James Frost has devised a mummers play for the Sandwich Folk & Ale Festival.
Senior Lecturer in Photography, Rob Ball, has an exhibition of tintypes opening as part of Margate Festival.
Senior Lecturer in Photography, Rob Ball, has a new book of photographs of Coney Island coming out in June, with an essay by Dr Mark Rawlinson.
Artist Sam Vale has produced the exhibition Latent: A hidden history to mark the fiftieth anniversary of the decriminalisation of homosexuality in England and Wales.
Senior Lecturer Tim Jones has launched a new blog, Canterbury Amateur Film Archive, to share the fruits of his research.
Research Seminar: Alan Meades and Karen Shepherdson on Arcades, Archives and our Coastal Communities
Alan Meades and Karen Shepherdson of CCCU’s Centre for Research on Communities & Cultures will be discussing an photographic archive of seaside arcades recently acquired by SEAS Photography.
Project by: Dr Karen Shepherdson
The SEAS Photography Centre is located at Canterbury Christ Church under the directorship of Karen Shepherdson. It was first established in 2012 with assistance from a Heritage Lottery award and has already gained national recognition. The archive focuses on digitally archiving substantial historic seaside photographic collec-tions which have originated from the South East Coast. This has included the vast Sunbeam Photographic Collect-ion, the Dreamland Archive and numerous ‘Walkies’.
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Project by: Rob Ball
The Dreamland Project provides a visual diary for a photographic research project that records the current state, reconstruction and resurrection of the Dreamland Amusement Park in Margate.
Since January 2014, we have been creating a series of unique tintype images as a response to an archive of historical Dreamland images and the space Dreamland inhabits. The second phase of the project will be made on colour film.
Each visit will require a darkroom to be built on-site and plates to be prepared, created and developed within the space they are made, often resulting in artefacts from the site physically appearing on the final object.
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Project by: Dr Karen Shepherdson
This research examines commercial seaside photo-graphic practice from 1860-1980. The exploration offers a visual exposition of the British seaside as represented through the refracted lens of the itinerant beach photographer – also often derogatorily referred to as a ‘Smudger’ or ‘Bodger’. Despite their hum-ble means of production, the photographs are frequently evocative, drawing the viewer into a nostalgic past shaped by visual half-truths. The re-search examines conventions, expectations and mytholo-gisations of what seaside portrait photography should present and how these provide a highly mediated and edited view of seaside experience.
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