{"title":"Louis Benassi: Filmmaker and curator (1961‐2020)","authors":"Gareth Evans","doi":"10.1386/miraj_00058_7","DOIUrl":"https://doi.org/10.1386/miraj_00058_7","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49151511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"How Bette Davis saved me","authors":"S. Wood","doi":"10.1386/miraj_00050_1","DOIUrl":"https://doi.org/10.1386/miraj_00050_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43257024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Loose Pages","authors":"L. Rhodes","doi":"10.1386/miraj_00034_1","DOIUrl":"https://doi.org/10.1386/miraj_00034_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42165094","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the beginning of April 2020, visual artist Daniel Solomons and myself, a film scholar, set out to collaborate to produce something in response to the experience of the lockdown. We departed from a set of video images recorded in London’s Liverpool Street Station in March 2019. From the distance of confinement and the stillness of the worldwide shutdown of passenger transport, the video images of the frantic movement of people in one of London’s biggest train stations had acquired a different dimension. We wrote a text to accompany the images which took as driving force the last words of Wallace Stevens’ poem ‘The House Was Quiet and the World Was Calm’ (2006). The poem evokes an image of quietness and contentment that created various contradictions with the situation that we had been thrown into. We wanted to explore the feeling of seeing mass mobility from the perspective of stillness and belonging to the past as in the present was to be avoided.
2020年4月初，视觉艺术家丹尼尔·所罗门斯(Daniel Solomons)和我——一名电影学者——开始合作创作一些东西，以回应封锁的经历。我们从2019年3月在伦敦利物浦街车站拍摄的一组视频图像出发。从隔离的距离和全球客运停运的寂静中，伦敦最大的火车站之一的人们疯狂移动的视频图像获得了不同的维度。我们以华莱士·史蒂文斯(Wallace Stevens) 2006年的诗《房子很安静，世界很平静》(the House Was Quiet and the World Was Calm)的最后几句话为动力，写了一篇文字来配图。这首诗唤起了一种平静和满足的形象，与我们被抛入的情况产生了各种矛盾。我们想要探索从静止的角度来看群众流动的感觉，并且属于过去，因为现在是要避免的。
{"title":"Quietness, isolation and reimagining contact in the city after the pandemic","authors":"Gracia Ramirez","doi":"10.1386/miraj_00037_1","DOIUrl":"https://doi.org/10.1386/miraj_00037_1","url":null,"abstract":"In the beginning of April 2020, visual artist Daniel Solomons and myself, a film scholar, set out to collaborate to produce something in response to the experience of the lockdown. We departed from a set of video images recorded in London’s Liverpool Street Station in March 2019.\u0000 From the distance of confinement and the stillness of the worldwide shutdown of passenger transport, the video images of the frantic movement of people in one of London’s biggest train stations had acquired a different dimension. We wrote a text to accompany the images which took as\u0000 driving force the last words of Wallace Stevens’ poem ‘The House Was Quiet and the World Was Calm’ (2006). The poem evokes an image of quietness and contentment that created various contradictions with the situation that we had been thrown into. We wanted to explore the feeling\u0000 of seeing mass mobility from the perspective of stillness and belonging to the past as in the present was to be avoided.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45917154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Picturing a Pandemic: Art and Activism of Survival on Screen from the Women’s Health, LGBTQIA, Crip and Decolonial Archive was an online exhibition series hosted by LUX during the first UK national lockdown in response to the COVID-19 pandemic, which between April and October 2020 set out to share screenings, texts and discussions curated by artist and writer Conal McStravick.
{"title":"Picturing a Pandemic: Art and Activism of Survival on Screen from the Women’s Health, LGBTQIA, Crip and Decolonial Archive","authors":"C. Mcstravick, Richard Fung","doi":"10.1386/miraj_00033_1","DOIUrl":"https://doi.org/10.1386/miraj_00033_1","url":null,"abstract":"Picturing a Pandemic: Art and Activism of Survival on Screen from the Women’s Health, LGBTQIA, Crip and Decolonial Archive was an online exhibition series hosted by LUX during the first UK national lockdown in response to the COVID-19 pandemic, which between April and October\u0000 2020 set out to share screenings, texts and discussions curated by artist and writer Conal McStravick.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46264990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"New Nonfiction Film: Art, Poetics, and Documentary Theory, Dara Waldron (2018 h/bk, 2020 p/bk)","authors":"Claire M. Holdsworth","doi":"10.1386/miraj_00055_5","DOIUrl":"https://doi.org/10.1386/miraj_00055_5","url":null,"abstract":"Review of: New Nonfiction Film: Art, Poetics, and Documentary Theory, Dara Waldron (2018 h/bk, 2020 p/bk)New York and London: Bloomsbury Academic, 224 pp.,ISBN 978-1-50132-249-5, h/bk, £95.00ISBN 978-1-50132-250-1, p/bk, £28.99","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47793296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Hold onto (G)love","authors":"L. Seers","doi":"10.1386/miraj_00039_1","DOIUrl":"https://doi.org/10.1386/miraj_00039_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47048224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial: April 2021","authors":"Michael Mazière, Lucy Reynolds","doi":"10.1386/miraj_00031_2","DOIUrl":"https://doi.org/10.1386/miraj_00031_2","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43628373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since May 2020, John Smith has been at work on an episodic series called Covid Messages, made from repurposed footage of press conferences in which Prime Minister Boris Johnson briefs the public on the status of the pandemic. Through six darkly funny instalments, the artist plays with the press conference as a site of ‘coded messages’, assailing the vacancy of political speech and the grotesque manoeuvres of the Conservative government with his characteristic wit. The following conversation took place online on 17 December 2020.
{"title":"John Smith’s Covid Messages","authors":"E. Balsom","doi":"10.1386/miraj_00045_1","DOIUrl":"https://doi.org/10.1386/miraj_00045_1","url":null,"abstract":"Since May 2020, John Smith has been at work on an episodic series called Covid Messages, made from repurposed footage of press conferences in which Prime Minister Boris Johnson briefs the public on the status of the pandemic. Through six darkly funny instalments, the artist plays\u0000 with the press conference as a site of ‘coded messages’, assailing the vacancy of political speech and the grotesque manoeuvres of the Conservative government with his characteristic wit. The following conversation took place online on 17 December 2020.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44492580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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