Pea Arts About

I have the great pleasure of reporting from Lausanne, Switzerland, this week. I've been here giving a guest seminar for my friend Jenn's MA linguistics module on language in TV and film. We did this before but via Zoom during lockdown, and this time everything worked out so I could come in person.  My task was to cover film stylistics and the terminology used in moving image/audiovisual analysis. I also wanted to link to topics such as accent and ethnicity covered elsewhere in the module. My go-to to exemplify all this is No (dir. Pablo Larraín, 2012) as it is a meeting place for television and cinema, the main character (René Saavedra played by Gael Garcia Bernal) has returned from exile to Mexico and is marked as not quite Chilean by his accent, there is a notable absent presence of Chile's indigenous peoples, and it is one of those films whose aesthetics directly impacted by the recording apparatus and the way it has been edited make it an excellent candidate for demonst...

Post-Agreement Cinema: The Northern Ireland Conflict in Contemporary British and Irish Screen Cultures Abstract Film and television production in Northern Ireland has experienced significant shifts since the Peace Agreement was signed in 1998. During this time, major changes in views of the Northern Ireland conflict in other parts of the British Isles have emerged. This project will analyse the landscape of contemporary film and television across the UK and Ireland with a particular focus on inter-regional productions that engage with the conflict’s legacy. As well as major publications and a vlog, outputs will include curating an exhibition of visual art relevant to the project and a series of film screenings with talks. Details of current and past research My research interests lie in contemporary film and visual culture focusing on conflict and post-conflict themes. I am drawn to convergences between cinema and visual art, particularly inv...

In March 2012 I introduced a screening of Ordet/The Word (dir. Carl Theodor Dreyer, 1955) at the Queen's Film Theatre, Belfast. It's all a blur, really, and I can't remember anything to tell you about it. I was becoming very strained, running out of money and being flooded by rejection just months after the high of passing and very quickly graduating with my PhD. The three years of intesnive hard work in that moment felt as if they'd been for nothing. I imagine that was my state of mind when preparing these notes. Today I know that things just are what they are and don't inherently have a purpose.   Ordet intro Carl Theodor Dreyer (b. 1889) of Swedish decent but grew up in a Danish foster home and was adopted by a strict Protestant family. 26yrs after The Passion of Joan of Arc he depicted spirituality even more piously in Ordet/The Word (1955). The film-maker based Ordet on a play by Kaj Munk, which he praised for its ‘astonishing courage’. It tells a tale of...

On the morning of Wednesday 23 November 2011 - the day after my PhD viva voce (big scary conversation with examiners who decide whether you're awarded the degree), and two days after my 27th birthday - I introduced a screening of Tim Burton's short animation Vincent (1982) and Tim Burton's The Nightmare Before Christmas (dir. Henry Selick, 1993) at the Queen's Film Theatre in Belfast put on especially for school groups. Although the timing was ridiculous, I jumped at the chance to perform this introduction. The Nightmare Before Christmas has always been special to me. It came out shortly after my dad died, and, for all its problems, it was a comfort and a mainstay for me in those early years. I have seen it more times that I can tell you. I know the whole film almost word-for-word, beat-for-beat. Sally the rag doll has been a profound influence. At a major time in my life with such a big absence, it was meaningful to draw my personal and professional lives together, eve...

Dr Paula Blair Teaching Fellow in Film, Newcastle University Paula.Blair@ncl.ac.uk [no longer valid] Title slide for my BAFTSS paper in 2014 Belfast had the reason: Vinyl revival, punk nostalgia, and the television archive in Good Vibrations Although Northern Ireland has experienced relative peace since the 1998 Good Friday Agreement, it has been argued that the region is only post-conflict in the sense that the thirty-year period of violence known as the ‘Troubles’ has already been archived (Longley, 2011). In response to the Agreement’s authoritative processes of ‘official forgetting’, many contemporary artists and film-makers confront issues stemming from the conflict, often by appropriating and re-presenting archival material to explore the spectral anxieties which tether society to a state of past-presentness (term borrowed from Mulvey, 2010). The Belfast-made film Good Vibrations (Barros D’Sa & Leyburn, 2012) is the commercial apex of this activity. The film chronicles the ...

I've been catching up with Spider-Man lately as the films come up on Netflix. Spider-Man was one of my favourite characters growing up. I wasn't hugely into comic culture, and ones featuring the web-slinger were some of the few I dipped into. A life-long animation fan, I devoured the cartoons in the 1990s , including retro re-runs of the 1960s show. As many others felt and feel, Peter Parker's encounters with school bullies, his social awkwardness, his outsider identity even when his alter-ego becomes a hero, his underprivileged socio-economic status, and his moral quandaries were all relatable. I remember in my later teens being so excited when I heard Sam Raimi was directing Spider-Man (2002). There had been attempts before in television movies in the 1970s, but special and visual effects technologies had to progress substantially before the web-slinging would be convincing. Even between the first and third Raimi films the development is palpable.  In my later teens and ...

I wanted to highlight my latest lecture video about Shirley Clarke because she's a film-maker who represents a lot of what I feel is my unfinished business in film studies. I had so wanted to research her in depth and some day visit the UCLA archives of her work. Never say never, I guess, but I'm sure there are people working on her and doing a fine job of progressing what scholars such as Lauren Rabinovitz initiated in redressing the shameful marginalising of Clarke's work in film histories. I use plural histories here because she crossed the too-oft gate-kept boundaries of documentary, social realism, experimental, independent and avant-garde cinemas. I find her work utterly fascinating, and I've only been able to see a little of it first-hand. It has galled me since I learned of Clarke (after my own formal film education I might add, and from my mentor Dr Des O'Rawe who was doing his own 'decolonising' of his knowledge and teaching, which he passed onto m...