“Art Will Not Disappear Into Nothing; It Will Disappear Into Everything“: The Black Audio Film Collective and Latin America

The development of Latin American cinema in the 1960s was underwritten by a number of key texts that outlined the aesthetic and political direction of individual filmmakers and collectives (Solanas and Getino, 1969; Rocha, 1965; Espinosa, 1969). Although asserting the specificity of Latin American culture, the theoretical foundations of its New Wave influenced oppositional filmmaking way beyond its own regional boundaries. This chapter looks at how movements in British art cinema, especially the Black Audio Film Collective, were inspired and propelled by the theories behind New Latin American cinema. Facilitated by English translations in journals such as Jump Cut in the early ‘80s, Cuban and Argentine cinematic manifestoes provided a radical alternative to the traditional language of film theory available to filmmakers in Europe and works such as Signs of Empire (1983-4); Handsworth Songs (1986) and Seven Songs for Malcolm X (1993) grew out of this trans-continental exchange. The Black Audio Film Collective represented a merging of politics, popular culture, and art that was, at once, oppositional and melodic. Fusing postcolonial discourse with pop music, the avant-garde and re-imaginings of subalternity, the work of ‘The Collective’ provides us with a useful example of how British art cinema has drawn from theoretical foundations formed outside of Europe and the West. As this chapter will argue however, the Black Audio Film Collective’s work can also be read as a reaction to the specificity of British socio-politics of the ‘80s and ‘90s. Its engagement with the aesthetico-political strategies of Latin American cinema, then, undercut what was a solidly British project, rooted in (post)colonial history and emerging ideas of disaporic identity. If the propulsive thrust of The Black Audio Film Collective’s art was shaped by Third Cinema, its images and concerns were self-consciously British.

Viewpoint 66: What is the Housing with Care ‘Offer’ and who is it for?

Published to coincide with the International Day of Older Persons, this viewpoint explores some of the findings from Adult Social Services Environments and Settings(ASSET), a research project that was funded by the NIHR School for Social Care Research from February 2012 to April 2014. The project explored how adult social care services are commissioned and delivered in extra care housing and retirement villages. It is a timely paper, coming hot off the heels of the recent Commission on Residential Care, chaired by former Care Services Minister, Paul Burstow MP. This recommended greater clarification on what constitutes housing with care.

The Perceived Benefits of an Arts Project for Health and Wellbeing of Older Offenders

Background: The increasing ageing prison population is becoming a pressing issue throughout the criminal justice system. Alongside the rising population, are a host of health and wellbeing issues that contribute to older offenders needs whilst in prison. It has been recommended that meaningful activities can have positive effects on this population and therefore this paper uniquely reviews older offenders accounts of taking part in an arts based project, Good Vibrations, whilst imprisoned. Objective and design: The Good Vibrations project engages individuals in Gamelan music making with an end of project performance. This study used independent in-depth interviews to capture the voices of older offenders who took part in an art based prison project. Analysis and Results: The interview data was analysed using thematic analysis, which highlighted themes that were consistent with other populations who have taken part in a Good Vibrations project, along with specific age relating issues of mobility, motivation, identity and wellbeing.