BAFTSS Award Ceremony – 2014

 

BAFTSS Prize-giving 2014

Sarah Street was awarded First Prize in the 2014 British Association for Film, Television and Screen Studies Best Book Prize for Colour Films in Britain: The Negotiation of Innovation 1900-55 (BFI/Palgrave Macmillan, 2012).

 

 P1050842

 

Comments by judges:

 

 

This book boasts a wealth of original research and embraces the technological, aesthetic, cultural and industrial nexus of ideas around colour on film. The British historical context is particularly illuminated. Street teases out the nationalistic discourses around the UK’s use of Technicolor and its innovations ably and persuasively. What this amounts to is a gripping story about how cultures deal with change. The book is quite brilliant and admirably lucid in the way it describes the sensibilities of colour perception. A breath-taking level of archival work underpins the writing here, and Street vitally incorporates a commentary about all of the difficulties of dealing with fragile, faded material; hence she takes care to be tentative in her analysis. This feels like a book which is destined to make us all more colour conscious.

 

 P1050841

 

Additional reviews from the Palgrave website:

 

In addition to the quality of the research, the book is also beautifully-designed. It features numerous colour illustrations – primarily frame enlargements – which are very helpful in comprehending Street’s many detailed analyses of individual films. The book also features two appendices that enhance its value as a reference work: a list of the colour films distributed in Britain between 1938 and 1955 (based on Kinematograph Weekly), and a concise and very useful description of the colour film processes and technologies discussed in the book (compiled by Simon Brown). Colour Films in Britain succeeds both as a comprehensive national film history and as a reflection on colour in cinema, and will be a valuable and lasting contribution to the field of film studies. European Journal of Media Studies.

‘Sarah Street’s groundbreaking study is that rare film history text which is at once absolutely authoritative, and pitched at a very high level in terms of discourse, but still readily accessible to the general reader. In addition, the volume is richly — and I mean intensely – illustrated with numerous, exquisitely printed frame blowups from the many films it examines, all in full color, and Street’s analysis of the development of color, not only in the commercial British cinema, but also in the the experimental work of artists such as Len Lye, is meticulous and detailed.’ – Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, USA, ‘Frame by Frame’, University of Nebraska-Lincoln’s Film Blog.

 

 

 

 

 

Ian Christie was awarded Runner-Up Prize in the 2014 British Association for Film, Television and Screen Studies Best Book Prize for Audiences: Defining and Researching Screen Entertainment Reception (Amsterdam University Press, 2012).

 

 P1050839

 

Comments by judges:

 

 

This volume is more than the sum of its parts. It is a test case in what an edited collection can be. It benefits from the many voices and the many perspectives, and throughout there is a keen sense that what’s here has been intelligently curated by Ian Christie. Where ‘audience studies’, for all its insights, has emerged from qualitative and quantitative statistics with a sociological impetus (and has necessarily had to reflect at length on its own methodology), this volume is wider-ranging. It is an energetic (and jargon free) exploration of how and where films have been and continue to be seen. The set of interests here is very impressive: cinema design, stage aesthetics, address to audience, cinema-going, the use of statistics, emerging technologies, and bio-cultural understandings of how we respond to film. Cinephilia in the digital age is explored; a fascinating piece on mobile phones is included; there is back to basics and refreshed consideration of cognitive psychology, as well as a defence of the merits of what the discipline of ‘audience studies’ can bring. As a whole, this is a serious, broad-ranging and immensely readable volume, a genuine contribution to scholarship, and it asks us to think again about what watching a movie actually entails.

 

 

 

 

 

Belén Vidal was awarded an Honourable Mention in the 2014 British Association for Film, Television and Screen Studies Best Book Competition for Figuring the Past: Period Film and the Mannerist Aesthetic (Amsterdam University Press, 2012)

 

P1050838 

 

Comments by judges:

 

 

A finely observed, minutely detailed exploration of style in the period drama, productively borrowing from art history to expound on the rhetoric of mannerism (a painterly self-consciousness) in recent examples of the genre. This is written with relish. Choice phrases leap out at the reader, and the acute attention to detail allows for the basic premise to be finessed. Scorsese’s Age of Innocence is quite brilliantly attended to, the book capturing precisely the way it lures the spectator into its world while at the same time rendering it’s pastness strange. Enriched rather than hamstrung by its post-structural theoretical foundations, Vidal is deft in explaining the way matters of form and style mobilise senses of fantasy, of desire and of fidelity. This reads like a labour of love.

 

 

 P1050836

 

 

 

 

 

 

 

Lee Grieveson was awarded First Prize in the 2014 British Association for Film, Television and Screen Studies Best Article Prize for ‘The Work of Film in the Age of Fordist Mechanization’ in Cinema Journal 51: 3 (Spring 2012).

 

 

P1050834

 

Comments by judges:

 

 

Lee Grieveson’s essay is notable for its attempt to broaden the focus of film studies through an examination of the under-studied area of industrial and educational film and for its sophisticated exploration of the relationship between film and political economies. It is a rigorously scholarly piece of research making extensive use of archival sources and it significantly expands our understanding of filmmaking practices of the 1910s and 1920s.

 

 

 

 

 

 

Catherine Fowler was awarded Runner-Up Prize in the 2014 British Association for Film, Television and Screen Studies Best Article Prize for  ‘Remembering Cinema “elsewhere”: From Retrospection to Introspection in the Gallery Film’ in Cinema Journal 51: 2 (Winter 2012)

 

 

Comments by judges:

 

 

Catherine Fowler’s essay also broadens the discipline of film studies, through its focus on gallery films often consigned to the field of visual studies. Her insightful analysis of moving image installations that utilise and reflect on sequences from existing films suggests new ways of thinking about our engagement with cinema history, and provides an interesting intervention into contemporary debates around the notion of cinephilia.







BAFTSS Postgraduate Events Funding Competition, 2014 – Awarded projects

We are glad to announce the 2014 winners of the BAFTSS Postgraduate Events Funding first call.

Jilly Kay, De Montfort University, for the event: Mediated Pasts: Visual Cultures and Collective Memory and Oliver Kenny,  Queen Mary, University of London for the  event: Postgraduate symposium evaluating contemporary ideas about the gaze.

both these projects will receive a support of £250 from BAFTSS.

BAFTSS POSTGRADUATE EVENTS FUNDING SCHEME – FIRST CALL 2014

BAFTSS logo

There will a BAFFTS Postgraduate Events Funding Competition with closing date on Friday, 31 January 2014, 4pm. Applications should be submitted electronically, at info@baftss.org. Two awards of £250.00 each will be made to the successful candidates.

The application form is available here

 

Eligibility

The award is available to BAFTSS members only. Applicants must be the main organisers of the relevant PG events and must be currently enrolled as PhD or (taught/research) MA students at a British University. Applicants must provide a valid Student Identity Number (SID) on the application form.

Events funded by the scheme are: PG conferences; PG symposia; PG workshops; PG seminar series. Other similar events may also be considered.

Events funded by the scheme must take place between 1 March and 31 August 2014 (applications for events taking place after 31 August 2014 should be submitted by the July 2014 deadline, as indicated below).

 

Aims of the Scheme

The BAFTSS contribution is aimed at facilitating PG attendance at academic events. It should be primarily utilised to cover expenses such as:

 

  1. Travel and accommodation for PG delegates.
  2. Fee waivers for PG delegates.
  3. Bursaries for PG delegates.

 

Other expenses will also be considered, provided they are clearly justified as benefitting PG students.

 

Dissemination

 

Publicity for all BAFTSS-funded events should carry the BAFTSS logo as above (click on the logo on this page to access it in higher definition) and the phrase ‘organised in association with BAFTSS’.

 

Should there be publications or other outputs derived from the event, a mention to the BAFTSS support should be made.

 

Terms and Conditions

 

A full report, including a detailed description of how the funds were used, must be delivered to the BAFTSS Events Committee, at info@baftss.org, within four weeks after the end of the event. Any unspent funds must be returned to BAFTSS.

 

The next call for applications for this award will be closing on 31 July 2014.

Enquires should be addressed to the BAFTSS Treasurer, Professor Lúcia Nagib, l.nagib@reading.ac.uk

 

Call for Submissions to the Second Annual BAFTSS Awards

The British Association for Film, Television and Screen Studies (BAFTSS) wishes to recognise the research achievements of its members through the BAFTSS Annual Awards. All BAFTSS members are eligible to submit work in the following categories (all submissions must be in the English language and must be on a topic in the field of film, television, and screen studies):

  • Best Monograph (a single-authored book, published during the calendar year 2012)
  • Best Article in a Refereed Journal (published during the calendar year 2012)
  • Best Postgraduate Student Essay (BAFTTS Student members enrolled during the 2012 calendar year period on postgraduate degree courses in Film, Television or Screen Studies at a British University). Submissions in this category should be between 4,000 and 6,000 words, including footnotes and bibliography. Essays must not have been previously published, but should be of a standard that they could be submitted in their present form to a peer-reviewed journal. They can include work that has been submitted fully or in parts as an assessed degree requirement (coursework, dissertation chapter etc.). Essays written specifically for the competition are also eligible.
  • Best Practice (submitted via DVD or link to website)

 

BAFTSS Prize Panels

 

Please send submissions by 1 December 2013 to:

 

BAFTSS Prize submission

Professor Phil Powrie

Vice-Chair BAFTSS

Faculty Office

The Elizabeth Fry Building

University of Surrey

GU2 7XH

 

The four categories are: books (either hard copy or electronic); articles (electronic only); PG student essays (electronic only); practice (DVD or link to website). Winners will be contacted prior to the BAFTSS conference (24-26 April 2014, London: http://www.baftss.org/category/conference/).

 

BAFTSS POSTGRADUATE EVENTS FUNDING SCHEME SECOND CALL

BAFTSS logo

There will a BAFFTS Postgraduate Events Funding Competition with closing date on Wednesday, 31 July 2013, 4pm.

Applications should be submitted electronically, at info@baftss.org. Two awards of £250.00 each will be made to the successful candidates.

The application form is available here.

 

Eligibility

The award is available to BAFTSS members only. Applicants must be the main organisers of the relevant PG events and must be currently enrolled as PhD or (taught/research) MA students at a British University. Applicants must provide a valid Student Identity Number (SID) on the application form.

Events funded by the scheme are: PG conferences; PG symposia; PG workshops; PG seminar series. Other similar events may also be considered.

Events funded by the scheme must take place between 1 September 2013 and 28 February 2014 (applications for events taking place after 28 February 2014 should be submitted by the January 2014 deadline, as indicated below).

 

Aims of the Scheme

The BAFTSS contribution is aimed at facilitating PG attendance at academic events. It should be primarily utilised to cover expenses such as:

 

  1. Travel and accommodation for PG delegates.
  2. Fee waivers for PG delegates.
  3. Bursaries for PG delegates.

 

Other expenses will also be considered, provided they are clearly justified as benefitting PG students.

 

Dissemination

Publicity for all BAFTSS-funded events should carry the BAFTSS logo as above (click on the logo on this page to access it in higher definition) and the phrase ‘organised in association with BAFTSS’.

 

Should there be publications or other outputs derived from the event, a mention to the BAFTSS support should be made.

 

Terms and Conditions

A full report, including a detailed description of how the funds were used, must be delivered to the BAFTSS Events Committee, at info@baftss.org, within four weeks after the end of the event. Any unspent funds must be returned to BAFTSS.

 

The next call for applications for this award will be closing on 31 January 2014.

Enquires should be addressed to the BAFTSS Treasurer, Professor Lúcia Nagib, l.nagib@reading.ac.uk

 

Student Essay Award

Shortlist (all three shortlisted essays will be published by Frames journal)

Hannah Mowat (Cambridge): ‘Nature versus architecture: Navigating the Threshold in Alain Resnais’s  L’Année dernière à Marienbad, Stanley Kubrick’s The Shining and Jessica Hausner’s Hotel’

Steve Presence (University of the West of England): ‘Spectacle and the Melodramatic Rhetoric in Nil by Mouth’

John Trafton (St. Andrews): ‘Things that almost killed me’: Apocalypse Now, The Hurt Locker, and the Influence of 19th Century Spectacle Art’

 

Winner: Steve Presence: ‘An investigation of affect in the cinema: Spectacle and the Melodramatic Rhetoric in Nil By Mouth’

Reason for award:
This is a mature and insightful discussion of affect, spectacle
and melodrama in relation to Nil By Mouth. The awards committee was
impressed by the essay’s breath in terms of demonstrating a bold
intellectual grasp of the intertwined and complex critical, theoretical
and textual issues relating to the power of the cinema to ‘move’
audiences. As a study of the power of melodramatic rhetoric, the essay
demonstrates a sophisticated approach to understanding the viewing
experience.

 

Runner Up (in alphabetic order):

Hannah Mowat : ‘Nature versus architecture: Navigating the threshold in Alain Resnais’s Last Year in Marienbad, Stanley Kubrick’s The Shining and Jessica Hausser’s Hotel’
Reason for Nomination:
The Awards Committee was impressed by the care to textual detail that nimbly negotiated the films’ various configurations of the hotel space as constituting ‘meditations on collective memory’.

John Trafton: ‘Things that almost killed me’: Apocalypse Now, The Hurt Locker, and the influence of 19th Century Spectacle Art’
Reason for Nomination:
The Awards Committee was impressed by the author’s deft deployment of the notion of the ‘phantasmagorial war film’, with reference to some seminal examples. The essay is extremely well-illustrated, demonstrating some convincing historic links between media, encompassed within the notion of the ‘panoramic aesthetic’.

Essay Award

Shortlist

Melanie Bell (Newcastle University): ‘Film Criticism as Women’s Work: The Gendered Economy of Film Criticism in Britain 1945-1965’ (Historical Journal of Film, Radio and Television, 31:2, 2011, pp. 191-209)

Annabelle Honess Roe (University of Surrey): ‘Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary’ (Animation: An International Journal, 6:3, 2011, pp. 215-230)

Joshua Yumibe (University of St. Andrews): ‘Visual Diplomacy: Projections of Power from the Field in Ethiopia’ (Early Popular Visual Culture 9:4, 2011, pp. 309-323)

 

Winner: Melanie Bell: ‘Film Criticism as Women’s Work: The Gendered Economy of Film Criticism in Britain 1945-1965’ 

Reason for award:
A very well researched, original and innovative historical study of the role of British women film critics in film historiography (and production). The article maps the field of women film critics in Britain and demonstrates and accounts for the ebbs and flows of female input in the field. The article looks at film criticism as a form of women’s work and approaches it as a role for women in the ‘film industry’, understood here in its broadest sense to include production, distribution, exhibition and the myriad forums through which film circulates in the public domain. The article thus opens up a range of possibilities for film history to go beyond authorship models.

 

Runner Up (in alphabetic order):

Bella Honess Roe, ‘Absence, Excess and Epistemological Expansion: Towards a Framework for the Study of Animated Documentary’
Reason for Nomination:
This is a well-researched and original article that contributes to a deeper and more nuanced examination of animated documentary by exploring the theoretical foundations and framework for such work.

Joshua Yumibe: ‘Visual Diplomacy: Projections of Power from the field in Ethiopia’
Reason for Nomination:
This is a very well-researched and sophisticated study of the ethnographic film in the context of salvage anthropology and colonial politics.

 

Book Award

Shortlist 

Lucy Bolton (Queen Mary, University of London): Film and Female Consciousness: Irigaray, Cinema and Thinking Women (Palgrave Macmillan, 2011)

Rosalind Galt (University of Sussex): Pretty: Film and the Decorative Image (Columbia University Press 2011)

Andrew Higson (University of York): Film England: Culturally English Filmmaking Since the 1990s (I.B. Tauris, 2011)

David Martin-Jones (University of St. Andrews): Deleuze and World Cinemas (Continuum, 2011)

Peter Stanfield (University of Kent): Maximum Movies: Pulp Fictions: Film Culture and the Worlds of Samuel Fuller, Mickey Spillane, and Jim Thompson (Rutgers University Press 2011)

 


Winner: Rosalind Galt – Pretty: Film and the Decorative Image


Reason for Award:Arguing against a long-standing trend in film and art theory that equates austerity and the rejection of the decorative as the hallmark of true and politically more valid art, Galt’s book rehabilitates ‘prettiness’ as a serious aesthetic and political project. Engaging with art and film theory as well as philosophy, and touching on postcolonial, feminist, and queer concerns, Galt’s intellectual tour de force takes the reader through a dazzling array of cinematic examples that include Max Ophuls’s Lola Montez, the documentary Soy Cuba, Derek Jarman, and Baz Luhrman’s Moulin Rouge.


Runner Up (in alphabetic order):

Lucy Bolton, Film and Female Consciousness: Irigaray, Cinema and Thinking Women

Reason for Nomination:

Offering perceptive readings of films from very different contexts, including The Seven Year Itch (1955), Marnie (1964), and Klute (1971) to contemporary texts such as In The Cut (2003) and Lost in Translation (2003), Bolton focuses on the way female subjectivity and interiority is represented on screen, and makes productive use of Irigaray’s philosophical insights. The resulting readings mark an important departure in feminist film criticism

 

Andrew Higson,  Film England: Culturally English Filmmaking Since the 1990s 

Reason for Nomination:

Continuing his longstanding investigation into the Englishness of British filmmaking, Higson provides a comprehensive picture of various strands of British cinema over the past twenty years, combining meticulous analysis of film policy developments and industrial patterns with a perceptive reading of different genres, such as the heritage film. Authoritative and intellectually probing, the book marks a major intervention into British cinema historiography.

 

David Martin-Jones,  Deleuze and World Cinemas.

Reason for Nomination:

Spanning an impressive range of different historical and cultural contexts, and covering filmic examples from Latin America, India, Hong Kong and South Korea, Martin-Jones makes a forceful and persuasive case for the applicability of Deleuzian analysis to the study of World cinema. In the process the book also challenges common perceptions of Deleuze as a ‘difficult’ and arcane thinker. The clarity of Martin-Jones’s writing is admirable.

 

Peter Stanfield, Maximum Movies: Pulp Fictions: Film Culture and the Worlds of Samuel Fuller, Mickey Spillane, and Jim Thompson 

Reason for Nomination:

Meticulously researched and elegantly argued, Peter Stanfield’s book revisits post-war cinephilia and film criticism in the UK and the US, the the way in which the reception of literary and cinematic pulp fictions helped paved the way towards establishing popular film as a serious object of study. Featuring a cast that includes Jean-Luc Godard, Samuel Fuller, Manny Farber, and Mickey Spillane, Stanfield’s book provides a compelling account of the intersections between intellectual movements and popular culture.