Jamie Chambers
Biographic Data
| ID | 5935856 |
|---|---|
| NAME | Jamie Chambers |
| GIVEN NAMES | Jamie |
| FAMILY NAME | Chambers |
| SIGNATURE | CHAMBERS J |
| AFFILIATIONS | University of Edinburgh |
| ORCID | 0000-0003-1799-5510 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Fabulation, Magical Transformation, and Montage
Between audience and community
In their account of the 'evolution of entertainment from "folk" art to "popular" art', 1 Stuart Hall and Paddy Whannel identify the interlinked processes of delocalization, individualization and cultural discontinuity that accompanied the transition from relatively localized forms of community culture to more globalized forms of mass culture.They argue that the move away from a folk culture grounded in oral forms 'close to "life" and "people"', 2…
Mysterious objects
This essay explores the multimodal translation of Scottish community oral cultures to cinema through a critical reflection upon aspects of the production and post-production of a feature-length documentary film, Mysterious Object. Guided by the work of cultural studies authors such as James Clifford and Stuart Hall, alongside reference to oral cinemas elsewhere in the world (such as the work of Apichatpong Weerasethakul in Thailand, indigenous fi…
Exploring Images of Community, Collectivity and ‘The People’ within Emergent Discussions of a Folk Cinema
Preview this article: Exploring Images of Community, Collectivity and ‘The People’ within Emergent Discussions of a Folk Cinema, Page 1 of 1 /docserver/preview/fulltext/fint/20/4/fint.20.4.53_Chambers-1.gif
Utopian Montage
This essay explores some of the simultaneous limitations and affordances the Covid-19 pandemic has created for emergent perspectives upon a transnational folk cinema. Merging aspects of more traditional scholarly enquiry with the research-by-practice embodied within Scotland's Folk Film Gathering film festival, we position two case studies - of Nadir Bouhmouch's Amussu (2020) and the Amber Collective's Like Father (2001) respectively - within som…
Inaugurating discussions of an oral cinema
This article seeks to inaugurate the global frame of an oral cinema: a cinema that, to a significant extent, is defined by its relationship to community oral cultures. Whilst the case studies featured are largely those arising from Scotland – in particular Simon Miller’s Seachd: The Inaccessible Pinnacle (), Timothy Neat’s Play Me Something () and the author’s own film Mysterious Object (currently in post-production) – discussion deliberately rea…
Towards a folk cinema
Journal Article Towards a folk cinema Get access Jamie Chambers Jamie Chambers Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 59, Issue 1, Spring 2018, Pages 80–98, https://doi.org/10.1093/screen/hjy001 Published: 15 March 2018
Towards a folk cinema
Journal Article Towards a folk cinema Get access Jamie Chambers Jamie Chambers Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 59, Issue 1, Spring 2018, Pages 80–98, https://doi.org/10.1093/screen/hjy001 Published: 15 March 2018
Towards a folk cinema
Journal Article Towards a folk cinema Get access Jamie Chambers Jamie Chambers Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 59, Issue 1, Spring 2018, Pages 80–98, https://doi.org/10.1093/screen/hjy001 Published: 15 March 2018
Utopian Montage
This essay explores some of the simultaneous limitations and affordances the Covid-19 pandemic has created for emergent perspectives upon a transnational folk cinema. Merging aspects of more traditional scholarly enquiry with the research-by-practice embodied within Scotland's Folk Film Gathering film festival, we position two case studies - of Nadir Bouhmouch's Amussu (2020) and the Amber Collective's Like Father (2001) respectively - within som…
Inaugurating discussions of an oral cinema
This article seeks to inaugurate the global frame of an oral cinema: a cinema that, to a significant extent, is defined by its relationship to community oral cultures. Whilst the case studies featured are largely those arising from Scotland – in particular Simon Miller’s Seachd: The Inaccessible Pinnacle (), Timothy Neat’s Play Me Something () and the author’s own film Mysterious Object (currently in post-production) – discussion deliberately rea…
Mysterious objects
This essay explores the multimodal translation of Scottish community oral cultures to cinema through a critical reflection upon aspects of the production and post-production of a feature-length documentary film, Mysterious Object. Guided by the work of cultural studies authors such as James Clifford and Stuart Hall, alongside reference to oral cinemas elsewhere in the world (such as the work of Apichatpong Weerasethakul in Thailand, indigenous fi…
Exploring Images of Community, Collectivity and ‘The People’ within Emergent Discussions of a Folk Cinema
Preview this article: Exploring Images of Community, Collectivity and ‘The People’ within Emergent Discussions of a Folk Cinema, Page 1 of 1 /docserver/preview/fulltext/fint/20/4/fint.20.4.53_Chambers-1.gif
Between audience and community
In their account of the 'evolution of entertainment from "folk" art to "popular" art', 1 Stuart Hall and Paddy Whannel identify the interlinked processes of delocalization, individualization and cultural discontinuity that accompanied the transition from relatively localized forms of community culture to more globalized forms of mass culture.They argue that the move away from a folk culture grounded in oral forms 'close to "life" and "people"', 2…
Fabulation, Magical Transformation, and Montage
Art (7 works) · Sociology (7 works) · Aesthetics (6 works) · Movie theater (6 works) · Cinema and Media Studies (5 works) · Media studies (5 works) · Visual arts (5 works) · History (4 works) · Literature (4 works) · Epistemology (2 works)