Before running our first film course in the Kino (an idea I’d been sitting on for the better part of two years before launching), I considered the contemporary challenge of the video shop thus: if rentals are steadily decreasing year on year (oh how they are), and if the most financially viable aspect of our business in post-Clifton years is the Kino (oh how it is), what else could we use this magic Twin Peaks-inspired space for? And so, even if it was an entirely mad endeavour for a video shop, we decided to trial informal adult education classes in our 11-seater cinema. Much to my joy, folks turned up to the first one so we’ve continued doing it.
Starting somewhere in the vicinity of where it all began, we kicked off with silent cinema (my eternal hat off to Dr Peter Walsh for taking up the reigns on that one, solo). Then we ventured into documentary discourse and so began our line of questioning the legitimacy and so-called ‘truth’ of everything we see. Next came a focus on national cinema(s) – a kind of misleading theme given it’s a largely dismissed approach, contemporarily, even if it is useful for trying to understand the obfuscating aims of national funding bodies. But it brought up so many more questions about politics, history, social inequity, economics and cultural resonance / dissonance.
From here, there were any number of places we might like to go, and though I do continue to threaten to run a feminist film course some time in the future (that’s assuming my other mad idea about running a monthly feminist salon in the shop doesn’t win out first!), we decided on a ‘Page to Screen’ focus.
Walsh and I both studied literature as well as film, even if we work more exclusively now with the latter, and especially of interest is the way in which cinema realises and reimagines literary themes, tone and narrative.
We plan to look at a number of texts over the summer and there’s plenty of time between classes (it’s fortnightly for this one) for people to read and view widely based on what’s thrown up in each of the sessions. We’re keen to find out how some filmmakers show description, or how they visualise internal narrative, assign and reassign narrative voice and how a form that is already visual, in part, begins to move before our eyes; there will be plenty to chew over in that red-curtained room, where time and space evaporate and ideas take charge.
From Page to Screen is the fourth in our new series of film courses in the Kino. Spaces are limited but if you are keen to find out more about this or future courses please do email Tara to register your interest: tarajudah[@]hotmail[dot]com