Studies in Arts and Humanities Journal - Vol 2, No 2 (2016)
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Item Sean MacDiarmada(SAHKartell, 2016) Madden, TomSeán MacDiarmada: Signatory to Proclamation – Executed after the Rising of 1916 – Leitrim to Kilmainham was written by Tom Madden to coincide with the 1916/2016 centenary commemorations. The play was first performed at the Mullagh Arts Festival in Cavan during September 2016 and provides a lively account of the background and activism of one the seven leaders of the Easter Rising of 1916. The action plays out over twelve scenes taking in MacDiarmada's journey from teacher to revolutionary activist culminating in a deeply flawed court-martial and his subsequent execution by a British Army firing squad on May 12th, 1916.Item Item Interview with the Creators of Love/Hate(SAHKartell, 2016) Carolan, Stuart; Flynn, James; Murphy, ConorOn 25th November 2015, Studies in Arts and Humanities (SAH) Journal hosted a public interview with leading Irish film and television producer James Flynn (Octagon Productions) and creator/writer of the groundbreaking Irish television drama Love/Hate Stuart Carolan. The interview was conducted by Conor Murphy (Editor-in-Chief, SAH Journal) at Filmbase Ireland before a live audience comprising students and faculty from the film schools of Dublin Business School, Filmbase and Pulse College. This lively and thought-provoking interview provided key insights into the artistic and production processes behind the making of a successful TV drama. James Flynn gave a detailed overview of the funding and legislative frameworks in which the modern day film producer operates both in Ireland and overseas. He provided a fascinating timeline of developments in the filmmaking industry in Ireland in parallel with his own career over the last twenty years. Stuart Carolan explained how the rich and varied characters that inhabit Love/Hate come into being and offered an insight into the daily writing rituals that shaped the development of character, plot and pace. He also spoke about the significance of casting in Love/Hate on the development of the story. The casting of John Connors, for example, influenced Stuart to develop a traveller theme to a greater extent than initially intended. Stuart’s passion for social justice and equality was evident throughout the interview. The interview is replete with analysis of the process of developing Love/Hate including the logistics of shooting in multiple locations and the tight deadlines under which they operated. In addition, James and Stuart offered focussed, helpful and encouraging advice for emerging screenwriters and filmmakers.Item Challenging Art: An Interview with Italian Artist, Biancoshock(SAHKartell, 2016) Biancoshock; Cashell, FionaMilan-based socially engaged artist, Biancoshock (a pseudonym the artist prefers to use), was kind enough to take time out of his schedule to answer some questions for SAH Journal. We wanted to know more about his diverse, and often provocative urban art projects; as well his time spent travelling and creating in different parts of the world. So far in his career, Biancoshock has realised more than 800 “interventions” on the streets of Italy, Albania, Belgium, Croatia, France, England, Malaysia, Malta, Norway and Singapore, to name but a few. While he exhibits widely, he has also participated in numerous urban art festivals (Citileaks, Memorie Urbane, Stencibility). In 2014, he presented his work at TEDx Oporto, Portugal.1Biancoshock places social activism high on his list of priorities, using art as the mediator for a worthwhile and necessary conversation between each individual who encounters it. By choosing unconventional sites for the creation of his art, and involving those spaces in intimate and challenging critiques, Biancoshock infers his questioning more seriously towards society and the centrally politicised - perhaps overly polished - contemporary art world.Item Ossian & the Hare: An Experiment in Poetry and the Alchemy of Film(SAHKartell, 2016) Wilson, NaomiOssian & the Hare is an experimental film-essay combination intended to work like two sides of the one coin. The 20-minute long film is designed to be more experiential than narrative driven, moving us through various spaces and atmospheres as if in a kind of dreamscape. In pointing up some of the thinking and ideas that are embedded in the film, the text provides a framework situating the film within a film-as-artwork context. It outlines many of the influences that contribute both to visual style and content, offering more depth to the overall experience of viewing the film. Author keywords: Experimental films; Mythology; Liminality in motion pictures; Poetry in motion pictures, Celtic arts