2019 Awards: Best Monograph

Winner (Best Monograph 2019)

Lee Grieveson (University College London)
Cinema and the Wealth of Nations Media, Capital, and the Liberal World System (University of California Press)

The judge’s verdict was unanimous: Greiveson’s book is exhaustive and exemplary in its scholarship, and a clear winner. Through rigorous historical and cultural frameworks, it sheds new light on the influence and socio-political aims of early cinema. It is also a superb ambassador for the disciplines represented by the subject association, and the quality and significance of work that can be achieved within them.

Runner-up (Best Monograph 2019)

Sarah Atkinson (King’s College London)

From Film Practice to Data Process: Production Aesthetics and Representation Practices of a Film Industry in Transition (Edinburgh University Press)

The judges found this to be a timely, fascinating and informative book, using the close study of a particular film’s production as a means to reflect on important technological, industrial and theoretical developments. As well as an original contribution to the field, it offers an accessible path into a particularly exciting area of scholarship.

Honourable Mention (Best Monograph 2019)

Sabina Mihelj (Loughborough University) and

Simon Huxtable (Goldsmiths, University of London)

From Media Systems to Media Cultures: Understanding Socialist Television (University of Cambridge Press)

 

This book brings new and original perspectives into sharp focus around Soviet TV cultures. The judges were particularly struck by its positioning of historical and cultural texts as a means of rousing mood through 'media events', the distrust of religion, and the attempt to unify screen cultures under particular markers of identity within the Soviet bloc.

 

2019 Awards: Best Edited Collection

Winner (Best Edited Collection 2019)

Mary Harrod (Warwick) and Katarzyna Paszkiewicz (Barcelona)

Women Do Genre in Film and Television (Routledge)

 

With its nuanced, thoughtful essays, this book is vital in its approach to genre. Not merely offering readings that identify the way that women directors subvert genre, the collection works with the force of genre and the many questions around it.

Runner-Up (Best Edited Collection 2019)

Christopher Holliday (King’s College London) and Alexander Sergeant (Bournemouth)

Fantasy/Animation: Connections Between Media, Mediums and Genres (Routledge)

 

The judges found this to be an intriguing collection, with a good scope, and an effective combination of history and theory. Its main aim is to throw light on fantasy images and sequences, but it also engages with broader questions about spectatorship, imagination and desire

Honourable Mention (Best Edited Collection 2019)

James Harvey

Nationalism in Contemporary Western European Cinema (Palgrave)

 

This collection is important in its timeliness and address of current political issues. Its case studies skillfully combine textual analysis with critical reflection on national identities in the global context.

 

2019 Awards: Best Practice Research Portfolio

Audio Visual and Installation Winner (Best Practice Research Porfolio 2019)

Ian MacDonald and Geetha Jayaraman (Newcastle University)

Freedom

This is a powerful video installation which centres around Martin Luther King Jr's Honorary Degree acceptance speech at University of Newcastle in the 1960s, intercutting this with historical and contemporary protests on both sides of the political spectrum (from stop racism and anti-Trump rallies to student protests about Enoch Powell's lecture), across three screens. The research statement is very strong and supports an impactful, highly original and internationally significant piece of screen media practice-research.

 

Audio Visual and Installation Runner-Up (Best Practice Research Porfolio 2019)

Deniz Soezen (Westminster)

Surya Namaz

A fascinating dual exploration of rituals in yoga and Muslim prayer, and very pleasing visually too. The research statement is robust and offers an excellent insight into the formal strategies chosen in the film. In terms of impact, the methodology is potentially very useful for other artists exploring complex identities.

 

Documentary Film Winner (Best Practice Research Porfolio 2019)

Garrabost Jayalakshmi (Xi’an Jiaotong Liverpool University)

Going Home

Going Home offers an exciting and thought-provoking journey of going ‘back’ home. The filmmaker travels on the same trains her family used some thirty years ago. The project is a celebration and simultaneously a critical reflection on diasporic identity, the process of aging, particularly for a woman and a sense of a life journey.

 

Documentary Film Runner-up (Best Practice Research Porfolio 2019)

Jenny Coates and Jamie Coates (Sheffield)

Tokyo Pengyou

Tokyo Pengyou offers insightful observations into the ordinary lives of young Chinese people living in Japan. This ethnographic study teases out brilliantly the complexities inherent within the concepts of belonging, national identity, culture and migration. 

Experimental Short, Experimental Documentary, Video Essays Winner (Best Practice Research Porfolio 2019)

Kiki Tianqi Yu (West Scotland)

China's Van Goghs

This deceptively simple experimental documentary is an outstanding piece of work that combines techniques of fly on the wall, arts documentary, and drama reconstruction. It tells a moving and unexpected tale of transformation through art. Beautifully shot, poignant with piercingly relevant questioning. It has been shown internationally already, gaining deserved recognition.

 

Experimental Short, Experimental Documentary, Video Essays Runner-Up (Best Practice Research Porfolio 2019)

Ian Garwood (Glasgow)

The Place of Voice Over

This is an important intervention in the field of the video essay which interrogates the use of voice over in videographic films. It explores different voiceover styles, whilst giving a critical overview of a range of formal and stylistic techniques that video essayists have employed (including non-voiced essays). It also incorporates research into which voices are heard in video essays (mostly white, male) and calls for a wider range of voices to be included. It is an important tool for practice research as well as film studies.

2019 Awards: Best Journal Article

 

Winner (Best Journal Article 2019)

Melanie Bell (Leeds)

Learning to Listen: Histories of Women’s Soundwork in the British Film Industry’

Screen, 58: 4, pp.437-57.

This is an outstanding piece of historiographical filmic research. It is based on a great deal of very detailed and painstaking research. It is also very timely in its feminist reworking of herstory to illuminate a very little known, but vital part of film-making, where women’s role has been overlooked, but is now being restored.

Runner-Up (Best Journal Article 2019)

Jonathan Murray (Edinburgh College of Art)

‘Alliteration, America and Authorship: The Television Drama of John Byrne’

Visual Culture in Britain, 19:3, pp. 378-400.

This engaging and accessible article demonstrates real scholarship, and makes a major contribution to our understanding of Scottish screen studies, and to the work of John Byrne in particular.

 

Joint Honourable Mention (Best Journal Article 2019)

Andrew Spicer (UWE)

‘“Being European”: UK Production Companies and Europe’

Studies in European Cinema, 16: 1

This is a model of its kind, offering a historical overview as well as  analysis of its topic. It tells its story with verve and clarity, making for a very engaging read.

 

Joint Honourable Mention (Best Journal Article 2019)

Sarah Street (Bristol)

The Monopack Revolution, Global Cinema and Jigokumon/Gate of Hell (Kinugasa Teinosuke, 1953)’

Open Screens

This is an excellent piece of historical research, placing its case-study within a very broad set of contexts. It is also very readable and accessible.

2019 Awards: Best Doctoral Student Article or Chapter

 

Winner (Best Doctoral Student Article or Chapter 2019)

Isabel Segui (St Andrews)

'Auteurism, Machismo-Leninismo, and Other Issues: Women’s Labor in Andean Oppositional Film Production’

Feminist Media Histories, 4:1, pp.11-36.

This article is highly original and impactful in its discovery of new Andean women filmmaker, and in its development for new paradigms for historiographic methodologies in screen industries research. By focusing on collaborative work, Isabel allows for otherwise unwritten contributions to production to be recorded and to be analyzed.

Runner-Up (Best Doctoral Student Article or Chapter 2019)

Emilija Talijan (Cambridge)

‘What Utopia Would Feel Like: Lars von Trier’s Dancer in the Dark’

Screen, 58:3, pp.332-48.

This is a highly original, sophisticated and pithily written discussion of Lars Von Trier's in relation to the musical. It is theoretically well informed, and demonstrates the radical challenge to the musical form that the film represents.

Honourable Mention (Best Doctoral Student Article or Chapter 2019)

Esther Wright (Warwick)

'Marketing Authenticity: Rockstar Games and the Use of Cinema in Video Game Promotion’

Kinephanos, 7, pp.131-64

Using detailed analysis of the cinematic marketing strategies and paratexts of Rockstar Games, this article offers a strong intervention into debates around authenticity, and the interface between cinema and video games.

2019 Awards: Postgraduate Poster Competition

 

Winner (Best Postgraduate Poster 2019)

Hasmik Gasparyan (University of York)

Investigating the Making of Cinematic Silence

 
 
 

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