Media heterotopias: digital effects and material labor in global film production

2019 ◽  
Vol 17 (4) ◽  
pp. 496-500
Author(s):  
Ekin Erkan
Keyword(s):  
Film Production ◽  
Digital Effects

From Film Practice to Data Process

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Profound Change ◽  
Data Process ◽  
Production Practices ◽  
Digital Film ◽  
Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

Cross-border Implications: Transnational Haunting, Gender and the Persistent Look of The Eye

2018 ◽  
Author(s):  
Enrique Ajuria Ibarra
Keyword(s):  
Southeast Asian ◽  
Horror Films ◽  
Film Production ◽  
Visual Preference ◽  
Female Protagonists ◽  
Cross Border ◽  
Film Series ◽  
Eastern Traditions

The Eye (Gin Gwai, 2002) and its two sequels (2004, 2005) deal with pan-Asian film production, gender, and identity. The films seem to embrace a transnational outlook that that fits a shared Southeast Asian cinematic and cultural agenda. Instead, they disclose tensions about Hong Kong’s identity, its relationship with other countries in the region, and its mixture of Western and Eastern traditions (Knee, 2009). As horror films, The Eye series feature transpositional hauntings framed by a visual preference for understanding reality and the supernatural that is complicated by the ghostly perceptions of their female protagonists. Thus, the issues explored in this film series rely on a haunting that presents textual manifestations of transposition, imposition, and alienation that further evidence its complicated pan-Asian look. This chapter examines the films’ privilege of vision as catalyst of a transnational, Asian Gothic horror aesthetic that addresses concepts of identity, gender, and subjectivity.

Producing Outside the Box: Creative Strategies in the Work of Betty E. Box, 1957–64

2020 ◽  
Vol 17 (3) ◽  
pp. 355-374
Author(s):  
John D. Ayres
Keyword(s):  
Second World War ◽  
Film Production ◽  
World War ◽  
E Box ◽  
Film Producer ◽  
British Cinema ◽  
Working Practices ◽  
Location Shooting ◽  
Second World

This article considers the working practices of British cinema's only major female film producer during the early-to-mid post-Second World War era, Betty E. Box (1915–99). Via reference to her extensive archive at the British Film Institute and the films Campbell's Kingdom (1957), The Wind Cannot Read (1958) and Hot Enough for June (1964), the article charts how Box initially envisaged multi-generational casting for roles that were eventually taken by long-term collaborator Dirk Bogarde. It considers the manner in which she approached the diplomatic complexities of location shooting, with particular focus on Ralph Thomas's military romance The Wind Cannot Read, the first British film to be shot in India for twenty years at the time of its production. The reasoning for Box's ongoing absence, as a female creative figure, from scholarship addressing British cinema, and film production more generally, will also be addressed.

Everyday Catastrophes: Gender, Labour and Power in Beckett's Theatre

2019 ◽  
Vol 28 (1) ◽  
pp. 19-34
Author(s):  
Trish McTighe
Keyword(s):  
Sexual Harassment ◽  
Entertainment Industry ◽  
Film Production ◽  
Social Hierarchies ◽  
The Everyday ◽  
The World ◽  
Public Consciousness ◽  
Gender Boundaries ◽  
The Invisible ◽  
Making Art

In an era of public consciousness about gendered inequalities in the world of work, as well as recent revelations of sexual harassment and abuse in theatre and film production, Beckett's Catastrophe (1982) bears striking resonances. This article will suggest that, through the figure of its Assistant, the play stages the gendered nature of the labour of making art, and, in her actions, shows the kind of complicit disgust familiar to many who work in the entertainment industry, especially women. In unpacking this idea, I conceptualise the distinction between the everyday and ‘the event’, as in, between modes of quotidian labour and the attention-grabbing moment of art, between the invisible foundations of representation and the spectacle of that representation. It is my thesis that this play stages exactly this tension and that deploying a discourse of maintenance art allows the play to be read in the context of the labour of theatre-making. Highlighting the Assistant's labour becomes a way of making visible the structures of authority that are invested in maintaining gender boundaries and showing how art is too often complicit in the maintenance of social hierarchies.

Before Six Years After. Notes on the re-emergence of a film archive in Guinea-Bissau

2014 ◽  
Author(s):  
Tobias Hering
Keyword(s):  
Documentary Film ◽  
Film Production ◽  
Final Phase ◽  
Guinea Bissau ◽  
Ongoing Project

In 2011, the artist Filipa César was given access to the archive of the Instituto Nacional de Cinema e Audiovisual (INCA) in Bissau, which holds the remains of a precarious but dedicated documentary film production during the final phase of the liberation war and the first years of independence in Guinea-Bissau (roughly from 1972 to 1980). Together with two of the film-makers involved, Flora Gomes and Sana na N'Hada, and a group of researchers and film-makers from Bissau, Filipa César is since then engaged in an ongoing project experimenting with various forms of re-visualization and re-evaluation of this archive. Tobias Hering has participated in this process on several occasions and wrote about it in the essay "Before six years after," published for Filipa César's exhibition at Jeu de Paume (Paris) in October 2012. The text published here is a critically revised and annotated version of this earlier essay.

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