, let’s be honest’. Madeline Spencer tries to understand her brother and mend the relationship in this moving journey to the past. We are left uplifted.

 

 

Aisha Al-Abdallah (Just Listen) centre asks question during Q and A.

 

ACTIVE FUTURES

Active Futures Q & A. L to R. Milly Wernerus, Ellie Middlemass, Francesca Tesler and Emily Malkin.

Furusato, Francesca Tesler
Respect Existence or Expect Resistance, Emily Malkin
A Tale of Growing Old, Eleanor Clare Middlemass
Off Grid: A Day in the Life, Milly Wernerus

These four films subtly suggest solutions to the challenges of being active in the future. Furusato focuses on a Zen Buddhist Japanese temple in London. Emily Malkin takes us on a deeply personal journey of activism in three parts, each a different facet of our need to act for change. Ellie MacPherson uses the camera to better know her grandfather, whose ailing eyesight means he will never see the film. Milly Wernerus takes us to a snowy forest to understand the joys and possibilities of living off-grid.

 

 

PRIZE GIVING

 

Current SAC PhD student Joe Spence showed a trailer and gave an update on ‘From the Cubby with Love’  which won the Audience Prize last year in last year’s Caremotions.  He then awarded the prize for public engagement in memory of Lynn Bicker and Martin Ripley, one of the subjects of ‘From the Cubby with Love’. This award was funded by Alan Bicker.

 

Public Engagement Prize

Winner

 

Jack and I, Madeleine Spencer

Madeline Spencer, in her film “Jack and I”, charts the changing relationship between her and her brother through childhood and up to the present day. This deeply intimate and personal account accentuates the fragilities of family life whilst softly voicing the importance of reunification and forgiveness in the wake of rupture. Spencer’s project is especially courageous given that it not only engages, but attempts to reconcile through film making, painful and potentially unresolved tensions between loved ones. As the credits rolled her audience appeared moved, perhaps guided to reflect on their own lives and family trajectories; emboldened even, to account for lost time and rectify ‘the gap’ (as Spencer puts it) in those relationships. In accompaniment to her film, Spencer offers a well-structured and easily navigable website, populated with a variety of audio/visual materials and engaging reflexive commentaries as to the production process. This is a film for anybody who has known separation in their family, and a hopeful reminder as to the possibility of reconciliation. (Joe Spence)

 

Ellie MacPherson receives the Prize on behalf of Maddie Spencer. Shalini Arias Hurtado constructed the trophy.

 

Runner Up

Glass Walls, Danielle Fletcher

Danielle Fletcher, in her film “Glass Walls”, sets out on a mission to an Essex Pig Save event to discover for herself, whether popular media perceptions of animal rights activists are justified. The film maker takes centre stage, declaring her biases at the outset and expressing humility to reconsider her opinions based on her observations. This reflexive approach successfully engages popular audiences, who are encouraged to remain similarly open minded to new ways of thinking. In contrast with many films on the topic of animal rights, which rely on authoritative and grotesque images to force messages across (for example see Earthlings 2005), Fletcher employs powerful subtlety and restraint. Much is left to the audience’s imagination, and it is this clever omission of ‘shock tactics’ which creates room for more productive dialogue across ideological divides. In addition to the film Fletcher offers a website where video diaries draw audiences deeper into the production process, and a directory of activist resources implore continued engagement with the subject. All considered, Fletcher serves up a masterclass in public engagement. (Joe Spence)

 

Danielle Fletcher receives the Public Engagement runner up prize for her interactive website and film, Glass Walls.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Paul Allain Prize

Johannes Walter receives the Paul Allain Prize. The prize was constructed by Danielle Fletcher.

Winner The Paul Allain Prize

Go KambakJohannes Walter

This film won because of its capacity to shift time and space as film can do as well as its moving content. Its main focus was on a young mother looking at photos of her extended family, taken by Johannes, now separated by years and 1000s of miles – from Vanuatu to Orkney. Johannes, as filmmaker, was the catalyst that collided these things together. The impact on the film’s protagonist was extraordinary for how she reacted: laughing, crying, swearing, gasping, often all at the same time. The camera just watched, impassive. Her reactions revealed the pain of separation, the joy of discovery, the celebration of memories which coursed through her body and voice as she grabbed at and drunk in the photographs, presented to us witnesses by being overlayed on to the film. Although not technically perfect, it demonstrated the power of the simplicity of allowing a remarkable human story to be told through film.’ (Paul Allain).

 

 

 

 

 

The Paul Allain Prize was constructed by Danielle Fletcher to represent the criteria of the award.

 

Liona Jupolli receives the Paul Allain Runner Up Prize.

Runner up

SynchronicityLiona Jupolli

Liona was brave and bold in all her choices and was so actively engaged both with and in her film. It was creative and risky, sometimes beautiful. It didn’t always work, yet was pushing at what was possible and, as a result, I immediately wanted to see it again, to understand more. Why were she and her group dancing in the streets and underpasses of Barcelona? What did her dance through Canterbury bluebells tell us about her simple one word title, her theme? Her own investment in her work somehow made us seek our own synchronicity with it. Such attempts and creativity are surely to be celebrated.‘ (Paul Allain)

 

 

 

New Horizons Prize

The New Horizons prize was awarded by the  award-winning documentary filmmaker Yasmin Fedda, whose films have focused on themes from Edinburgh bakeries to Syrian monasteries. Her films have been BAFTA-nominated and screened at numerous international festivals including Sundance. Her undergraduate background in anthropology and master’s training in visual anthropology at Manchester was inspiring to many students.

Jess Moorhouse receives the New Horizons Prize from Yasmin Fedda. The trophy was constructed by Georgios Ntazos.

 

Winner: Being There by Jess Moorhouse

This film gently takes the audience into another world: of gaming, community, play and fun. Jesse took us into a gamers’ space by visually presenting the room where they regularly meet. By focusing on the details on the specific games, and on the social aspects, like sharing a plate of baklava, and having fun and arguments over the specific rules of games, the importance of this space emerges. It is a space to explore imaginary worlds and to build meaningful friendships. By gaining an understanding of how these games works for the players – as short term or long terms endeavor, with rules from which to navigate them, new worlds can be imagined on a board, and yet more broadly, this film also opens up the question of how we also imagine the physical worlds we live in, imagining its new horizons.’ (Yasmin Fedda)
 

Rowan Mohammed receives the New Horizons Runner Up Prize from Yasmin Fedda.

Runnner up: Breaking the Binary by Rowan Mohammed

A playful and positive portrayal with young non-binary people, this film opens up a conversation and insight into their experiences. Through intimate conversations, and the directors own experiences inter-cut throughout the film,  it left the audience wanting to hear more of the developing conversation. This film is a great starting point for Breaking the Binary, and in exploring new horizons in the discussions and experiences of identity.’ (Yasmin Fedda).
Rowan Mohammed explains why the film is not available to view online:

Breaking The Binary (‘We do not exist!’) was a conversation starter on the existence of gender non-binary people. That is, people who are neither strictly man nor strictly woman, but any combination of between, both, and not. Mostly it was a snapshot of non-binary individuals as real people (wild, right), with a splash of the fact that there does not yet exist any formal legal structures that recognise the status of being not of the binary. The fact that this film cannot be shown without worry is point towards the precarious situation non-binary and other trans people may face. There is, however, increasing material out there on the existence of non-binary people, and it is with my hope that films like these may be shown freely in the future.” Rowan Mohammed

 

Alumni Audience Award

This award replaced our previous audience prize and acknowledges the importance of our alumni’s engagement and support of our students in making the next step in their journey as visual anthropological filmmakers and researchers.

Charlotte Austwick won the Hugh Brody Runner Up Prize for her film ‘Welcome to the Country’ that was screened in Resolations 2015. She recently worked as a film co-ordinator for the Kenya Quest Expedition, a wildlife conservation and humanitarian aid expedition. Hannah Evans  screened her film ‘About Dad’ in Resolations 2015. After graduation she worked in the Campaigns Teams at Restless Development, the youth- led International Development Agency, drawing on her experience volunteering at Amnesty International UK. She left Restless to be a Team Leader with the Youth- Citizenship NGO Pravah, in India, supporting a team of young people in a community engagement programme in Rajasthan. She is now working as Programme Coordinator for Wikimedia UK- focusing on their diversity target to make Wikipedia a more diverse source of open knowledge. Alice-Amber Keegan  graduated in 2015 and after teaching English in China for a year is now doing a funded PhD at Durham University on birthing centres and parenting.

 

Sundarii Hernandez Pereyra receives the Alumni Audience prize from Charlotte Austwick, Hannah Evans and Alice-Amber Keegan.

 

This old Super 8 camera will be engraved with the winner of the Alumni Audience Award each year. It symbolizes the vital connection to our Alumni network in supporting and inspiring our current students and helping develop the direction of visual anthropology at Kent.

 

Aadam Khan receives the Alumni Audience runner-up prize from Charlotte Austwick, Alice-Amber Keegan and Hannah Evans.

 

Hugh Brody Visual Anthropology Prize

In November 2017 Professor Hugh Brody received an honorary doctorate at the University of Kent in recognition of decades of research and work with indigenous peoples. You can view his inspirational speech to graduands at the Graduation Ceremony in Canterbury Cathedral from 6.00.

Professor Jim Groombridge, our Head of School, introduces him at the beginning of the clip.

 

 

 

Unfortunately Professor Hugh Brody was not able to join us in person, but he viewed a selection of films and made comments on them. Dr Rob Fish, our Director of Research, stepped in to share Hugh’s comments and make his own comments of the day. He speaks about how the screening served as an introduction to the department and how the films speak to you in your own experiences.

 

 

Gabriele Zukauskaite. –    Boats And Forests

 ‘The narrow boat gliding along a canal is captivating, and the interview that sets up the first part of the film is beautifully shot. I loved the image of the young mother filmed from a low angle, standing up against the sky, the sun and its beams of light behind her head.  She stood there tall and strong, with strong and clear words about life and children. I also liked the way tight shots were used – the tying up of the boat, for example, to create a sense of watching closely, of being there.  Then the fade out at the end of the boats section and cut to the children and then a wonderful shot of two feet at each side of the frame, and a fallen tree, the forest, holding the centre of the image. And the final line is so great:  ‘Don’t have children if you can’t be nice to them.  It’s not that hard.

 

Adriana Cotkova –  Of Sizzlers and Men

‘The restaurant, the place where “an intimate art should be shared in lightly” –  that’s a great thought to set up the feel as well as a theme of this film.  I was fascinated by the place itself, the work, the energy and enthusiasm. And the images worked brilliantly to take us there and hold us.  The camera work is so good, as is the sound quality; and I liked the flow of the edit, the use of such strong material to make it even stronger. I thought that the mix of interview with fly-on-the-wall observation was very skilfully done.  Everyone seemed so at ease with the presence of the camera.  Classical documentary being done well!There are many powerful images, but I especially liked the shot through the window, with cacti in the foreground and an outside world beyond.  Also the window cleaner, at that same window – wonderful!  A very compelling and elegantly made film.’

 

 

Ellie Bush – We are Here

This is a film close to my heart – I spent some time at that warehouse in Calais a couple of years ago, and it was a treat to be taken back there.  And a treat to see how this film reminded us that the refugee problem at Calais did not go away just because the authorities there brutally cleared the Jungle camp. The opening of this film is especially strong, I thought, both for its images of posters and the intensity of the sound-track. I found the shot of the two people in the front of the car, driving along and sharing thoughts about wha they are doing to be very compelling.  Light problems within the warehouse were obviously quite a challenge, but the interview with the organiser there is still compelling. It was good, and important, to be in Calais, realising that the refugees are sleeping rough, having their tents wrecked or impounded by local police.  Many thanks to Ellie Bush for this.

Emily Malkin –   Respect Existence or Expect Resistance

 ‘What a great title for a film!  And it is a great film – impressive in many ways, but especially because it takes us to a flow of protests. I was particular impressed by the NHS demo sequence, knowing how hard it can be to get voices from within a large and noise event.  Each face seemed to be a reason for hope. The cut to the plastic sequence was wonderful, and the sudden appearance of a beautiful beach, and then the image of the bits and pieces of plastic that had been gathered and, as someone says, begins to look like an art work. But the powerful surprise in this film was the shift to the father-daughter relationship, the two of them sitting together, a little self-conscious – not because of the camera, I thought, but because that’s the way it often is between fathers and daughters: the image, the set up, the way the camera was placed, captured something so true and somehow magical.  And crucial to understanding the genesis of this film, and of resistance itself. And then the final shot, of the lorry loaded with pigs heading into the abattoir – expressing both failure to save the pigs and a continuing resolve to resist. This is a strong and powerful film.’

 

Johannes Walter  –  Go Kambak

‘I loved this back and forth between Vanuatu and some cold northern part of the British Isles.  The contrasts of climate, pace, voice. The earlier footage, giving glimpses of Vanuatu and of the people we meet, is fascinating.  Even the speeded up and blurred quality – creating a paradox: the place where life moves slowly is rushing along – making a point about memory perhaps; but making me think. I found myself very much liking the film-maker as gentle source of reminders – questions, interest and then photographs.  Then the astonishing sequence when Donnelyn is laughing and weeping, all at the same time, in a single complicated burst of feelings, when looking at photos of those she loves who are far far away. I also liked the way some of the stills she is looking at are set into the left side of the frame, so we see the image and her. The final images, carrying the  end credits, are unforgettable: using a horizontally split screen to show the two roads, the one in Vanuatu, the other where the family now lives…. Wonderful.   Then the last words:  ‘I have sent the film back…’Maybe this breaks the rules on length, but it’s a pleasure to watch!’

 

Francesca Tesler. –  Furusato

I very much liked the way this began with a screen split into three, and then resolving into just the one.  Then the move into a Buddhist ceremony – we don’t know where we are, or what is going on…. All this shot with elegance. The interview with the Buddhist priest is wonderful – the way he holds a sheet of paper, his notes for what he wants to tell us perhaps, but never looks at them… His quiet dignity.  This interview set a tone for the film – this is about something of such deep importance to all who are part of it.  And it is a celebration of culture carried by the strength of the images and the quality of the sound.  (Though I was sorry that the long prayer did not get translated and subtitled.) As I began to realise that this was culture in exile, the film became more and more compelling.  And the wonderful, central thought:  cultural practice can be sustained, and given all kinds of new intensity because it is not taking place ‘at home’.  So the commitment to what we see is coming from having left where it originated. The shots of the box and the cupboard at then seemed to be full of poignancy.  The whole film fascinating and beautifully made.’

 

Jess Moorhouse  –  Being There

‘This is perhaps the most surprising of the films I saw: people playing board games….I very much liked the way the film shows us games and the way they are played with very strong and fascinating images and glimpses of all the strange complexity of utterly unfamiliar rules and counters and dice.  And I liked the way we went from evening to evening, with a sense that each was special.  The camera work to show all this is strong and clear. But for me the power of this film came from something else: as I watched I was suddenly very moved by what it meant for these young men and women to gather together and play games.  I felt I was being taken to a powerful if underlying issue of loneliness, and the combating of loneliness. There is a quality to this film that is gentle and respectful – for me, it is these qualities that gave it its strong and surprising intensity of feeling.  A fascinating piece of work.’

 

Milly Wernerus  –  Off Grid A day in the life

The snow is a character in this film – I loved the way it seemed to be happening in some very remote northern world.  Was I being transported to the Canadian subarctic?  This made the idea of living off the grid so real and especially compelling. I very much liked the sequences that showed the working of wood.  These are beautifully shot, and I thought I could watch forever this remaking of the natural world to meet everyday needs.  The splitting of a log into roof shakes is wonderful. I was also very struck by the decision by the film-maker to include herself in shot as a mix of interviewer and conversationalist.   And to leave her appreciative laughter on the sound track. Then the final shot, with the film-maker getting up from an interview and walking towards the camera – to switch it off, to end the film.  That was a very nice touch.’

Maddie Spencer  –  Jack and I

 ‘A snowy day, a young may playing a guitar… The film begins with strong and mood setting images.  Then the box of letters.   I thought the way we saw and heard bits of a letter was very powerful – drawing me in, giving me a sense of great reality. I found every moment of this film compelling. And it built the story the blend of history ad memory, with great skill. The pieces are put together – Jack’s difficulties, the difficulties these present to the family; the father who is so loving and so absent;  the pain of memory and the use of exploration of time to deal with pain; the resolve of the sister to get her brother back. The stills, showing old photos of the father, the family, happy times; and the surprising scenes from some old video footage.  These were cut Ito the live-action footage to great effect.  I had a sense of being taken right into the lost time. This film seemed to me to be utterly honest, a sharing of a story with us that was very much theirs; and the skillful way the shots and interview materials build the story meant that I was held every moment by being allowed into something so personal.  Yet it also resonated – and I am sure that many many families can watch this and see some part of themselves.’

——————

Hugh Brody Runner Up Prize :    Jack and I

 I choose this for its combination of strong film making skill and remarkable emotional power.   It is wonderfully personal but also has large and wide resonances.  I think that this is a remarkable achievement – and a tribute to everyone who is shown.  The openness and honesty; and the skill with which it is shot and edited.  There are many reasons for admiring this film.  And one of them is that, for all the difficulties it spells out and owns up to, it delivers a message of hope.  The film-maker takes us to lost time to make sure no more time is lost.  Thank you for a great piece of work.

 

The prize was awarded by Dr Rob Fish, Director of Research in the School of Anthropology and Conservation.

 

Hugh Brody Visual Anthropology Prize:   Furusato, Francesca Tesler

 

This is a beautifully made film that takes us to a culture in exile.  It is rich with images and compelling sound.  It delivers something special and surprising.   The central interviews are straightforward and powerful.  The feeling it gives for Buddhism, and for culture in exile, seem to me to be remarkable.  There is also great subtlety in the film making.  The pacing of interviews, the way the light plays, the mix of shots, and even the wonderful formal garden that so well symbolises the large being retained and caught for its essence in the small.  As documentary film must aim to do –  so we are reminded that film itself is the Japanese garden.   This is a film that gives rise to and allows space for many kinds of thought and appreciation.  A great treat to watch. Thank you!

 

 

 

 

 

After a long and inspiring day, we all exited to the Gulbenkian bar for drinks and to continue the conversation.

 

 

Invitation to Transparencies 2018

May 25, 2018

ukvisualanth

Dear students, friends, alumni and supporters of visual anthropology at Kent,

Please join us for the biggest student screening event in the history of visual anthropology at Kent. We have 31 short films screening during a full day event.

To celebrate alumni will be joining us, in person and through video messages.  We also have new prizes to reflect the shift in visual anthropological aspirations.

Professor Hugh Brody returns to award his annual prize. He recently received an honorary doctorate at Kent, where he gave a remarkable and inspirational speech about his research in Canada. We hope he will tell us more of a recent visit he made to the people he worked with for his influential book, Maps and Dreams.

Hugh Brody is an anthropologist, writer, director and lecturer. He currently holds a Canada Research Chair at the University of the Fraser Valley in Abbotsford, British Columbia, is an Honorary Associate of the Scott Polar Research Institute at the University of Cambridge and since 2010 he has held an Honorary Professorship in the School of Anthropology and Conversation at the University of Kent.

He was educated at Trinity College, Oxford. Working as an anthropologist in Ireland in the 1960s contributed to the book Gola, The Life and Last Days of an Island Community. He worked with the Canadian Department of Indian and Northern Affairs, and his report Indians on Skid Row led to changes in government policy, especially in relation to Native Friendship Centres. He did extensive field work in the Arctic, living with the Inuit in the communities of Pond Inlet on Baffin Island and Sanikiluaq on the Belcher Islands, writing The People’s Land, Inuit and Whites in the Eastern Arctic. He supported the land claims of displaced San (Bushmen) in South Africa and was an adviser to the Mackenzie Pipeline Inquiry, a member of the World Bank’s famous Morse Commission and chairman of the Snake River Independent Review.

He has directed films on many other topics, including the documentaries England’s Henry Moore and Inside Australia, about Antony Gormley’s installation of his sculptures in the Western Desert. This year he was awarded the Royal Anthropological Institute Life Achievement Award.

New this year, is the Paul Allain prize, awarded by Professor Paul Allain  for a film that present research as practice, embodiment and presence. He writes:

‘For nearly two decades now Practice as Research has been welcomed as a legitimate mode of publication within the performing arts. Unfortunately, it has taken too much of this period for it to become accepted culturally and across all institutions and mechanisms of research and evaluation, but the war has by and large now been won. Skirmishes still occur and lively debates continue about terminology (Performance as Research in the US, Practice-led research, artistic research in continental Europe, and most recently Practice Research without that troublesome separating qualifier). At its core though and semantics aside, this shift has enabled practitioners not just to teach within universities but also research and reflect on their practice, to the benefit of everyone. Former binaries between theory and practice and (at its crudest and most reductive) between those who do and those who teach, have increasingly eroded. Publishing practices have shifted accordingly, supported by rapid developments in digitization. For a discipline like theatre that depends crucially on its liveness this has not been without its problems, but it has certainly challenged and even revitalized our field which emerged initially out of literary and dramatic studies in European languages and English literature especially. Explorations in using film for documenting, explaining and showing performance practice are just at their beginning, perhaps as they are in other disciplines. Exciting times ahead. I am very happy to be part of this movement and to join you today to celebrate this potential.

Paul Allain

Professor of Theatre and Performance

Dean of the Graduate School

https://thedigitalperformer.co.uk

 

A New Horizons prize will be awarded by the wonderful filmmaker , Yasmin Fedda, who has made recent films on Syria.

Yasmin Fedda is an award-winning documentary filmmaker whose films have focused on themes from Edinburgh bakeries to Syrian monasteries. Her films have been BAFTA-nominated and screened at numerous international festivals including Sundance. She has also made broadcast films for the BBC and Al Jazeera. Yasmin has a PhD in Transdisciplinary Documentary Film, and is also co-founder and programmer of Highlight Arts.’

There will also be the Public Engagement prize in memory of Lynn Bicker and Martin Ripley. Martin Ripley featured in Joe Spence’s film, From the Cubby with Love, last year and sadly passed away last January.

Please invite friends and interested students through our live facebook event.

It starts at 9.30 and finishes at 7, but you can also dip in on the hour for different themed combinations of films.

From 2 to 5 we will be altogether in GLT1 and the films have been chosen to reflect that.

It will be a real celebration of our students and their engagement in the world.

See you there.

Mike Poltorak

 

 

 

 

Caremotions 2017

Project

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

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

 

 

This year’s screening and celebration of our final year visual anthropology projects was a tremendously rich experience. Many of the people in the films attended and contributed to the discussions and Q and A. After each series of projects the audience had the opportunity to share their impressions in small groups before directing attention to the filmmakers. Our discussion started from the filmmakers making observations about the connections between their films and what it was like to see it on the big screen.

This blog post includes audio of the Q and A, photos and presents the prize winning films at the end. For more information some of the films have websites. There you can explore and find links to the films.

The first series of films dealt with student life, study/work balance challenges, university choice and mutual support.

 

24 Hour Loan                          Nadia Eldekvist

A Gardener Muses                 Ellery Nagle

Different Strokes               Helena Emmanuel

Cheers Hun                 Clarissa Michalitsianos

 

Nadia, Clarissa and Helena (L to R) during the Q and A.

 

 

The second series of films take us into questions of identity, home and sanctuary

Finding me in Engrisi Kondre         Rachel Gefferie   (Field Diary) (Website)

Recede in te ipsum                       Margherita Gorini

Sanctuary                                      Katie Sharpe

From the Cubby With Love                    Joe Spence

 

Rachel, Margherita, Nick, Martin and Joe during the Q and A. Nick and Martin are the two protagonists and collaborators in Joe’s film ‘From the Cubby with Love’.

 

The final four films are very diverse and reach out to family, friends and on issues where care and emotionality really come to the fore. They most exemplify the title of our screening: CAREMOTIONS, which we coined to communicate something of the challenge of finding a balance in video-making in care of others and self.

 

Life of Lili                  Claudia Shearman

Cooking Ghosts        Catriona Blackburn

In One Vital Motion     Axelle Van-Wynsberghe

Painting a Journey        Evleen Price

Claudia, Catriona, Axelle and Evleen during the Q and A.

 

 

PRIZES AND AWARDS

Professor Hugh Brody joined us again this year to award the Hugh Brody prize. In the morning we celebrated the opening of a new editing suite in the school named after him.

 

He awarded two prizes.

 

Cooking Ghosts        Catriona Blackburn (Runner Up-Hugh Brody Prize)

Catriona receiving the Hugh Brody Runner-Up Prize.

 

Recede in te ipsum                       Margherita Gorini (Hugh Brody Prize)

Margherita receiving the Hugh Brody Prize.

 

 

This year the renowned Taiwanese academic and ethnographic filmmaker, Professor Daw-Ming Lee, joined us and awarded two prizes. This was one of the final events of his visit to the University of Kent and the UK and he was struck by how the students had managed to create such great films in only a term. He awarded two prizes.

 

 

 

Painting a Journey        Evleen Price (Runner Up-Daw-Ming Lee Prize)

Evleen receiving the Daw-Ming Lee Runner Up prize.

 

Finding me in Engrisi Kondre         Rachel Gefferie (Daw-Ming Lee Prize )

Rachel receives the Daw-Ming Lee Prize.

 

 

The public engagement prize is based on the combination of website and public value of their film. It was awarded by Alan Bicker for the Lynn Bicker Foundation.

 

 

 

In One Vital Motion     Axelle Van-Wynsberghe (Public Engagement Prize)

 

Axelle receives the Public Engagement Prize from Alan Bicker on behalf of the Lynn Bicker mentoring foundation.

 

 

The Audience prize was awarded on the basis of 1st and 2nd place votes of audience members.

 

Life of Lili                  Claudia Shearman (Audience Prize-Runner Up)

 

Claudia receives the Runner-Up Audience Prize from Daniela Peluso.

 

 

From the Cubby With Love                    Joe Spence (Audience Prize)

 

Joe receives the Audience Prize from Daniela Peluso.

 

After the screening we all went to the Gulbenkian foyer to share food provided by the students.

 

 

 

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