Besides the Screen 2012 by Gabriel Menotti

Professor Janet Harbord

OPENING KEYNOTE

Dr. Charlotte Crofts

CLOSING KEYNOTE

FUTURE & FORGOTTEN SCREENS

PANEL 1

MOVIEMAKING STRATEGIES

PANEL 2

REGULATION OF SPACE

PANEL 3

LIMITS OF FILM

PANEL 4

CLOSER OR CLOSED: PRESENCE AND PERFORMANCE

PANEL 5

CHALLENGING THE FILM ARCHIVE: POLICY, MATERIAL AND (RE-)USE

PANEL 6

SPREADING AND REPURPOSING IMAGES

PANEL 7

ARCHIVE AS ALPHABET: WRITING WITH VIDEO

PANEL 8

WORKSHOPS

SCREENINGS/PERFORMANCES

BIO OF PARTICIPANTS

INTRODUCTION

Following the success of the conference organized in 2010, Besides the Screen aims to be an interdisciplinary event for all forms of cinema that exist beside and between screens. Besides the Screen attempts to understand the continuing transformation of audiovisual media practices. The conference’s ever-expanding constellation of topics revolves around techniques of projection, the centrality of marginal processes, and the manifold systems of movie storage and transmission (as well as their possible materialities). This second edition takes on a particularly reflexive character, reconfiguring traditional objects while exploring side-by-side theoretical and practical methods of academic research. In this spirit, a two-day seminar has been coupled with a series of workshops and screenings.

OPENING KEYNOTE

1 December 2012, NAB LG01, 11.00-12.30

The Six Most Beautiful Minutes in the History of Cinema: archaeology of a past that never was Professor Janet Harbord, Queen Mary University (UK) One of Giorgio Agamben’s few essays addressing cinema directly, ‘The Six Most Beautiful Minutes’ tells the tale of Don Quixote taking a trip to the cinema. As the film starts (a costume drama), Quixote is at first enthralled and then, with the appearance of a woman in distress, enraged. Rising from his seat he slashes at the figures on the screen to the revelry of children seated in the balcony. In no time at all, the fabric of the screen is hanging in tatters, revealing the bare structure of the wooden support behind it. This fable-like story of destruction raises the question of what cinema is and may have become, besides the screen. In other words, what might cinema have become other than a representational device focused on human characters? The approach taken here is archaeological, looking through this gaping hole in the screen to a cinematic past where material properties were combined differently, and the connections forged may not have been between human counter-parts. With the aid of figural assistants, and recent artists’ films, the potential of cinema to (have) connect(ed) us to non-human sensibilities is explored. Borrowing from Agamben, and Agamben’s borrowing of Benjamin, this is a sketch of a history that never came to be, and yet as an absent presence, shapes the contours of the cinema that we have now.

CLOSING KEYNOTE

2 December 2012, NAB LG01, 15.30-17.00

“Old Wine in New Bottles”: Researching Cinema Heritage Through Pervasive Media Dr. Charlotte Crofts, UWE-Bristol (UK) In this presentation I will introduce two recent projects which explore cinema heritage: The Curzon Memories App and The Lost Cinemas of Castle Park both of which use ‘new media’ as a lens through which to explore ‘analogue’ film just at the moment at which cinema is supposedly dead. Curzon Memories celebrates 100-years of cinema-going at the Curzon Community Cinema in Clevedon, using a mix of dramatization, rephotography and oral history to bring the cinema’s past to life. Users explore the inside and outside of the building triggering context-specific memories via QR codes or GPS, from the air raid that just missed the cinema in 1941 to generations of snogging in the back row. The app also incorporates the Curzon Collection, an archive of cinema technology from early hand cranked projectors to multi-screen “cake stands”. A further feature of the project is the Projection Hero Installation, a miniature cinema which users of the app can manipulate with their smartphone, opening the curtains, dimming lights and playing the films – all of which comprise interviews with retired projectionists. The installation situates the user as a projectionist, peering into the auditorium through the projection booth windows and asking them to reflect on the hidden labour that secures our viewing pleasure. The Lost Cinemas of Castle Park is a smartphone audio tour spanning over 100 years of Bristol’s cinema-going heritage in the places where it actually happened. Covering 13 cinemas in and around Castle Park, once Bristol’s busiest cultural district, the app takes us on a journey from the first moving pictures screened in 1896, through the first purpose built cinemas which cropped up in 1910, and the super cinemas of the 1930s, including The Regent and the art-deco Odeon which is still operating today. These pervasive media projects develop and extend my published research on the impact of digital technologies specifically on cinema exhibition, film distribution and preservation and enable me to explore my ongoing fascination with the cinematic apparatus through practice.

PANEL 1: FUTURE & FORGOTTEN SCREENS 1 December 2012, NAB 314, 13.30-15.00

The anamorphic cinema Alison Reiko Loader, Concordia University (Canada) Media archaeology purports an object-centric approach to media technologies that eschews retrospective narratives, and deterministic notions of historic continuity and technological evolution. Yet investigations of old technologies often omit direct confrontations between historians and their objects of study. Apparatuses may no longer exist or be so rare that access is near impossible, so the researcher must rely on contemporaneous, sometimes exaggerated accounts, as well as imagination. One way to resolve this dilemma is to physically remake what could not otherwise be experienced firsthand. Such work might be considered a media archaeology of an applied kind. However, since replicating the past is an impossible task, perhaps more interesting is how many media artists use lost and forgotten technologies to reconfigure those of the present. The Anamorphic Cinema is one such project and it re-imagines screens and moving images by applying animation and digital imaging to catoptric anamorphosis, a once popular perspectival technique from the seventeenth century that deforms pictures so they re-form in the reflections of curvilinear mirrors. Its implications with the representational and perceptual limitations of Cartesian ontology are explored in a looping fifteen-minute, threechannel anamorphic video installation, called Ghosts in the Machine: The Inquest of Mary Gallagher, that investigates the notorious 1879 Montreal murder and beheading of one woman by another. Problematizing representation as representation, Ghosts features dramatic performances of witness testimonies and newspaper texts layered with diverse archival images, in an inhabitable network of floor-projected narratives that re-visions the case within a context of nineteenthcentury spectatorship, gender norms, visual culture and disciplinary discourses. As a form of expanded cinema that literally depicts partial perspective and situated knowledge by using angles of view, mobile spectatorship and passive interaction, The Anamorphic Cinema materializes theory into phenomenological practice in a study of old media renewed.

What difference does digital 3D make? Daniel Strutt, Goldsmiths, University of London (UK) According to the popular cultural discourse of Roger Ebert and Mark Kermode, 3D is the latest gimmick used to sell popular and crass media content. While they base their critique in quasi-scientific concerns about picture quality and headaches, the main thrust of their argument is about the perceived quality of such films, a ‘taste’ argument through which they hark back to ‘golden age’ narrative cinema. For Kermode: ‘The thing these movies have in common is that they are essentially trash – sleazy, crass and exploitative and owing more to the carnival sideshow tradition than to any history of narrative cinema.’ Now digital 3D is 5 years old, and in the wake of certain ‘auteur’ directors making 3D films (Scorcese, Wenders, Herzog); is it time to reassess the popular address of these images, asking what they offer to individual and collective consciousness? While we understand that on one hand these films are indeed driven by a profit motive and the economic need for an industrial shift to digital projection, we must ask if this necessarily eradicates aesthetic potentials and pleasures - further asking, how do these images actually cognitively engage us? To tackle these questions I look at discourses of affectivity, (inter)activity vs. passive spectatorship (Mark Hansen), and corporeal consciousness (Sheets-Johnstone) to ask if the new spatio-temporal and kinetic dynamics of D3D offer anything new for the perception and intuition of reality. The new affections of rhythm and movement in these screen images give us a heightened, distorted and ‘hyper’spatial relation which seem to generate distinctive impressions of time, movement and force. The spectator is involved in an ever-more immersive kinetic play of bodies and surfaces which is palpably felt within the user’s body as affects of corporeal intensity. I ask if this conditions and alters our corporeal, kinaesthetic consciousness in any lasting way?

Tohoscope and beyond: widescreen, large format and multi-screen production and exhibition in Japan Jasper Sharp, University of Sheffield (UK) A few years after the introduction of widescreen cinema to Japan with the Tokyo premiere of The Robe on 26 December 1953, the country produced its first anamorphic feature, The Bride of Otori Castle. Directed by Matsuda Sadatsugu and released by Toei on 2 April 1957, it ushered in a new era of widescreen filmmaking, and within a matter of years, the industry’s conversion to anamorphic production and exhibition formats was more or less complete, with each of the major studios pioneering their own widescreen systems. The era marks the turning point from when Japan’s status changed from that of an adopter or adapter of screen technologies developed overseas to that of an innovator, with a profound impact on the films produced by other Southeast Asian countries. This presentation looks at those exhibition formats that failed to be taken up by either the local or global industry, or which took place outside of the standard theatrical exhibition circuit and are therefore overlooked by film historians. I shall look at the politics and economics behind Japan’s relatively early adoption of the American 3-screen Cinerama process in the 1950s. In the subsequent decade, a number of figures in the avant-garde filmmaking community, including Oe Masanori and Matsumoto Toshio, also experimented with multiple projection techniques to play upon notions of expanded cinema, film projection as a performative act, and the immersive nature of the viewing experience. This in turn is linked to Japan’s role in the first official showcasing of the Canadian-developed IMAX system at the Osaka Expo 70. IMAX represents an alternate exhibition network that initially operated on very different principles to conventional cinema. Japan has played a crucial role in its evolution, producing a number of films and first demonstrating a working 3D IMAX system at the 1985 International Exhibition at Tsukuba. While IMAX succeeded to find its own niche in the global exhibition market, other now obsolete large-scale formats developed in Japan, such as Astrovision, JAPAX and Tsugami-rama will also be considered, in order to draw conclusions as to what extent current developments in the Japanese exhibition market, including 3D presentation and the Korean 4DX system, will feature in the future.

PANEL 2: MOVIEMAKING STRATEGIES 1 December 2012, NAB 326, 13.30-15.00

Behind the scenes of Autodesk Maya Aylish Wood, University of Kent (UK) There are many visible digital spaces, and they are often seen on-screen: computer generated and manipulated entities and environments that inhabit the moving image world. But there is another side to digital space, one that remains more intangible as it exists out of reach behind and beyond the screens through which digital constructions appear. One example of such a digital space is associated with software, and as Kitchen and Dodge (2011) argue ‘software matters because it alters the conditions through which society, space, and time, and thus spatiality, are produced (13).’ In the world of moving image production, Autodesk Maya is pre-eminent amongst 3D animation packages. It is used in the visual effects, advertising, and television industries, science visualizations and the games sector. This paper presents a study of Autodesk Maya that is informed by software studies (Kirschenbaum, 2008; Parikka, 2011). With a complex interface for users, and an output of images variously rendered for games, narratives, information and adverts, the computer and software tend to be taken as nonvisual and transparent (Chun, 2011). A closer look at the user interface of Autodesk Maya reveals that it offers a hybrid space. The more familiar 3D space of objects that become drawn into the realities of fictions, coexist with intangible spaces configured by software processes and procedures. The latter are understood through a range of texts: interviews carried out with users of the interface within different industrial sectors, training and publicity materials, as well as looking at the software directly. Thinking procedurally adds another register to debates about digital entities. Not only can we think about how we digitally construct variations on our world, but also how digital spaces coexist beside our more familiar ones and shape their possibilities.

Exploring creativity in film subtitling Rebecca McClarty, Queen’s University Belfast (UK) Film subtitling has typically adopted a one-size-fits-all approach that adheres to norms and conventions rather than the individual style of the film text. Although subtitles have occasionally been used for specific stylistic purposes, as in Desperanto (Rozema, 1992), Man on Fire (Scott, 2004) and La Antena (Sapir, 2007), such aesthetic practices have rarely impacted upon interlingual film subtitling – perhaps with the exception of Bekmambetov’s Night Watch (2004). Similar uses of screen typography have also begun to emerge in television, most notably in BBC shows such as Sherlock (2010-2012) and The Good Cook (2011). However, as in the case of films, the emerging use of creative screen typography in television has not yet influenced the normative nature of the professional subtitling practice. This paper will seek to explore the potential for creative forms of subtitling in film translation. By drawing upon examples from the Spanish film Camino (Fesser, 2008) – for which creative subtitles were produced as part of my Practice as Research PhD – this paper will demonstrate that subtitles may become an extension of the film text, reflecting the film’s visual style, verbal rhythm and characterisation. Rather than imposing a normative, constrained practice, therefore, creative subtitling offers a flexible approach wherein the style of the subtitles is dictated by the style of the film itself. Having considered the creative subtitling method, this paper will then analyse the reception of these subtitles by an Englishspeaking audience. Through quantitative eye tracking data and qualitative focus group discussions, this analysis measures the audience’s experience of the subtitles and the levels of cognitive processing required for the subtitles’ reception. In this way, this paper will call into question the theoretical grounding of current normbased subtitling practices and open the path for future explorations of creativity in film subtitling.

The trip as a script: mobility as a tool for creation in artist’s cinema Miro Soares, Sourbonne University (France) The journey has always been a source of inspiration explored in many different ways in films from all over the world. The list of these productions is so vast that road movie has become a genre in cinema. In most cases, the itineraries of the trip appear not only as the place for the story but also as a main character. Eventually it is also an element that would open up a space in the script making room for improvisation in the film. In artist’s cinema, which can be generally understood as a specific segment in moving images based on principles of both production and distribution much more related to art, documentary and experimental cinema than the usual cinema industry, the journey – more than a source of inspiration – can become an active tool for creation. It places the artists in a modified state of mind and of contact with the environment around him. The artists can then make use of this condition to produce artworks expressing a personal, critical and poetic point of view about the world. Here I intent to analyse aspects of audiovisual productions connected to the issue of mobility and, therefore, to the context of globalization, of liberal global market and of cultural transnationalism. These works are part of a specific segment in art in which the displacement, the journey, and/or the walk itself assume a major role in the creative process. They are relevant because they push us to reflect on the issue of mobility at the same time that they collaborate to expand the borders in moving images.

PANEL 3: REGULATION OF SPACE

1 December 2012, NAB 314, 15.30-17.00

From Morning Lane to Gillet Square, or death of an artist in public space Larisa Blazic Larisa will present a reflection on 5 years of her artistic practice and practice-led research in moving image in public space. She will talk about experience with producing three projects, Morning Lane, ITPOS and Mezzo moderno, mezzo distrutto, experimentation with methodologies of planning and pre-production to successful completion such as issues surrounding fundraising for individual artistic practice in this context and permissions from local authorities to aesthetic concerns related to screening in transitory public spaces that influence creative decision-making.

Study of interactions with public screens: introducing ‘methodological sitespecificity’ Zlatan Krajina, University of Zagreb (Croatia) In this paper I want to challenge, from a methodological angle, claims that recent proliferation of varieties of screens in public urban spaces generates a placeless world. My empirical explorations of everyday interactions with media façades, advertising screens and installation art in a street, a square, underground transport tunnels and a promenade in London (UK) and Zadar (Croatia), suggest that people, on repeated encounters, ‘domesticate’ screens as intimately meaningful pieces of street furniture. Globally recognisable screens are given locally relevant roles, such as points of escapism from a busy or intimidating site, sources of subsidiary street light or pieces of colourful décor. If mediated urban scenographies are thus a complex mix of material realities and electronic images, research practice itself faces a double, and often conflicting, requirement. Flexibility needed in responding to ever-changing contexts of media consumption is met with rigidity in maintaining a set research framework in the messy urban field. In turn, a study of interactions with public screens requires developing a sense of what I call ‘methodological site-specificity’: orchestrating different contexts of interaction (strolling, rushing, waiting) with site-specific sets of methods (rhythmanalysis of walkers’ flow, ‘walking diaries’, covert and participant observation).

PANEL 4: LIMITS OF FILM

1 December 2012, NAB 326, 15.30-17.00

An eloquent failure: narrative, memory and history in the film Bitter Lemons Lennaart van Oldenborgh One reaction we received from a representative of a well-known documentary film festival at an earlier stage of development of Bitter Lemons was: “oh yes that film that doesn’t really have a story...”. It slipped out more or less unintentionally but it was a damning verdict in a context where ‘story’ – narrative, character progression, dramatic arc – is everything. However I think the relative cinematic failure of this film is an eloquent failure: it reflects a crisis of narrative in the subject of the film on several levels: on the level of character, politics and geography. The failure of many of the protagonists to come to a coherent narrative of their displacement, their geographical identity, speaks of the trauma of the conflict in 1974. However, narrative failure is not only a function of trauma, of a blocked memory, but also of a distorted, manipulated memory, both on individual and social levels. This, in turn, surely is a reflection of the political failure to come to a historical narrative of what Cyprus is and who is a Cypriot; of the suspension of a conflict, frozen in time, of which individual testimonies cannot be adequately ‘emplotted’ into a national-historical account. In Paul Ricoeur’s progression from memory, via testimony, to historiography (the ‘emplotment’ of individual memory into historical accounts), the archive plays a crucial role: it is the depository of testimonies – personal memories that acquire the status of ‘documents’ by being recorded and attested to – which are to be consulted and interpreted by historians who do the ‘work’ of constructing a collective narrative. Given the political failure to come to a settlement in Cyprus, narrative history is suspended, unresolved, and all recorded testimonies, including those in Bitter Lemons, can only really exist as documents in the archive, for future consultation and interpretation. It is one situation that calls for imagining a shape for the documentary archive.

On sampled time: Christian Marclay’s The Clock Margot Bouman, The New School (USA) The artist, musician and composer Christian Marclay’s work is produced in a cultural landscape “marked by the twin figures of the DJ and the [computer] programmer, both of whom have the task of selecting cultural objects and inserting them into new contexts” (Nicholas Bourriaud 2010, 13). His videos manipulate stockpiles of pre-existing cultural data drawn from thousands of films (and television shows) into shapes of his choosing. Unlike earlier artists who sample (such as Sherrie Levine or Louise Lawler), Marclay fluidly oscillates between production and consumption; extending the conceptual boundaries of sampling by emphasizing its intermediality. For example, Telephone (1995) recombines telephone exchanges into a singular conversation, creating out of multiple, unrelated film clips an experimental narrative form. Video Quartet (2002), a fourchannel projection, produces an audiovisual composition formed of fragments in which characters sing, dance, and play. In his recent work The Clock (2010), Marclay’s sampling moves between cinematic time and the real time of a 24-hour day. Film and television clips featuring clocks are braided together, and synched to match the chronological time of their site: if it is 3:47pm inside The Clock, it is 3:47pm on July 17, 2012 in New York City. In my paper, I consider how painstakingly matching a sampled cinematic double to each passing second of real time in The Clock produces an uncanny slippage between onscreen timekeeping and everyday experience. This already takes place, as Chris Rojek observes elsewhere, between filmed spaces and their doubles. For Rojek, the cultural significance of sites are in part produced through representational culture, which in turn “increase the accessibility of the sight in everyday life” (1997: 53)—Times Square, the Millennium Wheel, or the Eiffel Tower—through their ubiquitous representations. Like Marclay’s sampling, neither factual nor fictional space is privileged (Rojek 1997: 53). Rojek defines this unstable oscillation of influence as dragging. “Cinematic events are dragged in to the physical landscape and the physical landscape is then reinterpreted in terms of the cinematic events” (1997: 54). With The Clock, Marclay both drags everyday life into the cinematic narrative—defined by Christian Metz as “a closed discourse that proceeds by unrealizing a temporal sequence of events” ([1968] 1991, 28)—and, as I will go on to demonstrate, cinematic narrative into everyday life, eradicating the primacy of the former’s closed system and transforming everyday time into an aesthetic experience.

Alongside and beyond: why paracinema? Cathy Rogers, Royal College of Art (UK) Paracinema is a term being used to differentiate between experimental film practices that privilege cinematic phenomena, such as light, time and duration over those that are rooted in the exploration of the material qualities of the film medium. Through the works of Anthony McCall and Tony Conrad, theorist Jonathan Walley re-introduces this term, first coined by Ken Jacobs in the late 1960’s, to suggest an idea of cinema without film. During the ‘60s and ‘70’s, in both America and Great Britain, artists and experimental filmmakers were testing the limits of the film material and apparatus of cinema; working in ways that were antithetical to mainstream cinema, questioning the relationship between the viewer, the projection/screen and the site of projection. This presentation will reflect on the different strategies used by experimental filmmakers working in expanded formats alongside those adopting a structural materialist approach, together with contemporary artists’ use of the film medium, in order to posit the question how film (celluloid), when presented as projection, object, and as a component of sculptural installation, communicates ideas of motion, movement, space and time. Bergson’s theories of time, duration, movement and motion will be discussed alongside a revisiting of Bazin’s ideas on the ontological nature of cinema, to propose how experimental techniques of making the film image, communicate time, motion, movement and duration, in opposition to forms of paracinema ultimately proposing the idea of an autonomous place for film outside of cinema.

PANEL 5: CLOSER OR CLOSED: PRESENCE AND PERFORMANCE 2 December 2012, NAB 314, 11.00-12.30

Multiplex cinemas and alternative content: the case of National Theatre Live! Su-Anne Yeo, Goldsmiths, University of London (UK) Once the primary site of commercial entertainment and the exhibition of film, the multiplex cinema is increasingly the site of the consumption of “alternative content”-- live and recorded transmissions of opera, theatre, ballet, and classical music, even sport. This paper draws upon previous scholarship in film history, the globalization of media, and the cultural studies of satellite television in order to understand the multiplex as a site of media convergence, and a contested realm. Using the case study of National Theatre Live (NT Live), the paper questions how alternative content is reconfiguring the cinema as a cultural institution and cinemagoing as a social practice. Now in its third season, NT Live is a series of live and recorded theatre performances transmitted via satellite from the National Theatre (NT) in London to movie theatres around the UK and in select cities around the world. How should we make sense of the NT’s foray into digitalization? Why are exhibitors such as Picturehouse suddenly interested in the screening of the performing arts? Is the NT Live’s tagline of the “Best of British Theatre Broadcast Live to Cinemas Around the World” an attempt to shore up nationalism? Or is it simply a marketing exercise to sell more tickets to cinema-goers overseas? What new social imaginaries are live cinema events creating, and why? By analyzing these recent developments in theatrical exhibition, the paper will shed light upon alternative content not simply as the product of the convergence of media technologies, but as the convergence of a constellation of material practices and official and popular discourses that potentially transform our common sense understanding of notions of cultural value and technological change, and indeed the nature of the cinema itself.

A historic overview of telematic performance art Maria Chatzichristodoulou [aka Maria X], University of Hull (UK) The spirit of internationalism projected by Fluxus and pertinent to all networked and telematic practices aimed to bring together artists separated by physical and geographical boundaries into distributed, global collaborative environments. This paper proposes to embark on a brief historical overview of telematic performance art, starting with Kit Galloway and Sherrie Rabinowitz’s Satellite Arts Project (SAP): ³a space with no geographical boundaries² (1975-7). SAP was a utopian project that sought to create what in the past had been impossible - unthinkable even - connections between people, geographic locations, and disciplinary practices. Galloway and Rabinowitz¹s experimentations made use of satellite technologies. Despite their idealistic overtones, the projects were funded by NASA and other corporations these were expensive technologies that only select few could access. In the 1990s the World Wide Web brought the possibility for telematic connectivity to much broader constituencies, and that is also when telematic performance ‘came of age’. Notable examples of such practice are USA-based companies Troika Ranch and AlienNation, Australian Company in Space, and UK-based The Chameleons Group, Station House Opera, and artist Paul Sermon. This paper will reflect on recent telematic practice to consider whether Galloway and Rabinowitz’s utopian vision has a place in contemporary distributed culture, whereby personal screens challenge geographical boundaries and international connectivity has become a mundane act.

Surveillance Chess !Mediengruppe Bitnik (Switzerland) !Mediengruppe Bitnik will be talking about their artistic practice which focuses on manipulating mediatized realities and live media feeds. Their latest work «Surveillance Chess» deals with urban video surveillance spaces. Equipped with an interfering transmitter !Mediengruppe hack surveillance cameras in pre-Olympic London and kidnap their signals. Bitnik replace the real-time surveillance images with an invitation to play a game of chess: “How about a game of chess? - You are white. I am black.” The security staff’s surveillance monitor located in the control room becomes a game console. «Surveillance Chess» is an art performance for a single recipient: the CCTV operator in his control room. The invitation the play chess makes it clear that the unfriendly takeover is intended to be friendly: The game establishes equality between observer and observed. And the otherwise one-directional surveillance system suddenly becomes a communication channel. «Surveillance Chess» shows that it is possible to intervene into surveillance systems in public spaces. It also shows how easy it is not only to shift the power structure of these systems, but to reverse them altogether.

PANEL 6: CHALLENGING THE FILM ARCHIVE: POLICY, MATERIAL AND (RE-)USE 2 December 2012, NAB 326, 11.00-12.30

Eyeing the Nederlands Filmmuseum: why the Filmmuseum became a new institution Ramesh Kumar, New York University (USA) This paper will explore the political and economic motivations behind the creation of EYE: Film Institute Netherlands as a new “sector institution” for Dutch cinema, set up by merging four other institutions in 2010 to operate within the larger framework of international cultural policy of the Netherlands. It will place EYE at the intersection of multiple force fields to ask what it means to be a “national film institution” in the contemporary socio-cultural milieu, and deconstruct its identity through an analysis of internal, national and European cultural policy documents. It will argue that the creation of EYE is located at the intersection of three force fields—the global neoconservative turn resulting in the pursuit of a stronger Dutch national identity; the quest for a stronger European cultural identity; and the worldwide economic crisis that has reconfigured institutions in the cultural sector. EYE also operates within the larger schema of memory institutions, but with a floating identity that is torn between the roles of a “film museum”, a “film archive”, and a “film educational center” brought together under the rubric of a “film institution”, with its role as a museum taking precedence over the others. In addition to discussing the specifics of each of these and the way they impact EYE’s functioning, my paper will explore the economic need for EYE’s increased visibility and expound on the significance of its (re)branding and relocation to an awardwinning new building built by the global financial institution ING in the north of Amsterdam.

Multiple screen, multiple stories – associative visions of film history in Eye’s panorama Christian Gosvig Olesen, University of Amsterdam (The Netherlands) The opening of the new public building of EYE: Film Institute Netherlands in April 2012 saw the inauguration of the institution’s new exhibition space the Basement. Amongst the presentation formats in this area one finds the Panorama: a fully darkened room, lighted only by projectors with four consoles standing in the middle. From the consoles, museum visitors choose digitised film fragments out of EYE’s collection from a large variety of categories such as for example Film Stars, Colour or Battle. According to the choices made, the fragments are subsequently projected and juxtaposed through a multiple-screen setup on the walls surrounding the spectator. The Panorama presentation stands out as an archival presentation format by emphasising not only what is seen on screen but also next to it. Based on the spectator’s associations between categories it generates a meeting between radically different archival sources, thus engaging in a play with film history where the source material’s meaning becomes increasingly dynamic. The vantage point offered by the Panorama and its approach to film history seem almost to echo and embody Jean-Luc Godard’s famous claim that “Film is not one image after another, it is an image plus another image forming a third—the third being formed by the viewer at the moment of viewing the film”. Departing from this observation the question arises as to what kind of image of film history the museum visitor creates through the multiple-screen setup and what role the individual histories of the fragments occupies in it. This paper reflects on the notion of film history in EYE’s Panorama by looking at the history and life cycles of a selected number of fragments and the meanings they take on in their meeting with other clips in the Basement.

Remix: provenance, ‘aesthetic of access and distribution Claudy Op den Kamp, Plymouth University (UK) As Lawrence Lessig stated in his keynote address at the 2005 O’Reilly ‘Emerging Technology Conference’, “remix has not simply emerged with digitization; it has always been a part of any society’s cultural development”. Although new technologies and new ways of distribution have motivated different modes of production, similarly, remix cinema can be seen as a continuation of analogue found footage filmmaking. Whether the fragments-to-be-appropriated are found by the filmmaker on the Internet or quite literally on the street, the final products do not only share their self-referentiality; they also share a link between their aesthetics and the (legal) provenance of the appropriated source material. In the work of filmmakers Thom Andersen and Matthias Müller for instance, the repeated duplication of lowresolution VHS tapes results in an aesthetics (which Lucas Hilderbrand has dubbed the ‘aesthetics of access’), which clearly refers to the provenance of the material— and the ‘inability’ to clear the rights for better quality material. And although the ‘cleaner’ aesthetic of more ‘institutional’ footage re-use as well as digital remix cinema might also refer to the legal status of its source material; it is also that legal status itself that has become a part of the theme and rhetoric of compilation and appropriation practices. By using illustrative case studies, this paper will try to call attention to the relation between the concept of ‘the fragment’, the archival institution, the (legal) provenance of appropriated material, the ‘aesthetics of access’ and, while moving out of the experimental avant-garde, what potential consequences might be for distributing the resulting material.

Towards a structural materialist archive: the (im)material aspects of duplication Amanda Egbe, Plymouth University (UK) This paper is concerned with notions of radical moving image archival practice and aims to answer the question: Can we seek strategies to make the archive radical, in much the same way as Structural Materialist practice sort to challenge traditional cinema? The starting point will be the assertion that some film works, including those that refuse dominant ideologies such as Structural Materialist film, resist being stored and retrieved within traditional archival frameworks; they are re-invested within the very discourse they sort to refute through the process of archiving and are therefore inevitably read within narrow institutional concerns. This paper will look at a specific case study: the notion of materialism(s) in moving image archival practice with particular reference to a network of technologies concerning the process of duplication (here duplication is referred to as not only being an element in the archiving process, but also a primary basis in all forms of film making) and the histories of the production of these technologies. Examples will include optical, contact or step printers, a reading of the pre and early history of cinema, in order to elicit a reading of duplication in filmmaking and -archiving that makes visible the paradigms that are at play in the constitution of duplication as a practice.

PANEL 7: SPREADING AND REPURPOSING IMAGES 1 December 2012, NAB 314, 13.30-15.00

Marketing into value generation and/or affective revolution Ya-Feng Mon, Goldsmiths, University of London (UK) In ‘Value and Affect’, Antonio Negri contends that ‘labor finds its value in affect, if affect is defined as the “power to act”’. The contention is put forward against the backdrop of late capitalist subsumption, where late capitalist economy absorbs all aspects of life, insomuch as the productive force of labor is now not only exploited within the process of industrial production but extensively within the processes of social reproduction. With both production and reproduction at capital’s disposal, all human actions constitute real stakes in the current economic system. One way to understand the ‘value’ in affect/action is hence to identify it with economic value, that is, the profit, or capital’s reproduction. But Negri’s theory is meant to ‘free’ the significance of affect from any possible reduction by economic calculation. He argues instead that affect enjoys an uncontainability by either late capitalist monetary regime or any objective-specific ‘use’ scheme. Furthermore, Negri concludes, this irreducible value plants the seeds of ‘revolutionary reconstruction’. Analyzing the practice of 21st century Taiwan film marketing, this paper discusses a late capitalist industry’s struggle for value production. Heavily internet-featuring, 21st century Taiwan film marketing has thus far presented an industry’s arduous journey into capital reproduction. Affect-infused, the practice witnesses the capability of labor/action to create values that are dubiously capital-(un)friendly. Mundanity-bound, it also provides a window into a further twisted vision of affectbased social revolution. My conclusion is twofold. Firstly, in capital’s highly intricate relation to labor/ affect, much of its pursued productivity cannot avoid the threat of hindrance from affect’s uncontainability. By itself, uncontainable affect could also lead up to capital’s unproductivity, or capital’s un-reproductivity. Secondly, affect-based revolution against late capitalism is a possibility whose materialization requires no less surmounting of affective uncontainability. Affect retains the ultimate quality of ambiguity. However it might thus obstruct the progress of capital reproduction, it could do that of anti-capitalist insurrection.

Active Archives use cases Constant (Belgium) An active archive is a decentralized archive which is not only open for reading but also for re-appropriation, comment, divergences, transformations. AA is a longterm research project that manifestly promotes distribution, re-use, linking and alteration of archive material in a networked context as a preservation method. This presentation integrates examples of how Active Archives tools are used by cultural associations and institutions, highlighting different ways in which it crossconnects and expands video and audio images.

Exhibiting politically sensitive stories in Northen Ireland: the Prisons Memory Archive Laura Aguiar, Queen’s University Belfast (Northern Ireland) This presentation discusses possible ways of exhibiting politically sensitive stories from Northern Ireland’s contested past. Between 2006 and 2007, the Prisons Memory Archive (PMA) took 175 participants, including former prisoners, prison staff, teachers, chaplains, visitors, solicitors and welfare workers back to the Maze/ Long Kesh Prison and Armagh Gaol to share the memory of the time spent there during the Northern Irish Troubles. The PMA adopted non-interventionist interviewing techniques: instead of a predetermined set of questions, the PMA let the prison site stimulate participants’ memory while they walked and talked. Furthermore, it utilised a key element to establish trust between filmmaker and participants: the sharing of ownership, which gives the participants the right to veto as well as to participate in the processes of editing and exhibiting their stories. A third feature is inclusivity: the archive holds stories from different sides within the prisons, from prisoners to Prison Officers, from men to women. The combination of these three protocols has proved to be important when dealing with politically sensitive stories in a postconflict context. While we seek funding to create an interactive digital archive of all the PMA recordings, we have started bringing some of the stories to the public through documentary screenings and screen installations. In 2011, the 30min film ‘Unseen Women: Stories from Armagh Gaol’ with stories from a prison officer, two Open University tutors, one loyalist prisoner and three republican prisoners, has been shown in both formats. We are currently editing another linear documentary about the women’s experience as visitors, teachers, etc. in the Maze/Long Kesh prison, which held male prisoners. This will be ready in Spring 2013 and we are currently

PANEL 8: ARCHIVE AS ALPHABET: WRITING WITH VIDEO 2 December 2012, NAB 326, 13.30-15.00

Reframing our moving images: from closed archives to open resources Paul Gerhardt (UK) Moving image and sound collections represent a final frontier for media and digital literacy. While there is growing potential for distributing, sharing, and creatively using our film and broadcast assets, the reality is that most of this material lies locked behind rights management systems; obstacles which fail to recognise their importance to digital literacy and public education. What do we need to do to replace our closed moving image archives with open educational resources? And what would the latter look like? Archives for Creativity has been working with artists and film makers to explore these issues, and to support opportunities to create new work out of our heritage collections. One of the outcomes has been the work of John Akomfrah, using archives from the BBC and elsewhere to construct a visual history of race and migration to the UK. Recent examples include the feature film, The Nine Muses, and the forthcoming The Unfinished Conversation. At the same time, work has begun to connect with new strategies by the major cultural institutions. The BFI, the BBC and the Arts Council have all supported a programme of workshops to encourage the growing interest in archives by contemporary artists and to provide opportunities to create new work. And there is growing interest in the idea of a digital public space, which can pool assets from a range of institutions for cultural and educational use and for business innovation. Moving from access to experimentation, this presentation looks at key issues facing our archival resources.

Filmic analytics: from keywords to keyframes Virginia Kuhn, University of Southern California (USA) Research with and about filmic media has exploded as access to vast archives is increasingly widespread. Yet these archives are characterized by incomplete metadata and wildly divergent content tags, making sophisticated and nuanced research difficult at best, and incomplete at worst. This presenter discusses her research project, formed in collaboration with ICHASS (the Institute for Computing in the Humanities, Arts and Social Science) and XSEDE (Extreme Science and Engineering Discovery Environment) supercomputing, to create processes and methods for making sense of vast filmic archives using a human-machine hybrid approach to indexing. The obstacles to scholarly use of filmic archives remain both technical and human in nature: From a technical standpoint, the potential of high performance computing for the analysis of massive video archives has remained hamstrung by the low efficacy of machine-read image recognition and metadata extraction. Human labor for image tagging, by contrast, is far more accurate, though traditionally has been too labor intensive and expensive to be a tenable solution. A combination of the two—a hybrid approach—would vastly expand the ability to critically engage with vast video data sets. Recent advances in cloud-based architecture and high performance graphics processing hold huge potential for a hybrid approach and the project’s group is customizing an interface, and exploring the potential of applying separate algorithms for image recognition and visualizations into the workflow in order to allow real-time analysis of video, which can then allow crowd-sourced image labeling such that the system becomes more valuable the more it is used. Visualization tools to date render “snapshots” of large video datasets, but these produce “meta-images” that hold very little explanatory power and are difficult to evaluate. They yield little usable knowledge: they become visual indices on the front end and graphs of code tolerances on the back end, neither of which can hold up as generalizable knowledge objects. Thus one of my main goals is to use interpretive frameworks to draw some useful conclusions about these large data sets by versioning approaches (e.g. crowd sourced verification of machine-read recognition). The conceptual issues that inhere when labeling images will be the other major theme I interrogate and, as such, I’ll be endeavoring to create a mix of standard tags, as well as idiosyncratic labels in order to more fully represent the possibilities presented by a vocabulary of images.

The anatomy of a film: process, collaborative endeavour and archiving in the digital age Sarah Atkinson, University of Brighton (UK) This paper takes the example of SP-ARK, the Sally Potter online film archive, to propose a notable shift from the traditional single-user archive model to emerging multi-user, collaborative forms of archival scholarship. The digital preservation and presentation of archival materials dramatically impact upon the nature of the types and levels of access to primary film materials and their associated ephemera that are afforded. Moreover, the nature of the discoveries, insights and findings that can be made through online digital interfaces are radically altered. This paper explores the SP-ARK model and argues for a re-thinking of archival process design and will contend that, in an ever-shifting digital landscape, the archival planning for future feature-film projects might be usefully considered at the earliest stages of the production. This paper goes onto propose an online archival model, which will create a new way to experience film, a platform upon which viewers can ‘peer behind the cinema screen’ where the film itself is a malleable text in which the inner workings can be accessed. The paper raises questions such as: what if you could interact with the fabric of a film to reveal the layers of people, process and structure that are underneath it? What if you could click at any point on the surface of the film and delve deeper into the production processes? The study of film has been dominated by the close textual analysis of the finished film, with little opportunity for consideration of the people, processes and industry that have created it. The audience’s window into the world of filmmaking tends to be framed by limited insights included as additional material on DVDs, usually presented by the film’s Director or Producer. There are limited chances to have meaningful engagements with the fascinating materials that have been generated as a result. The Anatomy of a Film will provide an exceptionally rich picture of the featurefilmmaking process in all its intricacies on a micro level and, on a macro level, insights into the broader context of the UK film industry.

In pursuit of digital eloquence: participatory archives, distributed authorship, and the scholarly essay Vicki Callahan, University of Southern California (USA) In this presentation, I explore how recent digital tools, particularly here the online publication platform, Scalar, can expand the possibilities for scholarly writing and indeed “eloquence.” Starting from Hannah Gray’s description of humanist “eloquence” as a move away from knowledge as pure abstraction to a union of form and content and a familiarity with many models of expression,[i] “digital eloquence” builds on the objective with a facility across disparate research terrains, new archival forms, and even collaborative authorship. Specifically Scalar’s potential for fostering non-linear or multi-path histories will be engaged as a way to address a certain rigidity or uniformity in the historical writings around the silent film actress and director, Mabel Normand. Although seen as a star whose scandal-plagued career prevented a significant or lasting impact on the cinema, Scalar’s media rich environment enables us to map out the actress’s distinct performance style with considerable visible evidence to the contrary. Here the work of numerous film collectors and established archives, who have posted work online can be linked and compiled into a new “archive” of material once only accessible to a few scholars in disparate and discrete locales. Moreover, the star’s work as a fashion model prior to her film career plays an important role in her unique style and an image rich context is key to illuminating this discussion. The impact of fashion becomes another layer, or even pathway, through the alternative history that is being assembled. Finally, the scholar’s own writings on Normand’s style and place in film history can be put in dialogue with other voices, inside and outside of the academy. These distinct views, from independent researchers, to fans, and artists, contribute to a conversation with leaves the scholar’s findings intact, but not necessarily inviolable, and offers an opportunity for a collaborative text to emerge.

WORKSHOPS

Database Filmmaking 29 November, Deckspace, 11.00 - 13.30 Lisa Haskel & Adnan Hadzi During the course of the bts.re conference this platform will be used together with the open source video editing package kdenlive, installed on the Pure:Dyne memorystick, to create a series of ‘versioned’ edits of material provided by dek.spc. org. We will also be inviting remote participants to contribute additional raw media and participate in editing. The workshop will introduce participants to database filmmaking where material and images from the SPC archive will be edited to submissions from the Deptford. TV database. Footage taken from Deptford.TV was filmed during a previous TV hacking workshop where participants equipped with CCTV surveillance signal receivers were lead through the city by incoming surveillance camera signals. CCTV video signal receivers cached surveillance camera signals into public and private spaces and were made visible: surveillance became sousveillance. By making images visible which normally remain hidden, we gain access to the “surveillance from above” enabling us to use these images to create personal narratives of the city. The workshop will look at constructing a possible narrative. Deptford.TV is a research project on collaborative film - initiated by Adnan Hadzi in collaboration with the Deckspace media lab, Bitnik media collective, Boundless project, Liquid Culture initiative, and Goldsmiths College. The Pure:Dyne memorysticks are created by GOTO10. GOTO10 is a collective of international artists and programmers, dedicated to Free/Libre/Open Source Software (FLOSS) and digital arts. GOTO10 aims to support and grow digital art projects and tools for artistic creation, located on the blurry line between software programming and art. http://goto10.org

VJing and Videomapping 29 November, Deckspace - DEK, 14.00-17.00 30 November, Deckspace - DEK, 11.00-13.30 Dr. Blanca Regina Pérez-Bustamante Dr. Blanca Regina presents a lecture and a workshop entitled Expanded and Live: towards real time composition and performance, which focuses on the different ways of approaching audiovisual composition via scoring practices and improvisation, mixed media and interactivity. The language and developments in video art, performance art, expanded cinema, mixed media and the interactive scene evolve within different approaches and concepts. How and what do we look and listen at? What is our relation with analog and digital forms of content production? What are the basic notions we shall be aware of in the production of audiovisual performance and live cinema works? The first session will be a theoretical introduction based in a public lecture and the second one will focus in working in groups in order to explore real-time, scored and improvised audiovisual compositions. Keypoints include: introduction to expanded cinema, audiovisual and multimedia performance, language and tools for the production of A/V real time and the conjunction of performance art, fine arts and music.

Porn Screenplay 30 November, Deckspace - BIT, 11.00 - 13.30 Gabriel Menotti This activity is organized in the guise of a regular screenplay laboratory, in which people meet up to discuss plot ideas and develop them into film scripts. The participants are instructed to apply traditional tools of screenwriting to the specific genre of the porn movie, a boundary-form that has very particular characteristics. Besides the overt exercise in storytelling, the laboratory also promotes a hands-on investigation of the structures of mediatic representation. Is the visual spectacle entailed by pornography amenable by the same form of notation as bourgeois melodrama? As the participants try to combine these seemingly antagonistic elements, what is revealed about the standard means of film production and the way they shape image making? What histories of cinema might emerge from this incompatibility between technique and effect? The workshop is open to both professional and amateurs. It will include commented screenings about the language and structure of porn movies, as well as tutorials and exercises in screenwriting. The final outcome is that the participants produce scripts for short movies. How this will be done (and how to assess its success) is to be defined during the workshop.

Active Archives - Writing with video 30 November, Deckspace - DEK, 14.00 - 17.00 Constant VZW Using the Active Archives video wiki, we would like to explore how we can ‘Write with video’ through the annotation of video’s that are available online. The videowiki supports thematic editing of distributed video material through keywording and automatic playlists which themselves can be annotated, nested and interlinked. Active Archives does not treat video as heavy, closed black boxes but instead likes to play with the potential of timed information to be fast and furiously combined, cut up and re-ordered. Participants are invited to bring their own (previously uploaded) video material and/or to work with footage that is readily available from on-line repositories. We will work on a collective visual narrative by writing, collaging, searching, marking up, working with and around this temporary collection.

Augmented Reality 30 November, Deckspace - STUDIO 3, 14.00 - 17.00 Dr Julian Henriques (Goldsmiths) & Will Collett (Aurasma) Participants in this workshop download onto their own iphones, ipads etc and play around with the new Aurasma AR app. Will Collett demonstrates the app and compares it with others in the AR field. Aurasma is taken as an example of current trends in both digital technologies and their social and cultural applications. Julian Henriques raises some points of interest: AR as a layering of information and images on top the actual world, compared to the previous simulation paradigm of virtual reality (VR); locative media and speed (Virilio’s dromology); image search and recognition software compared with conventional index, code or tag searches; screen-depths and screens within screens; space/ time/ information explosions and implosions. [www.aurasma.com]

Recreating Sounds for Film 30 November, Deckspace - BIT, 14.00 - 17.00 Sue Harding A workshop to discuss why foley is used and how it is created and performed. Foley artist Sue Harding will demonstrate techniques and talk about creating sound effects, using unusual materials such as coconut shells, frozen romaine lettuce, cornstarch and gelatin to reproduce background noise. She promises to engage audiences by offering them the experience to listen and, as they do, to pervert the concept of sound design. Participants will “foley” a scene themselves, building an entire soundtrack from scratch, and investigating questions such as: what is design? Who owns it and how can we deconstruct it?

SCREENINGS/PERFORMANCES

Bitter Lemons (HDV, 90’) 29 November, NAB LG01, 19.00 – 21.00 Bitter Lemons is the moving story of a friendship between enemies that survived against the odds over 30 years of separation. It provides a unique local perspective on the largely forgotten conflict in Cyprus, which became part of the European Union in 2004, from people who have lived with the consequences of this conflict, the memories, the minefields and the barricades, since 1974. A film by Lennaart van Oldenborgh and Adnan Hadzi.

Lightrhythm Visuals 30 November, NAB LG01, 19.00 – 21.00 Celebrating its fifth anniversary, the visual music label Lightrhythm Visuals will present a selection of works from its pool of associated artists, VJs and audiovisual performers. The programme includes pieces from the anthology Currents 2012 and from Scanone’s newly released Archive. Presented by the label’s founder Ben Sheppee.

Exploding Cinema 01 December, St. James Church Hatcham, 18.30 – 23.00 The Exploding Cinema film society has prepared a special pop-up show in this multi-room screening venue. It is a night to celebrate expanded cinema, with the presentation of installation and performance work in addition to regular films and videos.

BIO OF PARTICIPANTS Laura Aguiar is a PhD candidate in Film Studies at Queen’s University Belfast. She holds a BA in Journalism from Fumec University, Brazil, and a Master in Media and Communication from Stockholm University, Sweden. Her current practice-based research focus on collaborative film editing and screening of stories of the women’s experiences in the Maze/Long Kesh prison in Northern Ireland. Laura has also worked as a freelance journalist in Brazil and Sweden. Dr. Sarah Atkinson is Principal Lecturer in Broadcast Media at the University of Brighton. She is also an audio-visual arts practitioner, undertaking practice-based explorations into new forms of fictional and dramatic storytelling in visual and sonic media. She is particularly interested in multi-linear and multi-channel aesthetics, her own multi-screen interactive cinema installation ‘Crossed Lines’ has been exhibited internationally. Her first monograph Beyond the Screen: Future Fictions and Audiences will be published by Continuum in December 2013. Aurasma is an augmented reality platform created by Autonomy Corporation. Available as a free app for iPhones, iPads and high-powered Android devices or as a free kernel for developers, it uses advanced image and pattern recognition to blend the real-world with rich interactive content such as videos and animations. !Mediengruppe Bitnik have been hacking medial systems and live media feeds since 2003. Their work has been shown at Festivals and Exhibition Spaces like SPACE London, Folkwang Museum Essen, Kunsthaus Zürich Impakt Utrecht and FILE Sao Paulo. They have received prizes, work grants and stipends for their works on various occasions. Their artistic practice is focused on live media feeds which they like to manipulate and reproduce so as to give the viewer a novel and refined understanding of their mechanisms. Larisa Blazic studied architecture at Belgrade University and hypermedia at the University of Westminster. In the 90s, she became increasingly involved in an interdisciplinary approach towards art and architecture, successfully combining architectural design with video and sound. Current work is focused on site-specific installations exploring location as main carrier of meaning, aesthetics and politics of everyday urban experience, creative use of moving image in public spaces, real, imagined and virtual.

Dr. Margot Bouman is an Assistant Professor in Visual Culture/Visual Studies at The New School. Research interests include rhetorical forms of visual culture, avant-garde television, video and video installation art, and the mediated production of the public sphere. Publications include an essay on televisuality, anamorphosis and transient spaces in After the Break: Television Theory Today (Amsterdam University Press, upcoming) and on the mise-en-abyme as a fantasy of visibility in Space RE:solutions (Bielefeld: Transcript, 2011). Currently working on a book-length history of the unintended consequences of avant-garde television. Dr. Vicki Callahan is Associate Professor of Practice, Cinematic Arts at the University of Southern California’s Institute for Multimedia Literacy (IML). She is the author of Zones of Anxiety: Movement, Musidora, and the Crime Serials of Louis Feuillade (WSUP, 2004) and editor for the collection Reclaiming the Archive: Feminism and Film History (WSUP 2010). Vicki organizes the Feminism 3.0 website and co-authors with Lina Srivastava the site Transmedia Activism. Stefania Charitou studied Philosophy in the Aristotle University of Thessalonkin Greece. She has completed the MA in History of Film and Visual Media in Birkbeck College, London and currently completing her PhD in Goldsmiths College. Her research is focused on the material, technological and practical enactments of film. Dr. Maria Chatzichristodoulou (a.k.a. Maria X) is Director of Postgraduate Studies and Lecturer in Theatre and Performance at the School of Arts and New Media, University of Hull. She is co-editor of the volumes Interfaces of Performance (Ashgate, 2009) and Intimacy Across Visceral and Digital Performance (Palgrave Macmillan, 2012). She has lectured and published widely, including invited lectures at Yale University, MIT Media Lab and Georgia Institute of Technology (USA). Currently she is working on a Practice-as-Research project concerned with intimacy and ageing in digital times, and a monograph on networked performance and art. Constant is a non-profit association, an interdisciplinary arts-lab based and active in Brussels since 1997. It works in-between media and art and is interested in the culture and ethics of the World Wide Web. The artistic practice of Constant is inspired by the way that technological infrastructures, data-exchange and software determine our daily life. Free software, copyright alternatives and (cyber)feminism are important threads running through the activities of Constant. Dr. Virginia Crisp is Lecturer in Media and Cultural Studies at Middlesex University, UK where she is the Programme Leader for the MA Media and Communications Management. Her research interests include film distribution and dissemination,

digital piracy, filesharing and the cultural industries. A recent publication that explores these research interests is ‘BLOODY PIRATES!!! *shakes fist*’: Re-imagining East Asian Film Distribution & Reception through Online Filesharing Networks’, in the Journal of Japanese and Korean Cinema. Dr. Charlotte Crofts is a creative producer and senior lecturer in Film Studies and Video Production in the faculty of Arts, Creative Industries and Education, UWE. She is also an expert on the impact of digital technologies of all aspects of the cinema industry, and has published on Digital Decay and Cinema Distribution in the Age of Digital Projection. Currently, Charlotte is working on the ‘Lost Cinemas of Castle Park’ app, a spin off ‘Cinemapping’ experience focusing on over a 100-years of cinema exhibition and covering 13 cinemas in Castle Park and the immediate area. [http://www.dcrc.org.uk/people/charlotte-crofts] Amanda Egbe is an artist, filmmaker and PhD candidate at Transtechnology Research, Plymouth University. She is a graduate of the University of Westminster where she completed a BA (Hons) in Contemporary Media Practice. She holds a Masters in Digital Media: Technology and Cultural Form from Goldsmiths College, University of London. She has worked on collaborative film projects like deptford.tv, and archiving the work of the Tesla Research Interest group at the Computer Science Department at University College. She is a member of the film collective Exploding Cinema. Exploding Cinema is a coalition of film/video makers committed to developing new modes of exhibition for underground media; from DIY screenings in all kinds of venues to low/no budget film tours, cable T.V. and the internet. It’s TWENTY-ONE years since the Exploding Cinema was founded in a stone cold bunker at the back of a squatted sun tan oil factory in Brixton. It holds regular OPEN SCREENINGS of film/ video for makers who want a popular audience for their work. Dr. Paul Gerhardt works with cultural organisations, public broadcasters and archives to stimulate the educational and creative use of film, television and sound. Through his independent consultancy, Archives for Creativity, he has worked with institutions such as Arts Council England, the BBC, the BFI and the US Corporation for Public Broadcasting. His earlier career in broadcasting spanned the early years of Channel 4 to senior management of the BBC, where he was Controller of Learning and Head of Commissioning at the BBC/Open University. He originated and led the BAFTA award winning BBC Creative Archive project. Dr. Adnan Hadzi is a member of the !Mediengruppe Bitnik collective, and researches at the Deckspace Medialab, in Greenwich, South-East London, into the use of Free,

Libre, Open Source Software (FLOSS) within participatory ‘TV hacking’ Media and Arts Practices, focusing on the influences of digitalisation and the new forms of (documentary-) film production, as well as the author’s rights in relation to collective authorship. Dr. Janet Harbord is Professor of Film Studies at Queen Mary, University of London. She writes on the philosophy of film and cinematic apparatuses, film ecology and its co-creation of environments, film in a post-cinematic context and the life of film beyond the institution of the cinema. She is the author of Film Cultures (2002), The Evolution of Film (2007), Chris Marker: La Jetée (2009), and co-editor of Simon Starling: Contemporary Artists (2012) and with Chris Berry and Rachel Moore Public Space-Media Space (forthcoming 2013). Sue Harding has been a freelance foley artist for the past 8 years. In this time she has worked on many projects including feature films (The Reluctant Fundamentalist, Les Miserables, Quantum of Solace), TV drama (The Hollow Crown), documentary (Steel Homes), animation (Peppa Pig) and advertising (HMV). The projects are varied in their requirements, ranging from creating sounds for a bloody war to delicate textures for an animation. Dr. Julian Henriques is a filmmaker, academic and sound artist based in the Department of Media and Communications, Goldsmiths University of London. He co-convened a conference ‘Media and the Senses’ which was accompanied by an exhibition of sound art. In November 2011, as a result of his research and creative work in the new Topology Unit, he presented a sound art installation at the Tate Modern in the theme of Embodying Transformation. In the same year, he published the book Sonic Bodies (Continuum, New York and London). Claudy Op den Kamp is a PhD candidate at Transtechnology Research at Plymouth University, working on a research project entitled ‘Copyright law and the re-use of archival footage’. She is a graduate of the University of Amsterdam (Film and Television Studies) and holds a Masters in Film Archiving from the University of East Anglia. Most recently, she worked as Haghefilm Conservation’s Account Manager in Amsterdam and prior to that as a Film Restoration Project Leader at the Nederlands Filmmuseum. Dr. Zlatan Krajina is Lecturer at the University of Zagreb, Faculty of Political Science. He convenes postgraduate courses ‘Media and the City’ and ‘Media Audiences’, and is interested in how material, symbolic and affective components of media cities converge in everyday living.

Dr. Virginia Kuhn serves as Associate Director of the Institute for Multimedia Literacy and Assistant Professor in the University of Southern California’s School of Cinematic Arts. In 2005 she defended one of the first born-digital, media-rich dissertations in the US, and last year she published the first article in the digital authoring platform, Scalar, for the International Journal of Learning and Media (“Filmic Texts and the Rise of the Fifth Estate”). She directs an undergraduate Honors program, serves on the editorial board of both print and digital journals, and serves as Co-Chair of the SCMS SIG, Media Literacy and Pedagogical Outreach. Ramesh Kumar is a PhD candidate in Cinema Studies at New York University, working on a dissertation on the administration of national audiovisual archives, internationally, with a focus on the National Film Archive of India, EYE: Film Institute Netherlands, and the National Film and Sound Archive, Australia. His other research areas include Cultural Policy, and Childhood and Cinema. Lightrhythm Visuals is an audiovisual label that curates and commissions a strong selection of visuals and creative video content for live events and performances. LRV has become one of the most established networks in VJing, with around 50 associated artists and 10 DVD releases. It often collaborates with leading international film and music festivals to showcase and promote upcoming talent through performances and screenings. Alison Reiko Loader has taught Fine Arts at Concordia University in Montreal since 2001, and is currently pursuing a PhD in Communication Studies. A lapsed National Film Board of Canada filmmaker that specializes in digital animation, she applies her interest in old media technology to making short films, media installations and site-specific works that reimagine histories of women, place and visual technologies. Her current research explores the founding of the Edinburgh Camera Obscura by a mysterious woman named Maria Short. Rebecca McClarty completed her undergraduate degree in French and Spanish at Queen’s University Belfast in 2008 and began a Masters in Translation in the same year. After working as an in-house translator, Rebecca returned to Queen’s to begin her PhD in October 2010. Her practice-based thesis, entitled Film and Translation: the Art of Subtitling draws on concepts from both Translation and Film Studies in order to suggest a new turn towards a stylised, creative form of subtitling that responds to the individual characteristics of a given film text. Dr. Gabriel Menotti acts as an independent curator engaged with different forms of cinema and grassroots media. He holds a PhD in Media and Communications

(Goldsmiths) and another in Communication and Semiotics (PUC-SP). He has just published his first academic book, Através da Sala Escura (Intermeios, São Paulo, 2012), investigating the history of movie theatres under the light of contemporary art practices and VJing. [bogotissimo.com/b2kn] Ya-Feng Mon is a PhD candidate at the Department of Media and Communications in Goldsmiths College, University of London, where she researches industry-audience experiential engagement by probing the relevance of cinema and the internet as prominent technological mechanisms that have informed both film production and film consumption. ‘Tragic But Brave’, her critical essay on the documentary films by British filmmaker Kim Longinotto, was published in The Book on Women-made Moving Images in 2006. Lennaart van Oldenborgh is a documentary film editor and director living and working in London. In 2004 he was awarded a distinction for his MA in Screen Documentary at Goldsmiths College, University of London. During the 1990s he lived and worked as a media artist in Amsterdam, Netherlands, including a 2 year residency at the Rijksakademie van Beeldende Kunsten. He has exhibited in galleries and media art festivals in the Netherlands, Belgium, Germany, Spain, Poland, Denmark, Switzerland, Italy, Scotland and the United States. Christian Gosvig Olesen is a PhD candidate at the Institute of Culture and History of the University of Amsterdam. He holds and MA degree in Preservation and Presentation of the Moving Image from the University of Amsterdam, and has studied film history and theory at the universities of Copenhagen and Bologna. His research project Archival Excavations, Institutional Derivations commenced in the fall of 2012 and investigates the relationship between film archiving and film history in digital presentations of archival film in European film archives. Dr. Blanca Regina Pérez-Bustamante is an educator, artist and curator. Her research interests and practice focuses in improvisation, real-time performance, “Expanded” and “Live” cinema, music, digital humanities and education. She Member of Material Studies, an open-to-all project focused in playful collective exploration of the sounds within matter, founded with Matthias Kispert and Andrew Riley in 2012, as well an active member of London Music Hackspace and Live Cinema Foundation. Cathy Rogers is an artist working with super 8 film responding to site-specific situations. She is currently conducting an MPhil research degree at the Royal College of Art, London titled ’Film outside Cinema’. Her work has been published in Sequence magazine (No.w.here, London) and also in the Public journal (issue 44, York University, Toronto).

Jasper Sharp is an independent curator and film historian currently researching widescreen cinema formats and exhibition technologies in Japan as a postgraduate student at the University of Sheffield. He is the co-editor of the website Midnight Eye, and his book publications include Behind the Pink Curtain: The Complete Guide to Japanese Sex Cinema (2008) and Historical Dictionary of Japanese Cinema (2011). He has been the director of Zipangu Fest, an annual film festival focusing on Japanese independent and experimental cinema, and has also programmed a number of high profile seasons and retrospectives of Japanese cinema at different institutions. Miro Soares holds a MA in Contemporary Art from Grenoble Art School and a MA in Arts and Digital Media from University of Paris 1 Panthéon-Sorbonne, where he is currently a Ph.D. candidate in Arts and Sciences of Art (Scholarship granted by CAPES, Brazil). Visual artist, filmmaker, researcher and traveller, he has been working exploring the concept of art in context. His work has been exhibited in shows and film festivals, including at: Centre Pompidou (France), Amber Festival (Turkey), Oi Futuro and FILE (Brazil). Soares was awarded by the Fundação Bienal de São Paulo, was commissioned by the Centre Pompidou and granted by the Bergen Kommune. Daniel Strutt is a final year PhD Student at Goldsmiths University, supervised by Rachel Moore. His research topic is the new ontological and metaphysical formations put forward in the affective dynamics of digital screen media. This project takes in aspects of philosophy of technology, theories of mind, aesthetic and affect theory. Daniel also studied his MA in Screen Studies at Goldsmiths. Dr. Aylish Wood is a Reader at the University of Kent. She has published articles in Screen, New Review of Film and Video, Film Criticism and Animation: an Interdisciplinary Journal. Her book Digital Encounters (2007) is a cross media study of digital technologies in cinema, games and installation art. She is currently working on an Arts and Humanities Research Fellowship to look at the intersections between software and the production of moving images. This study encompasses games, animations, visual effects cinema, and science visualizations. Su-Anne Yeo is a final year PhD student in the Department of Media and Communications at Goldsmiths, University of London. Her thesis analyses alternative modes of screen distribution and exhibition in the Asia Pacific region. She has presented her research at conferences nationally and internationally, most recently at Screen, and has published work in both online and offline publications in Canada and the UK.

CREDITS

Organization & programme Stefania Charitou Virginia Crisp Adnan Hadzi Gabriel Menotti Webmaster Gavin Singleton Programme design Vinícius Guimarães External helpers Maitrayee Basu Kerstin Müller Yigit Soncul Xingning Xiao Acknowledgements Nick Couldry Sean Cubitt Natalie Fenton Rachel Moore James Stevens Pasi Valiaho Joanna Zylinska.

http://bts.re twitter.com/bsidesthescreen

The Besides the Screen 2012 conference was made possible by Goldsmiths’ Media and Comms’ Research Fund, in association with Middlesex University and the Deckspace Media Lab.

SUMMARY/ SCHEDULE

Nov 29 11.00 – 13.30 WORKSHOPS: Database filmmaking (DEK) 14.00 – 17.00 WORKSHOPS: VJing and videomapping (BIT) 19.00 – 21.00 SCREENING:

Bitter Lemons (NAB LG01)

Nov 30 11.30 – 13.30 WORKSHOPS: Porn Screenplay (DEK) VJing and videomapping (BIT) 14.00 – 17.00 WORKSHOPS: Active Archives – Writing with Video (DEK) Recreating Sounds for Film (BIT) Augmented Reality (ST3) 19.00 – 21.00 SCREENING:

Lightrhythmvisuals (NAB LG01)

Dec 01 11.00 – 12.30 KEYNOTE:

Professor Janet Harbord (NAB LG01)

13.30 – 15.00 PANELS:

Future and forgotten screens (NAB 314) Moviemaking strategies (NAB 326)

15.30 – 17.00 PANELS:

Regulations of space (NAB 314) Limits of film (NAB 326)

18.30 – 23.00 SCREENING:

Exploding cinema (St James Church)

Dec 02 11.00 – 12.30 PANELS:

Closer or closed: presence and performance (NAB 314) Challenging the film archive (NAB 326)

13.30 – 15.00 PANELS:

Spreading and repurposing images (NAB 314) Archive as alphabet: writing with video (NAB 326)

15.30 – 17.00 KEYNOTE:

Dr. Charlotte Crofts (NAB LG01)