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James Leggott Lecturer in Film and Television Studies

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Title: James Leggott Lecturer in Film and Television Studies Author: NU Staff Last modified by: unn Created Date: 5/9/2011 11:25:18 AM Document presentation format – PowerPoint PPT presentation

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Title: James Leggott Lecturer in Film and Television Studies


1
James Leggott Lecturer in Film and Television
Studies
  • Northern Realism
  • The Films of the Amber Collective from 1969 to
    the Present

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AHRC Bid
  • First submitted in 2006
  • Successful resubmission in 2008
  • Research grant for co-written monograph

19
Why Amber?
  • Project begun by James Leggott and Tobias
    Hochscherf in 2006, Film/TV lecturers at
    Northumbria
  • Research interests in realist cinema, authorship,
    film history, British film and television
    culture, national cinemas, international
    exchanges and regional culture

20
  • Our interest in Amber is two-fold. Firstly, we
    propose to locate their film work within its
    national and international context for example,
    by relating it to traditions of realist film
    practice, and to oppositional and independent
    media culture. Secondly, we seek to document and
    critique how Amber have represented the people,
    landscape and socio-political developments of the
    North East of England.

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Research Questions
  • What are the subjects, themes and aesthetic
    strategies that characterise Ambers work from
    the 1960s to the present?
  • How can Ambers work be located within regional,
    national and international cinematic/televisual
    cultures?
  • How does Ambers work relate to the history of
    the independent workshop movement and in what
    ways did their relationship with Channel Four
    television in the 1980s influence their
    independent working practices and artisanal
    production modes?
  • What are the political and aesthetic implications
    of their engagement with local communities?

22
More Research Questions
  • How useful is it to describe their work as
    oppositional in terms of its engagement with,
    for example, Thatcherism, and the stigmatisation
    and marginalisation of certain north-east
    communities.
  • How does Ambers status as a collective
    influence their work? Can this self-conception
    form the basis of a collaborative model of
    auteurism within British film culture?
  • How might Amber re-orientate their working
    practices in future years in response to
    technological changes, and the evolution of the
    film and television industry?

23
Research Methods
  • undertaking a detailed critical reading of
    Ambers films in terms of representation (gender,
    race, class, region etc) and politics.
  • identifying and analysing the evolving aesthetic
    and technological strategies undertaken by the
    film-makers (ie the use of digital video,
    handheld cameras, etc).
  • locating Ambers filmic work within wider
    national and international cinematic and
    televisual contexts, as well as within the
    tradition of British realist and documentary
    film-making traditions.
  • carrying out interviews and communication with
    the film-makers, and others involved in the
    films, so as to understand both the practical and
    historical context and their perception of the
    work.
  • studying the reception of Ambers oeuvre in
    Britain and beyond, such as in festivals,
    newspaper/magazine reviews and trade papers.

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Challenges
  • Delegation of research and writing duties
  • Limited interest from publishers
  • Access to participants, visual and archive
    material
  • Defining parameters of research focus on film
    rather than photographic work of Side etc
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