Items where Subject is "Film"

In the early 20th century, the techniques of collage and film montage were linked with the cultural production of political radicalism. The assemblage of new wholes from existing parts established a critical method for negotiating the social world. Driven by technological and cultural developments, the practice of combining separate images is now applied within a broad range of art and media forms. Through its assimilation and concealment within the popular and commercial, collage has been detached from its political origins.

This practice led project lies at the intersection of documentary, archive film, animation and history. It’s philosophical framework is critical realism, a position that sees reality as a plurality of interdependent structures and mechanisms operating in stratified systems. The research deploys collage as a practical form of critical realism to explore the history of ‘Welsh Wales’ (Balsom,1985), along with the region’s political, cultural and social identity. The investigation is conducted
through engagement with film collection of the National Screen and Sound Archive of Wales.

Theories of Welsh history and identity are used in the analysis, interpretation and composition of the archive materials as evidence of a complex and layered culture.
In the creative mediation of factual material, realist collage addresses the non-physical levels of reality that are not directly visible in the archive film. This is done through using temporal and spatial juxtaposition as a method of realist inference to represent the causally generative domain that determines actual events. An imaginative sense of a non-empirical, complex whole is inferred through the temporal and spatial composition of image parts.

The originality of the research is in development of collage as a visual and practical research method that offers a novel form of critical realist inquiry. The thesis will reflect on the political implications of the practice, advance critical theory of collage, and provide new insights into the function of collage processes in non-fiction film.

Following recent endeavours that have unearthed women’s cinema and reclaimed its contribution to film history, this video essay revisits the filmography of the Colombian feminist film collective Cine Mujer (1978–1999). Narrated by three of its members—Eulalia Carrizosa, Patricia Restrepo, and Clara Riascos—through semi-structured interviews that intersect the personal, professional and political, this short film also reuses Cine Mujer’s archive. Its purpose is, one the one hand, to contribute to restoring its legacy and, on the other hand, to reframe and resignify its images within women’s ongoing battle for equality.

This article contextualizes and characterizes the Venezuelan feminist film collective Grupo Feminista Miercoles. Founded by Venezuelan Josefina Acevedo and Italians Franca Donda and Ambretta Marrosu, among others, Grupo Feminista Miercoles (1979–88) produced the documentary Yo, tu, Ismaelina (‘I, you, Ismaelina’) (1981) and the videos Argelia Laya, por ejemplo (‘Argelia Laya, for example’) (1987), Eumelia Hernandez, calle arriba, calle abajo (‘Eumelia Hernandez, up and down the street’) (1988) and Una del monton (‘One of the bunch’) (1988), and participated in several activities organized by the Venezuelan women’s movement. On the one hand, this article pays attention to both the cinematic and political contexts that allowed the emergence of this collective, with a focus on the influence that Italian cinematic and feminist ideas had in these contexts. On the other hand, it also provides formal analysis of the collective’s filmography and explores how feminist ideas and praxis are deployed in its films. The overall aim of this article is to restore the contributions of Grupo Feminista Miercoles to both Latin American political cinema and transnational feminist cinema.

This article contextualises and characterises the history and film production of the Colombian feminist film collective Cine Mujer, and analyses how its collective and collaborative practices challenged auteurism. From 1978 to the late 1990s, Cine Mujer produced several short films, documentaries, series, and videos, and acted as a distribution company of Latin American women’s cinema. Its twenty years of activity possibly make it one of the world’s longest-lasting feminist film collectives. Yet, its history is largely unknown in Colombia and abroad. Thus, the question that motivates this article is related to how to inscribe Cine Mujer in film history without uncritically reproducing the methodologies that cast a shadow on women’s cinema. Throughout its trajectory, Cine Mujer transitioned from being an independent cinematic project interested in artistic experimentation to a media organization that produced educational videos commissioned by governmental and global institutions and often targeted at marginalised women. Based on interviews conducted with some of the Cine Mujer members, the Cine Mujer’s catalogues, and its films and videos, I organise Cine Mujer’s corpus of work in three main modes of production that disrupt the role of the auteur and the centrality of the director.

This article draws on the comprehensive historical account outlined in the author’s recent publication on 1970s British experimental filmmaking which challenges the problematic ‘return to image’ thesis evident in most historical accounts of the decade, arguing that image-rich, expressive, personal and representational films were in evidence throughout the decade. The article includes examples of the ‘return to image’ thesis, demonstrating how this has problematically perpetuated the flawed account of the decade. It also outlines the countercultural, psychoanalytic and mystical influences on filmmaking and on American critic, P. Adams Sitney’s taxonomical distinctions – ‘psychodramatic trance’, ‘lyrical’, ‘mythopoeia’, and ‘diary’ – which provide illuminating characteristics useful for examining some of the personal, expressive forms of 1970s British filmmaking. It gives an understanding of how experimental filmmaking grew from a small handful of films and filmmakers, at the start of the decade, to a veritable ‘explosion’ of filmmaking by the end of the 1970s.

This article discusses encounters occurring between the hand of the artist and filmmaking processes that may bypass the intellect, identifying themselves through intuitive modes of production to reveal integral relationships between film form, materiality and content. In this way the results of non-human agency, registered within film chemistry and processes of production – physical, intellectual, ‘spiritual’, (un)conscious – interact as the filmmaker takes an idea from conception to projection. Jane Bennett’s theorization of ‘vital materialism’ is important for investigations (2010), as is the role of chance discussed by William Kentridge (1993), whereby deliberations include the fortuitous manifestations occurring as encounters between hand, page and camera coalesce in the production of films. Additionally, approaches are informed by Vilém Flusser’s description of the photographer as a ‘Functionary: ‘a person who plays with apparatus and acts as a function of apparatus’ (Flusser 2007, p.83). This is, arguably, equally pertinent for the cinematographer/animator/artist who can ‘creep into the camera [and processing/editing equipment] in order to bring to light the tricks concealed within’ (Flusser, p.27).

This comprehensive historical account demonstrates the rich diversity in 1970s British experimental filmmaking. It acts as a form of reclamation by integrating films having received inadequate historical and critical recognition and placing these alongside films existing as accepted texts of the decade. This history challenges the problematic 'return to image' thesis, providing examples of written evidence and demonstrating how this has problematically perpetuated a flawed account of the decade. This is the first extensive overview of 1970s filmmaking, contextualizing films within broader aesthetic, theoretical and socio-political frameworks. The detailed textual and comparative analyses offer unique approaches to individual films, shedding light on technical, aesthetic and economic decisions informing filmmaking. As such, it provides a unique understanding of how experimental filmmaking grew from a small handful of films and filmmakers, at the start of the 1970s, to a veritable 'explosion' in filmmaking by the end of the decade.

In the year which marked the centenary of the start of the First World War, a series of creative projects in Bristol considered past, contemporary and continuing conflicts. A unique record of these exhibitions and events has now been captured for this book.

Under the generic title Back From the Front: Art, Memory and the Aftermath of War the projects consisted of five overlapping exhibitions staged at the Royal West of England Academy in Bristol, UK - a curated show of work by John and Paul Nash; a unique gathering of work by contemporary artists examining war and peace under the title Shock and Awe: Contemporary Artists at War and Peace, and a sequence of exhibitions united under the word Re-membering, which were a series of commissions funded by the Arts Council England and co-ordinated by the Bristol Cultural Development Partnership and Bristol 2014. A fifth exhibition The Death of Nature gave a showcase to the recent paintings of Michael Porter RWA.

Independent filmmaking is often faced with difficulties. For the team behind San Sabba, the issue resided in the invisibilities embedded in the film’s location: a concentration camp within the city of Trieste. This article will explore how and why the writer and director of San Sabba considered Trieste as an archive of multiple histories, memories, and postmemory due to the historical findings the film is based on, and how silenced history informed a phenomenological examination of what a landscape can add to the collective memory. Linking other locations in the city, which contribute to the elucidation of stories and histories deprived of public attention, this article analyses the historical data and considers the ontological qualities of the landscape as an archive where dominant narratives impact the understandings of present and past identities.

While addressing the question of screenplay textuality, this Special Issue takes a close interest in the ‘media thickness’ of the screenplay in its textual form. In doing so, we wish to contribute to the exploration and affirmation of scenaristic processes as both cultural and intermedial practices, as in general, screenwriting and screenplays are indeed to be considered at the crossroads of different artistic, mediatic and social fields. This is a flexible editorial posture and assumed as such, one which above all aims to consider the constitutive plurality of given textual practices, not only in terms of conceptual and social anchoring, but also of styles, modes and languages.

Narrative comprehension, memory, motion, depth perception, synesthesia, hallucination, and dreaming have long been objects of fascination for cognitive psychologists. They have also been among the most potent sources of creative inspiration for experimental filmmakers. Lessons in Perception melds film theory and cognitive science in a stimulating investigation of the work of iconic experimental artists such as Stan Brakhage, Robert Breer, Maya Deren, and Jordan Belson. In illustrating how avant-garde filmmakers draw from their own mental and perceptual capacities, author Paul Taberham offers a compelling account of how their works expand the spectator’s range of aesthetic sensitivities and open creative vistas uncharted by commercial cinema.

Lucifer Rising can be understood as the culmination of Kenneth Anger’s Magick Lantern Cycle. The power of this film, in part, rests on the way in which Anger alludes to a range of esoteric myths and Gods, without contextualising them in the way a more traditional film would do. This article sets out to reveal the various allusions, and in turn elucidate Anger’s unique aproach to filmmaking.

Across the academy, scholars are debating the question of what bearing scientific inquiry has upon the humanities. The latest addition to the AFI Film Readers series, Cognitive Media Theory takes up this question in the context of film and media studies. This collection of essays by internationally recognized researchers in film and media studies, psychology, and philosophy offers film and media scholars and advanced students an introduction to contemporary cognitive media theory―an approach to the study of diverse media forms and content that draws upon both the methods and explanations of the sciences and the humanities. Exploring topics that range from color perception to the moral appraisal of characters to our interactive engagement with videogames, Cognitive Media Theory showcases the richness and diversity of cognitivist research. This volume will be of interest not only to students and scholars of film and media, but to anyone interested in the possibility of a productive relationship between the sciences and humanities.

Practice as Research (PaR), and Practice-led Research, as studied by Hazel Smith, Roger T. Dean, and Graeme Sullivan, are increasingly being implemented in a wide range of disciplines. In this article, I will report on the methodological trajectory of my creative practice, an autoethnographic work that used film forms as research. The process progressed on three levels of investigation: the narrative, the epistemological, and the ontological. It developed from my personal experience and research in the archive, as a network of references supporting and responding to the needs of producing films through the exploration of prior film methodologies, and elaborating novel forms of mediation of history, memory, and postmemory

From the beginning, the Risiera di San Sabba, the only concentration and extermination camp of the Axis in Italy, had been the central character in the film San Sabba (2016). However, in 2014 the project was denied access to the premises. This chapter explores how and why the initial treatment, featuring interviews with survivors and tour guides conducted in a traditional participatory style, evolved into an experimental script for an essay film questioning the ontological status of memorialisation. Constructed around unseen documents, held in multiple languages (Italian, Slovenian, German and English), the narrative aimed to illustrate the harrowing topic without entering the camp. With the story locked in the relationship between the silenced history of the victims and those who struggled for the persecution of the perpetrators, when late into production some access to the camp was granted, the team was brought back to the drawing board and editing became screenwriting.

Lunch with Family is a short film (30’) on postmemory that was shortlisted in the Inspiration category at the AHRC Research in Film Awards held at BAFTA in London in 2016. Judges thought the film to be "visually and thematically engaging and called it strong".

The film reveals the tension between Slav-silenced history in Trieste and its impact on personal life and identity in a city-symbol on the former Iron Curtain, in Italy. The film intertwines the author's own story with the history of forced Italianisation of half a million Slavs, their persecution, their organisation in anti-Fascist groups, and the final attempt to delete this ethnic group, which, in Trieste in 1918, was more substantial than in Ljubljana – the capital of Slovenia.

As part of the wider discourse of postmemory, the films aligns with the work of other scholars: Anne Karpf's The War After: Living with the Holocaust (1997) and Marianne Hirsch's Family Frames: Photography, Narrative and Postmemory (2004), but also Eva Hoffman's After Such Knowledge. However, Lunch with Family goes further. It uncovers the long history of resistance and the fight for the existence of a community that does not see its history acknowledged in Italy.

Based on interdisciplinary research, archival material and interviews, the film establishes the use of research-by-practice on film as an adequate epistemological methodology to uncover long-buried events and to explore the loop of existential questions the situation provoked and continues to stir in Trieste's Slav inhabitants. A paper published in Screenworks (Vol.8, No.1) in January 2018 explored the context, methods and outcomes of the research enquiry, and Turina presented conference papers and screenings at events in Sheffield, York and Cambridge during 2016-17.

Independent filmmaking is often confronted with difficulties. For the team
behind San Sabha (Turina 2016) the issue resided in the invisibilities embedded
in the film's location: a concentration camp within the city of Trieste. This
article will explore how and why San Sabha considered the city of Trieste as an
archive of multiple histories, memories, and postmemory, and how it evolved
into a phenomenological examination of what a landscape can add to the collective memory of a city. Linking other locations in the city, which contribute to the elucidation of stories and histories deprived of public attention,
this article will consider the ontological qualities of the landscape as an archive
where dominant narratives impact the understandings of present and past identities.

Independent filmmaking is often faced with difficulties. For the team behind San Sabba, the issue resided in the invisibilities embedded in the film’s location: a concentration camp within the city of Trieste. This article will explore how and why the writer and director of San Sabba considered Trieste as an archive of multiple histories, memories, and postmemory due to the historical findings the film is based on, and how silenced history informed a phenomenological examination of what a landscape can add to the collective memory. Linking other locations in the city, which contribute to the elucidation of stories and histories deprived of public attention, this article analyses the historical data and considers the ontological qualities of the landscape as an archive where dominant narratives impact the understandings of present and past identities.

San Sabba is a short film (29‘ 50”) that debates the way we conceive of sites of memorialisation, the way they represent people and who they were in the past. The Hollywood International Independent Documentary Awards gave the film the Recognition Award in June 2017 and screened the film at the Awards event in Los Angeles, US, in March 2018.

Building on the method tested with Lunch with Family, this film displays the archival research and personal engagement in the discovery of the Axis Concentration Camp of the Risiera di San Sabba in Trieste, Italy, which was active from 1943 to 1945. The film debates the alignment of the Museum of the Risiera di San Sabba to the narrative of the Holocaust, as the site was predominantly used for the detention, interrogation and killing of freedom fighters and their families.

San Sabba aligns with known works within the Holocaust film tradition, as it explores events that took place within the same logic of genocide. Especially relevant are filmmakers as Alain Resnais, Night and Fog (1955), and Claude Lanzmann, Shoah (1985), because they tackle the unseen issues related to the depiction of genocide. Equally important is the work of Jeremy Hicks, The Unseen Holocaust of WWII (2014), which casts questions on the predominantly camps based narrative of the Holocaust. However, San Sabba opens the discussion to the concept of memorialisation in Italy, as the camp in Trieste fails to reveal the documented purpose of the site.

Full screenings of the film took place in York and Athens in 2017, and at the Hollywood International Independent Documentary Awards, in March 2018. Turina presented conference papers and particle screenings at peer-reviewed events in Sheffield, York and Cambridge during 2016-17.

This article explores the use of animation in the essay film and analyses how screenwriting animation becomes a complex process of translation of the message the film wishes to address. With a focus on issues encountered in the development of two short essay films, Lunch with Family (2016) and San Sabba (2016), the article maps the process that in both cases guided the scripting of animated sequences, and analyses why in the editing room the director chose to use stills from the animations, instead. An example of the narrative techniques applied to mediate silenced history and postmemory in film, this contribution intends to add to the larger discussion on the current state of the art in screenwriting non-fiction.

The Chapter reports on the screenwriting development processes employed to create the essay film San Sabba (Turina, 2016).

Independent filmmaking is often confronted with difficulties. For the team behind San Sabba (Turina 2016), script development resembled a mission in enemy territory. This chapter will explore how and why the initial treatment, featuring interviews with survivors and tour guides in classic participatory style, evolved into an experimental script for an essay film questioning the ontological status of memorialisation.
From the beginning, the Risiera di San Sabba, the only concentration and extermination camp of the Axis in Italy, had been the central character in this film. However, in 2014 the project was denied access to the premise. What followed were two years of script development. The second script was constructed around unseen documents, held in multiple languages (Italian, Slovenian, German, and English), for a narrative able to illustrate the harrowing topic without entering the premises. With the story locked in the relationship between the silenced stories of some victims and the portraits of the people who struggle for the persecution of the perpetrators in the 1970s, the film had found a form.
However, access to the camp was granted during the last week of production and brought the team back to the drawing board. Having regained the central character of the film, the team went through some hard times in trying not to invalidate already agreed conditions of access to documents while allowing space for the project’s initial angle. The final decisions made ofSan Sabba a piece on postmemory, which benefitted from a strategy of editing ‘as screenwriting.'

The Chapter considers how and why the author explored the silenced history of the indigenous Slovenian community in Trieste, which is largely unknown in Britain. Written from the point of view of a filmmaker associated with the current resurfacing of Slav culture in the city, it explores the relationship between geographical space, memory, and identity as tackled in the short film Lunch with Family (Turina, 2016). It interprets some of the most representative Italian films that influenced the official reading of the Northeastern part of present-day Italy.

Contact: A Festival of New Experimental Film and Video, Apiary Studios, London, 6-8 May 2016. Curator.

Participating artists including George Barber, Louisa Fairclough, Nicky Hamlyn, Sally Golding, Malcolm Le Grice, Karen Mirza & Brad Butler, Matthew Noel-Tod, Heather Phillipson, Greg Pope, Lis Rhodes, Ben Rivers, Guy Sherwin & Lynn Loo, Jennet Thomas, Jennet Thomas, Andrea Zimmerman.

Contact: A Festival of New Experimental Film and Video featured 70 film, video and performance artists across three days in its venues’ three studios. Its curatorial focus combined a multiplicity of forms, in an accessible and aware manner, which brought together niche and new audiences and formed an important contribution to the contemporary condition of experimental film practices in the UK.

This independent survey, which was supported by ACE, presented single and multi-projector and performance-related works, and specially commissioned installations. To schedule the works in a relatable manner an innovative structure was initiated – the works were presented in small clusters, rather than the normative, often lengthy and formally inappropriate, short film programme format - which challenged viewing hierarchies, introduced new artists, providing the opportunity for the ‘sampling’ and discovery of unknown works. This conception was appreciated by the audience and artists alike (William Raban wrote: ‘Your programming was enlightened').

The Festival programmed established and emerging artists, from original members of the London Filmmakers Co-op to recent graduates, who showed new and untested works. These were selected in consultation with organisations such as no.w.here, collective-iz, Unconscious Archives, Nightworks and Screen Shadows. This ethos reflected the field’s and Festival’s co-operative and collaborative intent, and was emphasised by the supportive presence of many of the artists throughout its duration.

To document the event’s intentions and methodology a publication was produced, which included contextual essays, discussion pieces and all the Festival’s details (Guy Sherwin wrote: 'the brochure is simple, informative, elegant’). This also addressed its legacy through further disseminating its composition and ideas, as such collectable reference points are vital indicators of experimental film and video’s development. The Festival’s discursive structure, which celebrated the fields’ diversity and vibrancy, was enthusiastically and critically received, with each day selling-out.

The Contact Festival included the work of over 70 artists and filmmakers, featuring single-screen films, multi-screen/performance-related works and site-specific installations. Accompanied by a publication including discussion pieces by Luke Aspell and collective-iz (on collective practices), Sally Golding, James Holcombe and Cathy Rogers (on different manifestations of contemporary expanded cinema), and short essays by Maria Palacios Cruz (LUX, Deputy Director), William Fowler (BFI, curator of artists' moving image) and Nicky Hamlyn (filmmaker and writer), plus complete listings.

The Contact Festival included the work of over 70 artists and filmmakers, featuring single-screen films, multi-screen/performance-related works and site-specific installations. Accompanied by a publication including discussion pieces by Luke Aspell and collective-iz (on collective practices), Sally Golding, James Holcombe and Cathy Rogers (on different manifestations of contemporary expanded cinema), and short essays by Maria Palacios Cruz (LUX, Deputy Director), William Fowler (BFI, curator of artists' moving image) and Nicky Hamlyn (filmmaker and writer), plus complete listings.

Film Talks is an edited collection of unique conversations on experimental cinema from a range of eminent and emerging film and video makers. The book represents a contemporary snapshot of the ways in which experimental cinema is perceived by its practitioners, often in relation to other art forms, moving image culture at large and wider social issues. It is an invaluable guide for those keen to immerse themselves in the insights and perspectives that only artists can offer.

Pairs: - / -, The Depot, London, 19, 27 June & 3, 10 July 2017. Curator.

Featuring: Jennifer Nightingale/Simon Payne, Nick Collins/Cathy Rodgers, Nicky Hamlyn/Neil Henderson, Amy Dickson/Jamie Jenkinson

Pairs: - / -, was a curated series of four events, each of which featured two artist-filmmakers, who presented new work, alongside a work that inspired them, and was introduced by a printed version of a conversation between the featured pair. Its combination of works and words, and consideration of site, facilitated research into creative, critical and curatorial practice and its public manifestation.

My curatorial practice examines film and video exhibition configuration, the resulting spectatorship and addresses the need to develop more accessible knowledge exchange, through challenging the passivity of most film presentations. Pairs’ furthered my investigation into the importance of discursive programming, how through this developmental methodology artists and audiences can experience a more rewarding encounter.

The series presented diverse experimental film and video practices through peer-to-peer and artist-to-audience dialogues. The pairs had shared and/or contrasting areas of interest, and their transcribed conversations, which is a neglected area of research, reflected on their own and one another’s practices and informed the series. Further to this, the artists’ inspirational film choices provided tracible linkages. The works were presented in their original formats – film and digital projections (single and double screen) and multi-media performance – reinforcing the importance of medium specificity within this field. Some of the artists are key figures in the history of experimental film and in combining their work with that of younger artists, the ‘pairings’ built on the field’s legacy and dissemination.

This configuration allowed related debates - contextual histories, thematic focus, exhibition strategies - to occur in an insightful and relatable manner. It reflected the featured works’ experimental intent, a questioning of form and content, created an active encounter between the works and their reception, always an experimental aspiration, and offered a more interactive experience through its discursive assemblage.

Pairs: - / -, The Depot, London, 19, 27 June & 3, 10 July 2017. Curator.

Featuring: Jennifer Nightingale/Simon Payne, Nick Collins/Cathy Rodgers, Nicky Hamlyn/Neil Henderson, Amy Dickson/Jamie Jenkinson

Pairs: - / -, was a curated series of four events, each of which featured two artist-filmmakers, who presented new work, alongside a work that inspired them, and was introduced by a printed version of a conversation between the featured pair. Its combination of works and words, and consideration of site, facilitated research into creative, critical and curatorial practice and its public manifestation.

My curatorial practice examines film and video exhibition configuration, the resulting spectatorship and addresses the need to develop more accessible knowledge exchange, through challenging the passivity of most film presentations. Pairs’ furthered my investigation into the importance of discursive programming, how through this developmental methodology artists and audiences can experience a more rewarding encounter.

The series presented diverse experimental film and video practices through peer-to-peer and artist-to-audience dialogues. The pairs had shared and/or contrasting areas of interest, and their transcribed conversations, which is a neglected area of research, reflected on their own and one another’s practices and informed the series. Further to this, the artists’ inspirational film choices provided tracible linkages. The works were presented in their original formats – film and digital projections (single and double screen) and multi-media performance – reinforcing the importance of medium specificity within this field. Some of the artists are key figures in the history of experimental film and in combining their work with that of younger artists, the ‘pairings’ built on the field’s legacy and dissemination.

This configuration allowed related debates - contextual histories, thematic focus, exhibition strategies - to occur in an insightful and relatable manner. It reflected the featured works’ experimental intent, a questioning of form and content, created an active encounter between the works and their reception, always an experimental aspiration, and offered a more interactive experience through its discursive assemblage.

Pairs: - / -, The Depot, London, 19, 27 June & 3, 10 July 2017. Curator.

Featuring: Jennifer Nightingale/Simon Payne, Nick Collins/Cathy Rodgers, Nicky Hamlyn/Neil Henderson, Amy Dickson/Jamie Jenkinson

Pairs: - / -, was a curated series of four events, each of which featured two artist-filmmakers, who presented new work, alongside a work that inspired them, and was introduced by a printed version of a conversation between the featured pair. Its combination of works and words, and consideration of site, facilitated research into creative, critical and curatorial practice and its public manifestation.

My curatorial practice examines film and video exhibition configuration, the resulting spectatorship and addresses the need to develop more accessible knowledge exchange, through challenging the passivity of most film presentations. Pairs’ furthered my investigation into the importance of discursive programming, how through this developmental methodology artists and audiences can experience a more rewarding encounter.

The series presented diverse experimental film and video practices through peer-to-peer and artist-to-audience dialogues. The pairs had shared and/or contrasting areas of interest, and their transcribed conversations, which is a neglected area of research, reflected on their own and one another’s practices and informed the series. Further to this, the artists’ inspirational film choices provided tracible linkages. The works were presented in their original formats – film and digital projections (single and double screen) and multi-media performance – reinforcing the importance of medium specificity within this field. Some of the artists are key figures in the history of experimental film and in combining their work with that of younger artists, the ‘pairings’ built on the field’s legacy and dissemination.

This configuration allowed related debates - contextual histories, thematic focus, exhibition strategies - to occur in an insightful and relatable manner. It reflected the featured works’ experimental intent, a questioning of form and content, created an active encounter between the works and their reception, always an experimental aspiration, and offered a more interactive experience through its discursive assemblage.

Resemblance to Other Animals (16 mins, HD, 2019) is a memory work that considers locational effect and its recollection. Its key elements, images of encased taxidermy and a traveller’s voice, offer different temporal plains and positions. The images were shot in the Horniman Museum’s, London, natural history gallery and the recordings were inspired by work related travel, time away from home. These combined sensory streams, conjoined by narrative’s reason, suggest temporal and spatial complexity and the partialness of remembrance.

The Horniman Museum is a testament to the Victorian mania for collecting, which was also the time of the ‘memory crisis’ when Bergson, Freud, Proust and later Benjamin were proposing a new intuitive, individuated, understanding of memory. A museum collection creates history, a vision of the past, that is in itself a product of history. Resemblance to Other Animals juxtaposes this site with personal recollection, which relates a sense of place to identity and can challenge institutionalised positions, examining how this correlation can be conceptualised and represented.

This examination considers whether the artistic engagement with form and content can formulate a place of creative reckoning, were an imaginative exploration can occur and a different past can be discovered, and if these sensory and conceptual elements can create a memorious investigation that generates new readings.