NEWS: Daniel Meadows new CRB title
New title from Café Royal Books, Daniel Meadows’s film stills from Tony Palmer’s Testimony, 1987.
Tony Palmer’s 1987 film of Testimony: The Story of Shostakovich stars Ben Kingsley as Dmitri Shostakovich (1906-1975). Despite being set in the Soviet Union it was made largely in the North of England. Locations include: Haigh Hall, Wigan; Eckersley Mill No.2, Swan Meadow, Wigan; Lever Park, Bolton; Alhambra Theatre, Bradford; St. George’s Hall, Liverpool; Lakeside and Haverthwaite Railway, Windermere.
“Testimony is one of those comparatively rare events nowadays — a real piece of cinema. Palmer’s prowess as an editor, his knack of juxtaposing image and music — something which has remained his forte since he first caused a stir back in the Sixties with Buddhist monks burning to The Beatles — has a field day in Testimony. Most importantly for a movie about a composer, there is always the feeling that Palmer understands the music.” Derek Elley Films & Filming.
Buy the DVD or watch it now on YouTube:
Martin Parr: Return to Manchester includes June Street, Salford 1973, a collaborative project with Daniel Meadows
New Order: Decades broadcast Saturday 22 September 2018.
Boot-boys are 'Big Picture' in the Observer.
Kelly McErlean's new book, Interactive Narratives and Transmedia Storytelling, London: Routledge, pp.14-15
Daniel Meadows in new exhibition at The Hepworth, Wakefield, opening 13 July.
Daniel Meadows and Niall McDiarmid, walk-and-talk at the Martin Parr Foundation.
New title from Café Royal Books, Daniel Meadows’s film stills from Tony Palmer’s Testimony, 1987.
Daniel Meadows and David Hurn walk-and-talk Hurn’s ‘Swaps’ exhibition at Museum Wales in Cardiff.
Polyfoto
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.
Book. 1981. Camera Lucida, reflections on photography. After years of dispassionate analysis Barthes comes across a photograph of his mother as a child, the "winter garden photograph". He lets his feelings in and suddenly the ideas start bouncing off the page: "I had discovered this photograph by moving back through Time? I worked back through a life, not my own, but the life of someone I love. Starting from her latest image, taken the summer before her death (so tired, so noble, sitting in front of the door of our house, surrounded by my friends), I arrived, traversing three quarters of a century, at the image of a child: I stare intensely at the Sovereign Good of childhood, of the mother, of the mother-as-child. Of course I was then losing her twice over, in her final fatigue and in her first photograph, for me the last; but it was also at this moment that everything turned around and I discovered her as unto herself. "