New Beginnings #3: Looking Backwards to Start Anew: Migration and Contemporary Cinema in Italy

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‘Fuocoammare’ (Fire at Sea) by Gianfranco Rosi, 2016. Attribution: Film Poster, non-free image posted under fair dealings rationale for research purposes only, IMDb, 2016.

A memorable scene of 1917 Charlie Chaplin’s silent comedy short The Immigrant denounces the brutal mistreatment of newly arrived immigrants – many of which were Italian nationals – in New York by local public officials. Unsurprisingly, the sharp antithesis between the temporarily captive status of migrants and the caption ‘The arrival in the country of freedom’ did not please the state film censorship, which accused the comic actor of outrageously disseminating anti-Americanist sentiments. More than 80 years later, in 1998, The Immigrant was selected for preservation in the United States National Film Registry as being ‘culturally, historically, and aesthetically significant’.

Numerically speaking Italians count as one the most significant migrant communities of the twentieth century; nevertheless, the artistic portrayal of such mass phenomenon within the national borders has blossomed only recently. With the beginning of the new millennium, a fascination with past Italian migration captivated filmmakers, journalists and novelists. In Emmanuele Crialese’s 2006 drama film Nuovomondo (New World), the arrival of a poverty-stricken Sicilian family at Ellis Island on a foggy winter morning impeding the view of the Statue of Liberty is a subtle, photographically exquisite reference to Chaplin’s groundbreaking production. The parallelism between the two works is self-evident in the sequences following the disembarkation, in which the camera focuses upon the humiliating physical and psychological examinations undergone by migrants. Continue reading

New Beginnings #2: A New Project and A New Experience: The East End Women’s Museum

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Sylvia Pankhurst, 1909. Instrumental figure in the East End women’s suffrage movement. Attribution: Unknown photographer, public domain via Wikimedia commons, 1909

Have you heard about the East End Women’s Museum? Perhaps you remember instead the opening of the tacky Jack the Ripper Museum in 2015, in place of the promised first Women Museum in the UK. Not only does the new museum disregard women’s lives, but it also displays gratuitous details of Jack the Ripper’s murders, including one victim’s bedroom and pictures of the bodies. However, this dreadful opening led to some good things: a collective opposition to the museum (from neighbours, East End women, feminists, and historians), as well as Sara Huws and Sarah Jackson’s wish to create the promised museum. Their idea is to offer the East End and London the museum that was originally proposed, with historical and social information about women’s lives in the East End. The project not only aims to be historical, but also links historical jobs or situations to the present, with contemporary testimonies. The form of the museum is not yet defined; it may be a physical building in the East End, or a virtual museum, such as the Women’s Museum of Ireland – or even both. Continue reading

New Beginnings #1: Reconciling Creative Differences: Warlikowski’s Vision of Iphigénie en Tauride

programmeA fascinating phenomenon within the performing arts is its natural tendency for constant reinvention. While history illuminates our propensity to immortalize art and artists in marble effigies unchanged by time, these monuments are more clay than stone, newly shaped by the fresh hands that touch them. As a music historian, this act of ‘New Beginnings’ in art is something I have come to value quite highly, perhaps because it is a reminder that humanity still finds relevance in looking to the past in forging ahead to the future. Continue reading

Call For Blog Submissions: (Absent) Voices

absent-voicesFor March 2017, our theme over at the Still Point blog will be (Absent) Voices. We are seeking blog posts from doctoral and early career researchers that engage the subject of voices in a multiplicity of ways – the voices you use in your research, the voices that are defining political and academic discussion today, and the voices that are typically marginalised or suppressed within academic and other communities. Submissions usually take the form of non-fiction, but we also accept fiction, poetry, and visual art.

 

Ideally submissions will be:

  • between 300-500 words with original or high quality images (but we may accept longer pieces)
  • for visual and multimedia artists, send us high quality images of your artwork or embed links to sound, video work, or gifs, accompanied by up to 250 words.

We encourage creativity and flexibility, both in response to the theme and in terms of the form which entries take.

The Still Point Journal is a literary journal for Arts and Humanities researchers in London, funded by the LAHP (London Arts & Humanities Partnership) and the AHRC. Our focus is on non-fiction writing related to the process and the experience of conducting research, and on creative articulations of and responses to this experience.

Please send submissions to blog@thestillpointjournal.com by the 20th February 2017.

New Beginnings

new-beginningsThe start of a new year inevitably heralds new beginnings, and the same is true this year for the Still Point Journal: the founding editorial team have handed the publication over to a brand-new team. (If you’re interested in finding out more about us, head over to our bios under the ‘About’ section.) We are excited to continue the great work that has been done so far with the blog, whilst also adding our own slant to it. As a new addition to the blog, we will be expanding its current scope beyond reflective pieces concerning research by incorporating monthly ‘Calls for Submissions’ around various themes. These themes will be announced at the beginning of every month, both on the blog itself as well as on social media to generate a more eclectic series of contributions.

Our assemblage as a new editorial team inspired the theme for this month: ‘New Beginnings’. For us, the theme encompasses a broad scope of considerations: personal reflections of new beginnings experienced as research students, the role of reception in creating something novel from an older art form, reactions to current affairs pointing to the shift in world politics, and many more. As before, in addition to these monthly themes, we will still accept blog submissions reflecting the experience of London-based researchers on a rolling basis.

Please send submissions to blog@thestillpointjournal.com

 

Issue 2 Launch Party: Saturday 25th February

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The Still Point Journal is celebrating the launch of Issue 2: The Researcher’s Notebook.

Join us for an evening of live readings and music at The Gallery Café, Bethnal Green, and pick up your free copy of the print edition.

Saturday 25th February

7:30-10:30pm

The Gallery Cafe, 21 Old Ford Road, London E2 9PJ

Join our Facebook event here for updates about the evening.

For Issue 2 of The Still Point Journal, we asked contributors to imagine that their submissions are part of a collective Researcher’s Notebook in both a literal, and a broader, metaphorical sense. The issue explores the idea of the journal as a space for spontaneous discovery or self-creation.

To whet your aesthetic appetite:

The Researchers Notebook includes contributions from Bihter Almac, Isobel Atacus, Liz Bahs, Leonid Bilmes, Tianmei Chen, Chiara Raffaella Ciampa, George Clayton, Oline Eaton, Daniyal Farhani, Armenoui Kasparian Saraidari, Annegret Marten, Penny Newell, Charlotte Northall, Romy Nuttall, Jon Paterson, Stuart Ruel, Matthew Shaw, Lavinia Singer, and Ruth Tullis, and is designed by Becky Healey.

We have a limited number of copies to gift to our launch party attendees, so come along to adopt your own.

The Still Point is a literary journal for Arts and Humanities researchers from institutions across London: featuring poetry, prose and visual artwork, it is a space for storytelling about the research process. Generously supported by the London Arts and Humanities Partnership (LAHP)/ Arts and Humanities Research Council.

Archives of Lost Voices: Patient Publications in Hospitals

It’s difficult to pinpoint exactly where this PhD project began, but it certainly grew out my involvement with the Graylingwell Heritage Project. This was a Heritage Lottery Funded community, heritage and arts programme which charted the history of Chichester’s Graylingwell Hospital. I worked as an administrator, voluntary researcher and oral history interviewer for the project while studying English and Fine Art at undergraduate level. I’ve had a life-long love for the historical, particularly the nineteenth century, and I found Graylingwell Hospital’s heritage absolutely fascinating. I didn’t anticipate the huge impact that this project would have on my work (and life), but now, as a PhD student, I can fully appreciate how it has shaped my career.

Built in 1896 as a mental health facility, the hospital was formerly known as the West Sussex County Asylum, and has had a significant impact upon Chichester’s local community as a place of employment throughout the last century. As a medical institution, Graylingwell Hospital has played an important role in the history of mental health treatment in the UK and the development of psychiatry in the 20th century. It is also noted for the important role it played in national history as a war hospital during the First World War, providing care for injured servicemen from 1915 to 1919. The hospital closed in 2001.

The Wishing Well, the magazine produced by the patients of Graylingwell Hospital, various dates.
The Wishing Well, the magazine produced by the patients of Graylingwell Hospital, various dates.

A student of art, English and history, I naturally became very interested in The Wishing Well, which was a magazine printed and distributed by Graylingwell’s Occupational Therapy department between 1946 until at least 1960. These magazines, which are currently held at the West Sussex Record Office, were a creative showcase for the patients of Graylingwell, and include prose, poetry, and written reports on every facet of Hospital life. Visual art features heavily in these magazines, including paintings, woodcut prints, and cartoons. Continue reading

Join Our Editorial Team – Apply by 31 Oct

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As the current team begin the second and third years of their PhDs, The Still Point Journal is looking for new research students to take over, develop the project, and make it their own. Roles on offer include journal editors, blog editors, and event organisers. Although some experience is a wonderful asset, The Still Point Journal is all about creative experimentation and learning curves, so if you have a passion for literary journals, indie publishing, creative writing, or design, this could be a great opportunity for you.

The Still Point Journal is a literary journal for Arts and Humanities researchers, established in 2014 and supported by the LAHP (London Arts & Humanities Partnership) and the AHRC (Arts & Humanities Research Council). The Still Point aims to be a forum for dialogue, collaboration and experimentation, and offers a space for creatively writing through ideas in original forms. The Journal features short fiction, poetry and visual art, although its particular focus is on non-fiction writing, related – however tangentially – to our research and the kind of rich thinking and exploration we do during the course of this research. These informal articles and journalistic pieces, free of footnotes or bibliographies, should feel more like a collection of conversations had with fellow researchers over coffee than academic papers.

At The Still Point we believe in the untold stories of the PhD, the creative energy that fizzes at the peripheries, the mind-wanderings and tangential inspirations, and we wanted to create a space to celebrate this. In its current iteration, The Still Point publishes an annual literary journal with submissions from arts and humanities researchers from institutions across London, and runs a regular online blog that accepts submissions from researchers across the world. We are passionate about the medium of print and about exploring new possibilities for the intersection between print and digital media.

In addition to our print issue and blog content, since 2014 The Still Point has organised a range of events exploring the intersection between the creative and the critical, including poetry readings, a creative exchange and art exhibition, a launch party with readings and live music, creative non-fiction workshops, and co-ordinated and curated an innovative online symposium. If you think all of this sounds exciting, then you should think about joining The Still Point.

To Apply

If you would like to join The Still Point editorial team send an email to editor@thestillpointjournal.com telling us why you would like to be involved with the journal, what role you are interested in, and mentioning any experience you think you can bring to the role, by the 31st October.


Roles

Journal Editors

To oversee the development, editing and design of Issue #3 of The Still Point Journal (to be published in a digital and print format), including attendance at monthly editorial meetings.

Main Responsibilities:

  • Develop and write a Call for Submissions (CFS).
  • Circulate and promote the CFS to all relevant institutions, students and student groups.
  • Manage and read through submissions, and select material for Issue #3 after discussion with other editors.
  • Work with the selected writers to edit their pieces, as required.
  • Liaise with a designer to create the layouts for Issue #3
  • Work with the events team to organise a launch party and help to distribute the Issue, including depositing it in libraries such as the BL, and the Southbank Saison Poetry Library.

Blog Editors

To manage the blog for The Still Point Journal for a period of one year, including attendance at monthly Editorial meetings.

Main Responsibilities:

  • Commission new blog posts and liaise with guest writers
  • Edit and upload posts
  • Maintain a schedule, aiming for 1 blog post per week where possible
  • Write posts yourself, including any news regarding the journal
  • Promote new posts on Twitter, Facebook and Instagram
  • Use the blog to promote the Print Issue, both the Call for Submissions and the final product
  • Organise an online symposium in July 2017, making the most of the digital medium (optional)

Event Organisers

The Still Point Journal has never had a formal events team before, so this would be a new role that you could develop together.


To Apply

If you would like to join The Still Point editorial team send an email to stillpointjournal@gmail.com telling us why you would like to be involved with the journal, what role you are interested in, and mentioning any experience you think you can bring to the role, by the 31st October.

Sound Series #3: Sound and Architecture

I finally found it. A real architectural structure of sound. Muttering and uttering voices, music and speech along with an ever-present echo of static.

There is nothing quite like a moment of inspiration. It is childish glee: Christmas come early. That moment you realise there is someone else who has made that same connection. Rather than worry about the lack of original thought, it is affirmation and excitement that sparks my brain into action. It is moments like this when I remember why I study.

IMG_3509 Recently, I have been playing with the idea of ‘visualising the invisible’, considering the architecture in Chaucer’s The House of Fame dream vision to be structures built of sound. It was Cildo Meireles’s Babel (2001) which – when I visited before the June re-hanging – was positioned in the centre of its own room at the Tate Modern, and sparked so many ideas.

Meireles’s piece explores ideas about the unity of humanity despite language barriers, paralleling the story of the Tower of Babel. The work is an imposing structure made of hundreds of radios tuned to different stations in many different languages. I was most struck by my reaction to take a picture of this architectural structure of sound. Pressing the shutter-button, I realised that this was not an experience to be captured as a still image.

The hearer/viewer moves around the structure; the eye is looking for something that is not there. I took in the barely audible noise, the music I recognised and started to hum too, the languages I cannot speak and wondered at this at once static and constantly moving piece of architecture, like the House of Rumour in Chaucer’s dream vision. It was a moment of connection, with the music and speakers, with those in the room moving around me and the tower. It was a moment that will never happen again. And yet a memory of it lives on in the sonic space of the room.

The sound is heard and disappears and it is held in the sonic structure. While Meireles is concerned with exploring ideas of overcoming barriers and unity, I question how do we deal with the transitory nature of sound? Do the radios demonstrate a fixity? Or simply a way of transmission? The room was almost overwhelming with the various sounds and yet most of the people around me where silent when experiencing Babel (2001). I, however, was speaking rapidly to my very bemused friend. Sound can become tangible in these moments, for language, for communication, for the artwork; adding another layer human radios.

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Charlotte Rudman is a second year PhD student in the Department of English at King’s College London, researching sound and sound representations in medieval dream vision poetry, @charrud.

Editors’ note: snap reflections

On April 21 2016, The Still Point Journal, that is, we, published a new blog post:

We invite creative responses to the experiences of working across analogue and digital, and between real and virtual worlds…

Two little words in our call for submissions for Digital Selves in Research – “across” and “between” – held more meaning than we realised at the time. So much of what our contributors have expressed, and so much of our own experience in organising this symposium, hides within those words. We seem to be recognising, in so many nuanced ways, that exploring the digital and the real isn’t about choosing one position or the other. We’re the hybrid generation, the researchers learning how to use the internet for scholarship. Is this what a period of transition feels like?

Digital Selves Ed post 1

Our invitation provoked myriad responses, but they all avoided this digital/IRL binary we could not help but set up. Our own vocabulary during this symposium has felt increasingly useless, out of time and place. We are still grappling with how to talk about the experience of being human, being researchers and practitioners in 2016 – but we hope this symposium has pushed our language further. Continue reading