The Gentle Island (Staged Reading): by Brian Friel

Staged Reading on Arranmore Island, West Donegal for the Lughnasa International Friel Festival

Metodologias na banda desenhada : realização de um álbum de BD

This dissertation is an explanation of a methodology applied to the making of a comic book, with all that implies. The various stages of this process will be described, from the time when there was the decision to have ideas for the script to its finalization and subsequent publication of the album "Deixa-me Entrar". With this we intend to scrutinize how the inherent problems were solved in all these steps, either in the narrative construction method, as the visual part, such as drawing, coloring and subtitling were performed always seeking quality, not compromising the quality of the work. The time frame of the book was short since it was aimed for release during the twenty-fifth International Comics Festival of Amadora 2014, one of the main events of this kind in comic book releases. It can be said that this is one of the many events that are part of the context in which the practical component of this work fits, and so it is indispensable to context Comics in Portugal, specifically in a time window since the early twenty-first century, talking about relevant authors in recent years. In this explanation were also described some contractual bureaucracies that had to comply with the publisher "Polvo" and how the dialogue between author and publisher was done. Were also exposed advertising strategies through various platforms as well as how the book was received and concluded how the applied methodology resulted in this case study

'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)

Skin hunger

Performed dusk till dawn, Friday 26 October 2007
"Skin Hunger is an improvised movement performance that invites the audience to engage directly with the performer. The performer is accompanied by a sign that invites the audience to 'touch me and see what happens'. He then uses the tactile information as a stimulus to generate movement and motivation for what he does. Small moments of relationship emerge from the initiations offered by the audience and the performer's ability to be responsive to the moment of touch.

The sign reads:

Touch me.
Touch me and see what happens.

Perhaps I will dance
Or I may do something else.

If you hit me I will bruise I do not enjoy physical pain.

Tenderness is rare.

Brush, scratch, rub, pat, prod, punch, bump, jiggle, stroke, push, nudge, tickle, hug, squeeze, caress, feel, grope, fondle, graze, tap, fiddle with, handle, slap, knead, cuff, spank, thump, shake, jerk, clout, graze, chafe, tap, poke, jab, dig, skim, shove, pet, cuddle, embrace, finger, maul, paw, manipulate, pump, support. "
cf. Melbourne International Arts Festival. Musicircus artists
(http://www.melbournefestival.com.au/musicircus_artists)

Inside the outside

Inside the Outside is a three screen, gesture and sound poetry performance. It extends the concerns of Traum A Dream (Australia 2003) into the immediacy of the performance situation. Traum A Dream has been described as "A representation of traumatised space, depicting a person who is consumed by a body of pain" and enlists the strategies of Direct Cinema, punk and Artaud's 'cruel' performance.

RemmbrMe

Dirk De Bruyn’s eleven-minute RemmbrME (2007) is a visually engaging film that documents in a painterly fashion the numerous gaps and intersections between analogue and digital moving image manipulation. RemmbrME is a work that critically focuses on the re-shaping of the lost material that is germane to a basic cameraless direct-on-film practice and resonates important ideas concerning the increasing fusion between analogue and digital image-making in our everyday culture.

Understanding science

Understanding Science is about breakdown of meaning, breakdown of relationship, trying to exist in that space between meaninglessness and understanding, at its cusp, its node, its no-man's land.. It is a melting pot of more than just fragments of images, there are clusters of things, ideas, sounds, words, that swim in and out of your attention. I wanted this film to be a dense multidimensional collage of automatic writing, sound poetry and abstracting strings of images.

Program notes: Scratch Film Festival. UWA. Perth 1997

Rewriting history

 Rewriting History is a contemporary political story about taking action in the face of seemingly insurmountable odds – a David Vs Goliath tale that bears testament to the power of conviction and the importance of fighting for the historical truth. SCREEN HISTORY : 14 May, 20 May, 3 Jun., 15 Jul. 2012, The Sydney Jewish Museum, Australia 28 Jun. – 3 May 2012, Classic Cinema Melbourne, Australia SBS TV, Australia 14 Sep. 2012 16 Apr. 2013, George Washington University, in conjunction with the Washington DC Jewish Community Centre, Washington DC, USA 18 Apr. 2013, Jay Ipson Holocaust Lecture Series, Richmond, Virginia, USA 28 Apr.2013, American Jewish University, in conjunction with LA Holocaust Museum and Survivor Mitzvah Project, Los Angeles, USA 10 Jun. 2013, Limmud Oz, Sydney, Australia 10 Jul. 2013, Borehamwood & Elstree Synagogue, London 16 Jul. 2013, Simultaneous United Synagogue Screenings across the UK: Scotland, Newcastle, Leeds, Manchester and multiple locations in London, to coincide with the Jewish day of mourning of Tish B’Av 4 Aug. 2013, Limmud South Africa, Cape Town 7 Oct. 2013, Jewish Eye Film Festival, Israel “Official Selection"

Performing passions : Sarah Bernhardt and the silent screen

Film festival. Program curated and presented and by Victoria Duckett along with notes in the catalogue

Mothering siblings: Diaspora, desire and identity in American born confused Desi

In this essay we consider the construction of cultural identity, motherhood and the family in ABCD, a film of the Indian diaspora that had its world premiere at the 2001 London Film Festival. This film reads family, apparently within familiar narrative structures such as the U.S.-immigrant story, as portrayed in films like Goodbye, Columbus and My Big Fat Greek Wedding, and the "leaving home" story, as classically portrayed in Pride and Prejudice, where a young person needs to escape from her clueless family. The irritating presence of the mother in the film, and the quickness with which her two children appear to make life-determining decisions following her death, seem to invite discussions of plot and character organized around ideas of individual development, self-improvement and understanding. This is the territory of the desire plot, an account of family history captured for the twentieth century by Freudian-Lacanian readings which position sexual desire within the unconscious history of familial fantasies, understood as vertical and Oedipal. In this territory, mothers and old ladies become, as Mary Jacobus memorably phrased it, little more than "the waste products" of a system in which marriageable women are objects of exchange between men (142) and a mother's death would be expected to grease the wheels of narrative. Identity and narrative are inextricably linked here: a certain understanding of narrative as developmental and teleological paves the way for an understanding of identity as either/or. There are problems, however, in trying to read ABCD as a bildüngsroman structured by what Susan Freidman calls "the temporal plots of the family romance, its repetitions and discontents" (137), rendering the "Indian" characteristics of the plot unreadable, and the apparently self-defeating nature of the characters' choices and behavior, rather pointless. A central [End Page 16] difficulty is that the film both responds to and resists readings based on the Oedipal model of the bildüngsroman with its focus on linear development through time.

Everything was legendary with Robert

A music video for Dave Graney

Abstract & experimental animation – A century of innovation

This compact history of 100 years of abstract and experimental animation in Australia spans the earliest cameraless classics through to modern examples of what’s happening in the vibrant VJ scene. Australian animators and experimental filmmakers have been as innovative as anybody when it comes to creating abstract animation. This history is more elongated than many people believe, in part due to the inherent lack of commercial or popular screening opportunities for much of this sort of filmmaking. This program showcases a rich collection of films from this most elemental of all animation genres. It will be introduced by a small panel of filmmakers who will contextualise this history and explain its future.