NEWSLETTER
Winter 03/04
INTRODUCTION
Explaining
what the Centre is and how it works has never been easy, since its
activities extend beyond the interests of most individuals. But I
believe, like the others involved in setting it up, that there are
important links between what can often seem quite separate lines of
research. Film policy needs to be able to invoke a vibrant history
of British cinema and television to argue its case; so refurbishing
that history becomes a priority. But should British 'screen' history
not include pre-cinema optical entertainment - and the deliberately
marginal activities of artists? And in asking if it can be 'British',
do we mean that it should engage with Europe and America, or that
it should recognise regional difference? Sooner
or later, the research questions posed within each strand of the Centre's
work raise questions within another strand. And important methodological
issues are common to all. How can screen history make progress without
closer attention to archival research? And how can film archives become
more valued by other kinds of historian, such as those of the theatre
and architecture? As
well as offering a snapshot of the Centre in action, we want to use
the Newsletter to record some of its unique output. Without Centre
backing, neither Bryony Dixon nor Patrick Keiller could have carried
out the research which is briefly reported here. There'll be more
in future issues. No-one
who has been involved with the Centre during its first three years
will have any doubt that its successful organisation owes much to
Laura Mulvey, as founding Director. Working closely with Sylvia Harvey
and Ann Jones, and maintaining close links with all the partners,
Laura devoted herself totally to ensuring that everyone has felt included
and involved in the Centre's development. That it is in such excellent
condition, and now looking forward to the future, beyond the initial
funding period, is in large part thanks to Laura's enthusiasm and
dedication. - IC NEWS
This is the Centre's first Newsletter, intended to bring together
some of its many strands and offer a snapshot of recent and future
plans.
Professor Ian Christie took over from Professor Laura Mulvey
as Director of the Centre during the summer of 2003, having been
a Paul Mellon Senior Research Fellow in 2002/03 while working on
Robert Paul and the early moving picture business in Britain. His
book is due to appear in 2005, with a DVD of all Paul's extant films
to be published by the BFI.
Professor Sylvia Harvey's move from Sheffield Hallam to the
University of Lincoln in October 2003 brought a new partner to the
Centre, as the project on Film and Broadcasting Policy got under
way with the appointment of Kathrein Guenther in October 2003 and
Margaret Dickinson in January 2004.
Dr Duncan Petrie will leave Exeter University in January
2003 to take up a chair in the Media and Communications Department
of the University of Auckland in New Zealand. His replacement at
Exeter is a former Centre Senior Fellow from Sheffield Hallam, Professor
Steve Neale, who takes over as Director of the Bill Douglas
Centre.
University of Ulster has been awarded £3m for a Centre
for Media Research under the Department for Employment and Learning's
SPUR II (Support Programme for University Research). The project
will facilitate research into film and photography history and archives,
media policy, cultural issues and emerging digital issues. The general
public is increasingly media literate and this innovative project
will enable researchers to investigate a wide range of local, national
and international historical and contemporary issues.
Major SRIF funding awarded to Birkbeck has been allocated
to building a new Research Centre in the School of History of Art,
Film and Visual Media which hosts the Centre.
The AHRB's newly appointed director of Research Centres, Professor
Nigel Llewellyn, will visit Birkbeck on 2 Feb, to meet representatives
of the host and partner institutions, including the Master of Birkbeck,
Professor David Latchman, and Director of the British Film Institute,
Amanda Nevill.