How Does an Invisible Boy Disappear?
- Submitting institution
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Goldsmiths' College
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 2438
- Type
- Q - Digital or visual media
- Publisher
- -
- Month
- September
- Year
- 2018
- 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
- How can collective filmmaking with British Pakistani and British Somali young women help understand and dismantle the domination, exploitation and violence associated with hierarchies of visible human difference? The aim was to embed liberatory politics and co-creation into artist filmmaking, integrating the methods and political aims of anti-racist and feminist filmmaking practices from the 1980s so that a new artwork challenging dominant modes of representation within mainstream and independent filmmaking could be realised. _x000D_
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Commissioned by Liverpool Biennial, How Does… builds on Zaman’s interest in connecting local experiences and systemic political violence under racial capitalism, whilst integrating the possibility of (visual) pleasure, creative activity and alternative self-conceptualisation. Work engages race (and intersections with gender, class and religion) as an organising technology of the social world, through which categories of the human are defined. _x000D_
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Methods comprised (1) Collection of historical documents and oral histories of Blackburne House and L8 (Toxteth) where a women’s radical education group (Black and POC led) overlapped with anti-racist organising and grassroots filmmaking (2) Engaging a contemporary group of young women - watching films, discussing and reading to collectively plan (3) Collaborative filmmaking workshops to generate scripts, footage and editorial decisions (4) Developing a film and installation articulating the involvement and experience of all co-producers. _x000D_
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The originality of the project, exhibited twice in the UK, as well as touring to France, Bangladesh and India, is in its demonstration that the structure of a film work can embody and reflect a commitment to equitable relationships, and offer a clear alternative to a dominant extractive model of artistic commissions which privilege the role of the artist as sole author and beneficiary of the work. Zaman’s work was recognised in her nomination for the Film London Jarman Award (2019).
- Author contribution statement
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- Non-English
- No
- English abstract
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