Voice, body and the transmission of the real in documentary theatre

This article analyses how listening is used to develop performances in Alecky Blythe’s verbatim theatre. Listening includes Blythe’s use of recorded oral interviews for devising performances, and also the actors’ creation of performance by precisely imitating an interviewee’s voice. The article focuses on listening, speaking and embodiment in London Road, Blythe’s recent musical play at London’s National Theatre, which adopted and modified theatre strategies used in her other plays, especially The Girlfriend Experience and Do We look Like Refugees. The article draws on interviews with performers and with Blythe herself, in its critical analysis of how voice legitimates claims to authenticity in performance. The work on Blythe is contextualised by brief comparative analyses. One is Clio Barnard’s film The Arbor, a ‘quasi-documentary’ on the playwright, Andrea Dunbar which makes use of an oral script to which the actors lip-sync. The other comparator is the Wooster Group’s Poor Theater, which attempts to recreate Grotowski's Akropolis via vocal impersonation. The article argues that voice in London Road both claims and defers authenticity and authority, inasmuch as voice signifies presence and embodied identity but the reworking of speech into song signals the absence of the real. The translation of voice into written surtitles works similarly in Do We Look Like Refugees. Blythe’s theatre, Barnard’s film and The Wooster Group’s performances are a useful framework for addressing questions of voice and identity, and authenticity and replication in documentary theatre. The article concludes by placing Blythe’s oral texts amid current debates around theatre’s textual practices.

Literal and extended use of kinship terms in documentary papryi

Kinship terms in papyrus letters do not always refer to actual relatives and so pose many problems for modern readers. But by examining all the kinship terms in six centuries of letters it is possible to discover some rules governing the use of kinship terms: in some situations they appear to be always literal, and in others they appear to be almost always extended, though a third group of contexts remains ambiguous. The rules are complex and depend on the particular kinship term involved, the date of writing, the use of names, the position of the kinship term in the letter, and the person to whom it connects the referent.

3D face computational photography using PCA spaces

In this paper, we present a 3D face photography system based on a facial expression training dataset, composed of both facial range images (3D geometry) and facial texture (2D photography). The proposed system allows one to obtain a 3D geometry representation of a given face provided as a 2D photography, which undergoes a series of transformations through the texture and geometry spaces estimated. In the training phase of the system, the facial landmarks are obtained by an active shape model (ASM) extracted from the 2D gray-level photography. Principal components analysis (PCA) is then used to represent the face dataset, thus defining an orthonormal basis of texture and another of geometry. In the reconstruction phase, an input is given by a face image to which the ASM is matched. The extracted facial landmarks and the face image are fed to the PCA basis transform, and a 3D version of the 2D input image is built. Experimental tests using a new dataset of 70 facial expressions belonging to ten subjects as training set show rapid reconstructed 3D faces which maintain spatial coherence similar to the human perception, thus corroborating the efficiency and the applicability of the proposed system.

Photography and christian mission: George Brown`s images of the New Britain mission 1875-80

In 1875, Methodist George Brown arrived in the Bismarck Archipelago to establish the New Britain Mission. Based in the Duke of York Islands, Brown's territory covered New Ireland and the Gazelle Peninsula of New Britain. The mission was one of the first to be photographed from its inception. The Australian Museum holds 96 plates from the first five years of the mission. Brown's photographs are a visual record of conditions and peoples of the time. Analysed in relation to Brown's writings they are indicative of the relationships and bonds established through photography both in the mission field and across wider scientific and church audiences. The methodology employed here also challenges the kinds of interpretations of photographs that can arise from visual analyses relying solely on the caption and the posing of the subject.

From crystals to pixels: new technology in the documentary work of John Hughes

Film technology, in the broadest sense, embraces a vast array of knowledge, skills, tools, and systems. These include the codes and conventions of screen representation at the centre of much screen scholarship. The electro-mechanical tools of filmmaking are less often the focus of academic study than these codes and conventions, but they are central to them and to the daily work of artists and educators in the field of screen production. This paper traces the scope and significance of technical change, for independent film making, over the past four decades. Melbourne documentary filmmaker John Hughes provides a varied and expansive oeuvre through which to arrange an historical equipment list.

Poetics of the uncanny : Jean Painlevé, documentary display, and documentary theory

In Grierson's theory of documentary, films of the so-called cinema of attractions were relegated to the position of 'lower forms' in contrast to his description of documentary as a form of civic pedagogy. The modes and forms of a cinema of attractions, which form what is here referred to as the practice of documentary display, did not disappear with the ascendency of Griersonian documentary; instead such approaches continued to inform avant-garde film. This paper examines the connections between nonfiction documentations and avant-garde film- and the resultant implications of this meeting for documentary film theory- through an analysis of the film and critical writings of Jean Painlevé (1902-1989). Painlevé, whom, according to Bazin, 'occupies a singular and privileged place in French cinema', informed his understandings of documentary through contact with, among others, Buñuel, Man Ray, Bataille, Eisenstein, and Grierson. The analysis of Painlevé's surrealist documentary display and his extensive body of critical literature on documentary foregrounds overlooked documentary works and constructs, or resurrects, ignored perspectives on documentary film as a way of extending and revising documentary film theory and the documentary canon.