Abstract
Part of the journal section, 'Choreographing the Archive', which highlights the visual evolution of one particular strand of screendance creation that focuses on choreographing and working with found and archival footage. The artists featured explore diverse notions of found gestures, found footage, family archives, contemporary news footage, as well as historic archival images.
'Autoethnographic Memory Archive' features Father-land (2018) is a 20-minute essay flm made collaboratively by Stuart Moore and Kayla Parker through an artist research residency hosted by the Nicosia Municipal Arts Centre (NiMAC) in Cyprus. The story of Nicosia unfolds through a montage of views of the fractured landscape of the Bufer Zone and its accompanying ambient soundscape, as the voices of two unseen narrators share their recollections as children with fathers who served with the Royal Air Force (RAF) on the island and refect on images of confict and the legacies of colonialism, occupation and the Cold War. Father-land creates an autoethnographic memory archive that brings together the personal and the political in these post-Brexit and increasingly unstable times.
Film synopsis, link to film, 4 film stills, film narration extracts, bios.
| Original language | English |
|---|---|
| Pages (from-to) | 88-90 |
| Number of pages | 0 |
| Journal | International Journal of Screendance: Interfaces Between Screendance & Archival Film Practices |
| Volume | 13 |
| Issue number | 0 |
| Early online date | 9 Sept 2022 |
| DOIs | |
| Publication status | Published - 9 Sept 2022 |
Keywords
- archive
- artists' moving image
- auto ethnography
- Cyprus
- Nicosia
- postcolonial