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Emily Richardson

MPhil work

Articulating the Modern

What results from the interaction between architectural space and its filmic translation? How are spatial order, movement and rhythm articulated in British architects’ prototype houses of the 1960’s through artists’ experimental film practices?

The outcome of this research is a trilogy of films looking at post war modern prototype houses built by British architects. With each of the films a house is reconstructed on film, reactivating the architectural space as filmic space. The architectural examples chosen are: H.T ‘Jim’ and Betty Cadbury Brown’s 3 Church Walk, John Penn’s Beach House at Shingle St and Richard and Su Rogers 22 Parkside.

The films explore the interaction between architectural space and its filmic translation using experimental film practices as a method and extending theories of perception based in phenomenology to explore how the relationship between moving image and sound can activate architectural space to create a sensory experience of a space on film.

This research project and these films examine two architectures that we inhabit simultaneously, physical architectural space and filmic architectural space. Using techniques and conventions of both documentary and experimental filmmaking, particularly direct observation and archive research materials to rework space in filmic terms. 

Info

  • Emily Richardson
  • MPhil

    School

    School of Communication

    Programme

    Visual Communication, 2013–2018

  • I am a filmmaker and PhD candidate researching modern architectural space and its filmic translation through artists' experimental film practices. I'm interested in post war modern prototype houses built by British architects, rural modernism, experimental film, explorations of place through the lens, sonic maps and the way spatial, sonic and temporal structures operate in describing a space through experimental film practices to go beyond functional description into the realm of the poetic, narrative and the event in both film and architecture.

  • Degrees

  • BA Fine Art, Middlesex University, London, 1993; MFA Filmmaking, San Francisco Art Institute, 1996
  • Experience

  • Visiting Lecturer in Film and Video, NUA, Norwich, 2008 - 2013; Visiting Lecturer in Film/Video and Fine Art, UCS, Ipswich, 2014-present
  • Exhibitions

  • Night Has Many Eyes, Cinema du Reel, Pompidou Centre, Paris, 2014; Assembly: A Survey of Recent Artists’ Film and Video in Britain 2008-2013, Tate Britain, London, 2014; The Improbable Made Possible: Farewell From a Dying Star, Anthology Archives, New York, 2014; Scratch Projection, Lightcone, Paris, 2014; Experimenta, BFI London Film Festival, London, 2014; View, Generator Projects, Dundee, 2014; Capital: Framing London, Now Cinema, London, 2014; Essex Rd, Tintype, London, 2014; Articulating the Modern, Royal College of Art, London, 2015; Scene One: Off-Stage, Off- Screen, Flat Time House offsite at Peckham Plex, London, 2015; Town and Country: 5 English Panoramas, Oslo Cinemateket, Oslo, 2015; In Place of Architecture, Bonnington Gallery, Nottingham, 2015; FICXLAB, Gijon International Film Festival, Spain, 2015; Screenscapes, Royal College of Art, London, 2016; Tableaux, Assembly Point, Peckham, London 2016; Contact, Festival of New Experimental Film and Video, Apiary, London, 2016
  • Awards

  • Prix Gilles Dusein, Paris 2009
  • Conferences

  • Cadbury-Brown's 3 Church Walk, Modernism Now!, UCL, London, 2014; Cadbury-Brown's 3 Church Walk, In Place of Architecture, NTU, Nottingham, 2015
  • Publications

  • Paul Newland, Towards (East) London 2012: Emily Richardson’s Transit (2006) and Memo Mori (2009), and the work of Iain Sinclair, The City and the Moving Image Urban Projections, 2010, p156-169; Iain Sinclair, Transit, Invalid Format: An Anthology of Triple Canopy, 2011, p16-22; Catherine Croft, Things past, C20 Society magazine, Issue 1, 2015, p24-25; Allan Cameron and Richard Misek, Time-lapse and the projected body, Moving Image Review & Art Journal, Volume 3 Number 1, 2015, p38-51