5 Apr: TSE Research Group – Women’s’ voices with Lucy Carlyle

This meeting focussed primarily on the influence of women within the Waste Land.

img010 (2)

Lucy talked about Eliot’s attitude to women  as depicted in the poem, and also the role played by women in society at that time.img011



18 Nov: 1st meeting of the TSE Walking Group

Instigated by Elspeth Penfold

Elspeth emailed the group with a view to setting up a regular walking group.  It was a cold blustery day for those of us who turned up and was very much a walk to meet each other and to see how we felt future walks should be organised.

20151119-IMG_1089 copy

20151119-IMG_1100 copy

20151119-IMG_1094 copy

Keith was a wealth of knowledge of snippets of local information and kept the group entertained.  We followed the route that Eliot would have travelled on his return to the former Albermarle Hotel, unfortunately now demolished.

It was agreed that we would like to continue meeting possibly fortnightly, weather permitting.



17 Nov: Pt. 5 ‘What the Thunder Said’ at Cliftonville Library


A group from Hartsdown Academy performed their interpretation of part 5 of the poem.

20151117-_MG_5464 copy

This was followed by a discussion on part 5 with everyone present.  It was very interesting to hear the viewpoints particularly those of the younger people present.

20151117-_MG_5476 copy

20151117-_MG_5482 copy

20151117-_MG_5488 copy

Copies of the images taken of ‘The Hackers’ were later passed to a member of their staff as evidence of work they have done.

13 Oct: Pt. 3 ‘The Fire Sermon’ at Margate Museum


This again was a challenging environment to take images in.  The lighting was extremely poor in an old building with very high ceilings.

20151013-_MG_4962 copy



There was again a good turn out of people and some useful, interesting insights into the poem.  All the images I have been taking are also shared with the gallery and I have been sending copies of relevant images to the main speakers following each meeting so far.

30 Sept: Pt 2 – ‘A Game of Chess’ at Margate Yacht Club

TS Waste Land Research Group meeting

Prior to the meeting Trish had emailed the group asking for someone to document the meetings and so I volunteered.  It is a good opportunity to become familiar with the gallery and to make my work known to more people.

20150930-_MG_4661 copy

The meeting at the Yacht Club, chaired by Rosalie Schweiker  was a bit of a squeeze as a lot of people attended.  However it was very good interesting and everyone seemed to enjoy meeting up again.

20150930-IMG_4707 copy

20150930-IMG_4803 copy

However from my viewpoint it was very challenging as there was little natural lighting, and as there were so many people crammed into a small space it was difficult to get my camera round for varied shots.

20150930-IMG_4790 copy

6 Oct: A guided walk to The Waste Land with Dr Ian Jones


Ian had suggested setting up a reading group for those people who are unfamiliar with the poem and the first meeting was held at the gallery.  There was a good attendance to this event and the space and lighting enabled me to take some better images than those taken at the Yacht Club.

20151006-_MG_4882 copy

20151006-_MG_4868 copy

20151006-_MG_4866 copy

It is interesting to note those people who are regularly supporting the group, and also to see what a cross-section of knowledgeable, talented people who are attending.


26 Aug: Turner Contemporary – The Waste Land Research Group Inaugural Meeting


The first meeting of those interested in joining the group was held at The Nayland Rock shelter on the seafront at Margate.  It was an opportunity for the gallery to determine the amount of interest, planning further meetings and look at Part 1 of the poem.  Trish Scott from the gallery will be the overall curator, together with Mike from Cardiff Museum and Art Gallery.

We began by walking from the gallery across Margate Sands following the direction that TS Eliot would have taken when it is alleged that he was in there at the shelter in 1921.



It is certainly true that the skies there in Margate are truly amazing.


Mike talking to the group before we split into smaller groups to look at Part 1.



It will be interesting to see how this develops and where I can best make a positive contribution.





14 April: Final Thoughts and Influences.


Having had the experience of making the initial proposal I found this a most helpful and informative exercise and it enabled me in turn to investigate changes which needed to be made for the final submission.  After spending time looking closely at the films of a very diverse range of filmmakers from Jean Cocteau, through to Terence Davies, Zineb Sedira and Zarina Bhimji, it made me analyse and focus more closely on exactly what I wanted to achieve through my own video.

I found scenes that did not involve any human presence particularly thought-provoking and created for me personally a greater involvement with the chosen subject. However, I soon realised that it would be virtually impossible to avoid a human presence due to the subject matter I had chosen. As the video concentrates on people begging and living on the streets, a human presence is in fact pivotal to my video.  So my challenge was to try to find a common ground, to relate what I wanted to show and not merely depict people and scenes in a purely documentary way.  I also wanted to use other influences to guide my own practice but still use my own voice.  So the work particularly of Zineb Sedira and Zarina Bhimji influenced the  way I had previously thought about the importance of the speed, and the flow of one scene to another; the mix of incremental sound and audio and to create a general pace for the work as a whole .

As a first attempt at making a video it brought the need for technical expertise into play and also emphasised the importance of smooth panning shots, and the ability to create different levels of focus, through such things as zooming in on a subject.  The ability to be able to use my Canon 5D MKII to do the filming was a great asset, although I soon realised that the audio capabilities of the camera were somewhat limited, so in turn I used a Zoom H1 hand-held  recorder when I was undertaking the interviews. This also made it easier in the editing process when I wanted to treat the audio aspects separately from the visual recordings.

As a photographer such things as composition become almost automatic over time and filming itself was an exciting experience.  The general public seemed almost to disregard me and seemed less suspicious than if I was out taking pictures with my camera. It also highlighted the need for the necessary equipment, such as filming on a tripod or monopod and the ability to film on the move whilst holding a heavy camera.  This is something that I need to prefect with the acquisition of the correct equipment.

As a result of the initial proposal it was also it was also necessary to reduce the amount of content as the resulting work would have been too long, so this in turn made me look more closely as what was important to include and in turn what to remove.  For example,  I did not finally include any of the interviews I had recorded with members of the public but merely included those taken with people who had experience of begging and living on the streets.

The editing process, whilst time-consuming I found was personally challenging, exciting and  a very creative process.  It highlighted the importance of audio as an instrument to create atmosphere to the visual element of the film.  Initially I had intended to  include music appropriate to the subject matter, such as Tom Jones’ ‘I want to go home’, but realised that it is preferable to have instrumental tracks only, so as not to create any influence on the viewer, whether intentional or otherwise.  I was also interesting in being able to mix in different layers of audio and in turn fine tune such things as when sound fades in and out on a scene, and to lead in to the next scene.


The word count limit for the written element of the submission meant that whilst initially I had intended to compare a film by Zineb Sedira with one by Zarina Bhimji, I could realistically only focus on one film.  So I chose Yellow Patch  by Zarian Bhimji, which had made a lasting impression on me having first seen her work in December 2012.    The written element of this submission can be seen via the following link:


Personally I have greatly enjoyed discovering the work of people I may have come into contact with before but not looked at so closely.  As a result I now find that I particularly view film footage in a different way after having made the video.  With everything that one does we become more critical of our own work, or find ways that it could be improved if we were repeating the exercise.  In this respect learning in turn enables one to gain expertise and together with it the confidence to progress in the future.