Father-land: Narratives of Memory in a Place of Conflict
ORCID
- Kayla Parker: 0000-0002-9493-8678
Abstract
The chapter shares critical insights into and reflective analysis of the screenwriting process for the author’s essay film Father-land (2018), made collaboratively with the sound artist and film-maker Stuart Moore through an artists’ research residency in Nicosia, the only divided capital city in Europe. During the residency, the film-makers lived close to the demilitarized Buffer Zone – a physical border controlled by the United Nations, which has separated the Greek Cypriot south from the Turkish-occupied north since the violent conflict that tore the island in two in 1974. Their day-to-day experience of this fractured urban landscape, inflected by their childhood memories as ‘Forces children’, whose fathers served with the Royal Air Force in Cyprus during the Cold War, prompted the evolution of ‘speaking in place’, an innovative method of creating the film’s narration through recording unrehearsed dialogue in the politically charged location of the Buffer Zone.
Publication Date
2024-09-02
Publication Title
Essay Film and Narrative Techniques: Screen-writing Non-fiction
ISBN
9781835951477
Embargo Period
9999-12-31
Keywords
archive, artists' moving image, buffer zone, childhood, collaboration, Cyprus, dialogic practices, essay film, memory, Nicosia, place, postcolonial
Recommended Citation
Yu, K., Turina, R., & Parker, K. (2024) 'Father-land: Narratives of Memory in a Place of Conflict', Essay Film and Narrative Techniques: Screen-writing Non-fiction, . Retrieved from https://pearl.plymouth.ac.uk/ada-research/606
This item is under embargo until 31 December 9999
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