The AHRC Research in Film Awards 2018

The AHRC Research in Film Awards 2018

Campaign and evaluation complied by tpr media consultants +44 (0)20 8347 7020 | sophie@tpr-media.com www.tpr-media.com

OVERVIEW The AHRC Research in Film Awards, organised by the Arts and Humanities Research Council, are designed to recognise and reward the best of the growing number of high quality short films linked to arts and humanities research. The entries include genres ranging from documentary and drama to animation.

According to Jan Dalley, Arts Editor, Financial Times and Chair of the Arts and Humanities Research Council, they ‘...beautifully illustrate the power of film-making as a medium to capture the importance and impact of research.’

PR OVERVIEW

tpr media consultants was commissioned to develop and implement a PR campaign with the aim of building the profile of The AHRC Research in Film Awards for the second year running. After discussions with the AHRC and building on last year’s achievements, tpr media designed a high-end reputational campaign focusing on broadsheets, TV, radio and online. In addition, tpr media positioned the entries as thoughtful and inspiring works of filmmaking that encourage the public’s appreciation of the arts and humanities research.

Positioning:

• Build on achievements of 2017’s PR campaign and the targeted campaign in May 2018 aimed at raising the profile of the awards among film organisations and institutions • Create a targeted, high-end reputational campaign across broadsheets, TV, radio, trade media and online • Position the entries as thoughtful and inspiring works of research translated into film • Encourage the public’s appreciation of arts and humanities research and its impact on our everyday lives

Objectives:

• Promote The AHRC Research in Film Awards through the winning films, their filmmakers and related assets • Highlight two new categories for 2018 - the People on the Move Award: Stories of New Beginnings and the Social Media Short Award • Help to build the profile of the awards among the wider film and documentary community • Continue to build an AHRC Film community to help raise the profile of the Awards

Activities:

As well as running the media campaign, we secured three high-profile presenters for the awards: • Roger Graef: OBE, BAFTA Fellow, award-winning director/producer • Kim Longinotto: award-winning documentary filmmaker • Sophie Morgan: TV presenter and entrepreneur tpr media also invited key figures from the documentary film community as well as relevant journalists on the night of the ceremony. Sarah Harvey (Sheffield Doc/Fest), Sandra Gaudenzi (i-Docs) and Sheyma Buali (BBC Arabic Festival) were among the attendees.

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Challenges:

The Awards are only in their fourth year and it takes time to build the profile of an event. As the films are not broadcast on TV or a high-profile online publisher, it is harder to drive an audience to them – this year they were on the AHRC YouTube channel which helped with branding consistency.

Methodology

Building on last years’ experience and following discussions with the AHRC, tpr media decided to focus on the winning entries this year. For each of these, we created individual campaigns, drawing out narratives for each one, with a targeted pitch and media list. As part of the project, tpr media also liaised closely with the filmmakers, asking them to fill in questionnaires about their work; we also elicited quotes following the ceremony from the winners.

Winning films:

• • • • •

Missed Call – Victoria Mapplebeck: Social Media Short Award Black Snow – Professor Stephen Andrew Linstead: Best Research Film of the Year Award To Be Here – Sam Jury: People on the Move Award Give Me Today, Anytime – George Harris: Inspiration Award Correspondence O – Ilona Sagar: Doctoral/ Early Career Film Award

Over the duration of the campaign, we contacted more than 200 journalists across print, TV, radio and online.

This strategy required intensive targeting and follow up, as well research, writing, liaising with both the media and the filmmakers. As part of the PR campaign, tpr media also wrote and distributed a winner’s release press release and an arts-based release for both Correspondence O and To Be Here (Artist filmmakers scoop two out of five prizes at the AHRC Research in Film Awards 2018).

Coverage overview

We were delighted to build on last year’s coverage with two national pieces Sunday Times online for Missed Call and The Mirror for Black Snow. There was an interview on ITN Lunchtime News with the director of Missed Call, Victoria Mapplebeck and her son Jim. We were pleased that an article related to this was posted on ITV News’ Twitter account which has over 2 million followers. Victoria was also interviewed for 30 minutes on film podcast Establishing Shots which also appears on the cinevue cinema website. National radio coverage included Radio 5 Live’s Up all Night and Radio 3’s Free Thinking. Trade coverage included a behind-the-scenes feature in Broadcast online, the main trade for the TV industry. Art Daily coveredTo Be Here. Director of Black Snow, Stephen Linstead was interviewed on the flagship regional TV news programme BBC Look North and The Academy of Social Sciences ran an article on their website about the documentary and emailed it to their mailing list of 1300 fellows. There was extensive regional coverage for Give Me Today, Anytime and initial interest from BBC Radio 4 Woman’s Hour in an interview with the extraordinary archivist, Dr Elizabeth Roberts, who inspired the documentary.

Other strong interest that didn’t materialise included BBC Radio 4’s The World Tonight who dropped an interview about Black Snow after realising that they had covered the documentary online a year ago. BBC Radio 4’s Start the Week – who interviewed a winner from last year’s awards – were keen to interview Sam Jury (director To Be Here) but she was abroad at the time and interviews need to take place in the BBC studio.

The Telegraph and Guardian expressed initial interest in comment pieces on Black Snow.

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National

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The touching film, which can be viewed on YouTube, shows the close relationship between Victoria, 53, and Jim, now 14, as they search. The clues were a pair of baby pyjamas, a Christmas card, the two emails and 100 texts.

Their initial attempts to make contact took an agonisingly long time.

Victoria sent a text last year – and there was no response. For 13 days they waited until finally the father came back to them.

“I’d given up. I thought it was not going to happen,” said Victoria. “I was so worried for Jim. I was trying to manage expectations – it might not work out. He [the father] may not respond.”

Jim was the product of a brief, eight-week relationship between Victoria and his father – “It wasn’t the love of our life” – and then she found out she was pregnant.

The first surprise was that his father had a second son by another relationship. After Victoria and Jim made contact, the father talked things through with his current partner.

After exchanging texts a meeting was finally set up in March this year.

Jim did not know what to expect. “I was worried, but I think it was the right thing to do. I had a stereotype view and I dreamt a lot of him. But he wasn’t the stereotype I had imagined. My mum had shown me a picture of him and I thought he looked like a California surfer dude – and he’s the total opposite.

“I missed having a father when I was younger but as I have grown older I don’t seem to miss it as much. When I was growing up, it was on my mind and I was confused by it.

“The first time I met him, I really enjoyed it and got to know him. The second time I felt a bit more discouraged— I don’t know why. I’m hoping to meet him again soon.”

The pair live in Camberwell, south London, and Jim attends school in Croydon. He is thinking of a career either in acting or counselling.

Victoria said she thought it was hard for Jim missing out on a relationship with his father.

But now they have met, she added: “It’s tough working out how you build that relationship. There is no easy happy ending.”

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TV, Radio and Podcasts ITN Lunchtime News – Live interview with Victoria Mapplebeck and her son, Jim Friday 9 November 2018

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BBC Look North – Live interview with director Black Snow, Stephen Linstead Tuesday 6 November 2018

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BBC Radio 3 Free Thinking: Interview with George Harris (prod. Give me Today, Anytime) and Stephen Linstead (dir. Black Snow) www.bbc.co.uk/sounds/play/p06rr1zw 2:18 into the show

BBC Radio Five Live – Up All Night: Interview with Stephen Linstead (dir. Black Snow) www.bbc.co.uk/sounds/play/m00013cc 35:55 into the show

30-minute interview with Missed Call’s Victoria Mapplebeck – on film podcast Establishing Shots (it also appears on the cinevue website) audioboom.com/posts/7076471-how-to-make-amovie-on-your-iphone-with-victoria-mapplebeck

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Trade & specialist Broadcast behind-the-scenes – Missed Call:

Missed Call

Production company Field Day Productions Commissioner Adam Gee, Little Dot Studios Length 19 minutes Producer/director Victoria Mapplebeck Executive producers Amanda Murphy; Alex Hryniewicz; Andy Taylor Editor Lisa Forrest Music Jim Mapplebeck Post-house Envy Victoria Mapplebeck Producer/director Reader in digital arts at Royal Holloway, University of London

How do you reconnect with a father who’s been absent for over a decade? What do you write, what do you say? Add to that dilemma a teenage boy and the realisation that this private journey would very quickly become a public one. There were a lot of sleepless nights on Missed Call, the first commissioned short documentary to be shot on an iPhone X.

The doc is a sequel to 160 Characters, my first smartphone short, which I made for Film London. It brought to life a three-year SMS thread between myself and my son’s father, charting the story of how we met, dated for just a few months, broke up and subsequently dealt with an unplanned pregnancy.

Missed Call explores my relationship with my now fourteen-year-old son Jim. His father came to see Jim a handful of times when he was a baby before deciding that he didn’t want to be involved. Last year, Jim decided he wanted to meet his father and asked if I would make contact with him again.

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Executive producer Amanda Murphy helped me navigate the many compliance and ethical issues we faced throughout production.

Our aim with Jim’s dad was to preserve his anonymity and to protect Jim in an uncertain unfolding narrative. Squaring the circle of being both filmmaker and parent made this one of the most challenging films I’ve ever made.

“My son downloaded Garageband and composed the end credit music in 15 minutes. And even better, he gave me the rights in exchange for a new pair of trainers.”

For Jim, being filmed by his mum with an iPhone X was no big deal. When he looked into the lens, all he saw was me.

But in my 25 years as a self-shooting director, the camera I film with has gone from needing a bag the size of a small suitcase to one that fits in my back pocket. So here’s what I learned:

Ask for forgiveness not permission

The smartphone has transformed how we record, collect and share the world we live in, both inside and outside of the home. Over the last four years, I’ve been able to shoot on buses, on trains and in hospitals casually, exploiting a grey area in terms of filming permissions and following Werner Herzog’s advice to documentary filmmakers: “Ask for forgiveness, not permission.”

Small is beautiful

Smartphones are portable, unobtrusive and accessible, even for the most cash-strapped filmmaker.

I’ve also begun to utilise phone apps for other creative solutions when working on a tight budget.

160 Characters was made for just £2K. When my composer dropped out with only a day’s notice, my son picked up his iPhone, downloaded Garageband and composed the end credit music, all in 15 minutes. And even better, he gave me the rights in exchange for a new pair of trainers.

160 Characters received a Vimeo Staff pick and has been shared widely online. After Star Trek’s George Takei shared it to his 12 million Facebook followers, it received nearly 4,000 shares from his page alone. It’s since gathered over a million views. Proof that you don’t need a huge budget to find your audience.

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Our phones are like time machines

There’s a great scene in Mad Men when Don Draper is meeting with the team who invented Kodak’s Carousel. As he clicks through his own family album in a darkened boardroom, he begins his pitch:

“In Greek, ‘Nostalgia’ literally means the pain from an old wound, it’s a twinge in your heart… It’s a time machine. It goes backwards and forwards, it takes us to a place where we ache to go again…”

Our mobile phones have become our time machines. My vintage Nokia lies at the back of my kitchen drawer, holding that all-important first text message from Jim’s dad. My new iPhone X can access that devastating last email from him before he cut all contact a decade ago. It also contains the first text I sent him after 12 years of radio silence - and 13 days later, his reply.

My phone contains good memories too: 26,000 photos; 3,000 videos; and the jokey texts Jim sends me from bedroom to living room, requesting another five minutes on the Xbox.

You may love your phone, you may hate it, probably both, but hold it close. It’s your own personal time machine - it connects you with your past, your present and your future. It holds the traces of all your time travel, all the stories that shape you, the good and the bad… forever.

Smartphone filming essentials

No budget? No excuse The gap between your idea and your final film has never been so small.

The best camera you own is the one in your back pocket.

Look like an amateur – shoot like a professional Smartphones enable you to shoot quickly and discreetly.

Make it easy to view and share your film Get your film on as many platforms as possible.

Begin with an online launch The festival first /launch later timeline now feels out-dated.

Most festivals don’t require premiere status in the way they once did. Maximise your exposure and put your film online as soon as possible to find your audience and extend your reach.

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Making the most of the smartphone

Adam Gee Commissioning editor, Little Dot Studios

I commissioned Missed Call partly because I am a massive advocate of smartphone filmmaking. I also consider Victoria’s 2015 film 160 Characters a pioneering work in this territory.

What’s so special about what is effectively the prequel is that not only was it made largely on mobile phones, but also the narrative is derived from the contents of one old mobile in particular. It contains a resonant text thread that captures the story of a key love affair in the life of the director-cumprotagonist.

Missed Call similarly revolves around mobile phone content – video, photos, emoticons, animations, texts. The aesthetic of the film is rooted in this content, which gives it an original feel.

Between the old Nokia of the first film and the new generation iPhone of this second, the technology has advanced, the details of the graphics evolved, so the look & feel has moved on.

Because the commission coincided with the noisy launch of the iPhone X, I thought we might as well take advantage of the coincidence and be pioneers with the new tech.

I’d seen Michel Gondry’s scripted short Détour, which was shot entirely on iPhone 7. That planted the iPhone seed and I asked Little Dot to buy the then brand-new iPhone X for Victoria to use.

She complemented it with a decent mike (Rode SmartLav+ Lavalier) and a stabiliser (Lanparte 3 Axis Handheld Gimbal) and then got the ball rolling. She started by using it for audio-recording conversations with her son Jim, to make sure he was comfortable, eventually segueing into video recording.

Intimacy and ubiquity The power of Smartphone filmmaking is intimacy and ubiquity. The kind of intimate conversations Victoria and Jim managed to capture in a natural way were the result of the camera-phone being small and unobtrusive, with no crew attached - as part of everyday contemporary life.

And it’s in your pocket all your waking hours (and not uncommonly beside the bed even in your non-waking ones, as we see in Missed Call).

Between this distinctive pairing of characteristics, a whole new highly accessible realm of filmmaking opens up.

• Missed Call has been nominated in the Social Media Short category at the AHRC Research in Film Awards 2018, which take place on 8 November at BAFTA in London • It was the first project made as part of a new partnership between Royal Holloway and Field Day Productions, exploring digital archive in documentary production as part of a range of collaborations • Watch Victoria Mapplebeck’s previous short 160 Characters http://victoriamapplebeck.com/films/160-characters/ tpr media consultants

Art Daily (40.3k followers on twitter) – To Be Here:

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The Tab – Missed Call:

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The Academy of Social Sciences www.acss.org.uk/news/acss-fellow-prof-stephen-linstead-wins-best-research-ďŹ lm-at-rifa/

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The Conversation (107 K followers on Twitter):

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Advanced Television

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Photo Archive News

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Regional Lancaster Guardian: Give Me Today, Anytime Lancaster ďŹ lm nominated for top award.

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The Mail: Give Me Today, Anytime documentary up for a BAFTA award

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The Visitor: Lancaster ďŹ lm nominated for top award

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WINNERS’ QUOTES Stephen Linstead on winning the Best Research Film of the year Award

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This award is so important - it really validates the work of using film as a means of doing and thinking research rather than just representing it. In the film we struggled to articulate neglected voices, to show the extraordinary in the ordinary - and this award is the absolute best recognition of that, both for the filmmakers and for the modest people the film is about. This award will be absolutely vital in helping us to get the film into channels where more and more people can see it - and we can start to change things.

George Harris on winning the Inspiration Award

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Winning the award was the perfect finale to our 12 month-long programme Walking In Others Footsteps. There were some memorable moments in the project and scooping the Inspiration Film Award was so fitting as it was the remarkable work in oral history undertaken by Dr Elizabeth Roberts that inspired Mirador and our film-makers, Jonny Randall and Tom Diffenthal, to create give me today, anytime. We were thrilled not just to win the award but to hear the judges afterwards say that they thought the film was truly outstanding.

The Award will really boost our profile nationally for making exceptional work

Sam Jury on winning the People on the Move Award

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I am delighted to have won The AHRC Research in Film award, it is a great boost to artist filmmakers that the AHRC is recognising and supporting research of this nature, and I am excited to develop this relationship further. Equally, I hope the spotlight on the film will serve to draw attention to the ongoing plight of the Sahrawi people. Being mid-way through a new film project exploring memories of event in the de-facto state of Abkhazia, I intend to use the award towards developing that work, crucially return travel to the Caucuses region.

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Victoria Mapplebeck on winning the Social Media Short Award

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I'm delighted to have won an AHRC Social Media Short Award. I’m really passionate about the impact and audience reach of social media platforms so it was great to be part of this new category. Winning the award will help me to develop my next smartphone short.

Ilona Sagar on winning the Doctoral Award or Early Career Film

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It is a great feeling and real honour to win the award. As a moving-image artist with a research-driven practice, it is brilliant that there is an award that recognises the value of this kind of approach.

The history, design and social role of architecture plays an important part in my practice.

Correspondence O is informed by extensive research into the archives of the Pioneer Health Centre held by the Wellcome Collection and Royal Institute of British Architects (RIBA), and contemporary medical research conducted by the Behavioural and Clinical Neuroscience Institute at the University of Cambridge.

The award really is a chance to draw wider attention to these archives and opens a debate to a wider audience about the changing landscape of public health and its social shift towards a user-focused, technology-infused understanding of wellness.

Winning the award comes at a very timely moment for me. In 2019 I have been invited to develop a new work with S1 ArtSpace, Sheffield. The award gives me momentum to meaningfully progress my work and marks a real step-change in practice.

‘Deep Structure’ will be a large scale moving-image installation responding to current preoccupations with personal health, the built environment and self, compared to a broader, shared perception of public assets, found in the history of the Park Hill Estate, Sheffield, UK. The work will apply metric and quantifying technologies to unpick the dialects of bodily surveillance, both within the official bureaucratic structures of welfare and unofficial configurations that are socially formed. These technologies will appear, as haptic and felt in the hands of the architect or social worker, or as an act of self-care. The film asks what it means for architecture, housing and other services responsive to our metrics to be implemented not by government, but private commerce?

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Prestigious awards shed new light on research into our past and present: from the impact of technology on modern families to a forgotten chapter of British history Arts and Humanities Research Council (AHRC) announces winners of AHRC Research in Film Awards 2018 A teenage boy who tries to trace his father using an iPhone X, the greatest mining disaster of the 19th century is uncovered and ŽŶĞ ŽĨ ƚŚĞ ǁŽƌůĚ͛Ɛ ŽůĚĞƐƚ ƌĞfugee communities tell their story. These are just some of the subjects of the five winners of the 2018 AHRC Research in Film Awards, which took place at BAFTA 195 Piccadilly, London yesterday (Thursday, 8 November).

Now in their fourth year, the awards, organised by the Arts and Humanities Research Council (AHRC), are the only awards dedicated to showcasing arts and humanities research through film. The evocative short films - all under 30 minutes ʹ are thought-provoking reflections on our time which include drama, documentary and animation. ŚĂŝƌ ŽĨ ƚŚĞ ũƵĚŐŝŶŐ ƉĂŶĞů͕ :ĂŶ ĂůůĞLJ͕ ƌƚƐ ĚŝƚŽƌ ŽĨ ƚŚĞ &ŝŶĂŶĐŝĂů dŝŵĞƐ͕ ƐĂŝĚ͗ ͞dŚĞƐĞ ĂǁĂƌĚƐ ĂƌĞ ĂŶ opportunity to show off the breadth of talent within the arts and humanities. Covering a range of fascinating research topics, the hundreds of entries across the categories made our job as judges very difficult. Thanks to everyone that took the time to submit an entry and congratulations to the ĨŝǀĞ ǁŝŶŶĞƌƐ͘͟ The five winners were selected from hundreds of submissions in the different categories and received a trophy as well as £2,000 towards future filmmaking projects. There were two new categories for 2018 ʹ ƚŚĞ ͚WĞŽƉůĞ ŽŶ ƚŚĞ DŽǀĞ ǁĂƌĚ͗ ^ƚŽƌŝĞƐ ŽĨ EĞǁ ĞŐŝŶŶŝŶŐƐ͛ to mark the 70th ĂŶŶŝǀĞƌƐĂƌLJ ŽĨ tŝŶĚƌƵƐŚ ĂŶĚ ƚŚĞ ͚^ŽĐŝĂů DĞĚŝĂ ^ŚŽƌƚ ǁĂƌĚ͛ which showcases some of the best short films tailored for social media. The AHRC Research in Film Awards 2018 winners are: Best Research Film of the Year Black Snow - Professor Stephen Andrew Linstead (University of York) Black Snow ƚĞůůƐ ƚŚĞ ĨŽƌŐŽƚƚĞŶ ƐƚŽƌLJ ŽĨ ƚŚĞ ǁŽƌůĚ͛Ɛ ďŝŐŐĞƐƚ ŵŝŶŝŶŐ ĚŝƐĂƐƚĞƌ ŽĨ ƚŚĞ ϭϵth century, which until recently had remained relatively unremembered. The explosion at Oaks Colliery in Barnsley, South Yorkshire caused the death of at least 361 men and boys in December 1866. The film tells three interlocking stories: the story of the historical community devastated by the disaster; the story of a contemporary community, torn apart by the loss of the mining industry, and the story of Graham Ibbeson, a sculptor, who in the process of creating a statue in memory of those who died, discovers that one of his forebears, George Ibbeson, lost his life in the Oaks Colliery disaster.

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Best Doctoral or Early Career Film Correspondence O - Ilona Sagar, Royal College of Art Correspondence O explores the history of the radical Pioneer Health Centre in Peckham and its subsequent conversion into a gated community. The two-channel moving image installation presents the complex, changing landscape of public health and the social shift towards a more egocentric, user-focused and technology-infused understanding of wellness. The Pioneer Health Centre in South London was founded in 1926 in response to rising public concern over the health of working-class people and an increasing interest in preventative social medicine and ĞdžƉĞƌŝŵĞŶƚĂƚŝŽŶ͘ /ƚ ĐƵůŵŝŶĂƚĞĚ ŝŶ ƚŚĞ ͚WĞĐŬŚĂŵ džƉĞƌŝŵĞŶƚ͕͛ ;ϭϵϮϱ-1950) a 24-year study founded on principles of self-organisation, local empowerment and social connection as fundamental to wellbeing. The Centre closed in 1950, though its influence continues today. Watch the following short clip from the film: People on the Move Award: Stories of New To Be Here - Sam Jury (University of Hertfordshire) This film shines a light on one of the ǁŽƌůĚ͛Ɛ ŽůĚĞƐƚ ƌĞĨƵŐĞĞ ĐƌŝƐĞƐ͗ ƚŚĞ ĚŝƐƉůĂĐĞŵĞŶƚ ŽĨ ^ĂŚƌĂǁŝ refugees in the Sahara Desert (Algeria) who fled their Western Sahara homeland after a war with Morocco in 1975. The story is told through the voice of a young female Sahrawi translator. It puts under the spotlight the daily life of refugees ʹ especially the women ʹ who have been living in the camp for over 40 years. To Be Here traces their journey, from the early days when they constructed the buildings in the camp themselves to their struggle for self-determination. Many of the women were forced to leave behind family members, including their own children.

Social Media Short Award Missed Call - Victoria Mapplebeck (Royal Holloway, University of London) Missed Call - one of the first-ever documentaries to be shot on an iPhone X - brings to life a series of conversations between Victoria Mapplebeck and her son, Jim, on how he will reconnect with his father, who has been absent since he was two years old. Her son has no memory of his dad, all that he has are the gifts he once bought and the digital footprint he left behind. Missed Call raises interesting questions about family relationships in a digital world and is the sequel to the awardwinning 160 Characters͕ sŝĐƚŽƌŝĂ DĂƉƉůĞďĞĐŬ͛Ɛ first smartphone short. Missed Call was launched on the Real Stories YouTube channel in May this year.

Inspiration Award (public category) Give Me Today, Anytime ʹ George Harris (Mirador) Give Me Today, Anytime is inspired by the pioneering oral history work of Elizabeth Roberts who in the 1970s recorded the voices of working-class people across the three Northern UK cities of Preston, Lancaster and Barrow. Her archive, which is being digitised at Lancaster University, contains nearly 550 tape recordings and transcripts of interviews through which we hear the voices of people born at the end of the 19th century sharing their perspectives on the timeless themes of birth, love, marriage, health, work, family and death. Taking this a starting point, the directors of Give Me Today, Anytime interviewed people living in those cities now, revealing that themes in the original archive - such as community spirit - still live on today.

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The evening was hosted by writer and broadcaster, Danny Leigh. Among the award presenters were Chairman of ITV, Sir Peter Bazalgette, award-winning filmmakers Roger Graef OBE and Kim Longinotto and TV presenter Sophie Morgan. Jan Dalley, Arts Editor of the Financial Times, chaired the judging panel which included Dorothy Byrne, Head of News and Current Affairs at Channel 4 Television, Professor Tom Inns, Director, Glasgow School of Art, Catherine Mallyon, Executive Director of the RSC and Steve Harding-HiIl, Creative Director in Commercials and Short-form at Aardman Animations to name a few.

Notes to editors Other films which were shortlisted include: Shelf Life (Dr Mariana Lopez, University of York), which advocates how the creative sector should join forces with accessibility experts to provide the best possible film experience for visually impaired people. Now Circa (1918) (Professor Redell Olsen, Royal Holloway, University of London), looks at original suffragette archive and research to explore ĚŝƐĐƵƐƐŝŽŶƐ ŽĨ ǁŽŵĞŶ͛Ɛ ĞƋƵĂůŝƚLJ including the #MeToo movement, #TimesUp and the 2018 tŽŵĞŶ͛Ɛ DĂƌĐŚ. While Grenfell Tower and Social Murder (Dr David Scott, The Open University), provides an important contribution to the debate of one of the most controversial and politically significant events of the last decade.

About the Arts & Humanities Research Council The Arts and Humanities Research Council funds world-class, independent researchers in a wide range of subjects: archaeology, area studies, the creative and performing arts, design, digital content, heritage, history, languages, philosophy and much more. This financial year we will spend approximately £98 million on research and postgraduate training in collaboration with a number of partners. The quality and range of research supported by this investment of public funds not only provides economic, social and cultural benefits to the UK, but contributes to the culture and welfare of societies around the globe.

The AHRC is part of UK Research and Innovation, which works in partnership with universities, research organisations, businesses, charities, and government to create the best possible environment for research and innovation to flourish. Operating across the whole of the UK with a combined budget of more than £6 billion, UK Research and Innovation brings together the seven Research Councils, Innovate UK and Research England.

Link to all nominated films For further press information, interviews, visuals or any other requests, please contact tpr media consultants Sophie Toumazis or Cécile Sourbes sophie@tpr-media.com cecile@tpr-media.com 020 8347 7020

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