Posts tagged ‘cinema’
‘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 Tree Lover Alex Clay
Lady Luck Gavin Knight
Technologically Ill Noemie Degiorgis
Sofi MX Ghislaine Howard
Warmth Through Movement Carolina Rodriquez-Navarro
In the Making Stella Pitsillidou
Under the Archways Tom Banks
F.I.L.T.H Hana Jeal
Who Am We? Meredith Ament
Ms Lizzie Millard
Catholicist Lucy Evans
Flowering Rapeseed Kimberley Ubendran
What’s Eating Tom Thomas Milroy
Whose Future? Whose Climate? Matt Rose
Appropriating Icons Georgios Ntazos
Fashion Swarm Georgia Buckland
Bins to Banquets Emilia Brumpton
RECEPTION and REACTIONS
Public Engagement Prize
Dedicated to Lynn Bicker &
Martin Ripley -Awarded by Rob
Awarded for the website Future Fashion Index
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
Awarded by Francesca Tesler &
Alumni Prize-Kimberly Ubendran for Flowering Rapeseed
Read her special project on The Bodies Battle for Identity.
Hugh Brody Visual Anthropology Prize
Awarded by Professor Hugh Brody
Watch Professor Hugh Brody’s commentary on all the films here.
For wonderful photography in the dark we thank- Ollie (Oliver) Trapnell
Rehearsing Reality: Land Rights and Culture amongst the Landless in Brazil – Nina Simoes
April 10, 2011
In her film Rehearsing Reality, Nina Simoes explores the lives and faces of Brazil’s Landless Movement and their struggle for land at the point of interaction with Boal’s Theatre of the Oppressed, a technique that breaks with the conventions of traditional theatre by transforming passive beings into active participants of a theatrical scene. As part of the Film & Advocacy Series, Nina Simoes participated in a Q&A on the 2nd of February 2011 concerning the above issues.
Film and Advocacy – Hugh Brody – Jan 26 2011
February 1, 2011
Kicking off the Film and Advocacy series for 2011 was Hugh Brody, with a retrospective look at his career and his work in filmmaking and visual anthropology. Below are some photos from the evening. At some later point, there will be a podcast to download and a film of the event, but this has yet to be edited!
Vodpod videos no longer available.
Ethnofiction and the Work of Jean Rouch
November 9, 2010
In 1955, filmmaker and anthropologist Jean Rouch made Les Maîtres Fous, considered the first film of the ethnofiction genre. Ethnofiction, a branch of Docufiction, blurs the line between documentary and fiction, using actors and scripts (or, in some cases, improvisation) to portray and represent ethnographic issues. Although it is sometimes a difficult genre to define, according to Wikipedia (often a useful source in defining such contemporary terms), it can refer to “any fictional creation with an ethnographical background.”
The other week, we were lucky enough to be given a talk by a prominent figure in the study and making of ethnofiction films, Johannes Sjöberg. Working at the University of Manchester and focussing on the overlapping of Anthropology, Media and Drama, Sjöberg discussed his recent ethnofiction film, Transfiction. After 15 months of fieldwork in São Paulo amongst transgender communities, Sjöberg asked Fabia Mirassos and Savana Meirelles to use improvisation to act out scenarios that they felt represented transgender identity in São Paulo. As the film’s website explains, although Transfiction is a fiction film, “it is made as an ethnographic documentary where story and dialogue are created in the moment.”
Hearing Johannes Sjöberg speak and learning about ethnofiction reminded me of an article I read a few weeks ago, David Samuels’ Alien Tongues. In this article, published in the book E.T. Cultures: Anthropology in Outerspaces, Samuels speculates on what an alien language would sound like, whilst also revealing a lot about human language. As anthropologists often try to describe the “other” – or “alien” cultures – Samuels believes it would seem appropriate to discuss the anthropological aspects of the belief in real aliens. Suddenly, science fiction films such as Blade Runner, Planet of the Apes and District 9 came to my mind. I realized that many films (including science fiction films) can, to some extent, be regarded, as works of ethnofiction. Indeed, at times, some of the most powerful critique of present day culture can be found in fiction, where filmmakers create whole worlds, stories and characters based on the issues of today. Perhaps the genre of ethnofiction is wider than we imagine…
As well as being a pioneer of Cinéma Vérité (the genre to which his most famous work, Chronique d’un été, belongs), Jean Rouch is also widely regarded as one of the forerunners of the French New Wave movement. Therefore, we can compare, for instance, Rouch’s Chronique d’un été with Jean-Luc Godard’s New Wave classic Breathless, which depicts a realist 1960s Paris. Jean Rouch and Jean-Luc Godard were even friends, often exchanging ideas and critiquing each others films. French New Wave, in turn, was heavily influenced by the Italian Neorealism movement of the 40s and 50s, which includes a favorite film of mine, Vittorio de Sica’s Umberto D. This film follows the elderly Umberto, as he copes with poverty and desperation in post-war Italy. Typical of Italian Neorealist films, it aimed to reflect the difficult economic and social conditions of every day life, whilst also using non-professional actors and on-location filming. More recently, we have films such as City of God, which draws upon these traditions of the French New Wave and Italian Neorealism, depicting organized crime in Rio de Janiero and using actual residents of the favelas as actors. This brings us nicely back to Sjöberg’s Transfiction.
To briefly sum up, as Jean Rouch points out in his article The Camera and Man, there has been a close link between anthropology, ethnography and film since the very dawn of cinema itself. And, since 1895, when Felix Regnault used “time sequence photography” to study the movement of the human body in motion, it is clear that this link has evolved in countless ways. Many anthropologists, such as Jay Ruby or Marcus Banks, claim different, sometimes quite narrowminded, definitions of what they call “ethnographicness” in film and photography (Ruby, it should be pointed out, believes only an anthropologist can make a true ethnographic film). But, in my opinion, “ethnographicness” is not even something found exclusively in documentaries, although these are, perhaps, the only types of films where “ethnographicness” is intentionally made explicit. Many films, whether we realize or not, may contain aspects of ethnofiction and, to varying extents, use fiction to deal with anthropological issues. I think the genre, if we can call it that, really is wider than it seems.
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