Thursday, 23 July 2020


I am pleased to announce that The Borderline is an official selection for the SOTAMBE International Film and Arts Festival (SOTAMBE IFAF) to be held in Kitwe in The Copperbelt from 22nd September. I look forward to seeing you there.

Wednesday, 8 July 2020

ZedPipo: an Introduction

‘You are what you do’, a well-worn phrase that, rightly or wrongly, seeks to encapsulate the identity of an individual within the confines of a profession, job or social role. Capturing identity in a photograph, or indeed a painting, creates a caricature that attempts to summarise an element of a subject. But does it capture their character?

Tuesday, 30 June 2020

Postcards from Zambia: A New Photographic Response

Although oppressive times may be becoming scarcer, albeit remaining in living memory, it is time for a change in outlook; there have been developments in the mechanics of photography: a transition from film to digital photography enabling the simple and instantaneous production of images for newspapers, magazines, poster-prints, slideshows and websites, mobile phones, social media or the photograph album; photography is more a media for the masses than ever before.

Writing Film Scripts 9: Facts of the Matter

Watch lots of films that you like and imitate them. Watch them twice or even three times. Figure out what the films are about and write it down. Look for and note down the inciting incidents and when they happen; find and note the nature of the transitions at end of the first and second acts. Or does it have five acts? Find the midpoint and note the winds of change in story direction. Watching one film once is not watching films. Look for events and observe characters and put them in your film. Do not copy dialogue unless its in the public domain and used as irony, “I’ll be back” famously from Terminator.

Thursday, 25 June 2020

The Zambians (3): Image and Realpolitik

Milk collection in Choma

The image itself

There are hardly any iconic pictures in public circulation and only a few in public exhibitions; so, now let us look at the rest of the world’s photographs and why they may be important. The saying is there are no new photographs: the blind woman or man, the people in the underground, signs, and others; they have all been taken by famous photographers of the past. If you take a picture of a blind person, it will be compared with Paul Strand, Lewis Hine, Gary Winogrand, Walker Evans, Ben Shahn, and others. This of course is irony by default - it has been done before - in its most unintellectual form.

Wednesday, 24 June 2020

Writing Film Scripts 8: Read On

So now that you have written lots of scenes, you will notice there are distinct sequences, elements of story that combine to make the full story. Each Act is likely to be one or more sequences that are spaced by time and fade in from black and fade out to black. Tarantino uses these as Brechtian breaks. Have you discovered distanciation yet? Each element is a ‘Short’ film and can be written as such in the script, but there is no explicit formatting for sequences in writing scripts so I use colour coding in scene views/index cards or, in Final Draft, Format > Element Settings > General to start a new page with its own capitalised and underlined italics title for sequences or acts.
Read more here 

Postcards from Zambia: Globalism, technology and social change

Despite the Polaroid camera being sufficiently developed to take positive colour photographs in 1964, the world’s press recorded Kenneth Kaunda taking Zambia to independence in October that year in black and white. Although this is where the Zambian colonial project ended for Britian, it is where the globalisation project started, a positive feature of a changing world for some, the domination of the Third World by the First World for others (Ashcroft, 101). 
See more here

I am pleased to announce that The Borderline is an official selection for the  SOTAMBE International Film and Arts Festival (SOTAMBE IFAF)...