Posts tagged ‘hugh brody’
‘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.
June 13, 2018
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
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.
Images from WENDEING, were used for our poster above.
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.
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.
2. MARLOWE SCREENING ROOM, MLT2
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.
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.
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. R. 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.
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.
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.
OUT ON A LIMB
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.
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.
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
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)
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)
Paul Allain Prize
Winner The Paul Allain Prize
Go Kambak. Johannes 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).
Synchronicity, Liona 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.
Winner: Being There by Jess Moorhouse
Runner up: Breaking the Binary by R. Mohammed
“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.”
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.
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.
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.
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
The second series of films take us into questions of identity, home and sanctuary
Recede in te ipsum Margherita Gorini
Sanctuary Katie Sharpe
From the Cubby With Love Joe Spence
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
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)
Recede in te ipsum Margherita Gorini (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)
Finding me in Engrisi Kondre Rachel Gefferie (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)
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)
From the Cubby With Love Joe Spence (Audience Prize)
After the screening we all went to the Gulbenkian foyer to share food provided by the students.
“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.
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.
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.
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.
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.
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.
Resolation Prize Winners
HUGH BRODY VISUAL ANTHROPOLOGY PRIZE: Our Patch– Joe Spence
RUNNER-UP: Welcome To The Country– Charlotte Austwick
DAVID PICK DOCUMENTARY PRIZE: Telling Secrets– Simon Holt
RUNNER-UP: Muchly Needed– Anastasia To
PUBLIC ENGAGEMENT PRIZE : Telling Secrets– Simon Holt
RUNNER-UP: With Time To Use– Alex Astin
AUDIENCE AWARD: Our Patch– Joe Spence/Telling Secrets- Simon Holt
RUNNER-UP: Muchly Needed– Anastasia To
CSAC SPECIAL DISTINCTION PRIZE IN TECHNICAL & CINEMATOGRAPHIC CREATIVITY & DIGITAL STORYTELLING: Cirque de Curiosité– Rachel Downes
[All the screened films can be accessed through clicking on the links above]
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.
Noisy Neighbours Michael Selmes
Why Whitstable? Anastasia Sotiriou
Discontinuous Space Claire McMurtrie
Ethnochoreology Shaheen Kripalani
Cathedral Triptych Charles Beach
More Human Kane Taylor
The 1882 Movement Harry Farrell
Using the Stour Michael Bonnington
Starry Chi-An Peng
6 Miles Southeast Oliver Hall
The Lives We’ve Lost Bhokraj Gurung, Danny Mahaffey
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)
A Visual Anthropology Screening & Exhibition
In this year’s combined screening and photography exhibition we witnessed a tremendous amount of creativity and commitment to wide anthropological engagement.
The photographic exploration of Self S P A C E S took place in the foyer of the Marlowe Building. Comprising a mixture of students’ final projects and coursework, the subjects ranged from explorations of self and other, to documenting the transformation from animal to meat in an abattoir, to photographic explorations of museum curation. A steady stream of viewers took time to admire the work (including some of our local builders, who were thoroughly impressed!) and the high quality of work was commented on by many. The judges had an incredibly hard time deciding on the prizes for each of the categories, and after an hour of deliberation, the only way they could reach a consensus was to add an extra prize. Congratulations to the following winners:
Most Innovative Use of Photography – Harriet Thomas for her project ‘Hair and Identity’
Best Anthropological Context – Freya Williams for her project on Stonewalling in North Wales
Best Overall Photograph – Special Commendation – Matt Bullard for ‘Pig in an Abattoir’
Best Overall Photograph Winner – Holly Turner for her set ‘Brutiful Derby Girls’
The video project students presented their video shorts in a full afternoon of screenings, discussions and finally the awarding of prizes. Each group of films was introduced by Kate Moore before the films were shown back to back. The directors then answered questions as a panel, picking up on themes that linked their films. The judges included Roger Just, Glenn Bowman and last year’s winner of the Roger Just Award for Visual Anthropology, Max Harrison. Hugh Brody awarded his prize for Visual Anthropology by video.
The Roger Just Prize for Visual Anthropology went to Nazly Dehganiazar for her film ‘Canterbury’s Buskers’. The Runner Up Prize was awarded to Natalie Bonet for ‘Sundays on the Southbank’.
The Hugh Brody Prize for Visual Anthropology was awarded to Harriet Kendall for ‘Voices from the Back Seat’. The runner up award went to Sarine Arslanian for ‘Connecting Strings: Armenian Spirit in London’.
Harriet Kendall’s film also won the audience prize with joint runners up awards going to Wilhelm Hodnebo’s ‘Tony’ and Gabrielle Fenton’s ‘In Dover, the Border’.
To see all the films and learn more about the context and reasons for their making please click on the links below:
Who are we?
Fish, Chips & Change — Lazlo Hewitt & Jania Kudaibergen
Connecting Strings: Armenian Spirit in London–Sarine Arslanian (Hugh Brody Prize-Runner Up)
Student Diet—Anja Hoffmann
Walk Like a Man— Francesca Wicks & Natalie Freeman
Where are we?
In Dover, The Border — Gabrielle Fenton (Audience Prize-Joint Runner Up)
Among Hectic: Buskers in Canterbury High Street— Sabrina Pascoe
Sundays on the Southbank— Natalia Garcia Bonet (Roger Just Prize-Runner Up)
We Need to Talk about Abortion— Charlotte Claesson
Underwater Nation— Rachel Singer Meier
Invisible People – Berta Norman
Voices from the Back Seat – Harriet Kendall (Hugh Brody Prize & Audience Prize)
Through Our Eyes
Tony– Wilhelm Hodnebo (Audience Prize-Joint Runner Up)
Canterbury’s Buskers– Nazly Dehganiazar (Roger Just Prize)
Seeing Comes Before Words—Aimee Tollan
March 25, 2011
A retrospective examination of Hugh Brody’s life in Film and advocacy. Presented as part of the Film and Advocacy series, hosted by Visual Anthropology at the University of Kent, 26 January 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.