• Can AI Simplify the Workflow of Documentary Pre-Editing?

    Published on: 26 March 2021

    A theoretical frame for an AI content-based footage retrieval system Automatic video editing is one of the emerging trends in the film industry and film production studies, aiming to provide a solution to simplify the post-production workflow and improve the overall efficiency of film production. In the current documentary post-production workflow, editors are often submerged… continue reading.

  • Editor's Note: 116 'Home'

    Published on: 10 November 2020

    Since the last themed issue (114’s Spring collection on Decolonisation, 115 was a ‘best of the decade’ collection) life around the world has, quite clearly, changed significantly. Despite me choosing the theme of ‘Home’ for issue 116 around two years ago when planning ahead, the arrival of Covid-19 pandemic makes it now seem like an inevitable, and sadly sibylline choice. … continue reading.

  • Young Migrants’ Home in Ireland

    Published on: 10 November 2020

    What do we exactly mean when we refer to ‘home’? How does the meaning of home change after one migrates? These questions were the focus of a recent project which I conducted at University College Cork, Ireland, titled, Youth Home. The study was an exploration of the meaning of ‘home’ among young male migrant men living in Cork city.… continue reading.

  • Home is a Fragile Place

    Published on: 10 November 2020

    As sociologists David Madden and Peter Marcuse argue: 'Housing is more than shelter; it can provide personal safety and ontological security. While the domestic environment can be the site of oppression and injustice, it also has the potential to serve as a confirmation of one’s agency, cultural identity, individuality, and creative powers.' … continue reading.

  • Inhabit of: Incubating Death Beyond the Domestic

    Published on: 10 November 2020

    The pregnant body as a form of home, indeed the first home; with the female incubator as host and intrauterine caregiver is a one house fits all approach to constructing meaning via image. In considering my time-based media artwork Can You Hear the Interim (video, mixed media, Archibald, Clare, 2020) in relation to ideas of home, dwelling and inhabitation in the context of expected neonatal death, I aim to broaden the understanding of the body as home. To do so I will consider utilisation of moving image as interdisciplinary practice /life writing, visual representations of pregnancy/birth (homing) beyond the stereotypical horror or sci fi, women’s experiences of ‘home’ beyond the domestic and moving image as a means by which to explore bodily and artistic agency via the lens of ‘home’. As with the making of the media art, this paper is informed by my lived experience of giving birth to a baby that I knew would be born dead or dying due to irresolvable heart issues.… continue reading.

  • Home, Class and Murder in South Korean Cinema

    Published on: 5 November 2020

    'Well' my partner noted 'although lockdown has been hard - at least we don't have a secret family living in our house'. He was of course referring to Bong Joon-ho’s megahit Parasite (2019). The award-winning film offers a nuanced debate on class, money and prejudice in contemporary South Korea. The idea of home is central to the film’s narrative – the vast poverty gap in the film is most clearly highlighted in the difference between the dank, insect infected, basement flat (banjiha) where the Kim family reside and the vast luxury home of the wealthy Park family.… continue reading.

  • Police Departments and Home Invasion

    Published on: 5 November 2020

    Jack Webb’s cult account of ‘true crimes’ The Badge: The Inside Story of One of America’s Great Police Departments provides an imagined officer’s opinion on home burglary. The officer describes burgled houses having “not been forcibly entered--not a screen cut, a door forced, or a lock broken--and most of the victims had been lonely defenseless women.” … continue reading.

  • Madness in Through a Glass Darkly

    Published on: 5 November 2020

    Ingmar Bergman’s Through a Glass Darkly’s (1961) primary concern, as Robin Wood stated in his seminal book on the director, is a woman named Karin (Harriet Andersson) and her ‘madness’ (1969, 108). The sequence this article seeks to dissect serves as the climax of the film, the boiling point at which Karin’s madness reveals itself in a hallucination of a ‘Spider-God’. Marc Gervais reads this sequence as ‘Karin’s imagined final sexual assault by the Spider-God’ (1999, 75) and this analysis will take this reading and apply to it the further argument that the ‘Spider-God’ represents Karin’s internal fear of the patriarchal society that questions her sanity. The term ‘madness’ here will be approached through Rosmarie Garland-Thomson’s feminist understandings of the notion of ‘misfits’ (2011). … continue reading.

  • Camp Followers of the Cold War

    Published on: 5 November 2020

    Early November 2016, we arrive in Cyprus after nightfall. We are here for an artist residency, hosted by Nicosia Municipal Arts Centre, to research and shoot a collaborative essay film, Father-land, that investigates our ideas of home and displacement. As the children of military personnel who served with the Royal Air Force on the island during the Cold War, we are drawing on our memories of a militarised nomadic childhood to explore ideas of home and displacement. Both our late fathers were stationed in Cyprus prior to its division in 1974, which followed when Turkish troops invaded and seized the northern third of Cyprus in response to a coup by militant Greek Cypriots seeking union with Greece.… continue reading.

  • Can You Hear Me?

    Published on: 5 November 2020

    “Can you hear me?” this question rings out on a very regular basis for anyone in a profession which has moved to online spaces. It’s certainly become, in recent months, a familiar refrain in educational delivery across the country as teachers, college, and university lecturers moved abruptly into the very different realm of fully online teaching and learning. It is a sentence which encompasses the mix of technological unfamiliarity, self-doubt, uncertainty and sudden self-awareness that marks an online conversation or delivery of information, an undiscovered country that we all thought we knew something about. We also felt well prepared for it, but found that we are not as well equipped as we first thought, and that all the time we lavished upon social media has not really readied any of us to spend even more time online in a much more formal way.… continue reading.