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List of past events at The Moving Image Research Centre
Current events

Shortlisted for the Jerwood/FVU Awards 2014 2015, Marianna Simnett used her first-stage development bursary to make the short film ‘The Udder'. Selected for one of the two large-scale commissions, she recently completed, 'Blood' 2015. Continuing the fascination with the rites of passage of early adolescence that distinguished her previous film ‘The Udder’, Marianna Simnett shifts her compass from rural England to the majestic mountain landscapes of Albania.  Here her young heroine Isabel is shadowed (or watched over dutifully) by Lali, a middle-aged ‘sworn virgin’ whose refusal to be identified as female casts doubt over Isabel’s perceptions and bodily intimations of womanhood. Stark and haunting, Simnett’s film, called simply ‘Blood’, has the strange, unsettling familiarity of a fairy tale.

Marianna Simnett completed her BA at Nottingham Trent University in 2007 and her MA at the Slade School of Art in 2013. Working with video and drawing, her recent body of work explores themes of sexuality, innocence, corruption and martyrdom. Her videos involve collaborative processes with non-actors playing the part of themselves in heightened, suspended realities.
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The long take constitutes one of the most prominent stylistic features of the European art cinema that emerged between 1945 and the late-1970s. Italian neorealism, the movement that gave birth to this wave of cinematic innovation in the wake of World War II, is generally credited with pioneering the long-take aesthetic and influencing the critical paradigms that continue to define the technique. However, it is in the films of Michelangelo Antonioni, an immediate successor to neorealism and the father of post-war cinematic modernism, that the long take truly comes to prominence. This talk will explore how Antonioni’s use of the long take in films such as Cronaca di un amore (1950), L’avventura (1960) and La notte (1961), extends the neorealist project, while also calling into question its very ideals of realism and objectivity. Antonioni’s long takes, it will be revealed, occupy a more uncertain and destabilising space (literally and metaphorically) between reality and abstraction, between the objective and the subjective. These tensions become definitive of the long take in the European art film.
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WE WERE THERE (60 mins)

by The Prisons Memory Archive

On the experience of women in the male prison of the Maze and Long Kesh during the Troubles in Northern Ireland.
2.15pm Presentation and discussion on the Archive with filmmaker Cahal Mclaughlin and participant Joanne McMinn
3.15pm Film screening with Q&A.
(trailer at: http://prisonsmemoryarchive.com/we-were-there/)

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The screenplays of Emeric Pressburger and the Carry on films, writing for B movies, David Puttnam as script developer, Paul Laverty’s collaboration with Ken Loach and the work of writer/director Sally Potter are some of the subjects to be discussed in this talk that focuses on the screenplay in British cinema. Based on my research for The Screenwriter in British Cinema (2014) and Women Screenwriters : An International Guide (2015) edited with Jule Selbo, the talk also highlights the importance of the Special Collections at the British Film Institute  and will show examples from scripts and letters held there.

Jill Nelmes is Reader in Film at the University of East London. She is the author of The Screenwriter in British Cinema (2014)and Writing the Screenplay (2012), editor of Analysing the Screenplay (2010) and An Introduction to Film Studies (1996), and founder of the Journal of Screenwriting. She has just co-edited Women Screenwriters : An International Guide (2015). She studied screenwriting at UCLA, has been a script reader in Hollywood, and has had a number of feature screenplays in development and is currently writing two historical dramas set in the 18th and 19th Century respectively.
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Working in the Moving Image Studio throughout the first half of this year Sebastian will continue his ongoing research and practical investigation into syntax and structure of filmic representation and its subversion. In the past, Sebastian's films and installations harnessed the transgressive, experimental possibilities of animation in order to investigate hierarchies of memory and association, subjectivity of experience and multi-narrative possibilities.

Sebastian Buerkner (born in Berlin, Germany) lives and works in London. He completed an MA at Chelsea College of Art & Design in 2002 and was awarded their Fellowship Residency 2003. From 2004 his art practice has shifted exclusively to animation. Recent solo shows include Kunsthaus im KunstkulturQuartier Nuremberg, Germany; Tramway, Glasgow; The Showroom Gallery, London; Whitechapel Project Space; Art on the Underground and Screen at Canary Wharf, London. He has also participated in group shows and screenings at Tate; Barbican, Whitechapel Gallery, South London Gallery, London.  His film Purple Grey (2006) was broadcast as part of AnimateTV on Channel 4. This year he won the Tiger Award for his latest film The Chimera of M. at the International Film Festival Rotterdam.
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Shot in 1972, publicly condemned at the time and banned by the People’s Republic of China’s government, and dismissed by European critics as a piece of exotica, Michelangelo Antonioni’s documentary Chung Kuo - Cina was one of the first cinematic presentations of China during the Cultural Revolution. Thirty years later, since its first Chinese screening at the Beijing Film Academy in 2002, Antonioni’s film received enthusiastic responses from a new generation of Chinese. In the light of these, the paper reconsiders Chung Kuo - Cina as a terrain of oscillation between the increasingly brittle functioning of official certainties and their emphatic reassertion. What emerges is an extraordinary orchestration of looks and narrative positions that captured, against all odds, a sense of the private sphere. Could it be this dimension, so elusive for the cinematic apparatus, that makes Chung Kuo pertinent today for a very different audience?
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You Are Here is a Borgesian fantasy composed of multiple worlds, circling and weaving around each other in always-unexpected ways. At the centre of this narrative labyrinth is a reclusive woman (Tracy Wright) who searches for meaning in the mysterious documents that keep appearing to her. Her investigation begins when she finds a tape recording of a man giving a bizarre lecture: calming and sinister at the same time, he instructs how to “Get where you need to go”. Is this a random find, or a message to her? Another strange document presents itself, and another... swiftly her home becomes an archive brimming with enigmatic texts, images and sounds. She forms deep connections with the people contained in these documents -- the lecturer, a prisoner, an inventor -- each of them, like her, struggling with the unknowable laws of their own worlds. But the organized becomes the organizer when her meticulous system turns on her; the archive is a trickster threatening to pull her mind apart. As realities collapse and intersect around her, she must make a final choice: is she a free agent, or just a tool of the archive?

6:30pm Artists’ Talk followed by drinks

Daniel Cockburn is a Toronto-based artist-filmmaker. He first learned about film through his high-school job as a video store clerk in his home town of Tweed, Ontario. He has been producing short experimental videos for 14 years, which have shown at over 80 festivals and galleries worldwide. He was one of three directors worldwide selected for the 2009 DAAD-Berlin filmmaker residency, and was a participant in the Toronto International Film Festival's 2010 Talent Lab. You Are Here is his first feature.

http://vimeo.com/14612551

http://www.you-are-here-movie.com

www.zerofunction.com

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David Chapman presents recent site-specific video and sound installations which explore historic landscapes and buildings. David’s work employs a variety of audio technologies to analyse and understand the sonic aspects of landscape and architecture and how these approaches can uncover new layers of historical and cultural meaning. The works presented include Re-sounding Falkland, a series of collaborative video and sound installations produced on the Falkland Estate in Fife, Scotland, sound installations produced for York’s Minister and medieval Guildhall, and an acousmatic work based on recordings from the former military testing site of Orford Ness.
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Louisa Fairclough lives and works in Bristol. She graduated from Slade School of Fine Art with MFA Fine Art Media in 2000. Using voice, light, ground and tidal water as material, her work takes the form of film loops, field recordings, performance, sound installations and drawings.

Recent exhibitions include: Whitstable Biennale 2014; Flecks of a Brighter Colour, solo show at ICIA, University of Bath (2014);Jeannie at Arnolfini, Bristol (2014); Film in Space, a group show curated by Guy Sherwin at Camden Arts Centre, London (2013) and Displays at Contemporary Art Society, London (2013).

More information available from: http://www.daniellearnaud.com/artists/artists-fairclough.html
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Fridey at the Hydey is a documentary about the legendary Hyde Park Hotel in Perth, Western Australia, a pub that was independently owned and hosted live original music 7 nights a week. Eventually the hotel was bought by a corporation and the film follows the process of gentrification and marginalisation of alternative music and culture. 

The Hydey (as it was affectionately known) was a place for dropouts, misfits and scumbags who like to play Rock & Roll. The film charts its rise and fall, its punks, its punters, and ultimate corporate takeover. Fridey at the Hydey deals with the loss of alternative culture in urban centres, and reflects on a place that oddballs called home.

Running Time: 49 minutes.
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My Private Life is an experimental autobiographical documentary that explores memory and identity through the portrayal of Jill Daniels’ repressed Jewish parents, Barbara and Bertie who married when divorce was a stigma and homosexuality illegal - and in the eyes of observant Jews, a sin. Moving from house to house, country to country, through divorce, physical violence and remarriage  - rich one day and broke the next - Barbara and Bertie spend their last days together in a small flat in suburban London, while an increasingly frustrated Daniels waits for them to give up their secrets.

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Founded in 1995 and dissolving in 2008, OMSK was a collective of filmmakers, live artists, writers and musicians. The OMSK collective created interdisciplinary laboratory arts events for emerging artists. OMSK produced around 50 events, at venues including disused banks, boats, archways and cordoned off streets, and as far afield as New York, Oslo and Tokyo. Itinerant, irreverent, challenging, OMSK achieved notoriety and critical acclaim. The press likened OMSK to Warhol’s factory, the Burning Man Festival, Dada and punk rock. During the collective’s 13-year history a significant collection of artists film & video was amassed, along with extensive event documentation (approx 200 hours in total). These moving image art works include animation, DIY filmmaking, installation, drama, structural film, scratch video, documentary, comedy, agitprop, polemics and no budget feature. The films take critical, conceptual and often surreal attitudes to such things as the body, landscape, place and duration. This substantial resource also chronicles an extremely vibrant period in arts culture in a rapidly changing East London. Many of the spaces where OMSK took place have since been subject to gentrification. UEL funded student interns have meticulously digitized this material, capturing, logging and cataloguing a range of videotape media (VHS, Hi8, DV, Beta SP, and more), compiling the OMSK videotape back catalogue into an archive. An exhibition, publication and public access moving image archive is planned for 2014-15.

http://www.omskarchive.com/
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Exhibition by Max Hattler 

Audiovisual Abstractions is Max Hattler's Professional Doctorate in Fine Art Exhibition. The culmination of 5 years of artistic practice will be displayed as a unique installation on the multiple screens of the Moving Image Research Centre (EB1.37) at the University of East London, Docklands Campus.

This exhibition is part of the Professional Doctorate in Fine Art Exhibition, showcasing the work of final year candidates.  Artists from the UK and abroad undertake the doctoral programme over 3 years full time, or 5 years part time, conducting research into creative, professional and theoretical elements of their art practice, culminating in a viva exhibition. 

Opening times (free entry):
Thu June 19th 2014, 6-9pm (Private View)
Sat June 21st, Sun June 22nd, 10am-4pm
Mon June 23rd, Tue June 24th, 10am-5pm

https://www.facebook.com/events/481620405304635
http://www.maxhattler.com

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Organised and hosted by the Moving Image Research Centre (UEL), Parallax Views of Moving Image Practice-2 is a one-day symposium presenting the practice of UK-based filmmakers, the research of scholars writing about the moving image, and the work of organisations operating in this field.

Confirmed speakers:

Keynote: Stella Bruzzi (Film theorist, Warwick University)

Faisal Abdu’Allah (Artist–filmmaker, University of East London)

Maia Conran (Artist–filmmaker, University of East London)

Felicia Chan (Film theorist and historian, University of Manchester)

Susanna Chisholm (Film & Video Umbrella)

Lucy Clout (Artist-filmmaker)

Helen de Witt (British Film Institute)

Ole Hagen (Artist-filmmaker, School of Art, Birmingham City University)

Lindsay Hallam (Film theorist, University of East London)

James Hellings (Writer, School of Art, Birmingham City University)

Johannes Maier (Artist–filmmaker, University of East London)

Miranda Pennell (Artist–filmmaker, University of Westminster)

Alice Sharp (Curator, Invisible Dust)
 
Facebook event Page

The event is free but places are limited. RSVP to: parallaxviews@uel.ac.uk.

The Moving Image Research Centre was created as a platform for showing and discussing the work of UK-based artists, filmmakers, scholars and organisations working with the moving image. Operating in parallel with the university’s BA, MA and PhD programmes in film & video, the centre offers a unique context for interdisciplinary research, as well as artist residencies, a guest lecture series and a calendar of screenings.
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Tuesday May 13th, Wednesday May 14th, Tuesday May 20th, Wednesday May 21st, 10am-5pm OPEN TO ALL

The Book of the Virtual and Real

Installation by Geoffrey Alan Rhodes
Moving Image Research Centre (EB1.37)
‌ 
The Book of the Virtual and Real is a narrative immersive video installation in which Geoffrey Alan Rhodes delivers a virtual essay combining pre-recorded performance, sampled video, and live augmented reality on the multiple screens of the Moving Image Research Centre. This self-reflexive media essay investigates and excavates our changing relationships to the ‘virtual’ and ‘real’ in contemporary media. It is a critical examination of the ontological and epistemological challenges of life with many screens, live media glasses and goggles, and immersive media experiences. The viewer is surrounded by a looping video essay that combines pre-recorded video with live AR experiences cued and sequenced.
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Screening of “The White Ribbon” (2009, dir. Michael Haneke) followed by a conversation with actress Leonie Benesch.

Leonie Benesch’s career as an actress began in 2008, when she was chosen for a leading role in Michael Haneke’s award winning film “The White Ribbon” (Palme D’Or, Cannes, 2009). The film is a “ghost story without a ghost, a whodunnit without a denoument, a historical parable without a lesson” (Peter Bradshaw, The Guardian). The mysterious story of a repressive society is told in a setting of a remote village in Northern Germany in 1913. In the conversation with Leonie we will talk about her practice as an actress in film and television and her experiences working on set with director Michael Haneke. Currently, Leonie is a student at the Guildhall School of Music and Drama in London.
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March 13th 11am-1pm 

Jon Thompson (film producer)

Film producer Jon Thompson has worked on Kill Bill, Batman Begins and the award-winning feature documentary The Bengali Detective. Jon’s talk will be about the nuts and bolts of the role of film producer. What does a producer do? What is development and why is it such an important stage of any film, from $200m to a micro budget? He will share expertise on how to get people’s attention for a project, and what not to do!
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As a part of the partnership between MIRC, Film & Video Umbrella and the Jerwood Space, we are excited to host a guest presentation from moving image artist Anne Haaning. 

Anne Haaning’s Exhalation Excavation (working title) (2014) was commissioned for the Jerwood/Film and Video Umbrella Awards: 'What Will They See of Me?' in association with CCA: Centre for Contemporary Arts, Glasgow.  Supported by University of East London, School of Arts and Digital Industries. Film and Video Umbrella is supported by Arts Council England. 
 
Anne Haaning’s project considers the marks we inadvertently leave in digital space and the records that we choose to make to document personal journeys. Alluding to the shifting sands of the desert, and the backdrop of a mythological historical past, her proposed work will experiment with the idea of digital ghosts, whose identity and meaning is forever changing, and who will eventually outnumber and outlive us.
 
Originally an MA graduate in Architecture, Anne Haaning will graduate from her MFA in Fine Art from Goldsmiths in 2014. She has been exhibiting in group shows internationally since 2009, and will have a solo exhibition at the Kunsthal Charlottenborg, Copenhagen in 2014.
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Jule Selbo is an award winning American screenwriter with work in feature film, network and cable television and animated series, working with filmmakers such as George Lucas, Michael Newell, Aaron Spelling, Roland Joffe as well as with all the major Hollywood studios; produced credits include projects for Disney, Columbia Pictures, Paramount, Universal including Hard Promises, Young Indiana Jones Chronicles, Melrose Place, Space Above and Beyond, Hunchback of Notre Dame II, Ariel’s Beginning, Tales From the Darkside, Monsters, HBO’s Women Behind Bars, Hercules and more.  She has also written for theatre and created and penned graphic novels. She has earned her Ph.D. for her work in Film Genre For The Screenwriter and is Head of the MFA in Screenwriting Program at California State University, Fullerton.
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Hosted By Garry Parsons and Lindsay Hallam

The Moving Image Research Cantre will be showing a rare screening of the 1971 Occult classic 'Simon King of the Witches'. The evening will include an opening talk about the film and context of occult cinema by Gary Parsons and a talk after the screening about the current resurgence in Occult and Pagan cinema by Lindsay Hallam. This is the first of a strand evening focusing on Magickal films, the second evening will focus on Pagan cinema. This event is FREE, drinks will be available.
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This installation presents two film portraits synchronically in one space. Douglas Gordon and Philippe Parreno's acclaimed ‘Zidane - A 21st Century’ (2006) and Hellmuth Costard's ‘Soccer as Never Before - George Best’ (1971). Both films follow the same concept: for one entire football match the cameras are following one player exclusively: Zinedine Zidane in Madrid and George Best in Manchester. This presentation will be installed in the moving image studio for one evening only. Kick off is at 6pm. This installation will be realised by Johannes Maier and is based on an idea by Oliver Klimpel.
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As a part of the partnership between MIRC, Film & Video Umbrella and the Jerwood Space, we are excited to host a guest presentation from moving image artist Marianna Simnett. Simnett produces videos that explore the role of narrative in constructing identity and species. Combining personal and fictional events, with documentary modes of storytelling, the videos confront the discrepancies that threaten and unite singular bodies. Idiosyncratic stories emerge from extensive research, memory and interviews, engaging collaborative processes with actors, friends and professionals. Her recent work, "Dog" (2013), explores the potential for mutual adaptation between apparently separate species. http://www.mariannasimnett.com/
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Organised and hosted by the Moving Image Research Centre (UEL), Parallax Views of Moving Image Practice is the fist in a seies of one-day symposia presenting the practice of UK-based filmmakers, the research of scholars writing about moving image, and the work of organisations operating in this field.

The theme: 

In his seminal text The Parallax View (MIT, 2006), Slavoj Žižek argued that, when confronted with an antinomy, attempts must be resisted to reduce one aspect of it to the other, or to devise a ‘dialectical synthesis’ between its terms. A more productive response to the tensions that define the contemporary public sphere – the point of radical critique – is to explore the irreducible gap between binary positions, the structural interstice between them. The proposed symposium invites responses to these questions: How do we conceptualise and navigate the aesthetic, cultural and economic tensions that determine the limits and possibilities of our chosen medium? Can Žižek’s conceptualisation of ‘the parallax’ help open new lines of enquiry and moving image practices?

The event is a mix of panel presentations and screenings. It is designed to facilitate exchange between practitioners, theorists and organisations, to promote debate on current practice, and to explore the potential for collaborations and crossover research. The event is free and open to the public.

The Programme:

10.15 – 11:30 PANEL 1: The Long Form
Rose Cupitt and Maggie Ellis (Film London)
Ruth McCullough (Abandon Normal Devices)
Stuart Croft (Royal College of Art)
(Chair Steven Eastwood)

11:30 – 12.15 SCREENING
The Stag Without a Heart (dir: Stuart Croft. 12:00 loop. 2010)
Taskasa Stories of the Street - trailer (dir. Andrea Zimmerman. 3:00. 2010)
Stretching Out Flat (dir. Charlotte Ginsborg. 9:00. 2005)
Sunlight (dir. Duncan Reekie. 17:00. 2013)

1.00 – 2.15 PANEL 2: Psychogeographies
Duncan Reekie (Exploding Cinema)
Jill Daniels (University of East London)
Gareth Evans (producer, writer, founder Vertigo magazine)
(Chair David Chapman)

2.15 – 3.30 PANEL 3: Parallax Views
William Brown (University of Roehampton)
Valentina Vitali (University of East London)
Steven Eastwood (University of East London)
(Chair: Jill Daniels)

4.00 – 6.00 PANEL 4: Authors and others (screening extracts and discussion)
Charlotte Ginsborg (Kingston University)
Orson Nava (University of East London)
Andrea Zimmerman (Central St. Martins)
Anthea Kennedy (filmmaker)
(Chair: Valentina Vitali)

6.00 – 7.00 DRINKS RECEPTION
The Moving Image Research Centre was created as a platform for showing and discussing the work of UK-based artists, filmmakers, scholars and organisations working with the moving image. Operating in parallel with the university’s BA, MA and PhD programmes in film & video, the Moving Image Research Centre offers a unique context for inter-disciplinary research, as well as artist residencies, a guest lecture series and a calendar of invited screenings.
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