British Film Institute

The current report contains information about the following 3 Cognitive Solutions: CSS2 – Sensor for Solidification [Steel] CSS3 – Sensor for Product temperature [Steel] CSS4 – Scale sensor for scale build-up [Steel] Each Cognitive Solution listed above is equipped with: A number of attachments of different nature (video, data, metadata, application, code, …), containing additional information that helps to better understand the final output of the CS. A textual part, available in Chapter 4 that complements the “physical” content in attachment, explaining what it is and how to exploit it. All attachments are available under CAPRI Zenodo folder and, in case of videos, under the CAPRI YouTube channel. The table below lists all the links (Zenodo and YouTube) of the different files described in the present report.

Review of: Jafar Panahi, Interviews, Drew Todd (ed.) and Ehsan Khoshbakht (asst. ed.) (2019) Oxford: University Press of Mississippi, 160 pp., ISBN 978-1-49682-320-5, p/bk, $25.00

was launched at the University of Edinburgh as part of the 2018 Edinburgh International Film Festival. Featuring delegates and perspectives on film education from Austria, Burkina Faso, Denmark, Palestine and from across the United Kingdom, and alongside the hyperlocal work of young film-makers from Granton Primary School just down the road, the launch was a fitting embodiment of the ambitions driving the journal: it was resolutely intergenerational, international -in a manner looking to expertise beyond the West -and interdisciplinary, featuring contributions from film education practitioners, film-makers, classroom teachers, policymakers, academics and more. (See YouTube, n.d.) to watch the full proceedings from the journal's launch at the inaugural Scottish International Film Education Conference). Now, the second issue of the Film Education Journal presents a series of welcome inflections and interventions upon the broader perspectives of our first issue. The articles continue to pursue a notably international, interdisciplinary scope, exploring perspectives on film education from Finland, Germany, South Africa, Spain, England and Scotland, investigating the connections between film education and cognitivism, archaeology, theories of ageing and experimental cinema. There is also the welcome introduction of a political note, through approaches exploring the implications for film education of feminist and intersectional theory, and the role film education might play in community activism.

Czym jest kino noir? Jakie relacje zachodzą między kinem noir a neo-noir? W jaki sposób bracia Coen czerpią z tradycji klasycznego filmu noir? Czy ich filmy jedynie „pasożytują” na historii kina, czy jednak stanowią coś więcej niż tylko próbę reanimacji nobliwego przodka? Czytelnik otrzymuje do rąk pierwszą polską monografię, w której tak gruntownie podejmuje się tematykę filmu noir i próbę doprecyzowania tego pojęcia. Zarówno w części pierwszej, dotyczącej rozważań teoretycznych na temat kina noir i neo-noir, jak i w drugiej, na którą składają się interpretacje wybranych filmów braci Coen (Śmiertelnie proste; Ścieżka strachu; Fargo; Człowiek, którego nie było), autorka stara się wypracować własne stanowisko. W moim przekonaniu na szczególne podkreślenie i docenienie zasługuje teza autorki, w myśl której noir (w jej rozumieniu) nie mógł w okresie klasycznym, jako nurt historyczny w kinie amerykańskim lat czterdziestych, zrealizować w pełni swojego potencjału z racji ograniczeń narzuconych przez producentów, cenzurę i autocenzurę, limitujące to, co w kinie uznawano za dozwolone i eliminujące to, co zakazane. Tym samym późniejsze nawiązania do noir były nie tylko sui generis kontynuacjami tego, co zostało już zrealizowane i utrwaliło się w powszechnej świadomości jako noir właśnie, lecz także twórczym rozwijaniem niewykorzystanego potencjału. W tym duchu dr Kamila Żyto interpretuje fenomen twórczości Ethana i Joela Coenów.

Artist, educator and film- and video-maker Stuart Marshall (1949–1993) was an important link between the American experimental music of the 1970s and the British visual arts scene of the same epoch. The author looks at one of Marshall’s works, Idiophonics (a.k.a. Heterophonics), and offers thoughts on the occasion of the 40th anniversary of its presentation in London and Newcastle in 1976.

The seemingly unlimited digital landscape and the current proliferation of the use of archive footage on British television invite the notion that the appreciation of archive material as a historical object is a rather contemporary popular development. It seems unusual then, to find a series devoted to archive television in the mid 1960s. Largely showing excerpts from 1950s programmes, Plunder recalled what presenter Michell Raper called 'the vanished joys of television'. This article will detail the use of archive footage within the series and consider the programme’s configuration of the idea of the 'archive'.

de Kang Dae-jin, The DMZ

In February 1968, a fateful year perhaps better remembered for its political upheavals, student uprisings, assassinations and the escalation of the Vietnam War than its cinematic achievements, a curiously backward-looking film premiered at the 1968 Cinemanifestatie Festival in Utrecht.1[1] The Chronicle of Anna Magdalena Bach, directed by Jean-Marie Straub and Daniele Huillet, reconstructs the life of Johann Sebastian Bach through an examination of his music and documents, and stars the Dutch harpsichordist Gustav Leonhardt as the composer.2[2] The film, which consists mainly of musical performances of Bach‘s music, is narrated from the perspective of his second wife, portrayed by Christiane Lang-Drewanz, who recounts the activities of their day-to-day life in Cothen and Leipzig.3[3] How could an austere film about Bach‘s life and music, set in a remote eighteenth-century sound- and landscape, have been produced in the midst of the ferment and discontent of the late 1960s?