Photofusion, the London-based gallery, photography education provider and community space, is seeking a new Director.  Kim Shaw has decided to step down after eight years at the helm of Photofusion during which time she has achieved a great deal for the organisation, including NPO status, charitable status and successful bid for a brand new premises in Brixton. Kim will oversee the move into the new location before stepping down to focus on her artistic practice and MA at CSM.

The organisation is seeking a strategic, creative and ambitious individual who can build on its important legacy and join at this exciting time of development and opportunity. The Director will encourage a deeper understanding and engagement with photography and its value to society through strong leadership and vision.

Established over 30 years ago, Photofusion has a proven track record in supporting artists and members, delivering high quality exhibitions and programming socially engaged projects for young people and the communities of Lambeth.

For full information see: https://www.photofusion.org/job-opportunities

The Maison Française d'Oxford and the Rothermere American Institute are invitingg paper proposals on the theme: ‘Love and Lenses: Photographic Couples, Gender Relationships, and Transatlantic Networks in the Long Nineteenth Century.’ This conference is being organised by Dr. Emily Brady (Broadbent Junior Research Fellow, Rothermere American Institute) and Martyna Zielinska (DPhil, Université de Paris Cité, LARCA).

This two-day conference invites papers that explore photographic partnerships as a main object of study. Since the invention of the camera, men and women – spouses, friends, members of the same family – have learned and practiced photography together for business, pleasure, educational and scientific purposes. This conference aims to bring new light on how the practice of photography could bear an impact on gender relationships in the long nineteenth century. A wide geographic scope will enable discussion of the differences in women’s emancipatory contexts, and to discuss the legal and social frameworks of professional photographic partnerships. As such, we look forward to welcoming papers that include both literal interpretations of ‘photographic couples’ and more abstract ideas / associations.

The conference will include keynotes from Professor Elizabeth Edwards (Research Affiliate, ISCA, University of Oxford) and Dr. Carolin Görgen (Associate Professor of American Studies, Sorbonne Université). We are keen to programme papers across multiple disciplines, including (but not limited to): History, Art History, American Studies, and Gender Studies.

Please submit a paper title, 250-word abstract and a copy of your CV. The deadline for submission is the 21 July 2023. This should be sent to: emily.brady@rai.ox.ac.uk and martyna.zielinska@etu.u-paris.fr Papers should be 20 minutes in length.

The conference will be delivered in person only.  

Limited funding is available to assist with travel and accommodation costs. If you wish to apply for this, please include a brief justification in your application.

Love and Lenses: Photographic Couples, Gender Relationships, and Transatlantic Networks in the Long Nineteenth Century
12– 13 October 2023
Maison Française d'Oxford and Rothermere American Institute, University of Oxford
Call closes 21 July 2023

Opening at Four Corners Gallery this month, Conditions of Living: Home and Homelessness in London’s East End takes a visual journey from workhouses to slums, damp tower blocks to homeless shelters, exploring how photographers have represented these conditions for over a century. It sheds light on little-known histories: the tenants’ rent strikes of the 1930s, post-war squatting, and ‘bonfire corner’, a meeting place for homeless people at Spitalfields Market for more than twenty years.

This timely exhibition draws shocking comparisons with today’s housing precarity, high rents and homelessness. From Victorian slums and the first model estates, to the mass post-war council house construction and the subsequent demolition of many tower blocks, it ends with post-Thatcherist gentrification and its impact on affordable housing.

The exhibition features new work by the artist Anthony Luvera, which addresses the rise of economic segregation in recent housing developments across Tower Hamlets, a phenomenon commonly known as ‘poor doors’. Also titled Conditions of Living, this socially engaged artwork by Luvera is built upon extensive research into the social, political, and economic contexts behind the rise of market-driven ‘affordable’ housing provision and the state of social housing today, and is created in collaboration with a community forum of local residents who live in the buildings themselves. This new work builds upon Luvera’s twenty-year career dedicated to working collaboratively with people who have experienced homelessness, and addressing issues of housing precarity and housing justice. 

Anthony Luvera says: ‘London is one of the world’s last major cities still to ban the practice of allowing property developers to build ‘poor doors’, despite proclamations by successive governments and mayors about stopping the appalling practice. My work with people experiencing homelessness began twenty years ago in Spitalfields. To be back in Tower Hamlets creating this new work about economic segregation in housing developments and the broken social housing system feels urgent, especially at a time when the cost of living crisis has sunk its claws into the lives of ordinary working people.’

Carla Mitchell, Artistic Director at Four Corners says: ‘this is a highly relevant exhibition, given the extortionate London rents which create forms of social cleansing for long-established local communities. We were inspired by Four Corners’ own building, which was a Salvation Army working men’s hostel for over fifty years.’

Conditions of Living: Home and Homelessness in London’s East End
30 June – 2 September 2023  
Free admission. Opening hours 11am-6pm Tues - Sat, until 8pm Thurs. 
Four Corners, 121 Roman Road, Bethnal Green, London E2 0QN
Nearest tube: Bethnal Green, Central Line 
W: www.fourcornersfilm.co.uk

Photo: New Houses. A slum clearance operation in Poplar, East London, 19th April 1951. © Topical Press Agency/Getty Images/Hulton Archive.

The next on-line seminar of the Society for the History of Alchemy and Chemistry will be given by Professor Kelley Wilder (De Montfort University) who will present John Herschel’s Chemical Investigations. The format will be a talk of 20-30 minutes, followed by a moderated discussion of half an hour.

As with recent seminars the Zoom link can be freely accessed by anyone, member of SHAC or not, by booking through the Eventbrite link below. 

John Herschel’s Chemical Investigations
Professor Kelley Wilder
Thursday, 29 June 2023, beginning at 5.00pm BST (6.00pm CET, 12noon EST, 9.00am PST)
Register and get link: https://www.eventbrite.co.uk/e/shac-on-line-seminar-prof-kelley-wilder-on-herschels-chemical-experiments-tickets-653087912527

The seminar will be also accessible live on YouTube.

Most previous on-line seminars can be found on the SHAC YouTube Channel: https://www.youtube.com/SocietyforHistoryofAlchemyandChemistry

This is a rare opportunity to celebrate the photographic activism that came out of Birmingham in the latter part of the 20th Century. Ten.8 became one of the few magazines that had real impact in those times and from being a local publication it grew into an international quarterly that had worldwide impact.

In this talk, Derek Bishton will take us on a visual journey into a key period of photographic activity in Birmingham. Ten.8 magazine started life as an attempt to create a photographic community in the city, to bring together those who were interested in the politics of image-making. The founding group comprised a diverse group of community activists, alternative publishers, academics, documentary photographers and teachers.

Working from a small community design and publishing studio in Handsworth run by Derek Bishton and Brian Homer, the group produced a magazine that grew from a local publication with a West Midlands focus into an international quarterly journal, attracting contributors from around the world and influencing the way photography was taught at degree level in universities and colleges everywhere. Like so many things produced in Birmingham, it is something of a hidden gem.

Next year, Tate Britain is hosting an exhibition called The Critical Decade which has been inspired by the work published in Ten.8, so perhaps it’s time to celebrate. 

Derek Bishton, is a Birmingham-born writer and former journalist, community activist, photographer, publisher and internet pioneer. He was one of the founders of Ten.8 magazine in Birmingham. He edited many issues and was a member of the editorial group throughout the life of the publication (1978-1993). He is the author of several books including Black Heart Man and Home Front (with John Reardon). He was director of the Triangle Gallery (1985-87) and in 1994 led the team who developed and launched electronic telegraph, the UK’s first internet newspaper. From 1999-2012 he was Group Consultant Editor at Telegraph Media Group. He is currently working on a book about his work in Handsworth during the 1970s and 80s.

There will be a Q and A after the presentation chaired by Richard Short from Centrala. The bar will be open for refreshments.

Ten.8 and the Critical Decade (1978-1992)
Talk by Derek Bushton
Hosted by Prism, the new photography network for Birmingham and the West Midlands
Tuesday, 11 July 2023 from 1830-2100
Tickets: £3-£5
Centrala, 158 Fazeley Street Birmingham B5 5RT
Book: https://www.eventbrite.co.uk/e/ten8-and-the-critical-decade-1978-1992-a-talk-by-derek-bishton-tickets-650063085187

At the dawn of the Victorian era in her open-air laboratory in Halstead, Kent, Anna Atkins embarked on a radical experiment to document botanical species using a completely new artistic medium. The inimitable cyanotype photograms of algae and ferns she created were made into the first books to feature photographic images. Striking yet ethereal, these albums are a perfect synthesis of art and science.

Although the cyanotype technique was discovered by her friend John Herschel, Atkins was the first to realize both its practical purpose for own her interests in botany and taxonomy, and its intriguing artistic potential. The process, which involved fixing the object on sensitized paper and exposing it directly to sunlight, results in the Prussian blue pigment that forms the unmistakeable backdrop to these artworks.

Atkins’ albums British Algae (1843–1853) and Cyanotypes of British and Foreign Ferns (1853), the latter of which was produced with her friend Anne Dixon, are works of remarkable rarity. Reprinted here in their entirety for the first time, they reveal her mastery of multiple disciplines: While the cyanotype process allowed Atkins to meet the challenges of accurate representation, the delicate contours of the specimens, set above the intense blue background, has lent the images a timeless aesthetic appeal.

This edition, drawing extensively from the copies of the New York Public Library and J. Paul Getty Museum, has carefully compiled cyanotypes from several sources to reprint Atkins’ seminal works in full. Over 550 cyanotype impressions are accompanied by a series of introductory essays from Peter Walther, placing Atkins’ work in its scientific and art-historical contexts and paying rightful tribute to the groundbreaking contributions of a female pioneer.

Anna Atkins. Cyanotypes
Peter Walther (editor)
Taschen, hardcover in slipcase, 24.3 x 30.4 cm, 2.55 kg, 660 pages
ISBN 978-3-8365-9603-9
Famous First Edition: First printing of 7,500 numbered copies
£100
Details here

Atlas Obscura has reported on the conservation of 1800 Gibson of Scilly negatives acquired by the National Maritime Museum at auction some ten years ago. The museum is also planning to digitise the entire collection. 

Read the full piece here: https://www.atlasobscura.com/articles/gibson-family-shipwreck-images

This one-day, interdisciplinary workshop aims to bring together researchers, archivists and curators to explore twentieth-century photo-magazines from across the British Empire and Commonwealth during the so-called ‘golden age of photojournalism’.

As well as the birth of photojournalism, the seismic political, cultural and technological revolutions of the interwar period also gave rise to a novel publication format – the photo-magazine. As Stuart Hall characterised it in his seminal 1972 essay on Picture Post, these were ‘image-over-text’ publications which gave primacy to the photographic image arranged into dynamic layouts and photo-stories by an innovative cadre of picture editors and art directors.

Exemplified by photo-reportage from the Spanish Civil War, this novel format was catalysed during the Second World War via widely circulated visual information campaigns by both commercial organisations and political actors. In the postwar period, the photo-magazine format was deployed by British occupying forces in defeated Germany. Photo-magazines were also a vital element of flourishing public relations initiatives by both newly established agencies of the UN and a host of industrial and manufacturing companies concerned about image management.

Thus, throughout the central decades of the last century, the general readership photo-magazine was developed and used to communicate with large, diverse and/or distant audiences. This format constituted a defining aspect of a public’s visual experience prior to the segmentation of magazine audiences from the 1960s and the dominance of television. This period – arguably, the golden age of photojournalism – coincides with the decline and disestablishment of the British Empire.

We aim to coordinate a selection of papers that look at publications from across the British Empire and Commonwealth in this period. These will address how such photo-magazines sought to instruct and entertain; how they represented social issues; how they othered and racialised indigenous communities; how they documented conflict; how they obscured, as much as revealed, historical developments; how they constructed, connected or divided audiences and publics; and how they explored or framed key tensions in the changing political landscape of the British Commonwealth and its constituent dominions and dependencies.

Hosted by the Tom Hopkinson Centre for Media History at Cardiff University, this initiative is a collaboration between Dr Tom Allbeson (Senior Lecturer in Media History, Cardiff University) and Dr Kevin Foster (Associate Professor in Literary Studies, Monash University).

We invite proposals for individual 20-minute papers from scholars, archivists and curators at all career stages working on relevant topics, as well as proposals for themed panels comprising three related 20-minute papers.

Please submit an abstract (max 500 words) and a short biography (max 200 words) by 1 August 2023 to the convenors, allbesont@cardiff.ac.uk and kevin.foster@monash.edu.

If possible, we will endeavour to provide funding to support travel costs for early career researchers. For international contributors, we could also consider a themed panel delivered via Zoom.

Call for Papers: Photo-magazines across the British Empire & Commonwealth, c.1925-75
One-day workshop, School of Journalism, Media & Culture, Cardiff University
Friday 22 September 2023
Deadline for paper call: 1 August 2023

The publication of Picture Research: The Work of Intermediation from Pre-Photography to Post-Digitization has been announced by The MIT Press. Billed by the publishers as 'an intimate foray into the invisible work that made it possible for pictures to circulate in print and online from the 1830s to the 2010s', the book traces a history of the modern pictorial economy that foregrounds the cultural intermediaries of mass-circulation photography: picture librarians and researchers, editors, and archivists.

Picture Research focuses on how pictures were saved, stored, and searched for in a time before scanners, servers, and search engines, and describes the dramatic difference it made when images became scannable, searchable, and distributable via the internet.

Drawing on documents and representations across a range of cultural expressions, as well as interviews with professionals in the UK picture industry, the book reveals the research skills, reproduction machinery, and communication infrastructures that have been needed to make pictures available to a public, both before and after (or rather, under) digitization.

In short, Picture Research makes visible and explicit the invisible labour that has built—and still sustains—the visual commodity culture of everyday life.

Nina Lager Vestberg is Professor of Visual Culture at the Norwegian University of Science and Technology. She is a member of the editorial board of History of Photography, and her work has been published in journals ranging from Journal of Visual Culture to Museum Management and Curatorship.

Picture Research: The Work of Intermediation from Pre-Photography to Post-Digitization
Nina Lager Vestberg
272 pp., 6 x 9 in, 12 color illus., 21 b&w illus, paperback
ISBN 9780262045315
MIT Press, 2022
£38
Details: https://mitpress.mit.edu/9780262045315/picture-research/.

Open access version: https://direct.mit.edu/books/oa-monograph/5595/Picture-ResearchThe-Work-of-Intermediation-from

In Search of the Blue Flower celebrates the life and work of photographer Alexander Hamilton. It presents his early formative years, sharing the way his engagement with the cyanotype process has informed his art practice, from his time at Edinburgh College of Art, to his program of exhibitions and residencies, through to his work within the field of public arts. This personal history is combined with essays by academics, scholars and curators who engage with the intellectual roots of his work and practice. A comprehensive selection of Hamilton’s photography, including his unique plant-based cyanotypes, completes this beautiful book.

The book includes essays by Vanessa Sellars, Julie Lawson, Christian Weikop and Jaromir Jedlinski.

In Search of the Blue Flower. Alexander Hamilton and the Art of Cyanotype
Alexander Hamilton
Edinburgh University Press, 2023
£30. order: https://edinburghuniversitypress.com/book-in-search-of-the-blue-flower.html

Hear artist Garry Fabian Miller in conversation with Martin Barnes (Senior Curator of Photography, V&A) and Bronwen Colquhoun (Senior Curator of Photography, Amgueddfa Cymru) about his life, practice and collaborations. This event has been programmed in conjunction with the exhibition Môrwelion/The Sea Horizon which is currently on display at National Museum Cardiff until 10 September 2023. 

Môrwelion/The Sea Horizon will be open for those that would like to view the exhibition before the event. Attendees are invited to enjoy music performed by Composition students from the Royal Welsh College of Music and Drama in the gallery from 1-1:45pm. These new works have been composed in response to The Sea Horizon exhibition. 

The talk will be followed by a screening of five short films made by the artist in collaboration with Sam Fabian Miller. The films invite you to explore Garry Fabian Miller’s ‘camera-less’ practice that experiments with darkness and light, and weaves in work by the artists, writers and thinkers that have inspired him over the years, including Alice Oswald, Oliver Coates and Kathleen Francis.

In Conversation: The Sea Horizon
National Museum Cardiff
17 June 2023 at 1400

See: https://museum.wales/cardiff/whatson/11914/In-Conversation-The-Sea-Horizon/

Art Monthly Australasia carries a review by Elisa deCourcy of the Bodleian Libraries' exhibitions A New Power and Bright Sparks. The latter remains on view until 18 June 2023. 

See: Art Monthly Australasia, Winter 2023, Issue 336.  https://www.artmonthly.org.au/current

for details of Bright Sparks see: https://visit.bodleian.ox.ac.uk/events-exhibitions

A couple of recent articles are worth sharing. In the May Apollo magazine Diane Smyth poses the question 'Do photography collections in the UK need more focus?' and compares the opening of the new V&A Photography Centre with the closure of Newcastle's Side Gallery and takes in the Bodleian Libraries and changes - openings and closures - to other collections in recent years. 

The Architects Journal gives a technical summary of the V&A Photography Centre which cost £3 million (base build) and £1.25 million (fit-out). 

See: https://www.apollo-magazine.com/photography-uk-collections-va-james-hyman-bodleian-npg/

https://www.architectsjournal.co.uk/buildings/gibson-thornley-and-purcell-complete-va-permanent-photography-gallery

For the first time at Watts Gallery, discover an exhibition dedicated to a 19th century craze that saw the birth of 3D images. Victorian Virtual Reality: Photographs from the Brian May Archive of Stereoscopy will present highlights from the Brian May Archive of Stereoscopy to explore the 19th-century photography craze that, for the first time, enabled pictures to appear in 3D.

Tuesday 30 May is National Creativity Day, and Newport's creative arts department in Coleg Gwent will be celebrating this by creating Wales’ largest cyanotype. This Welsh record-breaking cyanotype will be made in Waunfawr Park, Newport, opposite Crosskeys Campus, on Tuesday 30th May at midday and everyone is welcome to be involved. 

The cyanotype artwork will 11 meters long and three meters wide – 33m2 in total. It will be made using staff and learners to create silhouettes to represent the wonderful diversity of people in Crosskeys Campus.

Lecturer in Photography and Course Leader of the FDa and BA Photography programme Peter Britton says "This will be a test process for something exciting we have happening later in the year... We have just started the process of applying to the Guinness book of records to make one of the worlds biggest photographs. We will be using the cyanotype process again, to create an image that is ENORMOUS - the worlds biggest cyanotype! As for date and location, to be confirmed, but probably September this year..."

More on BPH when details are released. In the meantime this record-breaking Welsh cyanotype is equally exciting. 

https://www.coleggwent.ac.uk/ and https://www.peter-britton.com/

As Great Britain faced a third year of gruelling trench warfare on the continent and dirigible attacks on its shores, the American expatriate Alvin Langdon Coburn joined with fellow London transplant Ezra Pound to produce a series of experimental photographs Pound dubbed ‘vortographs’.  This talk from Anne McCauley will explore how these pictures came into existence by focusing on the day of their public presentation at the London Camera Club and why abstraction found a particular resonance at this historical time and place.

Anne McCauley, ‘Alvin Langdon Coburn, the Great War, and the “World’s First Abstract Photographs”: 8 February 1917’ 
30 May ‘23, 1800 - 1930
Keynes Library, Birkbeck, 43 Gordon Square, London WC1H OPD
Free and open to all 
https://www.bbk.ac.uk/research/centres/history-and-theory-of-photography/

HMS Erebus took part in the Ross expedition of 1839–1843, and was abandoned in 1848 during the third Franklin expedition. The sunken wreck was discovered by the Canadian Victoria Strait expedition in September 2014. In a fascinating series of blog posts Professor Russell Potter reports on several visits to see the process of conservation on recovered artefacts. 

One, particularly, is relevant to daguerriean photography. A metal device sparked Potter's interest. He notes: "I was struck at once by the fact that the square seemed similar in proportion to the Franklin daguerreotypes made by the operator from Richard Beard's firm" and thought it might be to do with plate polishing. The hunch was confirmed by Mike Robinson who confirmed it was part of a device patented by John Johnson in 1841 and known to have been used in Richard Beard's studios. 

Potter concludes: "So now we have something we didn't have before: clear evidence that indeed such an apparatus was aboard HMS "Erebus," and that, assuming it was used as intended, Daguerreotypes were almost certainly made during the expedition. It's only one small step to add to the hope that someday such plates may be recovered; if they are, they'll be the earliest photographs ever taken in the Arctic!"

Read the full, illustrated, blog here: https://visionsnorth.blogspot.com/

With thanks to Anne Strathie for the link.

Southport's The Atkinson venue and the Scott Polar Research Institute (SPRI), with Ponting's biographer Anne Strathie, is showing a new exhibition Herbert Ponting: Explorer and Photographer at The Atkinson from 10 June to 2 September 2023.  Ponting's family lived in Southport from the 1880s. 

Alongside the exhibition of photographs and rarely seen artefacts relating to Herbert Ponting are a series of talks and events. 

Ponting’s father was appointed Manager of Preston Banking Company in the 1880s and the family set up home in Park Road West, Southport.  

Herbert Ponting: Explorer and Photographer
10 June-2 September 2023
Free admission, Monday-Saturday, 1000-1600
The Atkinson, Lord Street, Southport, PR8 1DB
Details: https://www.theatkinson.co.uk/exhibition/herbert-ponting/

The second and final phase of the V&A's Photography Centre is now complete and ready for its public unveiling on Thursday, 25 May 2023, At an opening event this evening V&A Director Tristram Hunt and the leading curator Marta Weiss explained the thinking behind the Centre and acknowledged the support of donors and photographers.

Below are a few photographs of the new spaces that compliment and extend the existing galleries. 

Birkbeck, University of London, and the British Film Institute are pleased to announce the availability of a fully funded Collaborative doctoral studentship from October 2023 under the AHRC’s Collaborative Doctoral Partnership Scheme.

With privileged access to the BFI’s extensive collections, this project seeks to uncover a story of British filmmaking that foregrounds the shaping influence of migrant skills, techniques, voices and visions in the emergence of a British aesthetic. The aim is to challenge and nuance our understanding of what we mean when we speak of ‘British cinema’. 

This project will be jointly supervised by Dr Agnes Woolley (Birkbeck) and James Bell (BFI) and the student will be expected to spend time at both Birkbeck and the BFI, as well as becoming part of the wider cohort of CDP funded students across the UK. The studentship can be studied either full or part-time. 

Project Overview 

Dominant narratives about the emergence and development of British film in the twentieth century have largely overlooked the influence of filmmakers from outside Britain. While the 1970s inaugurated an era of reflexive, radical filmmaking by Britain’s diasporic populations, less understood is the transnational sensibility cultivated by migrant filmmakers in the preceding decades and how it continued to underpin the stories Britain told about itself through film, as well as the aesthetic approaches used to tell those stories. While there has been work done into some areas of the subject – for instance into the contributions of German-speaking migrant filmmakers who came to Britain in the 1930s to escape Nazism – there remain large gaps in our understanding of the great impact made to the ongoing development of the British cinema in the post-War years by migrants from Europe, the wider Commonwealth and beyond, as British cinema moved through the 1950s and into the new movements of the 1960s.

The project examines the influence of the ‘outsider’ perspectives of, for example, refugees from post-war Communism in Eastern Europe or British colonial subjects on the story of Britain as presented in its national cinema. With this in mind, this project approaches the BFI’s collections with the intention of drawing out the neglected contributions of migrant filmmakers operating in a variety of roles, such as Director of Photography, Screenwriter or Composer; exploring what influence they have in the overall shaping of the film, and on broader aesthetic and thematic developments in British film. The project might examine the influence of, for example, Polish director Mira Hamermesh, who fled Nazism in 1941; director Robert Vas, who left Hungary following the uprising in 1956; or actor/director Lloyd Reckord, who left Jamaica in 1951. The student will access – and be trained to use – the BFI’s moving image collections (both digitised and physical material), and papers in the archive’s Special Collections holdings. Some of the figures cited above made films funded by the BFI itself, and the student would have unique access to newly-digitised films from that collection, and related paper collections. The work will contribute to a more nuanced understanding of the material in the BFI’s own collections, and to its own history.

Research questions include:

• What influence did migrant filmmakers have on British film in the post-War period before the emergence of reflexive diasporic filmmaking in the 1970s?
• In what ways is the notion of a national film culture disrupted by the presence of migrant filmmakers in this period?
• How have migrants helped shape film culture in Britain through less visible roles such as cinematography, composition and screenwriting?
• How did key geopolitical events of the era, such as the Cold War and the break-up of Empire impact on the development of British film and moving image?
• How does an alternative story about ‘British cinema’ help us understand questions of ‘heritage’ and the legacies of colonialism?
• How did migrant filmmakers in Britain in this period both respond to, and help to shape, wider shifts in British film culture towards an increasingly international ‘arthouse’ cinema culture?

Uncovering the Influence of Migrant Filmmakers on the Emergence and Development of British Film 1940-1970
Start date: 1st October 2023

Closing date for applications: Monday 19^th June 2023, 5pm. 
Deadline for references: Friday 23^rd June 2023, 12 noon. 
Interview date: w/c 3 July 2023. 
Informal enquiries about this collaborative project can be sent to Agnes Woolley a.woolley@bbk.ac.uk
We will be hosting an online briefing for interested applicants in early June. Please register your interest by emailing a.woolley@bbk.ac.uk   

Full details here