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Community Filmmaking Conference

On the 22nd and 23rd Jan I attended a conference at the BFI on community filmmaking, part of a research study aiming to contribute to the debate around community filmmaking and cultural diversity by exploring how cultural diversity intersects with community filmmaking and the results of this intersection in terms of representations and identities as well as practices and innovation. The research is being undertaken by Brunel University, Kings College London and the University of London. It has been funded by the Arts & Humanities Research Council. The website for the project is here.

It was intense few days, and for me, interesting, looking at filmmaking practice from a more academic perspective. There were a lot of great speakers and debates and I think the best way to represent them here is for me to note some of the stand out ones that relate to Re-Dock and our work practice.

Taking time out to listen and think about community filmmaking practice in relation to filmmaking and the standard norms and expectations that this brings, was a really useful thing to do. In general, I do what I do, because its enjoyable, fun, creative, collaborative and facilitates learning and sharing. The process of community filmmaking for me is about finding an approach that works in relation to the subject matter. Collaborating on a variety of community stories, facilitates a certain amount of experimentation, which may or may not work, but has the chance to touch upon a spark of something unique, and there’s often a sense of freedom and energy that comes with that. This often conflicts with the standard filmmaking practices, but I don’t think these processes should be any less celebrated.

This thought process featured in many of the presentations, such as from Daniel Ashton who focused on diverse ways of storytelling, using the BBC’s ‘Britain in a Day‘ which offered possibilities of sharing, but not in terms of production expectation, using online tutorials to encourage people to follow established practices, highlighting a tension between the filmmakers and the editor. Where as, the ability the peruse different aesthetics should be celebrated.

David Buckingham, (Loughborough University) put forward an argument that questioned the media revolution, saying that actually what was happening was rather more mundane, asking questions such as who is participating? Is it just the usual suspects? And are there any digital divides? He suggested that everyday users tend to be ignored and that we should defend banality.

He also looked at community media in a broader context, looking at the overlaps between amateur professional community, semi professional and professional filmmaking.

Eileen Leahy (Trinity College,Dublin)
Looked at positives and negatives of community filmmaking and how although having positive aims, often causes of inequality are not addressed and social inclusion terms are ill defined and that films are often made looking through a middle class lense. However, there are some benefits, such as allowing commutes to reclaim physical spaces, bringing different people and communities together, and empowering people through sharing stories and looking at the world in a different way.

Elieen also raised Questions of authorship – films are made in complex ways ad who owns it when it is finished? The community rarely own the film or have a say in how it’s made. It’s the issue of power for community groups to own the films they produce, even if they are not bothered particularly about the end result.

Thinking back, I’ve seen community film projects that have (with all good intentions) been developed by committee, with the end result being worthy and failing to do justice to the subject matter. It’s always a balance, but if you think about something too much, you can always think of a reason not to do it, and in this line of work, there’s a lot to be said for spontaneity and surprise and we shouldn’t loose sight of that. I think the lessons to be learnt here are that many of these arguments are just part of the process of filmmaking and that our approach at Re-Dock should always to keep respect at the forefront of our work.



The Signs Are All There…

We have just started work on another Re-Dock project involving the Leeds-Liverpool canal. Building on the work we did forĀ  Canal &, we are using the memories and ideas gathered as a starting point for a signage installation next to the new Pennington Road bridge.

Constellation Of Signs‘ will be made of over 100 aluminium road and tourist information signs with custom designs based on ideas about the canal. We are running workshops with local groups to help us develop these designs and in doing so explore further how people relate to the canal.

Some of the signs developed in our first workshop this week were warning signs for dirty water and sharks, prohibitive signs for swimming and teachers, and direction signs for ice-cream and the graffiti wall.

It is a really great project to be developing as again it is about the inherent value of ideas and experiences, and their relationship to each other. We are not promising that these things will happen at all, but simply making spaces for a creative and imaginative ownership of the canal.

Ideas in themselves have value. Once someone suggests an idea we can discuss the practical implications of that idea, we can discuss it in relation to community, law, aesthetics, history, possibility, technology. If something can’t happen, then we can ask ‘why not?’ and open up a new area of investigation.

Signs function to shape our understanding of a space. They give us an orientation and also permit levels and modes of engagement with the space. This has a potent impact beyond the immediate message. When I was growing up we used to play footy on a patch of grass near us. One day a window got broken, and the following week a ‘No Ball Games’ sign was put up in what used to be the goal. Aside from the practical obstruction, the space became pretty much unused for play at all, as if sulking after a telling off – it was as if the sign had just said ‘No!’. What if there had been other signs to frame that message and our interpretation of it?

The signs in Constellations Of Signs will act as markers and totems of peoples’ impressions of a place. It will represent their willingness to let their imagination briefly reclaim the canal for the sake of letting the imagination wander. They will be fossilised harbingers of events that may never actually happen, or uncanny indications of things to come. They will mark previous histories and current concerns in relation to irreverence and humour. They will illustrate what people want and what people fear. They will be the evolving dictation of a cross community conversation about what if? and why not? And they will tell you how to get to Bootle Strand Shopping Centre.

You can see more about the project at –