Oct 10, 2019

NEWS: Bodleian Launch Event 3 October 2019

Jamie Proud, formerly of Welfare State International, writes.

Daniel's Photographs

Of people.
Nicely framed, good contrasts, with a sense of history but mainly a sense of
humanity; of people.
Forty odd years after the photo was taken they turn up; best suits, shiny shoes;
wouldn't look any better for their daughter's wedding.

Forty years later the two sisters still look good and they, like the pigeon boy, are nice.
Coping, just, with the Bodleian crowd, bubbling warmth for Daniel.

Daniel, bent by MS, talks of people, thanks people, is only interested in people and
their stories.
The videos are only there to illustrate the stories, to mark the people.

Don't know how future academics will cope with the archive, his life's work.
They will have to invent new multi-polysyllabic words to analyse his works.
Fear they'll struggle with his simplicity; its ordinariness; it's about people.

I'm so glad he took a photo of me.

Jamie Proud in the title role: The Loves, Lives and Murders of Lancelot Icarus Handyman Barabbas Quail. Welfare State International. October 1977. Burnley, Lancashire.


Nov 24, 2019

7pm, Wednesday 20 November 2019. How to watch on catch-up

Oct 30, 2019

Ben Smith’s podcast NOW LIVE: #116 Daniel Meadows

Oct 23, 2019

Portraits capture lives of England's great ordinary. Bodleian Library exhibition and book.

Oct 10, 2019

Jamie Proud, formerly of Welfare State International, writes.

Sep 22, 2019

Blackwell Gallery, Weston Library, The Bodleian, Oxford
4 October – 24 November 2019

Aug 11, 2019

Daniel Meadows:
"A true storyteller and and extremely wise chap."

Aug 13, 2018

Boot-boys are 'Big Picture' in the Observer.

r/t: 2 min, 23 sec.

In the UK when we ask: "Where are you from?" we want to know a lot more than just your place of birth.

This story is about the England I come from.

<< Dana Atchley >>
Inspirations: 2 of 10

Two astonishing Digital Stories. Late 1990s.

Home Movies (aka The Turn Film) celebrates Atchley's grandfather's annual ritual of marching his four sons out of the house, walking them up the garden path and then telling them to do a 360 degree turn for the camera. By editing several of these "turn" clips together Atchley gives us a beautiful yet funny sequence of a family growing up, something he reflects upon in voice-over. Time is telescoped.

Redheads is narrated, both to camera and in voice-over, by Atchley's mother Martha who tells of her childhood growing up on a farm in western New York State.

I paid my first visit to Atchley's Next Exit site in the spring of 2000 and we immediately began an email exchange. He invited me to attend a Centre for Digital Storytelling workshop in Berkeley, California, later that year... which I did.