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Elliott, Haillay and Young are central to our research in film-making. Theirs is a socially-engaged but elegiac cinema of contemporary times. Elliott (writer and director), Haillay (producer) and Young (writer/producer) have, over the REF period, collaborated with one another, and with others, to create an influential body of work. The innovative approaches to narrative and the visual beauty of their cinematography have had an important impact on cinema audiences nationally, even more so internationally. They have participated in numerous international film festivals and won awards. With new productions currently at an advanced stage, the trajectory of their research is still upward. The standing of their backers and finance-providers attest to their growing international prestige, and audiences for their work continue to grow.
This research, led by Amy Hardie and the Scottish Documentary Institute from 2006 onwards, investigates the practice of communicating and engaging with science through creative documentary filmmaking, developing a screening strategy heralded as 'a completely different paradigm of cinema' (5.1). By drawing out human stories in award-winning, critically-acclaimed films, it has mainstreamed complex subject matter about stem cell research, redressing public and media misconceptions along the way. One film has been watched over 112,000 times in 190 countries, while behind the camera, it has forged cross-disciplinary collaborations between artists and biological scientists that have been discussed and admired by policy-makers in Brussels and Tokyo.
Roger Shannon's research on the legacy of the Birmingham Film and Video Workshop (BFVW) has fed directly into the curation and digitisation of previously neglected productions from this pioneering collective, which are now available for public exhibition at arts centres, cinemas, galleries and festivals. The specific examples of the public articulation of the impact include the Participation exhibition at the Vivid Gallery in Birmingham (2009), the digitisation of the original BFVW material, and the Hell Unltd/Traces Left event at the Glasgow Film Theatre (2013) which Shannon co-ordinated. He also worked closely with musician Kim Moore in her composition and performance to accompany the Hell Unltd event.
Three claims to impact stemming from Shannon's research are made here:
The MyStreet project explores a new collaborative anthropology by training and facilitating filmmakers in in using techniques some of which were inspired by study of Mass Observation. This is achieved through a competition and online film archive with a global audience, and the annual Open City Docs film festival which has led to new partnerships with private and community organisations, and inspired a similar project in Prague. Through DocinaDay, about 350 students and community groups from high-exclusion areas received training in filmmaking and a screening platform, with positive impacts on social cohesion and individual welfare.
Conceived, directed and edited by Clio Barnard, The Arbor (2010) explores the life, work, and legacy of the playwright Andrea Dunbar. Among many other prizes and nominations, the film won the Grierson Trust Award for Best Cinema Documentary, and The Guardian First Film Award, both in 2011. It has achieved a wide-ranging and significant impact, informing public debate, transforming the lives of those depicted in and working on the film, bolstering cultural heritage in West Yorkshire, generating sustainable employment in the film industry, influencing fellow filmmakers and making a significant contribution to UK cultural life.
Michael Uwemedimo's research on re-enactment in non-fiction filmmaking has contributed to the development of innovative methods and approaches to documentary practice as a means of precipitating critical national and international reflections on histories of political violence. The Act of Killing (2012, 116mins) demonstrates the potential of film production and exhibition as a means of popular mobilization and political intervention through which accepted discourses around history and genocide are reframed. This work has had a significant impact in the following contexts:
Key indicators of the reach of this impact include the range of stakeholders in the project, such as local advocacy networks in Indonesia, the Indonesian Government's National Human Rights Commission, human rights NGOs, and international documentary makers, programmers and audiences.
I am Breathing, a feature-length documentary directed by Emma Davie (ECA) and Morag McKinnon (unaffiliated) and released in 2012, builds on experiments in co-creativity in film, and explores the ethics and the aesthetics of making a film with, rather than about a man dying of Motor Neurone Disease (MND). Neil Platt wanted to use the film to raise awareness about MND, and since his death, I am Breathing has not only been screened 242 times in thirty-four countries, but has been distributed in concert with the MND Association, raising awareness about the disease, contributing to increased sign-ups to the Association, and lending people with MND a new public voice.
Northern Lights was a University of Edinburgh research project that engaged members of the Scottish public in documenting their lives on camera. Its objective was to create a novel, multi-perspective documentary portrait of the Scottish nation in 2012. The project had enormous scope: press and media impact reached over 4 million people. Northern Lights made its impact by empowering the 1,500 individuals who contributed video portraits to explore issues such as addiction, disabilities and mental health. Northern Lights thus opened up a unique opportunity for participants to represent their experience, voicing, for themselves and for a wider, national audience, often poorly understood and neglected sectors of society.
This unique theatrical and film project is based on the use of volunteers to produce work inspired by a combination of their own experiences of class and Friedrich Engels' book The Condition of the Working Class in England. It created significant impact for those taking part, offering beneficial new experiences of creative collaboration and association, authoring their own stories and developing fresh understandings of the wider context of their own individual experiences — a process unprecedented in mainstream media that constitutes a significant contribution to the documentary genre. This impact was, in turn, transmitted to wider civil society through live performance. Insights generated through the documentation and contextualisation of the process of theatrical production as a documentary film were then brought to a still broader range of audiences, including policy- makers at national level and into a larger arena of public discussion that challenged the widespread assumption that `class' is no longer relevant to contemporary society.
The research has resulted in positive impacts for cultural life, civil society and education by: (1) generating new ways of thinking that influence creative practice beyond the academy; (2) creating, inspiring and supporting new forms of (primarily) artistic and social expression beyond the academy; (3) contributing to continuing personal and professional development; and (4) preserving, conserving, and interpreting cultural heritage for audiences external to the academy. A `spin-out' performing organisation — Hull Sinfonietta — has been formed, and several creative works have been produced including a music-film (Lear Settings) made in collaboration with local primary and secondary schools and freelance animators and film editors. The main non-academic beneficiaries of the research are the music professionals of Hull Sinfonietta, the school children, their teachers, freelance practitioners, and concertgoers.