From Our Own Correspondent
- Submitting institution
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Goldsmiths' College
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 2369
- Type
- Q - Digital or visual media
- Publisher
- -
- Month
- -
- Year
- 2015
- URL
-
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
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- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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A - Art
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- Commissioned by The Jerwood Film and Video Umbrella Awards 2015, the film ‘From Our Own Correspondent’ (9 mins, 57 secs, colour, stereo, 16:9) explores how professional roles, sexuality and touch are remade by technologies of distribution. The work has its roots in ongoing research about the digital replication and archiving of minor speech and the enquiry exists within a lineage of debates about the effect of the documentation camera on live performance. _x000D_
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The project researched scandals on online news outlets involving private, digital, sexual messages becoming public. I eventually focussed on the on-going case of American politician Anthony Weiner, offering me the opportunity to work in a complicated ‘real time’, creating a timeline to understand contacts, messaging and the making public of messages. I interviewed five women journalists about their approach to interviewing subjects, recorded in hotel rooms, to produce a fictional monologue imagining an ambivalent mute sexual participant in online hook-ups. Questions of visibility were central to the work. The interviews revealed the physical isolation of the participants and tonal research revealed the performances of blankness and self-assertion used within their jobs. I purchased and altered a prefabricated female animated avatar to stand, at various points, as interviewer, worker and audience. I used digital assemblage: intercutting ambiguous stills of the hotel rooms with the moving images, to highlight digital disconnection; and juxtaposing screens existing as different temporalities, to highlight the sense of ‘splitting’ that relates to the contemporaneous._x000D_
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The work was initially screened at exhibitions in London, Glasgow and Manchester in 2015, accompanied by a catalogue with essays contextualising my work. The work attracted coverage in the specialist press. The film has subsequently toured internationally in galleries and festivals in China, Hong Kong, the Netherlands, Norway and across the UK.
- Author contribution statement
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- Non-English
- No
- English abstract
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