Latest news with #PaulDaley
The Guardian
4 days ago
- General
- The Guardian
Folkestone Museum's Anglo-Saxon skeleton is helping us to understand and honour the past
I found Paul Daley's opinion piece on displaying human remains an interesting read (Times change, so do people. So why does the British Museum still think it's OK to display human remains?, 6 August). I am always glad to discuss the reasons why museums retain and display human remains. First, I completely agree that human remains taken by colonial powers should be repatriated rather than displayed in international institutions. I disagree strongly, however, with the idea that there is no value (aside from shock value) to displaying human remains. Through museums it is possible to learn about death and human remains in a respectful way – without the gore you often find in the media. At Folkestone Museum, we display the human remains of an Anglo-Saxon woman from a cemetery on the hill above our town. She was exhumed during an excavation in 1908. The rest of the skeletons excavated from that cemetery were collected together in a single tea chest and reburied, which I don't consider especially respectful. I believe that by telling our skeleton's story in as complete a way as we can, through our research, display and educational work, we can honour her memory best. Through this work, our skeleton has become beloved to generations of visitors to the museum. For over a hundred years, she has inspired people to learn more about the past and at least one person has become an archaeologist after meeting her. Our work aims to help visitors build empathy with the people who lived before us and our skeleton is an important part of that work. Daley writes of 'the purported scientific benefits of holding such specimens' – but doesn't address these substantially. As scientific techniques improve, our skeleton at Folkestone will continue to contribute to our knowledge of the ancient world. Her DNA is currently part of a large scientific study. If we reburied her, we would lose a huge amount of future knowledge and understanding about the past, about her and about her community. Coralie CloverMuseum manager and curator, Folkestone town council
Yahoo
08-08-2025
- Entertainment
- Yahoo
TV cinematographers roundtable: ‘Life Below Zero,' ‘Ren Faire,' ‘The Righteous Gemstones,' ‘Tucci in Italy,' and ‘Chef's Table'
You may not necessarily think of cinematographers as "therapists," but that's exactly how five Emmy nominees in the field describe their primary responsibility to Gold Derby. They're essentially the "connective tissue" in making sure a director's vision is properly executive on camera. (Life Below Zero), (Ren Faire), (The Righteous Gemstones), (Tucci in Italy), and (Chef's Table) shine a light on the cinematography profession during our "Meet the Experts" roundtable. Watch the full group panel above. Click on each name to view that person's individual interview. More from Gold Derby 'Tucci in Italy' cinematographer Matt Ball on avoiding 'food porn' and what the audience doesn't know about Stanley Tucci 'The Righteous Gemstones' cinematographer Paul Daley on the show's visual evolution and why 'there's gotta be a Baby Billy' spin-off Gold Derby: In your opinion, what is the cinematographer's most crucial role in the storytelling process? Fowler: I guess it's collaborating with the producer and the director to make sure the vision is coming across on camera. Hurtsellers: Yeah, it's like, you're the therapist to the director in a sense, and you're their partner in crime. So, it's helping push the vision that you've collectively decided on, but also you're the person to lean on to take the hits and to turn to. It's almost like a romantic partnership. Daley: I think it's about efficient storytelling, as beautifully as possible. I've got half an hour to get the story told. Ball: It's collaboration, really. It's being a good team player. Somebody who can collaborate is probably the most important thing. And not too much ego. Bricker: I think these gentlemen all nailed it. It's that collaboration with the director and that interpretation of their vision, and then helping to develop that vision. You're the connective tissue between the director and that vision to the crew. So, collaborating with your crew and helping to translate these ideas the directors have to your camera team, your lighting team, and onward. What advice would you give to aspiring cinematographers who are out there trying to get into the business? Daley: I would suggest you shoot. Just shoot everything. Stills, motion. Watch as many films as you can. Watch films that you wouldn't normally watch. When you watch a film and you like it, figure out why you like it. When you're studying your films, watch the camera movement. Find out why it moved. See if that made sense to you. You can learn so much from what's already been done. Bricker: Piggybacking off of that, I think shooting is the most important thing. Don't be precious about what it is you're shooting, just take on the projects and make the most of them. When I was in film school, I had ambitions of shooting Jurassic Park, or for Christopher Nolan. I had no concept that I might be known for a culinary documentary — that wasn't on the radar. You take the opportunities that you're given, and make the most of them, and make them your own, and then you're off on the journey. Shoot whatever you can get your hands on. Fowler: In addition to shooting as much as possible, try to learn how to edit. Edit what you've shot yourself, especially coming from a documentary background. Learn if the coverage you're getting is working, or have someone else edit and get feedback on what worked and what didn't. A beautiful shot that doesn't cut together and tell a story is not very useful. Hurtsellers: I think everybody's nailed it. The biggest thing is to just go out and shoot, because you've got to make a lot of mistakes before you're even bad. Like, first you're terrible, and then you get bad, and then you're mediocre, and then someday, maybe when you're 80, you become competent. So, the quicker you can get those mistakes out, that's the best way to learn. Ball: The only thing I would add is, don't be afraid to make mistakes. Nobody knows everything about cinematography. Everybody sitting here has made huge mistakes, has messed stuff up, and that's how you learn. You only learn by making the mistakes. The Emmys for cinematography will be handed out during the Creative Arts ceremonies on Sept. 6 (scripted) and Sept. 7 (unscripted). This article and video are sponsored content by National Geographic, HBO, and Netflix. Best of Gold Derby 'Australian Survivor vs. The World' premiere date and cast photos: 'King' George Mladenov, Cirie Fields, Parvati Shallow … 'Five new life forms from distant planets': Everything to know about 'Alien: Earth' as new trailer drops Everything to know about 'The Pitt' Season 2, including the departure of Tracy Ifeachor's Dr. Collins Click here to read the full article. Solve the daily Crossword
