Intermedial Art Practices as Cultural Resilience

Lindsay Blair is Associate Professor of Visual Studies and Cultural Theory at the University of the Highlands and Islands. She is the Principal Investigator of the “Hands Across the Sea” project (https://handsacrosstheseacom.wordpress.com/). Blair’s previous work on word-image and the film poem resulted in a monograph on the American Surrealist, Joseph Cornell, entitled Joseph Cornell’s Vision of Spiritual Order. Blair was then engaged by the BBC as Associate Producer for an Omnibus Documentary, Joseph Cornell: Worlds in a Box. Her recent research which has focused on word and image in the art of the Highlands and Islands of Scotland has been described as “a re- assessment of the tired narratives of Highland visual culture, shifting understanding to more international and contemporary discourses”. Examples of published outputs include: “Dalriada, the Lordship of the Isles and the Northern Rim: De-centralising the Visual Culture of the Highlands and Islands of Scotland”, Narratives Unfolding: National Art Histories in an Unfinished World (2017), ‘”Mutations from Below”: The Land Raiders of Reef and An Suileachan by Will Maclean and Marian Leven’, Northern Scotland (2020) and “The Photographs of A.B. Ovenstone and the Re-Invention of the Scottish Amateur Tradition”, The Journal of Victorian Culture (2023). Camille Manfredi is Professor of Scottish literature and visual arts at the University of Brest in Western Brittany. Her published work includes the monographs Alasdair Gray: le faiseur d’Ecosse (2012) and Nature and Space in Contemporary Scottish Writing and Art (2019), as well as the edited volumes Alasdair Gray: Ink for Worlds (2014) and Brittany-Scotland: Contacts, Transfers and Dissonances (2017), with Michel Byrne. She is the co-editor, with Marie-Odile Pittin-Hedon and Scott Hames, of Scottish Writing After Devolution: Edges of the New (2022) in which she contributed a chapter on “Scottish Audio- and Film-Poetry: Writing, Sounding, Imaging Twenty-First-Century Scotland”. She is the Co-investigator of the “Hands Across the Sea” project.

1. Introduction Part I: Film-Poetry and Cultural Resilience 2. In Praise of Peripheral Vision: Films about Poetry and Poems about Film 3. Voice and Identifying New Diegetic and Dialogic Frameworks in the Poetry Film 4. Film and Identity: Hugh MacDiarmid: A Portrait (Margaret Tait, 1964) 5. Borders and Lines of Fracture: John Burnside, Roseanne Watt and Havergey Part II: Spaces, Places, History and Politics and Intermedial Practice 6. The Moving and the Static: Radical Re-imaginings in the Works of Daniel Reeves and Helen MacAlister 7. “the lightest membrane between you and the landscape”: Thomas A Clark’s Practice and Film Poems” 8. Post-naturalist Figurative Strategies in Breton-language Public Television Documentaries: the Case of Plijadur an Ijin by Mikael Baudu 9. The Representation of St Kilda in Contemporary Creative Works in Literature in French and in Art 10. The National Theatre of Scotland and Multimediality: Lament for Sheku Bayoh (2020) and How The Earth Must See Itself (2020) Part III: Sonorous Landscapes 11. Musical Settings as Cultural Weapons: Some Archipelagic Thoughts 12. Yann Madec and Pierre Stéphan’s Diafonik: Across Matter, Contexts and Time 13. Eternal Surging: Consciousness and the Sonorous Gaelic Landscape