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115 pages

English

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Cahal McLaughlin is a senior lecturer at the School of Media, Film and Journalism at the University of Ulster. He is also a documentary filmmaker whose recent projects include Inside Stories: Memories of the Maze and Long Kesh Prison and We Never Give Up.

Introduction

Chapter 1: Raising Heads above the Parapet: Research Questions, Context and Methodologies

Chapter 2: Telling Our Story: The Springhill Massacre

Chapter 3: A Prisoner’s Journey: Educational Filmmaking

Chapter 4: We Never Give Up: Reparations in South Africa

Chapter 5: Inside Stories: Memories from The Maze and Long Kesh Prison

Chapter 6: Inside Stories: Insider Outsider Perspectives

Chapter 7: Prisons Memory Archive

Chapter 8: Unheard Voices

Conclusion

Sujets

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ART

General

Activism

History of film

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Study

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Teaching

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Publié par	Intellect Books Ltd
Date de parution	14 mars 2011
Nombre de lectures	0
EAN13	9781841504360
Langue	English

Informations légales : prix de location à la page 0,1600€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Recording Memories from Political Violence
Dedicated to my sister Marie who encouraged an adventurous spirit, and to my parents, Tommy and Kathleen, whose tolerance I aspire to.
Recording Memories from Political Violence
A Film-maker s Journey
Cahal McLaughlin
First published in the UK in 2010 by Intellect, The Mill, Parnall Road, Fishponds, Bristol, BS16 3JG, UK
First published in the USA in 2010 by Intellect, The University of Chicago Press, 1427 E. 60th Street, Chicago, IL 60637, USA
Copyright 2010 Intellect Ltd
All rights reserved. No part of this publication maybe reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission.
A catalogue record for this book is available from the British Library.
Library of Congress Cataloging-in-Publication Data
McLaughlin, Cahal. Recording memories from political violence : a film-maker sjourney / Cahal McLaughlin. p. cm. Based on the author s thesis (doctoral)--Royal Holloway University of London. Includes bibliographical references. ISBN 978-1-84150-301-1 (alk. paper) 1. Documentary films--Political aspects--Northern Ireland. 2. Documentary films--Political aspects--South Africa. 3. Documentary films--Production and direction. 4. Political violence in motion pictures. 5. Imprisonment in motion pictures. 6. Psychic trauma in motion pictures. 7. Northern Ireland--In motion pictures. 8. South Africa--In motion pictures. 9. Memory--Political aspects--Northern Ireland. 10. Memory--Political aspects--South Africa. 11. McLaughlin, Cahal. I. Title. PN1995.9.D6M385 2010 791.43 6581-dc22
2010035199
Cover designer: Holly Rose Copy-editor: Michael Eckhardt Typesetting: Mac Style, Beverley, E. Yorkshire
ISBN 978-1-84150-301-1 / EISBN 978-1-84150-436-0
Printed and bound by Gutenberg Press, Malta.
Contents
Acknowledgements
Introduction
Chapter 1: Raising Heads above the Parapet: Research Questions, Context and Methodologies
Chapter 2: Telling Our Story: The Springhill Massacre
Chapter 3: A Prisoner s Journey: Educational Film-making
Chapter 4: We Never Give Up: Reparations in South Africa
Chapter 5: Inside Stories: Memories from the Maze and Long Kesh Prison
Chapter 6: Prisons Memory Archive: Multi-Narrative Story-Telling
Chapter 7: Unheard Voices: Collaboration with WAVE
Chapter 8: Conclusion
Bibliography and Filmography
Index
Acknowledgements
T his book has its origins in a Ph.D., which was awarded by Royal Holloway University of London (RHUL). I offer my thanks to Madeleine Barnett for her support during that study. Our children - Oscar, Alice and Brigid - were patient during my research journeys.
My supervisors at RHUL were always constructive in their advice. I wish to thank Carol Lorac, Patrick Furey, John Quick, Jacob Leigh and John Hill. Other staff who offered support includes Mandy Merck, Gail Pearce, Gideon Koppel, Kishore Verma and John Ellis. The technical staff was of immense help in many of the productions that I refer to. They include Tim Young, Keith Buckman, John Walsh, Sarah Peacock and Neil Smith. At the University of Ulster (UU), Anne Crilly, Sarah Edge, Maire Messenger-Davies, Martin McLoone, Sally Quinn and Carol Kyle gave advice and support. Technical support for the productions was offered by Thomas Brolly, Stan Short, Gerry McGrath and Mervyn McKay. Film-making is a collaborative practice and special thanks must go to Lorraine Dennis and Jolene Mairs for their major contribution to Unheard Voices and the Prisons Memory Archive . Thanks also to the Masters students who were generous of their time in helping me edit many of the productions referred to. They include Souraya El Far, Yolanda Guiterrez, Joanna Raczynska and Craig Taylor at RHUL. Professionals who shared our vision of collaborative practice include Mick Doyle, Deirdre Noonan and Paddy Stevenson. For conversations that were constructive I wish to thank Tony Dowmunt, Lea Esterhuizen, Gerard McLaughlin and Darcy Alexandra. I do not wish to rename those who are already credited in the productions but several names are worth mentioning for their important contributions, namely Brendan Loughlin, Shirley Gunn, Jackie McMullan, Lawrence McKeown, Pat McCauley, Mark McCaffrey, Alan Maitland, Sharon O Gorman and Peter Keighron. There are many who could, and should, be named for their trust and collaboration with the large project, the Prisons Memory Archive , but I hope they excuse me for not naming them due to space. My thanks to them all. For their help in funding and screening the material, I wish to thank Brendan O Neill, Tony Haggith, Andrew Dewdney, Charlotte Croft, Danielle Melville, Anriette Chorn, Shan McAnena, Bernie McLaughlin, Paul Gready, Stella McCusker and Mark Robinson. Production funding came from the University of Ulster, Transitional Justice Institute, Royal Holloway University of London, the Arts and Humanities Research Council, the Heritage Lottery Fund, the Art and Design History Society and Coleraine Borough Council. My Ph.D. external examiners, John Foot and Alan Fountain, first suggested that I publish the material. I have taken their kind advice. To the many others who helped along the way, including Sean and Louise who put me up and put up with me, I offer sincere gratitude.
Some of the chapters in this book are based on articles and chapters already published and whose arguments and reflections I have developed since their first publication. I wish to thank Shirley Gunn, Louise Purbrick, Jolene Mairs and John Adams for their direct contributions and constructive advice.
They put the past on the battlefield. We shouldn t fight about the past. Let each one tell his narrative as he wants .
Mahmoud Darwish, A River Dies of Thirst
I am old enough to know that time passing is just a trick, a convenience. Everything is always there, still unfolding, still happening .
Sebastian Barry, The Secret Scripture
Introduction
A Tale of Two Texts
T his book is based on a Ph.D., Audio Visual Recordings of Memories from Political Conflict , which addresses the cross pollination of written and filmed texts. 1 Because of their symbiotic links and common insights, there can be an artificiality in separating out theory and practice in research work. However, it is can be useful to refer to these as separate texts to aid understanding. One of the principle aims of using both texts was to access perceptual as well as conceptual knowledge. While not wishing to delve into the debate around the nature of practice research, I wish to quote David MacDougall on the contrasting and complementary natures of different forms of communication:
As writers, we articulate thoughts and experiences, but as photographers and filmmakers we articulate images of looking and being. What is thought is only implied, unless it is appended in writing or speech. Some would say that images, then, are not in any sense knowledge. They simply make knowledge possible, as data from observations. But in another sense they are what we know, or have known, prior to any comparison, judgement, or explanation. (MacDougall 2006: 5)
In encouraging the reader to also watch and listen to the filmed productions, I hope that you will not view them as merely illustrative of the written text, but as a form of knowledge in their own right - what MacDougall calls perceptual knowledge .
I have divided the book into eight chapters, each one reflecting on participatory or collaborative documentary productions that I have worked on over the last ten years. Chapter One concerns the research questions raised, the research s context, and the methodologies applied. Chapters Two to Seven deal with each production in turn - Telling Our Story: the Springhill Massacre (2000); A Prisoner s Journey (2001); We Never Give Up (2002); Inside Stories: Memories from the Maze and Long Kesh Prison (2004b); the Prisons Memory Archive; and Unheard Voices (2009). The Conclusion Chapter attempts an overview of the theoretical and practice insights gained. I have chosen to contain the analysis within the narrative of the research journey and to combine the creative and reflective aspects, hoping that the insights will be of use to both practitioners and theorists (although they are frequently found in the same person!).
The filmmaking journey is less easily mapped. The films began by addressing issues of collaboration and location and the effects of these on the recording of story-telling in societies emerging out of political violence. With curiosity and opportunity combining to decide what was produced when, most of the films refer to the post-colonial conflict in and about the constitutional status of the territory known officially as Northern Ireland. There is also a chapter that moves out to the international context, in this case South Africa, with the related film produced with those surviving apartheid.
Interdisciplinarity
Given the nature of the research project, I have adopted an inter-disciplinary approach, drawing on the work of theorists and practitioners from film, cultural studies, anthropology, psychology and the more recent memories studies. This writing inevitably engages with the newer challenges of writing about practice-as-research, with its concerns about objectivity and autobiography. 2 Given these crossovers, I have inevitably opened up some areas that point to further research but which lie outside the remit of this book.
Terminology
It is useful to refer to some of the terminology applied here. There is some interchangeability in interviews and the written text between story-telling , testimony-giving and memory-telling . This reflects political and cultural differences. For example, in South Africa, the term testimony is often used as a legacy of the semi-judicial Truth and Reconciliation Commission (TRC). But in community and therapeutic contexts, South Africans may employ the term s