In our second post introducing the photographers behind some of the original images featured in CUT TO [compilation], we introduce Hannah Stockem, whose work features twice in the magazine.
"Blur" (above) is a fitting accompaniment to Bianca Garner's article on PROMETHEUS, paratexts and "the space beyond the screen" that was originally published in CUT TO [space]. "Cloudy" (below) stunningly illustrates Alice Stansfield's article on WALL-E and animating environmental apocalypse that was originally published in CUT TO [waste].
Our ardent readers and followers will have noticed that with our print magazine redesign we have done away with the conventional film stills to accompany the articles in our latest issue and have included more conceptual photography. A number of these are original artwork and this week we want to introduce you to the aspiring artists behind the cameras.
First is Ella Cousins, the photographer responsible for the above image that accompanies Claire Williams' article about stalkers on screen.
This week saw the publication of CUT TO [compilation]. It's a really special issue for us for a number of reasons
Firstly, it's the 10th issue of our magazine - the 7th in print (our first three issues were just published online, as long time readers will know!) Reaching number ten is a real landmark achievement for us. The very first issue went online December 2010 and we've published around two issues a year since (with a bit of a break while our Editor-in-Chief brought a different baby into the world). Ten issues means we're a properly established magazine. We're excited about what the next ten will bring!
Secondly, this is a special issue for us because it is also a celebration of all our issues to date, a [compilation] of some of our favourite articles since we started out. Although it was excruciatingly difficult narrowing down our final issue, it was also so much fun revisiting our past issues: snow, gold, blood, obsession, magic, space, skin, waste and conflict. We've published an abundance of insightful and thought-provoking articles over the last six and a half years and worked with so many talented aspiring writers and editors. We hope you enjoy reading or re-reading our final selection as much as we enjoyed revisiting them for this issue.
Then there's the redesign - and what better time to show it off than with this 10th issue? Our new design is a striking move away from the the busy pages of before. Inspired by Scandinavian minimalism, we've stripped our design and colour scheme right back: black text on crisp white pages with just the smallest splash of mustard yellow.
To reflect our creative and unconventional approach to film and TV criticism, we've also done away with the film stills and picked some conceptual photography to accompany our articles. We'll be introducing the student artists behind some of the original photography on the blog this coming week. With new dimensions, the magazine is literally bigger and better than ever and a change of paper means that Diegesis not only looks different but feels different too.
We love the end result and hope you do too. Leave us a comment here to let us know!
CUT TO [compilation] is out now and available around Southampton Solent University campus and at some of our favourite venues around Southampton. If you want to find out how to get hold of a copy, email us at email@example.com.
Diegesis is produced by staff and students on the BA (Hons) Film and Television degree at Southampton Solent University. The views expressed in Diegesis are those of the authors and do not necessarily reflect the options, official policy or position of the university or degree.
We are Bryony and Jordan, the new deputy editors of DIEGESIS. As a dynamic duo we have worked together as editors since our first year and written for Derby Film Festival and Southampton Film Week. Now in our third year of Film and Television at Solent University, we hope to bring new, insightful and forward-thinking journalism to the magazine over the next academic year. We plan to publish a monthly online mini issue which will cover a wide range of themes and topics, relevant to current issues in film and television. These will be accompanied by Spotify playlists that will audibly inform our online themes and showcase our impeccable music tastes.
Here’s a little bit about us.
Bryony: Some areas of film criticism I enjoy talking about include literature adaptations, global film and low-budget independent films. As someone who is a huge John Hughes fan, I would recommend to anyone that hasn’t seen his films to have a binge day on PRETTY IN PINK, FERRIS BUELLER'S DAY OFF, THE BREAKFAST CLUB and SIXTEEN CANDLES; as well as WHEN HARRY MET SALLY and ANNIE HALL if you have the time. A television series I’ve been sucked into lately is the Netflix original ORPHAN BLACK which is an innovative and thought-provoking show as well as hugely entertaining. Over this next year I am looking forward to reading some perceptive and innovative pieces on all areas of contemporary film and television that questions the way we study the screen and teach our audience something new about the film and TV world.
Jordan: My favourite topics to write about are short films, film festivals and global cinema, especially Japanese animation and Asian cult films. If I had to pick a film to recommend to watch it would probably be HEATHERS: an 80s cult classic full of iconic catchphrases that is surprisingly lighthearted in its portrayal of high school murder and suicide. Something I’ve been loving recently is RUPAUL'S DRAG RACE. It is an addictive experience and the pinnacle of over-the-top reality television but equally endearing in its presentation of a diverse cast of drag queens. Expect drag slang to become part of your daily lexicon after binge-watching every series available on Netflix. I would love to see articles that bring attention to unique or under-appreciated film and television. As DIEGESIS aims to take an unconventional approach to film and television criticism, the wider we cast our journalistic net the better!
In celebration of 30 years of City Eye, Southampton Film Week offered a day of flashbacks, beginning with the under-appreciated Disney classic BASIL THE GREAT MOUSE DETECTIVE (Burny Mattinson 1986), a rodent-led interpretation of Sherlock Holmes set in Victorian London. With rugs set out in front of the projector and sweets at the ready, this screening offered a change of pace for Southampton Film Week, acting as a gateway into the world of film for children with an animated screening easy to digest before midday.
Between screenings a drop in session allowed Southampton Film Week revellers the chance to share some of their favourite memories and experiences of City Eye in celebration of their 30th anniversary.
City Eye continued the flashback season in the evening, allowing Film Week attendees to vote on the screening with options including: PRETTY IN PINK (John Hughes 1986), TOP GUN (Tony Scott 1986) and STAND BY ME (Rob Reiner 1986). Ultimately it was LABYRINTH (Jim Henson 1986) that won the vote and so audience members were treated to the epic musical fantasy film starring the late David Bowie and his disturbingly tight trousers as Jareth, the Goblin King.
30 Years of City Eye took place on Saturday 12 November as part of Southampton Film Week 2016.
In the 1960s a set of seven mobile lecture theatres were built to promote British industry on the road. Fast-forward to 2016 and outside the Southampton Guildhall sits Audrey, the last of its kind, now converted into a glorious mobile cinema. Touring the United Kingdom for the last six years, the Vintage Mobile Cinema aims to create a unique cinema experience, fitted with period theatre seats and an impressive digital projection system. With access to an archive of 85,000 films, the Vintage Mobile Cinema team are able to customise screenings to fit a variety of audiences. Throughout its stay at Southampton Film Week, Audrey exhibited work from local artist and Southampton Film Week royalty Anna Cady, as well as taking us back in time to several British Pathé documentaries too.
Each screening begins with a brief history of the Vintage Mobile Cinema, accompanying the bitesize reels of a quirky black-and-white era Britain. Although it is very easy to be drawn into the world displayed in the campy vintage stylings of Pathé, the occasional rocking of the cinema reminds you that you are, in fact, delightfully sitting in the back of a vintage vehicle, not a 21st century auditorium. With curiosity captivating visitors and onlookers throughout its stay, Audrey was certainly a hit during Southampton Film Week and is a testament to the celebration of cinema that City Eye brings to the region.
The Vintage Mobile Cinema took place on Friday 11 and Saturday 12 November as part of Southampton Film Week 2016.
Debuting at Sundance in 2015 and eventually finding its way to an intimate White House screening, THE HUNTING GROUND (2015) is a controversial piece of cine-activism that provides an unabashedly harrowing insight into the reluctance of American colleges to acknowledge sexual assaults on campus. The documentary is led by civil rights duo Andrea Pino and Annie E Clark, as they embark on a social justice road trip across America providing support for sexually-assaulted college students while filing a detailed sexual discrimination complaint against their alma maters in their own cases.
Pino’s description of “vicarious trauma” poetically frames the film’s central drive, with every detailed description of rape creating waves of tear-inducing empathy for the victims, and anger towards the rapists, police and the universities. By including interviews from a variety of victims, college administrators and activists, as well as perpetrators, THE HUNTING GROUND presents a well researched, emotionally draining insight into the problems with prioritising college fraternities and sport stars over student safety. While the documentary has an undeniable sorrowful tone, with scenes of students standing up to institutions the audience are left with the hope that times are changing and that an ignorance of rape culture will soon be behind us.
The Diegesis magazine sponsored screening of THE HUNTING GROUND took place on Thursday 10 November as part of Southampton Film Week 2016.
With contributions open to anyone under the age of 22, City Eye’s Youth Film Festival showcased talent from the local area with submissions coming from Southampton Solent University students, regional colleges and those involved in other City Eye projects like their half-term Film School and Music Video Workshop.
The festival was divided into two sections, with films firstly presented as part of the College Filmmaking Challenge in which college students were tasked with creating a four-minute film using the title “Impression” and, as a line of dialogue, “I thought it was a suggestion”. Certificates and chocolate treats were handed out for best editing, cinematography, script, sound, audience vote and best film, adding to the film festival atmosphere. After the filmmaking challenge, the event continued with a variety of films being showcased to proud parents, with children as young as nine involved in productions on display.
Youth Film Festival was a chance to witness the work of the next generation of creatives, providing a great exhibition space for many first-time filmmakers. With an obvious passion for cinema and its future creators, City Eye continues to support film lovers and producers, both young and old.
Youth Film Festival took place on Wednesday 9 November as part of Southampton Film Week 2016.
The stage door in Southampton played host to The Hampshire Picture Co.’s masterclass: Café Cinéaste: The Screenwriter. Head of Film at Southampton Solent University Darren Kerr, who acted at interviewer for the evening, introduced Caroline Sax and we were promptly shown an impressive showreel from the 40 plus feature films that Caroline has worked as a script supervisor, included titles such as UNDERWORLD (Len Wiseman 2003), SHAKESPEARE IN LOVE (John Madden 1998) and RESIDENT EVIL (Paul WS Anderson 2002). We also had the opportunity to see a clip from Caroline’s directorial debut and short film THE FISHMONGER’S DAUGHTER (1998) that was picked up by Sundance Film Festival, confirming her talent.
The intimate setting allowed for a talk that covered an eclectic range of topics starting with personal anecdotes from her time as Stanley Kubrick’s neighbour, being on the set of 2001: A SPACE ODYSSEY (1968) where she remembered thinking she “was in fairyland”, to honest and frank advice for people interested in going into film as a career. Caroline also briefly spoke on her personal experience as a woman in industry in light of the painfully low statistics surrounding women’s roles in the US and UK film industries.
The evening concluded with a short Q&A in which she admitted that she is always learning and advised people interested in the film industry to go to as many masterclasses and guest talks as possible. This masterclass was a unique and valuable opportunity for all to hear from someone who is currently in industry with a wealth of knowledge.
Café Cineaste took place on Tuesday 8 November as part of Southampton Film Week 2016.
Southampton Film Week continued with a special screenwriter’s edition of the Café Cinéaste masterclasses held in quirky theatre venue The Stage Door on Tuesday evening. This event turned the spotlight on writer, script supervisor and co-ordinator of The Hampshire Picture Co., Caroline Sax, with an in-depth interview by Darren Kerr, Head of Film at Southampton Solent University.
Proceedings kicked off with a screening of Caroline’s impressive showreel, which included a wide range of feature films she had worked on such as SHAKESPEARE IN LOVE (1998) and RESIDENT EVIL (2002). The discussion explored her career trajectory from just a “young girl who caught the film bug” to a script supervisor with experience working on over 40 feature films. She spoke of her brief time on Marvel’s GUARDIANS OF THE GALAXY (2014), emphasising the importance of preparation for any role.
During the conversation, it was particularly interesting to learn of how she became interested in the film industry. Living next to Stanley Kubrick, bumping into celebrities and stepping onto the set of 2001: A SPACE ODYSSEY (1968) was described as a “fairyland”. However, the reality of working in such a harsh industry was discussed, indicating the need to toughen up. Scriptwriting theory was also debated with Caroline’s own personal recommendation being John Yorke’s book INTO THE WOODS: A FIVE ACT JOURNEY INTO STORY (2013) and the talk concluded with a revealing assessment of the future of women in film production. This masterclass offered a unique opportunity for hopeful scriptwriters to gain a invaluable insight into the world of screenwriting.
Café Cineaste took place on Tuesday 8 November as part of Southampton Film Week 2016.