Jules Wright Prize

Noski Deville, winner of the Jules Wright Prize 2015, on set
Noski Deville, winner of the Jules Wright Prize 2015, on set

Jules Wright Prize
for Female Creative Technician

The new Prize was launched in 2015 as a partnership between The Wapping Project and Film London. It is named after The Wapping Projects late founder and given as part of the Jarman Award. A £5,000 prize is presented to a female creative technician who has played a significant role in the area of artistsmoving image production in the UK. This award highlights hidden roles that are indispensable yet often overlooked, as well as championing female technicians whose talent and commitment supports a wide range of UKs artist filmmakers.

This Prize is for technical and craft based roles – a recognition of the fact that artists in this area of practice, work collaboratively and their films are a result of input from many skilled experts.

In 2015, Noski Deville received the inaugural Jules Wright Prize for her exceptional collaborations in the role of cinematographer with artists such as Alia Syed, Jananne Al Ani, Steve McQueen and Isaac Julien.

2016 +

The 2016 Jules Wright Prize focuses on editors.

Shortlist 2016

Nse Asuquo has contributed her creative and technical editing skills to a number of artists work but the jury were particularly impressed with the editing on John Akomfrahs triple screen The Unfinished Conversation. This is extremely complicated and complex editing with wonderful juxtaposition of movement, stillness, sound, music, timing and rhythm. An intelligent approach that evokes rather than dictates, creating multi-layered levels of engagement and a real presence.

Ariadna Fatjo-Vilas highly experienced, skilled, empathetic and collaborative approach has added context, texture and pacing to a number of artists works from Andrea Luka Zimmerman to Marcus Coates. She has a strong documentary sensitivity, which enables the work to balance elements of narrative, documentation and humour. Her intelligent handling and balancing of documentary and performance elements allows the viewer space for contemplation and imagination.

Sue Giovanni has had a significant technical and creative input and impact on a wide range of artists work throughout her extensive career from Rose English to Jananne Al-Ani.  During this time, spanning many technical changes and innovations, she has maintained and developed her exacting technical knowledge and continued to facilitate work to a high level including work as an online editor and colourist. She is respected and highly regarded for her exceptional command of the technology and an ability to apply it creatively.

Lucy Harris is a highly regarded editor who has an extensive knowledge of artistsmoving image work, both historical and contemporary, bringing an intellectual overview to her work.  She has a facility for sharing her knowledge of different editing platforms and approaches and as an artist herself has a profound understanding of the artistic process that enables her to be particularly supportive and insightful.  Her intelligent, collaborative and sensitive approach has positively contributed to both the rhythmic qualities and the conceptual structure of a diverse range of artistsworks including Rosalind Nashashibi.

Criteria 2016

  • Woman who works as an editor
  • Woman who has played a significant role in the area of artists moving image production in the UK
  • Woman who has made a significant input in artists filmmakerswork and career through her creative and technical skills in the field of editing

Jury 2016

  • Kate Kinninmont MBE, CEO, Women in Film and TV (UK)
  • Noski Deville, Cinematographer and Senior Lecturer at Farnham Film School , winner of the Jules Wright Prize 2015
  • Joan Leese, Director, VET Production and Training
2015 +

Winner: Noski Deville

The inaugural Jules Wright Prize focused on cinematographers. The 2015 Jules Wright Prize was awarded to cinematographer Noski Deville in recognition of the tremendous impact she has made on the field of cinematography, the breadth of her work and the range of artist filmmakers she has worked alongside.

Noski on her career

“I worked as Workshop Co-ordinator at the London Filmmakers Co-op from 1986-89 where I had the unique opportunity to see many seminal artists films. It was here that my love and understanding of experimental cinema and the creative possibilities it offered, was fostered and enhanced. My passion for the ‘magic’ of film, my understanding of the technical aspects of filmmaking plus the teaching and sharing of that knowledge were all further developed during this time.

Since then I have had the privilege of working as a cinematographer/DOP with many emerging and high profile artists and now have over 20 years experience in this field. These varied projects offer insight and understanding of a diverse range of creative processes, often with complex technical and creative challenges that require ingenious solutions and thinking ‘outside the box’ to achieve the desired outcomes. I enjoy helping to find and understand the essence of the artwork through the artist’s vision (getting inside their head, so to speak) and to help translate their thoughts and ideas into moving imagery. It is the fusion of the creative, the intellectual and the technological that I find exciting and constantly engaging.

I am also committed to education and technical tutoring in a variety of ways, including mentoring trainees on set, as a technical advisor on artists’ projects, delivering ACCESS workshops, and in my current role as Senior Lecturer in Film Production, specialising in Cinematography at the UCA Farnham Film School. I aim to foster an environment of mutual respect, open to discussion and questioning, where talent and creativity can flourish. I enjoy the sharing of knowledge and watching current and previous students forge their own successful careers. The expansion of digital technology has kept me ‘on my toes’, understanding the technical possibilities, while retaining the essential creativity inherent in any form of filmmaking. I am proud to say that in 2014 we won the prestigious award of Best University for Teaching in Cinematography from the Guild of British Camera Technicians.

Throughout my career as a cinematographer shooting promos, dramas and documentaries, I have also worked and contributed to many organisations including:, The London Filmmakers Co-Op, Sankofa Black Film & Video Workshop, Goldsmiths College of Art, Portsmouth University, The Slade School of Art, University of London The University of Hertfordshire and The University for the Creative Arts at Farnham Film School. I have also been on the Board of Directors of Four Corners Film & Video Workshop, London Filmmakers Co-op and Greater London Arts. I am a member of the Guild of British Camera Technicians and a Fellow of the Higher Education Academy.”

Shortlist 2015

  • Noski Deville
  • Taina Galis
  • Suzie Lavelle
  • Margaret Salmon