Year of release: 2018
Original format: Cinema 4K 24fps digital video, stereo sound
Running time: 20 minutes
Screening format: C2K DCP, C2K, 4K UHD and HD digital files, and HD Blu-ray
Credits: A film by Stuart Moore and Kayla Parker
Production: Sundog Media
All filming and sound recorded on location in and around the UN-controlled Buffer Zone, Nicosia
Created through a University of Plymouth artist residency at Nicosia Municipal Arts Centre (NiMAC, associated with the Pierides Foundation)
Distribution and sales: Sundog Media sundogmedia@gmail.com
Thanks: Dr Yiannis Toumazis and the staff at Nicosia Municipal Arts Centre (NiMAC), Nicosia, Republic of Cyprus; Professor Liz Wells and the research group for Land/Water and the Visual Arts, School of Art, Design and Architecture, University of Plymouth, UK; Professor Andrew Spicer and the 3D3 Doctoral Training Centre, University of the West of England, Bristol, UK; Major Robert Szacszon and the UNFICYP United Nations Peacekeeping Force in Cyprus; Nicos Philippou, University of Nicosia; Jill Bright and Louise Schumann.

The demilitarised zone in Cyprus is peppered with signs forbidding photography. In the city, the zone is abandoned and derelict. The people have to work around the zone, but we try to rise above it. Our longing gaze sees the beauty of the distant mountains, the sky and the birds. Our memories of our militarised childhoods reach out to the zone - close, but always out of reach.
Stuart Moore and Kayla Parker filming on location at the abandoned Nicosia International Airport; UN Buffer Zone. Image credit: Major Robert Szacszon, UNFICYP United Nations Peacekeeping Force in Cyprus

The voices of two unseen narrators, one male and one female, spoken by the artists, recall their militarised childhoods, exchanging memories of home and (dis)placement against a backdrop of views of the fractured city of Nicosia, Cyprus. Filmed and recorded in Nicosia, the only divided capital in Europe, inside the United Nations demilitarised Buffer Zone and close to its southern edge. The visible legacy of the violent conflict that tore the island in two over four decades ago contrasts with the beauty of the sky and the mountains beyond, and the birds and wildlife that thrive in this no man's land. Political and social histories, the legacies of colonialism, occupation, and the Cold War, resonate culturally and also biographically for the artists, as both had childhood links with Cyprus through fathers stationed there with the Royal Air Force before the division of the island.

Nicosia Municipal Arts Centre, in the southern half of Old Nicosia, is close to the Green Line, the demilitarised Buffer Zone still patrolled by the United Nations Peacekeeping Force that separates the Turkish-occupied northern section of the island from the Greek Cypriot south. During their residency period, November and December 2016, and March and April 2018, living and filming near the Buffer Zone became a quiet reflection for Moore and Parker on the uneasy stasis of the unresolved conflict which tore the island in two over forty years ago. In making sense of their collective past, the film-makers draw on their formative experiences of both being ‘RAF children’, uprooted from one country to another – patriarchal baggage moved by external forces.

Publication and comments
Father-land "challenges a patriarchal, colonial aspect of an island where the dependence on the motherlands, Greece and Turkey, and also the desired annexation to the latter, constituted a key argument for both sides for a series of violent and bloody incidents, climaxing in the Turkish invasion of July 1974 and the continuing division of Cyprus" (Yiannis Toumazis,'A Guest + A Host = The Cyprus Ghost', Layers of Visibility, 2018, p.76).

"Whilst in Cyprus we usually talk about the mother country, Stuart Moore and Kayla Parker created the film called ‘Father-land’ since their fathers had served in Cyprus as members of Royal Air Force RAF in British Bases. One of the artists lived in Limassol as a child. Returning now as adults they form links between their childhood experiences as children of English officers and their impressions of the Dead Zone. They narrate their relationships with their fathers, their constant moving from one country to another, and they refer to the consequences that the presence of a military force, set in a different state from its base, may have. The ability of a pigeon to fly across these metal barriers, a crane used to build outposts at the Green Line on the other side have all been used to symbolise things which for us have become very ordinary. However, when looking at these aspects in a film, they spark new thoughts in our minds which help us awaken to see the reality which we so blindly had become accustomed to and disregarded." (ΦΙΛGOOD, Aποδελτιωαη: 25 November 2018, p.17; Layers of Visibility exhibition review, translated from the Greek).

2018 'Father-land' [with Stuart Moore, text and stills; for exhibition at Nicosia Municipal Arts Centre, 19 October 2018 to 12 January 2019] in Liz Wells (ed.) Layers of Visibility: NiMAC/University of Plymouth Artist Residencies 2013-2017. Plymouth: University of Plymouth Press. Publication date: 19 October 2018. pp. 79 to 90, and cover image.

2018 'Framing memory: return to the zone' [with Stuart Moore, chapter/conference proceedings] in Costa Valenta A. (ed.) AVANCA | CINEMA 2018. Avanca: Edições Cine-Club de Avanca. ISSN: 2184-0520. Publication date: 25 July 2018. pp. 103-108.

2018 'Father-land: troubled dialogues in a divided island' in Arts Institute Research Stories 2016/17 [with Stuart Moore, text and stills; research brochure] Plymouth: University of Plymouth. Publication date: 1 January 2018. pp. 17 and 18.

Layers of Visibility: Works from Plymouth University artist residencies at Nicosia Municipal Arts Centre, 2013-2017; curated by Liz Wells and Yiannis Toumazis; Nicosia Municipal Arts Centre (NiMAC, associated with the Pierides Foundation), Nicosia, Republic of Cyprus (19 October 2018 to 12 January 2019, premiere, large-scale gallery projection with stereo sound).
Gallery installation, Nicosia Municipal Arts Centre. Image credit: Louca Studios

Practice research presentations
Thinking Space: Remembering Through Father-land, Intersectionality in the Essay Film: Intersecting Identities in the Polysemic Memoir, British Association of Film, Television and Screen Studies 7th Annual Conference 2019, Intersecting Identities: Race, Sex, Nation; University of Birmingham, UK (25 to 27 April 2019)
‘Narratives and memories’, Layers of Visibility: The artist residency as a space of practice-led research Research Festival 2019, University of Plymouth; Jill Craigie Cinema, Plymouth (22 January 2019, event includes the first UK screening of Father-land)
Still Framing: The Buffer Zone as a Modern Ruin, 5th International Conference of Photography and Theory [ICPT2018], PHOTOGRAPHIES & CONFLICT: Archiving and Consuming Images of Strife; International Association of Photography and Theory [IAPT]; Famagusta Gate, Nicosia, Cyprus (22 to 24 November 2018)
Framing Memory: Return to the Zone, AVANCA I CINEMA Conference 2018; Avanca, Portugal (25 to 29 July 2018)
'Approaching the Zone: Filmmaking by Osmosis', 25th Land/Water and the Visual Arts Research Group Summer Symposium, Out of Place: The artist residency as a space of creative exploration and reflection; followed by 'In Conversation: Autobiography, Oral History and Memory' with Kayla Parker, Stuart Moore, and Hannah Drayson, facilitated by Rachel Christofides. University of Plymouth, UK (5 and 6 July 2018)
Father-land: Troubling Dialogues, British Association of Film, Television and Screen Studies 6th Annual Conference 2018, Revolution: Politics, Technology, Aesthetics; University of Kent, UK (12 and 13 April 2018)
Troubling Dialogues: Fitting Words into Place, Essay Film and Narrative Techniques: Screenwriting Non-fiction, First Symposium of the BAFTSS Essay Film Research Group; organised by BAFTSS and The Interdisciplinary Centre for Narrative Studies, University of York, UK (18 and 19 November 2017)
Film still: Father-land