Hull Literature Festival - Humber Mouth 2006

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Friday 30th June

Friday 30th June, 8pm
Hull Truck, Spring Street

Mother of All One Man Shows

�5 Box Office 01482 323638

George Galloway MP ©AMEG

The opportunity to meet and ask questions of the charismatic MP George Galloway.

Author of I'm Not The Only One, George Galloway is one of the most controversial figures in British politics today. A central organising force and mobilising figurehead for the Stop The War Coalition, he is a co-founder of Respect, a new political party. He appeared on Celebrity Big Brother in 2006.

Known for his blistering debating skills and fiery style, it has been said that he has "the gift of the Glasgow gab, a love of the stage and an inexhaustible fund of self-belief." The Spectator once honoured him as Debater of the Year, and following his sensational appearance in front of the US Senate he made spectacular global headlines from seasoned observers of Capitol Hill politics. Currently wowing listeners on talkSPORT as a chat-show presenter, he is drawing their highest ever ratings for a weekend show.

The evening offers a chance to hear first hand from one of the finest speakers in British politics about his life, beliefs, and passions. Taking questions on all aspects of his career and politics, George Galloway promises to deliver the mother of all one-man shows.

George Galloway will sign copies of his book during the evening.
Presented by Clive Conway Celebrity Productions

Friday 30th June
Hull Screen, University of Lincoln, George Street Annex, George Street

Box Office 01482 327600

HULL FILM presents a specially curated two-part film programme as part of the HUMBER MOUTH festival
�3.50 / �3

Andrew Kotting
1996 / 103m / col / 35mm

Part home movie, part road movie, K�tting's riveting and eccentric film stars his 85-year old grandmother Gladys - opinionated, bursting with anecdotes and contradictory reminiscences, and his eight year old daughter Eden. As the journey begins, the two are practically strangers, but by the end, 'Little Eden' and 'Big Granny' have struck up a warm bond, a relationship lent added poignancy by the fact that Eden has Joubert Syndrome, a condition that affects her speech and movement so she communicates through sign language. Not only do the trio discover more about themselves along the way, but they also find that the seaside communities host a wealth of eccentrics. K�tting uses 16mm and Super 8 filmstock, found footage, timelapse photography and much non-synchronous sound to reveal a wonderland of bizarre traditions and quirky strangers.

Short film programme

�5 / �4.50 / �4 / �3.50

This programme of eight short films focuses on the representation of language, words and authors on film. The artist filmmakers approach this subject in a great number of ways.

John Smith
1975 / 7m / col / 16mm

The film plays as a rebus (a game in which words are replaced by pictures), resulting in a number of visual puns contrasting with dense text.

'Images from magazines and colour supplements accompany a spoken text taken from 'Word Associations and Linguistic Theory' by Herbert H. Clark. By using the ambiguities inherent in the English language, Associations sets language against itself. Image and word work together/against each other to destroy/create meaning.' John Smith

Derek Jarman
1983 / 16m / col / 16mm

Originally filmed on Super 8, reprocessed 'skip frame' shots of William Burroughs in London are accompanied by a looped repetition of him uttering a single phrase

Richard Kwietniowski
1991 / 2m / bw / 16mm

One of the greatest authors of the twentieth century finds himself in a hotel room with a gendarme and a chicken.

Ian Breakwell
1973 / 9m / col / 16mm

'The visuals in Repertory consist of one continuous tracking shot, during which the camera completely circles the exterior of a locked and empty theatre�On the soundtrack a voice describes a three week cycle of imagined presentations inside the theatre. The instant polarity between concrete, defined image and fictional narrative is exaggerated by the nature of the descriptions, which are wittily absurd and fantastic: the form allows Breakwell to gleefully attack theatrical representation on film not only by identifying it as fiction to be set against visual fact, but also by giving it its sole existence in the words of the narrator and the minds if the audience.' Tony Rayns.

Guy Sherwin
1991 / 1m / col / 16mm

'This work represents a collaboration between filmmaker and poet responding to tensions between film and the spoken word.The scene is a parade of shops in Grove Rd, Mile End London: the voice a male mid-life crisis. Shop fronts and other images provoke and externalise the many themes of conflict. Biblical and literary allusions reinforce the humour and sense of anxiety.' Martin Doyle

David Lamelas
1970 / 7m / bw / 16mm

On the occasion of a solo exhibition at the Galerie Ivon Lambert in Paris, David Lamelas creates a work where the point of departure is the "site" itself. The work is based on a conversation between French writer Marguerite Duras and Argentinean writer Ra�l Escari (who is heard, but is always off screen) and filmed in the calm atmosphere of Duras' country house.

Paul Sharits
1966 / 4m / col / 16mm

50 words visually 'repeated' in varying sequential and positional relationships/spoken word soundtrack/structured, each frame being a different word or word fragment, so that the individual words optically-conceptually fuse into one three and three quarter minute long words. Barbara and Robert Forth are heard on the soundtrack.

Alan Schneider
1965 / 28m / bw / 16mm

AKA Samuel Beckett's Film. This is Beckett's only venture into the motion pictures and is appropriately titled Film. It is a near-silent work that invokes the feel of the silent era, albeit in Beckett's peculiar way. It is perfectly fitting that Beckett chose 'The Great Stone Face' Buster Keaton as the main character (for almost the entire film, the only character). The black-and-white photography, the old furniture, and the peculiar garments of the just-as-old apartment building's tenants, all contribute to the mise-enscene that harkens back to early cinema. With Beckett's intense focus on the self and an emphasis on the solipsistic, the length of Film is perfect. 2006 is the centenary of Samuel Beckett so a fitting screening in tonight's programme