Use this URL to cite or link to this record in EThOS:
Title: Old borders, new technologies : visual culture and social change in contemporary Northern Ireland
Author: Blair, Paula Ellen Ann
ISNI:       0000 0004 2722 0919
Awarding Body: Queen's University Belfast
Current Institution: Queen's University Belfast
Date of Award: 2011
Availability of Full Text:
Full text unavailable from EThOS.
Please contact the current institution’s library for further details.
This thesis examines developments within contemporary experimental moving image production in Northern Ireland, exemplified in works by established and emerging artists, film-makers and performers. It identifies technological and formal convergences across media, and examines these in relation to the physical forms in which work is currently being exhibited and circulated, interpreted and evaluated. The aesthetic aspects of the works are contextualized within broader creative practices that blur boundaries between visual arts and subvert categories such as 'new media' and 'expanded cinema' that are becoming institutionalized. The study is shaped by four linked investigations into work concerned with the watching/being watched dyad emerging in issues of imprisonment, surveillance, traumatic recall, and myth-making. The first considers prison film-making from positions of memory-telling and rehabilitation in projects by the Prisons Memory Archive and Educational Shakespeare Company. Examined are video installations consisting of recordings of site-reactive testimonies told by former prisoners and staff of the now closed Maze and Armagh prisons. This is followed by serving prisoners' reinterpretations of Shakespeare as a means of telling their own collective story. The project turns to artists' inversions of state observation, which use surveillance devices reflexively to show how the real can be compromised by perception of the real. Public and private memories of trauma are encountered in live mixed media performance installations where the thesis explores connections between people's suffering expressed through varied art objects (e.g. screens, props, artists' bodies, etc.) in the same space. This raises questions surrounding the ethics and processes of representing difficult memories while confronting perceptions of female roles in conflict. Finally, the project considers artists' disruptions of history, myth, language, and interpretation to find different ways of articulating individual truths suppressed by communal 'official histories'.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID:  DOI: Not available