Is Folkestone the Birthplace of Television?
Synopsis
Beginning with a forgotten plaque in Folkestone, filmmaker Ben Barton follows a trail left by television pioneer John Logie Baird – and re-examines where television first sparked to life.
Details
- Year
- 2026
- Type of project
- Shorts
- Running time
- 6 min
- Format
- Digital
- Director
-
Ben Barton
- Editor
- Alexander Saxby
- Screenwriter
- Ben Barton
- Director of Photography
- Alexander Saxby
- Production Designer
- Scott Gibson
- Composer
- Alex Grohl
- Principal cast
- Ben Barton
- Other Lead Creative(s)
- Alexander Saxby
- Graphic Designer
- Nick Payton
Genre
Production Status
Production Company
Roundeye
Ben BartonSales Company
Roundeye
Ben BartonPage updates
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See also
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Little Red
Director: Ben Barton
Year: 2011
"If you go down to the woods today you're sure of a big surprise. If you go down to the woods today, you'd better go in disguise..." An experimental reimagining of Little Red Riding Hood, this visual collage combines elements of fairytales and horror to reveal something unexpected lurking in the forest.
Getting Ready
Director: Ben Barton
Year: 2010
In 'Getting Ready' we watch a faded icon of stage and screen backstage as she prepares for the greatest performance of her life - a star-studded suicide. Captured on sumptuous super 8 film and evoking the spirit of old Hollywood, this vintage-style short premiered at the London Independent Film Festival.
The End of Times
Director: Luca Anzalone
Year: 2026
Caught between her indigenous Buryat roots—where art is a shamanic window between worlds—and a Western market that treats culture as a commodity, artist Yuma Radne constructs a monumental canvas to confront the psychological distortions of colonization at the edge of an irreversible era. "Either you make art, or you suffer. It’s like a curse." For painter Yuma Radne, the act of creation is not an aesthetic choice, but an ancestral code carried in the blood. Moving from a remote Siberian village to the high-stakes European art world, Yuma finds herself navigating a surreal landscape where sacred cultural identity is rapidly converted into a luxury product. Through intimate studio dialogues and raw philosophical reflections, the film captures the gruelling physical and mental labour behind her graduation masterpiece, The End of Times. Centred around a gargantuan erupting booze (a traditional Buryat dumpling) mutated into an absurd, monumental symbol of a colonised and erased national identity, the film transcends a typical artist portrait. It becomes a vital, cosmic meditation on why humanity continues to create art in the face of systemic collapse—and a powerful testament to an indigenous culture refusing to be reduced to a souvenir.