Log in
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.
Through the agency of Screen Archive South East (SASE) and Cinecity, GRAY's research has transformed the history and wider understanding of screen cultures, particularly during the industry's formative years. Primarily his work has affected public life through the collection, preservation, cataloguing and conversion of diverse footage to publicly accessible formats, creating access to material from otherwise marginalised and forgotten film histories. Engaging with local communities, national and international museums and broadcasters, he has developed new public audiences for contemporary and historical screen culture that have generated over £1.8m in income, with total audiences exceeding 25 million. Secondly, his research has shaped public policy by contributing to the strategic direction of screen heritage across the UK.
Working in close collaboration with a range of non-academic partners, research insights into the connections between technological change and narrative and visual culture inform the mediation of Scandinavian literary and cinematic classics to UK and international audiences. Methods used encompass analogue and digital publication technologies, exhibitions, public talks, translations, theatre performance, and stand-up comedy. This has enhanced public awareness of and access to Scandinavian literary and cinematic heritage in the UK and internationally, produced new cultural resources, and transferred skills, knowledge and resources between researchers, partners in publishing, translation, design and theatre, and Scandinavian embassies and cultural institutions.
Research produced within the Media, Film and Culture team at Leeds Trinity University has led to an impact on production processes and film education. The research on which this impact is founded relates to the research leadership of Professor Graham Roberts, who particularly explores the relationship between the human `producers' and the technology (becoming) available for production and distribution. Roberts' research has informed the practices of the institution's in house production company, Trinity Vision. Trinity Vision, supported by practitioners within the subject area, has engaged with local and regional businesses and social enterprises, producing work that has entered the public domain.
Elizabeth Cowie's scholarship centres on the intersections of art, politics and the cinema. The impact of her research lies in the challenges she makes to existing paradigms, challenges that resonate within and beyond the academy. Widely taught in Higher Education (HE) across Europe, North America, and Australia, her research on documentary is also particularly significant for its influence on artist filmmakers. Insights gained from her arguments on aesthetics, spectatorship, and political engagement have been taken up by artists whose own work seeks to explore complex ideas about art, politics, trauma and memory.
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:
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.
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.
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.
Research conducted by the UCL SCEMFA research group into materialising the digital has had many and varied impacts, including the creation of new forms of artistic expression, and the production of new cultural resources. The research has also had demonstrable impacts on cultural heritage, both through the acquisition of its outputs into important national collections and through contributions to policy relating to the preservation of digital artefacts. Wider societal and cultural contributions have been delivered through work in the public realm, and commercial benefits have accrued through collaboration with Liberty.