Flat, flatter, flattest: the English Heritage wetland surveys in retrospect

Since 1973, English Heritage has supported four major regional surveys of England's wetlands- in the Somerset Levels, the Fens of Eastern England, the wetlands of the northwest of England and the Humber wetlands. Each of these projects developed a range of methods and techniques particular to the landscape that was studied and the results from the surveys reflect this diversity of approach. This paper compares and contrast these approaches, and evaluates their effect on the overall results of each of these surveys.

North Sea archaeologies

North Sea Archaeologies traces the way people engaged with the North Sea from the end of the last ice age, around 10,000 BC, to the close of the Middle Ages, about AD 1500, drawing upon archaeological research from many countries, including the UK, Netherlands, Germany, Denmark, Sweden, Norway, Belgium, and France. It addresses topics which include the first interactions of people with the emerging North Sea, the origin and development of fishing, the creation of coastal landscapes, the importance of islands and archipelagos, the development of seafaring ships and their use by early seafarers and pirates, and the treatment of boats and ships at the end of their useful lives. The study offers a ‘maritime turn’ in Archaeology through the investigation of aspects of human behaviour that have been, to various extents, disregarded, overlooked, or ignored in archaeological studies of the land. The study concludes that the relationship between humans and the sea challenges the frequently invoked dichotomy between pre-modernity and modernity, since many ancient beliefs, superstitions, and practices linked to seafaring and engagement with the sea are still widespread in the modern era.

English Heritage wetlands strategy

English Heritage Wetlands Strategy: includes Lists A, B and C from the Heritage Management of England's Wetlands Project

Wetland habitats, their resource potential and exploitation: a case study from the Humber wetlands

The notion that wetlands are among the most productive environments in the world is widely quoted, but its relationship with the exploitation of wetland ecosystems during the prehistoric and early historic period has been the subject of few investigations. The current paper discusses the primary production of different wetland habitats and its relationship to the resource potential of these habitats and their actual exploitation, using recent results from the Humber Wetlands Survey. It is argued that during the early Holocene, wetland landscapes were central to the subsistence economy and that a clear association exists between the primary productivity of wetlands and the intensity of exploitation. With the introduction of agriculture, however, wetland habitats become increasingly peripheral to the economy.

Communicating uncertainties in sea surface temperature

A project on sea surface temperature is generating new climate data records from satellite observations. The data are independent of in situ observations and are harmonious across satellite sensors to maximize stability and have realistic, context-sensitive uncertainty estimates at all spatial and temporal scales. The project, part of the European Space Agency Climate Change Initiative (SST CCI), now seeks to establish a useful method for communicating uncertainty in sea surface temperatures. This goal was the impetus for a workshop held in November 2014 in Exeter in the United Kingdom, summarised in this article.

The Phantom Carriage (1921)

The reputation of The Phantom Carriage (Körkarlen) as one of the major films of Swedish silent cinema is in some respects securely established. Yet the film has attracted surprisingly little detailed discussion. It may be that its most striking stylistic features have deflected or discouraged closer scrutiny. Tom Gunning, for instance, in making the case for Sjöström’s Masterman, argues that ‘Körkarlen wears its technique on its sleeve, overtly displays its unquestionable mastery of superimposition and complex narrative structure. Mästerman tucks its mastery of editing and composition up its sleeve, so to speak’. This article makes an argument for a different evaluation of The Phantom Carriage, bringing a critical and interpretative understanding of the film’s style into conversation with the historical accounts of film form which predominate in the scholarship around silent cinema. It suggests that the film achieves ‘mastery of editing and composition’ with a flexibility and fluidity in the construction of dramatic space that is in itself remarkable for its period, but that Sjöström’s achievements extend well beyond his handling of film space. Specifically, it discusses a segment which is in several respects at the heart of the film: the first meeting between the two central characters, David Holm (Victor Sjöström) and Sister Edit (Astrid Holm); it spans the film’s exact mid-point; and at almost twelve and a half minutes it is the longest uninterrupted passage to take place in a single setting. The chapter argues that the dramatic and structural centrality of the hostel segment is paralleled by its remarkably rich articulation of the relationships between action, character and space. We show how Sjöström’s creation of a three-dimensional filmic space - with no hint of frontality - becomes the basis for a reciprocal relationship between spatial naturalism and performance style, and for a mise-en-scene that can take on discrete interpretive force. The argument also places the hostel sequences within the film as a whole in order to show how relationships articulated through the detailed decisions in this section take on their full resonance within patterns and motifs that develop across the film.

The Phantom Carriage: a revaluation

This is a two-part audiovisual essay on Victor Sjöström’s extraordinary film The Phantom Carriage (Körkarlen), which was released on New Year’s Day 1921. Part 1 explores a sequence in detail, revealing a mastery of three-dimensional film space which is remarkable for its period; the essay then look at the ways in which this handling of space is integral to the film’s rich articulation of character and action. Part 2 considers aspects of the film’s mise-en-scène and shows how the features of the sequence explored in Part 1 take on their full resonance within patterns and motifs that develop across the film. Published by Movie: a journal of film criticism, the essay complements our chapter on the film in the volume Silent Features, edited by Steve Neale (Exeter University Press, 2016).