Arts PhD Research Seminar Series

Image by Emilio Chapela

  • Jill Cragie Cinema, Roland Levinksy Building, University of Plymouth

  • Room 304, Roland Levinksy Building, University of Plymouth

  • Jill Cragie Cinema, Roland Levinksy Building, University of Plymouth

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All research seminars are free and open to the public. No booking is necessary.

9 May 2019, 14.00–16.00, Jill Cragie Cinema

Luisa Greenfield – The Disquieting Image

My primary aim is to develop a novel mode of filmmaking that can work beyond accelerated, entrenched or authoritarian notions of 'time' and to do so through concepts drawn from the poet J.H. Prynne, Walter Benjamin, and the films of Jean-Marie Straub and Danièle Huillet. By interspersing two of my own short 16mm films within my presentation, this talk will specifically focus on the aspect of public presentation she has termed, ‘reading to film’. In an attempt to highlight the contingencies inherent to working with analogue film and draw connections to Benjamin’s ideas of literary montage, I combine 16mm film projection with variegated reading.

Emilio Chapela – Troubled tales of diffraction through the moving image: a story of entanglements with a volcano, a telescope, a river, and the atmosphere

This project follows my work as it changes, diffracted through my own PHD research. It explores how the thinking associated with new materialism and post humanism has permeated into my moving image practice and writing. To better understand how my artworks have changed, I will map a cartography with a tale and this presentation will be part of that story.

13 May 2019, 10.00–12.00, RLB 304

Candida Borges da Silva – Integrating a New Diaspora into Composition Practice

In this practice-led PhD, I am interested in creating a compositional practice in sound/music to develop a collection of transmedia works that responds to the phenomena of human transhumance and its consequence as the diversity of diasporas, interethnic cultures, multiculturalism, characteristics, legacy and places (Jacobson, 1998). I believe this blend creates powerful and new material for a contemporary compositional process. I also believe that the development of new technological tools facilitated a congruent moment for artistic creation, that transformed the understanding of music composition to include new medias, materials and methods. I aim to create a body of work that brings together the artistic results of the Diasporas (Brubaker, 2005) specially that have reached the continent of South America, into new music and contemporary arts.

Veronica Fazzio – The Subjectivity of the Objective (Lens)

I will present my recent findings, through discussion of documentation of my social sculpture practice, on what I have termed 'the impossible objectivity of the objective'. I am interested in how the images captured through a camera lens (or objective) become subjective as a result of the characteristics of the objective itself.

15 May 2019, 14.00–15.00, Jill Cragie Cinema

Raul Barcelona – The Awakening of Cinema

A screening of selected works that demonstrate that as an art research tool, the daily production of films adopting the aesthetic of Actualities—the minute long, single non-moving shot films by the Lumière Brothers, Thomas Edison and W.K. L. Dickson that dominated early cinema—can lead to a deeper, first-hand understanding of the factors underlying the stressful nature of present-day filmmaking practices. The selected films further illustrate how the practice of making daily Actualities can double as a practice in presence and acceptance wherein the camera becomes a tool that facilitates the filmmaker's ability to look at the world with greater awareness. This research has sparked the ongoing development of a new film form, one that aims to abandon the need to change, manipulate or enhance what the camera captures in order to expand the filmmaker’s capacity for accepting the present moment as it is. A new short film will exhibit what this form can potentially look like.

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