The latest information on cinema, festival, TV and web screenings for 'The Beat is The Law', plus special exhibitions, panels and other happenings. Updates to this page are announced via the Twitter feed so make sure you're following us @beatisthelaw if you're not doing so already.
Festivals and Cinemas - For information on obtaining screenings and accompanying appearances for film, please contact us via eve@thebeatisthelaw.com
October 13th, 2010
Sensoria has organised a sneak preview screening of the whole of The Beat is The Law (Parts 1 and 2 combined as one film) at the In The City conference/festival in Manchester 14.10.2010.
Details can be found on In The City’s Facebook page
or on their website schedule
September 29th, 2010
‘Forget This is England ’86 – this is the true story of growing up in Thatcher’s Britain, told by those who went on to create Cool Britannia.’ Un-convention 2010.
The Beat Is The Law (80′s/Part One) will be screened at the Un-convention, Salford, Manchester on 2nd October 2010.
As well as a host of names from the music world, Jarvis Cocker will be performing the following day and Eve Wood, the film’s director will be on an Un-convention discussion panel floating on a barge on 1st October. Sheffield takes on Manchester!… more here
June 29th, 2010
The Beat is The Law (80′s) is screening as part of the Noise, Affect, Politics Conference at Salford University on 1st July 2010 and will be preceded by a lecture from Stephen Mallinder (Cabaret Voltaire) entitled ‘White Heat, White Noise: Ambient Noise in Pre-Punk and Post-Punk Music‘
“…what exactly is noise and what conditions these relative thresholds in which sound crosses over into noise? Or are these more organised and polite sonic phenomena merely varieties of noise that have been tamed and civilised, and yet still contain kernels of the chaotic, anomalous disturbance of primordial noise? As a radical free agent, how is noise channelled, neutralised or enhanced in emergent cityscapes?
Such questions are particularly applicable to contemporary forms of music which, based as they are on a variety of noise-making technical machines, necessarily exist in the interface between chaotic, unpredictable noise and the organised and blended sounds of music and speech. Does modern noise seek to lead us to new, post-secular inscapes (as with psychedelia and shoegazer), or defy the lulling noisescapes of processed background muzak with punitive blasts of disorientating, disorderly noise? And why the cult of noise – in term of both volume and dissonance – in which low cultural practices (metal, moshing) meet those of the avant-garde (atonalism, transcendentalism)?”
Tags: cabaret voltaire, Stephen Mallinder
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