Year in Review: Screenworks 2020 Celebration Reel

by Will DiGravio | 22 January 2021

In 2020, Screenworks published fifteen works across three issues. To celebrate, here’s a short video collecting clips from all fifteen. Thank you to all of our contributors! Please note that Volume 11.1 is ongoing. Learn more about submitting your work here. Read more about each submission below.

Works Published in Volume 10.1 

Our first submission of 2020 was a video essay by Andrea Stultiens, “Ekifananyi Kya Muteesa.” The video is part of a larger research project on photographs in Uganda and, as one reviewer wrote, “is a beautifully crafted meditation on the differing interpretations on a picture of Kabaka Muteesa drawn from a photograph taken by Henry Morton Stanley.” “Owls and Parrots” is a five-minute video by Robert Greens. The work aims “to find the story in the filmmaking process and how that exploratory process challenged the author in depicting the ‘subjective’ aspects of dyslexia.” William Brown’s video essay, “Golden Gate,” studies cinematic depictions of the Golden Gate Bridge, aiming “to suggest the links established across 43 movies between the end of the western world and the end of patriarchal man.” For one reviewer, Susannah Ramsay’s “Experiencing the Filmpoem: A Film-Phenomenological Inquiry,” a collection of 5 works, “sparked a syndochic image of the city I live in: a collection of shells, driftwood, pebbles, and tumbled glass…”. Filling the Gaps by Fernando Sobron “attempts to make evident the narrative and construction of the film to the spectator, making audiences aware of the creative leaps necessary to compile a documentary, as well as for its interpretation.” South Stack by Anthony Ellis is “a short artists’ film that explores the rhythm and life of a building: South Stack lighthouse situated in Ynys Môn (Anglesey), Wales.” Smiljana Glisovic’s “Choreography for Moving Image” explores the “ways in which audiovisual artefacts can cultivate a consciousness that is aware of the interrelatedness of all human and more-than-human entities.” Submissions in this volume were edited by Chief Editor Charlotte Crofts, Associate Editors Alex Nevill and Elan Gamaker, and Assistant Editor Will DiGravio.

Works Published in Volume 10.2

In February, we published Volume 10.2, a special issue on practice pedagogies, edited by Lucy Leake. Playing With String, by Rachael Jones & Charlie Fripp, “champions the importance of ‘play’ in learning, and the place of ‘play’ in the academic teaching of filmmaking practice.” Adrian Hickey’s “Generation Animation: Making Animated Films to Explore the UNICEF Rights of the Child” is a project that “highlights how co-constructed projects can create sites of discourse in the classroom.” “The Born-Free Generation: Phendulani’s Story and Me” by Paul Cooke “explores the relationship between subject and filmmaker, and who has the agency to tell someone’s story.” “A Spirit in Place: Jo O’Cleirigh and Lamorna Valley” by Tilly Craig and Russell Cleave “explores an organic mode of filmmaking … adopted in order to try to capture a sense of authenticity in, and with, their subject.” Pratāp Rughani’s “Ethics for Making” is a multi format submission which includes the short film JUSTINE and the Beta launch of Ethics for Making: a space for students to explore ethics in creative arts practice.

Works Published in Volume 11.1

Flickering Souls Set Alight is a short film by Iakovos Panagopoulos that “follows the lives of a three-member Greek family during the toughest years of the financial crisis.” “Chek Lap Kok (Hong Kong Airport) 21.00 01.12.19” is a video by Stephen Connolly, “a spatial film which explores the global mobilities connecting the cities of London and Hong Kong via a material journey through an airport terminal.” And finally, Mirrors and Tears by Pavel Prokopic is a short film, “an audio-visual structure that does not aim to communicate specific meaning or a story but instead brings together disjointed lines of dialogue, delivered by a group of performers who were under the influence of experimental production conditions and directorial methods.” Submissions in this volume were edited by Chief Editor Charlotte Crofts and Associate Editors Alex Nevill, Elan Gamaker, and Will DiGravio.