Tagged / filmmaking

5 films made in lockdown; innovation and experimentation during Covid-19

Co-creation for Screened and Heard; 5 films made in lockdown

Screened and Heard, headed up by Annie East with Dr Sam Iwowo, is a collection of five short films produced by women in lockdown who set themselves a challenge during the pandemic to tell a story, learn new skills and explore new ideas. Provoked initially by a newspaper article about women’s research dropping during lockdown whilst men’s increased, this group response was not only about the final films but about the process and support given to enable these women, who each had different caring responsibilities, the opportunity to have a voice and complete a project under the complex conditions that the pandemic presented. Annie East and Dr Samantha Iwowo plan to use the films as a springboard to further research areas. Below is a Q&A with the editor, alumnus Owen Trett BA Television Production Class of 2020.

Fig. 1 Owen BATV graduate working on Dr Samantha Iwowo’s film ‘In Zoom We Trust’. Photo: Owen Trett

Why did you want to get involved with Screened and Heard?

Screened and Heard was a great opportunity to take part in after graduating from Bournemouth University. I believe that taking part in a project that focused on showcasing the voices of women filmmakers during the lockdown of 2020 was extremely beneficial to the industry.

What involvement did you have with each film?

I ensured that each film was the highest quality it could be in. Due to the circumstances, most filmmakers were limited in their choices of equipment. I made sure that whether the film was recorded on a DSLR, phone, or webcam, that each film was tidied up and treated equally as if recorded on industry-standard equipment.

I was then in control of the detailed edit for most of the films. It was a great way of improving my editing skills and working with a variety of different formats and visions.  My graduate project was recorded entirely through Skype and influenced by the 2018 Aneesh Chaganty film “Searching”, so I applied these skills from my graduate film to the edit of Screened and Heard.

A year on what do you think about the films?

It’s been interesting to see the direction that the film and TV industry has headed in going into 2021. I feel that all early lockdown content, like “Staged” (BBC) for example, has a very grounded aesthetic compared to pre-lockdown content. Seeing content like this, of actors at home recording pieces to camera, as having an authenticity to it.

I feel that the films showcased in Screened and Heard have a similar vibe, this sort of authentic look to them is hard to replicate outside of the context of Covid. “Working from Home” for example, dealing with themes of lockdown relationships and home-schooling, I feel that we will take a lot of these grounded concepts and continue to use them throughout the future of TV / film storytelling.

What was it like working on an project based on a true story about bereavement during Covid 2020? (In Zoom We Trust)

I feel privileged to be able to work on a project that dealt with such a raw and personal topic. I think that, because the content dealt with quite a sensitive subject, there was a lot of pressure to make sure that it was edited correctly, in a manner that was respectful.

Samantha (Iwowo) really has an amazing directorial vision, and allowed me to use creative techniques that I hadn’t used in this format before. I was lucky to be able to work with her on this project, and I’m glad that she had a positive response to the edit.

How has being involved with Screened and Heard helped you as you graduated and went to look for work in the UK film and TV industry?

Trying to find work during a pandemic was not the easiest process in the world. However, working on the Screened and Heard projects really helped boost my portfolio. it showed that as an industry worker, I had the ability to overcome limitations and adapt to complicated situations.

In early 2021 I was offered a job working from home as a Junior Video Editor for the video games company Sumo Digital.

Anything else you would like to comment on?

I loved my time at BU, I met some of the most amazing and talented students from both the BATV and BA Film courses. The staff were some of the most supportive tutors that I have ever had the pleasure of being taught by. A lot of practitioners within the media industry do argue that university isn’t needed for a media career, and I would like to respectfully disagree. Those three years at BU allowed me to figure out who I was, who I wanted to be, and created a network of friends and colleagues that I will continue to use throughout my career. Although my time at BU was cut short by the pandemic, I would not have traded in those years for anything else, and if you gave me the chance to do it all again, I would do it in a heartbeat.

 

BU Briefing – Locating the ‘third voice’: participatory film making and the everyday in rural India.

Our BU briefing papers are designed to make our research outputs accessible and easily digestible so that our research findings can quickly be applied – whether to society, culture, public policy, services, the environment or to improve quality of life. They have been created to highlight research findings and their potential impact within their field. 


This research reflects on practice-led research involving a community video project in southern India – Andhra Pradesh. Four of the women involved in this project were asked if they would use their cameras to film their everyday lives.

The aim of this paper was to build on current practice by combining participatory filmmaking with traditional observational documentary techniques and video diary interviews to locate a ‘third voice’ in order to create an engaging narrative and new perspectives on life in rural India.

Click here to read the briefing paper.


For more information about the research, contact Dr Sue Sudbury at smsudbury@bournemouth.ac.uk.
To find out how your research output could be turned into a BU Briefing, contact research@bournemouth.ac.uk.

CQR Seminar: Trevor Hearing & Kip Jones “In Conversation”

Next Wednesday,  1 pm Royal London House 303

‘In Conversation” Trevor Hearing (Media) and Kip Jones (HSS)

“Research as Film/Film as Research”

 

 

 

 

 

 

 

The two will present the research method as a CONVERSATION…first, between each other, and then with the audience.  We are also asking that no PowerPoint be used in order that it is truly a conversation and NOT a lecture. All are welcome!

The series has been very popular so far, playing to a jam packed room. Come and join in the conversation.

Please note that there is a change of room from the regular location. The seminar will take place in RLH 303!

Many of us go to Naked next door for coffee following to continue the conversations and networking.

Come along and join in the conversation!

BFI London Film Festival announces 2016 dates and major new filmmakers bursary

The 60th BFI London Film Festival will run 5-16 October 2016 and is launching a major new initiative to support British filmmakers with an annual £50k bursary award.

As the deadline for this is very tight, this coming Friday 17th June, please get in touch with Eva Papadopoulou email: epapadopoulou@bournemouth.ac.uk so you can complete an expression of interest in relation to the Bursary.

full call available at BFI

“Styles of Good Sense” Ethics, Filmmaking and Scholarship

Crew shooting early scene for the short, research-based film, RUFUS STONE

Crew shooting early scene for the short, research-based film, RUFUS STONE

Kip Jones’ draft Chapter for The Routledge International Handbook on Narrative and Life History was deposited today on BRIAN and Academia.edu. The book’s section on Ethics is edited by Ivor Goodson, with assistance from Ari Antikainen, Molly Andrews and Pat Sikes. Jones’ Chapter entitled, “Styles of Good Sense—Ethics, Filmmaking and Scholarship” is based upon his experience as researcher, author and producer of the award winning short film, RUFUS STONE.

Jones proposes that aesthetics and ethics need to be considered in concert and that they are at the very heart of arts-based research. Ethics and Aesthetics become intertwined and support one another. Jones states:

‘Ethics, much like aesthetics, is often misunderstood as something effusive, illusive and somehow, decision-making by the few on a rarefied echelon, involving pronouncements of grand moral impact and/or sophisticated discrimination. For these kinds of reasons and to avoid potential headaches, it is often assumed that checklists and committees will be far better at making such decisions than mere individuals.’

Jones believes that ethics and aesthetics need to remain the prerogative of the researcher/filmmaker and her/his participants and audiences. By developing a trust in instinct and intuition and the naturally expressive and moral potential of our personal resources, research involving people’s stories can become richer and more human, if we only are willing to jettison some of the baggage of the old academic rigor and dry procedural ethics.

Jones’ involvement in the section of the book on Ethics will include co-contributors Arthur Frank, Norm Denzin, Laurel Richardson and Carolyn Ellis, and will be published in the New Year.