A University of Central Lancashire blog, recording the experiences and events within Film and Media

In December 2013 Professor Ewa Mazierska published a book examining the representation of work in cinema.

labour and the human condition

Cinema frequently depicts various types of work, but this representation is never straightforward. It depends on and reflects many factors, most importantly the place and time the film is made and the type of audience it addresses. In this volume, the contributors employ transnational and transhistorical perspectives to compare films from different countries, periods, and genres. Rather than prescribe a specific meaning of work, the collection explores its fuzzy edges, including sex work, criminal work, situations where the jobs’ purpose is to reduce work, and other marginal types of labor. The contributors draw attention to the paradox that although there is seemingly less work to be done now than it was in the past, the central role of work in human life has not been challenged: it is seen as the human condition.

Contents

About the Author(s)le of ContenIntroduction: Work, Struggle and Cinema; Ewa Mazierska
PART I: NEO-LIBERAL WORK
1. Affective Labor and Alienation in Up in the Air; Ian Fraser
2. Becoming Cinema: The Social Network, Exploitation in the Digital Age, and the Film Industry; William Brown
3. The New European Cinema of Precarity: A Transnational Perspective; Alice Bardan
4. Acting as Value in the Age of Neoliberalism: Juliette Binoche in Michael Haneke’s Code Unknown; Zaneta Jamrozik
PART II: NATIONAL AND TRANSNATIONAL CINEMAS
5. The Trauma of Daedalus: The Labyrinth of Labour in Brazilian Cinema; Alfredo Suppia
6. Beyond Work and Sex in Czech Cinema; David Sorfa
7. Desensitised Migrants: Organised Crime Workers in David Cronenberg’s Eastern Promises and Aleksei Balabanov’s Stoker; Alexandar Mihailovic
8. The Damnation of Labour in the Films of Bela Tarr; Christina Stojanova
PART III: GENRE
9. You Don’t Have to be Crazy to Work, But it Helps: Work in Comedies of the 1930s; Glyn White
10. The Migrations of Factory Style: Work, Play and Work-as-Play in Andy Warhol, Chantal Akerman and Apichatpong Weerasethakul; Jonathan L. Owen
11. Work in Outer Space: Notes on Eastern European Science Fiction Cinema; Eva Näripea
12. Work in Bicycle Cinema: From Race Rider to City Courier; Lars Kristensen
13. Documentaries, Work and Global Challenges; Ib Bondebjerg

In September 2013 Dr Anandi Ramamurthy, Senior Lecturer in Film and Media Studies published a history of the Asian Youth Movements.  It was featured in The Morning Star, The Big Issue and Red Pepper

http://www.morningstaronline.co.uk/a-678f-Books-Non-fiction-An-important-story-of-Asian-youth#.UspvzLQrgTA

Ramamurthy T02692 (1)

Morning star review

http://www.gusjohn.com/2013/10/review-black-star-britains-asian-youth-movements/

Prix Italia closing ceremony

In June 2013 an informative two day workshop was held in which students from UCLan were visited by Antonio Santangelo from the University of Turin and were educated alongside UCLan’s lecturers in television on the topic of analysing and identifying quality programming.

Five students myself included were then offered the chance to attend the prestigious 65th Prix Italia, held in Turin, Italy as part of the first international students’ jury.

Between June and September we were then entrusted with the task of viewing and analysing a variety of entries for this years ‘Special prize students award’, from countries as diverse as North Korea, Germany and Sweden, staying in contact with our fellow jury members, students from the University of Turin over the summer. This was a great opportunity to observe cultural differences and exchange knowledge, in which we set up a Facebook page to not only discuss the programmes and get to know each other better, but recommend other shows and films we thought merited viewing.

When September 26th finally came, we flew out to Turin were we got to meet our fellow jurors in person and start official proceedings. This included the chance to attend a press conference, with all the other juries in attendance from all over the world. Were each of us were introduced by name and greeted by the general secretary of the Prix Italia, Giovanna Milella. The first day concluded with the opening ceremony, a concert by the acclaimed Rai orchestra.

Sunday 27th saw the start of a week-long series of informative events and lectures, one of the panels we attended was titled ‘News in the multimedia era’, with talks from Cilla Benko (General Director of SR) and Fran Unsworth (BBC’s Deputy Director, News and Current Affairs) who we were later lucky enough to talk to at one of the many lunches provided by the Prix. The day ended with a hosted dinner for all the jurors which gave us another opportunity to network.

Monday 28th also saw us attend a lecture on ‘Television series in Europe and in the world’, the panels consisting of Christian Wikander (Head of drama, SVT Sweden), Hans Rosenfeldt (Scriptwriter of The Bridge, Sweden) and Elwood Reid (Scriptwriter and producer of FX’s The Bridge), who we were also able to converse with, among others.

The week was punctuated with excursions around the Turin area, including the opportunity to visit the cinema museum and a lecture hosted at Turin’s famed Egyptian museum.

Tuesday 29th also saw us invited to a special event titled ‘France on Prix Italia’s stage, a screening of ‘Notre-Dame de Paris’.

Throughout the week we held meetings as a jury to further discuss the programme entries for our category and worked together to narrow down our choices to two shortlists and eventually two winners, which culminated in a public debate with the Prix Italia jury, which gave us a chance to compare our shortlists and reasoning. In which there was some crossover in that we agreed on most of the programme winners, yet there was also differences which the other jury noted was refreshing to see.

We were also invited to the book launch of the ‘Handbook for TV Quality assessment, A socio-semiotic approach for Prix Italia jurors’ authored by Antonio Santangelo and Giuseppe Tipaldo based on their experiences with the students jury over the years, which cemented the notion that we were a part of original research in the field of television studies.

The final day saw the closing ceremony and the announcement of all the winners, in which we were invited to stand up as a jury and given applause. We also got the chance to meet Pia Halverson the leading actress who collected the students award for ‘Real Humans’(SVT, Sweden), one of our chosen winners alongside HBO Europe’s ‘Burning Bush’.

Overall the week was a fantastic opportunity to network with television and media professionals, as well as experience jury proceedings first hand and is one I will never forget, creating long lasting contacts and friendships with our Italian counterparts at the University of Turin. I would definitely recommend it to anyone who is given the opportunity, as it is the chance to participate in a burgeoning area of television studies as well as experience a unique part of Italian culture.

Katie McGivney, BA Film and Media

Prix Italia closing ceremony

Senior Lecturer Georgina Gregory  published a cultural study of tribute bands which was reviewed by Times Higher Education, 26 July 2012

http://www.timeshighereducation.co.uk/books/send-in-the-clones-a-cultural-study-of-the-tribute-band/420703.article

It was also was featured on Arena an RTE Radio arts programme. .

Link:

http://www.rte.ie/radio1/arena/programmes/2012/0626/352643-arena-tuesday-26th-june-2012/

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