In trying to tackle the issue with having more research ideas than time or opportunities to publish them all, I figured I'd fire up the old blog to post up almost verbatim versions of papers and embryonic ideas to build an archive and show that I'm still active even though I'm still in that lovely early-career-and-may-not-have-a-job-in-a-few-months stage. This is one I gave in the Literature seminar series in the School of English Literature, Language and Linguistics, Newcastle University, on
25 February 2015, and again at a workshop at University of Aberdeen. This paper builds on a case study from my monograph, looking at it alone instead of in comparison to another film by the same artist.
*DISCLAIMER: I am writing about the film with an approach to
critical analysis with only a hint of review, therefore there are spoilers
within if you have not seen the film. This post serves as a line of thought
that I am archiving for later development.*
It appears that reviews of Shadow Dancer (Marsh, 2012) have not been entirely complimentary,
as far as I am aware (I am deliberately avoiding them so feel free to correct
me), and seem largely to have been written by men. The film is much more than
critics and general commenters deem it to be (e.g. one I came across stated
that this is yet another Troubles film making the IRA out to be scum). Shadow Dancer does not attempt to depict
the Northern Ireland conflict through a microcosmic narrative, rather it draws
out a suppressed individual struggle within patriarchal organizations, and in
doing so attempts to reflect the hidden lives many were forced to lead.
The most striking aspect of Shadow Dancer for me is its evocation of the di…
the second of my ten residency days, I joined a group of pupils from
Jamieson School for young folk with learning difficulties on
their day trip to The
Hepworth Wakefield. As part of Yorkshire Sculpture
International's engagement programme, they've been participating in
regular workshops with artist Beth
Hughes who has been exploring with them the sensory elements of
sculptural materials and installation art. What
stuck me most about the day was how enthused the young people were;
their energy and openness was boundless and joyful. There were nine
children aged, I think, between 10 and 13, and four teachers/carers.
In the morning, Beth led a tour of the exhibitions (including
Journey of Thingsand
pieces by Barbara Hepworth) with drawing activities to get us
thinking about materials and tactility in sculpture. After a pleasant
lunch outside in the sun, Beth led a very fun workshop using clay.
All of the activities centred around vessels. -…