ORCID

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.

DOI

10.18061/ijsd.v13i1

Publication Date

2022-09-09

Publication Title

International Journal of Screendance: Interfaces Between Screendance & Archival Film Practices

Volume

13

First Page

88

Last Page

90

Embargo Period

2022-12-20

Organisational Unit

School of Art, Design and Architecture

Keywords

archive, "artists' moving image", auto ethnography, Cyprus, Nicosia, postcolonial

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