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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:
A research project on the General Post Office Film Unit culminated in a series of film screenings, DVD releases, talks and events. It resulted in the work of the Film Unit being added to the UNESCO UK Memory of the World register and the BT Heritage telecommunications collections being awarded Designated status by the Arts Council.
Dr Julie Brown's research on the sounds of `silent film' exhibition in Britain has had an impact well beyond academia. Her collaborations with film festivals and major film venues plus public lectures have brought about an enhanced public awareness of a lost media art. Through a practitioner/academic network and via practice-based activities involving professional musicians she has had a direct impact on musical practice, and also brought significant performances to the general public in well-attended public events and film festivals at major cinema venues in both Edinburgh and London. Her work has led to enhanced public understanding of the history of the sonic dimension of `silent cinema' in Britain.
Carter's research into the life and work of the Hungarian film theorist Béla Balázs (1884-1949), and her collaboration with Rodney Livingstone (Professor Emeritus, Southampton) on the first English translation of his early works, provided the inspiration for a travelling exhibition, film screenings and website that showcased Balázs's early writing, and explored the connections between his film theory and contemporary film practice. Artist Zsuzsanna Ardó approached Carter to collaborate following the publication of an article on Balázs (Screen 2007), and worked with her to mount an exhibition at BAFTA and three Everyman Cinemas in London, accompanied by public talks and film screenings.
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.
This case study examines the impact of Catherine Wheatley's research into spectatorship, audiences, and critical contexts through engagement with the popular press and public-facing media institutions. It focuses on Wheatley's work with Sight & Sound, the monthly consumer magazine published by the British Film Institute, which reaches beyond academia to a cine-literate but non-specialist audience. Her research has influenced discussion and criticism of cinema for a large, interested cine-enthusiastic audience as well as contributing to broader public debate and cultural discussion of cinema through mass-media appearances. She has also judged a competition for budding female critics, encouraging more women to write thoughtfully on film, and nurturing a new generation of women critics through which her research has been able to influence the practice of film criticism more widely.
Film Festivals constitute the main institutional alternative to commercially-driven cinema and as such occupy a vitally important part of our cultural heritage. The BFI estimates that `only 7% of all cinema screens are regularly devoted to non-mainstream film', and cites the film festival as an exemplary model for broadening cinema knowledge and education (`New Horizons for UK Film 2012-17'). Film Studies Queen Mary is committed to enhancing a public understanding of obscure and complex film through film festivals, bringing to bear insights born of research including production histories and analytical interpretations of film texts and performances. Collaborating with programmers, curators, local authorities, and diasporic communities, researchers have made significant contributions to festivals including to the founding of two new film festivals (the London Spanish Film Festival 2005 and Cutting East Youth Film Festival 2013), engaging with constituent groups and cultures that are not strongly represented in the UK's commercial film culture.
Moving Memories was a participatory research project which used BBC North West and other archive film footage to re-connect people of Caribbean, Sikh and Irish heritage in Moss Side and Hulme with the visual record of their settlement in Manchester from the 1950s to the 1980s. Local people enriched these visual histories with personal memories, interpreting, reflecting, linking across generations, and generating pride in their community's contribution to Manchester's broader historical narrative. The project is a model of exemplary practice for the applied use of archive material in BME contexts, demonstrating how shared story-telling challenges stereotypes of inner- city, multi-ethnic neighbourhoods and improves community cohesion.
Deriving from Brady's research on modernist cinema, and Carter's on film reception, the impact focuses on the development of UK reception contexts for German-language film. Both researchers have long worked to enhance public understanding of German-language cinema through curatorship, film talks, and forms of intercultural mediation including translation and interpreting. Since 2011-12, work has focused on creating a sustainable national initiative that translates public engagement into audience impact. The key innovation here is the German Screen Studies Network, a forum for public debate on and promotion of German-language film. Chief beneficiaries are German cinema enthusiasts, cultural partners and collaborating institutions.
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.