Graduate Catch Up // Fern Leigh Albert talks about Wild Wood, exhibiting in South Korea and Magenta Flash Forward

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We caught up with LCC alumna Fern Leigh Albert about her time at the College, her current projects and what she’s working on in the coming months.

What course did you study?

In 2013 I completed a Postgraduate Diploma Photography Portfolio Development at LCC.

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What did you love about the course?

The course is run by Adrian Mott, who teaches in a way that allows you to find your own path in your work. – it’s brilliant!

What have you been up to since graduating?

Since graduating I’ve been continuing to exhibit and work on my long-term project Wild Wood. Wild Wood is a photographic essay based on my time living in an off-grid woodland community.

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How was the project been received?

The project has been shortlisted for various awards and I’ve been busy over the past year exhibiting in London, South West England and Europe. Last summer Wild Wood was shown at the Noorderlicht Photo Festival in the Netherlands and this year the project has been selected for the 2015 Magenta Flash Forward Competition.

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What are you working on at the moment? Do you have any exciting stuff happening in the future?

Yes! Currently I’m working with a Nature Arts Organisation in South Korea who will be showing Wild Wood as part of a group exhibition.

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What do you want people to take away from this work?

It’s very positive to see such a big interest in this way of life, not just locally but globally. I hope the project inspires people to live in a way that connects them to the land around them.

Read more about PGDip Photography Portfolio Development

Two out of three £10,000 Mead Fellowships awarded to LCC alumni

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Image by Liz Orton, 2014.

Two out of three £10,000 Mead Fellowships were awarded to LCC alumni earlier this month. The Mead Scholarships & Fellowships are designed to support UAL students and recent graduates in the development of their creative practice.

Last year MA Photojournalism and Documentary Photography graduate Monica Alcazar Duarte won a Fellowship to support her project ‘Forerunners’, a series of nine books focusing on individuals who are leading their lives in an extraordinary way.

-Trailer for Victoria’s film Miss July.

This year Victoria Burns, a 2014 MA Documentary Film graduate, has been awarded one of the prestigious Fellowships to support her project ‘The Elephant’. The project aims to document the current face of Elephant and Castle, in the midst of plans for regeneration.

The project outcome will be a feature length documentary, capturing the existing current architectural landscape, before it disappears along with the lives and communities that are intertwined within this area.

-Victoria’s award-winning #ActionForClimate film.

Victoria explains “with the backing and recognition of the Mead Fellowship Award, I am to able embark on my first long-form documentary project. Up to this point I have only made shorts, so this endorsement provides me with an invaluable opportunity and the freedom, as an emerging filmmaker, to realise a documentary project on an ambitious scale.”

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Image by Liz Orton, 2014.

Liz Orton studied MA Photography at LCC and also graduated in 2014. Her Mead proposal, ‘The Longest and Darkest of Recollections’, was developed from the work she made during her MA.

The work re-imagines and re-stages images found in survival manuals and field guides. Liz uses these images because of the way they represent forests as cultural places in which the human figure is drawn into action by different events, displays or crises.

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Image by Liz Orton, 2014.

Liz explains “I’m interested in investigating the impact that humans have on the environment, especially the idea that nature is no longer a harmonious entity but something that is irreversibly entangled with humans.

“I am thrilled to have been awarded the Mead Fellowship. It will enable me to continue to develop and expand my practice over the next two years. This kind of support is a very welcome boost creatively, financially and academically.”

Liz will investigate the practices of earth scientists as they produce evidence of this impact, using a mixture of documentary photography, appropriation of scientific images and technologies and staged works. The Fellowship will support research, the production of new works, an artist blog and a solo show.

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Image by Liz Orton, 2014.

Read more about the Mead Fellowships and Scholarships. 

Read more about last years’ LCC winner Monica Alcazar Duarte.

Read about Monica’s post award success.

Two Halves // Lisa Smosarski and Simon Hinde

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Two Halves is a regular feature spotlighting two people connected by London College of Communication.

Our aim is to showcase the conceptual intentions, deeper thinking and personal insights that come with the creative process.

If you would like to nominate someone for Two Halves, please email Natalie Reiss (n.reiss@lcc.arts.ac.uk).

LISA SMOSARSKI

“To be creative you have to immerse yourself in all creativity – ideas come from everywhere.

  • I went to LCC when it was the London College of Printing, graduating in 1998 with a graduate degree in Journalism. I owe my career to that course!
  • (On what she’s working on) Our normal weekly issues, our special fashion issue in September which is perfect-bound and over 200 pages, our inaugural four-day event, Stylist Live, which is taking place in October as well as lots of other specials and brand extensions.
  • To be creative you have to immerse yourself in all creativity – ideas come from everywhere. So although I can’t claim to be able to work in any other medium bar print and digital journalism, to be a creative in my world you must submerge yourself in the worlds of art, illustration, film, all digital platforms, theatre… You name it; I need to know a bit about it!
  • I moved to Stylist in 2009 from more! magazine to launch Stylist – the idea was to create a freemium (free but premium) magazine for working women. We said it would be amazing quality, intelligent, never patronising, feminist and original. Six years, 45 awards and millions of readers later, I’m proud to say we’ve never deviated from that brief.
  • (On collaboration) I’m good at working on my own as I’m very self-starting and like my own company (!) but working with others always produces much better results. Good ideas become brilliant ideas. Average copy becomes excellent. No one has all the answers so it’s my policy to surround myself with brilliant people who excel in areas I don’t. Together we create brilliant things – and, to be honest, it’s much more fun. No woman is an island!
  • So much comes from reality. I frequently say that I can be seen stalking readers – listening to them in bars and on the bus, or on social media, or debating with them over email. Stylist is the readers’ magazine so it is my job to listen and respond. I think this too of our features meetings – it is the asides, the tangent conversations, the throwaway comments that make the best ideas.
  • (There are) always ideas on the go, but the big one is Stylist Live at the Business Design Centre in Islington. Four days of catwalks, culture and cocktails. We’ve organised loads of inspiring women to come and talk, shopping areas, fashion shows, learning labs. There’s even School of Stylist – all our department heads will be sharing their pearls of wisdom for getting into journalism throughout one of the days. So if you want to get into consumer magazines or websites, you should come along.
  • My first journalistic project… I can’t remember. I was sent to interview the Red Power Ranger but I don’t think you can call that art.
  • (Stylist is) a magazine I’m so proud of, and I’m so proud to have changed the face of British magazines. As more and more titles follow in the freemium model it is quite something to know we were pioneers, the new wave of print journalists. And it is great quality with a true heart, and remains eternally true to its beliefs. Not many people can say that!

Lisa Smosarski is the Editor of Stylist magazine, and an LCC BA (Hons) Journalism alumna. She’s currently working on the launch of Stylist Live.

SIMON HINDE

“A lot of what we call fine art is journalistic in character.”

  • I’m the Programme Director of Journalism and Publishing at LCC, which probably involves more admin than I’d like but leaves me enough time to do interesting stuff: working with students, thinking about the changing world of the media and how we can prepare the coming generation of journalists to succeed in it.
  • We’ve just signed a deal with a big art company to produce magazines for their members, so I’m trying to figure out how that will work and what kind of opportunities it will offer to the students and to recent graduates. We’re also launching a new MA in Arts and Lifestyle Journalism, the first in Britain.
  • I joined (LCC) two and half years ago after a career as a journalist in print and later in digital. I look forward to coming in in the morning (most mornings): it’s full of energy, a positive, inspiring place.
  • I’m really interested in the things that art and journalism have in common. A lot of what we call fine art is journalistic in character.
  • One of the really inspiring things about the art-school tradition is the commitment to experimentation and the refusal to compromise with commercial norms. Journalism could learn a lot from that.
  • One of the most profound changes of the digital era has been the opportunities for collaboration that have emerged, both with other journalists and the people we used to call ‘the audience’ (who can now be active participants in journalism). At the same time, the activity of publication, through blogging etc, has been radically simplified so that it no longer has to be collaborative. Personally, I tend to be a solitary, secretive and slightly paranoid worker: I’m consciously trying to be more collaborative
  • I’m planning an event next year on the relationship between journalism, art and technology with Google and, I hope, some interesting artists. I’m also getting interested in the role that plagiarism plays in journalism, which is probably a way of thinking about creativity by considering its opposite.
  • I don’t do much art but I did make a couple of letterpress pieces in LCC’s workshop recently that gave me a lot of pleasure.

Simon Hinde is the Programme Director of Journalism and Publishing at LCC.

MA Screenwriting // From LCC to the BBC

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Still from ‘Strike A Pose’, BBC Doctors episode written by Tina Walker. Copyright BBC.

MA Screenwriting at LCC is one of the UK’s leading film and TV scripting courses with a strong reputation in the industry. Its graduates have won numerous UK and international awards, led major film projects and are writing for a wide range of programmes currently being screened on UK television. An amazing number of alumni from this course have gone on to work for one of those programmes – BBC One’s Doctors.

We caught up with three of them top find out a little bit about their lives after LCC, and the realities of working as a professional screenwriter.

Mark Clompus

I did the MA in Screenwriting at LCC nearly twenty years ago. I’d always wanted to write but couldn’t see a way of making a living from it so I got a proper job and hoped the urge would go away. It didn’t. It wasn’t quite as strong as the urge to make enough money to eat and drink and go to Glastonbury, but close. So I did the MA and wrote my film script. Set at Glastonbury. And amazingly, I got an agent.

That’s what the course will do – put you in touch with people who can help get your words up on screen. My agent got me work in television.

Amongst other shows, I wrote more than twenty episodes of Eastenders before getting onto the BBC Writers’ Academy taught by John Yorke (then head of BBC Continuing Drama and since, author of Into the Woods: How Stories Work and Why We Tell Them) and spending time writing all the BBC continuing dramas – Casualty, Holby City and especially Doctors – I’ve written nearly fifty episodes. And it all started at LCC.

LCC is somewhere I’m always happy to come back to and run the sort of workshops that got my own career started, hoping they’ll do the same for each new generation of screenwriters.

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Still from ‘The Punch and Judy Man’, BBC Doctors episode written by Matt Wakefield. Copyright BBC.

Matt Wakefield

I started LCC’s Screenwriting MA in 2004, and in 2007 I began writing for BBC One’s Doctors. Subsequent commissions were quite sporadic at first, but in 2012, I became a ‘core’ or contracted writer for the series, which allowed me to write full-time. Although the MA didn’t directly lead to the opportunity on Doctors, I doubt that I would have become one of its regular writers without the understanding and discipline I’d gained from the course.

Through the MA’s workshopping process, I became accustomed to gaining feedback on my work, and improving it over several drafts. It’s an ideal apprenticeship for a writer, and though there are some industry-based schemes which aim to foster new talent, the industry doesn’t have the time or resources to train writers with the necessary patience and dedication. The MA at LCC allows you to make mistakes and learn from them in an enjoyable, nurturing environment.

What qualities do you need to be a professional scriptwriter? First and foremost: perseverance. There are few overnight successes. You also need a bit of luck. There are many wonderfully talented writers who have never been given that initial, decisive break. To be told that luck plays an important role is unhelpful, but I think that with enough hard work and perseverance, this luck tends to arrive, eventually.

For the most part, writers spend their working lives alone, dreaming up characters and stories and attempting to engage with life at a heightened level. They need to say something worth saying about the wider world (a world of relationships and conflicts that people with ‘normal’, sociable jobs have much better access to). For this reason, I think it’s useful to have quite a bit of life experience (not least, doing other jobs) before writing full-time.

When you do get paid to write scripts (which are turned into television drama by a small army of talented, hard-working people), it’s a huge privilege. One of the great things about writing for Doctors is that the process can be very quick. If your story idea is accepted for a commissioning round, you can be watching it on telly just a few months later.

Because Doctors isn’t a pure soap, and most episodes have a ‘story of the day’, the writer has a lot of freedom. While the show’s regular characters are well-established, the tone and genre of each guest story is quite fluid. A ‘typical’ week of Doctors might offer a gritty police procedural, a bedroom farce, a rites of passage drama, a black comedy, and even a supernatural thriller.

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Still from ‘Mods and Rockers’, BBC Doctors episode written by Matt Wakefield. Copyright BBC.

Tina Walker

I graduated from what was then the London College of Printing’s Screenwriting MA in 2000 – the same year as Kelly Marshall, the current Course Leader. At that time Phil Parker ran the course out of the Back Hill site. I loved the course – in fact it was the highlight of my week. It confirmed for me that I wanted to make a career as a screenwriter and that I did have some talent. I also made friends for life.

The short film I wrote in my first term was made in 2000. Since then several of my short scripts have been made. One of these, the award winning Mercy, was picked up by director, Candida-Scott Knight from the LCP short film database and was finally produced in 2004.

In 2003 the script for my final project, a 3 part comedy drama, won me a place on a writers’ scheme at BBC Wales. Ruth Jones of ‘Gavin & Stacy’ and ‘Stella’ fame was one of the other participants. As part of the scheme I wrote a 15 minute radio play that was broadcast on Radio 4. I also wrote a trial script for Doctors, which was how I started writing for the show.

My first episode was broadcast in 2005. Initially I wrote 2-3 episodes a year then in 2012 I became a contract writer. I now write around 7 episodes a year. I write other material too but getting original projects off the ground is tough, even with a track record in TV.

For me, making a living as a screenwriter was a slow process. In the early days I was able to combine screenwriting with my career as a freelance multimedia designer. In my experience you need to be patient, thick skinned, collaborative and prolific. Expect failure, expect knockbacks and disappointments but keep going!

 Find out more about MA Screenwriting

Creativity Makes Things Better // LCC Graduate School visits It’s Nice That

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Postgraduate visit to It’s Nice That office, 2015.

A group of postgraduate students from LCC recently had the chance to visit It’s Nice That and have their portfolios reviewed by Managing Director Alex Bec.

MA Publishing student Serena Ugolini reports.

As part of the LCC Graduate School summer term programme of events, a number of design students were invited to join an informal talk at the offices of It’s Nice That, a creative publishing platform founded in 2007.

Here they were lucky enough to hear directly from Managing Director Alex Bec about how the company has developed, and receive advice for their future careers.

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Postgraduate visit to It’s Nice That office, 2015.

With a background in graphic design, Alex founded It’s Nice That with Will Hudson after leaving university, keen to explore new ways of generating creative content.

Since then, It’s Nice That has covered a broad spectrum of creative disciplines, engaging students, graduates and professionals through different media platforms and events. Among the collaborators, big brands such as Nike, Heineken and Selfridges&Co stand out.

As well as their website, the team produce a beautifully crafted quarterly magazine called Printed Pages, because as Alex says: “Pictures and works are on the website to be seen, but we also want the possibility to touch the content, and physically experience it”.

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It’s Nice That publications including Printed Pages, 2015.

Loving what you do really matters in the creative industries, and during the Q&A Alex emphasised the importance of choosing a job that can give you pleasure while doing it, and not necessarily just a job you are good at.

The morning ended with a portfolio review, where the graduates presented their best works and received useful hints and tips about their professional future in the creative industry.

Words by Serena Ugolini

Read more about LCC Graduate School

Twitter: @LCCGradSchool

LinkedIn: LCC Graduate School

Instagram: LCCGradSchool

MA Graphic Design alumna Geertje Debets is a finalist at the European Design Awards 2015

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‘Dutch — Russian: A Vocalic Communication System’, Geertje Debets, 2015.

Geertje Debets, a 2012 graduate of LCC’s MA Graphic Design course, was recently announced as a finalist at the European Design Awards 2015 for her project ‘Dutch – Russian: A Vocalic Communication System’.

Geertje explains, “the project ‘Dutch – Russian: A Vocalic Sound System’ is dedicated to the 298 passengers who died on flight MH17 last year, and indeed to everyone in the world who has to face war.

“I was deeply touched by the MH17 plane crash in July 2014 and the turbulent global political climate last year. We experienced once again that peace is not always guaranteed. I found this to be particularly true in the case of the miscommunication between Russia and the Netherlands – it reminded me how fragile and unfair the world can be.

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‘Dutch — Russian: A Vocalic Communication System’, Geertje Debets, 2015.

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‘Dutch — Russian: A Vocalic Communication System’, Geertje Debets, 2015.

“As a direct response I created a project which aims to inspire and stimulate the communication between Russia and the Netherlands. I believe that some of the ideas that I explore in the project would help to avoid similar situations in the future.

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‘Dutch — Russian: A Vocalic Communication System’, Geertje Debets, 2015.

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‘Dutch — Russian: A Vocalic Communication System’, Geertje Debets, 2015.

“The project focused on the difference in script and language between the two countries. The Dutch and Russian languages have a lot of similar sounds but a completely different script.

“For me this comparative approach represents the wider miscommunication issues between the countries: you hear the same sound but have a completely different image in mind.

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‘Dutch — Russian: A Vocalic Communication System’, Geertje Debets, 2015.

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‘Dutch — Russian: A Vocalic Communication System’, Geertje Debets, 2015.

“To visualize this I cut out the letters of our Latin alphabet, morphed them into the Cyrillic script and scanned them. This resulted in a Dutch/Russian vocalic system, which acts to avoid miscommunication and conflict for a peaceful and bright future. From these images I created a flyer, a book, postcards and posters all for sale.”

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‘Dutch — Russian: A Vocalic Communication System’, Geertje Debets, 2015.

On her time at LCC Geertje explains “what I especially loved about studying at LCC was the different views people had on graphic designs relationship with world topics.

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‘Dutch — Russian: A Vocalic Communication System’, Geertje Debets, 2015.

“With such incredible diversity in nationalities, cultures, religions and backgrounds the course was so inclusive and allowed to really broaden my mind and view on the world.”

Find out more about MA Graphic Design.

 

PGDip Photography Portfolio Development alumna exhibits at Singapore’s Affordable Art Fair

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‘Reminiscence’, Geraldine Mostachfi, 2015.

Earlier this summer an alumna of LCC’s PGDip Photography Portfolio Development, Geraldine Mostachfi, exhibited her work as part of Singapore’s Affordable Art Fair.

We caught up with Geraldine to find out more about the experience.

“I have been leaving in Singapore for 6 years. I moved here one year after graduating from LCC’s PGDip Photography Portfolio Development.

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‘Reminiscence’, Geraldine Mostachfi, 2015.

“I have been wanting to exhibit at Affordable Art Fair in Singapore for quite some time. However, because the Affordable Art Fair would normally only accept applications from galleries, I had to think outside the box.

“I found two other artists who were interested in exhibiting, one a painter and one a sculptor, and together we applied as a group. One of the stipulations of exhibiting at the AAF, besides being a gallery, is that at least three artists must be represented in one space.

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‘Reminiscence’, Geraldine Mostachfi, 2015.

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‘Urban Landscape’, Geraldine Mostachfi, 2015.

“We were on the waiting list in November 2014, but didn’t hear back from AAF. It wasn’t until we had already organised an independent show which opened the week prior to AFF that we heard back from them with an offer to exhibit at the fair. Unfortunately, because our work was being exhibited elsewhere that was no longer a possibility, but our own private show went really well – I sold over 10 pieces over the weekend and met lots of great people.

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‘Urban Landscape’, Geraldine Mostachfi, 2015.

“We re- applied in April this year for AAF Singapore, and were immediately accepted to exhibit between 16-19 April.

“I decided to show my latest project called ‘Reminiscence’, along with a few urban landscapes of Singapore, as this year is the fiftieth anniversary of Singapore. The work got a great response and even prompted an invitation from artist Max Zorn to join him at the AAF in Hong Kong in May.

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‘Reminiscence’, Geraldine Mostachfi, 2015.

“Reminiscence is a collection of images made up of four individual photographs. It was inspired by my own memories of being a child and my fascination with the marvellous world that exists inside marbles. I was transfixed with marbles and their ability to ignite my curiosity – the kaleidoscope of colours and the rays of light shining on to mini universes – all within a small bead of glass.”

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‘Urban Landscape’, Geraldine Mostachfi, 2015.

Find out more about Postgraduate Diploma Photography Portfolio Development.

 

News // International success for LCC’s BA (Hons) Film Practice students

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Still from After the Shipwreck, dir. Roberto Prestia, 2013.

Students and graduates of LCC’s BA (Hons) Film Practice course, formerly BA (Hons) Media Practice, have scored a huge number of successes on the festival circuit around the world in recent months.

We’ve rounded up a selection of the most exciting achievements from the course and found out a little more about the films which have been attracting so much attention.

Shaneika Johnson-Simms’s film When the Pile Is Crooked was shown last year at Portobello Film Festival and the Early Bird Student Film Festival in Sofia, Bulgaria.

In the film, teenager Jolie finds underwear that doesn’t belong to her or her mother while rummaging through her father’s clothes for spare change, and must decide whether to tell her mother or keep the discovery to herself.

Shaneika has since graduated from the FdA Media Practice course and completed her BA (Hons) Media Practice (Top-Up).

Charlie Edwards-Moss and Joe Williams made their film Urinal Cakes, produced by Spencer Phillips, in their first year of the course, and are now moving into Year 3.

The film was nominated for the monthly Shooting People award, narrowly missing the top spot, and is now going to the In the Palace International Short Film Festival in Bulgaria.

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Still from Perfect, dir. Raitis Petrovs, 2014.

Raitis Petrovs’s Perfect appeared earlier this year at Hackney Picturehouse as part of New Shorts: Surreal Worlds for London Short Film Festival.

Watch the film on Vimeo (password: film)

At the heart of Perfect is Aaron, a young outdoors type who believes that no terrain can defeat him and has the selfies to prove it. His confidence wavers, however, when his car breaks down in the Norwegian mountains.

Eleswhere there has been plenty of good news for Aaron Dunleavy and Joe Ollman, whose second-year film Throw Me to the Dogs toured the country as part of Short Sighted Cinema’s Shortest Nights programme, which showcases emerging British filmmaking talent.

The Blackburn-based film, which follows a group of troubled young boys who are formed into a Sunday league football team, also received its international premiere at the prestigious Giffoni Film Festival in Italy, and was nominated for the Gryphon Award alongside eight other international short films.

At the Manchester Indie Short Film Festival in July 2015, Throw Me to the Dogs picked up Best Actor for star Lewis Bradshaw, and was one of only eight award-winning films from 1500 submissions.

Recent alumnus Roberto Prestia’s black-and-white film After the Shipwreck, which explores faith, hope and unreality, was selected for Raindance Film Festival and MashRome Film Fest.

And finally, first-year student Luiza Herdy Costa already has something to celebrate after winning a grant from filmmakers platform MOFILM to make a video for Shell.

Luiza travelled to a small fishing community in Rio to make the film, which reveals how Shell Brazil’s Saber Dividir programme of volunteering opportunities seeks to encourage solidarity and social responsibility among its employees.

Not only that, but the film also secured third place in a short film competition run by SXSW Film Festival.

Massive congratulations to all on these successes, and we look forward to following your developing careers in film.

Read more about BA (Hons) Film Practice

Reading an Exhibition // LCC Graduate School visits the Imperial War Museum

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Imperial War Museum visit, 2015.

A group of LCC’s postgraduate students recently visited the Imperial War Museum to take part in the Reading an Exhibition workshop.

Catherine James from Academic Support led the group to the Peter Kennard: Unofficial War Artist show to discuss issues relating to curating and reading an exhibition.

PhD Photography student Zephie Begolo reports.

Peter Kennard is one of Britain’s foremost political artists and has been a prominent voice in the anti-war movement for over 40 years. His photomontages were perhaps most famously used in the Campaign for Nuclear Disarmament in the 1970s-80s, but he has gone on to visually criticise other conflicts, including the invasion of Iraq in 2003.

This retrospective exhibition therefore provided a great opportunity for the students to get their teeth into some of the problems of curating such a political and often radical show that challenges the approach of the museum itself.

The exhibition brings together four decades of work, which contains stark and graphic imagery, often using different media from paint and photographs to newspapers, always questioning the nature of conflict and the establishments that send people to war.

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Imperial War Museum visit, 2015.

After an introduction to the work and some curatorial concepts, the students were encouraged to think about the flow and trajectory of the exhibition, the way it had been installed and what kind of audience it might appeal to.

The mix of material and information in the rooms was discussed, with some feeling that the space was too small for the wealth of material, and others arguing that this added to the uncomfortable and layered experience of viewing the work – demonstrating how problematic exhibitions can be to curate!

The visit was part of a series of Academic Support Workshops arranged by the Graduate School.

Find out more about LCC Graduate School

Twitter: @LCCGradSchool

LinkedIn: LCC Graduate School

Instagram: LCCGradSchool

Summer Shows 2015 // Spotlight on BA (Hons) Design for Interaction & Moving Image and BA (Hons) Design for Graphic Communication

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Carly Wan and Alistair Moncur, ‘Grub’, BA (Hons) Design for Interaction & Moving Image.

BA (Hons) Design for Interaction and Moving Image is a highly practice-led experimental course focusing on the relationship people have with designed objects and experiences and explores the communicative potential of physical experience.

Students work with narrative, moving image and film-making, alongside processes such as design prototyping and physical computing. Students from this course are notoriously creative and experimental, and this year’s graduating designers are no exception.

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Ian Hutchinson, ‘Electoral Reflector’, BA (Hons) Design for Interaction & Moving Image.

Ian Hutchinson has produced a timely and humorous interactive piece, which challenges preconceptions of UK politics.

Ian’s ‘Electoral Reflector’ is a digital frame fitted with a webcam and linked to a complicated computer algorithm. The frame reads the viewer’s age, gender and ethnicity and then presents the politician that the viewer is statistically most likely to vote for. The frame then reads the viewer’s expression and starts to navigate the manifestos of different political parties until the viewer’s facial reaction is positive.

The result is often a nonsensical hybrid politician, meaning that Ian has created something immediately engaging, which also stretches the narrative abilities of technology.

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Work from BA (Hons) Design for Interaction & Moving Image.

Carly Wan and Alistair Moncur worked together on a project called ‘Grub’.

Exploring the concept on entomophagy, the pair have created some tasty bites including mealworm fudge and ant cookies which demonstrate what the future of food might look like. With an interest in humour and practical design, their exhibition piece includes a branded vending machine – “Grubs up.”

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Carly Wan and Alistair Moncur, ‘Grub’, BA (Hons) Design for Interaction & Moving Image.

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Carly Wan and Alistair Moncur, ‘Grub’, BA (Hons) Design for Interaction & Moving Image.

Maisie Bowes’ ‘Dictograph Notifications’ is an electromagnet bell from a Pre WW1 telephone which has been restored and recycled in a new object which communications smartphone notifications through pre-arranged code rings.

The Dictograph electromagnetic bell was sold to Maisie as a doorbell, but upon further research she discovered it was an element of a pre WWI telephone manufactured in Croydon. The Dictograph telephones operated using pre-arranged code which rang to alert the desired recipient that they had a call waiting. Maisie decided to recycle the bell and restore its original purpose but with a modern twist.

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Maisie Bowes, ‘Dictograph Notifications’, BA (Hons) Design for Interaction & Moving Image.

Using a combination of Arduino, Max MSP and APIs, the new Dictograph bell has alternating rings for various social networking notifications including Facebook, Gmail, Twitter, Instagram and text messages. The object itself was designed and built using methods to make it as similar to telephones from the same period as possible. Constructed using the wood from a reclaimed cabinet, also from Croydon, the object reuses as many original features as possible. Including hinges, screws and handles.

BA (Hons) Design for Graphic Communication is one of LCC’s many courses with a graphics focus, and has been part of LCC’s rich history of graphic design.

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Work from BA (Hons) Design for Graphic Communication.

Sean Wyatt Livesley, one of the students graduating from this course, is exhibiting his dissertation in the School of Design Summer Show. ‘Black’ explores the theoretical and conceptual elements of the colour black and how it exists in art and design. Rather than just looking colour theory, Sean has investigated how a greater understanding of how black is used can help others to become better designers and better artists.

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Sean Wyatt Livesley, ‘Black’, BA (Hons) Design for Graphic Communication.

Sean published his dissertation as a book because he wanted it to spark a debate, so having easy access for both designers and in a wider context was really important to him.

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Sean Wyatt Livesley, ‘Black’, BA (Hons) Design for Graphic Communication.

Sean explains “The course is brilliant. I would definitely do it again. I think that the course, because it’s only made up of a small group, is an eclectic mix of people that want to challenge everything and break the norm in everything we do. At the same time we have a relation to our audience and what is actually going on in the world, we don’t just make things that are pretty, but we have a reason for making it.

“We’re communicating a message. Everyone on this course achieves that to such a brilliant extent you can see that in the exhibition. Even the exhibition itself has a theme and a message.”

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Coline Touaux, BA (Hons) Design for Graphic Communication.

Find out more about BA (Hons) Interaction Design Arts (previous BA (Hons) Design for Interaction and Moving Image)

Find out more about undergraduate graphic design courses at LCC

BA (Hons) Illustration and Visual Media students making work in response to the Foundling Hospital and the Foundling Museum’s Collection

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Lucinda Furlong, Foundling Hospital & Foundling Museum collaboration, 2015.

Since January 2015 a group of second year BA (Hons) Illustration and Visual Media students have been making work in response to the story of the Foundling Hospital and the Foundling Museum’s Collection.

The Foundling Hospital, which continues today as the children’s charity Coram, was established in 1739 by the philanthropist Thomas Coram to care for babies at risk of abandonment. Instrumental in helping Coram realise his vision were the artist William Hogarth and the composer George Frideric Handel. Their creative generosity set the template for the ways in which the arts can support philanthropy.

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Amelia Ward, Foundling Hospital & Foundling Museum collaboration, 2015.

Working closely with Emma Middleton, the Curator of artists’ projects at the Museum, the students have been given a tour of the collection, attended a workshop at the Museum and have had access to archival material. From this the student have developed their own visual interpretations of the Foundling children’s stories and the legacy of the Foundling Hospital.

The results have been made into an illustrated publication designed by students Megan Ellis, Lauren Hackett and Nadine Smoczynski, which can be viewed in the Museum’s Introductory Gallery from November. Reflecting on the project, Nadine says, “I am extremely grateful for this opportunity, to be the lead designer of the publication from its inception to the final production has been both a turbulent and enriching experience. Working so closely with a major London Museum has been an invaluable experience for my professional development.”

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Natalie Itinov, Foundling Hospital & Foundling Museum collaboration, 2015.

A selection of artwork created during the project can be seen in a pop-up exhibition at the Foundling Museum on Monday 29 June with a Private View from 6-7.30pm. The show will present the many ways in which the Museum has inspired students on BA (Hons) Illustration and Visual Media to interrogate archival material and consider notions of memory, childhood and loss.

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Laylah Amarchih, Foundling Hospital & Foundling Museum collaboration, 2015.

Federico Piccolo says of his series of drawings ‘Founds’, “my work seeks to capture the mood of the children from the Foundling Hospital, their undefined identities and facial expressions recalling misty doubtful futures and lost pasts.” Amelia Ward’s prints ‘The growth of silence’ are inspired by the Foundling Hospital’s dining table, and its history of children eating their meals in silence around it, etching marks on its surface to substitute for the words they weren’t permitted to speak.

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Nadine, Lauren and Megan, Foundling Hospital & Foundling Museum collaboration, 2015.

The Foundling Stories project was organised by BA (Hons) Illustration and Visual Media tutor Charley Peters, who says of the project, “the Foundling Museum is a testament to creative spirit and what it can achieve to instigate social change. The history of the Foundling hospital and the stories of the Foundlings have provided much rich – but also challenging – material for us to explore.

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Federico Piccolo, Foundling Hospital & Foundling Museum collaboration, 2015.

The work produced during the project demonstrates that images can often say more than words about sensitive and complex subjects. We are all very grateful for the generous amount of time and energy that Emma Middleton and the rest of the Foundling Museum staff have contributed to the project.”

George Withington

George Withington, Foundling Hospital & Foundling Museum collaboration, 2015.

The Foundling Stories exhibition at the Foundling Museum is curated by Emma Middleton, Charley Peters, BA (Hons) Illustration and Visual Media tutor Rachel Taylor and students Rossetta Coupland and Enaitz Greaney.

To attend the Private View please RSVP to emma@foundlingmuseum.org.uk

Find out more about BA (Hons) Illustration and Visual Media

News // BA (Hons) Photography prizegiving

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BA (Hons) Photography at the LCC Summer Shows School of Media Private View. Image © Ana Escobar

As part of LCC Summer Shows 2015, the BA (Hons) Photography course held its annual prizegiving on Thursday 4 June in advance of the School of Media Private View.

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Work by Alex Jones. Image © Lewis Bush

Photography collector Michael Wilson selected Alex Jones for an award of £1000, with two additional prizes of £500 going to Stephanie Warren and Jeff Lam and Chong Ng.

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Work by Jeff Lam and Chong Ng. Image © Lewis Bush

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Work by Giovanna Petrocchi. Image © Lewis Bush

Flowers Gallery, which has two gallery spaces in London and hosts a cross-media programme by established and emerging artists, presented their award to Giovanna Petrocchi.

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Work by Lottie Bea Spencer. Image © Lewis Bush

The Metro Mentorship awarded by Metro Imaging went to Lottie Bea Spencer.

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Contemporary photography magazine Hotshoe gave their award to the evening’s double winners Jeff Lam and Chong Ng.

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Work by Alexandra Horgan

Norwegian energy company Statoil selected Alexandra Horgan to receive their prize.

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Work by Julian Maehrlein. Image © Lewis Bush

And finally, Brighton-based Photoworks UK, which commissions and publishes new work and produces exhibitions and events, gave awards to Julian Maehrlein and Kylie Fisher.

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Work by Kylie Fisher

Congratulations and good luck to all our talented winners!

Read more about BA (Hons) Photography