Andy Lawrence

. Filmmaking is both experience-led research and experience-led expression. The ‘sentences’ that constitute our films are ‘written’ with this experience at the time of recording and we cannot separate our own feelings and actions from those of the people we are working with, so it is important to record them with care and precision. These aesthetics of ambiguity and uncertainty allow us to experiment with the order of processes, by eliminating or truncating action, or searching for subtle motivations in our protagonists, and this can be used to radically improve the ways we

in Filmmaking for fieldwork
Laurence Raw

.1 ) as Victor Frankenstein. 1 Eighteen years later an LP recording of the tale was issued in the Super 8 Monsters series with Jackson Beck as the Narrator and Peter Fernandez as Victor. Most recently, Quicksilver Radio Theater created a one-hour adaptation that premiered on American public radio in 2007 and was twice rebroadcast on Frederick Greenhalgh’s valuable Radio Drama Revival podcast in 2009. There are several other English radio adaptations of Frankenstein , originally broadcast on both sides of the Atlantic, readily available, but

in Adapting Frankenstein
Abstract only
Found Footage Cinema and the Horror of the Real
Neil McRobert

This article examines the post-millennial popularity of the found footage movie, in particular its engagement with the representational codes of non-fiction media. Whilst the majority of critical writings on found footage identify the 11 September attacks on the World Trade Centre as a key visual referent, they too often dwell on the literal re-enactment of the event. This article instead suggests that these films evoke fear by mimicking the aesthetic and formal properties of both mainstream news coverage and amateur recording. As such they create both ontological and epistemological confusion as to the reality of the events depicted. Rather than merely replicating the imagery of terror/ism, these films achieve their terrifying effects by mimicking the audiences media spectatorship of such crisis.

Gothic Studies
The Early Promise and Disappointing Career of Time-Lapse Photography
David Lavery

Time-lapse photography—the extremely accelerated recording and projection of an event taking place over an extended duration of time—is almost as old as the movies themselves. (The first known use of time-lapse dates from 1898.) In the early decades of the twentieth century, cineastes, not to mention scientists, artists, and poets, waxed eloquently on the promise of time-lapse photography as a means for revealing “things we cannot see,” and expanding human perception. This essay examines time-lapses tremendous initial imaginative appeal for such figures as Ernst Mach, Germaine Dulac, Jean Epstein, Rudolf Arnheim, Laszlo Moholy-Nagy, and Collette, and speculates about the possible reasons for its diminution over the course of the century.

Film Studies
James Baldwin in Conversation with Fritz J. Raddatz (1978)
Gianna Zocco

This is the first English-language publication of an interview with James Baldwin conducted by the German writer, editor, and journalist Fritz J. Raddatz in 1978 at Baldwin’s house in St. Paul-de-Vence. In the same year, it was published in German in the weekly newspaper Die Zeit, as well as in a book of Raddatz’s conversations with international writers, and—in Italian translation—in the newspaper La Repubblica. The interview covers various topics characteristic of Baldwin’s interests at the time—among them his thoughts about Jimmy Carter’s presidency, his reasons for planning to return to the United States, his disillusionment after the series of murders of black civil rights activists in the 1960s and 1970s, and the role of love and sexuality in his literary writings. A special emphasis lies on the discussion of possible parallels between Nazi Germany and U.S. racism, with Baldwin most prominently likening the whole city of New York to a concentration camp. Due to copyright reasons, this reprint is based on an English translation of the edited version published in German. A one-hour tape recording of the original English conversation between Raddatz and Baldwin is accessible at the German literary archive in Marbach.

James Baldwin Review
Marie Mulvey-Roberts

Interviewing can be a vampiric act especially when it involves leeching from its subject the fluidic exchange which exists between life and art. The vampire novelist Anne Rice had agreed to let me interview her at Waterstones Bookshop in Bristol, England, on 26 January 1993 about the fourth book in her Vampire Chronicles, The Tale of the Body Thief (1992). In the interview she describes the novel as dealing with the differences between art and life and mortality and immortality. Specifically, the story examines the paradox of choosing to be Undead for the sake of life, and the way in which art opens up a locus for a redemption that is outside of life. In my view, the text is as much about the process of interviewing as about authorship. A more obvious example is Rice‘s well-known novel Interview with the Vampire (1976) in which the hapless interviewer eventually enters into the very narrative he is recording by becoming another Ricean revenant.

Gothic Studies
A practical handbook
Author: Andy Lawrence

This handbook is intended for those wanting to use documentary filmmaking as a research method to explore subjects and also as a way of expressing ideas. Its focus is practical rather than technical, aiming to complement the many handbooks that already exist covering filmmaking, digital videography, sound recording and video editing. It concentrates on aspects of filmmaking for research purposes at an introductory level that are not so well documented elsewhere, such as the practical stages involved in the production of an ethnographic film. The underlying principal of this handbook is to broaden the application of ethnographic filmmaking to suit a wide range of research areas and documentary expression, encompassing sensory, fictive, observational, participatory, reflexive, performative and immersive modes of storytelling. I have chosen to avoid detailed discussion of technology as this dates quickly. This handbook aims to assist individuals in their personalised searches using online facilities to develop research methods and also teaching, by decoding technical terminology and explaining filmmaking workflows.

Abstract only
Jonathan Bignell

connect it with much earlier drama broadcasts. If Eh Joe is medium-specific and reflexive, it is so by virtue of television drama’s ongoing struggle to assimilate to and differentiate itself from other media and to develop rhetorical strategies and production techniques for studio drama. Recording Eh Joe in one long take was a considerable feat, but there were advantages as well as disadvantages in the technique from a production point of view. A long and detailed memo of May 1964 (BBC WAC T 5/2239/7) from the BBC’s television recording

in Beckett on screen
Martin Upchurch and Darko Marinković

is likely that this is a considerable under-recording of the real picture as individual’s recording 10 days work over the last year are not counted as unemployed in the official statistics. Real unemployment is likely to be much higher (with some unofficial surveys recording as high as 50 per cent). Most dramatically, the numbers of people employed have fallen from 2.36 million in 1997 to 1.77 million in 2010 (National Bank of Serbia). Unemployment is especially concentrated among young people, with 90 per cent of school and college leavers waiting more than five

in Workers and revolution in Serbia
Sarah Daynes

sometimes nothing more than a studio and Daynes, Time and memory in regga69 69 18/12/2009 12:21:10 70 Music, religion, memory backyard; in the seventies, records were then sold in the street, while stocks lasted. Many recordings were therefore pressed only once, and their distribution was hazardous, using more or less informal networks. Even today, many compact discs have an erratic presence within the mainstream distribution networks, while vinyl records (whether albums or singles) are usually only available in reggae shops. This point is important, because one of

in Time and memory in reggae music