Faculty of Arts Events Calendar
Wednesday, October 19, 2022
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Warwick Words - History Festival 2 - 22 October 2022WarwickRuns from Sunday, October 02 to Saturday, October 22. Researchers from the Department of History will be delivering a series of talks at Warwick Words History Festival. Now in its twentieth year, Warwick Words is a popular annual event, bringing internationally acclaimed historians to share stories from the past to venues around Warwick.Since 2012, the University of Warwick has collaborated with the festival on a series titled Tea Time talks, where academics from the Department of History discuss their research. This year, topics are: History and the Russian Invasion of Ukraine – Professor Christoph Mick and Dr Claire Shaw, Saturday 8 October Picking up the Pieces: Gender and Romantic Failure in late 20th Century Britain – Dr Zoe Strimpel, Saturday 22 October The Politics of Touch in the late 18th Century – Professor Mark Philp, Saturday 26 November The programme also includes a play written by PhD student David Fletcher and performed by Loft Theatre company. Taking the Waters tells the story of a cholera epidemic that took place in Leamington Spa in 1849, and the medical and political conflicts that surrounded it. Other speakers at the festival include Tracy Borman, Max Hastings, Dan Jones, Adam Rutherford, Charles Spencer and Alison Weir. Tickets are available from Warwick Words’ website: https://warwickwords.co.uk/ |
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Penny Siopis’s stylo-caméra and the subject of cine-writing, Professor Laura Rascaroli, University College, Cork.FACULTY OF ARTS BUILDING, FAB0.21 (CINEMA)Penny Siopis’s films write histories that are markedly alternative. Combining family home movies, amateur or documentary found footage with sound and a written text presented through subtitles, her films tell untold or censored histories. They speak to (auto)biographical concerns and widely shared experiences of colonialism, war, Apartheid, migration, globalisation, and ecological crisis, all the while standing out as strong aesthetic/affective experiences beyond the historical, and as art objects in dialogue with a number of traditions. Here, I am most interested in producing an understanding of her films as a specific form of post-medium cine-writing. My interest is not purely formal, for the cine-writing in Siopis’s films is not independent of the stories they construct; it is a mode of writing beyond-the-book, born of the task of telling history otherwise. By working through her paragrammatical, scripto-visual style, my discussion will circle in particular around the unspeakable film subject produced by her work |