26:
282:
Amber moved away from standard documentaries to experiment with form. By the mid-1980s, scholars James
Leggott and Tobias Hochscherf argue that Amber's "film work could broadly be divided into three strands: documentary portraits of places, people and work environments; more formally complex works of
204:
in 1977 to serve as their base, and developed a relationship with many
European photographers. Scholars David Crouch and Richard Grassick write, "Amber's work argues for a long-term commitment to communities, encouraging active participation in the production process by those being filmed." Along
302:"built upon earlier techniques and experiments to interweave a fictional narrative with documentary footage, and improvised and reconstructed dramatic scenes. The final film was the product of two years' working and living alongside the seacoalers." The film won the
193:. Established to document cultural, political and economic changes in the region, Amber Films member Graeme Rigby said that the founders "may be didn't realise the extent of the changes that were coming, but that is what has been captured."
430:, individuals are not credited on their films, instead opting for the credit "Amber Production Team", or variants thereof. At one point there were 18 members of the collective, but this became unworkable. In 2001, according to an article in
136:. Often combining professional and non-professional actors, Amber has produced several documentary and feature films of varying lengths, sometimes blending documentary with fiction. Their productions have included
214:
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from 1991 was a feature length film produced by the collective starring Anna-Marie
Gascoigne and Amber Styles combining realism with fantasy elements to tell the stories of women living in the
157:
Although Amber have received little national attention, scholar Mike Wayne suggests they are "possibly the most successful 'studio' -- in terms of sheer longevity -- in
British film history".
434:, there were seven. The group decided that everyone would be "paid the same, irrespective of whether they had children." Members have included photographer Sirkka-Liisa Konttinen, whose book
279:, which was also set for demolition. Amber have been criticised by development agencies and tourist boards for focussing upon declining industries rather than promoting new developments.
980:
887:
860:
Leggott, James; Hochscherf, Tobias (2008). "From Marks and
Spencer to Marx and Engels: a transnational EF and Amber Film documentary project across the Iron Curtain".
232:
because it was considered to be an incitement to violence. The collective paid themselves £5 a week, and set about to record working-class life which, founding member
411:, released in 2001 about identities between grandfather, father and son, was their biggest-budget production at that point: £600,000 including distribution costs.
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990:
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with similar collectives in other
British cities, committed to working outside of the commercial industry, they were awarded grants from bodies such as the
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was a generation-gap saga played out against a horse-racing backdrop, starring Brian Hogg and Darren Bell. In 1994, the collective produced the film essay
255:. Although the BBC argued that the theme song was "unintelligible", the collective refused to change their work, and, thus, the film was never broadcast.
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During the 1970s, the collective produced more documentaries, financially supported by the regional funding body
Northern Arts. Productions included
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Crouch, David; Grassick, Richard (2005). "Amber Films, documentary and encounters". In Crouch, David; Jackson, Rhona; Thompson, Felix (eds.).
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drama-documentary... and full-length fictional films... which evolved out of earlier documentary and photographic projects".
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829:
James, David E. (1996). "For a
Working-Class Television". In James, David E; Berg, Rick (eds.).
313:, an experimental mix of thriller and documentary, focussing upon the ambitious 1960s leader of
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The collective often host exhibitions related to their current projects at their base at
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directors
Barbara and Winfried Junge to produce a two-part film with punning titles:
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Produced in 1969, Amber's first film in
Tyneside was a 10-minute documentary on the
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Channel 4 helped to finance and produce their first feature-length film,
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271:, about a traditional brick-making factory on the brink of closure, and
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Amber was founded in 1968 by film and photography students at London's
660:"Profile of Newcastle's low budget movie-makers, the Amber collective"
735:"Amber Films: a mini-retrospective of the radical collective - video"
897:
Island Stories: Unraveling Britain; Theatres of Memory , Volume II
215:
Association of Cinematograph Television and Allied Technicians
311:
T. Dan Smith: A Funny Thing Happened on the Way to Utopia ...
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Marx at the Movies: Revisiting History, Theory and Practice
414:
An exhibition of Amber's photographic work was held at the
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533:"Amber exhibition captures 50 years of life in North East"
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688:
In fading light : the films of the Amber Collective
831:
The Hidden Foundation: Cinema and the Question of Class
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labelled the film "a drama of enormous importance".
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926:In Fading Light: The Films of the Amber Collective
886:: CS1 maint: DOI inactive as of September 2024 (
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189:a year later with the aim of documenting life in
811:". In Mazierska, Ewa; Kristensen, Lars (eds.).
916:Political Film: The Dialectics of Third Cinema
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146:, along with a drama-documentary about 1960s
132:with an aim to capture working-class life in
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981:Photography museums and galleries in England
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34:in Newcastle upon Tyne, looking towards the
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803:Brady, Martin (2014). "Marx for Children:
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334:From Marks and Spencer to Marx and Engels
330:From Marx and Engels to Marks and Spencer
493:"I once put our entire grant on a horse"
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220:The collective's first film, about the
114:Amber Film & Photography Collective
19:Amber Film & Photography Collective
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298:. The BFI's Martin Hunt comments that
822:The Media and the Tourist Imagination
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991:Photo archives in the United Kingdom
996:Film archives in the United Kingdom
267:, about an Irish-Indian anarchist;
491:Hattenstone, Simon (8 June 2001).
391:looked at the implications of the
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976:English photography organisations
380:, centring on Amber photographer
833:. University of Minnesota Press.
815:. Hampshire: Palgrave MacMillan.
923:Leggott, James (9 April 2020).
971:Culture in Newcastle upon Tyne
760:Morton, David (15 June 2015).
275:, a tour around the Newcastle
60:Film, photography, exhibitions
1:
876:(inactive 19 September 2024).
805:Moor and the Ravens of London
585:Leggott & Hochscherf 2008
418:in Newcastle in summer 2015.
395:, and the disparity between "
344:, alongside life behind the
332:, and, for the return trip,
213:. Amber benefitted from the
124:) is a film and photography
862:Studies in Documentary Film
222:1968 anti-war demonstration
70:; 56 years ago
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597:Crouch & Grassick 2005
558:Crouch & Grassick 2005
520:Crouch & Grassick 2005
326:German Democratic Republic
211:Regional Arts Associations
939:– via Google Books.
809:Hans Rockle and the Devil
183:Regent Street Polytechnic
164:and Cinema, just off the
23:
895:Samuel, Raphael (1998).
324:Amber collaborated with
309:In 1987, Amber produced
839:Konttinen, Sirkka-Liisa
685:Leggott, James (2020).
918:. London: Pluto Press.
382:Sirkka-Liisa Konttinen
315:Newcastle City Council
207:British Film Institute
196:The collective opened
148:Newcastle City Council
874:10.1386/sdf.2.2.123/1
845:. Northumbria Press.
200:just off Newcastle's
914:Wayne, Mike (2001).
824:. London: Routledge.
116:(often shortened to
393:1984 miners' strike
304:European Film Award
130:Newcastle upon Tyne
92:Newcastle upon Tyne
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929:. Berghahn Books.
438:inspired the film
370:Released in 1994,
365:North East England
191:North East England
134:North East England
936:978-1-78920-651-7
899:. London: Verso.
766:Evening Chronicle
698:978-1-78920-651-7
416:Laing Art Gallery
342:Thatcher ministry
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741:. 13 July 2015
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769:. Retrieved
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743:. Retrieved
739:The Guardian
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691:. New York.
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668:. Retrieved
664:the Guardian
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618:. Retrieved
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599:, p. 42
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560:, p. 45
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541:. Retrieved
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522:, p. 44
500:. Retrieved
497:The Guardian
496:
466:, p. 48
441:Billy Elliot
439:
436:Step by Step
435:
432:The Guardian
431:
425:
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408:
403:. Socialist
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346:Iron Curtain
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319:T. Dan Smith
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238:The Guardian
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198:Side Gallery
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162:Side Gallery
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152:T. Dan Smith
141:
137:
121:
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113:
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103:amber-online
83:Headquarters
47:Company type
32:Side Gallery
15:
635:Samuel 1998
409:Like Father
373:Eden Valley
361:Meadow Well
251:across the
143:Eden Valley
118:Amber Films
40:Tyne Bridge
965:Categories
906:1859841902
745:26 October
707:1139012419
647:Brady 2014
570:James 1996
543:27 October
464:Wayne 2001
448:References
428:collective
422:Collective
401:New Labour
363:estate in
269:Last Shift
253:River Tyne
177:Foundation
126:collective
86:The Side,
51:Collective
715:cite book
502:7 January
405:Tony Benn
338:Channel 4
296:Ashington
292:Ellington
277:dock area
128:based in
841:(2009).
670:18 April
537:BBC News
389:The Scar
357:Dream On
273:Quayside
209:and the
202:Quayside
187:Tyneside
166:Quayside
150:leader,
88:Quayside
57:Industry
36:Quayside
771:23 June
620:28 June
300:Seacoal
288:Seacoal
172:History
138:Seacoal
98:Website
73: (
65:Founded
933:
903:
849:
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399:" and
426:As a
236:told
122:Amber
931:ISBN
901:ISBN
888:link
847:ISBN
807:and
773:2015
747:2015
721:link
703:OCLC
693:ISBN
672:2021
622:2015
545:2015
504:2015
294:and
140:and
105:.com
75:1968
68:1968
38:and
870:doi
397:old
265:Mai
224:in
120:or
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