Dear Dina,
When I set up our BA (Hons) Film & Television I deliberately left "Studies" out of the title for several reasons, including a desire not to separate theory and practice. With relation to the Learning on Screen awards, I am happy to report that Brian Winston, whose Robert Flaherty documentary received recognition, teaches on the degree.
Best wishes,
Nigel
Nigel Morris
Principal Lecturer in Media Theory
Programme Leader BA Film & Television
Lincoln School of Media
Faculty of Media and Humanities
University of Lincoln
Brayford Pool
Lincoln
LN6 7TS
United Kingdom
T +44 (0)1522 886392
F +44 (0)1522 886021
E [log in to unmask]
Room: MHAC2118
http://www.lincoln.ac.uk/media
-----Original Message-----
From: Announcement list for the British Association of Film, Television and Screen Studies on behalf of Dina Iordanova
Sent: Wed 5/2/2012 11:27
To: [log in to unmask]
Subject: Re: REMINDER: BAFTSS awards
At St. Andrews, like at many other Universities, film studies is only represented as 'studies' and there is next to nothing that we offer by way of 'practice' (and respectively little by way of research into 'practice', even though I would say that my work on film festivals does look precisely into practices of film distribution). I feel I do not know enough of the work that is done in this area, but would like to learn more. So I wondered if it would be possible to invite colleagues to post some case studies of interesting instances of 'film practice' related research for the benefit of subscribers to the list? I believe it would be of benefit to those who, like myself, are ignorant about this area of scholarship, as well as of benefit to those who are engaged with it. Some good examples were already mentioned, perhaps we could identify some more? Especially as it strikes me, having just read through the Learning on Screen awards winners list, to see that none of the awards seemed to go to a Film, TV and Screen studies programme.
Thank you. Dina
Prof. Dina Iordanova
Chair in Film Studies
Provost, St. Leonard's College
University of St. Andrews
--
From: Ian Christie <[log in to unmask]<mailto:[log in to unmask]>>
Reply-To: Ian Christie <[log in to unmask]<mailto:[log in to unmask]>>
Date: Fri, 27 Apr 2012 13:32:39 +0100
To: <[log in to unmask]<mailto:[log in to unmask]>>
Subject: Re: REMINDER: BAFTSS awards
Nina:
Of course it's a generalisation, and of course there are examples of art historians who work closely with artists. But you can hardly deny that art history as a 'corporate' discipline - and especially in the UK - has largely distanced itself from the messy business of what artists do - sadly, in my view. I'm not even sure that a majority of art historians engage in what would be their logical area of 'practice' - putting on exhibitions (rather than Eng Lit, another fairly 'new' discipline and its relation to 'writing', until 'creative writing' came along as an upstart neighbour...)
In my experience, there is more interchange/collaboration etc in the US, and perhaps in other countries as well. It almost seems as if art history in the UK, which was institutionalised pretty recently, forgot that many of its founders were also practising artists as well as scholars. And sadly Film Studies, when it became institutionalised even more recently, largely followed the same path, with scholars remaining very separate from the exciting, evolving business of making/showing/archiving films - where they could contribute a lot, and learn into the bargain.
I happen to believe that film belongs within art history (which is why I work in an art history department, and try to re-place film in exhibitions), and also that both disciplines would benefit from getting their hands dirty more - but I can't say I share your optimism that many take this view, either within art history or film. I'm certainly not trying to reinforce barriers: more like lamenting their prevalence.
Ian
On 27 April 2012 13:10, Lubbren, Nina <[log in to unmask]<mailto:[log in to unmask]>> wrote:
Dear all
As an art historian, I feel moved to respond to Ian's mention of art history as a newish discipline that is ultra-conservative over practice and cuts itself off from the benefits of theory as/in practice. Firstly, art history, depending on whether you count its origins as being with Winckelmann, Hegel or the generation of Kugler is at least 200 to 100 years older as a discipline than film or media studies (hence, it is not 'newish' although it is true that its Anglophone history is shorter than its Germanophone one). Secondly, it is misleading to equate the resistance to practice with an ultra-conservative attitude (in the political sense? in the disciplinary sense?); at any rate, this is an over-generalisation. Thirdly, many art historians have grappled with and continue to grapple with issues of practice / theory. Many work closely with artists; others work within the gallery, museum or heritage context and deal with practical issues of conservation, exhibition, curating; others are or were practitioners themselves (the late Charles Harrison comes to mind). Fourthly, it is not constructive to reinforce disciplinary barriers; indeed, many film studies programmes are situated within art history departments, and many art historians write about film. Plus, there is a continuing exchange between the discourses of film and art (I'm thinking of last year's 'Moving Image and Institution: Cinema and the Museum in the 21st Century' conference at Cambridge).
This is not a criticism of Ian Christie whose work I much admire. I just wanted to set the record straight on that particular (possibly throw-away?) point, :-) and to plead for an inclusive attitude towards all disciplinary backgrounds. I would wish scholars of art, film and media to be in productive dialogue.
Best wishes
Nina
----
Dr Nina Lübbren
Art Historian and Principal Lecturer in Film Studies
Deputy Head of Department of English, Communication, Film and Media
Acting Programme Leader Communication, Film and Media Studies
Anglia Ruskin University
East Road
Cambridge CB1 1PT
[log in to unmask]<mailto:[log in to unmask]>
NSS - National Student Survey - http://www.thestudentsurvey.com<http://www.thestudentsurvey.com/>
________________________________
From: Announcement list for the British Association of Film, Television and Screen Studies [[log in to unmask]<mailto:[log in to unmask]>] on behalf of Ian Christie [[log in to unmask]<mailto:[log in to unmask]>]
Sent: 27 April 2012 12:40
To: [log in to unmask]<mailto:[log in to unmask]>
Subject: Re: REMINDER: BAFTSS awards
Catherine - and Charlotte:
Couldn't agree with you more. BAFTSS shouldn't go down the route of other newish disciplines that have tried to bolster their academic status by being ultra-conservative over 'practice' (like art history...) and so cut themselves off from the benefits of theory-as/in-practice, not to mention gaining much greater academic 'market share' by joining forces with practitioners. Birkbeck collaborated with Westminister, Goldsmiths etc on an AVPhD project for some years, which drew together people engaged in practice-based research around the UK and showed how rich this could be.
Why would we want to cut ourselves off from this, especially in the age of digital convergence?
Ian Christie
www.ianchristie.org<http://www.ianchristie.org>
On 21 April 2012 10:12, Catherine Grant <[log in to unmask]<mailto:[log in to unmask]>> wrote:
Can I please repeat Charlotte Crofts' question: what about film [and TV] practice research?
I deeply understand our disciplines' depth of attachment to traditional, text-based, research outputs. But if BAFTSS is (inadvertently?) going to subordinate, or sideline, film and television studies research by practice from the outset, I believe it would be missing a valuable opportunity to represent growing numbers of researchers, some of whom are working at the cutting edge in our range of disciplines.
If the fear is that such work is too thin on the ground, (a fear I don't share), presumably it wouldn't take too much more work to set up an email account and judging panel for [log in to unmask]<mailto:[log in to unmask]>. I would presume that if the work out there isn't deemed to be good enough, in each BAFTSS prize category, prizes don't have to be awarded in any given year. This latter stance seems to work for the Pulitzer Prizes.
Should volunteers be required to receive and assess entries etc, then please count me in.
Best wishes
Catherine Grant
Senior Lecturer in Film Studies, University of Sussex
Editor of Film Studies For Free<http://filmstudiesforfree.blogspot.com> and curator of Audiovisualcy<http://vimeo.com/groups/audiovisualcy>
On 18 April 2012 14:03, Charlotte Crofts <[log in to unmask]<mailto:[log in to unmask]>> wrote:
What about film practice research?
________________________________________
From: Announcement list for the British Association of Film, Television and Screen Studies [[log in to unmask]<mailto:[log in to unmask]>] On Behalf Of Book Award [[log in to unmask]<mailto:[log in to unmask]>]
Sent: 18 April 2012 11:54 AM
To: [log in to unmask]<mailto:[log in to unmask]>
Subject: REMINDER: BAFTSS awards
Call for Submissions to the First Annual BAFTSS Awards
The British Association for Film, Television and Screen Studies (BAFTSS)
wishes to recognise the research achievements of its members through the
BAFTSS Annual Awards. For further information regarding BAFTSS, please
visit this website: http://www.baftss.org/
BAFTSS members are eligible to submit work in
the following categories (all submissions must be in the English language
and must be on a topic in the field of film, television, and screen
studies):
Best Monograph (a single-authored book, published between 1 January 2011
and 31 December 2011)
Best Article in a Refereed Journal (published between 1 January 2011 and
31 December 2011)
Best Postgraduate Student Essay (BAFTTS Student members enrolled during
the period between 1 January 2011 and 31 December 2011 on postgraduate
degree courses in Film, Television or Screen Studies at a British
University). Submissions in this category should be between 4,000 and
6,000 words, including footnotes and bibliography. Essays must not have
been previously published, but should be of a standard that they could be
submitted in their present form to a peer-reviewed journal. They can
include work that has been submitted fully or in parts as an assessed
degree requirement (coursework, dissertation chapter etc.). Essays written
specifically for the competition are also eligible.
Deadline for all submissions is May 31, 2012.
Apart from submitting their own work, members may nominate the work of
fellow members. In the latter case, contact details of both nominators and
nominees must be supplied, and the nominated author must consent to being
nominated. Publishers are welcome to submit the work of their authors,
provided these are BAFTTS members. Publishers themselves do not need to be
BAFTSS members. Only one item across all categories can be submitted by
(or for) each member. The BAFTSS Awards Committee will determine the
winners. The awards will be presented at a special ceremony during the
BAFTTS AGM which we plan to hold on 20 September 2012. Details will be
announced in due course. Award recipients will be notified prior to the
event.
Membership of BAFTSS is open to anybody regardless of nationality, and
book and essay awards are also open to any member who wishes to make a
submission. Given the uncertainty regarding the volume of submissions -
this being the first year the competition is running - we have decided to
restrict the submissions in the category of student essays to
UK-registered students only. We envisage that with increased financial and
administrative support as BAFTSS grows, we will open this category as well
to all members in future years.
Submissions should be sent via email in PDF format to the following addresses
1. For the monograph award
Email: [log in to unmask]<mailto:[log in to unmask]>
2. For the award for an article in a refereed journal
Email: [log in to unmask]<mailto:[log in to unmask]>
3. For the award for best postgraduate student essay
Email: [log in to unmask]<mailto:[log in to unmask]>
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