Sarah Cleary braves the Barley setting of Shoreditch to visit People Make Television at Raven Row Gallery, and finds that some of Britain’s most radical televisual communication occurred over 35 years ago.

Cathy Brennan uses a 30-second street interview clip on Twitter and uses it to opine on trans women’s relationship to the camera.

Kirsty Asher strolls through the programming collaboration between Deeper Into Movies and Weird Walk, and its quest to revive sight-specific Weird Britain on film.

The contemporary began on 11 February 2005, when the TV series Nathan Barley first aired on Channel 4. It ended just 5 weeks later, on the same station, with the finale.

Blaise Radley examines the aged but still open wound of Vulgar Auteurism, to ask why this specific notion continues to fuel online film chatter.

Orla Smith casts an eye across the current state of UK film production and distribution, to ask how the humble emerging filmmaker can get their foot in the door. 

If box-office receipts are anything to go by, we are living in the post-theatrical world.

Kirsty Asher’s Master & Commander: The Far Side of the World retrospective calls for a blockbuster cycle driven by physical production and visionary leaders.

Nadira Begum points out the dearth of stars that can move mountains, and argues that the resurrection of the romantic-comedy from the streaming dustbin is the only way to save an actor’s face: beautiful, huge.

Digby Houghton wades through the mire of ‘awards season’ to ask if there is any room for the mid-budget drama amongst the streaming and blockbuster landscape of American film.