FamilyTiesAbstractsBios.doc

FamilyTiesAbstractsBios.doc - Family Ties Recollection and...

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Family Ties: Recollection and Representation 8 th (evening) & 9 th March 2012 Senate House Centre for the Study of Cultural Memory Institute of Germanic and Romance Studies School of Advanced Study, University of London Abstracts and Biographies Keynote Speakers : Sarah Miles Sarah Miles' 2001 - A Family Odyssey: Ophelia's Version (2002, 50 mins) is a poetic elliptical film exploring the hidden systemic powers of identification within a family constellation through four generations. Distant but familiar ancestors haunt the landscape like screen memories and family members collaborate to perform representations of themselves. A collage of family album; the filmmaker’s father’s photographic archive, rushes of his unfinished film The Host ; 16mm portraits, music, voiceover and film clips including Apocalypse Now, Badlands, Belle De Jour and Breakfast at Tiffany’s reflect a complex layering of narratives. Miles plays Shakespeare’s Ophelia as a bunny girl in violet searching for material amidst a powerful dreamlike stream of drowned family stories and screen Ophelia’s, Marianne Faithfull segues into Catherine Deneuve into Marilyn Monroe. Representing Ophelia evolves into an investigation of the limits of memory, the nature of storytelling, the boundaries of art and the imagination itself. Past present and future mix generating new meanings. Through this process of constellation hidden forces are unveiled by Ophelia’s jaunt through familial image-repertoire(Film Forum, Los Angeles 2002). Sarah Miles studied English and American studies at the University of East Anglia (1980-1983). Miles' award-winning films combine fragmentary and evocative narratives of family and memory with references from cinema and literature. Her films have been screened internationally as single screen and installation works at cinemas and galleries and broadcast on Channel 4, Canal 4 and BBC2. Screenings at international film festivals include Melbourne (Damsel Jam, 1993), Transmediale Berlin international media art festival (Amaeru Fallout 1972, 1999), Oberhausen (Magnificent Ray, 2000), Los Angeles (2001 A Family Odyssey: Ophelia’s Version, 2002) and Rotterdam (No Place, 2006). Artist presentations include Tate Britain; Arnolfini UK, Pacific Film Archive, Image Forum, Japan and Los Angeles Film Forum. She has lectured in visual theory and film production at Bournemouth College of Art and University for the Creative Arts, Canterbury and Maidstone. She has received funding from the Arts Council England, BFI, Film London, the Film & Video Umbrella and South West Media Development Agency. Her work is held in The Artists Film and Video Study Collection at Central St. Martins, London and she is represented by LUX, London. She lives and works in London. Rosy Martin ‘On Looking Back: Photography, Memory and Forgetting’ It was the very paucity of what could be found within the family album that prompted Jo Spence and I to begin our quest to open up the family album to critical analysis, investigation and performative photography, through re-enactment phototherapy.
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