Just attended the fascinating Digital Single Market panel as part of the Digital REWIRED event at EIFF. Aside from the consensus that fact that the world of film exhibition keeps utterly changing every nat’s breathe is both exciting and extraordinarily difficult it was great to see the woman on the floor organising it all was FEC graduate Ana Moraes – now Dr Ana Moraes after successfully completing her PhD a month or so ago. Even more brilliant is the fact that she will take up a position as research assistant with David Martin-Jones in the autumn. Huge huge congratulations. We are so proud!
Fan Yije was recently invited to join FEC graduate Mengchen at the Cannes Film Festival. Here she blogs about the experience.
Cannes Film Festival Report
This is my first time to Cannes Film Festival, which I dreamed of going to. Obviously, it’s an unforgettable experience. The lovely weather, large number of films, booming film market, countless parties and red carpet steps, all these things left me a deep impression.
During these 12 days, filmmakers, reporters, buyers, sellers from all over the world were gathered in this small town to enjoy the film carnival. I worked at China Film Foundation Pavilion in International Village which is an exhibition space and a meeting point for all countries producing films. China Film Foundation Pavilion is organised by China Film Foundation-Wu Tianming Film Fund for Young Talents in partnership with Movie View. It hosted panel discussions, conferences and meetings about film festival and Chinese film industry, including Chinese Film Market, Co-production Strategies and Mutual Investments, Navigating the Festival Circuit, International Film Funds: Talents Oriented Strategy, New Talents and Marketing: Young Producers Projects and Investments in Movies and Entertainment Companies in China: How It Works. In particular, I would like to talk about the Navigating the Festival Circuit which provided an overview of the cultural, economic and social role of the film festivals. This panel discussion invited the programmers and directors from various international film festivals like Sundance Film Festival, HKIFF, TIFF, and BIFF. They talked about different types of the festivals and their film selection, whether premiere is really such important or not, how to balance personal taste, audience tastes, and other element.
Cannes Film Festival is a typical “business festival”. The film market is the core of the festival. Meanwhile, Marché du Film is the world’s leading market. For me, the film is still the most attractive part of the festival. There is no doubt that Cannes Film Festival gathers a very large number of the best films of the whole year. And luckily, you can see these films in advance. But Cannes Film Festival is an event for film professionals only. So all films are not available for the public but opened just for the registered members. Another interesting point of Cannes is that it’s hierarchical. In Cannes, your badge is your rank. It’s a caste system and what the colour of your badge says about you. Press, market and festival badge have different priorities. Every screening, hours before the screening, the line of the festival and market badge was long. People with blue press badge just needed to wait a short time, then, the pink and white badges were much shorter and enjoyed the prime seats.
At last, giving a little tips. As film students, we can apply the festival badge by ourselves so that we can go to the market, international village and some events. While this kind of badge can’t request the invitation ticket for the competition and hons completion screenings in Lumiere theatre (the main cinema with red carpet), but audiences can queue the Last Minute for theses film and also for most of other screenings.
FECers Becky Padley (2015) and Charline Foch (2016) setting up for Hidden Door. Looking fanbloodygreat.
FEC students Sonja Baksa and Jennie Shearman (2016) have been working with artist Isabella Rocamora as she prepares her upcoming exhibition. It’s been a fantastic opportunity for them to get to grips with the level of detail, focus and energy needed for such complex and intriguing work. It opens next week and we look forward to it very much. IMAGING FAITH
SCIENNES GALLERIES, SUMMERHALL
26 May – 13 July 2016
Tue – Sun 11.00 – 18.00
Private View: 25 May (19.00 – 21.00)
1, Summerhall, Edinburgh EH9 1PL
“A uniquely profound and moving comment on timely aspects of the human condition… Mesmerizing” Now Magazine, Toronto
Imaging Faith centres on Faith, a film triptych which intimately observes the act of worship of the three monotheistic religions in Jerusalem. Set in the wilderness of the Holy Land – the historically significant landscapes of the Judean desert, far from the built and contested territories – an Orthodox Jew (Cohen descent), a Greek Orthodox Christian (Father, Church of Nativity) and a Sunni Muslim (Quran reader, Al Aqsa Mosque) perform their morning prayers. In time, their synchronous action reveals an uncanny similarity of inner state and gestural intention. Questioning segregation while celebrating difference, Faith contemplates issues of human belief, inviting reflection on one of the most tragic, world resonating conflicts that persist in this new century.
In the adjoining gallery a series of still images depict Rocamora’s experience of Jerusalem, culturally and politically contextualising the film triptych. A dedicated reading room provides a contemplative space in which contemporary thinkers (historians, theologians and philosophers, including Gil Anidjar, Mark Cauchi, Victoria Rocamora and Simon Critchley) have been invited to curate passages from seminal texts in response to the themes of the exhibition.
Isabel Rocamora is a British-Spanish artist whose films have been widely awarded and exhibited internationally. Recent shows include the Koffler Gallery, Toronto (solo); CCC Palazzo Strozzi, Florence; the National Museum of Photography, Copenhagen and the Bologna Museum of Modern Art. Imaging Faith presents the UK premiere of this new body of work by the Edinburgh-based artist as well as the first exhibition of her work in Scotland.
Curated by Holly Knox Yeoman.
Becky Padley (2015) is organising and programming films for the Hidden Door Festival this year and doing stellar work. Not only does the festival look utterly brilliant but she’s created the opportunity for a number of current FEC students to curate and deliver events. Good on ya Becky. I’m so looking forward to it.
Billie Phipps Tyndall (2015) having moved Bangkok is now involved in the Bankok Edge Festival and plans to help organise a short film competition for the next edition, whilst teaching primary school. Congratulations Billie! We can’t wait to hear more about it.
Also, Mengchen Wen is in Cannes working at the China Film Foundation Pavilion – International Village, Pantiero side n° 216.Visit them from May 11th to 22th. She has asked current FEC student Fan Yije to help her out. How exciting and we look forward to the reports on Fan’s return.
Jane Sillars, programme director of Film, Exhibition & Curation (Job-share with Susan Kemp) blogs about Antonia Bird screening.
So, just back from London Town to see the documentary on Antonia Bird premiere at the National Film Theatre.
The culmination of two year’s intensive research and filming, the documentary charts the development of Bird’s career; her moves from theatre to television and to film in the UK and in Hollywood; her politically motivated approach to film-making and to storytelling; her gifts in working with performers; and her particular blend of highly emotive and engaged social critique. The documentary represents an astonishing achievement not least as, at the time of Bird’s death three years ago, there was almost nothing about her work in the public domain, and what little there was incomplete and often wrong.
Susan Kemp’s film forms part of a broader project she’s been involved in with film maker Mark Cousins (a close friend and collaborator of Bird’s) and producers Mary Bell and Adam Dawtrey, aiming to document Bird’s legacy and find the space her work deserves with audiences and within our understanding of British film and of the contribution of often neglected women authors. The screening launched a season of Bird’s films ‘The Woman Who Kicked Down Doors’ curated by the BFI which recognises her as a trailblazing artist. The BBC who funded much of Bird’s work will also screen Susan’s film on May 22nd.
Given how little material there has been available on Bird and her work, one of the most notable elements of the film is its success in uncovering, analysing and opening up her motivations, her aesthetics, and her career trajectory – a career path that, as the film, shows was diverse, divergent and seldom straightforward.
In the panel discussion afterwards Susan talked about the importance of the flexibility brought as a solo film-maker. This enabled her to spend an extended research and development period tracking down sources and potential interviewees as well as immersing herself in Bird’s work and archive. Light weight film equipment and Susan’s skills in self-shooting meant that she was able to record material across the duration of this process. (I say light-weight but I well remember the many Wednesday afternoons where Susan would shoulder a massive rucksack, pick up her tripod, and stride womanfully off to Waverley for her second shift.) In an audience at the South Bank largely made of film-makers there was both appreciation and awe of the scale of this endeavour. (Appreciation is very much due too to Lauren Clarke, FEC graduate who worked across the project with Susan. It was great to see Lauren and family at the screening – enjoying the first onscreen credit for Lauren but I suspect very much not the last.)
The benefits of this openness of approach can be seen on screen. Susan’s interviews captures both spontaneity and immediacy from her respondents, rather than replicating the sometimes slightly laboured feel we’ve all picked up from reminiscences shared first with researchers and producers, then reproduced on cue for camera. It also powerfully catches at the sense of loss felt by the many people who worked with Antonia; the loss of an individual loved by many and also the loss of a distinctive and penetrating voice.
The admiration Bird evoked in her collaborators is clear in the documentary and was also much in evidence in the attendance on Thursday. In the green room beforehand the warmth and affection felt for Antonia was palpable. As well as enjoying earwigging in to the stories and memories exchanged between actors, composers, producers and writers there, for the first time I had a proper sense of the various kinds of responsibility attaching to a film like this. Throughout the project Susan has been determined to do proper justice to Antonia Bird’s life and work as well as facing head on some of the really complex questions as to why in her career Bird did not always manage to make the work she wanted to, and why the work she did make has been so neglected. With so many key players crammed into a small, hot space (the NFT green room has a freaky mirrored ceiling like something out of dodgy 70s ‘arthouse’ erotica) I got a real feel for what a tough audience this might prove to be. Susan says that when, early on in the documentary, cheers and applause greeted the cleverly sourced archive of a young and bushy brown bearded Jeremy Corbyn she knew she was going to be alright.
And she and her film were a lot more than alright. One highlight for me was Anita Dobson (the legendary Angie in EastEnders) commenting from the platform “I don’t think I’ve been so moved by a documentary about someone’s work ever”. This was followed by responses from the floor hailing the film as ‘profound’, ‘necessary’ and ‘important’. The look of the film was much admired with one or two smarty pants picking up the way its form draws on Bird’s preference for the big close up and the drama of the human face in action.
Speakers were especially taken with how effectively the film addresses the thorny question of the under-representation of women directors, a debate coming to boiling point in Hollywood and in relation to UK film just last week with the Directors UK report
There were also moving stories from the floor of the unrecorded contributions Bird made to the work of many others, actors turned directors, and younger women directors, reinforcing two key strands within Susan’s film – film authorship as something that is always collaborative, often provisional, and made up of visible and invisible elements; and also demonstrating how Bird’s politics of engagement and solidarity found many expressions. All in all it was a very uplifting evening, celebrating an extraordinary woman and her body of work, and showing the capacity of documentary film at its best to work as archive, as analyst, and as catalyst.
And we can all get a chance to see it soon – TX BBC Four Sunday 22nd May 2100.
A fantastic programme of shorts intercut with interviews at the Filmhouse on Friday and Saturday. FECers 2016 are totally making the most of their opportunities.Thanks so much to Filmhouse and Nigel Chipps for giving them this chance. Great audiences and we hope it will do more. More pics PRESENT LOVE
Thanks so much to the Glasgow Film Festival 2016 who provided an opportunity for this year’s students to really get to know what it’s all about. They created and delivered a fantastic event surveillancetoselfie.com
and all the students and audiences alike thoroughly enjoyed themselves. Just brilliant.
Katherine Irving, a graduate of Film Studies at UoE, is currently working for the FIlm Exhibitions Department for the Boston Museum of Fine Arts (go Katherine!) She invited some colleagues from FS and FEC (Film, Exhibition & Curation) to contribute essays to the online Film Notes Archive on Kubrick – they are a great read and well done all. Rebecca Raab writes, ‘It was really fun to join up with the others again for this project and to see that we’re all on board!’
You can read their work here. http://www.mfa.org/node/493346
We’re very excited that Rebecca Padley (2015) was invited to join the wonderful Hidden Door festival as programme coordinator before she’d even graduated. She will have a big curatorial responsibility for the film strand and we wish her all the best for the festival. We know her FEC chums will be standing with her all through.
Charlotte Micklewright (2015) continues her fantastic work with artistic director, Peter Taylor, at the Berwick Film Festival and we know her incredible hard work, diplomacy and brilliant mind are fully appreciated.
Lauren Clarke (2015) continues to dig into the archives with enthusiasm as researcher on a documentary for BBC Four about Antonia Bird, where her ability to grasp the rich, complex, little known but very important story of Bird’s career is much appreciated.
And exciting news from previous years’ students.
Hara Vlahou has recently joined the staff of the Thessaloniki International Film Festival and we look forward to hearing more about her work there.
Paulina Kowalczyk is coordinating film/exhibition projects at the CCA Ujazdowski Castle. Currently she’s working on a show with Kuba Bakowski.
In addition to contributing to the submissions panel FEC students created a programme of short films for this year’s festival called Supressed/ Expressed. It will show on Oct 22 at 6pm and it will be a fascinating watch.
Charlotte Micklewright (FEC 2014/15) has been working with the Berwick Festival for some months and has recently been joined by fellow FECers. She describes the experience below. It looks like it’s going to be a great festival.
It has been a great opportunity to be so involved with the Berwick Film & Media Arts Festival. I started off as an intern managing submissions as I was really interested in the festival’s curatorial process for my own research. I then took on the role of Programme Coordinator and am now liaising with artists, filmmakers, distributors, projectionists and technicians to bring the festival together!
The Film, Exhibition & Curation (formerly FiPS) programme proved to be the perfect launchpad for an exciting career in film, technology, and education, writes Corey Boling. Upon graduating in 2011, I’ve since spent my days interning at the Guggenheim Museum, working at the Tribeca Film Institute, and I even founding my very own international nonprofit film organization called FILMMAKERS WITHOUT BORDERS. These days, I spend my time traveling around the world teaching filmmaking and media literacy to underserved students in places like Bangladesh, Cambodia, India, Peru, Tanzania, and Thailand. Whether helping youth create their own short film and multimedia projects or producing community screenings of student work across Africa, Asia, and Latin America, it’s clear to me that my time in Edinburgh was a dynamic and formative chapter that continues to inform every aspect of my daily life!
Really fantastic screening of Antonia Bird’s ‘Safe’ last night. Emotional honest storytelling with powerful performances from all especially Kate Hardie and Aiden Gillen. Kate presented the film as part of a series she’s programmed with the gorgeous Arthouse Cinema in Crouchend about women and film. Kate’s intro was superb — raised the house with thunderous applause. Here’s a couple of pics and if you want to see the Bird clipreel we made to show last night you’ll find it at
Thanks to Fec’ers who came to help out last night – you were fab and thanks to all who helped with clip choices for reel. Much appreciated!
Richie McCaffery, University of Glasgow, and Stefanie Van de Peer, University of Stirling
This excellent and much needed consideration of film and poetry in Scotland is deeply interesting on many levels. It’s also fantastic for Nort Atlantik Drift: A Portrait of Robert Alan Jamieson to be included in such company. Blown away….
Tina Chan, graduate of MSc Film, Exhibition and Curation 2011/13 writes to tell of her very exciting career since completing the course. We’re so proud of her:
I always remember you and Jane and what I learned in your classes. Those days in Edinburgh always come to my mind. It’s been fantastic to turn knowledge gained in school into real event practice. Normally my work is helping promote films made in Taiwan especially those shot in Taipei, and so I have had the chance to come into contact with Taiwanese film makers,critics,reporters and to know more about this field. I feel lucky and honored to have met and to hold events for three honorable directors so far since I got back to Taiwan and started my current job,They were Ang Lee, Luc Besson and Martin Scorsese.
Lanqing (2013/14) writes to tell us the great news that she has been employed by Beijing United Entertainment Partner Culture & Media Co as Operation Assistant in the International Operation Department of UEP, a film distribution company base in Beijing, China. UEP is the first company that cooperates with Hollywood studios (Sony/Columbia pictures) to do the job of marketing in China. UEP has become a strategic partner with many famous film and media companies. It also has close cooperation with many well-known film production teams from Mainland China, Hong Kong and Macao. UEP has been distributing films like The amazing Spider Man 2, The Smurfs 2 and Grace of Monaco, etc. in China.
Last year UEP set their branch company in LA and Australia, and they plan to set one in London and another on in Paris this year. The job I’m doing now is writing a UK film market report, which is one of the preparatory tasks for supporting the setting of the new company in London. Lanqing’s department, she explains, is like the bridge between the head office in China and the branch companies abroad. Besides doing various job for support the oversea companies, her department also sells Chinese films to the international market and brings overseas products to China.
MSc Film, Exhibition & Curation students of 2014/15 were invited to create a programme of shorts for the Glasgow Short Film Festival that somehow analysed and made visible the curatorial process. After a number of weeks thinking, experimenting and planning the students created a feature length film essay which contained a short film programme. It went down very well with audiences at the festival and the students thoroughly enjoyed hearing the guests on the panel discussion (as part of the short film symposium) refer and discuss the ideas in the essay film.
Here is a link to the film: Anatomy of a Short Film Programme
Here’s the link of the film fund’s website I keep up to date (unfortunately it’s only in German)
Film, Exhibition & Curation students (FEC) created and hosted a sell-out, day-long event at the Glasgow Film Festival 2015. It takes a lot of planning, teamwork, imagination and enthusiasm to bring film and people together in such a way. The success of Power Suit Yourself showcased beautifully that the FEC students have what it takes with knobs on (or, to be more accurate in this case: shoulder-pads on).
Well done all for a fantastic day and night of film and fun.
The GFF photographer caught the party mood. More photos here
It looks gooood.
For her final project, Sarah Rice (2012-13) investigated archive and newsreels from the second world war. She created a live event which used the archive in an innovative, creative way mixing a scripted live performance with an installation of pre-edited archive and sound. She managed to perform this as part of the Edinburgh Fringe (only a couple of weeks before hand-in day) but having done such excellent work in advance of the performance the reflection on this particularly adventurous engagement with audiences served the whole submission very well. The great news is that the short film, subsequently produced, has been selected for the Imperial War Museum Film Festival. That’s just brilliant. Well done Sarah. She took the time to write to us to thank us for our help and the opportunities offered over the year and we are chuffed to bits:
Here’s a wee image I (Susan) took at the event – very short and nothing like the film itself.