Iconic VE Day Leicester Clock Tower conga picture recreated
Jill, from Syston in Leicestershire, said the photograph was well known within her family. She said: "Jean was on the buses as a conductor, that was how she came to be in the photograph because she'd come into town to the bus station to see what her next rota was and got caught up in it."Jill said her aunt had talked about the VE day celebrations on anniversaries over the years.She added: "She was a bit of a rebel, she pushed the boundaries so I think she would be very proud and pleased to know that she's still remembered for that photograph."Life wouldn't be as it is today if it wasn't for that occasion."
Also identified in the photo was Sheila Liquorish.Her niece Julia French, from Evington, said she remembered her aunt talking about the day."She told us how exciting it was, how fun it was, the noise, the elation," she said."I think she and her friend skipped out of work to do the conga."Julia said looking at the photograph now, she felt "proud"."To think that today we are walking in their footsteps," Julia added. "She loved a party."Among the other people identified in the 1945 photo were Jean Carter, who was then aged 15, Dennis Hastings, Doris Brown, Iris Smith, Peggy Cort and police officer Percy Moss.Additional reporting by Ady Dayman and Matt Smith
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Daily Mail
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The Sun
5 minutes ago
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The Guardian
5 minutes ago
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The Memory Blocks review – playful and purposeful exploration of developmental disorders
Artist and film-maker Andrew Kötting returns to the themes of consciousness and memory (both individual and collective) in this playful and ruminative docu-essay, in which he is again working with his daughter Eden; she is at once his subject and his collaborator. Eden was born in 1988 with the genetic disorder Joubert syndrome; she draws and paints and often appears in Kötting's films. I have in the past wondered aloud if Kötting might tackle the challenges of being with Eden more straightforwardly. But perhaps that was obtuse of me; it could be that it is only this complex, layered, tonally elusive approach which refuses the conventional grammar of clinical concern does justice to the idea of seeing the world as Eden sees it. The film has Eden dressed in a blue gingham pinafore dress of the kind associated with Alice in Wonderland (and therefore, perhaps, associating her with the idea of a journey or pilgrimage which is often a trope in Kötting's films). She is in a group alongside other adults with learning-development issues and on the shop floor of a factory where they are pretending that they are producing 'memory blocks' with machine tools and 3D printers: hollowed-out metal blocks which are the containers or constituent elements of memory. They participate in the fiction that these blocks will stimulate consciousness and send them back in time to happy memories; 3D animated images of nuts and bolts float across the screen. They are a happy supportive group with a genial relationship with Kötting, whose voice can be heard off-camera. At one point he asks them where they would like to travel; one woman says Prague, Eden says France (a place of happy memories) and another man says Locarno in Switzerland, because he likes Von Kleist's ghost story The Beggar Woman of Locarno. Eden is also shown walking in huge landscapes, alone with her walking frame, or with her friends, or with others in fancy dress and costumes. These unselfconscious performances or enactments might be bringing us close to an understanding of what Eden thinks and feels – but maybe that isn't the point and perhaps Eden, or those close to her, have no great need for this kind of insight and the object is more a kind of quietist harmony. Either way, the calmly purposeful originality of Kötting's work is valuable. The Memory Blocks screened at the Edinburgh film festival.
