Luke McKernan’s (IAMHIST council member) historical study of Charles Urban has won the best moving image book at the 2014 Kraszna-Krausz Book Awards which were announced last night. The winner of the best photography book was Sergio Larrain: Vagabond Photographer.
The Kraszna-Krausz Book Awards are a partner of the Sony World Photography Awards and the two books share the awards’ £10,000 prize for the best photography and best moving image books of the year.
Best Photography Book Award:Sergio Larrain: VagabondPhotographer by Agnès Sire and Gonzalo Leiva Quijada (Thames and Hudson)
Best Moving Image Book Award:Charles Urban: Pioneering the Non-Fiction Film in Britain and America, 1897 – 1925 by Luke McKernan (University of Exeter Press)
‘Screening History’ is a series of talks by leading scholars and filmmakers, exploring the topic of film and historical representation. The talks have been organised by Dr Fearghal McGarry (QUB School of History and Anthropology).
There are three events remaining in the series:
Ulster Museum, 6 pm, Thursday, 8 May
Screening: The Enigma of Frank Ryan (Des Bell, 2012).
Followed by Q&A with director, Des Bell (NCAD) and consultant historian, Fearghal McGarry (QUB).
Frank Ryan’s life remains an enigma. The teenage IRA volunteer, dissident republican and Spanish International Brigade volunteer ended his life working for the Nazis in wartime Berlin. Bell employs the imaginative resources of the creative documentary to explore a human story of truly tragic proportions.
Ulster Museum, 1 pm, Thursday, 15 May James Chapman (University of Leicester): ‘Film and public history’
More people ‘know’ their history from seeing movies than reading books but what responsibility does this place on the film-maker as historian? Professional historians have typically been dismissive of film for its factual errors and misinterpretation. This lecture, which explores how films present ideologies of nationhood, class, gender and imperialism, will argue that film is often as valuable a source for understanding the present in which it was made as the past in which it is set.
Ulster Museum, 1 pm, Friday 23 May
Alison Ribeiro de Menezes (Warwick University), ‘Screening Memory: The Spanish Civil War’.
The Spanish Civil War ended 75 years ago, yet its legacy is still keenly debated in Spain today. This talk explores how the war been depicted in film, and the contribution that film as a medium might make to the remembrance of conflictive pasts.
The Historical Journal of Film, Radio and Television welcomes articles which
examine aspects of early film theory from a historical perspective.
Audio-visual culture has always been accompanied with and even shaped by
generalising ideas about its inherent characteristic and meaning. From the
early days of film, intellectuals, practitioners and scholars have been discussing the inimitable properties or communalities of different media. In
so doing, they focus on different aspects, including aesthetics, narrative
possibilities, the relation of audio-visual images to specific socio-cultural and political contexts and their eventual effects. Whilst film theories help to explain more general aspects beyond isolated case studies and thereby offer assumptions towards a more comprehensive understanding of filmic images they also play a role in the development of academic subjects and schools of thoughts. Given that all theories, regardless of their aim or scope, are the product of specific historical and ideological circumstances, it is important to take these contexts into consideration when using or referring to such thoughts. Ahistorical approaches, which tend at discretion to apply theories without acknowledging their origin or evolution to any past or contemporary film, ought thus to be questioned.
The theme issue of the Historical Journal of Film, Radio and Television explores the history of film theory. It looks specifically at theoretical ideas and debates up until the 1940s. Its wide focus invites original submissions on a variety of aspects. Articles that are based on primary sources (archival documents, contemporary journals, etc.) and/or the impact of theory are particularly welcome. Topics may feature analyses of select theorists, the development of schools of thought, film reception, the dissemination of theory (e.g. in trade and specialist journals or academic writing), approaches to media social theory and ways to implement theory into practice. Topics of film and cinema theory not included in the above list are also welcome. International perspectives and comparative approaches are strongly encouraged.
Please feel free to contact the guest editors Tobias Hochscherf
(firstname.lastname@example.org) or Katharina Niemeyer
(Katharina.Niemeyer@u-paris2.fr) if you have any queries. A 150-250 word
proposal alongside a brief biographical note should be submitted to the
editors by 1 May 2014.
All final submissions are subject to the journal’s customary blind
peer-review process. The theme issue is to appear in print in summer 2016.