Tagged: Iniva

Militant Image: Screening of In the National Interest? (1986) 16/05/2013

From over two years ago now –  as part of the Iniva’s Keywords exhibition and programmed by The Otolith Collective – the Militant Image presents Penny Stempel’s rarely screened film In the National Interest? (1986). (16/05/2013)

Penny Stempel’s seminal film, co-directed by Chris Rushton, looks at those sections of British society targeted by the government, the judicial system and the police in the name of the national interest in Britain in the 1980s. The film assesses the legitimation crisis of the British state by exploring the connections between trade union struggles, racial attacks and processes of criminalisation.

In the National Interest? was produced by Cardiff based Chapter Video Workshop, co-founded by Stempel and Rushton, a franchised workshop under the ACTT Workshop Declaration – an act that facilitated the funding of film and video workshops to produce work for television. This allowed the groups, already working on directly politically and socially engaged film-making, to consolidate their activities. During the Miners’ Strike of 1984/85, Stempel had worked closely with Wales’ mining community, recording testimonies that contributed to the widely distributed Miners Campaign Tapes. Upon viewing this, Alan Fountain, the Commissioning Editor of Channel 4’s Independent Film and Video Department (IFVD), approached Chapter to make a film for Channel 4’s People to People strand.

In the National Interest? was made in a unique and unprecedented cooperation with other independent film and video workshops including ABSC Film and Video, Activision Studios, Albany Video, Another View, Belfast Independent Video, Biased Tapes, Black Audio Film Collective, Derry Film & Video Collective, Faction Films, Films at Work,Open Eye, Sankofa, Sheffield Asian Film and Video, Trade Films, TUTV and Women in Sync. Seemingly galvanised by the Miner’s Strike, these workshops donated film and video material from their own campaigns to Chapter for integration within In the National Interest?

In the discussion that follows, Kodwo Eshun and Anjalika Sagar of The Otolith Collective, remark on this ‘cinema of coalition’ that links up other struggles within Britain’s ‘geography of resistance’ at the time. The discussion also explores the complex and controversial production history of In the National Interest?, the formation of the workshop movement in 1980s Britain, the struggles of the workshops to invent a new language for television, the role played by the Independent Film and Television Department at Channel 4 and the legacies of oppositional film in Britain in the present.

This was a Militant Image event, an ongoing programme in which Iniva investigates radical film practice in association with the Otolith Group and with the support of the Department of Art at Goldsmiths College, University of London.

 

Maybe, she wrote to us… Nicaragua Part 1 – Voyages: The Posthumous Director’s Cut

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Voyages (1985), the first part in Marc Karlin’s extraordinary Nicaraguan series, comprises of stills by the American photographer Susan Meiselas. Between 1978 and 1979, Meiselas captured the two revolutionary insurrections which brought the FSLN to power in Nicaragua, overthrowing the fifty year dictatorship of the Somoza family. The film is in the form of a letter, written by Meiselas to Karlin. Through her own words, the film interrogates the responsibility of the war photographer, the line between observer and participant, and the political significance of the photographic image.

The film is composed of five tracking shots, each approximately ten minutes in length. Shot in a studio by Karlin’s cinematographer, Jonathan Bloom, the camera glides slowly over Meiselas’ blown up stills, shifting focus between images in the background and foreground, allowing the editing to be achieved in camera. The mediative camera movement accompanying Meiselas’ words, creates a distance for the audience, reflecting the photographer’s own separation from the events she witnessed. The studio space was a form Karlin used repeatedly, layering his films with structured, contemplative intervals in between segments of exterior, vérité investigation. Inside the ‘dark chamber’ objects, figures and monitors bearing images are caught in a single shot, gradually revealed by the meandering camera movement. The studio acts as a immersive space of thought and pre-empts the installations and large scale multi-screen projections within the gallery space today.

A new cut of Voyages is now being shown at Iniva in a film programme curated by The Otolith Collective. When broadcast by Channel 4 in October 1985, the film drew criticism due to the fact that Meiselas’ words were narrated by a British actress, whose RP delivery lends the film an unwanted class distinction. A letter from the archive explains Karlin’s decision. Originally, Karlin wanted to narrate the film. This was strongly objected to by Alan Fountain, the commissioning editor of Channel 4’s The Eleventh Hour, on the grounds of feminist politics – it was a women’s experience therefore a woman should read it. Karlin disagreed, feeling that after the popular revolution, men and women should be able to work together, and not be seen as appropriating a women’s experience. Already having reservations about the possibility of sustaining a British audience’s attention at 10pm with 45 minutes of stills, Karlin’s own doubt unfortunately kicked in  – would his voice bore the audience?

Karlin went back to the drawing board and produced three choices, 1. to get Meiselas to read the letter out herself. 2. To get an American to play Meiselas. 3. To get an English woman to read the letter. Karlin adamantly stated the original intention of the film was that the letter would be read out by the receiver, rather than the writer. If he used Meiselas’ voice, it would be the sender’s voice addressing the images rendering the film one-dimensional. If he used an American voice, the same objections regarding the sender/receiver objections would come into play. So, Karlin opted for a female, English voice; albeit one that connoted privilege, running contrary to progressive politics at the time and the new found pluralism of Channel 4.

Recently in the archive, a recorded voiceover by Marc Karlin was discovered on a umatic, and after a discussion between Susan Meiselas and Hermione Harris, Karlin’s partner, it was decided Karlin’s voice would narrate the film. Voyages is being screened at Iniva until the 18 May.

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