Lofoten international art festival 2015: disappearing acts

Group exhibition, 3 commissioned back-lit prints, curated by Matt Packer and Arne Skaug Olsen.

Festival VideoDanzaBa

International Video Festival

Prêt-à-Médiatiser by House of POLLYFIBRE

Prêt-à-Médiatiser by House of POLLYFIBRE is a film made from diverse footage of a performance. The live event takes the fashion show catwalk as a site for exploration, with a focus on the dialogue between liveness and mediatisation. The audience and press are invited to document the event and the subsequent film is made using footage collated from the crew, the audience and the official press. RAPID PULSE International Performance Festival presents international, national, and local artists who were invited or selected from an international call for proposals. The curatorial committee consisted of Julie Laffin, Steven Bridges, Giana Gambino, And Joseph Ravens. The festival includes live gallery performances, public performances, a video series, social events, artist talks and panel discussions.

'Four of Them' by Gabriela Zapolska. Translated and directed by Teresa Murjas.

'Four of Them' by Gabriela Zapolska. Translated and directed by Teresa Murjas. Performed at University of Reading (6 - 9 December 2006, 5 public performances) Polish Theatre (POSK), London (15 - 17 February 2007, 4 public performances) Łódź International Theatre Festival (17 - 18 April 2007)

Growth, yield and development of strawberry cv. 'Elsanta' under novel photoselective film clad greenhouses

Film greenhouse claddings are typically used to protect horticultural crops from low temperature and high rainfall conditions. However, a range of novel plastic films have been developed which filter specific radiation wavelengths with the aim of providing the grower with greater control of crop growth and development. A replicated experiment was conducted in 8 small experimental greenhouses, covered with different photoselective films characterised by a range of red/far-red ratios and PAR transmissions to study their effects on the growth, yield and quality of the strawberry cv. 'Elsanta'. Marketable yield per plant was 51% greater under the film with the highest light transmission (control) compared with the lower light transmission films. Similarly, unmarketable fruit number and average non-marketable individual fruit weight per plant was lowest under films with higher light transmissions and higher under lower light transmission films. Cropping duration was longer under films with high R/FR. Also plants under high R/FR were more compact (due to shorter petiole lengths) compared to plants grown under low R/FR. The results are discussed in relation to the increased use of photoselective films in protected horticulture and the need for higher quality fruit and vegetables.

Going global: the Brazilian scripted film

This article departs from the assumption that a certain section of world cinema, usually defined as ‘independent’, has been evolving on the basis of good scripts. Between the late 1980s and early 90s, there has been a boom of new cinemas in the world, such as the new Iranian, Taiwanese, Japanese, Mexican, Argentine and Brazilian cinemas. A significant part of this production shows a renewed interest in local and national peculiarities of their respective countries, going against the grain of globalisation and its typical cultural dilution. Most of these films are also engaged in reassessing narrative cinema, as a kind of reaction against the deconstructive work carried out by postmodern cinema of the 1980s.Recent new cinemas are supported by a combination of local and international resources, derived from public and private sponsors at home, and funding agencies, festivals and TV channels abroad. In most cases funds are granted after the film script has been analysed and approved by commissions of experts. The New Brazilian Cinema, or cinema da retomada as it is locally called, has been enormously affected by this scheme, which has even caused a ‘script boom’ in Brazil in the past decade. The chapter examins the results of this process.

International films and international markets: the globalisation of Hollywood entertainment, c.1921-1951

The international appeal of Hollywood films through the twentieth century has been a subject of interest to economic and film historians alike. This paper employs some of the methods of the economic historian to evaluate key arguments within the film history literature explaining the global success of American films. Through careful analysis of both existing and newly constructed data sets, the paper examines the extent to which Hollywood's foreign earnings were affected by: film production costs; the extent of global distribution networks; and also the international orientation of the films themselves. The paper finds that these factors influenced foreign earnings in quite distinct ways, and that their relative importance changed over time. The evidence presented here suggests a degree of interaction between the production and distribution arms of the major US film companies in their pursuit of foreign markets that would benefit from further archival-based investigation.