Non-traditional day care center

General note: Title and date provided by Bettye Lane.

Film Producer Eleanor Perry (Bayer Rosenfeld)

General note: Title and date provided by Bettye Lane.

Non-traditional day care center

General note: Title and date provided by Bettye Lane.

Lesbians and others demonstrate against the film "Dressed to Kill"

General note: Title and date provided by Bettye Lane.

Women film crew film at NOW National Conference

General note: Title and date provided by Bettye Lane.

Political writer Doug Ireland received many stitches after he was beaten up by an unknown assailant while handing out anti-"Cruising" film leaflets

General note: Title and date provided by Bettye Lane.

Flo Kennedy at anti-"Cruising" film meeting

General note: Title and date provided by Bettye Lane.

Gays arrested at anti-"Cruising" film demonstration

General note: Title and date provided by Bettye Lane.

Gay arrested at "Cruising" film demonstration at Pier 40 in NYC where filming is going on

General note: Title and date provided by Bettye Lane.

John Wojtowicz (with mustache) at "Cruising" film rally in Sheridan Square with a friend

General note: Title and date provided by Bettye Lane.

Producer Jerry Weintraub and reporter for the NY Daily News Pete Hamil on the set of "Cruising" film

General note: Title and date provided by Bettye Lane.

"Cruising" film demonstration and rally in Sheridan Square

General note: Title and date provided by Bettye Lane.

Demonstrator arrested at "Cruising" film demonstration at Pier 40

General note: Title and date provided by Bettye Lane.

Film as an archive for colonial photographs: activating the past in the present

This practice-led research looks at the ways in which the colonial archive, and the colonial photographic archive in particular, can be reconstructed to produce new critical histories. The research argues for the potential of the moving image as a tool for re-staging colonial archives, as a means of generating responsible ways of looking at, and of engaging with our troubled collective pasts. In my practice I mix the photographic archive of the Anglo-Iranian Oil Company(which became BP) with my family’s photographs from Iran, and with the documentation and narrativization of my encounter with both of these sets of materials, within the moving image. Through this process I address questions about the nature of the photographic archive and the search for historical meaning within it; the question of the researcher’s position within the archive and within the history she produces; and I investigate the affective power of colonial photographs within film and the experience of untimeliness which they produce. While addressing problems associated with the failure of photographic archives to offer access to any stable, transparent meaning, I show how engaging with slippages of meaning can produce other kinds of historical knowledge. But I also argue that attending to the impression of the ‘real’ produced by the colonial photograph as it appears within film, makes the past felt in the present tense, in ways that draw attention to the responsibility of being an onlooker in a situation of injustice. In addition I show how registering the place and time of the researcher within the new filmic archive in motion produces an effective means of imaginative time travel and a lively experience of history.

The Punk-Rock King: Musical Anachronism in Period Film

Music has a powerful indexical ability to evoke particular times and places. Such an ability has been exploited at length by the often-elaborate soundscapes of period films, which regularly utilise incidental scores and featured period songs to help root their narrative action in past times, and to immerse their audiences in the sensibilities of a different age. However, this article will begin to examine the ways in which period film soundtracks can also be used to complicate a narrative sense of time and place through the use of ‘musical anachronism’: music conspicuously ‘out of time’ with the temporality depicted on screen. Through the analysis of a sequence from the film W.E. (Madonna, 2011) and the consideration of existing critical and conceptual contexts, this article will explore how anachronistic soundtracks can function beyond ‘postmodern novelty’ or ‘nuisance’ to historical verisimilitude, instead offering alternative modes of engagement with story and history.