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Utilising analysis of film clips, filmmaking exercises and the development of single screen and multi-platform strategies for exhibition and presentation, this course is concerned with the production and development of anti-fascist, anti-nationalist, anti-imperialist and anti-racist film as a practice.

Attendees will explore critiques that explore notions of nationalism and imperialism, fascism and propaganda, to consider different filmmaking techniques deployed to construct anti-colonial/nationalist/racist film.

With filmmakers Amanda Egbe, Senior Lecturer in Media Production at the University of the West of England and Rastko Novaković, writer and activist.

Weekly Outline

1. Definitions

How can we define racism, fascism, nationalism, and colonialism in order to understand and resist it? How does the moving image reinforce or define these in its own language? This session will consider the contested definitions as a basis from which we can begin to articulate filmic responses, through exercises of reflection and close analysis.

2. Responses and critiques

Drawing out past and present counter-strategies to fascism, racism and nationalism. What are the lessons of anti-war and anti-racist media strategies? How useful is the concept of the ‘public sphere’ as a space for political action and strategies of re/presentation? What are the strategies of ‘Third Cinema’ and its resistance to neo/colonialism and ‘Fifth Cinema’ as a call for indigenous cinemas?

3. Archives and re-use 

Archives and repositories are often the site of research and content for moving image projects concerned with historical or contemporary considerations of fascism, racism or stories of colonialism and nationalism. How can we utilise these materials in such a way as to frame them within an anti-fascist and anti-racist context? Remixing and repurposing footage requires strategies which account for the source material while shifting its intention – what should we consider in these practices?

4. Testimony

Interviews and first-person accounts form another central strategy for filmmakers in fiction and non-fiction contexts. How can we understand and use notions and strategies of witnessing, the personal/poetic voice, re/telling, monitoring? What practices of testifying should we privilege if any?

5. Screening contexts: From single screen to interactive and multiplatform

Beyond the single screen space as a mode of presentation, filmmakers can challenge the audience through the exhibition mode. How can we see the cinema viewing space as a further place for resistance? We will consider different screening strategies, including online and interactive environments. We will consider how we can traverse how and when we view films, either in a cinema, streamed, installation or on mobile devices as an important strategy in anti-fascist cinema practice.

Learning outcomes:

1. Identify depictions of racism, fascism, nationalism and anti-racism, anti-fascism and anti-nationalism in the context of cinema and moving image.

2. Analyse and evaluate effectiveness of strategies of anti-racism, anti-fascism for screen.

3. Design and propose approaches for your own work (or productions that you have seen/or could imagine) as multiplatform or expanded screenings in the context of anti-racism.

4. Reflect on your own practice (making and viewing) and evaluate your strengths and propose areas for development, when considering anti-racist, anti-fascist and anti-nationalist film production.

Learning outcome 4) should be considered through the course by attendees. They should consider utilising a journal between sessions, this is a suggestion not a prerequisite for the course.

This course will be delivered via online distance learning, and students will require a computer or other internet connected device.

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