BA Hons Fine Art, MFA Fine Art

Senior Lecturer in Film and Media studies
Chair, Production Liaison Committee
International Links Tutor for Communication, Film and Media


Room: Hel 322

Email: jennifer.nightingale@anglia.ac.uk

Telephone: 0845 196 2075
International: +44 1223 363271 ext 2075


Jennifer Nightingale's research activity

Jennifer graduated from the MFA at the Slade School of Fine Art and currently lecturers at Anglia Ruskin University, Cambridge and the Royal College of Art, London.

Her film Pinhole Camera Film No. 1 was cited in Nicky Hamlyn's book Film Art Phenomena (published by the BFI in 2004) and was screened at the Serpentine Gallery London. Knitting Pattern has been screened at the Tate Modern, London.

The Pinhole film series and Knitting film series present ideas of gesture and trace in relation to the frame and the technology of the 16mm Bolex camera, and in both cases they re-configure controls of a conventional production process.

Pinhole Camera Film No.1 asserts a mode of making, which takes film back to its origins through a reductionist methodology and a focus on material and the role of camera - the tracing of light through the plastic of the celluloid. These traces of light, viewed as uninterrupted streaks on the filmstrip are re-animated within the projection experience, imposing the conventional frame rate of 24x a second and duration of time unreflective of the pro-filmic event.

The films Knitting a Frame and Knitting Pattern No.1 employ common systems of production to reflect issues of time and pattern, exploring analogies between artists' film/animation and knitting. Again these films extend the notion that construction of the film/and or fabric can be reliant on programming, controls and human gestures outside of their respective conventions.

In Knitting a Frame a single frame animation method is used. The knitter is at once the performer and the producer of the work; their gesture of knitting produces/advances the film and in doing so inscribes every frame with a precise moment in time. Through this act the knitted fabric and the film are indexicaly tied and the time-lapse is dictated by the knitters own rhythm. The filmmaker becomes the machine and the line of yarn mirrors the throw of the projector.

In Knitting Pattern No. 1 the pattern is transformed from a pictorial graph where pattern is experienced singularly to a film where the viewer experiences many images over a duration and the rhythm of the changing coloured balls of wool creates optical colour mixing through the persistence of vision.

Areas of supervision:

• Artists' Film and Video
• Experimental Animation

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