Lincoln School of Film and Media Research Seminar

Wednesday 1st March

Guest speaker: Dr Conohar Scott

Abstract: Framing Dissensus: the Projects of Environmental Resistance

Using Jacques Rancière’s description of art as a profoundly dissensual medium, which exhibits a ‘singular power of presence […] that tears experience from ordinariness’, I argue for the potential for art to alter the social imaginary in the struggle for environmental remediation. By way of comparison to the work of Richard Misrach and Andreas Müller-Pohle, I would like to focus primarily on the projects of the artist-led group Environmental Resistance (I am a founding member of this group), which is a UK collective currently comprised of a photographer, an environmental scientist and a graphic designer.

Environmental Resistance aims to provide a “service” for environmental advocates by combining an indexical description of the polluted topography with quantitative data affirming the existence of a substantive environmental threat. This is done by creating multimodal artworks, which merge photography with graphical content in the form of infographs, QR codes linking to scientific publications, or activist video footage. In other examples, the photograph is combined with mineral sampling data taken from within the frame of the image. In collaboration with activists or the environmental science community, the resulting artworks can then be disseminated to politicians, scientists, health professionals, civil servants and local citizens, in a bid to constitute a newly emergent public, cognizant of the threat offered by industrial polluters.


Dr Conohar Scott (b. Belfast, 1975) is a lecturer in photographic theory and a practicing artist at the School of Media & Film, University of Lincoln. Conohar’s research interests include exploring the representation of environmental despoliation in photography and the application of art as a tool for environmental advocacy. As part of his artistic practice, Conohar founded the collective Environmental Resistance, which is currently comprised of an environmental scientist, a photographer and a graphic designer. The purpose of the collective is to raise awareness of industrial pollution and campaign for environmental remediation. Conohar also organises symposia under the banner ‘Network Ecologies: Exploring Relations Between Environmental Art, Science & Activism’.

For further information please contact Diane Charlesworth, Senior Lecturer in Film, Television and Cultural Studies, University of Lincoln.


Lincoln School of Film & Media Research Seminar – 8th Feb

The Lincoln School of Film and Media research seminar this Wednesday is a paper to be given by Dr. Jamie Medhurst, Reader in Media History from the University of Aberystwyth. The paper is entitled: Reith, Television and the BBC’s Cultural Mission in the Interwar Years

The most commonly-accepted view in most television histories is that John Reith detested television, would have nothing to do with the medium, viewed those involved with establishing and running the BBC’s television service with contempt and refused to watch television programmes. The BBC’s own website perpetuates this idea:

He was less interested in the development of television. Anthony Kamm, the biographer of television’s inventor, John Logie Baird, says that Reith usually managed to be on holiday when significant events in television took place … One of his leaving gifts when he left the BBC in 1938 was a television set. He said he would never look at it.[1]

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The Ivan Juritz Prize 2017

Postgraduates from institutions throughout the EU are invited to submit projects that exhibit formal or creative daring. These might include creative writing (up to 2000 words), images, films (up to 15 minutes), digital artefacts, performances, or musical compositions.

The prize is a collaboration between the Centre for Modern Literature and Culture at King’s College London and Cove Park, Scotland’s International Artist Residency Centre. Winners receive £1,000 and spend the first two weeks of September at Cove Park engaging in a residency and showcase.

All shortlisted works are given a public performance at the prize-giving and are written up in the journal Textual Practice. The deadline is March 31 2017.

The prize will judged by Lisa Appignanesi, Rachel Cusk, Dexter Dalwood, Julian Forrester, Jeremy Harding, Deborah Levy, Stephen Romer, Fiona Shaw, and Ryan Wigglesworth.

For further information visit:

College of Social Science Inaugural Lecture – Prof Martin Tovee

The College of Social Science will be hosting the next Professorial Inaugural Lecture on Wednesday 8th February 2017.

This series of lectures are an opportunity to hear about the research work of some of our newest Professors in the College of Social Science at the University of Lincoln.

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Lincoln School of Film & Media Seminar on 25th January

Seminar Students

Lincoln School of Film & Media welcomes Dr. Tanya Horeck, Reader in Film, Media & Culture at Anglia Ruskin University, Cambridge, to give a paper entitled:
‘Caught on Tape’: Elevator Violence, Black Celebrity, and the Politics of Surveillance


‘Jay-Z physically attacked by Beyoncé’s sister Solange’: so screamed the TMZ headline to the “raw” surveillance video it obtained from the inside of an elevator in New York in May of 2014. The video instantly went viral and initiated thousands of memes organized around the hashtag #WhatJayZSaidtoSolange, as people clambered to share their responses to the video and to offer their theories as to why Solange physically lashed out at Jay-Z while Beyoncé stood by, still and silent. This paper compares the Jay-Z/ Beyoncé video to the Ray Rice surveillance video that TMZ published four months later, in which the black American NFL star knocks his fiancée unconscious in an elevator. I will examine how the two elevator videos become entangled with one another – both in mainstream media and in an explosion of internet memes – in ways that indicate the tenacity of certain deeply rooted and pernicious racial and gender stereotypes. It is no accident, I argue, that the most publicized surveillance videos on TMZ to date, involve the depiction of racialized, black bodies. What is of specific concern to me here is how the apparently “passive” lens of surveillance actively works to reproduce black bodies as toxic and criminal, in ways that both highlight – and obscure – the complex questions of agency that have become so central to digital platforms.

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