Jill Craigie, Post-war British Film Culture and the British Film Academy

This article seeks to locate the socialist feminist film-maker Jill Craigie in the British film culture of the post-war period. Long regarded in scholarly accounts as something of an outsider, a woman who was effectively shut out of the industry during the 1950s, this article seeks to position Craigie rather differently. While acknowledging the obstacles she undoubtedly faced, it details aspects of her achievements and her visibility in the British film culture of the immediate post-war period. Craigie's politically driven documentaries and realist film practice accorded with prevailing discourses of ‘quality’ and she acquired the status of what would today be termed a media personality who worked across film, radio, television and print media. Considering Craigie as a figure embedded in the British film establishment, this article gives particular emphasis to her role in the British Film Academy (BFA), arguing that the significance of this practitioner-led organisation has yet to be fully recognised in British film history. The argument draws on archives held at the British Academy of Film and Television Arts (BAFTA) to begin a discussion of how the BFA, and Craigie as the first woman to be elected to its Management Council, played its part in the development of British film culture.

ԱՐՄԵՆ ԳԱՍՊԱՐՅԱՆԻ ԱԼԵՔՍԱՆԴՐԱՊՈԼՅԱՆ ԵՌԱՊԱՏՈՒՄԸ / ARMEN GASPARYAN‘S ALEXANDRAPOLIAN TRIOLOGY

Ներկայացվող հոդվածը նվիրված է գյումրեցի նշանավոր կինոգործիչ և գրող Արմեն Գասպարյանի ալեքսանդրապոլյան եռապատումին՝ «Իմ Աստղիկի հուղարկավորությունը» (2017), «Բաբոյի հեռախոսը» (2018), «Քաղաքային կինոմեխանիկի հայելին» (2019), որոնցից ամեն մեկը ընթերցողների շրջանում առաջ բերեց արդարացված հիացմունք և դարձավ պահանջված ոչ միայն հարազատ Գյումրիում: Գրքերը գրված են բնատուր ձիրքով, մեծ վարպետությամբ: Հիմնականում մնալով կենսագրավեպի շրջանակներում՝ այն հավատարիմ է մնում քաղաքը և նրա բնակիչները սկզբունքին: Օգտվելով իր հազվագյուտ շնորհքից, ժողովրդական կյանք ու կենցաղի, հոգեբանության, մտածողության փայլուն իմացությունից՝ հեղինակն իր պատումի հիմնական առանցքներ է դարձրել 1915թ. Ցեղասպանությունը և Երկրաշարժը: Եռերգությունն առանձնանում է նաև անսակարկ համարձակությամբ, ճշմարտացի ընդհանրացումներով, ՀՀ ողջ անցուդարձի բազմակողմանի ճանաչողությամբ: / The presented article is dedicated to the three-volume book of the famous Gyumri film-maker and writer Armen Gasparyan, ―The Alexandrapol Trilogy‖, - ―The Funeral of My Little Star‖ (2017), ―Babo‘s Telephone‖ (2018), ―Mirror of the City Cinema Mechanic‖ (2018) /; each volume of which caused well-deserved excitement among readers and became popular not only in the motherland Gyumri. The reason is not only nostalgia for the family relics that has sunk into the nonexistence of the earthquake, but always living in our hearts, like the invisible Berlin Wall... The books are written expertly. The author, using his unique gift, a brilliant knowledge of folk life, thinking, psychology, takes the 1915 Genocide and the earthquake as the main axis of the story. The trilogy is also distinguished by incorruptible courage, truthful generalizations and omniscience of all the events of the RA.

Yvonne Rainer and the Recuperation of Everyday Life

This chapter examines the evolution of Yvonne Rainer’s interrogation of the everyday from her practice as a choreographer to her practice as a film maker where embrace of the doctrine that the “personal is political” becomes her dominant theme, making her perhaps the leading avant-garde, feminist auteur.

A Life in Motion: Exploring Auto/Biographical Exchanges by ‘Walking With’ Nelson Sullivan

In this article, we combine a number of related elements – YouTube films, autobiographical methods, diaries, letters, and walking – to explore the sociological value of the films of Nelson Sullivan (1948–1989). Sullivan was a film maker who documented New York, and elsewhere, in the mid-late 1980s; however, the films are ‘vlogger style’ and offer richly detailed, relational, and dialogical accounts of the ever-changing figurations between Nelson and a cast of other characters. Here we aim to walk sociologically with Nelson. We explain of how we analysed Nelson’s films before considering the implications of repositioning ‘vlogs’ as something of a hybrid between letters and diaries. We then explore walking as an autobiographical act a little further. Finally, we conclude by considering the implications of Nelson’s work for past, present, and future sociological practice which uses YouTube videos and vlogs, by emphasising the importance of the ‘dialogic exchange’.

Jack Ellitt as Director: Documentary Films of the 1940s

This article examines the work of the film-maker and composer Jack Ellitt (1902–2001) who remains something of an enigmatic and marginal figure in historical accounts of British documentary cinema. Research on Ellitt has so far focused on two key aspects of his life and career: firstly, his association with the New Zealand-born film-maker and artist Len Lye, and secondly, his pioneering work as a composer of electro-acoustic music. However, little research been undertaken on the work that he produced during the three decades he spent working as a documentary director in the British film industry, beginning in the early 1940s and ending with his retirement in the 1970s. He was a member of the remarkable generation of film-makers associated with the British documentary movement, and a composer whose radical experiments with recorded sound might well have secured him a more prominent place in the history of experimental music than is currently the case. Focusing on films made by Ellitt during the 1940s, the primary aim of this article is to offer a chronological appraisal of his early work as documentary director, while also considering what new perspectives this group of films might offer on his earlier creative collaboration with Lye, and the extent to which his radical experiments in electro-acoustic composition may have influenced the use of sound within the films he directed.

Exploring the place of animation and the role of the classroom-based film-maker within a wider field of Scottish moving image education

This article explores animation as a popular mode of moving image education in the wider field of Scottish film education, through a discussion with film education practitioner Jonathan Charles. It reflects on Jonathan’s pedagogic approach to film education, the way in which it is shaped and aligned with changing institutional and funding imperatives, and the affordances of animation, through a detailed look at a film-making project with a primary school in West Lothian, Scotland. It reflects upon the challenge to maintain in-depth film experiences for young people, with training and working with teachers to allow film experiences to be scalable and multiply to reach a wider range of young people. The article also discusses the drive to give young people agency throughout the film-making process, and how film education practitioners and teachers can best facilitate that.

Photography as Archive

In this interview, Yousif M. Qasmiyeh enters into conversation with Saiful Huq Omi, an award-winning photographer and filmmaker and founder of Counter Foto-A Centre for Visual Arts in Dhaka, Bangladesh, on issues spanning from photography in the era of COVID and what it means, in this situation of stasis and containment worldwide, to continue photographing; to the intimate as revealed by the photograph; photographing (across) different geographies and national borders; on Rohingya refugees as both the photographed and the unphotographed; the archive and the afterlives of photography; and, finally, how to envision an equitable future between the photographer and the photographed.In the form of poetic fragments, “The Human that is Lacking” offers a response to Saiful Huq Omi’s photograph reproduced in these pages, in an attempt to “co-see” the image with the photographer. The image and its response sit alongside Yousif M. Qasmiyeh’s interview with the award-winning photographer and film-maker himself (also in this issue).

ART OF TYEB MEHTA

English : Most of the paintings of internationally renowned painter and sculptor Tyeb Mehta, honored with Kalidas and Padma Bhushan, have been influenced by many incidents in the childhood, Edward Munsch and Kokoshka had a great influence on Tyeb, born in Kheda, Gujarat, in his art style from time to time. But change is seen. In the initial paintings, the expression has been given space, in the medium level pictures, the expression of the space has been replaced by the bifurcated two- dimensional picture and the empty space, the diagonal took its place in the final pictures, under which started drawing pictures in triangles. With festivals, Kali, etc., he was counted among the most expensive artists of India. During his lifetime, he produced very few artifacts and died in 2009. Apart from the sculptor, he was also a film maker. Hindi : कालिदास और पद्म भूषण से सम्मानित अंतरराष्ट्रीय स्तर के प्रसिद्ध चित्रकार और मूर्तिकार तैयब मेहता के चित्रों में से अधिकांश बचपन में कई घटनाओं से प्रभावित रहे हैं, एडवर्ड मुंस और कोकश्का ने अपनी कला में गुजरात के खेड़ा में पैदा हुए तैयब पर काफी प्रभाव डाला था। समय-समय पर शैली। लेकिन बदलाव देखा जाता है। प्रारंभिक चित्रों में, अभिव्यक्ति को स्थान दिया गया है, मध्यम स्तर के चित्रों में, अंतरिक्ष की अभिव्यक्ति को द्विभाजित दो-आयामी चित्र और खाली स्थान से बदल दिया गया है, विकर्ण ने अंतिम चित्रों में अपना स्थान लिया, जिसके तहत त्रिकोणों में चित्र बनाना शुरू किया। त्योहारों, काली आदि के साथ, उन्हें भारत के सबसे महंगे कलाकारों में गिना जाता था। अपने जीवनकाल के दौरान, उन्होंने बहुत कम कलाकृतियों का निर्माण किया और 2009 में उनकी मृत्यु हो गई। मूर्तिकार के अलावा, वह एक फिल्म निर्माता भी थे।

ANALISIS DATA MINING DATA NETFLIX MENGGUNAKAN APLIKASI RAPID MINER

Netflix adalah sebuah platform streaming yang menyajikan Netflix original movie dan series , Konten yang diproduksi oleh Netflix dan bekerjasama dengan sineas global (<em>Global Film Maker</em>) sebagai keunggulan dibandingkan dengan langganan streaming lainnya. Netflix mengajak penontonnya untuk mengenal kebudayaan global dengan film-film orginalnya. Di Indonesia, Netflix secara resmi dan perdana ini merilis Netflix original movie dengan judul “<em>The Night Comes for Us</em>”. Penelitian ini bertujuan untuk menunjukkan bagaimana cuplikan film “<em>The Night Comes for Us</em>” menampilkan dan merefleksikan citra Indonesia dengan berpijak pada model pencitraan Jean Baudrillard yang dimulai dari tahapan representasi, ideologi, simulasi dan simulakra. Analisa semiotika Roland Barthes digunakan dalam penelitian ini sebagai jembatan untuk memahami fase pertama dan kedua pencitraan Baudrillard. Temuan yang didapatkan menjelaskan bahwa citra Indonesia yang di tampilan dalam cuplikan objek penelitian tidak mewakili realitas apapun, melainkan sebuah bentukan belaka. Citra yang ditampilkan tak lain adalah sebuah komoditas yang digunakan untuk merayu penonton. Simulasi pencitraan didasari dengan motivasi untuk “memenangkan” segmentasi pasar tertentu.