Volume 1.1

ISBN  978-186043-5126 / ISSN 2514-3123

https://doi.org/10.37186/swrks/1.1

Welcome to the inaugural issue of Screenworks. We are thrilled to launch this platform dedicated to showcasing the exciting and diverse world of practice-based research in film and moving image art. This issue features a rich tapestry of contributions, each one pushing the boundaries of the medium and exploring its potential to engage with critical and personal themes. 

Erik Knudsen's documentary Heart of Gold delves into the complex relationship between Ghanaians and their national resource, gold. Through a captivating blend of interviews and dramatizations, Knudsen blurs the lines between fact and fiction, inviting viewers to question their understanding of this precious commodity. Steven Eastwood's Of Camera takes a more playful approach, exploring the breakdown of communication between a videotaped woman and a celluloid film man. Trapped within the same frame yet unable to connect due to their incompatible formats, this piece offers a clever metaphor for the challenges of communication in the modern world. Charlotte Crofts' Bluebell tackles a difficult subject – the rape narrative. By deliberately setting up and then subverting audience expectations, this film challenges the stereotypical portrayal of women as victims and empowers us to see them as survivors. 

Wyn Mason's Paperwork takes us on a journey through the bureaucratic maze faced by asylum seekers arriving in Europe. This thought-provoking installation, inspired by Mason's placement at a Belgian reception center, uses repetition and visual clutter to evoke the overwhelming experience of navigating the asylum process. John Burns' animation Journey Factory explores the cyclical relationship between artistic inspiration and commercial demands. Through a visually stunning animation that takes place within industrial spaces, Burns delves into the challenges and rewards experienced by artists who work within the commercial illustration industry. David Chapman and David Cottridge's collaborative work, Hark, takes us to a former munitions site transformed into a park. Their site-specific audio-visual installation uses sound and animation to capture the evolving soundscape and changing seasons, inviting viewers to experience the park's transformation firsthand.

Helen Bendon's looped video Egg and Spoon offers a nuanced exploration of domestic life. By depicting a couple's repetitive race, Bendon draws our attention to the complexities of human relationships and the tension between stillness and action within the confines of the home. Simon Ellis and David Corbet's interactive web project, Dad-project, pushes the boundaries of storytelling in the digital age. This dynamic archive of movement and movement practitioners challenges traditional notions of performance and explores the role of media in shaping our perception of movement. Clive Myer's documentary, Dorothy Carrington - A Woman of Two Worlds, transcends the boundaries between filmmaker, subject, and myth. By interweaving the dreams of the Corsican "Mazzari" with the life of writer Dorothy Carrington, Myer creates a captivating exploration of cultural identity and personal narratives.

Nick Cope and Tim Howle's Open Circuits exemplifies a new wave of "electroacoustic movies" that fuse electronic music with moving image art. Blending time-lapse cityscapes and computer animations, this collaborative project creates a dreamlike world that prompts viewers to question the impact of technology on our lives. Eamonn Crudden's Mob Films Manifesto & I Am The Pilot, The Pilot is In My Sights pushes the boundaries of documentary filmmaking. These two films, part of the 'Robot Series', employ a collaborative approach that utilizes digital technologies and voiceover software to explore the influence of technology on contemporary life. Ronnie Close's A Hard Place utilizes interviews and evocative visuals to explore the lasting impact of the Northern Ireland hunger strikes on the former participants. By blurring the lines between documentary and personal memory, Close creates a powerful and poignant exploration of personal sacrifice and the legacy of violent conflict.

Screenworks aims to not only showcase exceptional works of practice-based research but also to establish a space where the significance, originality, and rigor of such work is recognised. The inclusion of peer reviews for each piece further strengthens this endeavor. We believe that practice-based research offers invaluable new knowledge, and we are committed to fostering a community of scholars and artists who are exploring the ever-expanding possibilities of film and moving image art.

This, the first volume of Screenworks, was edited by Professor Jon Dovey and associate editor Dr Charlotte Crofts and was published on DVD and distributed with the Journal of Media Practice Volume 8.2 (Sept 2007).  If you would like to get hold of a DVD of the full-length work for your library or teaching purposes then please contact us at admin@screenworks.org.uk.

Screenworks is a rolling publication. Each rolling volume runs from September to July, with the editorial team taking a well-deserved break in August. To submit work please read our Submissions Guidelines and use our Online Submission Form. If you are interested in submitting your practice and want further advice, then please contact us on admin@screenworks.org.uk with “Submissions” in the subject line.