Room B312 Portland Square,
University of Plymouth,
Deptford|Tributes – 2009
Amanda Egbe is an artist, filmmaker and PhD-candidate at Transtechnology Research. Her work often uses archive materials, and fuses documentary and fiction to create experimental film, video and art works. Amanda is a graduate of the University of Westminster where she completed a BA (Hons) in Contemporary Media Practice. She holds a Masters in Digital Media: Technology and Cultural Form from Goldsmiths College, University of London. She has worked on collaborative film projects like deptford.tv, and archiving the work of the Tesla Research Interest group at the Computer Science Department at University College London. Her research interests are concerned with the history of the moving image, archives, issues of representation, the technology of the media, art, science and technology collaborations, and the potential of the moving image outside of the realm of arts and entertainment.
Radical moving image archive practice: explorations on the notion of a transparent archive
This research is situated within the shift towards the digitalisation of moving image works. Increasingly individual artists’ as well as large institutional organisations are archiving their works in this context. Within this shift towards the digital; archival practice through notions of accessibility and sustainability privileges approaches that rely on the interoperability of the technology. This desire leads to frameworks such as metadata schema’s which attempt to standardise what is held within, discarding that which is redundant. This research critically investigates the underlying assumptions of what is considered surplus to the archive.
This practice based research is concerned with how moving image practice can be informed by considerations of its making and reception and how this is configured within the archive. A key concept within the research is the translation that occurs from image to text to image; in the production, reading and archiving of film. Strategies of deconstruction and distancing attempt to highlight this process.
Research Seminar 11 May 2011, Structural/Materialist and Brechtian Film Practice
Using film clips for illustration, this presentation will explore Structural/Materialist film, a non-illusionist cinema that attempts to demystify the film process as defined by Peter Gidal. It will also explore “Brechtian aspects of radical cinema” as characterised by Martin Walsh, a term coined to encompass a range of filmmakers from Godard to Jean-Marie Straub and Danielle Huillet, whose anti Illusionistic cinema, a cinema of disjunction can be linked to Brecht’s writings.
The presentation will open up a discussion around key terms concerning avant-garde film practice, and the strategies deployed to counter dominant cinema.
Life in Peckham – 2008